FROZEN DAWN

 

Origen: España, Madrid

Formados: 2006

Estilo: Black melódico

Temática: Invernalia

Enlaces: Bandcamp, facebook, Frozen dawn, instagram, spotify y youtube

Miembros:

• Antonio Mansilla Bajo
• Arjan van der Wijst Barería
• Grinder Guitarra y voces

Discografía:

• Winds from the North 2007 Promo Demo 2007  
• Cold Souls Single 2010  
• The Old Prophecy of Winterland CD 2011
• Banished, the Everlasting Confinement Single 2014  
• Those of the Cursed Light CD 2014
• Unearthing the Black Arts CD 2017  
• The Decline of the Enlightened Gods CD 2023

THE DECLINE OF THE ENLIGHTENED GODS (2023)

Cuarto larga duración para la ya veterana banda madrileña Frozen Dawn, ofreciendo un sonido poderoso de black/death, no exento de ciertas melodías que salpican las composiciones. Diez temas componen este lanzamiento, diez temas que ofrecen un buen puñado de riffs sobresalientes que van tejiendo un entramado de sonido en donde las influencias del death  melódico o del thrash acaban por dar forma a la propuesta black que da sustento al conjunto. Los temas se muestran directos desde el inicio, haciendo gala por un lado de una batería directa y potente que impone un ritmo bastante alto a lo largo de todos los temas, sin que ello sea impedimento para que álgun medio tiempo acabe por colarse en el conjunto. Tenemos que añadir unos riffs directos, con cierta dosis de crudeza, en donde hay que destacar una faceta que los acerca a terrenos más melódicos, aspecto que se engarzan con ciertos elementos death, sobre todo su hablamos de un combo black/death, sin renunciar a cierto sabor de thrash clásico en cuanto a melodías y algunos solos de guitarra. El bajo está bastante presente en la mezcla, logrando un mayor empaque y cohesión en la música, al tiempo que las voces se adentran por un tono también bastante directo, no exento de crudeza y cierta brutalidad que podemos describir cercano a un estilo black, con algunos aportes death. Un nuevo álbum que destaca por un sonido cuidado, que atesora grandes momentos a la hora de sonar compacto y rico en matices, matices que se van desgranando a lo largo del mismo, ofreciendo una atmosfera cargada de cierta melancolía que emana del fragor del discurso de este "The Decline of the Enlightened Gods" y en donde salvando la distancias, la versión del "Blinded by Light, Enlightened by Darkness" de Necrophobic puede ser un buen ejemplo a la hora de hacernos una idea del sonido y la altura en la cual se encuentra la banda (7,8).

Transcending Obscurity Records

1. Mystic Fires of Dark Allegiance 05:57  

2. Spellbound 04:36  

3. Black Reign Awaits 03:58  

4. Frozen Kings 03:59  

5. Wanderer of Times 05:28  

6. Oath of Forgotten Past 05:58  

7. Cosmic Black Chaos 06:42  

8. The Decline of the Enlightened Gods 07:04  

9. The Fall of Aeons 02:35  

10. Blinded by Light, Enlightened by Darkness (Necrophobic cover) 04:05  

  50:22  

Haustið - Basking in Reflected Glory 4,99 €

Edición en cassette (blanco o negro) de la quinta demo de la one man brasileña Haustið. Un trabajo que consta de un par de extensos temas que prodríamos encuadrad dentro del post-back metal, oscuros y llenos de desesperación. Edición limitada a 16 copias a una sola cara.

1. Basking in Reflected Glory 11:09

2. Leaking Light 07:27

SCHAVOT

 

Origen: Holanda, Venray

Formados: 2021

Estilo: Black

Temática: Historias folk

Enlaces: Deezer, facebook, instagram y spotify

Miembros:

• Floris Todo

Discografía:

• Galgenbrok CD 2021
• De laatste dans gedanst Single 2022  
• Kronieken uit de nevel CD 2023

KRONIEKEN UIT DE NEVEL (2023)

Segunda entrega para este proyecto procedente de tierras holandesas, lugar que de un tiempo a esta parte atesora un buen puñado de interesantes bandas, escrito en holandés y con una temática de historias tradicionales de su país, sin embargo con una propuesta musical alejada de cualquier referente folk. Un álbum que si cabe podemos decir que se aleja un tanto de la zona de confort expuesta en su anterior trabajo para adentrarse en un sonido mucho más directo y crudo en ciertas secciones, sin abandonar en ningún momento el sonido de procedencia black melódica. Los temas se han trabajado a conciencia, construidos desde unas secciones iniciales que dibujan paisajes evocadores, en donde los teclados y guitarras limpias llevan el peso de estos comienzos de los temas, pero que pronto se ven desbordados por la irrupción de un sonido mucho más directo y crudo, de riifs violentos y un ritmo en general alto, haciendo referencia a un black de segunda ola, pero teniendo muy presente el sonido black melódico que nos acompaña a lo largo de todos los temas y en donde también merece destacar el papel que tienen los teclados a la hora de construir tanto una atmósfera fría y pagana como de completar el carácter melódico de la propuesta. Sorprende así mismo el enfoque directo y digamos que crudo de las voces, agresivo y frío al tiempo que actúa como contrapunto la mayoría de las veces a la música, ofreciendo un equilibrio muy logrado entre ambas partes, funcionado perfectamente la formula de crudeza y agresividad propia del black más tradicional, como el sonido melódico, con el registro más pagano que puebla la propuesta y en donde teclados y guitarras se dan la mano para conseguir el sustento perfecto para desarrollar las leyendas que pueblan la letras de la canciones. (7,7).

Void Wanderer Productions

1. Onmens 04:12  

2. Geestenrijk 04:27  

3. Heksenwaan 04:21  

4. Hijs de zeilen 05:10  

5. Zwart water 04:47  

6. Kerberos 03:40  

7. Niet alleen de avond valt 06:04  

8. De laatste dans gedanst 05:21  

  38:02  

Destructo ‎– Demonic Possession 17,99 €

Regular edition LP on black vinyl. come with 12x12" insert, poster, sticker, postcard and obi-strip

DEVISER

 

Origen: Gracia, Chaina

Formados: 1989

Estilo: Black melódico

Temática: Abstracta, Lovecraft, ocultismo, otros mundos y oscuridad

Enlaces: Bandcamp, deezer, Deviser, facebook, instagram, spotify, twitter y youtube

Miembros:

• Matt Hnaras Bajo
• Nick Christogiannis Bajo y teclados

Discografía:

• Forbidden Knowledge Demo 1990  
• Psychic Completion Demo 1990
• The Revelation of Higher Mysteries EP 1994
• Thy Blackest Love Demo 1996
• Unspeakable Cults CD 1996
• Transmission to Chaos CD 1998
• Running Sore CD 2002
• Thy Blackest Love (The Early Years) Recopilatorio 2003
• Seasons of Darkness CD 2011
• Howling Flames EP 2017
• Evoking the Moon Goddess Single 2022  
• Absence of Heaven Single 2022  
• Cold Comes the Night Single 2022  
• Evil Summons Evil CD 2023

EVIL SUMMONS EVIL (2023)

La veterana banda griega llega a su quinto álbum de estudio, poniendo fin unos doce años de silencio, dentro de una trayectoria de más de treinta años. Un nuevo trabajo que tal vez no tiene unos referentes claros en cuanto a sonido y propuesta de la banda, recordemos que su anterior "Seasons of Darkness" data de 2011 y el período más activo de la banda lo encontramos a finales de los noventa y comienzos de milenio. "Evil Summons Evil" consta de once temas en donde por un parte tenemos un sonido en donde descubrimos el peso del black de tradición helena, sobre todo si hablamos de la ambientación oscura y ciertos elementos de corte tradicional en las partes más profundas del álbum. Sin embargo no estamos ante un álbum directo y preciso en cuanto a sonido, Deviser se han decantado por elementos en su sonido que se mueven por terrenos en donde nos sumergimos en una ambientación oscura, casi que gótica, con digamos cierta carga épica. La instrumentación esta cuidada la milímetro sin perder oportunidad de endosarnos esa dosis de melodía oscura que se le presupone al sonido de la bandas influenciada por el black griego, dejando mucho espacio para el desarrollo de la instrumentación, de melodías claras y precisas, sin un ritmo elevado, que van fluyendo y dando forma al conjunto que sin embargo sabe huir de un exceso de emotividad, gracias precisamente a esa carga de oscuridad y de regusto a sonido black heleno clásico del que hablábamos antes. En al voces si que hay un carácter  digamos que más directo, con unos desarrollos llenos de mayor crudeza y rabia en clara contraposición, al tiempo que complementan la propuesta. En definitiva un álbum que no destaca precisamente por sonar directo, ni por un elevado ritmo, sino que a partir de un sonido de influencias melódicas va apurando elementos como la oscuridad y un regusto a black metal de la escuela griega más clásica. (8)

Hammerheart Records

1. Death is Life Eternal  

2. Cold Comes the Night  

3. Absence of Heaven   

4. Tenebrae  

5. Of Magick  

6. Evoking the Moon Goddess   

7. Where Angels Fear to Tread  

8. Sky Burial  

9. Serpent God  

10. When the Lights Went Out

 

Khashm  "Asmodeus Rising"  18,99 €

2 × Vinyl, 12", 7", Album

12"LP Details:

- 350gsm Gatefold Jacket With Matt Varnish And Inside Flooded In Black.

- 140g Black Vinyl.

- A2 Poster on 150gsm Art Paper.

- Limited To 500 Copies.

7"EP Details:

- 280gsm Cardboard Jacket With Matt Varnish

- 42g Black Vinyl

- Limited To 500 Copies

PLOUGHSHARE - INTERVIEW

 Good morning, thank you very much for answering these questions, how is everything going in Canberra?

Ploughshare is going well at the moment, thank you! We are very happy to have finally released Ingested Burial Ground, and are in the midst of preparing for our next record and arranging shows for 2023.

1. Around 2017, you released your first EP. Is it around this time when you decided to create the band? Why did you choose the name Ploughshare and what to refer to?

Ploughshare formed in late 2015. We had all played music with each other in various other bands, and circumstances aligned at that time for us to start working together in this configuration. We recorded Literature of Piss in mid-2016, and started playing shows in 2017 following its release. Not to be overly deflationary, but ‘Ploughshare’ provides a moniker for our collaboration, and is simply the name under which we operate. Its origins, or its relationship to things outside the band, shouldn’t be taken as bearing upon the band’s existence.

2. Since your beginnings and despite not having a completely recognizable sound as classic, it is true that you have obtained a well-deserved recognition, how do you think a band like yours fits into the black/death scene of a country like Australia? And do you think that in some way the particularities of your sounds have played in favor of Ploughshare's positioning?

Assessing how we ‘fit in’ is difficult. We certainly share resonances with other bands – musical, conceptual, methodological – from Australia, and we are close friends with members of other bands. These connections have opened up opportunities for us to collaborate live and on record. 

Perhaps unsurprisingly, the community is small in Australia. Nonetheless, Australia’s heavy music scene is marked by its diversity; within cities and between cities, there are significant differences between the types of bands that may share a stage. Perhaps we fit in by affirming that diversity and striving to preserve it. 

3. Your recently released “Ingested Burial Ground” gives continuity to your previous Ep “Tellurian Insurgency” which serves as a bridge with your first album “In Offal, Salvation”, how do you think the sound has evolved between the first album and this second? How do you face the whole process of composition and recording of the songs? What brands of instruments have you used for the composition and recording of the album?

The process of writing and recording music over the last seven years together has given us a more precise sense of what Ploughshare sounds like and has allowed us to refine our own expectations and desires for how the band ought to sound. That refinement has involved shedding certain song-writing habits and gaining or developing others. It has taken time for us to recognise and appreciate what Ploughshare ‘is’. If this form is not yet entirely stable or entirely clear, we at least understand it better now.

Songs are typically written through one member bringing an idea or set of ideas to the rest of the band. These ideas will then get worked on both individually and as a group, until the final piece emerges. This is a laborious process and many of our songs exist in multiple draft iterations before we settle on a final form for the song. 

The song writing on Ingested Burial Ground took a slightly different form: one member composed the basic form of all the songs before the full band provided input for reworking the songs.

Synthesisers and samplers feature prominently on Ingested Burial Ground, but we also recorded live drums, guitars, and vocals. Drums and vocals were recorded in our rehearsal space and guitars were recorded at home.

4. I previously commented that your sound has a very personal touch, not without a certain complexity, avant-garde, hardcore, black/death, an oppressive atmosphere, industrial elements, where do you find inspiration and influences when putting forward a proposal? like yours? How would you define the sound of the new album for those who haven't heard it yet?

Our influences are very broad and varied. One aspect that has come increasingly clear to us over time is that we are far from in control of the way songs form, or ideas get expressed. Though we all bring with us a set of influences, in collaboration and in the context of preparing music such influences amalgamate in entirely unexpected ways. There are, however, clear touch-points for the music we make – Intensive Care, Deathspell Omega, Swans, Ved Buens Ende, Kathaaria, Abigor, and Godflesh being some of the most apparent. 

We would describe Ingested Burial Ground as a Ploughshare record using alternative instrumentation. Ingested Burial Ground is an extension or a re-working of elements already within our sound, but given a wider latitude, so to speak. It was important for us to explore the use of alternative instrumentation in a dedicated way.  

5. The album contains five versions of as many songs by five bands or projects that, while not being directly related to the black/death sound, the eclecticism of their sound lends itself to your version, in the case of: Sow Discord , Ignis Fatuus, Ascanyx, Xeno Chemist and Alex Macfarlane. At what point did you make the decision to include these versions on the new album and what does it mean for you?

We have long sought out collaborations with other musicians and bands we admire or find interesting. From our earlier collaborations with Andrew Nolan, we found working with others to be a particularly productive approach. There is much to the ‘back and forth’ involved in pursuing collaborations. This is not merely in the sense of exchanging files, but in the sense of discussing and addressing the work we are doing as a collaborative exercise. With each exchange, new aspects of the project became clear, while others fell away. And this is, for us, the enduring benefit of collaborating; the potential to approach things anew, and with different creative impetuses. It is also worth mentioning that the process of recording these songs lent itself especially to remixing. The assortment of collaborators reflect our own interests in their work and the approach they bring to music.

6. With such a dark, cold and devastating proposal, what themes do you cover in your lyrics? Who is in charge of writing the lyrics of the songs? Do you adapt the lyrics to the music or vice versa?

Lyrics are typically generated, in the first instance, by one or two members. Then, after they are shared, the lyrics are adjusted and edited by all members. When we start a record, we’ll generally make decisions then about the ideas covered in the lyrics. In the case of Ingested Burial Ground, the lyrics draw on a novel for inspiration. 

Adapting the lyrics to the music, or vice versa, is an interesting question. It is unclear whether we have really settled on a definitive approach to this. The lyrics themselves remain fluid throughout the recording process, and it is not uncommon for entire passages to be re-arranged. That said, the human voice, as an instrument, consumes most of our effort and attention during recording. This is not to say that the lyrics do not matter, or are merely adornment, but rather that the vehicle for communicating the lyrics is paramount. 

7. The process of recording and mixing your albums is something that you take care of personally, maybe in this new album you have opened up the range a bit more, but it is still something that you have very much control over, why this decision to take care of yourself? of this whole process?

When we record ourselves, we have more control over the process, including over the timeline for recording. We are also all very much supporters of a DIY ethic in underground music, and will privilege that approach where possible. This is not without its challenges, to be sure. While we can continue to capture the right recordings ourselves, we will continue to do so. There may come a time when we feel the music demands a different approach, and if that does happen, we are excited about the prospect of working with others. 

8. The new album cover, if possible, is even darker and murkier than its predecessors, who took care of the design of the album cover and how does it relate to the content of the album?

The cover was produced by JR, as all of our covers have been. It depicts material featured in the lyrics.

9. Have you already presented the new songs from “Ingested Burial Ground” live? What dates do you have planned for its presentation? Is it very difficult to transmit and display all the intensity and darkness of the album live?

We recently performed ‘A Horrible and Terrifying Impression’ when supporting Potion and Marijannah. The new songs present a new challenge for us as they require new instrumentation live, as well as a new configuration of the band, but we’ve found it successful so far. 

We are currently planning dates for next year. 

10. So to speak, in Australia there is a very strong and consolidated scene of both death and black, however there is no harmonious coexistence between the two, at the same time that they are limited to large towns such as Sydney, Canberra or Brisbane, how do you Would you describe the Australian extreme metal scene today? How does a band like yours fit into it? What bands would you recommend from Canberra?

We’ve played shows with Faceless Burial, Vile Apparition, Encircling Sea, Whitehorse, Potion, Impetuous Ritual, Kollaps and so many other bands. Perhaps it is a benefit of being from Canberra, but our experience has suggested much more co-existence of genres. The Australian extreme metal scene is small, but it contains many incredible bands. The relative isolation of Australia – and perhaps Canberra, in particular – seems conducive to a particularly unfettered form of creativity. 

11. You had kept publishing this new album with the Australian record label Brilliant Emperor Records, how did the possibility of publishing the new album with them come about? Is the cassette a current format for publishing music in physical format? Is there a possibility of that we see album reissued in some other format through another record label?

We are close friends with Brilliant Emperor and have worked with Pete over the last 4 years. It made sense to continue this partnership. Though we are always open to other formats, cassettes are relatively cheap and fast to produce, which gives them a great advantage. There is always the possibility of a re-release with a different label, but for now, we are quite content. 

12. How were your beginnings in music: first concerts you attended, first albums you bought? What event in your life pushed you to want to be a musician?

Our ‘first’ experiences and backgrounds vary. That said, we have all known one another for over 15 years. We attended the same shows as kids and have played in different bands together over the years, so there are many common reference points and experiences among us. Some of us picked up instruments young, around 8-12 years of age or so, but abandoned them for other instruments as our ambitions and interests changed. Others chose instruments and never strayed from them. 

In terms of what impelled us to play music, exposure to local bands at a young age was very important. 

13. What album represents for you the essence of black/death metal? What last albums have you bought?

That is a tricky question. Many bands do it well; not sure we’d be able to distil it down, in all honesty. In terms recent album acquisitions, we all bought Deathspell Omega – The Long Defeat, Faceless Burial – At the Foothills of Deliration, and Kathaaria – To be Shunned by All… As Centres of Pestilence.

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for the fans of Ploughshare this is the place. I hope the questions are to your liking.

Thanks for reaching out! And thanks to anyone who has checked us out, appreciate the support.

-----------------------------------------------------------------------------------------------------------------------------

Blackosh ‎– Kurvy, chlast, black metal 9,99 €

Vinyl, LP, Album

- 350gsm gatefold jacket with matte varnish and inside flooded in black

- A2 poster on 150gsm art paper

- Limited to 500 copies

HAR SHATAN

 

Origen: Alemania, Neef

Formados: 2002

Estilo: Black

Temática: Satanismo

Enlaces: Bandcamp

Miembros: 

• Zepar Todos los instrumentos y voces

Discografía:

• Sounds to the Key of Death Demo 2003  
• Devastating Blow / Through the Eyes of the Night Split 2005  
• Laws of the Cemetery / Pain & Misery Split 2005  
• Ancient Evil Demo 2006  
• His Legacy CD 2009  
• Secret Demo 2022  
• Manum Inicere Alicui CD 2022

MANUM INICERE ALICUI (2022)

Trece años han pasado desde el último lanzamiento de este ente ente germano llamado Har Shatan, regresando con un nuevo larga duración que busca su inspiración en una forma muy particular de black metal en donde las referencias a sonidos clásicos nórdicos estas muy presentes. Zepar nos trae diferentes elementos que dan forma a un sonido muy personal y definido, dentro de lo que a groso modo puede ser entendido como un black de sonido primitivo, con un fuerte peso de todo lo que tenga que ver con el undergroud. Un álbum de duración media pero de temas extensos que por un lado nos sumergen en una atmósfera sombría, ponzoñosa y gélida, elaborada desde un trasfondo del todo underground y lo-fi. El sonido de guitarras muchas veces se muestra crudo, con un carácter muy primitivo, en donde nos sumergimos de pleno en ese carácter clásico, no exento de cierta crudeza que emana de todas las composiciones. Las voces mantienen un carácter crudo en los temas más al uso, pero todo se ve rodeado a veces en el apartado vocal de un aura digamos que épica, funcionado muy bien a lo hora de ofrecer un acentuado contraste en las voces que  muchas veces se traslada al plano musical en donde como comentaba anteriormente, no se pierde en ningún momento la oportunidad de ofrecer una atmósfera mortecina que sirve de marco para el resto de la propuesta, en donde tampoco podemos hablar de un ritmo elevado, pero si lleno de contraste, desde las secciones más crudas y clásicas, hasta una cierta dosis de mayor clarividencia cuando los sencillos y minimalistas arreglos cobran cierto protagonismo, nos van meciendo y atrapando en un ponzoñoso y enfermizo viaje sin retorno. (7,8)

The Sinister Flame

1. Intro / Aurora 08:50  

2. Fulgens et Sole Clarior 07:21  

3. Secret 01:57  

4. Loyalty until Death 07:07  

5. Blood of Creation 06:04  

6. Lichtträger Lucifers 07:33  

7. Another Dimension (Outro) 05:02  

  43:54  

Ancient North ‎– The Gates 21,99 €

- 350gsm Jacket with inside flooded in black and matt varnish

- 140g Black Vinyl

- Limited to 300 copies (200x Black & 100x Red Vinyl)

ABYSMAL LORD

 

Origen: E.E.U.U., New Orleans.

Formados: ?

Estilo: Black, death

Temática: Anticristianismo, y satán

Enlaces: Bandcamp y facebook

Miembros:

• Guillotine of Papal Crowns Guitarra
• J.B. Batería
• M.C. Guitarra y voces

Discografía:

• Rehearsal MMXIII Demo 2013  
• Storms of Unholy Black Mass EP 2014
• Disciples of the Inferno CD 2015
• Rites of the Inferno Directo 2018  
• Abysmal Lord / Crurifragium Split 2018  
• Exaltation of the Infernal Cabal CD 2019
• Cathedral EP 2020
• Bestiary of Immortal Hunger CD 2022

BESTIARY OF IMMORTAL HUNGER (2022)

Tercer larga duración para los de Nueva Orleans con formación un tanto remozada. Tenemos que hablar de un trabajo de sonido putrefacto e infecto, en donde un caótico sonido de ponzoñoso death metal acapara la mayoría de la propuesta de este álbum, sin olvidarnos, por supuesto de las acertadas inclusiones de elementos más propios de un crudo y desquiciante black metal. Hay que mencionar también que el sonido ha ganado en ciertos aspectos, con predominancia de death/black, pero con elementos que muchas veces nos traen cierto regusto punk, así como unos riffs que parecen querer buscar su inspiración en un primitivo thrash, ahondando si cabe en una vertiente cruda del mismo. No podemos olvidar que a pesar de ofrecer un sonido con un patrones muy estrictos, si que el álbum ofrece mayor dinamismo que sus predecesores, ya sea por esta inclusión de nuevas tendencias en su sonido, que permite mantener ese carga y densidad que se presupone a la banda, aunque explorando terrenos más afines con la crudeza. Las voces mantienen un tono contundente, en una estrecha linea black/death, con gusto por la profundidad y la violencia, aspectos que pueden a veces hacernos pensar en un war metal. No podemos olvidar que el sonido es mucho más preciso, logrando un equilibrio más que aceptable entre potencia y brutalidad, con un ritmo alto y una atmósfera putrefacta. (7,7)

Hells Headbangers Records

1. Starvation Mass (ortni)  

2. Satanic Return  

3. Glowing Baphomet  

4. Medo da Morte (yrasor)  

5. Bestiary of Immortal Hunger  

6. Obscure Grottos of Hell  

7. Carcass of the Living God  

8. Ultra Expulser  

9. Antisemen of Ceremonial Pseudochrist  

10. Towering Leviathan  

11. Deny the Paradise  

 

Vouna ‎– Atropos 39,99 €

2 × Vinyl, LP, Album, Purple w/ White, Silver, Gold Splatter

Comes in gatefold sleeve with 12" sized double-sided lyrics / credit sheet. The records are housed in black polylined inner sleeves.

Includes a download code for the album in MP3 format.

[Information Not Given on Release]

Pressed By derived from runout grooves.

UDANDE - INTERVIEW

 

Good morning, thank you very much for answering these questions, how is everything going in Bratislava?

Hello and thank you for the invite. All is going well, thanks. The new record has been well received and Udånde just got announced as support for Kampfar in March 2023 in Bratislava, so I'm definitely looking forward to that gig. 

1. For a period of about four years you were the bassist of the Danish band Afsky, what led you to leave Afsky and create this new project? By the name of Udånde and what does it refer to? Why this change of country from Denmark? to Slovakia?

Udånde was created while I was still a part of the Afsky live crew. Udånde was created out of pure boredom as I had a job where not much happened, so I went to a local music shop and purchased a cheap guitar and started composing music.

I left Afsky as I wanted to focus on Udånde. That being said I sure miss the guys in Afsky.

The name Udånde means “exhale” in Danish, but also in a more spiritual way as in drawing your last breath and die.

My girlfriend is Slovak and we had a long distance relationship for a year, but then decided to move together. My girlfriend wanted to study to become a vet, so it was my call to move to Slovakia. 

Now I have been living here for 5 years, and from the view of a Dane who grew up in a comfort zone like the Danish welfare society I can only recommend moving outside the country, to gain another perspective. 

2. Shortly after founding Udånde, you edited your first album “Life of a Purist”, for which you had the collaboration of other session musicians for vocals and drums, how did you approach the entire composition process of this first work and in What moment did you decide to have other musicians on vocals and drums?

Good question! I did everything myself; guitars, bass, lyrics, drum programming and so on.

As the drums were programmed I wanted to have a real human to record the drums for the sake of the sound. 

Regarding the vocals I did not feel confident doing it myself as the album was a bit of a “test” for me. I had made “Life of a Purist” as cheap as possible as I had no idea how it would be received by the listeners and if anyone wanted to release it at all.  

3. You have recently released your second album “Slow Death – A Celebration of Self-Hatred” in which you have taken control of most aspects of the composition and recording process, only with the collaboration of a drummer, how do you think What has affected this greater control on your part when defining the sound of the new album? What brands of instruments have you used in the composition and recording process?

As mentioned in the previous question I have had control of the composition all the way already from the first album.

But speaking of the sound of the new album, I contacted Patrik McDowell of Spectral Wound to do the mixing and mastering as I wanted a more brutal and dirty sound. 

The whole idea of “Slow Death” was that it had to be composed simple and dark due to the theme (anxiety, depression and antidepressants), a goal that I think was reached in the end. 

After “Life as a Purist” I spend a lot of time researching what guitar to upgrade to. I ended up with a FGN Mythic JMY-Ash-M guitar which had the two most important features for me: 

Seymour Duncan Nazgûl pickups and string through routing. Otherwise I used my trusty Fender Jazz Bass Walnut ‘62 reissue which has installed some Lace Aluma J pickups. 

4. “Life of a Purist” still had, so to speak, an aftertaste of what we could define as depressive black, however this new album sounds much more powerful, with more influences from styles like death or doom, do you think Have you taken care of aspects such as the vocals or the echo against a drummer from a school that is heavier than black, has it supposed an important change in this sense? How would you define the sound of the album for those who haven't heard it yet?

It’s hard to say. I’m listening to a lot of different music, but mostly black metal of course. 

To start with the vocals, a friend of mine taught me vocals over Skype which he managed to teach me in just 1,5 months. An impressive achievement of my vocal coach Steven Borgwardt especially taking into account I was on tour with Afsky at the same time. 

Funny thing regarding the drums. On LoaP I used a drummer who primarily plays grind and death metal and for Slow Death the drummer was primarily playing black. You are not the first to point this out which is very interesting to me. 

5. The theme of the album can continue to be related to aspects closer to depression such as anxiety disorders or depression. Why did you decide to deal with these issues in your lyrics? Does the music fit the lyrics or vice versa?

The theme was an idea that I have wanted to do for a while as it has taken such a big part of my life. At the same time I hope some people can relate themselves in my lyrics and music, as I see mental issues as a topic on the rise and yet still a taboo at the same time. This goes for both my Danish and Slovak friends. 

Yes, I composed it that way. For example, in song 5 “We Should Welcome the Suffering” that is the period where I started to take my antidepressant hence the song is more uplifting and less dark compared to the other songs on the album. 

And also to mention song 4 “I Mean, Who am I to Blackout?” is a reference to an episode where I literally blacked out due to an anxiety attack and remembered nothing afterwards. Apparently I was lying on the floor and hitting my head into a cabinet. If you read the lyrics you should be able to understand the situation. Anyway, after that experience I started to search for a psychiatrist to get some help and medication. 

6. Has this album meant a step forward for you both in sound, having incorporated death elements, always preserving a melodic sound and a melancholic atmosphere, as well as in aspects such as the lyrics that would have served as a catalyst for your emotions? 

Yes, I believe so. 

In many ways I felt this album was a new start for me, as I did the vocals myself. 

When I’m composing I always need to put in heavier parts and melodic parts as well. As cliché as it may sound I will need both Yin and Yang to complete a song. 

So even if you have the darkest song ever, you should still be able to find some beauty in it and vice versa. 

7. This time you have also changed the place where you mixed and mastered the album, choosing Patrick McDowal from Montreal for it, why did you choose to work with him to finalize the sound of the album? What do you think it has contributed to the final result of the album?

As mentioned I wanted a more brutal and dirty sound for this album. Patrick is not only playing in Spectral Wound, but also doing the sound engineer part I believe. 

So already knowing Patrick from the Afsky tour with Spectral Wound back in 2019 I was sure that he was the man for the job. 

The whole soundscape was completely created by Patrick with only a few instructions from me. 

In the end I believe I got the exact (or even better) sound than I was expecting. 

8. For the cover of this “Slow Death – A Celebration of Self-Hatred” you have opted for a rather “minimalist” design, unlike the one used for your previous “Life of a Purist”, does the change have anything to do with it? Emil Underbjerg's work? Why this cover and how does it relate to the content of the album?

I wanted the whole album to be simple and dark, so the cover had to be the same. 

I chose Emil Underbjergs linocut “Malstrøm” for the DLP/gatefold version as it was illustrating the last two tracks you will only find on the DLP. You can also find the artwork on the shirt and hoodie.

I believe the less you have to look at (In this case) the cover your imagination has to take over to paint the situations of the songs. I have added some photos from the time period in the booklet, but otherwise the listener is only left with lyrics, music and their own imagination to paint the picture.

I could in fact have put a lot of horrible illustrations for the booklet, but on the other hand it might suggest that the music was not strong enough to carry its message.  

9. Your relationship with Vendetta Records is maintained in this second album. How did the possibility of working with them to publish your music come about? Are you satisfied with the editing and promotion work done by Vendetta Records?

When “Life of a Purist” was complete I needed to find a label. 

I was still a part of the Afsky live crew at that time and I could just have taken “the easy way” and asked Vendetta via Afsky. However, I wanted to make sure that my music actually had potential, so I had a lyrics video made by St. Digue and then I contacted Black Metal Promotion if they wanted to upload the video in order to get a label. 

As you have probably guessed, Vendetta contacted me and a year later Life of a Purist was released. 

From release to release you are able to see progress, and also in the background I believe there has been a high level of professionalism from Vendetta all the way through. 

10. Before I told you that Denmark has changed for Slovakia, seen from the inside, how would you describe the extreme goal scene of a country like Slovakia, unlike what you experienced in Denmark?

It is hard to say for me, as I do not want to speak on the behalf of the slovaks. 

The greater challenge I have experienced here in Bratislava is that it’s not easy to find a rehearsal space. Where in Denmark it’s not that hard compared to Slovakia.

Some Slovak bands have to rehearse in their own garage where in Denmark there are rehearsal spaces for rent. 

11. How were your beginnings in music: first concerts you attended, first albums you bought? What event in your life pushed you to want to be a musician?

Neither the first concert or album I cannot remember to be honest. 

I had a friend when I was around 16-years-old I think who played the guitar and he inspired me to try it out. 

Later I switched to bass as my primary instrument, but now I play both instruments. 

12. What album represents for you the essence of black metal? What last albums have you bought?

To almost avoid the question I will have to say Mozart’s Requiem. 

If you have not listened to it, you will not be able to understand how a subject like e.g. ‘death’ can be described in such a beautiful yet haunting way. 

For me black metal is the most romantic (as in romanticism) genre to describe challenging topics or the opposite, a true admiration of e.g. nature.

I have just preordered “Trisagion” by Ethereal Shroud. Probably the best BM release last year if you ask me. 

13. What future plans do you have for Udånde in terms of upcoming releases, concerts or reissues?

I’m already working on the 3rd full length, but this one will take some time. 

In 2023 Udånde will be playing live and the debut concert will be at the Black Metal Invasion X in Vienna 20th and 21st of January. Bands like Medico Peste, Gespenst, Varulv, Arkæon will be playing as well. 

Also, as mentioned, Udånde will be playing a local show in Bratislava 13th of March supporting Kampfar. 

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for the fans of Udånde this is the place. I hope the questions are to your liking.

First of all I want to say thanks to all who have already listened to my latest record and took their time to give me some feedback. 

Second, thanks for the support which is truly appreciated. 

Thank you again for the invite for this interview. 

-----------------------------------------------------------------------------------------------------------------------------

Reaper – Unholy Nordic Noise 17,99 €

Vinyl, 12", Album

1 Intro 1:14

2 Hero Of The Graveyard Flies 2:10

3 Severing Tentacles of Faith 2:44

4 Arctic Wrath - Blood and Bone 2:34

5 Order Of The Beelzebub 2:04

6 Horn Of Hades 3:47

7 The Birth Of War 2:39

8 Surrender To The Void 2:32

9 This Crystal Hell 2:18

10 Ravenous Storm Of Piss 1:23

11 De Krälande Maskarnas Kör 3:08

12 Outro 1:52