jueves, 28 de abril de 2022


1. Zornheym was born around the year 2014, why did you decide to create the band? Was your departure from Dark Funeral an incentive to want to create your own bands? Why the name of Zornheym and what does it refer to?

Zorn: My services weren’t needed anymore in Dark Funeral in 2014. Before that happened I had already been playing around with some ideas for Zornheym. I had fragments for two songs and it was something that I had planned on doing on the side. When I was out of the band I saw it more as an opportunity to realize my own dreams and form my own band. Zornheym was my stage name in Dark Funeral and when looking for a new band name it made sense to use it. Zornheym is German and means “Home of Anger”. I had already decided that I wanted to make a concept album about an asylum, so the name fitted very well for that. Zornheym was really what I needed to  do musically so everything turned out for the better!

2. Your first album “Where Hatred Dwells and Darkness Reigns” from 2017 received good reviews as well as a more than acceptable repercussion, were you a bit surprised by the good reception of the public and media towards this first album?

Zorn: We worked hard on the album and to push the album. I am very happy that people liked the album so much and took the time to check it out. We knew that we liked the album but that doesn’t necessarily mean that anyone else will, so yeah we were very happy that the album got a very good reception.

3. Almost four years later you give continuity to this first album with “The Zornheim Sleep Experiment” where I consider that it maintains the essentials of the first album but you feel completely comfortable within a sound that has become more recognizable. How have you been the process of writing and recording this second album? What brands of instruments have you used in the recording process? How do you think the sound of this second album differs from the first?

Zorn: We are extremely happy with how “The Zornheim Sleep Experiment” turned out! We kind of used the same writing process as for the first album. I start with writing the music on my own basically and when I have some parts ready I show them to Bendler and he starts putting down some vocal lines for it. After that he sends his ideas and I tweak the music around and feedback on the vocals. When we have a full song I start adding on some orchestral ideas and when I am happy with them I head over to Scucca who helps me finalize the orchestral work and the sound design for the song. When that is done Steve Joakim checks my drum demos and constructs some killer drum arrangements for the song. When everyone is happy with everything the song is ready to be recorded and then I start writing out the tabs for the guitars and Scucca starts writing down all the notation for the strings and the choir. 

The two biggest differences between the two albums are that Steve Joakim is playing drums, Angst played on the first album, and a new string quartet and this time they recorded their parts in the studio. This gave the studio engineer, Sverker Widgren, more control over the sound and made the strings pop more on this album. On this album we also used a real marching snare, some woodwinds and a 12string guitar. I think all of these things made our sound richer and wider. We are also using two choirs, a female and a male choir but that is something we did on the first album too. On this album however, the choir gets to sing more words and fill in phrases in the lyrics. I think this worked out really well. We even gave the choirs a few spots to shine on like the choirs for “Slumber Comes in Time” and intro track “An Evil Within”.

4. One aspect that has been reinforced on this second album is the greater presence of symphonic elements in the sound, offering a much more powerful sound at certain moments. Was this greater presence of symphonic elements on the album something premeditated? How do you describe the sound of the album for those who haven't heard it yet and which bands have been an influence for you when it comes to defining the sound of the album?

Zorn: I think we gave the strings more space in the mix since we really liked the string quartet’s work on the album. When we had booked them we kind of added some parts at the last minute. I had envisioned us to use the choir more on this album and have them be singing more words. So it was kind of premeditated but we also got carried away by the great performances of both the string quartet and the choir.

I find it hard to describe and label our sound. I guess you can call it Symphonic melodic death metal that’s guitar driven. When it comes to the lyrics we are a concept band and all our albums will revolve around the asylum Zornheim.

If I have to name a few albums that have inspired me in making this kind of music I would say:

Blind Guardian - Nightfall in Middle-Earth

Dissection - Storm of the Light’s Bane

Rhapsody - Symphony of the Enchanted Lands

Yngwie Malmsteen - Magnum Opus

Helloween - Keeper of the Seven Keys Part II

At the Gates - Slaughter of the Soul

Dismember - Death Metal

Iron Maiden - The Number of the Beast

5. The final result of the sound of the album is very complete and outstanding, I would highlight the presence of a real quartet when recording and composing the album. What do you think has separated the final result of the sound of the album from being able to count on these musicians? How important is it for you to get a sound, let's say real or perfect, when it comes to being able to offer it to your fans?

Zorn: The string quartet did an amazing job. In fact, everyone involved in this album did a fantastic job. I think that a sampled sound can never replace all the hours a person has put into learning to master an instrument, so the real instrument thing will always overcome orchestral samples. I really hope that we can use more real instruments on the next album and the goal is to perform with more real instruments live as well. We decided to go down this path from day one, that’s why we recorded real strings for our debut album without being signed to a label. That pretty much should show you how serious we take our music and how dedicated we are in presenting it in the best possible way.

6. The album also has a good job with the voices, full of nuances and intensities, how did you approach the work of the voices for “The Zornheim Sleep Experiment”? What aspects would you highlight about them?

Zorn: Bendler really gets to shine on this album. When I composed this album I wanted him to get a lot of space to show different vocal styles. It fitted the overall concept. So Bendler worked hard on finding the right voice for the different characters that appear on the album. His clean vocals got more space on this album, which is something that gave the album a more interesting contrast in my opinion. I also love his clean vocals.

Scucca is doing a lot of cool Gregorian chant bits on the album. The whole album actually starts off with it. In general I think we are quite spoiled with a lot of fantastic performances on this album!

7. Let's say this new album is conceptual, with a story that revolves around the experiments that are carried out in Dr. Bettelheim's asylum related to sleep deprivation. At what point did you decide to deal with this topic and where did the idea come from? inspiration for it? How did you develop the whole story and how did you adapt it to the content of the album?

Zorn: I decided on this concept while writing the first album. So we actually added a lot of hints of what to expect for this album on “Where Hatred Dwells and Darkness Reigns”. The graphic novel ends with Dr Bettelheim taking the female enigma of the asylum down to the Chamber where they are conducting the sleep experiment. The whole outro of Hestia is actually the intro to the “The Zornheim Sleep Experiment” and you can actually hear that we are playing the acoustic piece as the main riff in “Corpus Vile”.

While I was doing research for the first album I stumbled across a Youtube channel called “Top 5” that told the internet myth or urban legend of the Russian Sleep experiment. It was a really cool story and I felt instantly that this would blend into the Zornheym universe really well. So I saved that idea and told the other guys about it and they liked the idea as well. So while finalizing the first album we decided to hint about it already on the first album. The cover art of the WHDaDR actually shows Dr Bettelheim taking the female enigma to the sleep experiment Chamber.

I think we did a really good job with adapting the whole story and the general feeling to the album. Both when it comes to the visual aspect of things and to the musical, I still think we managed to maintain good songs. Meaning that we don’t have random tracks that are supposed to represent certain events that are just unbearable to listen to, but they make sense to the concept. I think this is an album you can enjoy if you are into good music and then the whole concept aspect gives the album yet another depth if you are willing to enter the rabbit hole.

8. The album cover is undoubtedly related to the theme of the album, who designed the album cover and what do you intend to convey to the listener with it?

Zorn: Thanks, man! The artwork is done by the great Pedro Sena - Lordigan. He also did the cover art for “Where Hatred Dwells and Darkness Reigns”. Bendler came up with the general concept for it and then I gave feedback a little bit on it and then we started working with Lordigan for it. We wanted the album cover to have the shape of a triangle and be like an old Star Wars poster showing different scenes from the story taking place. I love how the circle window - The Eye, looks like a moon on the cover btw. Really happy with how this turned out, Lordigan did a fantastic job with this cover!

9. How has it been working with Sverker Widgren for the recording of the album? Why did you decide to do the recording with him and what do you think he has contributed to the final result of the album?

Zorn: Since we were so happy with the sound of “Where Hatred Dwells and Darkness Reigns” we had already decided to go back to Sverker Widgren. He made the blueprint for our sound on that album. Scucca and I also live in Stockholm, where Sverker’s studio is located, so it made it very easy for us to record the album in different sessions. We recorded the drums in February 2019 and I think recorded the last bits in the fall of 2021.

Sverker contributed a lot with creating the actual sound and made it crystal clear to the point where you can hear every single note, even though there is so much stuff going on. I also think he had a lot of great input when it came to vocals, guitars, bass and the drums. We will record our next album there for sure!

10. This new album has been released by Noble Demon, why the change of record label? What has Noble Demon brought you? How did the possibility of making a cassette edition of the album through the Graveless Souls Records label arise?

Zorn: We are very happy with how Non Serviam Records treated us and I think we accomplished great stuff together. Noble Demon contacted us quite early in the process of making this album and they really wanted to sign us. We saw that they had done great stuff with bands like Night Crowned. They also have a very wide distribution network and a very good online presence. So going with Noble Demon felt like the natural step to take to make the band grow. We want to grow because our music belongs to big stages with big production.

Tommi of Graveless Souls Records contacted us and said that he loved the album and wanted to release a limited tape version of it. I thought it was a great idea, especially since I am too young to never have released anything on the tape format. Tommi then contacted Noble Demon who also thought it was a great idea and the rest is history.

11. How were your beginnings in music: first concerts you attend, first albums you buy? What happened in your lives pushed you to want to be musicians?

Zorn: I started with singing and had my first band when I was 11 years old. I was the only one who didn’t study an instrument and my idol was Axl Rose, so it was natural for me to pick the vocal spot. Several years later when I formed a punk band we didn't have a bass player and then I started with singing and playing bass. By that time my dad had brought me home an acoustic guitar that I wrote songs on. The more time I spent with the guitar the more I liked it so eventually I switched to singing and playing guitar. I never really got any vocal technique down so I had a constant sore throat from all the singing. Eventually I did the switch to lead guitar and left the vocal duties to people who could master it.

My first BIG concert was Ratt, DIO, and Alice Cooper in Linköping on the Brutal Planet tour. I was in the first row shaking hands with DIO during “Holy Diver”, pretty epic!

The first album I bought was the CD version of “Appetite for Destruction”. I still have that copy in my record collection till this day!

When I saw the “Use Your Illusion” live VHS as a kid and saw how Guns N’ Roses made my favorite songs come alive, I knew that I wanted to push to become a musician. Like I said early, it was more Axl that spellbound me than Slash. Axl’s stage presence blew me away.

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

Zorn: To me “Storm of the Light’s Bane” is the perfect Black Metal album. My latest album I bought is a vinyl version of Dissection’s “The past is alive… the early mischief”. One year ago I started collecting vinyls.

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

Zorn: We are currently on tour in Sweden with Månegarm and Kvaen. We played in Stockholm last friday and tomorrow we are hitting Linköping and on saturday we are playing in Örebro. Next month we are heading out on a headline tour in France. I have started composing for the next Zornheym release. We are currently in talks with Noble Demon with pressing more vinyls and CD for “The Zornheim Sleep Experiment”, since it seems to be on the brink of selling out. I think the label has like 100 copies of the CD left in their warehouse and even fewer vinyls. We have also talked a little bit about making a special box release for “The Zornheim Sleep Experiment”, we might wait with that for the next album though.

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

Zorn: Thank you so much for taking the time to check out the whole interview and if you haven’t heard us before, please take some time to check us out! I also want to thank everyone for the massive support that we are getting. See you on the road!


Vindkaldr ‎– Abyssos Symphonia 24,99 €

BE023 Vindkaldr "Abyssos Symphonia" 12" LP.
Limited to 150 copies on 150 gram white vinyl.

All compositions, recording & mixing by Mauhulakh.
Mastered by Ekaterina Volkomurova

martes, 26 de abril de 2022



Origen: Noruega, Oslo

Formados: 2019

Estilo: Black

Temática: ?

Enlaces: Bandcampdeezerfacebookinstagram y spotify


  • Cerberus Bajo
  • Haavard         Guitarra
  • Myrvoll Batería
  • Vicotnik Voces

  • Gjengangere i hjertets mørke EP 2019  
  • Løgnenes Abstinenser Single 2021  
  • Er det måneskinn Single 2021  
  • Syke Hjerter Single 2021  
  • Mørkere CD 2021
MØRKERE (2021)
Primer álbum de estudio para estos noruegos que tienen entre sus filas a miembros o ex miembros de bandas como Ulver, Dødheimsgard o Satyricon entre otras. Con estas premisas solo podemos esperar cuando menos un álbum interesantes. Y así es, estamos ante un trabajo que responde a por un lado a todo lo que tenga que ver con el black metal escandinavo de la segunda parte de los años noventa en forma de un excelso trabajo de guitarras que alterna capas de secciones más crudas con otras que se acercan si cabe a un componente melódico, todo ello enfocado a crear por un lado un componente digamos que pagan en las composiciones al tiempo que se adentran por terrenos de atmosferas oscuras y gélidas, todo ello acompañado de unas voces contundentes y rasposas que desprenden una buen una buena porción de odio. Sin embargo este álbum también nos deja algunas influencias que tienen que ver con estilos como el doom por un lado o con secciones en donde descubrimos influencias que tienen que ver con estilos como el metal progresivo. A pesar de ser un álbum de una duración comedida, es cierto que su escucha esta repleta de una riqueza musical fuera de todo duda, cada tema desprende un regusto a clásico, con seccione elaboradas y en donde se sabe jugar con diferentes intensidades, desde unos agresivos sustentados en una poderosa batería y unos riffs incendiarios, hasta elementos más melódicos con un acertado trabajo a la hora de plasmar las texturas de las voces que permiten que su música se adentre por elementos más vanguardista si cabe. Un primer trabajo que parte de una base reconocible dentro del black más clásico, pero con matices suficientes como para no ser considerados como una mera copia del original. (7,8).

1. Jeg vil ha det mørkere 04:34  
2. Løgnenes abstinenser 04:18   Show lyrics
3. Det falt et lys i min mørke krok 07:43  
4. Determinismens paradoks 06:09  
5. Ensomhetens rytter 06:00  
6. Arvesynden 05:01  
7. Er det måneskinn 05:28  
8. Syke hjerter 07:00  

Vinyl, LP, Mini-Album, White w/Black Splatter

lunes, 25 de abril de 2022



Origen: Suecia, Estocolmo

Formados: 2009

Estilo: Black

Temática: H. P. Lovecraft y horror cósmico

Enlaces: Astrophobos, bandcampfacebookspotify y youtube


  • Jonas Ehlin Guitarra
  • Martin Andersson Guitarra
  • Mikael Broman Bajo y voces

  • Arcane Secrets EP 2010
  • Remnants of Forgotten Horrors CD 2014
  • Enthroned in Flesh EP 2016
  • Simulacrum Single 2017  
  • Begotten in Black Single 2018  
  • Malice of Antiquity CD 2019  
  • Corpus CD 2021

CORPUS (2021)
Tercer larga duración para los suecos, un álbum que destila tanto oscuridad como un estilo propio que sabe mezclar el black más tradicional con elementos más pausados. El álbum desde un primer momento deja bien a las claras sus intenciones, dibujar un paisaje oscuro y frío, en donde la violencia y la crudeza se entrelazan en forma de un sonido denso en aspectos como la batería, y las capas de guitarra, al mismo tiempo que se emplean a fondo en un apartado vocal digamos que clásico en donde frialdad y crudeza van emparejados. Una propuesta que se adentra por terrenos clásicos en forma de desarrollos de guitarra crudos que pronto comienzan a dar muestra de la incorporación de un acertado apartado melódico que aporta un tono mucho más oscuro y moldeable a la música. La incorporación de ciertos arreglos de guitara limpias, tanto sirven para traernos un ambiente mucho más limpio, sin perder eso si, el tono frio de su música, pero abriéndolo de alguna forma a un terreno digamos que más atmosférico en donde hay cabida para un sonido mucho más accesible, incluso en el apartado vocal, también más limpio. Astrophobos ha sabido ofrecer un sonido potente, que rezuma influencias del black más clásico, tanto en elementos fundamentales como pueden ser la voraz batería, los riffs inmensos como en las voces crudas y frías sin renunciar a un ambiente gélido, ofreciendo eso si, algunas secciones más limpias, sin un protagonismo excesivo pero si que suficientes para traer otras influencias más alejadas del mero tradicionalismo a su música. (8,2)

1. Corpus 05:50  
2. Utrotning 04:22  
3. Till djupet 05:13  
4. Nattvard 03:55  
5. Svärta 04:47  
6. Liktal 06:23  
7. Under Jord 06:04  

domingo, 24 de abril de 2022



Origen: E.E.U.U., Corpus Christi

Formados: 2020

Estilo: Blackened melodic death metal

Temática: ?

Enlaces: Bandcampfacebookinstagram y twitter


  • David Sanchez Jr. Batería
  • Jessie Santos Guitarra y voces
  • Joseph Martin Guitarra
  • Semir Özerkan Bajo
  • Ghost Dust EP 2021
Primer Ep para esta formación estadounidense que ofrece tres temas en donde se dan cita secciones black/death con elementos melódicos sin renunciar tampoco a secciones limpias. Cuando All Life Dies arremeten con su blackened melodic death metal, lo hacen de forma concisa y directa en forma de una batería implacable y contundente, aderezado todo ello de unos riffs de lo más agresivos y crudos en donde se van colando secciones melódicas a medida que el tema avanza. Y es que lo mismo sucede con las voces, tal vez el aspecto más elaborados y diferenciador de estos tres temas, en donde en un principio se opta por una propuesta repleta de guturales, oscura y densa que poco a poco se torna en voces limpias casi que susurradas que se ven acompañadas por un bajada en la intensidad de la música haciendo acto de presencia las secciones de guitarras limpias y melódicas. Lo anteriormente expuesto se va sucediendo a lo largo de los temas con inclusión en algunas secciones de un apartado de teclados, que si cabe ayuda a enriquecer aún más el resultado final del Ep. Un trabajo de sonido cuidado, en donde siempre está sucediendo algo de manera coherente, mezclando tanto la contundencia y la rabia de la parte más agresiva de su propuesta con secciones mucho más limpias y melódicas de manera que no desentonan entre si, sino que se complementan a la perfección. (7,9)

1. This Grave Is My Home 03:55
The soil on which I lay Let it choke the senses Dimming hope Abandonment of life All is lost When the cross falls Inverted images Of the icon In vain and failure All is seen Is a mockery Plunging, prodding eyes Blinded faith All is seen is the dark (This grave is my home) All I see is the dark (This grave is my home) Buried alive in death Mortal coil spent on each end I can feel decay feasting on my flesh I can feel death beside my own I see nothing I feel nothing I am nothing  
2. A Red Night 02:25
See yourself in the seething red Close your eyes Evening tide washes all the pain All your pain, my love It's December now Please don't turn away (Turn away from me) Turn away   
3. Ghost Dust 06:12
I saw your weakened spirit Cold, fetal and pallid Offering light where there is none All that is left is the dust Of your memory Lingering to find Those in reverence of you Came in spoken verse Spewing empty words Grey and hazed Drifting to nothing This isn't farewell This can't be farewell Fall with me Farther away from you Your grasp to redemption A sight of the cross you bore The slow suffering Watching you fade Watching you fade But I cannot Take you down with me I see that now Below is my home To all who have fallen And are forgotten Fall with me  

This press does no longer come with a black cardboard. Instead, it comes with a regular sleeve.

Repressed to an undisclosed number of copies

sábado, 23 de abril de 2022


1. The band was born around the year, why did you decide to create the band? Why did you choose the name Sorguinazia and what does it refer to?

X: Sorguinazia was formed in 2015.  Bands are often born of some primordial impulse, I do not view creating this band as a conscious decision but rather an unfolding of the inevitable fate.  Put enough sorcerers in a room and sorcery happens! 

Sorguinazia refers to the air before a storm, the witching wind that pulses with electricity. 

2. This first album comes almost six years after your homonymous EP, in what way do you think Sorguinzia's sound has evolved in this space of time? How has the composition and recording process of the album been? instruments have you used for the composition and recording process?

X: Due to several delays it took many years to come out, however much of the material existed in some embryonic form around the same time as the demo’s creation.  The development and release of this album was as painful and demanding as any birthing process but we are proud of the final accomplishment.  I do guitars and production. We share vocal and lyric writing duties. 

A: In that six years have passed, it seems as though it was a continuous stream of energy and effort, and not at the same reality, outside of time. Life is not linear, and musical efforts follow suit. It is however, a time stamp into the past, and it exists as an old mirror. I primarily play drums, and the bass guitar. It’s great to be the entire rhythm section. 

3. This new work focuses on offering a black sound that somehow does not fit into the canons of the most classic sound, it is true that we can find raw influences but the influence of two factors is no less true than under my point Of view they have an important weight as they can be on the one hand an experimental slope as well as an occult aroma that gives off the whole album, where do these influences come from in the sound of the album and how do they come to fruition? How would you describe the sound of the album? album for those who haven't heard it yet?

X: The overall effect is somewhat disorienting and psychedelic, shifting between violence and melody. The intention is to rip the listener away from the illusion which results from the drift into banality which occurs in unexamined everyday perception.   

A: Influences are all around us, from the fatuous to the outright disgust of actual evil. Where we land sonically is actually a concerted effort, as we have many dualities of the self making their way into existence musically, we do not follow the same guidelines upon different performances. I would describe it as black metal for the ghastly, it is elusive, but also encompassing.

4. The occult plane that we talked about earlier also makes an appearance in the lyrics of the songs, what topics related to the occult do you deal with in the texts of your songs? Why do you consider it important to deal with them in your lyrics? lyrics adapt to music or vice versa?

X: The lyrics I write are the emanations of my spiritual perceptions and experiences, which are the overarching themes of my life.  Both sounds and words filter in and contort their way into my flesh from the beyond, and through much effort, gradually into your ears and nervous system.  It is the grand purpose of my existence. 

A: The lyrics are a reflection into the self, and the past self as time goes by, the occult is the self, in all dimensions. 

5. Another of the hallmarks of the sound of the album is the ability to sound immersive and dense, while let's say it gives off an aura of mysticism, who has taken care of the recording, mixing and mastering process of “Negation of Delirium” ?

X: Thank you. I did the production and mixing with some engineering help from A, and one who shall not be named did the mastering.  
A: We recorded it ourselves, which has it’s own positives and negatives. Positive being that the sound comes across as unique and original in the sense that a black hole may exist. 
X: The negative being the sheer amount of work! 

6. The album has taken a considerable time to be finished if we take into account the time that has passed since the release of the homonymous EP, what has happened within Sorguinazia in these six years? band? Did the Covi-19 period help you to finish shaping the album or was it rather an impediment?

X; The pandemic took away other options, and thus was excellent for the immense undertaking that was the final production stage of the Negation of Delirium. There was also a long delay in vinyl processing times due to the pandemic.  The recording was done long before the release. 
A: We were working on the album, as well as playing live shows. We are always working on new material as well, in one way or another. We are very harsh on ourselves, and each other. A first draft of an essay is not the final, so why should it be that way for music? It is not for us. We are forever with the summonings. 

7. Who was in charge of designing the album cover? What do you intend to convey with it, what does it represent and how does it relate to the content of the album?

X; I did the cover art (Blood and Water-colour).   A witch burns at the stake, speaking her life and last words of spell into the eternal void, the truth of existence in its unending cycles of life-suffering-sex-death.  The Negation of Delirium is about lifting the veil, opening the portal through the force of will and life force through trial, suffering, and death. 

8. There is always talk of an important scene within black metal in Canada with two focuses such as the Quebec area and the Vancouver area, how do you see the health of Canadian black metal from the inside and to which sector do you feel more in tune?

X: We are from Edmonton, home to several highly respected and excellent bands, such as Revenge, Rites of Thy Degringolade, Antediluvian, Brulvahnatu etc etc. 
A: Canada has a deep and diverse scene, it is a massive country. That does have it’s negatives however, as it is very far away from either side, or even the middle. Canadian black metal is fucking power, and there are many portals, although different, underneath each city, and they are as distinct as the bands. I feel in tune with the whole country, and I support most Canadian bands

9. Despite the fact that the band's line-up is made up of only a couple of members, you have not given up the possibility of offering concerts, how do you deal with the fact of having to incorporate musicians to complete a line-up in order to offer concerts? ?Is the theme of the concerts something that you would consider necessary as a band to make your music known?

X: We now have 2 new full time members, for a lineup of 4.  We are now ready and salivating for attack at short notice A: Playing live is crucial, yes. You must show your sorcery or talent out there, there is nothing else like doing so, and there is nothing like seeing it from others

10. Iron Boenhead has once again taken charge of editing the album. How does the possibility of working with them arise when it comes to editing the album? Are you satisfied with the editing and promotion work done by them?

X: Iron Bonehead released but did not edit the album in any way. Patrick is excellent to work with and gave us incredible breadth of creative freedom. 
A: Iron Bonehead is great. Buy some stuff from them. Excellent label

11. How were your beginnings in music: first concerts you attend, first albums you buy? What happened in your lives pushed you to want to be musicians?

X: I always was drawn to primitive, ugly, and depressing music.  My first true music obsessions were early Nirvana, Alice in Chains, Burzum and Hole. Although I did love the old rock my dad enjoyed as well (Led Zeppelin, Tragically Hip, April Wine etc). When older I became obsessed with musical complexity, drawing me to Frank Zappa, King Crimson, Ron Jarzombek, and various other bands.  My true love of black metal came later, with bands such as Peste Noire, Furze, and Sigh taking me to such lovely mystical states as I could never previously imagine.  I also really enjoy post punk, such as early The Cure. I always say that to play music is to breathe, it’s just part of being alive for me and I don’t have much choice in the matter.

A: A creative demon that lives on my back! It is hard to say whether that is good or bad haha. I have always loved fast and evil guitar, however, with many drummer deaths and disappearances, I slowly moved my way to playing drums myself, and it is the most physically close you can get to feeling the bashing of the demons. I was always into black and thrash and speed and death, there is some intense amount of energy that is in there, always waiting and ready for you! I always want to recreate that. I cannot remember my first concert, but I remember the first important song and album. Rest in Pain by Sepultura, off of Schizophrenia. I think I was 14 years old when I heard that, it might as well have ran me over with a hearse. 

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

A: Bathory’s self titled first LP. It has everything, and the Satanic energy that is renowned. If a band has that kind of power surging through their music, it must be praised. There are many albums that I could say the same, Gorgoroth - pentagram (before they went all lame), Mayhem - de mysteriis, Mare - spheres/throne of the thirteenth witch for something more recent. Many recent albums, the new Teitanblood, Nifelheim, Force of Darkness, Deathspell omega, and always old shit like Kiss and Led Zeppelin III, King Crimson etc etc.  

X: For me it is all about real magick and insanity, and countless black metal musicians embody those values (as do many musicians across genres).  Beherit - Drawing Down the Moon - Sigh - Scorn Defeat and Furze - Necromanzee Cogent are ever on my perpetual playlist 

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

X: We will begin tracking our next full length later this month. Live performances are always in the works and we are open to playing anywhere. 

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

X: Thank you kindly for your interest in our work. My final thought is on philosophy of art.  Your ideologies and art should empower you, your vision, your will. I hope that you feel surge of prana and vision when you hear our music, as its intention is to electrify the listener into a new portal of perception. 
A: Thank you for your interest in our band, support your bands that are around you and that you enjoy, always support!

Thanks and all the best,


Comes with both side printed insert
Limited to 350 copies

miércoles, 20 de abril de 2022



Origen: Finlandia, Mikkeli

Formados: 2014

Estilo: Black

Temática: Brujería, caos, guerra, ocultismo y rituales

Enlaces: Bandcampfacebook y instagram 


  • Crusher Guitarra
  • Lord Warmoon Bajo y voces
  • Serpent Caesar of the Dark Omen Guitarra
  • SS Exiler Batería

  • The Azazel's Throne EP 2015  
  • Sielun Olemattomuudesta Vihaan & Vereen Split 2015  
  • Käärmesielu Demo 2016  
  • Mistress of Blood EP 2017  
  • Morgal EP 2018
  • Live Desecrations At Vantaa Directo 2019  
  • Nightmare Lord CD 2021
Después de casi ocho años de carrera lo fineses Morgal editan su primer larga duración, un álbum de black directo, rápido y violento. Un trabajo que se sustenta desde el inicio en unos blast beast potentes y violentos que se ven acompañados por un buen entramado de guitarras en donde destaca secciones que intentan traer algunas dosis de melodía, recurriendo para ello a un thrash metal, digamos que clásico, así como a medida que trascurre el álbum casi que podemos hablar de influencias del heavy clásico en su música. Secciones de black/thrash llevan el peso del grueso de las composiciones, afilados riffs de carácter clásico, que miran de frente al sonido clásico de los ochenta que logran aportar tanto un carácter épico como melódico al resultado final del álbum. Aspectos como una batería demoledora imprimen un carácter mucho más directo a las composiciones que acaban por ofrecer un ritmo muy alto. Las voces se decantan por un tono bastante agresivo, con un carácter rasgado y crudo sin perder tampoco ni un ápice de versatilidad si hablamos de registros directos y agresivos en un tono poco conciliador. Todo el álbum destila un sabor añejo, buscando la inspiración en estilos del metal más clásico, tanto del thrash como incluso el heavy, pero el trabajo de batería se antoja preciso a la hora de desgranar un black metal potente de sonido digamos que clásico. (8,1).

1. Golden Sun of Satan 05:28  
2. Death Vortex 04:24  
3. Extermination / Death Penetration 04:42  
4. Flaming Mouth of Baphomet 05:53  
5. Gateways of Flesh & Blood 05:23  
6. Nightmare Lord 04:24  
7. Mortifer 05:28  

Limited to 300 hand-numbered copies.
Comes with poster.

sábado, 16 de abril de 2022



Origen: Francia, Paris

Formados: 2014

Estilo: Black, death

Temática: Opresión y historia

Enlaces: Bandcampdeezerfacebook y Spotify


  • David Bailey Voces
  • Loïc.F Bajo, guitarras y samples

  • Autokrator CD 2015
  • The Obedience to Authority CD 2016
  • Hammer of the Heretics CD 2018
  • Persecution CD 2021


Cuarta entrega para este combo francés que de forma concisa se las arregla para entregar un álbum directo, de sonido asfixiante y denso en donde tanto el death como el black se funden con elementos del doom o estructuras que beben de estilos como el grind. Un álbum que desde la inicial "De Gloria Martyrum Et Confessorum" se muestra implacable, golpeando al oyente con un muro de sonido abrasivo que sorprende por su violencia y contundencia recordando en muchos aspectos, tanto en voces como en instrumentación a un estilo más próximo al brutal death o al grind que le mismo black. La línea marcada desde el inicio permanece inalterable prácticamente a lo largo de todo el álbum pero Autokrator cuenta con recursos suficientes para enriquecer sus sonido con una suerte de sampleados que quieren traer a su propuesta secciones digamos que industriales, sin descuidar tampoco de alguna forma la profundidad de sonido que va alcanzado tintes que de doom metal elevando si cabe el tono denso y profundo del álbum. Así y todo Autokrator sabe sacar provecho de las partes más oscuras y densas para ofrecer algunos riffs elaborados, como una aproximación a estilo como el black/death clásico, así como no descuidan algunos velados homenajes al death más clásico. El álbum se cierra con un tema instrumental de voces limpias a modo de mantra, poniendo de esta forma punto y final a un trabajo que se acaba haciendo corto. (7,7).

1. De Gloria Martyrum Et Confessorum 06:01
Swear And I will Release thee Reproach Christ Swear By the Fortune Of Caesar Unless You obey Unless You repent You shall be Punished Obey the gods at once Submit to the kings Let those who Have refused To sacrifice To the gods, To yield to The command Of the emperor Be scourged Led away To suffer The punishment Of decapitation Be seized Beaten Hanged Thrown to the beasts PERSECUTION! Swear And I will Release thee Reproach Christ! Swear By the Fortune Of Caesar Unless You obey Unless You repent You shall be Punished Obey the gods at once Submit to the kings Let those who Have refused To sacrifice To the gods, Be scourged and beheaded Let those who Have refused To sacrifice To the gods, Be scourged and beheaded  
2. The Great Persecution 03:19




Bow down!





3. DCLXVI 04:10
 The first angel
Sounded his trumpet
There came hail and fire
Mixed with blood

The second angel
Sounded his trumpet
Sea turned into blood
Living creatures died

The third angel
Sounded his trumpet
Blazing like a torch
Wormwood turned waters bitter

The fourth angel
Sounded his trumpet
The sun was struck
The moon turned to dark


Legatos Xti
Violenter Interfecit

"And I saw a beast rising out of the sea
With ten horns and seven heads
With ten diadems on its horns
And blasphemous names on its heads

And the beast that I saw
Was like a leopard
Its feet were like a bear's
Its mouth was like a lion's mouth"
4. Antechristus 09:49
With guilt

With the most

His sword
In christian

With the hides
Of wild beasts
Worried to death by dogs

To crosses
To serve as lamps by night

His sword
In christian

Saint Paul
Saint Peter

5. Caesar Nerva Traianus 05:48
Hail Caesar! Hail Trajan!
6. Apocalypsis 05:00