domingo, 30 de abril de 2023



Origen: Alemania, Augsburg

Formados: 2006

Estilo: Post-black

Temática: Melancolía, pérdida, nostalgia, aislamiento y sufrimiento

Enlaces: Bandcampdeezerfacebookinstagramspotify y youtube


  • Eklatanz All instruments Guitarra y voces
  • Kevin Storm Guitarra
  • Max F. Guitarra
  • Nathanael Bajo y voces
  • Nils Groth Batería

  • Existenz Demo 2008
  • .Existenz. EP 2009
  • The World Comes to an End in the End of a Journey Split 2009  
  • Wiedersehen - unsere Hoffnung Split 2010  
  • Heretoir CD 2011
  • Substanz Recopilatorio 2012  
  • Just for a Moment Single 2014  
  • The Circle CD 2017
  • Golden Dust (Acoustic Version) Single 2019  
  • Wastelands EP 2023
Nuevo Ep que contiene seis temas, tres de ellos nuevos y otros tres son grabaciones en directo, y que supone el regreso de la banda después de su último ´álbum editado en 2017. Los tres nuevos temas pueden ser descritos como de post-black metal, con un fuerte contraste entre los diferentes elementos que se encuentran en ellos presentes. Por un lado los temas logran sonar potentes y ricos en matices, tenemos una base de sonidos que pueden ser descritos como melódicos y atmosféricos, sobre los que poco a poco se van acoplando el resto de la instrumentación, irrumpiendo con fuerza un batería desgarradora que se muestra dinámica gracias al trabajo con las secciones más rápidas y aquellas más ampulosas que permiten dibujar un tono más ambiental, lo mismo podemos decir de las guitarras que se mueven con soltura entre las partes más crudas en claro contraste con otras donde abundas las melodías y un carácter más ambiental. Todo ello da como resultado un sonido que entremezcla perfectamente ese carácter crudo y agresivo con otro mucho más melódico y ambiental creando un sonido que puede ser abrasivo y desgarrador, para a renglón seguido adentrarse por pasajes más melódicos y accesible. Todo lo expuesto ene el plano musical se ve refrendado por un buen trabajo de las voces, en donde encontramos también un buen trabajo en diferentes aspectos y matices de la mismas, adoptando un tono directo y desgarrador cuando la música se mueve con mayor soltura, pero capaz también de traer un sonido mucho más limpio y accesible cuando la música se refugia en secciones más pausadas, sin perder por ello ese tono de melancolía y sufrimiento. En cuanto a los tres temas restantes, pertenecen a la presentación en vivo de su anterior obra "The Circle", en donde la intensidad se presenta en todo su esplendor, con un sonido libre de artificios. En definitiva, un trabajo que deja con ganas de más, dentro de la carrera de una banda que se mueve con soltura en un sonido agresivo y melancólico a partes iguales (7,7)

1. Anima 04:30   
2. At Dusk 04:05  
3. Wastelands 05:20   
4. Golden Dust (Live) 06:33  
5. Exhale (Live) 04:20  
6. The White (Live) 04:32  

Vinyl, LP, Album

sábado, 29 de abril de 2023


1. Bonjour Tristesse, has been active since approximately 2008, why did you decide to create this first project?

I started writing the first songs for Bonjour Tristesse between 2008 and 2009. At that time i really got into black metal. It was a fascinating time, where i discovered so many bands and learned how intense, atmospheric and radical music can be. 

2. What relationship exists between the name Bonjour Tristesse and the work of Paul Éluard and Françoise Sagan? Why did you decide to investigate the work of these writers and how important is their work to you to inspire you to use it as a name of this music project?

At the time, when i really got into black metal i read Sagans novel “Bonjour Tristesse” and i discovered the connection between her book and the writings of Paul Eluard. I liked Sagans book and its underlying dark atmosphere and i think, that Eluard is a very interesting person. He was both a talented writer and a dedicated resistance fighter. I think his poems and his life in general are inspiring. When i read “A peine défigurée” i was really impressed by its melancholy and subtle beauty. The bandname was set.

3. This “Against Leviathan!”, is your third full length that comes five years after your previous album, even Bonjour Tristesse went through a period of inactivity in its beginnings, is it very complex to deal with a solo project when it comes to have to face the whole process of composition and recording? How has been the way of working on this new album when composing the songs? 

I really like to work alone. I can decide when and what to write and there is no pressure from others. For me it is the best way to just take the guitar and write or record a song, when i feel inspired and am in the mood to do so. I am not the biggest fan of hanging out in a rehearsal space, so i really enjoy to close the curtains, light a candle and get into the zone all by myself. When it takes one year to write an album, that is fine. When it takes three years, it is also fine. The interesting thing is, that the next album is already finished and that i started working on new songs for another record, too.

4. The sound of the album can be described at first as progressive black, however aspects such as the duration of the songs allow them to become convoluted and bring influences from styles such as raw black metal, atmospheric black, etc. ..., combining both a style that may sound classic and the inclusion of more current sections, is the long duration of the songs something inherent to your sound, allowing you to express yourself musically with greater diversity by trying different styles within each song? How Would it define the sound of the album for those who haven't heard it yet? What bands and styles have influenced the sound of this album?

I would say, that the new record is an atmospheric black metal album. I tried to reduce the post black metal parts, that were much more dominant on the previous record. I wanted to return to classic depressive black metal atmospheres, but with more blast beats, more energy and mixed with more old school influences and the raw energy of classic black metal bands. I like to take some time in terms of building up an arc of suspense. In terms of creating atmosphere it can be helpful to have long and sometimes monotonous parts. That is one aspect that i really like about depressive black metal bands like early-Xasthur. You get into some form of trance while listening and i like to experiment with songstructures and atmospheres creating that form of trancelike state. The final part of „Ode to emptiness“ would be an example for that approach. In general i like long songs, because they invite us to leave our stressful everyday life. We have to take some time and use it to get into these songs tob e able to understand them and discover their secrets. 

All the bigger black metal bands have influenced me in a way. Darkthrone, Ulver, Xasthur, Agalloch, Gorgoroth and also bands like Craft or even Dark Tranquility were great inspirations for me. 

5. His lyrics somehow focus on the negative aspects of modern life and the necessary return that human beings should experience to primitive forms of life, inspired in this case by the work of writers and philosophers such as Fredy Perlman , John Zerzan and Charles Bukowski (well, Bukowski is an aside), why these themes in your lyrics and the inspiration in the work of these writers? What do you think the future of the human being should be like to become viable? How can the work of the singular and always undervalued Bukowski become a source of inspiration for a black metal project? Do the lyrics adapt to the music or vice versa?

There are not many poets like Bukowski. His work is insanely dark, negative and brutal, but simultanously his texts can be honest, true and very real. I like that combination. The atmospheres he creates within his poems are similar to the ones i try to create with my music, so combining Bukowski and black metal was the obvious thing to do. His sense of bittersweet melancholy resonates with the way i look at the world. A world, which is not a beautiful place - anymore. The artificial world modern man has created is paralyzing. To stare at giant concrete buildings in which people waste away, to see thousands of cars passing by or to behold landscapes, that were untouched wilderness once, but are now dominated by industrial areas and monotonous fields, makes me sad and angry at the same time. I find solace when i spend time in the woods or when i visit the mountains, but the worshipping of technology and so called ‘progress‘ within the world of man is just depressing. Within their books Fredy Perlman and John Zerzan express a similar worldview and their analysis of the history and the current state of our worldeating global civilization and our shallow mass-society is very accurate and interesting for me. „Against His-Story, Against Leviathan“ from 1983 was the main inspiration for the new record. I can highly recommend to read this book, if you want to learn more about how industrial civilization ruined the natural world and our own species alike.

6. There is not much information about the entire process of recording, mastering, etc., of the album, how did you face this process, did you take care of everything or have you had the work of a recording studio, or technician?

I wrote everything, i recorded everything and i created the overall sound of the album – which is deliberately worse than it could be. I think black metal really profits of a sort of lo-fi approach. It fits the overall atmosphere of black metal. I mixed and mastered the record together with Max of Forester Recording. He is a great guy and a talented sound engineer. 

7. How would you describe the German black metal scene today compared to when you started on the scene in the second half of the 2000s? Which one man bands do you think Bonjour's music has more affinity with? sad?

I live in a small village in a rural area in Germany. I really like to be able to disappear into the woods when i feel like it. To be far away from humans and the noise of big cities is really important for me. Years ago there was a quite active black metal scene a few towns away, which was pretty important for me. I visited the local black metal club frequently, discovered tons of bands and met people who are still my friends. Nowadays i think there are way less people who are into black metal, than back then, at least in the south of Germany. There is no local metal scene where i live anymore. But once in a while you see some people gathering for shows of bigger bands, which is a good thing obviously.

8. Is there any possibility of taking your proposal live with the participation of other musicians, or do you think that it is too personal a project that in some way would not work live?

For now there are no plans to do this. Of course i think about it sometimes and there are some friends who would join the band, but i am not sure if this band will ever happen live – which is fine for me, too. 

9. 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?

I learned about metal from friends in high-school. I got from Metallica to In Flames and from Slayer to Darkthrone. I really felt a connection to the intense darkness, satanic imagery and depressive atmospheres of black metal and quickly got into more obscure black metal bands from the german underground. Two friends of mine showed me a bunch of bands and we listened to music together and went to shows. It didnt take long until i bought a guitar and we started to write songs together. 

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

Darkthrone – Panzerfaust, Dissection – Storm of the Lights Bane, Mayhem – De Mysteriis Dom Sathanas and Gorgoroth – Antichrist. The last record i bought was the new Lustre album.

11. 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 Bonjour Tristesse this is the place. I hope the questions are to your liking.

Thank you for the opportunity to talk about my music.

Die Welt stirbt.


Hetroertzen - Ain Soph Aur 10,99 €

CD, Album

jueves, 27 de abril de 2023



Origen: Finlandia, Tornio

Formados: 1998

Estilo: Black, punk

Temática: Blasfemia y satán

Enlaces: Bandcampfacebookinstagram.


  • P.R. Guitarra
  • R.M. Bajo, batería y voces
  • T.K. Batería

  • One-way Pleasure EP 2007  
  • Church of Apocalyptic Hyperbole Demo 2008  
  • Phanerosis CD 2016  
  • Life Beyond the Walls of Flesh EP 2018
  • Golden Stream from the Summerlands Demo 2019  
  • Lux Sodomiticum EP 2020  
  • Sodomiittien seura CD 2021  
  • Lex Sodomiticum EP 2021  
  • Herpetic Verses EP 2022  
  • Dionysian Rite CD 2023

Tercer larga duración para estos fineses, empeñados en sumergirnos una vez más en un sonido black ponzoñoso de muchas y claras influencias punk y en donde habita un trasfondo oscuro y putrefacto en cuanto a letras. Un álbum con una duración por tema en torno a los tres minutos, cuando no menos, con un sonido de batería imprevisible, denso por momentos, caótico en otras, que muestra ese regusto a punk, al mismo tiempo que sabe imprimir un ritmo alto a las composiciones sin descuidar cambios de ritmo, que no de registro, para añadir cierto dinamismo al conjunto. Por su parte el sonido de bajo y guitarra, opta por un tono muy noventero, crudo, crujiente incluso si hablamos de producción, exento de cualquier atisbo de melodía, pero siempre logrando mantener la atención del oyente gracias a su variedad de registros, manteniendo un tono crudo, con un soberbio acierto entre ese black primitivo, estilos como el punk y suciedad. Por su parte las voces ofrecen un buen ejercicio de crudeza y visceralidad, centradas en ofrecer un buen repertorio de rugidos insanos, con registros que pueden ir desde el black más sucio y primitivo a otros estilos que mezclan un seudothrash, incluso con momento que desprenden tanto rabia, como desazón y violencia. El conjunto se completa con un sonido que responde tanto a las partes más clásicas del black, perfectamente equilibrado entre lo clásico y elementos que permiten disfrutar de una riqueza sonora indudable, a la hora de afrontar un sonido que acaba por resultar varado, gracias al puñado de riffs que encierra este trabajo y que no nos dejara de sorprender por lo completo de la propuesta. Todo este plano musical responde perfectamente al contenido desfasado, obsceno e irreverente de las letras, completando un álbum de una formación que lleva ya varios años dando buena cuenta de una estilo y propuesta llamada a cotas más altas. (8,3).

1. Pig-Headed Self-Deification 03:58  
2. Gathering of the Sodomites 04:16  
3. Striving for Carnal Desecration 03:15  
4. Triumph of the Spirit 02:22  
5. Revival in Hatred 03:08  
6. Wanderer of the Desolate Path 01:56  
7. The Return of the Outsider God 02:44  
8. Conqueror's Ecstacy 02:36  
9. Into the Lightless Womb 03:13  
10. Lust of the Flesh 02:21  

Regular edition on black vinyl.

domingo, 23 de abril de 2023



Origen: Noruega, Kristiansand

Formados: 2022

Estilo: Black

Temática: Astronomía, filosofía y ocultismo

Enlaces: Facebook y spotify


  • C:M Botteri Bajo
  • D. Carter Guitarra
  • J. Fogarty Teclados y voces
  • S. Rothe Batería
  • X. Botteri Guitarra

  • The Night Sky Beckons Demo 2022
  • Astrologer Single 2023  
  • Each Man a Consteallation Single 2023  
  • Mourningstar CD 2023

Primer larga duración para esta formación noruega, con una demo editada el pasado año que recibió bastantes buenas criticas y en donde la veteranía de los integrantes se ha gestado en proyectos más relacionados con otros estilos de metal extremo no tan próximos al black. Casi cuarenta y cinco minutos de nuevo material que parte de una base de sonido limpio y eficiente, que mas tiene que ver son estilos como el metal progresivo, guardan en su interior cierta dosis de oscuridad y rabia, rodeándose de un halo de melodía  que impregna las composiciones y que ejerce cierto contraste de matices en el álbum, luchando esas dos facetas y encontrando un equilibrio más que acertado entre ambas. Sin llegar a ser ampulosos, si que el sonido de guitarra se muestra preciso, la batería parece que no quiere explotar en una suerte de violencia, todo ello sirve para que el sonido discurra por por terrenos que invitan a largos desarrollos, con un pie puesto en secciones progresivas que invitan a pensar en elementos ocultistas y filosóficos. Por su parte las voces ofrecen un plano limpio y claro, con una agresividad subyacente pero que se va tornando en oscuridad y que si cabe acaba por acrecentar ese plano melódico que rodea a las composiciones, fruto no solo del tratamiento de los riffs, sino de las secciones de teclados que van completando el conjunto y ofrecen ciertas atmosferas. Un álbum que se nutre en esencia del sonido de bandas de finales de lo noventa, no del todo afines al black, sino que más centradas en un death o en un metal progresivo con tinte melódicos, en donde se ha hecho un esfuerzo por darle un mayor peso a la oscuridad y densidad de la propuesta para acercarlos a terrenos de un black melódico de tintes progresivos. (8,2)

1. Mourningstar 01:03  
2. Astrologer 05:34  
3. Each Man a Consteallation 04:52  
4. Armies of Tiamat 06:29  
5. Slay the Shepherd 04:45  
6. Mountain of the Northern Kings 05:50  
7. Realm of Hades 06:23  
8. Tales of the Immortals 05:21  
9. The Night Sky Beckons 04:29  

Black vinyl version.
Gatefold sleeve.

sábado, 22 de abril de 2023



Origen: AustraliaEast Corrimal.

Formados: 2005

Estilo: Black depresivo

Temática: Angustia, depresión, desolación, emociones y tristeza

Enlaces: Bandcampfacebookinstagramspotify y tidal


  • Desolate Bajo, guitarra, teclados y voces
  • Sorrow Batería, teclados y voces

  • Withering Illusions and Desolation CD 2007
  • Only the Wind Remembers / Ending the Circle of Life Split 2008
  • Bleak... Split 2008
  • Only the Wind Remembers EP 2008
  • To Lay like Old Ashes CD 2009
  • The Cassette Collection Recopilatorio 2021  
  • Towards the Great Unknown Recopilatorio 2022  
  • Sullen Single 2023  
  • A Ravenous Oblivion Single 2023  
  • Corrosion of Hearts CD 2023
  • Faded Ghost Single 2024  
  • The Sunset of Life Single 2024  
  • Cold Cerecloth Single 2024  
  • Beneath the Threshold CD 2024
En activo desde el año 2005, en principio como proyecto en solitario, pronto la unión entre Desolate y Sorrew dió sus frutos con al edición de sus dos primeros álbumes, solo que a partir de aquí aparece un silencio que se prolonga casi hasta este año con la edición de este, su tercer álbum. El tiempo ha pasado, pero más allá de una mejor producción, este "Corrosion of Hearts" parece atrapado en el tiempo, un tiempo que podemos situar como continuación del "To Lay like Old Ashes", el último álbum editado por la banda en 2009. Este nuevo trabajo contiene cuatro nuevos temas extensos, tres de ellos por encima de los diez minutos de duración, en donde podemos encontrar un sonido de guitarra árido, donde varias capas de riffs superpuestos construyen un paisaje tanto de elementos crudos como con aportes de melodía y melancolía, aspecto este último que se ve completado por un entramado de teclados en segundo plano, sin una presencia sustancial pero si capaces de dejar su impronta. La batería también ejerce su influjo, los temas parten de un inicio más contemplativo, con mucho peso de las atmósferas, hasta ir medrando y completando un sonido desgarrados, de ritmo elevado que se adentra por terrenos de la desesperación y la desolación. Las voces abarcan muchos y diferentes espectros, tenemos por un lado los tonos agresivos y desoladores, llenos de rabia y dolor que a veces se trasforman en gritos desgarradores llenos de rabia, pero tampoco se le hace ascos al uso de voces limpias mezcladas con el resto, creando un paisaje vocal rico y variado. Con un ojo puesto en la escena black de los noventa en su vertiente digamos que depresiva, de donde se saca ese sonido crudo de guitarras, ese atmósfera melancólica muchos veces un sonido hipnótico, que sin embargo también sabe traernos influencias de estilos como el post-metal en algunas secciones, se completa un álbum de black depresivo que destaca por su carga de desolación. (7,6).

1. Sullen 11:56  
2. A Ravenous Oblivion 12:48  
3. The Poisoned Core 08:17  
4. Pale 13:39  

Limited to 200 copies in cooperation between Sword Prod. & Lower Silesian Stronghold. Some copies are single-sided.

Recorded during February/March 2005 at Metal Zone Studio and DSP Studio, Wrocław.

Total running time: 31:07

jueves, 20 de abril de 2023



Origen: U.K., Birmingham

Formados: 2005

Estilo: Black

Temática: ?

Enlaces: Facebook y spotify


  • Flagrum Todo

  • Passage into the Night EP 2011
  • VVitch Single 2023  
  • Speak of the Devil Single 2023
  • Spellbinder CD 2023
"Spellbinder" es el primer larga duración para esta one man band inglesa, en activo desde el 2005, con un Ep previo en 2011 en donde el sonido difiere de alguna manera con respecto al presente y que ha contado con Alex Micklewright como batería de sesión para este nuevo trabajo, ofreciendo un sonido mucho cálido y orgánico al resultado final del álbum. Un trabajo que ofrece por un lado un contraste dentro de la mismas composiciones, ofreciendo muchas veces un plano de ritmos lentos y pausados, que parecen que quieren languidecer hasta el infinito pero que se ven superados por arrebatos de intensidad que hacen acto de aparición súbitamente logrando subir enteros en terrenos como la contundencia y la agresividad. Destacable es también el sonido de guitarra, muchas veces encorsetado en ese sonido comedido pero que cuenta una buena producción capaz de que los riffs suenen crudos y con una agresividad en segundo plano, que cuando se manifiesta lo hace en forma de texturas que tienen más que ver con un plano melódico y oscuro, sin una carga excesiva de frialdad y salpicado de algunas disonancias. Por su parte las voces también optan por un tondo crudo y rasposo, con una rabia que asoma en un segundo plano, con algunos arrebatos más directos cuando la parte instrumental cobra mayor velocidad. Un álbum que oscila entre partes más lentas y otras más directas, con una buena dinámica entre ambas, con un sonido de guitarra capaz también de ofrecer cierta crudeza sin dejar de lado un tono entre lo melódico y lo melancólico que acaba por eclosionar en una atmósfera fría que se ve reforzada por unas voces acordes con eso tono gélido que emana de la escucha del álbum. (8).

1. Stab the Lamb 05:26  
2. GYFU 04:48  
3. Gathered for the Murder 05:25  
4. Approaching Gyrdleah 01:37  
5. Speak of the Devil 04:12  
6. Spellbinder 06:10  
7. VVitch 04:58  
8. Six Hundred Threescore and Six 06:41  
9. Outro 02:01  

Vinyl, 12"

miércoles, 19 de abril de 2023



Origen: Portugal. Lisboa

Formados: 1996

Estilo: Black

Temática: Anticristianismo, misticismo. ocultismo y oscuridad

Enlaces: Facebook


  • Angel-0 (Nihil Warthrone) Bajo, guitarra y teclados
  • Aion Voces
  • J.A. Guitarra

  • Spectral Thorns of Torment Demo 1998  
  • Towards the Astral Twilight Demo 1999  
  • Weakening Divinity CD 2003  
  • Born of Fire CD 2013  
  • Demo-nology Recopilatorio 2016  
  • Magick Halls of Ascension CD 2017  
  • Worship Evil Sacrifice CD 2023

Cuarta entrega para los portugueses en su ya veinticinco años de carrera, ofreciendo un sonido maduro, preciso y atemporal. Un sonido que surge de la experiencia contrastada de sus tres miembros en otros proyectos de black metal y que partiendo de una base que se puede considerar como clásica y la podemos entender como de black influenciado por un primitivo sonido thrash de guitarras, oscuro y al mismo tiempo con algunas influencias sinfónicas, todo ello con una producción que no empaña el sonido orgánico del conjunto. Un sonido que ofrece un black de tintes oscuros y profundos, sin un elevado ritmo a lo largo del mismo, pero potente en cuanto a sonido batería, con unos riffs que se nutren de influencias clásica, sin sonar excesivamente crudos ni directos pero si que ejerciendo un poder de retraernos a las década de los noventa, influenciados por el thrash pero adentrándose por terrenos más oscuros y lodosos. El álbum se completa tanto con una ambientación oscura, como un tono melancólico gracias al trabajo a los teclados de Angel-0 que van salpicando las composiciones, sin un protagonismo excesivo pero si necesario para ejercer un tono diferenciador en el sonido de este trabajo. Por su parte las voces se muestran profundas y densas, con aportes de oscuridad, perfectamente integradas en las mezcla, ofreciendo algunas secciones de tono más épico o coral que sirven para ofrecer cierto contraste con la parte instrumental. Un trabajo que en definitiva sabe recoger muchas influencias clásicas pero que no desentona con un sonido actual, con un ritmo comedido, mezclando perfectamente oscuridad y melancolía con cierta agresividad que espera agazapada para hacer acto de presencia, gozando de una mezcla equilibrada que permite un sonido muy orgánico. (7,9).

1. Ghouls: Intro 01:07  
2. The Fall of Man 04:34  
3. Tyrants | Usurpers of Light 05:29  
4. Nuclear Christ Armageddon 04:43  
5. Mood Fo Ssroc (Cross of Doom) 06:01  
6. Satanic Black Mass 04:38  
7. Death Sermon 05:21  
8. Purgatory: Outro 01:36  

Gatefold 12"LP limited to 300Ex

lunes, 17 de abril de 2023


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

Hi! Thank you for this interview opportunity! Release time is very exciting and we received very positive feedback for our album INTER so far, so everything is very energetic at the moment.

1. The band is put into operation around year 2010, why did you decide to create the band? Why do you choose Fagus's name and what refers?

We started the band many years ago as a bunch of friends, who just wanted to play some music togehter. Step by step, we developed our style and wanted to get more professional. As the main theme of our music is nature, we wanted to choose a band name accordingly. Fagus is the scientific name of beech – a very common tree species in Central Europe. 

2. Between the 2010-2013 period, the band began to take shape, you offered some concerts, and you editis “Urgewalt”, your first EP, without forgetting the abandonment for personal reasons of Anita, what memories do you have of that first concerts concerts As a band?

It was a great time, playing some gigs and gaining live experience. There is a very vivid Metal scene in Munich and the bands pushed each other. By and by, we got acquainted with many Bavarian bands and made some friends, which was great.

3. What instrument brands have you used when recording and composing this new album? What aspects do you think have changed in these ten years that have passed your two releases enter?

We used Gibson guitars and an Epiphone bass with different amps for recording as well as a Yamaha Recording Custom drumset. Almost everything changed between the recording of our first EP and INTER: The way of songwriting, the decision to record INTER in a professional studio, the detailed preparation of everything. Generally spoken, we took things way more serious for the production of INTER.

4. You can read in some reviews the epic character and the influences not so close to the Black that offers the sound of “inter”, however it seems to me that there is a classic Black background on which all the sound has been built , with atmospheric aspects, RAW or even a certain aroma to pay in terms of atmosphere, all splashed from certain acoustic interludes that add dynamism to the compositions, how would you describe the sound of the album for those who have not yet heard it? What bands or Styles have influenced you when defining the sound of this "inter"?

The sound of INTER is for sure influenced by oldschool Black Metal of the 90s. But we wanted to complement the classic Black Metal basis by aspects of modern Black Metal, which we also tried to realize by a modern production, as for example a more compact drum sound. We think the sound of INTER is raw, differentiated, classic and modern at the same time.

5. Nature and humanity as the main theme of your lyrics, away from stereotypes such as Satanism, why do you choose these issues for your lyrics? Who takes care of writing the lyrics? Does the lyrics adapt to music or vice versa?

Nature and the role of humans in nature are very inspiring topics and give plenty of room for creative work. The lyrics of some songs are written by Vo1D and some are written by Sight. The lyrics are developed after the instrumental arrangement is finished, as the overall atmosphere of the instrumental parts decides the content of the lyrics. 

6. If we pay attention to the origin of the band members, we can check a past/present in other formations related to styles such as pagan, folk, or heavy, why now take the step and take out a project from Black Metal? What does a style like Black suppose for you?

We are all generally open for different kinds of music and we also tried out a lot of different styles. However we had the feeling that we can express ourselves in the best way playing Black Metal and all guys in the band are passionate Black Metal listeners. A very interesting thing about Black Metal is for sure the variety of moods you can create between melancholy and aggression. 

7. You have worked with Christoph Brandes from the Iguana Studios, to end the sound of the album, why did you make the decision to work with Christoph for this facet of the album? What do you think has contributed Christoph's work to the final sound to the final sound from the album?

We were looking for a studio, which really wanted to develop our individual sound and not just a copy of other bands. We immediately felt in very good hands after the first contact with Christoph. He for sure contributed a lot to the final sound of INTER by his detailed work on the sound layers and he gave us a lot of feedback and proposals.

8. The Swedish record stamp Silent Future Recordings has dealt with the album edition, why do you decide to edit the album with Silent Future? Are you satisfied with the work done by them in terms of editing and promotion?

Andreas of Silent Future Recordings is a very experienced guy, as he manages also the label Nordvis since many years in a succesful way. From the very beginning, he was very interested in our album and decided to develp and push us as a band. Beside the professional work togehter, he is also a very nice guy and we believe that liking each other is one of the most important things to succesfully cooperate. 

9. One of the aspects that seem most in line with the sound of the album is that of the cover, a minimalist in some way, but capable of transmitting all the force of nature with a black and white image, who dealt with the Cover design and why do you choose this IMGAEN?

The album art was done by Sight, and the idea was to create an album cover that leaves some room for interpretation for the viewer - an approach we like to use for our lyrics as well. The source material for the cover is a photography taken by Sight at the Joshua Tree National Park in California USA. But it is not of importance what actual mountain the picture shows, it is about the feeling and mood.

10. A little over a week has passed since the “Inter” edition, how is the public response to him? Are you preparing concerts for the album's public presentation?

We are truly overwhelmed by the positive feedback we received so far. It took a long time to find an approach to writing and producing that feels satisfying for all of us. Currently, we are in preparations for concerts later this year and in 2024.

11. Although as I commented before you are not related from the INCIO to the Black scene, if you have been active in other heavy or metal projects, how would you describe the extreme metal scene of a region like Bavira and how it has evolved to what long of these years?

It can be seen that a lot of passion is involved in listening to metal in general. We hear from other genres like pop or jazz that it is quite hard to sell concert tickets nowadays, at least for lesser well-known musicians. In contrast, many metal concerts in Munich are sold out, even on Mondays. Even genres that might not have a very high mass appeal like grindcore have significant fanbases that really enjoy visiting concerts. Ten years ago, that was different, one could get tickets most likely at the door, bands played at smaller locations. All in all, the scene grows.

12. How were your beginnings in music: first concerts you attend, first albums you buy? What do I take in your lives pushed you to be musicians?

Well we all started with rock music our parents were listening to, and this influenced the first albums be bought as well. In the end it is realizing that music can provide something really special, that turns one into a music afficionado. From there on, it is just a small step to develop a longing to contribute and create music.

13. What album does the essence of Black Metal represent for you? What last albums have you bought?

Actually, we can’t really answer that question the way you might have intended. We are four musicians with different tastes and that alone would make four answers. But that is not the most important point, because Black Metal can be so different and transport so many moods – for instance it can be melancholic, aggressive or grooving. In the end, the essence of Black Metal can’t be summed up in one album, because it is a certain way of doing things – and these things can be very different.

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

Thank you! We feel honore to have been invited to this interview! And of course we want to thank all our listeners for their support!


Dämmerfarben, Blaze of Sorrow – Geister Des Winters (white vinyl) 14,99 €

Vinyl, 12", Album, Limited Edition to 400 copies, Stereo, White