DEN SAAKALDTE

 PESTEN SOM TAR OVER (2023)

Siete años de silencio se ven interrumpidos por la edición de este "Pesten som tar over" un álbum que cuenta con la presencia de un nuevo vocalista en sus filas y que sirve para reafirmar la identidad de la banda, alejándola de terrenos que puedan remitir a "supergrupo". Un álbum mucho más definido en cuento a sonido, que a lo largo de sus casi sesenta minutos de duración logra atraparnos en sus entresijos, siempre con un ojo puesto en la vertiente más tradicional del black. Den Saakaldtehan parió un álbum de un sonido potente, en donde el entramado de guitarras logra mantener el pulso a un sonido de batería rápido y directo, acompañado de un sonido denso, de violentos y profundos riffs, con protagonismo tanto para las diferentes capas que se van superponiendo en la mezcla, con un base demoledora, pero con unas guitarras en superficie que se mueven por terrenos entre lo melódico y lo crudo, con influencias que podemos situar en el rock más clásico, sin pasar por alto el peso que tiene un instrumento como el bajo, que dota de una mayor consistencia el conjunto. Las voces por su parte se mueven en terrenos de la rabia y la oscuridad, con un carácter muy clásico, sim embargo hay pasajes que abordan terrenos mucho más limpios y es que la larga duración de los temas por un lado permiten que nos sumerjamos en el profundidades del sonido de este álbum, ofreciendo un carácter casi que inmersivo, tanto por las partes más lineales como en aquellas que con pequeños cambios de ritmo se nos van desgranando un abanico más amplio de sensaciones, algo similar a lo que que con las voces, capaces de sorprendernos con secciones alejadas de lo convencional. Un álbum que en definitiva se muestra descarnado y profundo cuando el black más tradicional cobra protagonismo, pero con un buen puñado de elementos adicionales que trastocan ese equilibrio trasformando ese sonido más black en un tono mucho más emotivo. (7,6).

Agonia Records

1. Av Satans ild 08:15  

2. Dødstrett av alt 08:00  

3. En ode til spinnersken 08:12  

4. Pesten som tar over 10:43  

5. Å skjende en engel 08:53   

6. Hat 07:00  

7. Den stormen i oktober 08:48  

  59:51  

Poumon Noir - L'obscurité 6,99 €

Edición en cassette negro limitado ac16 copias, single side

WOE

 

Origen: E.E.U.U.,  Brooklyn

Formados: 2007

Estilo: Black

Temática: Compulsión, existencialismo, frustación y pérdida

Enlaces: Bandcamp, facebook, instagram, spotify y Woe

Miembros:

• Chris Grigg  Guitarra y voces
• Grzesiek Czapla Bajo y voces
• Lev Weinstein Batería
• Matt Mewton Guitarra

Discografía:

• Absinthe Invocation: Five Spells Against God Demo 2007  
• Land of Piss & Poison Split 2007
• Anthrosphere Volume 1 Split 2008  
• A Spell for the Death of Man CD 2008
• Quietly, Undramatically CD 2010
• Withdrawal CD 2013
• Hope Attrition CD 2017
• A Violent Dread EP 2019  
• Legacies of Frailty CD 2023

LEGACIES OF FRAILTY (2023)

Regreso de los neoyorquinos Woe, con Chris Grigg tomando las riendas una vez más de este proyecto, que cuando menos sirve para poner fin a casi cuatro años de silencio. Estamos ante un álbum de sonido ambicioso con temas extensos en donde se exprime la intensidad a base de un sonido que se mueve por diferentes terrenos dentro del black. Hay un innegable peso de la violencia y la desazón que emana de todo el álbum, tal vez esta sea una diferencia con respecto al pasado, un nuevo trabajo mucho más directo y visceral que se adentra sin tapujos por elementos y secciones progresivas, hilvanando un buen número de demenciales riffs, que saben jugar con diferentes intensidades, sucumbiendo a terrenos más lentos e introspectivos, para explotar en una suerte de sonido mucho más directo otras. Chris Grigg a parido un álbum cuya temática se centra en al demencia del ser humano, una y otra vez empeñado en llevar al planeta a la autodestrucción, esa sensación de locura y violencia se encuentra perfectamente plasmada en el álbum, sobre todo también por el tono que adoptan las voces, mucho más incisivas y directas que en épocas anteriores, sin embargo Woe no se ha olvidado de dejar un poso tanto a black atmosférico en ciertas secciones, como elementos melódicos que hacen acto de aparición sin previo aviso, con la ayuda de algunos sintetizadores y un regusto a punk en algunas estructuras. Woe regresa con un álbum intenso, con un buen número de cambios de ritmo, logrando sacar partido a toda la intensidad de su propuesta, parao ofrecer un un trabajo en donde la rabia y la desesperación van de la mano. (7,9)

Vendetta Records

1. Fresh Chaos Greets the Dawn

2. Scavenger Prophets

3. The Justice of Gnashing Teeth  

4. Distant Epitaphs  

5. Shores of Extinction  

6. Far Beyond the Fracture of the Sky  

 

PRIMORDIAL

 

Origen: irlanda, Dublín

Formados: 1992

Estilo: Black metal, folk

Temática: Historia, lucha y patrimonio cultural

Enlaces: Bandcamp, deezer, facebook, Primordial, spotify y tidal

Miembros:

• A.A. Nemtheanga Voces
• Ciáran MacUiliam Guitarra
• Pól MacAmlaigh Bajo
• Simon O'Laoghaire Batería

Discografía:

• Dark Romanticism... Sorrow's Bitter Harvest... Demo 1993
• Demo Demo 1994  
• Imrama CD 1995
• Primordial / Katatonia Split 1996  
• A Journey's End CD 1998
• The Burning Season EP 1999  
• Spirit the Earth Aflame CD 2000
• Storm Before Calm CD 2002
• Dark Romanticism Recopilatorio 2004
• The Gathering Wilderness CD 2005
• Primordial / Mael Mórdha Split 2005  
• Rrroooaaarrr Split 2005  
• To the Nameless Dead CD 2007
• All Empires Fall Video 2010
• Redemption at the Puritan's Hand CD 2011
• Where Greater Men Have Fallen CD 2014
• All Empires Fall Directo 2015  
• Gods to the Godless Directo 2016
• A Heathen's Anthology Recopilatorio 2017  
• Heathen Legacy EP 2018
• Exile Amongst the Ruins CD 2018
• The Camelot Sessions EP 2022  
• A Journey's End Volume 2 - Live at the Ritz, Lisbon, Portugal 9.12.1999 Directo 2023  
• Spirit the Earth Aflame Volume 2 Recopilatorio 2023  
• How It Ends CD 2023

HOW TO ENDS (2023)

Décima entrega para los irlandeses, un álbum que sigue la estela de sus predecesores pero que en manos de Primordial es sinónimo de no decepcionar, de hacer suyo un estilo, una forma de interpretar y entender el black metal que ya se puede entender como propia. Un álbum que llega después de una época convulsa para la banda derivada de la situación del coronavirus pero que a la cual han sabido sobreponerse con un registro si cabe un tanto más oscuros y agresivo. El carácter del sonido black de Primordial siempre ha estado influido por una suerte de influencias épicas al mismo tiempo que no renuncian a incorporar sonidos folk y pagan al grueso de sus composiciones, ambas facetas vuelven a estar representadas en este "How It Ends", con un peso mayor o menor según la interpretación de cada uno. Sigue habiendo muchos desarrollos de guitarra que mantienen un carácter melódico, con bellas y evocadoras melodías, sin embargo a veces se nota cierto gusto por transformar ese sonido más accesible en algo mucho más oscuro y frío, aspectos que se ven acrecentados cuando la voz de A.A. Nemtheanga entra en escena, capaz con ese tono en esencia limpio, que se va nutriendo de rabia y oscuridad hasta trascender en el resultado final del álbum. Un álbum que en definitiva gusta de pasajes amplios, a veces con una carácter evocador, con un estilo de guitarra totalmente clásico, que poco a poco va acelerando el ritmo, sumando una épica inherente a Primordial, más presente si cabe cuando cobra mayor presencia esas melodías celtas y en donde las voces tiene una presencia esencial a la hora de dotar a la música de mayor personalidad (8,1),

Metal Blade Records

1. How It Ends 07:50  

2. Ploughs to Rust, Swords to Dust 07:35  

3. We Shall Not Serve 07:18  

4. Traidisiúnta 02:12  

5. Pilgrimage to the World's End 07:07   

6. Nothing New Under the Sun 07:11  

7. Call to Cernunnos 05:59  

8. All Against All 08:48  

9. Death Holy Death 05:40  

10. Victory Has 1000 Fathers, Defeat Is an Orphan 06:14   

  01:05:54

Weregoat ‎– The Devil's Lust 23,99 €

Vinilo, 12", 45 RPM, Mini-Album, Limited Edition

LASTER

 

Origen: Holanda, Utrecht

Formados: 2012

Estilo: Post black metal atmosférico y ambiental

Temática: Literatura y problemas personales

Enlaces: Bandcamp, facebook, instagram, Laster, spotify y youtube

Miembros:

• N. ?
• S. ?
• W. Damiaen ?

Discografía:

• Wijsgeer & Narreman Demo 2012
• De verste verte is hier CD 2014
• Wederganger / Laster Split 2016  
• Ons vrije fatum CD 2017
• Het wassen oog CD 2019
• Stadsluik EP 2019  
• Kunstlicht Single 2023  
• Andermans mijne Single 2023  
• Afgelopen tijd Single 2023  
• Andermans mijne CD 2023

ANDERMANS MIJNE (2023)

Partiendo de una base de sonido que en los inicios de la banda contaba con muchas influencias vanguardistas, que de alguna manera siguen estando presentes, pero Laster ha sabido construir un sonido propio a lo largo de esta última década logrando a cada álbum editado alejarse de cualquier etiqueta establecida. Este "Andermans mijne" tiene un sonido engañosamente confortable para el oyente, sobre todo en los largos desarrollos de sonido que más bien tiene un componente pop e industrial que hace acto de presencia sin tapujos, acompañados estos de muchas secciones de voces limpias y una ambientación que invita a engaños. Sin embargo Laster tiene la virtud de lograr que su propuesta sea rica en matices, esos largos desarrollos que se puedan encuadrar dentro de los sonidos post pueden dar paso a ritmos mucho más explosivos y directos que nos golpean con fuerza, dando paso a otras secciones en donde ciertos aspectos de carácter vanguardista van ganando peso, salpicados de ciertas disonancias y un peso fundamental de un estilo como un jazz bizarro que poco a poco va cobrando protagonismo.  Atreviéndose con una instrumentación inusitada para un estilo como el black, con ritmos muchas veces melódicos y accesibles, que se ven destrozados con repentinos arrebatos de furia, al mismo tiempo que el trabajo a las voces se muestra soberbio a la hora de jugar con secciones limpias y otras muchas más desgarradoras, todo ello para una banda a la cual pocas le pueden hacer sombra si hablamos de black experimental (7,9).

Prophecy Productions

1. Andermans mijne 04:55  

2. Kunstlicht 03:02  

3. Poëtische waarheid 05:22  

4. Wachtmuziek 02:13  

5. Achterstevoren 05:22  

6. Vorm alleen 04:22  

7. Stegen spiegel 04:05  

8. Onzichtbare muur 04:50  

9. Afgelopen tijd 04:00  

10. Doodgeboren 05:51  

  44:02

SALACIOUS GODS

 

Origen: Holanda, Weiteveen

Formados: 1994

Estilo: Black

Temática: Anticristianismo, y dioses babilónicos

Enlaces: Facebook, instagram y spotify

Miembros:

• Fjildslach Batería
• Iezelzweard Guitarra
• Lafawijn Voces
• Njirrebrod Guitarra
• Swerc Guitarra

Discografía:

• The Slumbering Silence Demo 1998  
• Askengris CD 1999  
• Sunnevot CD 2002  
• Mutilation Demo 2003  
• Piene CD 2005  
• Morbid revelations in blood and semen Single 2023  
• Bloedkloete Single 2023  
• Oalevluuk CD 2023

OALEVLUKK (2023)

Casi un par de décadas después de su último lanzamiento los veteranos holandeses regresan con un nuevo álbum que de alguna manera tendría que haber sido editado hace ya unos cuanto años. El sonido de este "Oalevluuk" echa manos de diferentes aspectos de un black melódico si hablamos de su vertiente más ortodoxa. De fondo tenemos una batería en general rápida y directa, acompañada de un potentes sonido de guitarra, cruda y directa que no desentona a la hora de construir, digamos que un muro de sonido bastante contundente que se ve refrendado por la presencia de un bajo con bastante personalidad, sobre el cual hay un entramado de guitarras con una vertiente mucha más melódica, con una referencia al black melódico sueco, en la linea de un sonido muy clásico dentro del estilo en la década de las noventa, sin olvidarse por supuesto de unas voces que adquieren un tono agresivo y crudo. El álbum de alguna manera parece parado en el tiempo, como si su sonido fuera una evolución lógica de lo expuesto por la banda en su "Piene" de 2005. Adoptando un tono agresivo y directo desde el inicio, salpicado por algunos interesante cambios e ritmo que logran sumergimos más en su propuesta, con presencia testimonial de algunos teclado que logran un carácter más retro en las composiciones y con un sonido ciertamente elaborado en donde podemos encontrar algunas secciones tremendamente oscuras y frías que parecen arrancadas de lo más gélido del underground de la década de los noventa. (7,6).

Hammerheart Records

1. Rise, Oh Horned One, Rise! 04:40  

2. Morbid Revelations in Blood and Semen 05:59  

3. Bloedkloete 04:59  

4. Devotion 07:52  

5. Gnosis of the God Impure 04:17  

6. Honor Him 09:41  

7. Sulphur, Mingled with Poison 05:26  

8. Towards the Darkening Light 06:23  

9. Oalevluuk 06:48  

  56:05

Moloch ‎– Ein Düsterer Winter Kommt 7,99 €

Vinyl, 7", 45 RPM, EP, Limited Edition, Numbered, Stereo

TERMINALIST - INTERVIEW

1. The band started up around 2018, why did you decide to create the band? What does the name Terminalist refer to and why did you decide to use it?

“I started writing music back in 2016 but it didn’t truly take form for a couple of years. In 2018, we were a three-piece and had some sense of direction, but it still took some time before we settled on the name Terminalist which, in my opinion, works in multiple ways. A terminal is a place from which you depart to go somewhere else. It is also the plane at which you leave life and enter death. So, when writing songs about how speed, acceleration, technology, destruction, and death are all tied together, this name made sense in the way that our music ‘kills’. It is, however, also a tribute to Vektor’s seminal album ‘Terminal Redux’ which inspired me tremendously (and without which this band would probably never exist) as well as the ‘Terminator’ franchise. ‘Terminalist’ exudes a vibe that fits our style.”

2. In 2018 you released your first album “The Great Acceleration”, an album that received good reviews from the beginning thanks to that somewhat unclassifiable thrash sound and the futuristic and science fiction theme. Did the success of the album take you by surprise? How do you remember the whole issue related to the composition and recording of the album?

“It came out in 2021, though. 😉 We expected a good response since we knew we were onto something, but we were also “just” another sci-fi-themed band amongst many other sci-fi-themed bands, and our inspirations very much came through on that record, so I think it takes something more to prove that our music truly has longevity and stands out as our own. So, we took the success with some moderation. Everything was a very new experience – heading into the studio for several weeks, working with our producer Lasse Ballade, awaiting the mix, master, and finally the physical release – and it was a very exciting time. To finally have the album out was uplifting but you also learn a lot more about your music and the recording process along the way and there are a few things that I would’ve corrected if I had the knowledge I have today. That’s probably very common and it just adds to the charm of the first album, I guess.”

3. A couple of years later the release of your second album “The Crisis as Condition” arrives. How have you approached the entire process of composing and recording this new album compared to the previous one? What brands of instruments have you used in it? process?

“The approach was very much the same as the first one. I provided the song ideas, we made some adjustments, our drummer Frederik Amris and bass player Kalle Tiihonen came up with their respective parts based on my ideas and in their own style. There’s been no experimentation with instrumentation but there has been with the songwriting process, for example in the last song, ‘Move in Strife’, where we have this slightly jammy and proggy buildup-section in the second half of the song. It was supposed to have been improvised but we ended up writing it out to give it a more coherent structure.”

4. Unlike “The Great Acceleration”, this new “The Crisis as Condition” does show a sound in which thrash has gained greater prominence, so much so that styles such as black have been relegated to the background. What is the reason for this new approach in your sound? Which classic thrah bands have been an influence when defining the sound of this new album? How would you define the sound of the album for those who have not heard it yet?

“Thanks for the observation, this is a good question! We still call our sound ‘hyperthrash’ to signify that we are rooted in thrash but have elements of black metal, death metal, and prog as well as lyrics dealing broadly with issues of speed and the consequences hereof that lend a ‘hyper’ element to our sound. There are a number of reasons for this turn in style, one being that the thrashy riffs was what came out when I started writing these songs. It felt natural and it started to truly make sense when the lyrics dealing with this new concept of contemporary crises came into existence. Another reason was that I was listening back to a lot of old technical thrash at the time, so apart from the Vektor stylizations that are very prominent in our sound, some of the influences from old Coroner, Kreator, Artillery, Obliveon, Anacrusis, and Aftermath (US), just to name a few, came creeping in.”

5. Another notable aspect is the themes of your lyrics, focusing more on social issues such as crisis or war, this can also be understood as a return to the thrash scene of the eighties, why this turn in the theme of your lyrics? Who wrote the lyrics? Do the lyrics adapt to the music or vice versa?

“I write the lyrics and come up with the concepts as well. ‘The Great Acceleration’ was very much a sci-fi-oriented record but when we started writing the new material, it felt wrong to make another record speculating in a future dystopia when the present we live in is as bleak and fucked up as it is. I read a book called ‘Krisesamfundet’ (in English: ‘The Crisis Society’) by a Danish political scientist named Mikkel Vedby Rasmussen. Broadly paraphrased, he argues that the days of progress, globalization, and normality are over, and that the pandemic and the handling of the corona virus symbolized a break with the way of governing that we once knew. Put another way, the victory of liberal democracy and capitalism, the so-called ‘end of history’ that Francis Fukuyama claimed was the true lesson of the collapse of the Soviet Union and which defined a lot of policy-making throughout the 1990s and since, has been upended. History, as a foundational political struggle between opposing ideologies and values, instead has restarted. Political choices suddenly take on a new meaning. The crisis necessitates radical measures and actions, it makes possible what was previously impossible, and it outlines a path forward to the future, how bleak this may seem. Taken into consideration how radical the measures taken against the virus was (who would’ve thought that lockdowns and curfews would be possible in our time?), who can imagine what will happen with the accelerating climate changes, if the war in Ukraine continues, if the political polarization intensifies, if social and economic equality keeps deepening? We don’t know but things don’t look too good. And yes, this is very much a continuation of what thrash bands were addressing in the late 1980’s as well, only now we seem to be at a tipping point where no easy solution is possible. The crisis is here to stay.”

6. Your previous album contained songs of greater development and duration, however in this “The Crisis as Condition” the duration of the songs has been reduced. Was it very difficult for you to adapt to this new length of the songs and how did you do it? did you focus?

“We agreed to have more songs on this album so it’s slightly longer and with two more songs in comparison to the first one. This meant cutting away the fat, making the songwriting sharp, precise, and focused, yes. Which is a major fuckin’ challenge if you have trouble limiting yourself as I do, haha. So yes, it was difficult, but I also think it helped the result.”

7. You have worked again with Ballade Studios and Woodshed Studios for the recording and mixing work on the album. Despite there being differences in sound between your two albums, did you consider from the beginning to maintain confidence in these studios to carry out this process?

“We knew from the beginning we’d like to work with the same people again, yes, since it turned out great on the first album. Only this time, the production and sound aesthetic seems even more tight-knit and razor sharp. I think Lasse Ballade from Ballade Studios, who has worked with a great deal of black, death, and doom metal bands throughout the years, really nailed a gritty, yet sharp sound that suits the fast picking and thrash riffing style while V. Santura from Woodshed Studios provided the clarity and punchiness needed.”

8. For the release of the album you have once again collaborated with the Danish record label Indisciplinan, why did you make this decision?

“Well, as a fairly new band, you can’t necessarily pick which label to work with so when a label wants to work with you, you’re in luck, haha. Especially when it’s a highly regarded label as Indisciplinarian. Again, the collaboration worked great on the first album, but I also believe it’s the label in Denmark that suits us best. They have a great roster of bands that we’re proud of being among, they have a sharp focus on quality and integrity, and they’re not afraid to add an intellectual edge to their promotion material which is a clear plus for us.”

9. Ryan T. Hancock has been in charge of the album's artwork, at what point did you decide to work with him? What does the cover represent and how does it relate to the content of the album?

“I came across Ryan’s work a couple of years ago on Instagram. We were looking for someone who could make a beautiful science fiction cover for the first album. And I don’t mean digitally, but painted it in hand. He could, he did, and we were amazed by the result, so of course we wanted to work with him again. This time around, it was a bit more complicated, though. How do you paint a crisis? And how do you connect it stylistically with the interstellar artwork from ‘The Great Acceleration’ but still make it clear that we’re not dabbling in the same sci-fi subjects this time around? We emailed back and forth a bit, talked it through over a Zoom call, looked at some sketches and settled on this motif of an earth fracturing from a tilted angle which gives the whole artwork a feeling of disorientation from the view of the spectator. It’s down to earth in a literal sense, but the ball of light also signifies something strange, mystical, apocalyptical, maybe even religious. It has a sci-fi feel to it but still depicts the literal downfall of a modern and advanced society which strongly connects to the theme of the album. I mean, we even have a song called ‘Mutating Fractures’ on the record and the cover shows a major fracture. I think it turned out great – again.”

10. You have recently shared the bill with Voivod, how did the possibility of offering this concert come about and what has the experience been like? What new concerts do you have prepared to present the new album?

“Daniel Abecassis, who manages Kill-Town Bookings, arranges tours for death metal bands, and organizes festivals like the renowned Kill-Town Death Fest here in Copenhagen, reached out to us since he was about to set up the Voivod show in collaboration with BETA, a rather small and cool underground venue, and he saw us as a perfect fit. The show went well, Voivod were incredibly nice (of course) and easy to be around, and they played great. It was a memorable evening, for sure. Asides from the release show we just played to celebrate the new album, we don’t have anything announced to promote the album right now. But look out, we hope to get abroad sometime next year.”

11. What is your opinion of the extreme metal scene in a city like Copenhagen and how would you describe it?

“It’s thriving, maybe even too much. There’s a lot of bands, including a lot of good ones, and each week is packed with metal shows, huge and small. We have staple festivals like Copenhell and the previously mentioned Kill-Town Death Fest, smaller festivals like A Colossal Weekend and Copenhagen Metal Fest and then you have all the other festivals in all the other cities. If you want to keep track with new bands, you’re easily busy, and if you attend a lot of festivals, you get to see a lot of the same acts, which is a downside. Also, there’s not a lot of antagonism here. Despite our own issues, Denmark is still very much a nice, small, and friendly country, and it shows in the metal scene. Maybe we need some more beef between bands, some enemies to provide a little tension. Anyway, for some interesting newer Danish bands from the Copenhagen area, I can recommend Mother of All, Throwe, Night Fever, and Dysgnostic, if you are not familiar with them already.”

12. How were your beginnings in music: first concerts you attended, first albums you bought? What happened in your lives that pushed you to want to be musicians?

“I can only speak for myself, but a lot happened with discovering my parents’ record collection. It’s a well-known story. The Beatles led to Deep Purple and Alice Cooper which led to Black Sabbath and Rainbow which led to Slipknot, Slayer, Deicide, and the ball kept rolling from there. The first show I properly attended was a Deep Purple and Uriah Heep show. It was 2003, I was 12 years old, and most people in the crowd were 30-40 years older than me. It’s evened out a bit since. For a long time, I was content with not playing music on a serious level myself (although I did know how to play) but discovering Vektor and listening to ‘Terminal Redux’ and hearing all the prog and thrash I’d been consuming for so many years combined made such profound sense that I had to pursue something similar. And here we are.”

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

“The essence of black metal? This might seem contrary to what a lot of people believe, but I don’t know if there is an essence. Do you perceive black metal to be a musical aesthetic, an ideological stance or both? Or maybe something entirely different? Is the essence comprised of blastbeats, tremolo-picking, and shrieking vocals or of religious antagonism, Satanism, mysticism, and neo-fascism? Both stances, I believe, are problematic. The first one because what has been classified as black metal throughout the years differs a lot – from Bathory and Mercyful Fate to Burzum and Dissection to Behemoth and Deathspell Omega – the second one because the politics is bullshit. Anyway, the most recent favorite black metal albums of mine are Véhémence’s ‘Par le sang versé’ and Stormkeep’s ‘Tales of Othertime’. Also, the last album I bought was 40 Watt Sun’s ‘Wider than the Sky’ when Patrick Walker played here in town earlier this year. It’s an album which, although mellow and somber, is as heavy as it gets.”

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

“Hey, thank you for taking your time and having the interest to do this! It was a pleasure. If you’re into some hyperthrash, or some thrash with some blackened twists, check out our new record and follow us on social media to keep track on whether we’re coming to a town near you in the future. Hope to see you out there one day.”

Emil Hansen

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

Decline Of The I ‎– Escape 16,99 €

Vinyl, LP

Vinyl, LP, Single Sided

GRUZJA

 

Origen: Polonia

Formados: 2018

Estilo: Black experimental

Temática: alcohol, delincuencia y sexo

Enlaces: Bandcamp, facebook e instagram 

Miembros:

• Artur Rumiński Guitarra
• Bartosz Lichołap Batería
• Dominik Voces
• Krzysztof Kurek Guitarra
• Limbo Voces
• PR Voces
• Stawrogin Voces

Discografía:

• I iść dalej CD 2019
• Jeszcze nie mamy na was pomysłu CD 2019
• Pierwszy koncert w mieście EP 2020  
• Konflikt Split 2020  
• Vulgator (Priest Simulator OST) CD 2021  
• Koniec wakacji CD 2023

KONIEC WAKACJI (2023)

Cuarta entrega para los polacos, con su singular estilo y visión del black metal más experimental, algo lógico si cuentas entre tus filas con miembros de bandas como Thaw, Biesy, Furia, Massemord, Odraza o Totenmesse, y es que le metal polaco siempre ha servido de caldo de cultivo para bandas dispares, ricas en creatividad y calidad. Catorce temas convergen en este álbum, cada cual abarcando una historia diferente de una forma y estilo también diferentes, alejándose de los preceptos del black más ortodoxo, bueno casi podemos decir que del black también. El álbum ruge frenético, directo y arrollador, ofreciendo diferentes entornos en donde sobre todo unos riffs directos y una batería que no le va a la zaga, logran entretejer un sonido que ofrece unas secciones muy viscerales bebiendo directamente de influencias punk, con mucho groove, eso si, y dejando una sensación en el oyente de siempre estar pasando algo, al mismo tiempo de no tener todo bajo control, como si una frágil barrera se interpusiera entre Gruzja y el oyente, frágil barrera que en cualquier momento puede claudicar en favor de lo polacos. El sonido es rico en matices e influencias, elemento que pueden ser clasificados como tecno, un buen número de arreglos, unas voces rabiosas que abarcan diferentes aspectos y matices, convierten el sonido del álbum en algo totalmente inclasificable, tocando diferentes palos, llevándolos a su terreno y acabando por parir un álbum imaginativo, como si tuviera que ser rudo por fuera y blando por dentro, pero dentro de sus debilidades encuentra sus puntos fuertes. (7,9).

1. Jerusalem Shore  

2. Aleksandria  

3. Pomnik  

4. Od przedszkola do okopa

5. Poczytaj mi tato  

6. Moda nienawiści  

7. Kciuk cel pal  

8. Sałynka  

9. Następna stacja getto  

10. Do pokoju  

11. Koniec wakacji

12. Już po dzwonku  

13. Wojna domowa  

14. Kciuk cel pal (remix)

Blackosh ‎– Kurvy, chlast, black metal 8,99 €

Vinyl, LP, Album

SATAN WORSHIP - INTERVIEW

 1. The band started up around 2011, why did you decide to create the band? Why did you choose the name Satan Worship and what does it refer to?

Leatherface: Hey thanx for the opportunity and space to talk about Satan Worship and our new album. 2011 I was playing first time in Europe with my another band Sodomizer, so I was in the house of my friend Azter guitar player from Denial Of God ( Black Metal from Denmark ) and I wrote some bases and riffs that I thought where diferent from what we were making with Sodomizer ( the song was The Girls Of Manson Family ). After it I wrote a bunch of songs that came to our demo tape Poison and Blood and after to our ep I`m The Devil.I wanna write about Serial Killers, Satanism, Necromancy, Hate, Death, blasphemies and a lot of another evil things that I have will to write.Sodomizer is like a soundtrack to a depraved horror movie, We write about Horror movies, terror histories and pornography and depravation.Satan Worship have this topics diferents and some writers that have been influenced me like Anton La Vey, Charles Bukowsky, Marquis De Sade etc...The Name Satan Worship is about all that is evil and malignant and some peoples think we are a satanic club private or a secret cult.I received tons of e mails and msgs on our social media about peoples wanna join and sell the soul to Satan...Even when I say we are a band this fuckers stop write me, they dont stop send msgs, I get more hard and say fuck off and get a life, Satan Doesn`t wanna your wasted trashed soul.It`s funny but yeah man tha name it`s strongh and peoples love or hate and this was my aim, since I batized we cursed us with this danmed name. I love it.

2. Although you have been active since 2011, it was not until 2015 that you released your first EP “Poison & Blood”, what is the reason for this period of four years without deciding to release anything, perhaps living in France and Brazil could be an explanation or maybe the existence of a band like Sodomizer had you busy?

Leatherface: Just to leave clear, I never lived in France, I recorded the demo tape Poison and Blood In Brazil ( was a demo tape, not EP ), I didn`t have money to press in Brazil the demo and I wait till I have the resources to make in a cool way, the labels just wanted Sodomizer and my another band Hellkommander, back in the days, so after my second tour 2013 I booked a third tour at 2014 and moved to Germany ( Berlin ).I had the demo tape already recorded and beggan recorded the songs will come in EP I`m The Devil, I finnished the record at 2016, I back to Brazil for a short time and went again to same studio and beggan the record were missing, ( backing tracks where missing, solos and some details ), I didn`t have a line up, was me on bass, guitars and vox and the drummer from Sodomizer ( Incitatus ) riding the beats to me.I back same year to Germany after 6 months in Brazil with the album and signed with Iron Shield records, label from Berlin.After I summoned Max The Nekromancer on guitars and with me on vox and bass and one hired drummer we play our first gig here in Germany.Marc Reign ex Destruction and ex Morgoth watched us playing live and asked to join us.So with this line up we recorded the first album Teufelssprache and made some festivals, shows and a tour in europe ( 2021 ).We kicked Marc from the drums and we invocated Papa Jupiter from Brazil ( my drummer from Sodomizer ) and Marck Grave Digger Rapist on second guitar, Ex Sex Trash from Brazil with this line up we recorded our new album Satanik Overdose Of Hell.About the delay to record and realese were somethings like time, money, I was moving to europe and sold my tattoo studio and a lot of things around us leave me a little traped.But Lucifer is great and I found a way to record my infernal noise and realese it and leave the lambs of fake god angry and afraid.

3. I consider the 2020 release of “Teufelssprache” to be an important step forward on your part, both in sound and impact. What has the process of composing and recording the new album been like? What brands of instruments have you used? in the process?

Leatherface: I love the album but I had some problems with the sound engineer, should be more evil the guitars more fat and heavy if you understand me.But yes you are right was one step important, Marc made a good work on the drums, Max is a great guitar player and played my shit better than me and he brought 2 dark songs very badass ( La Catedral and Motherfuckers From Apokalipse ), I think I used a bass Rickenbaker and alternate with my Fender and use my distortion pedal ( Yeah I follow the Cliff Burton bass bible ).Max used his gibson and Jackson and Marc brought his drum kit there. Was kind of stressfull because the  Sound Engineer Richard owner of Big Snuff studio but we made a good work with his limitations. We dont have anything against Richard and he is into more metal now and have been making good albuns there with local bands, we recorded there the demos from new album, the pre production and was more relax and a better atmosphere too.

4. At first your sound can be classified within black/thrash, however, from my point of view, elements of styles such as death have an important role, giving the sound a stronger personality. Are you aware of this “evolution?” in your sound? How would you describe the sound of the new album for those who have not heard it yet? What bands have influenced you when shaping this album?

Leatherface: Yes black, thrash, speed metal, but we have many groove here and some death metal parts and doom and groovy too, I think I just get my influences of Carnivore, Venom, Celtic Frost, Black Sabbath, Motorhead, ZZ Top, Von, Morbid Angel, Danzig, Voivod, Dorsal Atlantica, Vulcano, Jacula, Goblin, Indestroy, Possessed and we give a movement diferent. We are not create something new but we are not a copy, do you understand ?My heroes always said MAKE YOUR MUSIC, DO NOT BE A COPY, MAKE WHAT YOU LOVE. This is my mantra, you have a lot of Dark Thrones and Blasphemy and Sarcofago around the world. But they never will sound good like the originals. There is just ONE King Diamon, ONEAlice Cooper, ONE Black Sabbath... I know if we be on the road of copy cover bands we will have more sucess and fame. But we are here just in our personal mortal dark journey and we love the chaos. Things must happen in a natural way, I agree with you the new album has more personality and its more heavy, evil and much better production here now. The influences are the same, I just love write this kind of satanik noise, what can I say ? I fucking love my job.

5. Typical elements of rock and Satanism coexist in your lyrics. Who is in charge of writing the texts? Does the song “Die Hundin von Buchewald” have something to do with the warden Ilse Koch, of the Buchewald Nazi concentration camp? Do the texts adapt to the music or vice versa?

Leatherface: I write all lyrics here and songs I made 80 or 90 %, I ask to Max make too, he write more slow but powerfull songs. So about the lyrics, Satan Worship lyrics are into satanism, necromancy, death, serial killers, crimes, and inside the spectre of killers and psycopath we have some caracters like Ilse Koch. Was a horrible woman inside a sick system and regime, she took advantage from his position to torture and kill prisioners. There is a lot of documentaries and books about it and you folks want can check it. Yes I write a song and fell the vibe and made a lyric to fit with my noises and yes I have many lyrics that I wrote too and I create songs around this notes and adapted both.

6. Your covers have always had a relationship with satanism and death, however the new album's cover seems much more elaborate. Who was in charge of the cover design? What does it represent and how does it relate to the content of the album?

Leatherface: Yes I made sketch first and sent to my brazilian friend Adriano Papa, he made a great art but he has some problems and he just send me some pictures without good quality and was getting kind of problematic get it with good quality. So I told him, we will pay him and use this art in a t shirt in future and show to Andrzej Kuziola, so he remake the art and this got more sick, bad and evil. The cover was my conception and is Lucifer The Morning Star Ridding the Apocalipse Beast ripping angels, Adriano made Lucifer with the armour of Kurgan ( Skull and bones armour ), the villain from Highlander movie from 1986 ( the first and great one, not the crap came after it ) You guys should check the art of Kuziola here ArtStation - Andrzej Kuziola.

7. The recording process was carried out at Sonic Train Studios in Sweden, why did you decide to work with them? What do you think these studios have contributed to the final result of the album's sound?

Leatherface: Well we have some problems in Big Snuff like I said before, I was already looking some studios and sound engineers but first name was on my list was Andy LaRocque from Sonic Train Studios. He is ones of my heroes and a fantastic productor, he loved that we recorded alive and without a fucking metronomo, We made the pre production here in Germany and we were fucking sharped. We recorded the album on 2 days next days we just made solos, guitar licks and effects and I expend one day to make all vocals and I recorded another line of bass in an guitar amplifier with more distortion, I think 5 days more after record the basic on 2 first days ( drums, guitar bases and my bass ). About the studio I must say was a awesome structure they have there and Andy is a monster riding Sonic Train Studios, all ideias I had on my mind he came to me and suggested the same, I was into about his direction he gave us and we got 100 % from what he ask to us made, because we think very similar about record and production, Was a surreal experience worked with him and honour and we will back for sure for more make new infernal sonic pieces there.

8. For the physical edition of the album, you are repeating with Folter Records, at what point was the decision made to collaborate again for the edition of the album? Will there be edition in formats other than CD?

Leatherface: The headquarters from Folter Rec is very near of my house, I can call Joerg the big boss when I need speak something about realeses, shows wherever... He is a friend since 2013, very cool guy and he is into extreme music long time too. So make all sense we work together like I said we are friends too. No bullshit between us, we speak each other very truly, honest and straight. Yes cd for now  and next year we have a lp edition coming.

9. You will soon begin the live presentation of the album. How important is it for you to be able to offer these concerts? Who would you like to share a mini-tour with?

Leatherface: We have a tour with the Americans metal punks vampires from Spiter, they are blasting USA spreading his album Bath The Babe In Bats` Blood album. Satanik Overdose Of Bat`s Blood European tour will beggin day 05 here on my city Berlin and we will tear apart Europe and gonna finnish the tour day 22 October. The shows are fucking important to us, we can spread our satanik noises and sell our merchandise and show to the young ones that world is blood, death, carnage and guts.We love play alive and meet the hellbangers and hang out with them and make friends and play our shit louder.

10. For some time now it seems that there is a revival of bands with a retro sound where thrash has an important role, reaching a certain saturation when the bands do not offer anything new, how does a band like yours fit into this situation? What is your opinion about the certain saturation that isoccurring in this specific style?

Leatherface: I think this trend is more down now, I think the metal scene is back more strongh, we had bad moments in 90`s ( good stuff too and few bands keep the metal flame live ), beggin of century 21 was full of this kind of bands. Yesa lot of copies and bands without souls and were forgotten because they were very ordinary and just copy of the great ones, I think on my old city Rio De Janeiro in Brazil, everbody were copy this retro specific band style, we had clones of Kreator, Hellhammer, Sarcofago etc... and this bands were forgotten and dissapear ... because they were just a copy. When we beggan with this kind of music with my another band Sodomizer we gave a movement diferent for the riffs and groovy and heavy bases. Did we made a new style ? No, never was our intention make it our aim was make powefull music and strongh albuns, original inside the influences we have. We never had this atitude lie YEAH 80`s were the best bla, bla, bla... we love a lot of things on 80`s but had a lot crap on 80`s either. The cool and good bands still here like Bewitched, Aura Noir and some new ones awesome like Spiter and Evil Armyand are coming more good stuff but yeah it`s a lot of crap and shit copies around the world for sure.

11. Brazil and France, how different are the extreme metal scenes of these countries? What good and bad things do both countries have in terms of extreme metal?

Leatherface: Again I live in Berlin this was somekind of misuderstand but no problem my friend. Well I gonna answer you about the scene in Brazil and the diferences about Europe ( I played more here than in Brazil ), about the metalheads it`s not so much diference, peoples are peoples you know what I wanna mean ? They come to your show, buy the merchandise and wanna take a picture with you, have some talk about metal and etc, in the end is like a big community or family if you wanna see like it, I saw diferences in audience for sure, when we play in metal fest more like Under The Black Sun ( black metal german fest) the audience try plays the bad guy, something like... I CANT BANG MY HEAD, I AM TOO SERIOUS FOR HAVE FUN AND MY FATHER SATAN DIDNT ALLOWED ME. When we play in squats or for an audience that is more into Thrash, speed metal or even squats they got crazies.In Brazil the audience is very wild and passional ( we are latinos ). Bad things I can say about Brazil, the promoters sucks man, few promoters there are serious and wanna you play free and with a shit backline and PA.Brazil you have more metal, rock cities like Sao Paulo and Northwest is amazing ( the bands, hellbangers and bands too ) and places like Rio De Janeiro where the metal is weak and no metal organized scene. Europe the metal is strongh and bounded and you have many cool bands ( many crap too ), about the folks on metal like I told you some few cultural diferences but nothing so extrem.Bad things here are the lobby of big labels and mafia in shows and festivals. I saw a lot of bands here paying to open for big bands and follow them in a shit situation, they open the event play 20 minutes for almost zero audience and after it nobody give a fuck for them really. Its sad and kind of pathetic, bands should play because they love and make what they love.

12. How were your beginnings in music: first concerts you attended, first albums you bought? What happened in your lives that pushed you to want to be musicians?

Leatherface: I saw on 1993 Sepultura in MTV, the clip of Territory, this really blow up my mind and in school had just one guy like metal and we changed bands and knowlodge about the few we were discovery, After I got more into thrash, death, heavy metal when I beggan my course of comic book, have some friends there show me some bands and when I was getting out to hang out in shows I discovery black metal and classical rock bands too like Black Sabbath, Lynyrd Skyrnyd, ZZ TOP and etc... I think the band fucked up any chances I have a normal life was Morbid Angel, listen them the first albuns was like took acid to me, melting my mind and broken all chains of fake morality and christianity bullshit morals and disguting rules, Every it`s perfect with this guys, they are fucking KINGS. So I think this was when I got this road without no way back and decided make my own beast and ride into darkness.I never study music and every I know I learned playing with another guys, I learned make doubles guitars and a little of theory with another musicians and about compose it`s a thing you learn by yourself to talk the truth, no music scholl can show you like create, if someone say they can make it, is a lie. You need know like awake up this inside you and keep the fire burning and never stop play and create. 

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

Leatherface: The essence of Black metal are with the first bands like Venom, Celtic Frost, Bathory and after Sarcofago, Mortuary Drape, Amen Corner, Necromantia, Poison ( Germany ), VON, Master`s Hammer and anothers awesome bands like Leviathan ( USA ). They are diferents from each others originals and last album I bougth was the lp version from Cavalera, the re record from Bestial Devasttation, I am running to try get Morbid Visions but it`s sould out.

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 followers of Satan Worship this is the place. I hope the questions are to your liking.

Leatherface: Thanx man, was very cool and good questions, thanx for your space and spend your time with us. Sodomizer and Satan Worship keep alive and full of metal to spread to you guys. I just wanna thank all folks are support us around this years. We have bad moments and much more awesome moments and we still have a lot of fun and it`s a privilege have metal heads that listen our shit and bang the heads with us live. Satanik Overdose Of Hell it`s a step forward from what we had made till now, so give a chance to our new bloody baby and burn in hell with us.

If you want you can follow us here Sodomizer / Satan Worship (@sodomizer666worship) • Instagram photos and videos.

Any contacts for merchandise or booking us to destroy your city write here: thesodomizer@hotmail.com

Thanx Black Metal Spirit and thanx all hellbangers !!!!!!! See us in Hell.

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Woest‎ – La Fin De L'Ère Sauvage 4,99 €

CD, Mini-Album, Digipak