martes, 30 de abril de 2024


1. Mallephyr was launched around 2013, why did you decide to create the band? Why did you choose the name Mallephyr and what does it refer to?

I played that time in one local band, where I couldn’t express my musical ideas in the full scale, because it was not a black or black/death metal band and every member had different view on the music. I wanted to compose the music which was really coming from my heart, so I decided to start a new band with guitar player Adam and drummer Tom. Sinneral (that time bass player) joined us a little later. 

It’s a little word game. There is a igneous rock called “melafyr” in Czech (maybe “melaphyr” internationally), a cold black stone which was quite similar to how to describe our musical expression. Combined with a Latin word “malleus” (a hammer), it kinda makes sense with regards to our music. 

2. With “Ruins of Inner Composure” you reach your third studio album, how do you think your sound has evolved since the release of your first demo in 2014?

We somehow evolved as a personalities, as a musicians, so there is definitely quite big step between our first demo and the new album regarding the compositions, lyrics, sound or the expression in general. I think it is much more complex and much more emotions are put into the music. This is very important to me – I consider our music as a tool to express my inner thought, my inner demons. 

3. How has the composition and recording process of “Ruins of Inner Composure” been? What brands of instruments have you used in the process?

The composing and recording process was similar to our previous albums I would say. I always compose the track alone, all the guitars, arrangements etc. The most important thing is that it has to be a very natural process, nothing to be forced to do. Sometimes I sit with my guitar and in 10 minutes I know there wouldn’t be any solid material coming from the inside, but when it comes fluently, that is the time to compose the new song. I always have some ideas inside my head, sometimes it goes out like I thought, other time it transforms into something completely different. 

After I finish composing the track, Tom makes his drum parts. We know very well what to expect from each other, so then there are occasionally some really marginal adjustments, but most of the time the track is done then. 

We recorded the album again in Prague in KSV Studios with Karel Švejnoha, besides other things the drummer of my another bands Stíny plamenů and War for War. It is always very smooth, cool process in his studio. Mastering was made for the first time in United States in Enormous Door Studio by Jack Control. 

We used our own gear during the recording – Gretsch drums, ENGL and Peavey amplifiers. 

4. At the base of your sound, which can be described as black/death, it seems that there is more and more space to include dissonances, which ends up giving the whole both a dystopian character and a much darker, more complex and chaotic atmosphere, How would you describe the sound of the album for those who have not yet heard it? What bands and styles are an influence for you? What sensations do you intend to convey to the listener with your proposal?

There are definitely more dissonant parts on the new album than before, but there are also very melodic parts, some very fast and raw, not complicated passages etc. It is just what I said before – a natural process of composing and depends on the current state of mind what will be there. When you talk about chaotic atmosphere, I think it is an accurate description – chaos in mind was transformed into material chaos. 

There are of course many bands that had an influence on me during composing ”Ruins of Inner Composure”, bands I listened to that time and years ago. Every band I love has an influence on me as a musician or as a person, so it definitely affects our music. To name a few – Rebirth of Nefast, Aosoth, Nightbringer, Ascension… But I wouldn’t say we just copy someone, but the influence is definitely there. 

I think every listener will take from our music what he feels to take, it is very difficult to intend anything. We put our own feelings and emotions into it and now let the listeners join us on this journey. 

5. In addition to being in charge of the vocals and guitars in Mallephyr, you are also part of bands like Stíny Plamenů, Cult of Fire or Umbrtka, the latter two live, where do you find the time to take care of them? What Mallephyr brings you compared to the other bands you're a part of? How intense and unique is the black metal scene in your country?

Sometimes it is difficult, taking into account my quite time consuming job, but it is still possible to manage it. Cult of Fire is quite active now, with Stíny plamenů or War for War there are only a few gigs during the year, Umbrtka has a show once in 5 years on average. 

Mallephyr brings me a freedom of expression, because it is the band where I compose. I made a few songs also for Stíny plamenů, but in Mallephyr the process is the same since the first demo. You know, the composing process is maybe my favorite part of being in a band – I really love to incarnate my ideas, to play with the guitar layers, to give the whole thing a face. This is really important to me. 

I would describe the Czech black metal scene as quite small. Legendary bands like Master’s Hammer, Root or Törr and either not active or less active now. There are of course some very interesting and high quality acts like Inferno or Silva Nigra, in black/death Altars Ablaze or Somniate, but when we consider the scene as a whole, not much purely black metal stuff is there. The death or thrash metal scene is much bigger and much more extending. 

6. Anti-religious, misanthropic and nihilistic themes populate your lyrics. What specific themes do the lyrics of your latest album cover? Who is in charge of writing the lyrics? Does the music adapt to the lyrics or vice versa?

It is a very personal album regarding the lyrics, which are coming really from the depths of my mind. It is quite tough for me to describe it as it is a expression of my inner demons, shrouded in an, let’s say, abstract attire. The lyrics adapt to the music, but the result has to be intervowen.

7. You have worked with KSV Studios and Enormous Door Studio to record and mix the album. Why did you choose these recording studios to finish shaping the album? What do you think it has contributed to the final result of the album?

We recorded every album in KSV Studios, as I said before, we like the cooperation with Karel and the fluent and pleasant atmosphere there. Karel also recommended us the Enormous Door Studio to make the mastering and I have to say Jack is really fast working man, we had a final result very soon then. Every person gives its own perspective to the album, has an influence on it. I had a conception of the “Ruins…” sound before and I think we managed to get close to it. 

8. The album cover is the work of Joseph Deegan, why did you decide to work with him? What does this cover represent and how does it relate to the content of the album?

I like Joseph’s work as a musician, I really fucking love Slidhr since the beginnings, but I also admire him for his work as a visual artist and tattooer. Was following his instagram page for some time and then I just tried to address him with a request to make the artwork for our upcoming album. And I am very glad that he agreed, the cooperation with Joseph was very smooth, fast and pleasant. 

Joseph very precisely realized my vision which I described to him, it is very closely linked with the lyrical concept of the album. It depicts the madness a character feels while experiencing the "schizophrenic" mania... Not meant as a vague good vs. evil characteristic, but the depth vs. even greater void of personality.

9. You have made the leap to Epictural Production for the physical edition of the album, how did the possibility of working with them arise? How much of a priority was it for you to have a vinyl edition of the album from the start?

I addressed some labels with the promo version of our new album and Renaud from Epictural Productions answered very quickly, nicely and with the specific conditions that were absolutely convenient for us. I’m glad we arranged everything, I like the stuff he released before and particularly his own band Ferriterium, I really recommend to listen to it. 

It was an absolute priority to release the LP version of “Ruins of Inner Composure” immediately with the CDs and I am really glad that it became true. 

10. I suppose that you will soon begin to offer a concert to present the new album. What dates do you already have planned? What can your fans expect from your concert? Who would you like to do a mini tour with?

We are definitely open to the offers, we want to present our new stuff as much as possible. We have some gigs in Czechia planned already and on 21st of September we will play a special concert to the 10th anniversary of Mallephyr in Pilsen. We would like to perform much more abroad than before, we hope to manage something very soon. If anyone is interested in, feel free to contact us! 

In the near future we are going to play regularly “Ruins of Inner Composure” live in its entirety. I don’t have any specific pick, we would like to tour with any band we can spend a great time and fit musically together with. 

11. 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?

The first concert I attended was a show of two Czech legendary bands Arakain and Törr in Pilsen, then I visited Basinfirefest in Spalene Porici with Destruction as a headliner – it was a perfect show. I can’t remember which album I bought first, because we had some metal albums at home – my parents also listen to metal music. 

I had a relation to the music since my early childhood and always wanted to play the guitar, so I started quite early. 

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

There are so many albums which I adore. Of course the Norwegian black metal scene is absolutely essential for me, when we talk about Satyricon, Emperor, Immortal or Mayhem. But I love to discover the new bands also, because for me black metal is one of the few metal genres which are developing even now. The various fusions and approaches to the genre are interesting. I love the fast and uncompromising black metal acts like Marduk, Dark Funeral or for example Massemord from Poland, but also the avant-garde bands like Deathspell Omega, Blut aus Nord or Sacrificial Vein to name some new act on the scene. Also the slower, depressive BM like Austere or old Coldworld is great, there are really many many bands I love. 

In the recent years there is one album which includes absolutely everything I searched for in black metal, and that’s Rebirth of Nefast – Tabernaculum. Absolutely fantastic piece of art. To name few others – Ascension, Abigor, Slidhr, Totenmesse, Merrimack, Hell Militia, Enthroned, Schammasch, Lvcifyre, Terrestrial Hospice, Kvadrat, Nordjevel, 1349, Doedsvangr and many many many more. 

But I also like death metal, old thrash metal, some heavy metal acts, rock, EBM and other genres, but black metal is the main for me. 

Last album I bought was Hexvessel – Dawnbearer after their recent show in Prague. 

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

Thank you very much for your interest in our music and for the review once again. I would like to thank also all the fans for their support, really appreciate it. Hope to see you soon at some of our gigs, it would be great to perform in Spain in the future. 



Descent  – Order Of Chaos 27,99 €

Vinyl, LP, Album, Clear

lunes, 29 de abril de 2024



Origen: Noruega, Bergen

Formados: 2009

Estilo: Black, punk

Temática: ?

Enlaces: Bandcampdeezerfacebookinstagram y spotify.


  • Karl Johan Johannessen Batería
  • Pål Eirik Veseth Bajo
  • Simon Skøien Guitarra
  • Torjus Slettsnok Voces

  • We Are the Lords of Hellfire, and We Bring You​.​.​.​Fire. EP 2012  
  • Null CD 2021
  • Forbi Stillheten Single 2023  
  • Verdande CD 2024

Su anterior obra "Null" dejó las expectativas muy altas en torno a lo que podría dar de si la banda, solo podemos decir que este nuevo trabajo "Verdande" supera con creces todo lo esperado. No esperemos aquí un sonido black al uso, el pasado de la banda con sonidos más punk se dejan sentir desde el inicio, al mismo tiempo que nos traen diferentes influencias tanto post, como heavies o progresivas. El resultado es un álbum con un sonido que logra atraparnos de principio a fin en su enrevesada atmósfera que nos absorbe con una propuesta que se muestra por un lado accesible, pero que tiene un trasfondo oscuro y frío, construyendo su sonido en ese delgada linea entre lo que se muestra como sonidos melódicos pero que muestran sus afilados dientes en un segundo plano. Un buen trabajo de batería con un ritmo que cabalga  a destajo cunado es necesario pero que nos va meciendo en una especie de somnolencia en donde caemos rendidos ante unos riffs, la mayoría de las veces limpios pero directos y precisos que nos sumergen en un mundo gélido y profundo. Podemos hablar de un estilo post-punk, post-rock, como influencia principal muchas veces, en algunos momentos mucho más definidos, otras diluido entre estructuras más black. lo mismo podemos decir de las voces, agresivas y oscuras, pero llenas de rabia a nada que el ritmo aumenta, en donde la vertiente más black-punk se muestran en todo su esplendor. No podemos descuidar la atmósfera que de forma sutil acaba por dibujar ese paisaje de oscuridad que de alguna manera completa y contrasta con la música en si misma. Un álbum diferente, encuadrado en el black punk, pero que tiene muchas influencias post y melódicas. (7,9)

1. Humus  
2. Evig lys  
3. Etter ilden 04:07  
4. I en hule under berget  
5. Alt vårt  
6. Forbi stillheten 04:40   
7. Verdande  
8. Innover

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

1. Basking in Reflected Glory 11:09
2. Leaking Light 07:27


domingo, 28 de abril de 2024



Transcurrido sólo un año desde la edición de su anterior álbum, los de San Francisco regresan con otro ejercicio de black metal, progresivo, post y sonidos experimentales. Un nuevo trabajo que hace un apuesta firme por las voces limpias, presentes en todas las composiciones y que logra aportar al conjunto un tinte melancólico y melódico, perfectamente trabajado con las secciones de voces duras, agresivas y directas que rompen y desordenan el conjunto, Por que este "Paleobotany" es un trabajo de pasajes etéreos con profundos desarrollos de guitarras que tanto se adentran por terrenos progresivos como por aquellos más post con un marcado carácter evocador y en donde las voces limpias se mueven con soltura. Sin embargo Botanist se nutre también de cambios de ritmo y registro inesperados que hacen explotar los temas hacia su parte final mostrándose mucho más directos y agresivos, tanto por unas voces de tintes más oscuros como por el uso de un sonido más profundo y agresivo, con algún componente black como trasfondo pero encaminado a despertarnos de ese pasaje de ensueño en el cual nos movíamos desde el inicio. La propuesta de Botanist nunca se ha dejado domar, ya sea por el uso de dulcémeres martillados de 110 cuerda o  por una temática alejada de cualquier tipo de convencionalismo, dando a entender con cada  nuevo lanzamiento que sus limites solo los conocen ellos. (8).

1. Aristolochia  
2. When Forests Turned to Coal  
3. Magnolia  
4. Archaeamphora  
5. The Impact That Built the Amazon  
6. Sigillaria  
7. Strychnos Electri  
8. Wollemia Nobilis  
9. Dioon  
10. Royal Protea

Vinyl, 12", 33 ⅓ RPM, Single Sided, EP, Limited Edition, Ultra Clear / Silver Splatter

sábado, 27 de abril de 2024


1. In Vain was born around 2003. If I'm not mistaken, its creation is related to a school project. Can you expand on this information? Why did you choose the name In Vain and what does it refer to?

In Vain actually started as a school assignment in 2003, when I was attending a music school. We had do to a project in a recording class where each of us needed to record a track using the school's recording studio. For some time, I had been considering the idea of forming a metal band with my pal Andreas (Frigstad – he was the main singer), who was really into metal music back then. That assignment from the school really helped turn our idea into something real, which eventually became In Vain. I hadn't played extreme metal music before, but I managed to come up with some guitar pieces that turned into the song 'As I Wither'. Andreas handled the lyrics and the singing part. 'As I Wither' was our first song, and it was included on our first album 'The Latter Rain', which was released in 2007.

Originally, we wanted a three letter band name; i.e. something like “xx in Vain”. But we were never able to come up with what should be in front of “in vain”. So we ended up just calling ourselves In Vain.

2. The edition of your fifth album “Solemn” has just been released, a new work that comes almost six years after your previous “Cuerrents”, what has the composition process of “Solemn” been like? 

Just to be clear, the composition process has not been 6 years. Typically, after the release of a new album, I take a break from composing music, as it is quite intensive and hard work. The album was mastered in Sept 2022. It was delayed intentionally because we did not want to release an album in the middle of Covid, and not being able to support it live. In addition, there was quite big delays on the printing of vinyl. 

3. You have always been characterized by being a band that has not left its followers indifferent and with each new release you do not set stylistic limits, to that progressive death sound that nourishes your sound, you have always liked to color it with elements of doom, heavy or a pinch of black, even for the occasion we can glimpse sections that may remind us of jazz. Is innovation and the incorporation of different elements and styles to your sound something non-negotiable? What can your fans expect from this new work? How Do you think the sound has evolved compared to your previous album? What bands and styles are an inspiration for you when composing music for In Vain?

Being the only songwriter so far, for me having variety is an absolute must, in order to keep my interest in writing music. I do not think I could have written 5 pure death or black metal albums, strictly sticking within its boundaries. It would get boring for me as a songwriter. In addition, I think music with variety and contrasts is way more interesting, as long as it is done with finesse and balance. 

In terms of our next work, I have no idea. I have some ideas laying around. I am not even sure if there will be another album to be honest. 

I listen to music from all types of genres. However, I am not as good as discovering new bands as I used to be. Happy to take suggestions!

4. I think there is a very strong connection between the style that you practice and that of bands like Solefald, and the recent sound of bands like Enslaved and Bornagar, is there any link between you and these bands?

Sindre, one of our singers, is the brother of Lazare, who plays keys in Borknagar. We also know both bands well. We have actually toured with both of them. In addition, some In Vain members used to be the live band for Solefald.

5. Your albums generally have a concept in their lyrics. Is there a general theme for all the songs on this album? Who is in charge of writing the lyrics? 

Actually, we have never had a lyrical concept for any or our albums. Our lyrics are as varied as our songs. So far, Andreas and I wrote most of the lyrics. However, on Solemn, Sindre wrote lyrics for four of the songs, I wrote the rest. 

6. There is a wide range of guest artists in “Solemn” who have served to shape the incredible sound achieved at the end, both with the inclusion of wind instruments and with the presence of clean voices, in this case not as small sections that serve to “decorate” the sound of the album, but you have invested heavily in them in some parts, what was the idea of giving greater prominence to the clean voices on this album? Is this aspect here to stay? in the future in your sound?

Yes, indeed there are quite a few guest musicians and also a guest vocalist, Vidi, who sings on the last track – Watch for Me On the Mountain. They all did a fantastic job. I do not think we have more clean vocals on this album than on the previous. Although, I have not compared them, maybe we do. Anyway, we will always make choices on vocal solutions that we think are the optimal for each song.

7. For the mixing and mastering of the album you have chosen Fascination Street Studios where bands like Amon Amarth, Sepultura, Amorphis or Opeth among others have recorded. At what moments did you make the decision to work with them? How important was it to get a powerful sound and rich in nuances like the one offered on the new album?

We have worked with Jens Bogren for three albums now. We understand each other and we like how he produces and mix. In my opinion, he is able to combine the best of the modern-day techniques, with more vintage and organic approaches. That said, I am not really that updated on what other great producers that are out there.

8. You have made a video for the song “Shadows Flap Their Black Wings”, why did you choose this song to make the video clip? What was the entire process of recording the video like and why did you decide to do it?

When you release videos and songs, it this time and age, it is typically smartest to go with songs that are immediately catchy for the listener. You want to grab their attention, to check out the rest of the album. We felt that song is in that category. We spent a full day in a studio outside Oslo. We actually recorded two videos; one will come later. We also filmed on other locations.  

9. Throughout your career you have always released your music through the Indie Recordings record label. How was this relationship forged over so many years between the two of you, something that is not entirely common? Have you almost grown up together?

We were the first band to ever sign on Indie Recordings, back in 2005. We have a good working relationship with them, but obviously, there are bigger labels out there.

10. The cover has been designed by Subterranean Prints, why did you decide to work with them? What does this cover represent and how does it relate to the content of the album?

We wanted to try a new designer and we liked her work. I think she created a great artwork which both suited the music and our history. The picture of the old worn-down king, relates to Solemn in various ways, based on my subjective interpretation.

11. You have never overextended yourself when it came to offering concerts. Is it difficult to combine your daily life and attending a band to go on tour? Who would you like to offer a mini tour with?

In Vain has never been full time band. We have focused on studies, and now we all have full time jobs and families. Obviously, if we had spent some years touring non-stop, the band would have been a LOT bigger. That is how you build a band big. But to make a living of music is very hard... But we would love to grow the band and tour and play more festivals.  

12. With more than twenty years of career behind you, what do you think has changed the most in the music industry over these years? Is Norway still a reference country for black metal?

When we started, you could make good money from album sales. Now that is all gone. Also, touring was way less expensive. Post covid, touring has become very expensive. I know many bands that have stopped touring and only play festivals. I absolutely think Norway is still a reference place for Black Metal and I do not think that will ever change. In Vain is not a black metal band though. 

13. 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 do not exactly remember the first concerts I attended or what albums I bought. But I did not start out with metal. The first band I played in, played grunge. Later I joined a metalcore band, before I gradually ventured into harder types of music. In terms of playing the guitar, it was something my parents pushed me into. I hated it for years.. It was not until I joined a band that I started to enjoy it. 

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

It depends on how you define it I guess. I have never been a fan of the very raw types of black metal recordings, where the sound is crap basically. I think Emperor is perhaps the best Norwegian black metal band, although some might say it is not “true” black metal because they used synths and strings. 

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

Thanks a lot for taking the time to do this interview and thanks for your support! Hope to see you live one day


Nortt ‎– Endeligt 18,99 €

Vinyl, LP, Album, Repress



Origen: Finlandia, Espoo

Formados: 1999

Estilo: Blackened pagan

Temática: Brujería, mortalidad, naturaleza, paganismo y pestilencia

Enlaces: BandcampDraugnim, facebook, y spotify


  • Chimedra Voces
  • Morior Guitarra y teclados
  • Turms Bajo

  • The Paynim Crusade Demo 2000  
  • Past Aesirs Grace Demo 2001  
  • Earth Gave Us Birth, Our Blood We Give in Return Demo 2002
  • Sworn to Waves Demo 2007  
  • Northwind's Ire CD 2008
  • Horizons Low CD 2010  
  • On Riven Shores Single 2010  
  • Vulturine CD 2016
  • Verum Malum CD 2024

Cuarta entrega para finlandeses, un nuevo trabajo que se ha gestado a lo largo de los últimos ocho años y que muestra una banda con un sonido poderoso que sabe combinar a la perfección su vertiente más pagan con estilos como el black o el death. El álbum suena poderoso y directo desde el inicio, un sonido oscuro y profundo se abre paso desde la inicial "Traitor’s Crown", sustentada en un poderoso sonido de batería de ritmo alto, que se ve rodeado de un entramado de guitarras que nos acerca a terrenos más death, sin embargo pronto comienza a pulular ciertos sonidos de teclados que logran ofrecer una orientación más pagan al conjunto, al mismo tiempo que cierta épica y una atmósfera pagana dejan su impronta en el sonido. Draugnim ha sabido combinar en este "Verum Malum" una temática que gira en torna a la maldad inherente al ser humano, con un propuesta musical que muchas veces roza lo agresivo, poderosa en un planteamiento de sonido rápido y preciso, no exento de cierto tecnicismo, con un batería demoledora y unas voces profundas y oscuras, todo ello aderezado con unos teclados que no restan crudeza alas composiciones, sino que sirven para crear cierta épica y darle también un carácter más inmersivo a la música. Bien es cierto que ese carácter más pagan de la  música de Draurgnim se deja sentir en la segunda parte del álbum, de la mano de una apuesta más firme por una atmósfera más pagan. Un cuarto álbum que vuelve a ofrecer un sonido inspirado en el black de los noventa, pero que en manos de Draugnim es una pieza diferente. (7,8).

1. Traitor’s Crown 08:49  
2. Ver Sacrum 07:40  
3. Salt the Earth 07:46  
4. Lifescorn 05:58  
5. Aeons 09:14  
6. Deeds of Strife 09:40  

Vinyl, LP, 45 RPM, Album

martes, 23 de abril de 2024


 1.¿Por que decide crear Mordran?¿por que elige el nombre de Mordran y a que hace referencia?

Llevo haciendo música de forma intermitente desde hace más de una década, pero en 2021 llevaba tiempo sin grabar nada. Mordran surgió simplemente como una forma de dar salida al impulso creativo que siempre me instiga a crear algo nuevo. El nombre de Mordran es el nombre de una divinidad de los bosques que asiste a los viajeros que se pierden en sus profundidades y cuida de las almas de los que nunca encuentran un camino de salida. Este fue el concepto de partida del proyecto y una gran parte de las canciones que grabé hasta ahora hacen referencia a esta divinidad de alguna forma.

2.Su procedencia es española, sin embargo se muda a Suecia y es cuando pone en funcionamiento Mordran, ¿qué encontró en Suecia que le sirviera de inspiración para ponerse a componer?¿qué principales diferencias encuentra entre lo de ser músico en España, con respecto a Suecia?

Suecia es un país en el que la naturaleza es omnipresente. Tiene un área casi del mismo tamaño que la de España, pero un quinto de su población. Esto resulta en que la mayor parte del país esté todavía cubierta de bosques, y en que la mayoría de poblaciones estén rodeadas de naturaleza. Es el ambiente perfecto para que fluya la inspiración a la hora de crear Black Metal. En cuanto a diferencias entre España y Suecia en lo que respecta a ser músico, personalmente no encuentro muchas ya que solo trabajo en el estudio en solitario.

3.Desde la creación de Mordran prácticamente sale a edición de álbum por año, ¿cómo ha afrontado la composición y grabación del nuevo álbum?¿qué marcas de instrumentos ha usado en el proceso?¿de donde surge su inspiración a la hora de componer?

Suelo componer y grabar siempre que tengo el impulso de crear algo. A veces pasan años entre estos momentos, y a veces solo semanas. Como trabajo solo en mi propio home studio, la producción de cada álbum suele ser bastante rápida. Cuando tengo uno de estos impulsos creativos y las circunstancias de la vida me lo permiten, puedo llegar a dedicar 12 horas al día o incluso más al proceso de grabación. Esto, combinado con el hecho de que suelo crear álbumes que duran entre 20 y 40 minutos, hace que sea posible sacar trabajos nuevos con una frecuencia alta. En cuanto a de dónde surge la inspiración, la respuesta varía en función de cada trabajo. En el caso de The Midnight Woods, el concepto principal proviene de una técnica de relajación que uso cuando tengo problemas de ansiedad e insomnio por las noches, y que consiste en imaginarme perdido en un bosque inmenso. De ahí el título del álbum. Los instrumentos que uso también varían, sobre todo en el caso de las guitarras. En los primeros álbumes de Mordran usaba principalmente una SG Epiphone de los 90 y, en algunas canciones, incluso una guitarra electroacústica conectada a un pedal de distorsión. En The Midnight Woods usé principalmente una guitarra Harley Benton R-446 que me tiene muy sorprendido por su precio. Para las partes acústicas, suelo usar una guitarra clásica Cordoba. En general, no creo que importe mucho la marca de los instrumentos en un genero lo-fi como lo es el Black Metal.

4.Su nuevo álbum “The Midnight Woods” puede ser descrito a grades rasgos como ambient black metal, sin embargo es innegable la influencia de otros estilos como el raw, el dark ambient, depresivo, etc, ¿cómo describiría el sonido de este nuevo trabajo y que principales diferencias podemos encontrar con su predecesor?

Creo que Black Metal atmosférico es una buena etiqueta para el álbum, aunque es cierto que hay influencias de otros estilos que también están presentes. En general, es un sonido enfocado en la atmósfera y la textura en el que las melodías y las voces toman un papel secundario. Within and Beyond, el anterior trabajo, es mucho más melódico.

5.En algunos medios se ha comparado su música con la obra de Burzum, sin embargo también es cierto que usted describe su sonido como black antifascista, ¿qué conexiones pueden existir musicalmente entre su obra y la de Burzum?¿Cree que todavía es necesario posicionarse políticamente a la hora de dar a conocer su música y alejarse de cualquier conflicto que pude suscitar?

Creo que es muy difícil hacer Black Metal atmosférico sin que haya algo de influencia inherente de Burzum y, especialmente, de Filosofem. Es una pena que fuera creado por una persona con ideas tan erróneas. Creo que es importante tener una posición política clara. Incluso si Mordran no es un proyecto explícitamente político, todo el arte tiene un aspecto político inherente. Especialmente en un ámbito artístico con un origen tan problemático como el del Black Metal, es importante condenar el fascismo y hacer todo lo posible por crear un ambiente inclusivo.

6.Su música y letras parecen estar ambientados e influencias por la naturaleza, ¿qué es lo que más le ha impresionado de Suecia para poder plasmarlo en sus letras?¿qué otros temas abarca en sus textos?¿Los textos se adaptan a la música o viceversa?

Como indiqué anteriormente, la naturaleza es una gran influencia y aquí es omnipresente. En cuanto a otros temas líricos, depende bastante del álbum. Algunos de los temas más recurrentes son el escapismo, el ocultismo, y cosmicismo. En general, los textos se adaptan a la música. Suelo pensar en una temática, luego compongo la música, y luego escribo las letras.

7.Todo el proceso de grabación del álbum ha sido realizado por usted, ¿cómo afronta este proceso, con que partes se encuentra más incomodo a la hora de afrontar su grabación?¿sopesó la posibilidad de contar con ayuda externa en algún momento?

Mi parte menos preferida siempre es grabar las voces, por lo que en algún momento sí que consideré buscar a un vocalista, pero nunca llegué a hacerlo. En general, prefiero la idea de tener completo control creativo sobre el proyecto.

8.Aunque el álbum está solo disponible en formato digital, en breve llegará una versión en cd a través del sello discográfico Fiadh Productions, ¿cómo surge la posibilidad de editar por primera vez en formato físico su música a través de un sello discográfico?¿cree que este es el espaldarazo definitivo para su carrera?

Me contactaron ellos para ofrecerme la posibilidad de sacar el álbum en cassette. Fiadh es un sello de ideología animalista y muy inclusiva con la que estoy totalmente de acuerdo, por lo que acepté su oferta. Es una gran oportunidad y de gran ayuda para expandir la audiencia del proyecto, pero mi objetivo no ha cambiado: sigue siendo hacer la música que yo quiera, cuando quiera.

9.Todas la portadas de sus álbumes están profundamente inspiradas por la naturaleza, el de nuevo álbum no iba a ser menos, en esta ocasión es obra de M.Casas., ¿en que momento decide trabajar con él para la portada del álbum?¿de donde procede esta fotografía y por que decide emplearla?

M.Casas es simplemente el seudónimo con el que publico mi propio arte digital y el arte de The Midnight Woods fue hecho especialmente para el álbum.

10.Como comentaba a anteriormente, Mordran comienza su andadura con su llegada a Suecia, ¿qué es lo que más le impacto musicalmente de Suecia?¿qué principales diferencias hay entre la escena de black metal de un país como Suecia y España?

Las bandas de Death Metal melódico suecas, especialmente In Flames, fueron uno de mis primeros pasos cuando empecé a escuchar metal hace muchos años y siguen siendo una influencia para mí a día de hoy. En cuanto a Black Metal, la verdad es que no conozco demasiados grupos de aquí, por lo que tampoco puedo comparar mucho la escena con la española (de la que tampoco soy experto, a decir verdad). Sí que hay un proyecto de Dungeon Synth underground de Gotemburgo que me gusta mucho, Skkugkonungen, que también sacó un álbum recientemente con Fiadh. Muy recomendado para fans del Dark Ambient y el Dungeon Synth.

11.No se si ha sopesado la posibilidad de realizar una gira o piensa en Mordran como un proyecto de estudio, pero imaginese por un memento que puede salir de gira con Mordran, ¿con quién le gustaría compartir cartel?

Mordran será siempre un proyecto de estudio, pero si pudiera compartir cartel con cualquier grupo de mi elección escogería a Agalloch, que recientemente han empezado a dar conciertos otra vez después de varios años de hiato. Sus álbumes me parecen los más interesantes de la escena metalera de las últimas décadas y son una gran influencia para mí.

12.¿Cómo fueron tus comienzos en las música: primeros conciertos a los que asistes, primeros álbumes que compras?¿Qué echo en tu vida te empujó a querer ser músico?

Cuando me preguntaban de pequeño qué quería ser de mayor, solía decir que músico. Tan pronto como aprendí a usar un ordenador de niño a finales de los 90 empecé a intentar crear música con un programa que había de aquella, Dance Machine. Pero no fue hasta que tenía 14 o 15 años que conseguí mi primer instrumento de verdad, un bajo eléctrico. Poco después me compré también una guitarra y empecé a aprender a grabar mi propia música. A partir de ahí fue un largo proceso de prueba y error hasta que empecé a conseguir resultados con los que estar contento. En aquella época también empecé a coleccionar álbumes en vinilo. Algunos de mis favoritos en mi colección son Ancient Sorrow, de Fen; Septembre Et Ses Dernières Pensées, de Les Discrets; y una edición especial en ámbar translúcido de The Serpent and The Sphere, de Agalloch.

13.¿Qué álbum representa para ti la esencia del black metal?¿qué últimos álbumes has comprado?

Sin duda The Marrow of the Spirit, de Agalloch. Creo que su mezcla de Black Metal, Dark Folk y Rock es la mejor muestra que existe de hasta dónde se puede llevar el género al mezclarlo con influencias externas. Últimamente solo compro música en digital, pero el último álbum que compré fue Vermis Soundtrack [Restored], de Bordyceps. Es un trabajo de Dungeon Synth/Chiptune pensado como la banda sonora para Vermis I, un videojuego ficticio creado por un artista español llamado Plastiboo que usa el libro guía para un juego que no existe como medio para narrar una historia. Suena raro, pero es un proyecto artístico muy interesante.

14.Muchas gracias por tomarte el tiempo en contestar estas preguntas para Black Metal Spirit, si quieres agregar algo para los seguidores de Mordran este es el lugar. Espero que las preguntas sean de tu agrado.

¡Gracias a vosotros por la entrevista! Y gracias también a todo el que escuche mi música.


Katharos ‎– Of Lineages Long Forgotten 35,99 €

Vinyl, LP, Album, Limited Edition, Ghost,Gold Splatter

lunes, 22 de abril de 2024


1. Adon begins its journey around 2019, when did you decide to create the band? Why did you choose the name Adon and what does it refer to?

The name ‘Adon’ stems from ancient etymologies and could mean “lord” or possibly even “father”...most commonly, its used as “lord”. Thematically, we felt it appropriate. Practically, it's nice to have an “A” name on a list, because it's always near the top! haha.

2. You made yourself known with “Arkane”, your first EP released in 2020, now you are presenting your first album “Adon”, what was the composition and recording process of this new work and what main differences can we find with “Arkane?” ”?What brands of instruments have you used in the process?

The composition process was essentially the same…Nath and I would send each other ideas back and forth to develop the arrangements for riffs, etc. each new idea would inspire some further exploration of what a certain passage or rift could sound like, and that would continue on until we both felt like we had exhausted every idea that we could for each song. The recording process was quite different for the album though…We recorded at a proper studio for all of the guitars and bass and some other sounds, and James’ set up for his drums had been significantly upgraded since the EP. So all together the sound quality was raised beyond what was possible for the EP. 

As far as the instruments go, you can find James’ drum set up on his YouTube channel or on his socials, etc. for guitars and such, we just used whatever we had on hand. An old Telly for one guitar, a Schecter E-1 ELS Evil Twin for the other. The bass was unremarkable as well. I do know that Dave Otero did some kind of magic on the guitars in mixing.

3. Your sound is based on a death/black base, in which thrash influences can also be found. Does the sound of the new album respond to the sound that you have been looking for, for example, since the time of Argonath? How would you describe the sound of the album to Who hasn't heard it yet? What bands and styles have been an influence on you?

You must have done some digging to find ‘Argonath’! I think that the sound on this album compared to previous endeavors, represents the both of us equally. It really is an amalgamation of extreme metal sound, and it is a journey. Many bands influence us, though it's mostly rooted in early/late 90s era extreme metal. It's difficult to pinpoint exact bands that influenced the record because we really wrote it in a sort of creative vacuum without listening to other things. But in general, black, death, thrash, and avant-garde are probably the biggest core influences. 

4. In almost all the songs you have the collaboration of a guest musician, where does the idea of being able to have these collaborations come from? Have these collaborations contributed their own ideas to the composition of the songs or did they simply participate in what was requested? 

Including guest musicians was really just because I like working with people creatively. I was lucky enough to already know, or had recently developed relationships with all of the guests in the album. The line of thinking was, “man…you know what would sound amazing right here….?” and go from there. I actually reached out to even more people to be involved, but given touring schedules, other commitments, etc. it didn't work out for some. Maybe next time!

The ideas for what they added came from myself and Nath and we worked together to capture the sound we needed for the part or track.

5. Your lyrics cover different topics, from war, to legends or the cosmos, where do these ideas for the lyrics come from and where can these themes come together? Do the lyrics adapt to the music or vice versa?

I've stated this before in other places, but lyrically it's fairly standard metal fare. The universe and our place in it inspires creativity for us. The music is the glue that ties these elements together, along with story. An element of storytelling is present in our songs as well. 

I think a way that we differ might be that every song (save for Azimuth) includes lyrics in Olde English, which adds to the immersion of certain themes.

Usually, a theme would be chosen for what a song could be about, then the music would be written, and once a solid base was in place the lyrics would begun to be written. Everything would be tweaked together after that for cohesion.

6. Have you done the composition, recording and mastering process yourself or have you worked with a producer?

We didn't really have a producer in the traditional sense. We were our own producers, but we worked with other professionals for tracking, mixing and mastering. I would assemble our demos and mix those, but would never try my hand at mixing or mastering for release. 

7. All the song titles on the new album begin with the letter “A”, was this something premeditated? What were you looking for with this?

The idea of starting every song with an “A” started with our EP and will continue for future releases.You'll notice on the EP that each song starts with an “A” as well. With the first song on that EP being titled “Alpha”, in other words, the beginning. 

To me, it's another way to tie to a central theme. We're “that band with the A’s” now as well, Haha! We found the idea compelling. We also utilize the ancient letter “Æ” as it is heavily present in Olde English, and many of our songs involve ancient Saxon or Viking imagery.

8. For the physical CD edition you have worked with the record label The Metalhead Box, is this an important step for you when it comes to being able to strengthen Adon? How did the possibility of working with The Metalhead Box arise?

They reached out to us about including the album in their April subscription box. We need all the help we can get with promotion and getting the word out, so it really was a no-brainer for us! I've been able to watch a few unboxing videos, and the response to our album being included is always met with a…”What the hell is this?” Haha. We're super grateful that they reached out to us and thought to include us!

9. On your cover you maintain the dark and sinister tone, who designed the album cover, what does it represent and how does it relate to the content of the album?

I conceptualized, designed and created the cover for the album myself. It's specifically based on the self-titled track off of the album. It shows the character of the ancient king that the song’s narrative is about. It also features visual elements that are particular to other songs. Like the cosmos, a black hole, etc. 

10. Is there a possibility that we will see Adon offering a concert one day? 

We are definitely trying to figure out how something like this could work. For us, what would make for a truly memorable experience would be to include all of the artists in the way that they are present on the album. That presents an obvious challenge, especially as it would relate to including James and some of the other touring musicians. We are throwing around some ideas though! We'll see what pans out.

11. What is your opinion of the black metal scene in a country like the USA? What bands would you recommend from your area?

I've heard the argument that black metal is actually oversaturated all across the globe. But I've seen some killer black metal bands that have absolutely been on repeat for me recently in the US! Bands like Stormruler, Valdrin and Hekseblad to name only a few.

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?

Humble beginnings! Haha. The scene we grew up in was rooted in early metalcore. We were stuck in that for a while until we were introduced to Emperor and COB, which blew our minds and we were forever changed.  Our families are musical, and Nath’s family has deep roots in music history, particularly with amps. We dove deep into everything quickly once we had been introduced to it, so we had tons of albums all at once. I remember a few of my personal favorite bands in the beginning were Emperor, Moonsorrow, Thyrfing, Ensiferum…who knows, maybe we've got some folk metal coming in our future! 😄 I think one of my first real extreme metal concerts was Finntroll.

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

This is a tough question. I suppose I have to go with my first introduction, Emperor. But specifically, Anthems. That will always be the first record I introduce to people new to black metal. As far as latest albums purchased…I would say the three I mentioned above: Stormruler, Valdrin, Hekseblad, plus Dodsrit and …And Oceans.

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

We want to thank everyone who has supported us this far, and hope you all are loving the album. You all will allow us to create more, and that's really what this is all about for us. Thank you! 🤘


Vinyl, LP