HELLEVAERDER

 

Origen: Holanda, Heerhugowaard

Formados: 2017

Estilo: Black

Temática: Ansiedad, filosofía, muerte, ocultismo y oscuridad

Enlaces: Bandcamp, deezer, facebook, Hellevaerder, instagram, spotify, tidal y youtube

Miembros:

• Arjen Kleiss Guitarra
• Bas Cuperus Guitarra
• Daan Bleumink Batería y guitarra
• Luuk Steemers Bajo
• Miranda Visser Voces

Discografía:

• Aan de aarde teruggegeven Demo 2018  
• Gehekeld Single 2019  
• Krijgers Demo 2019  
• Discography Recopilatorio 2020  
• Hellevaerder / Perfide Split 2021  
• In de nevel van afgunst CD 2022
• In mijn hand werd zij as Single 2023  
• Verloren vertellingen Split 2023  
• Krijgers van het niets Single 2025  
• Fakkeldragers CD 2025

FAKKELDRAGERS (2025)

Hellevaerder pertenece a esa nueva hornada de bandas holandesas que en los últimos años han surgido de forma imperiosa, forjando un sonido casi que característico en donde se dan cita diferentes influencias, rico en matices y sabiendo conjugar un buen puñado de ideas de forma sólida y solvente. Este "Fakkeldragers" da continuidad a  aquel "In de nevel van afgunst" (2022) que sirvió para abrirles camino y darse a conocer más allá de su Holanda natal, como quedo confirmado en 2023 con el split "Verloren vertellingen", en donde tanto ellos como Asgrauw, Duindwaler y Schavot se encargan de situar en el mapa del black metal a esta nueva hornada de bandas. Como en su predecesor, Hellevaerder dotan a este nuevo álbum de una compleja historia que encierra la lucha de luz contra la oscuridad, la muerte en contraposición con la sabiduría y para ello se sirven de un black que resulta hasta cierto punto complejo en algunos aspectos, pero que no se le puede negar ese tono entre oscuro, ambiguo, cargado y y por momentos también asfixiante. Sin un ritmo implacable, pero si sabiendo marcar aspectos como la contundencia y cierta agresividad, nos estamos moviendo por terrenos que priorizan el ambiente cargado, denso por momentos y profundamente oscuro. Hay un trabajo de guitarras que en cierta medida se puede calificar de complejo, con capas que se nutren de un tono directo y bastante agresivo, pero hay también unas segunda capa de guitarras que pretende arrojar algo de melodía al conjunto, todo ello salpicado de algunas disonancias y unos cambios de estilo y registro que conviven en armonía dentro de las composiciones. No hay que pasar por alto el trabajo a las voces de Miranda, ofreciendo agresividad y contundencia a pates iguales, sin apenas fisuras a la hora de afrontar un estilo de cierta complejidad como el que tramite este álbum. Un segundo álbum que se muestra si cabe más retorcido y complejo que su predecesor, sabiendo en todo caso, atraparnos con ese tondo de oscuridad, pero sobre todo sabiendo también encajar en esa, digamos nueva "escena" holandesa. (8,2).

Void Wanderer Productions

1. Een bepantserde kroon  

2. Krijgers van het niets 05:48  

3. De laatste dageraad  

4. Handen getekend in ijzer 05:41  

5. Fakkeldragers  

6. Schaduwen van satijn  

7. Waar wij vlammen trotseren  

8. In de ban der lusten  

9. Akelig gefluister 

Volcanic  ‎– Black Flame (Vinyl, 7", 100 Transparent color) 9,99 €

Vinyl, 7", 33 ⅓ RPM, EP, Limited Edition, transparente

SVART VINTER - INTERVIEW

1. The band started around 2021, initially as a studio project. The influence on the creation of Svart Vinter is also related to the band Veil of Conspiracy, of which some of you are a part. How did the idea of ​​creating Svart Vinter come about in the midst of all this? Why did you choose the name Svart Vinter and what does it refer to?

Svart Vinter was born in 2021 as a side/studio project of Luca Gagnoni and Emanuela Marino, also involved in Veil of Conspiracy as former members. While Veil of Conspiracy leans toward doom/death metal, Svart Vinter was conceived to explore something colder, more atmospheric, rooted in black metal’s raw emotional essence. The name Svart Vinter, which means “black winter” in Norwegian, captures the spirit of the band: bleak, frozen and introspective. It’s a tribute to the Scandinavian winters and the solitude they symbolize.

2. It's interesting because if we look at the origins of the musicians who make up Svart Vinter, we see that they have belonged to other bands and that the styles they played were very eclectic, from raw black metal to power, doom, heavy metal, and progressive. How confident were you when it came to defining what Svar Vinter was in relation to the other bands? Is there any influence from these bands on Svar Vinter's sound?

Yes, we’ve played in a range of genres, from doom and death to more, but black metal has always been a shared core for many of us. Svart Vinter is perhaps where we allow that passion to manifest in its purest, most atmospheric form. Naturally, the depth and dynamics we bring from other genres influence the compositions, especially in pacing, layering, and emotional weight, but Svart Vinter always circles back to that cold, evocative black metal feeling.

3. You'll soon be releasing your second album, "Isvind." How did the writing and recording process for this new album go? How do you think the sound has evolved between the two albums? What brands of instruments did you use in the process?

The writing of Isvind took place over the course of 2023 and early 2024. Each track was carefully constructed to maintain emotional intensity while refining our musical identity. We recorded guitars and bass at Mørk Natt Studio, drums at Bit Music Studio and handled vocals recordings, mixing and mastering at Decomposed Design Studio. This separation allowed us to focus deeply on each element.

Compared to our debut Mist, Isvind is colder, sharper and more immersive. We used Solar guitars – of which brand Luca and Emanuela are endorsers –, GHS strings, Swiss Picks, DI bass guitar and Janara drums with Diril Cymbals, R Stick and Blue Drum Heads — all chosen for their clarity and aggression, which we then enveloped in reverb and atmospheric layering to create that icy, windswept sound.

4. "Isvind" manages to deliver a sound that, in many ways, is reminiscent of classic Scandinavian black metal, with a non-negotiable atmosphere when forging that sound. How would you describe the sound of the new album for those who haven't heard it yet? Which bands and styles have been a reference for you when composing this album?

Isvind is a journey through bleak landscapes and internal voids. It’s melodic but unrelenting, atmospheric yet rooted in tradition. The influence of early ‘90s Scandinavian black metal is undeniable: bands like early Ulver, early Satyricon, Darkthrone and recently Mgła shaped the foundations. But we also draw from the more introspective side of atmospheric black metal and doom, injecting a reflective melancholy that we believe sets us apart. It’s not just aggression, it’s catharsis.

5. Your lyrics may contain references to nature, but you also leave room for the listener's interpretation, allowing them to explore their depths, their darkness, etc. How do you approach the lyrics of your songs? What do you want to convey to the listener with them? Do the lyrics adapt to the music or vice versa?

We write lyrics after the music is composed, once we’ve understood the emotional mood of each track. Nature is a recurring theme — not just as imagery, but as metaphor for isolation, decay, rebirth. However, we avoid overly descriptive or direct storytelling. We prefer indefiniteness, allowing listeners to immerse themselves and find their own meaning.

We aim to provoke introspection, to act as a mirror for the listener’s inner turmoil or serenity. The lyrics follow the music: they are shaped by the landscapes the melodies evoke.

6. You've worked in different recording studios, namely Decomposed Design Studio, Mørk Natt Studio, and Bit Music Studio. In each of these, a specific aspect of the recording was worked on. How did you decide to record separately from different aspects of the album? What do you think this approach has contributed to the final sound of the album?

We simply worked in our personal studios: Mørk Natt Studio is run by Luca Gagnoni, Bit Music Studio is Luca Tiraterra’s one and Decomposed Design is Andrea Maggioni’s own studio.

This segmented process allowed us to treat each instrument with focus and care, resulting in a more textured and cohesive final sound. It made the album more immersive and true to our vision as we worked directly on every aspect of it.

7. You used a photograph by Autumnal Mood Photography to illustrate the album cover. What do you want to convey with this image, and how do you think it relates to the album's content?

The cover photo — a desolate, snow-covered landscape captured by Andrea Maggioni under his Autumnal Mood name for his photographs — embodies the emotional and sonic tone of Isvind. We were drawn to the stillness and the bleak beauty of the scene. It suggests isolation, but also clarity. The absence of life is not lifelessness but introspection. That’s what Isvind is about: traversing the frozen emotional states of the human condition.

8. The album will be released by Non Serviam Records. How did the contact and subsequent agreement to release the album with them come about? What does it mean for you to have a vinyl release from the start?

Our collaboration with Non Serviam Records came about quite organically. Ricardo Gelok, the label’s founder, listened to Isvind and was immediately drawn to our sound and vision. He reached out to us directly, expressing genuine enthusiasm and a strong interest in working together. After a series of discussions where we shared our artistic direction and mutual expectations, it was clear that we were aligned. Signing with Non Serviam Records felt like a natural next step for the band and we are very honoured to be part of it.

Having a vinyl release from the very beginning is incredibly meaningful to us. Vinyl has a timeless quality that resonates deeply within the black metal tradition—it’s physical, raw, and immersive. It gives listeners a chance to experience the music in a more deliberate and tangible way, which is something we value immensely. For us, releasing Isvind on vinyl isn’t just about format, it’s about honouring the atmosphere and integrity of the album.

9. Do you already have any live dates lined up for the new album? Is it difficult to capture that more atmospheric part of your sound live, or do you make up for it with other facets like intensity, for example? What can your fans expect from a concert from you?

Yes, we’re scheduling some shows for the months to come. We’ll present Isvind in Rome on June 21st and then we will certainly try to bring Isvind in other cities and even outside Italy. Recreating the full atmosphere of album live is a challenge, of course, but our goal isn’t to replicate the studio experience note-for-note. Instead, we focus on translating the emotional core: the coldness, the urgency, the reflection. Expect intensity, atmosphere and emotional weight.

10. Italy has always been somewhat unknown when it comes to black metal, with a good handful of bands, but it has been somewhat difficult for it to become known outside its borders. That seems to be starting to change. How do you see the health of Italian extreme metal today, and what aspects and facets of Italian black metal do you think have emerged over the years? Which bands from Rome would you recommend?

Italy has always had a passionate underground, but perhaps lacked international exposure. That’s changing. There’s a new generation of bands embracing both raw tradition and atmospheric innovation. From Rome, many bands are worth checking out.

Italian black metal today has different faces and we think that’s a strength.

11. How did you get started in music: first concerts you attended, first albums you bought? What event in your life made you want to be a musician?

We each started differently: some of us drawn in by bands like Katatonia and Opeth, others through death and thrash metal. The first concerts left a deep mark: the energy, the atmosphere, the communion of noise and emotion. For many of us, it wasn’t a single moment but a slow realization: music wasn’t just something we loved, it was something we had to do. It became a form of survival.

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

Filosofem. It’s not just records, it’s a portal. Recently, we’ve been listening to new works from bands like Mgła, that continue to push the genre into emotionally resonant places.

13. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Svart Vinter's fans, this is the place. I hope you enjoy the questions.

Thank you for the interview and for your interest in our music. We appreciate the support from everyone who has connected with our music. We hope Isvind speaks to you as it did to us while creating it.

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

Hazelwyrm - Demo I 6,99 €

Cassette edition, limit to 16 copies, single side

IMHA TARIKAT

 

Origen: Alemania

Formados: 2015

Estilo: Black

Temática: Emociones, psicología y subconsciente

Enlaces: Bandcamp, deezer, facebook, instagram, spotify, tidal y youtube

Miembros:

• Ruhsuz Cellât Todos los instrumentos y voces

Discografía:

• Kenoboros EP 2017  
• Son Mistisizm Demo 2018  
• Kara Ihlas CD 2019  
• Sternenberster CD 2020  
• Kara Ihlas / Kenoboros - Initiation of Passion Bursting Recopilatorio 2020  
• Radical Righteousness Single 2022  
• Son of Ultradevotion Single 2022  
• Streams of Power - Canavar Single 2022  
• Brute Majesty Single 2022  
• Hearts Unchained - At War with a Passionless World CD 2022  
• Murderflesh Single 2024  
• Wicked Shrine Single 2025  
• The Day I Died (Reborn into Flames) Single 2025  
• Confessing Darkness CD 2025

CONFESSING DARKNESS (2025)

Imha Tarikat con cada nuevo lanzamiento parece querer dar un paso más al frene en la búsqueda de un sonido que acabe por definirlo, este nuevo "Confessing Darkness" ha cedido en cierta medida esa inmediatez del pasado para dejar un poso más profundo en aspectos como la oscuridad y una rabia, llamémosle crudeza, más latente subyaciendo en las profundidades del conjunto. Un tono de engañosa accesibilidad, con cierta melodía, nos da la bienvenida en el primer corte del álbum, pero poco tiene que ver con lo viene a continuación. Este primera toma de contacto, poco a poco se va mostrando más y más oscura, incluso pesada, se ha hecho un buen trabajo en aspectos como el bajo para dotar al sonido de cierto carácter más profundo, al mismo tiempo que el trabajo de batería, sin ofrecer un ritmo desmesurado, pero aun así empujando con suficiente fuerza y dotando de empaque y contundencia los temas. Sin embargo las guitarras si que se han trabajado a conciencia, ofreciendo un tondo de sonido que sabe aunar la crudeza inherente al genero, no exentas de cierta agresividad y con otras capas que usan un contrapunto de engañosa melodía que va cubriendo el conjunto y nos retrotrae de alguna forma a un sonido black de inspiración clásica. De esta interpretación de las guitarras logra emanar un tono que trabaja la oscuridad y la densidad que se muestra de manera más presente si cabe en las voces que transitan por ese plano más directo, oscuro y profundo, con algunas partes más dinámicas pero que conservan una rabia presente en la agresividad de las mismas. Un nuevo trabajo por parte de Imha Tarikat, que muestra una evolución lógica en sus sonido y una mayor madurez, a la hora de ofrecer un sonido más oscuro, sin descuidar su faceta agresividad. (7,9).

Prophecy Productions

1. Intro - Aufbruch 01:10   instrumental

2. Wicked Shrine 03:17  

3. Another Failed Ritual 04:48  

4. Voices of Bitter Epiphany 04:13  

5. Excellent Grief 04:46  

6. Confessing Darkness 07:45  

7. Chamber of Sin 06:56  

8. Horns in the Smoke 04:10  

9. Memoria Dei (Profanity and Devil) 04:57  

10. Pitch Black Reflection 04:20  

11. The Day I Died (Reborn into Flames) 04:26  

12. The Sun Goes Down (Thin Lizzy cover)  

  50:48

Ilmestys ‎– The Noose Hangs From Heaven 18,99 €

Vinyl, LP, Compilation, Limited Edition

ONIRIK

 

Origen: Portugal, Lisboa

Formados: 2002

Estilo: Black

Temática: Demonio, oscuridad y temas ocultistas

Enalaces: Bandcamp y facebook.

Miembros:

• Gonius Rex Todos los instrumentos y voces

Discografía:

• The Final War Demo 2003  
• Walking as a Shadow Demo 2004  
• Our Funeral Yet to Come Split 2005
• Songs for the Apocalipse CD 2005  
• Spectre CD 2007  
• After Centuries of Silence CD 2009
• Casket Dream Veneration CD 2015
• MMXIV-MMXVI Split 2017  
• The Fire Cult Beyond Eternity CD 2020  
• Curling Serpents Under Stone CD 2025

CURLING SERPENTS UNDER STONE (2025)

Gonius Rex regresa otra vez con un nuevo álbum de Onirik, proyecto que llevaba en el ostracismo durante un período de tiempo de unos cinco años, pero que por otra parte nunca ha estado olvidado del todo por su parte, buena prueba de ello es este nuevo trabajo, que cierra la trilogía de álbumes iniciada hace una década con "Casket Dream Veneration". Este trabajo es una pieza que deja un regusto a sonido clásico, a un proyecto muy personal por parte de Gonius y que se aleja de ese sonido raw del black metal portugués de principio a fin. El álbum fluye perfectamente con unos sonidos de guitarra precisos, equilibrados en ese faceta mas directa y agresiva y unas capas de melodía que equilibran la balanza entre agresividad, crudeza y cierta melodía, sonando todo ello de forma impecable, recreando un sonido que hace justicia a la escena black de los noventa en muchos aspectos. La batería no es implacable, logra mantener un ritmo elevado pero sin sobresaltos, suficiente para empujar con violencia cuando es necesario, pero también dejando espacio para que la oscuridad se cierna sobre el conjunto. Gonius ha trabajado también algunas secciones más ambientales, en forma de pasajes limpios de teclados y guitarras que en ciertos aspectos puedan recordar al dungeon synth, que añaden cierto tono más ocultista digamos al conjunto. Con las voces Gonius ha realizado un trabajo equilibrado, capaz por si solas de añadir ciertos tintes más agresivos y directos a la propuesta, buscando influencias en los sonidos clásicos de género, pero con una misión principal a la hora de darle equilibrio y sentido al conjunto con esa capa de mayor agresividad y una visión más oscura de las mismas. Un álbum que fluye casi de forma serena, con mucho alicientes en aspectos relacionados con el sonido escandinavo de los años noventa dentro del black, dejando un regusto a proyecto veterano, que sabe perfectamente mezclar el black más clásico con la oscuridad. (8).

I, Voidhanger Records

1. Funeral March 02:10  

2. All Is Hell, Hell Is All 05:29   

3. Night of Nights 04:10  

4. Undertaker of Men 06:09  

5. Argument with The Stars 01:24  

6. Curling Serpents Under Stone 05:43  

7. To My Last Day on Earth 05:32  

8. Depois da Batalha 05:41  

  36:18

Onirik  ‎– The Fire Cult Beyond Eternity 43,99 €

Vinyl, LP, Album, Red w/ Black Marble

HEXEREI

 

Origen: Finlandia

Formados: ?

Estilo: Black metal

Temática: Infierno

Enlaces: Bandcamp y spotify

Miembros: ?

Discografía:

• Aural Abyss Demo 2018  
• Oath Demo 2019  
• Ancient Evil Spirits CD 2021  
• Realms..... CD 2025

REALMS... (2025)

Cuando se trata de ediciones del sello Sentient Ruin Laboratories uno puede esperar la mayor parte de las veces bandas de un estilo que combinan brutalidad y violencia, haciendo gala de estilos como el death/black como seña de identidad, sin embargo Hexerie es una rara avis en el catálogo de Sentient Ruin Laboratories. El álbum es un golpe bajo, sucio y caótico de black metal disonante, hasta cierto punto complejo, encajado en un estilo no del todo alejado de cierto clasicismo. El sonido se muestra caótico en mucho aspectos, con un ritmo de cierta complejidad, muchas veces girando sobre si mismo, arrancando a intervalos entrecortados, dejando de lado cualquier principio establecido y dotando de ese tono entre la experimentación y la disonancia, rodeado de ese halo de oscuridad y cierta complejidad. Por su parte las guitarras tiene un sonido muy orgánico, desgranando riffs que sorprenden desde un plano bastante sencillo, por su complejidad y capacidad de sembrar un caos desmedido. El sonido es profundo y las voces no le van ala zaga, aquí podemos descubrir algunos acercamientos a terrenos más death, sobre todo por la carga de profundidad que a veces se acomete, pero manteniendo el pulso en unas texturas que en cierto sentido se afirman en el carácter mas clásico del sonido. El álbum puede llegar a ser caótico, pero es de agradecer ese carácter inmersivo y demencial que muchas veces nos acaba rodeando, siempre con un tono que sabe mirar al sonido black más clásico, con temas extensos que muchas veces se sustentan en un ritmo o melodía que se acaba por repetir, disonancias y cierta experimentación, al mismo tiempo que tienen la habilidad de presentar algo que en un principio se puede describir como sencillo pero en encierra un entramado de recursos que permite que la oscuridad y la densidad se acabe apoderando de nosotros. (8).

Sentient Ruin Laboratories

1. Omenstorm Massacre  

2. The Sabbath Red  

3. Across the Realm of Blood  

4. Skinless Prophecy  

5. Corda Plena Infernus Gloria

Onirik ‎– The Fire Cult Beyond Eternity (Red w/ Black Marble) 43,99 €

Vinyl, LP, Album, Red w/ Black Marble

BALMOG

 LAIO (2025)

"Laio" es el quinto trabajo de los gallegos Balmog, una banda que cuando comenzó su andadura hace más de dos décadas seguramente pocos se podían imaginar la trascendencia e importancia que iban a tener, primero para el black metal estatal y ahora ya, sin ninguna duda, a nivel internacional también. En sus comienzos Balmog hacían gala de un poderoso sonido en donde el black/death  que interpretaban se mostraba ponzoñoso, sucio y poderoso en esa febril búsqueda de un tono más oscuro y denso que sus compañeros de generación, profundizando en una propuesta que golpeaba al oyente con su brutalidad y honestidad. El tiempo ha pasado, el camino no ha sido fácil desde luego, parte de esa energía e inmediatez del inicio se ha perdido por el camino, pero lo que se ha venido sembrando a lo largo de estos años ha acabado por dar sus frutos, sobre todo si prestamos atención a la edición de sus últimos trabajos en donde han emprendido un camino sin retorno en búsqueda de una identidad propia, desprendiéndose de cualquier etiqueta que los encorsetase en esos sonidos black/death, para dar rienda suelta a una propuesta que bebe sin ningún tipo de ambages de elementos del todo clásicos como pueden ser el rock, la psicodelia y cierta actitud mucho más punk, lo cual redunda en una propuesta ciertamente más personal. El camino no ha sido fácil, en este transito seguramente habrán perdido algún que otro seguidor pero seguramente también habrán ganado muchos más, por que lo suyo ha sido un transito arriesgado, de sentirse cómodos en su zona de confort que tenían totalmente dominada y en donde podrían haberse  permitido escupir una y otra vez un sonido que tenían del todo trillado. Pero no, sus inquietudes era otras, sus influencias también y de forma lenta pero segura han sabido incorporarlas a su sonido. Hablamos por supuesto de sonidos que beben directamente del rock de los setenta, sonidos que ya estaban presentes en sus últimos lanzamientos de forma más tímida, secciones que abren las puerta a cierta psicodelia, a un enfermizo sonido más punk, secciones más elaboradas, en donde las guitarras fluyen hasta extremos inexplorados por ellos con anterioridad. Sin embargo el resultado final no se resiente en absoluto, la violencia y la oscuridad subyacen en las profundidades de su propuesta de forma innegociable como antaño, la intensidad siempre ha sido santo y seña de su sonido y ahora si cabe esta más presente, hay un extra de violencia en esa batería, el bajo dota de profundidad al sonido, la interpretación de las guitarras es una obra de orfebrería ejecutada con precisión, crujientes, violentas y agresivas, guardándose ciertas partes que fluyen con mayor soltura, deprendiéndose de artificios para abrazar la sencillez y la pureza de una pieza de rock clásico, y las voces, claro las voces, que sería de este álbum sin una soberbia interpretación de Balc, llevando al extremo tanto las partes más directas y cavernosas, con en aquellas en la cuales parecen querer asomar, ahora si que de manera notable, la rabia escondida en pasajes más calmados y limpios. "Laio" marcará el devenir de la banda de aquí en adelante, una propuesta arriesgada en donde han querido dar rienda suelta a sus influencias más clásicas, de sonidos que no están para nada arraigados en la tradición del black, pero si en otros estilos como el rock, con la habilidad suficiente, para ser coherentes con su pasado para acabar por parir un "Lamento" que seguramente se convertirá en eterno. (8,3).

War Anthem Records

. Falling 00:46  

2. Mud to Gold 06:20  

3. Tongue in Pieces 05:30  

4. Like God Who Knows 06:10  

5. Ortus Umbra 02:09  

6. Mashalam 05:06  

7. The Silence of the Trumpets 04:37  

8. Getsemaní 08:49  

  39:27  

Hexenbrett ‎– Dritte Beschwörung: Dem Teufel Eine Tochter 23,99 €

Vinyl, LP

VERHEERER - INTERVIEW

 Good evening, thank you very much for answering these questions. How are things going in Flensburg?

SMN: So far, so good. The launch of the new album went really well, and the feedback has been very positive. The reactions have been quite polarized, which I actually think is great.

1. You've been active since 2008. How do you remember the band's early days? How did the opportunity to form the band come about? Why did you choose the name Verheerer, and what does it refer to?

SMN: Fun fact: None of us actually live in Flensburg anymore. Basti and I originally founded the band, but he has since moved to a suburb on the edge of town, and I live in a village three years ago about 25 kilometers away. Still, I guess I’m a Flensburg guy at heart... Anyway, before Verheerer, we used to play together in a pretty untalented Black Metal band. We eventually split that up, but it still felt like we had something more to say. We wanted a German word because we liked the contrast and mixing of languages, and we’ve stuck with that approach ever since.

BST: Verheerer can roughly be translated to “devastator”, but what sounds pretty common in english, is a seldom spoken word in german language. The exact meaning can differ from listener to listener, but from my point of view, it`s all about the devastation of the spirit…

2. You weren't a frantically active band. Your first album was released in 2018, almost ten years after you formed the band. How were those first ten years of Verheerer?

SMN: We started working on songs at my place, some of which actually dated back to our old band. That was around 2008... Over time, home recording became more and more accessible, so we kept tinkering with our songs on the weekends. Things took some pretty wild turns—the recordings leaned more towards Black ‘n’ Roll and maybe had something in common with the then-“new” (now not so new) Satyricon. It probably took until 2012 or 2013 for the style to really take shape.

We kept trying to play with different people, but that never really worked out. Then, by chance, I met our first drummer, Sören. He said he’d be happy to record the drum tracks, even though he didn’t really know much about Black Metal. He mainly wanted to test how well his recording setup worked in his rehearsal space. That’s when things really started rolling.

Our first EP came out in September 2015—it was completely self-recorded and mixed (I basically just clicked around until it sounded good). We played our first live shows in June 2016. After that, we started working on the new album, which was released in January 2018.

3. However, between 2018 and 2019, your first two albums were released. It seemed like you'd found the right path, as you gained some recognition, but then the silence returned. Did COVID-19 have something to do with this new hiatus, or did you just need to disconnect for a bit again?

SMN: Yeah, Covid definitely played a role. We had a bunch of shows lined up, including some festival appearances in the summer, but none of them ended up happening as planned. That’s when we started releasing songs individually on Bandcamp and continued playing live here and there whenever possible.

Another turning point was Basti’s cancer diagnosis, which forced us to take an additional break. On top of that, three-quarters of the band now have kids and families, so it’s not as easy anymore to just knock out a few songs over the weekend with a bottle of Flensburger rum and a crate of beer.

BST: -> All cured by now!

We also went through some lineup changes on second guitar, which added to the chaos. But now we’re continuing as a four-piece—and it’s actually working really well. Everyone knows their lane and has a pretty clear idea of what’s expected.

4. You'll soon release "Urgewalt," your third studio album. How did you approach the writing and recording process for this new album? Have you completely distanced yourself from the sound offered on your previous album, "Monolith" (2019),? What brands of instruments did you use in the process?

SMN: My general approach to songwriting hasn’t really changed compared to the previous records. What’s new, though, is that I used a seven-string guitar on a couple of tracks, which means we’re now hitting A standard tuning in places — and I definitely want to keep exploring that range. What did change was the way I handled the material afterwards. I spent more time curating the songs, tightening the arrangements, and trimming the fat. Sometimes that meant cutting sections that sounded cool on their own but didn’t really help the flow. Other times I’d ditch a melody line just to give the rest of the chaos — blast beats, trem riffs, layers of screaming — more room to breathe. No need to cram in a flashy guitar lead when everything’s already on fire, haha.

I don’t think we’ve completely distanced ourselves from the sound of Monolith — it’s more about presenting it in a different way. Monolith was meant to sound compact, cold, and massive. With Urgewalt, we were aiming for something a bit more punchy, and Nino from Skulltone Sound really managed to capture that vibe. I recorded most of the guitar parts using Jackson, ESP, and LTD guitars.  

5. In some ways, your sound has always escaped comparison; the new album is no exception. However, in my opinion, there's a greater foray into classic sound terrain like heavy metal. This aspect is also evident in aspects like the vocals, which cover a broader range of registers. How would you define the sound of the new album? What bands and styles influence you when composing for Verheerer?

BST: we had no concrete style in mind when we started composing. For my part, SMN and I felt that those standard bm screams did not suit the musical direction we were taking any more. This already started with MONOLITH and now has been refined… Fun fact: most of the vocal recordings are happening at Simon's place, with him directing me. He knows my range very well, and so his orders and ideas are mostly: “That was good, but now, add some MANIA and do it again” Another thing is, that he added some really nice deep growls to the mix, which broadened the vocal part of the album. Besides that, we are both fans of old school heavy, thrash, death stuff, so a classical Maiden lead doesn't feel wrong in the whole picture. 

6. Your lyrics have always maintained an occult tone, however, the new album aims to be an outcry against the rise of Nazism and extremism. What themes do you address in your lyrics on the new album? Why do you think it's important to focus on this topic?

BST: It just felt right and necessary. If you take a look at bandcamp, you can see that we released the first incarnation of TOTENVOLK already in 2021. This song has the strongest connection to modern day politics on the album and was a first reaction to the rise of oppressive regimes and the growing stubbornness of the people  all over the world. 

We never wanted VERHEERER to become an outlet for our political views, but rather keep it otherworldly, but as art is always politic, we just could not keep quiet any longer. We are men, fathers and humans after all. The downward spiral is turning faster day by day, and the time to speak up and make your point is now or maybe  never. This does not mean, that the next record will deal with a war scenario again, but the underlying deeper themes that we deal with can be expressed in a multitude of scenarios. 

7. You've been linked to Vendetta Records for practically your entire musical career. How did this alliance, which began back in 2017 with the reissue of your first EP in 2017, come about?

BST: Totally easy. Stefan liked our stuff and contacted us with the plan to re release our firstly self distributed CDr “ARCHAR”. And since the collaboration is totally fair and Stefan is a great guy, we stick with him. No business hassle, just pure respect, fair treatment and friendship. 

8. You worked with Skull Tone Studios for the mixing, mastering, and recording of the album. What led you to work with this studio?

BST: We got the contact through our bass player MYR, who worked with him before. We just wanted to test how it worked out and we are satisfied. 

9. Misanthropic Arts was responsible for the album's artwork. Why did you decide to work with them? What does the cover represent and how does it relate to the album's content?

BST: He already did an awesome artwork for MONOLITH, and after SMN came up with the first idea for the URGEWALT cover art, we got in touch with him, got a first sketch, and we loved it. Besides, he is a great guy with integrity! “Sometimes misanthropic - always anti-fascist”

As you see, we decided to go for a more subtle interpretation of the overarching lyrical motifs: The will to self destruction, toxic masculinity, blinding rage ....” 

10. I suppose you'll soon start presenting the album live. What concerts do you have planned for the summer to present the new album? What can your fans expect from the live presentation of the new album?

BST: At this time, we have played one show with the new stuff at Hansemosh in Bremen…Up next are some shows in Germany and hopefully a few shows abroad in autumn. Our live shows are more or less rooted in the classic heavy metal way….No rituals, no staged acting, let the metal do the talking! We tried corpse paint for our first show, and we hated it :-D

Unfortunately, It`s very difficult for all four of us to find dates for shows, due to jobs, family etc.

Right now, we are looking forward to some pretty promising offers in autumn, but nothing set in stone right now. 

11. You've been active for almost two decades now. How do you think the black metal scene in Germany has evolved over the years? Which bands from Flensburg would you recommend?

BST: I think the german black metal scene always had a broad and interesting range of styles. At the moment I am proud to see more and more bands raising their voices against fascism and nsbm shit. Take leipzig based Wrahha for example. Classic bestial war black metal, with a strong antifascist ideology! 

Mhm, good bands from flensburg, or proximity? right now i cant find a good recommendation…(sorry to those great guys i surely forgot) But i am not that much into every underground band anymore…old and lazy fuck i am :-/ 

12. How did you get started in music: first concerts you attended, first albums you bought? What event in your lives pushed you to want to be musicians?

BST: For me, my journey into the more heavier fields of music started with my dad who, for reasons i can't understand, had a lp of body count which i blasted for weeks as soon as i got hands on it. ”Cop Killer”. Soon after that, somewhere mid 90ies i saw the cover of Sodoms “Agent orange” and bought it only because of the cover…from there it started to get worse :-D So black metal was the unavoidable path i had to take…Those times, i started screaming around in my room for hours, drove my dad mad and knew: this is what i wanted to do! (and as i lack any kind of real musical talent, this was the only path in music i could take :) ) 

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

BST: Hard question. Black metal has many facets, which, depending on my mood, are expressed in different forms…from raw folklore in first era ulver, truly grim and misanthrophic gorgoroth, bestial noise by beherit…. But to boil it down to the essence, i pick Panzerfaust by Darkthrone. It´s raw, it´s straight and there is absolutely no fun in this one. 

There might be albums more brutal, more raw, more misanthropic, but the combined effort in this one got me sold. Nowadays i rarely buy new records, but Sumerian Tombs got my money.  Oh, and i really dig HEXENBRETT at the moment <3 Obscure german heavy metal. 

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add something for Verheerer's fans, this is the place. I hope you enjoy the questions.

BST: Thank you and stay strong! 

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Hissing ‎– Hissing 3,99 €

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DROUTH

 THE TEETH OF TIME (2025)

Cinco años después de la edición de "Excerpts from a Dread Liturgy"(2020). que los situó en el panorama musical como avezados de estilos como el blackened death metal, los de Portland regresan con su continuación, un álbum que vuelve a refrendar que son unas mentes inquietas a la hora de dar forma a su sonido. Digo lo anterior porque ya se intuía ese carácter poco conformista de su anterior obra y en este "The Teeth of Time" han dado rienda suelta a las diferentes influencias que intuíamos en el pasado y que han eclosionado en forma de elementos thrash, crush o doom, con mayor protagonismo a lo largo del álbum que redunda también en un sonido más centrado en el black. El álbum se mantiene en la interpretación de un poderoso sonido, muchas veces de ritmo galopante y disuasorio, pero al poco que los dejas también se nos regalan extensos riffs que muestran ese componente más black de sus música, como mínimo luchando en desigualdad de condiciones contra el death inherente a su sonido. Y es que a lo largo del álbum ya no solo por la duración de los temas, sino porque esta vez si que parce que se ha hecho un apuesta firme por trabajar una atmosfera más densa y oscura, trabajada a partir  de un sonido de guitarra potente y violento, con riffs densos y profundos, elaborados en algunas secciones, con una carácter doom unas veces, otras más thrahs, que nos trae cierta variedad al conjunto y una propuesta que acoge de mejor manera los sonidos más cercanos la black. Aún así la potencia y la violencia de lo ofrecido se nutre igualmente del sonido cargado y denso de un death infecto, repleto de violencia y agresividad, acompañado también de un entramado de guitarras y una batería totalmente destructiva que da pie también unas poderosa voces que empujan sin piedad. El resultado es un álbum agresivo y directo, oscuro y denso que aún partiendo de un death clásico, se nutre de otras influencias y estilos que se muestran con mayor peso en resultado final de un álbum agresivo y destructivo. (8,4)

Eternal Warfare Records

1. Hurl Your Thunderbolt Even Unto Death 06:16  

2. False Grail 05:58   

3. The Teeth of Time 09:46  

4. Through a Glass, Darkly 08:50  

5. Exult, Ye Flagellant 10:02  

  40:52

Acacia's Temple ‎– Elegiac Pilgrimage 29,99 €

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