KHÔRA - INTERVIEW

 

1. Good afternoon, thank you very much for answering these questions. How are things going in Dublin?

Hails, all going as usual, thanks for reaching out to us.

2. Around 2012, Ole created Khora, initially as a one-man band. However, at that time, Ole was immersed in other musical projects. Why did he decide to create Khora and how did it fit in with the other bands he was in? Why did he choose the name Khora and what does it refer to?

Back in 2011-2012 after playing drums for many bands, I felt I had many musical ideas to bring to the table, so I decided to grab a guitar and start experimenting with it. I wasn’t sure exactly what the style was going to be so I wanted something to be mysterious and vague to name it and went for KHÔRA. It made sense to choose something Greek because they have such an interesting culture with rich history that wasn’t expressed much in the metal scene. In terms of black/death metal, we’ve all heard of lyrical themes the likes of satan, hell and death-related, I personally think it’s much overused and at this point pretty boring.

3. Over the years, even though it started as a one-man band, you've gradually added different members to Khora until it became a band. Why did you decide to gradually add members to Khora? Was it always an idea you had from the beginning, or did it emerge spontaneously?

I’m not a particularly good vocalist nor a keyboard player, so I decided to get people who know what they’re doing and from there it developed into a more serious band where each person brought their inspirations into the mix.

4. "Ananke" has just been released. How do you think Khora's sound has evolved compared to their previous album, "Timaeus" (2012)? Did Goran and Frédéric, the new additions to the band, have a significant role in composing the album? What was the writing and recording process like? What brands of instruments did you use?

It was very much the same process, but all the little mistakes from the past were now addressed and it was actually a faster process. I’m (Ole) the only composing person, otherwise Kjetil is composing the orchestral tracks. Goran and Frederic and Kjetil get the guitars+drums and record their instruments on it. I don’t know what the guys are using, but I use ESP LTD EC-1000 with EMGs for the guitars, and for drums I use Axis pedals, 2BN drumsticks and a mix of Paiste and Sabian cymbals.

5. The new album presents a somewhat more elaborate sound; special attention has been paid to sections such as the vocals, a darker atmosphere, and a more symphonic character in the compositions. How would you define the album's sound for those who haven't heard it yet? Where did you find inspiration for composing the album?

Yes ANANKE is definitely more refined. My inspirations come from many genres, but in terms of metal I would say Emperor, Mayhem, Satyricon, Arcturus, Dimmu Borgir, Thorns, Taake would be the main ones, among others.

6. The lyrics have a more philosophical and existential component. What concept underlies the album's theme? Why do you choose to address these themes in your lyrics? Do the lyrics adapt to the music or vice versa?

The lyrics adapt to the music and to the whole Greek mythology concept of the origin of the universe and creation of life and the journey of the soul.

7. There are a number of collaborations on the new album, from Rune 'Blasphemer' Eriksen (ex-Mayhem) to Kristian Niemann (ex-Therion) and a few others. How were these collaborations prepared and how did they fit into the album's sound? Did these collaborations also contribute anything to the composition of the album, or did they just perform their parts?

I choose the guest members according to where I think they would fit and into which song. These are top level professionals so the collaboration was very smooth with them. And no, no other person is composing the music, they receive the music ready and just need to fit their par tinto it as we discuss things.

8. Speaking of the album's more complete sound, you worked with different studios in different countries to complete the recording of the different parts of the album. How was the decision made to work separately with each of the album's instruments and vocals? Was it difficult to put everything together coherently?

Each studio serves the right purpose. There isn’t much thought behind it really. In terms of putting everything together, it’s like a story, it has to make sense, from that point of view it’s not complicated if you have an idea and a clear visión.

9. The new album will be released by Les Acteurs de l'Ombre Productions. From what moment did you know you were going to release the new album with them? What was the experience like working with them and leaving Soulseller Records behind?

I can’t remember when but Les Acteurs are very profesional and a pleasure to deal with. I hope they take us for future albums as well.

10. “Timaeus” had a more sci-fi cover, but the new album's cover seems a bit darker and more sinister. Who designed the cover for the new album? What does it represent, and how does it relate to the album's content?

The artwork was done by Simon Chognot (BlaekS) after taking my ideas and merging them to make sense in one painting. Ananke is depicted in it as the face, and has the golden spindle which we put as a golden spear. It illustrates the creation of life (DNA strands) coming from the “big bang” which is caused by the spear and as part of life, a snake represents the part we don’t want to see and try to avoid, but it is also created.

11. Are you already planning any live shows to present the album? Do you think it will be difficult to bring the broader, more elaborate sound of this new album to life? What can fans expect from your live performances?

We don’t gig as we all live in different countries.

12. Originally from Germany, you've been in a handful of bands before forming Khora. What was your experience like working with different styles of extreme metal in different countries? How do you think things have changed in the scene over the years?

It’s always great to have experience in different metal scenes in different countries. I would say that the most enjoyable time I had was in Hungary as I lived in the capital city. In Germany I lived in a small city so the scene was barely existent. In Ireland the metal scene is quite poor especially if we’re talking about black or death metal. There are only a handful of bands worth listening to.

13. How did you get started in music: your first shows, your first albums? What event in your lives pushed you to want to be musicians?

That’s a question that needs an essay to answer. I started drumming when I was a teenager after being introduced to Mayhem and Emperor. I probably watched Emperor’s Emperial Live Ceremony million times and looked at what Trym was doing. Then I joined some local bands and got to play in many gigs and learn from my own mistakes from gigs and studio recordings.

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

Emperor – Anthems to the welkin at dusk

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

Thank you for this interview and for spreading the news about our new album ANANKE.

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Malthusian / Suffering Hour ‎– Time's Withering Shadow 18,99 €

Vinyl, LP

SVART VINTER

 

Origen: Italia, Roma

Formados: 2021

Estilo: Black

Temática: ?

Enlaces: Bandcamp, deezer, facebook, instagram y spotify

Miembros:

• Andrea Maggioni Voces
• Emanuela Marino Guitarra
• Jacopo Simonelli Bajo
• Luca Gagnoni  Guitarra
• Luca Tiraterra Bateria

Discografía:

• Mist CD 2022
• Of Cold and Grief Single 2025  
• Torment Single 2025  
• Isvind CD 2025  

ISVIND (2025)

Estamos anta el segundo larga duración para esta banda italiana que ofrece un sonido black metal influenciado por la segunda ola y por un sonido de corte escandinavo que impregna cada nota. El álbum fluye de forma precisa, destacando diversos aspectos como pueden ser la guitarras capaces de ofrecer un más que delicado equilibrio entre crudeza y melodía, entre riffs portentosos que dejan un regusto a sonido clásico, a atmósferas gélidas y solitarias que hacen que el frío nórdico se cuele en el sonido del álbum. Un entramado de batería capaz de ciertas secciones de mantener un ritmo alto e implacable, pero también con la habilidad suficiente para dejar que el sonido fluya libremente y nos envuelva con ese halo de sonido clásico y frio. Lo mismo podemos decir de la voces, las cuales son capaces de encontrar ese difícil equilibrio entre melodía y crudeza, perfectamente adaptadas a un black de corte clásico, de paisajes amplios, de soledad y de contacto con la naturaleza. Todo el sonido del álbum deja un regusto a sonido black clásico, trabajando ese ambientación de soledad y de presencia de las fuerzas de la naturaleza  a partir de unos riffs que dentro de la aridez de algunas secciones nos trasladan a lo más profundo del black metal de los noventa, sin conformase con hacer un trabajo lineal, logrando que los cambios de ritmo permitan trabajar aspectos más atmosféricos y ambientales, que sirven para lograr un talante mucho más inmersivo, logrando ese difícil equilibrio entre tradición en la linea de un black de segunda ola y aspectos más reconocibles como influencias propias, ya sea en el trabajo de las texturas de las voces o en los cambios de ritmo que nos soliviantan en algunas secciones, Un trabajo muy recomendable para los seguidores de black de la segunda mitad de la última década del siglo pasado, atrapándonos en al inmensidad del  soledad de la oscura naturaleza que sirve de lienzo y sustento para su música. (8,1).

Non Serviam Records

1. Torment 04:17  

2. Frozen Tomb 03:56  

3. Isvind 04:40  

4. Ritual 03:51  

5. Abyss 04:37  

6. Where the Shadows Lie 04:02  

7. My Last Winter 04:55  

8. Of Cold and Grief 06:05  

9. Beneath the Night's Cold Gaze 04:48  

  41:11  

Grima ‎– Nightside (blue) 59,99 €

Vinyl, LP, Album, Limited Edition, Blue Transparent

ABYSSAL VACUUM

 

Origen: Francia, Lyon

Formados: 2017

Estilo: Black

Temática: Cuevas y ocultismo

Enlaces: Bandcamp, facebook e instagram

Miembros:

• Enno P. Batería
• Onbra Guitarra
• Sébastien Besson Voces
• Sylvain C. Bajo

Discografía:

• MMXVII EP 2018  
• MMXVIII EP 2019  
• MMXVII - MMXVIII Recopilatorio 2019  
• MMXIX EP 2019  
• MMXX EP 2021  
• MMXIX - MMXX Recopilatorio 2021  
• Abyssal Vacuum CD 2025

ABYSSAL VACUUM (2025)

Este es el primer larga duración de los franceses Abyssal Vacuum, una banda que surgió en 2017, como un proyecto de un solo miembro y que poco a poco ha ido alcanzando el status de banda, dejando entre medias cuatro EPs y un par de recopilatorios hasta llegar a este álbum homónimo. Estamos ante un trabajo con un sonido maduro y preciso, fruto sin lugar a dudas de todo el trabajo previo de estos últimos años. La temática del álbum se centra en la cavernas y en el ocultismo, algo de esto también esta presente en la ubicación que aparece para nombrar los títulos de los temas, más allá de que la propuesta es oscura y densa, muchas veces inmersiva en un espacio reducido, sin luz y de donde es difícil maniobrar, para ello se usa un black infecto, muchas veces influenciado por sonidos death, que acrecienta esa sensación de profundidad y violencia, con un apartado que parece querer dejar asomar un cierto tono melódico pero que de alguna manera acaba por sucumbir a la disonancias. Abyssal Vacuum han logrado crear una atmosfera asfixiante que muchas veces nos conduce hacia terrenos de desesperación, con unas voces cavernosas y profundas que dotan al sonido de mayor profundidad, mientras que la propuesta sabe jugar con diferentes intensidades y estructuras, dejando muchas veces el campo abierto a terrenos más ambientales, pero que se desgajan en arrebatos muchos más abrasivos de sonidos directos en donde el death tiene también cierto protagonismo. No podemos olvidarnos del delicado equilibrio que parece querer rodear al contenido del álbum, con un peso cmopensado entre agresividad y melodía, entre disonancias y estructuras más complejas, entre una oscura ambientación o un sonido más directo. Todo esto da como resultado un álbum de matices variados, de ritmos colosales unas veces y de ambientaciones muy logradas otras, para acabar por quedar atrapados en ese mundo subterráneo que sirve de inspiración a Abyssal Vacuum.(8,3)

Signal Rex

1. 43°23'51.0"N 40°21'35.3"E  

2. 44°13'15.2"N 3°21'25.4"E  

3. 37°11'18.4"N 86°06'10.3"W  

4. 17°08'51.0"N 88°48'45.0"W  

5. 17°07'42.1"N 88°51'02.5"W  

6. 27°51'03.6"N 105°29'45.7"W

Zealot Cult ‎– Karmenian Crypt 12,99 €

Vinyl, 12", EP, Limited Edition

LLOTH

 

Origen: Grecia, Eleusis

Formados: 1995

Estilo: Black, death

Temática: Luto, odio y paganismo

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

Miembros:

• Lefteris Gavalas Bajo
• Nicolas Sic Maiis Voces
• Thanos Shaffer Guitarra
• Vaelor Guitarra

Discografía:

• Dancing in the Dark Lakes of Evil Demo 1997
• I (Dead Inside) Single 2015
• Athanati CD 2017  
• Hellvegen Single 2024  
• Archees Legeones (Ancient Legions) CD 2025

ARCHEES LEGEONES (ANCIENT LEGIONS) (2025)

LLoth lleva en activo casi treinta años, entre medias diferentes sucesos han acaecido en su seno, seguramente buena tendrá esto que estamos ante su segundo larga duración. En esencia la banda se puede presentar como death melódico, black, thrash o celtic metal, algo de todo ello hay en este "Archees Legeones", pero para mi lo que más acaba por trascender de todo ello es la influencia y el regusto que deja a sonido black heleno clásico. El álbum tiene una buena dosis de melodía, tanto en las voces, cuando adoptan un carácter limpio, como también en su sonido, digamos que un death y un black melódico se reparten el peso de las composiciones, dejando por el camino un tondo de oscuridad y un tono que sabe sacar partido al black clásico. Si esto no fuera suficiente, influencias de un primitivo thrash también acaban por tener cierto protagonismo, como catalizadoras de ese tono melódico, arrojando algo de crudeza y rugosidad al sonido. No podemos pasar por alto también lo bien que se ajustan al contenido del álbum un sonido de cierto corte épico, que puede buscar su referencia en un sonido celtic, trabajado a partir de una instrumentación que es capaz de dar mayor empaque al conjunto,, llevando ese tono melódico hacia terrenos ancestrales y de influencias si cabe mucho más clásica. Un álbum que puede llegar a dejarnos ciertamente descolocados con sus tono épico y con una interpretación de las voces diferenciador, pero que a poco que el álbum va ganando recorrido, acaba por trascender ese regusto a black heleno de los noventa. (8).

Theogonia Records

1. Angel Wings 04:32   

2. Archees Legeones (Ancient Legions) 05:12  

3. Acherodas 05:29  

4. Dark Mountain 05:37  

5. Alpha and Omega 05:15  

6. Paianas 02:00  

7. Arise 04:40  

8. Mother 04:22  

9. Black Throne 04:59  

10. Doomed Black Years 04:52  

  46:58

 

Drowning Deeper ‎– Life Is a Failing Existence 19,99 €

Cassette, Mini-Album

COGAS - INTERVIEW

 1. How did the opportunity to create Cogas come about? Why the name Cogas and what does it refer to?

Davideath:The opportunity came about in 2015/2016 in London, through some Sardinian musician friends we had and still have in common! Pieronoia (Singer) sent me a message introducing himself, and from there we started talking about creating a band in London that would reflect our musical tastes. After several meetings and quite a few pints of beer, me being more into Swedish and American death metal, and Piero being more into old school black metal,we thought about merging and blending our ideas to define the musical path the band would take.

The name COGAS was Piero’s idea. It comes from Sardinian witches, who are historically part of the folklore of our old, decrepit Sardinia.

2. What does a band with a Sardinian component in its themes do in London? What ties do you have to Sardinia? Is it a coincidence that you have Lorenzo Balia on drums, also from Vultur, a Sardinian band that was recently interviewed in this webzine?

Well, we both moved to the UK, London, in 2014 more or less for the same reasons to build a decent working future, which was quite difficult to do in Italy at the time (and still is). I think I can also speak for Piero in saying that we also came here to grow culturally and mentally. 

As for Lorenzo Balia, although we had known each other for years, it was only in the summer of 2024 that we started working with him, due to the lack of a full-time drummer. We found the right balance to begin this new adventure with him, an amazing person and absolutely devastating behind the drums! We can't wait to play and share our music with everyone!  

3. What was the writing and recording process like for the new album? Do you still maintain the premise that you take care of this entire process yourselves? How do you think the sound has evolved compared to the previous album? What brands of instruments did you use in the process? Have Erick and Lorenzo, as new members, contributed in any way to the writing process?

The writing of the album began around 2022. The process has always been pretty similar to our previous albums and EPs. We like to start by discussing the theme we want to explore, both musically and conceptually. After that, of course, we spend months and months working on the songs, combining all the ideas we can to build a solid foundation, which we then refine over time until each piece comes full circle. The sound is definitely much more death-oriented and darker, but we also stay true to the melodic lines we love to convey through arpeggios and truly heartbreaking parts!

We used the following equipment (talking about guitars and bass): the Jackson X Series King V KVX-MG7, a 6-string Ibanez acoustic guitar, and an Ibanez EHB!  

As for Erick (bassist), absolutely, he was really important in the writing of the entire album, even though he joined the band with almost 4 songs already written. As for Lorenzo, he will be part of the upcoming EP and full album to come!

4. Your songs move easily into death metal territory, with a touch of black music in terms of darkness and atmosphere, but there are also aspects of other styles present, let's say in the background, that end up shaping the final result of the album. How would you describe the album's sound for those who haven't heard it yet? What bands and styles influenced you when composing the songs included on "Among the Dead: How to Become a Ghost"?

Yes, we definitely leaned more towards old school death metal, balancing it with aggressive nuances typical of black metal, something we think came out quite well. The sound is fairly modern, let’s say, but without going overboard a perfect blend for those who love these genres like we do. We hope we managed to strike a chord in the hearts and spirits of those who listen to and follow Cogas.

As for bands, we can mention a few like Cannibal Corpse, Suffocation, Belphegor, Mayhem, and Immortal, along with Deathcrush,Pungent Stench,Nachtmystium,Angelcorpse..

5. The themes of your songs cover different topics, one of them very particular to Sardinian folklore. However, for this new album, you've taken this theme a step further, delving into aspects related to suicide in Sardinian culture. Could you explain why you find this aspect interesting and why you decided to address it in the lyrics of the new album?

We decided to turn towards controversial themes concerning the place we come from, because we believe that extreme metal should also be a vehicle for uncomfortable topics. The Sardinian black metal scene is already full of bands that talk about our folklore; we simply wanted to aim for something different, to set ourselves apart.

6. I mentioned earlier that you've always handled everything related to the recording of your albums yourselves. Have you maintained this approach for the new album, or have you collaborated with a music producer or recording studio? What do you hope to achieve with this way of working?

Yes, the dynamics of our recordings have always remained the same, and as for the production, we simply continued our collaboration with Twilight Studio by Davide Tavecchia, which once again proved to be a powerhouse in terms of professionalism and in emphasizing our music, making it even more violent.  

7. Although the new album will be released on April 24th, it seems it will also be self-released by yourselves. However, your previous album, "Unconscious Sons of the Reptile God," was eventually reissued by UKEM Records. Is there a possibility that this will also happen with "Among the Dead: How to Become a Ghost," even if it's not on UKEM Records with another record label? Do you consider self-releasing the best way to maintain greater control over your musical production?

Cogas have been a self-produced band from the first EP up to today.

We’re proud to be part of the English working class, and since we’re not exactly swimming in money, I won’t deny that a bit of help and some recognition for the musical ethic we've been promoting for years would be more than welcome. Unfortunately, no one has shown real interest in the project.

We came very close to releasing our latest work with a label, but we couldn’t find common ground on fundamental aspects for me and Davide issues concerning the album’s aesthetics and length.

Davide and I are very uncompromising on certain things; we seriously believe that if you’re interested in COGAS, you need to respect our vision, a vision that has been cemented in our minds through years of sacrifice.

That said, COGAS have always had two or three allies working behind the scenes who have allowed the band to maintain visibility and dignity in the extreme metal underground, even as an independent act.

Anubi Press has believed in COGAS since the Unconscious Sons days and handles our promotion, and UKEM Records has consistently offered to reissue our albums on cassette  with great results in terms of sales.

At the moment, these are our only real sources of support to help give more visibility to a music project that’s hard to kill.  

8. A baptismal font with a seemingly desperate person on top of it, a pair of nuns, and three moons visible through a window in the back. Who designed the album cover, and how does it relate to the album's content?

The artwork was created by the talented Ilaria Gorgoni, also Sardinian, an artist with infinite patience and a sensitivity in approaching art that’s typical of those pure souls, now so rare in this scene.

The cover of the album features, at its center, a young man with his hands over his face, in a very dark moment of his life a young man struggling with depression, with addiction, a young man who wants to end it all… a thousand faces, one fate.

Beside him, we chose to place two Cogas (for those who don’t know, our name comes from these vampiric witches in Sardinian folklore), whispering wickedness and doubt into his ear, planting the seed of envy, betrayal, and self-destruction in short, our personal tribute to the demonic.

For those eagle-eyed like me, you’ll surely notice three moons outside the window, a reference to the cover of our previous album, and our way of saying that our hearts have a home in a liminal world, like that indecipherable light you find only at sunrise or sunset.

The cover is meant to pull you into that room, into that moment, where each of us has been at least once in our life.

9. You've released a live album in the past. How important is it for you to be able to perform your music live? What can your fans expect from a concert? What dates do you have scheduled to present the new album live?

Yes, we released a live recording from a show we played in January 2020, a truly amazing concert with a really engaged audience. Live shows mean a lot to us, and I think it’s the same for every band. It's a unique feeling to be on stage, focused, and sharing your music, something that’s the result of years of hard work and sweat!

Our live shows are always characterized by small but very dark stage setups; we believe it’s important to set ourselves apart from other bands, and we always try to do that!

The new dates are currently all scheduled for June in Northern England, as part of a mini tour with a truly fantastic lineup!

10. London is a vast, multicultural, and, I suppose, multidisciplinary city. How do you perceive the musical atmosphere that London exudes? What has surprised you most positively about the extreme metal scene in your city? What black metal-related venues would be a must-see? What new bands would you recommend?

London is truly massive. It has an incredible circuit of venues and especially underground bands, which makes it easier for us to get noticed. The atmosphere is fantastic; every gig is followed by lots of people, and after the shows, people come up to shake your hand, introduce themselves, talk about the performance both the good and the bad (I mean constructive criticism) , buy merch, etc. That’s just a big positive for us, as it is for all bands!

As for venues, we absolutely have to mention The Dev (a big hug to the great Chris!), and then there’s Helgi’s, another amazing venue shoutout to Stefania!

For new bands, I’d definitely mention Godking, Morktar,Sanhedrin and Vestia, really great raw black death metal acts!

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?

 Davideath: I got started thanks to my older brother Dino he brought home bands like Pink Floyd and Queen in the early ’90s, then over the years moved on to Pantera, Metallica, Sabbath, and Motörhead... but it was only when I started high school that I discovered the amazing world of Dream Theater (my all-time favorite band). From there, I gradually got into full-on death metal such as Cannibal,Deicide,Opeth and black metal, which led me, at the age of 14, to pick up my first guitar.The rest, as they say, is history. Becoming a musician is a dream for many young people who love music. It was mine too, and it still is, even if I haven’t reached massive levels of fame. I’m fully aware of that. But for me, it’s an incredible satisfaction to have a band, write music, and share everything with the band itself and with friends, near and far.

Pieronoia : .I grew up listening to Queen,that band definitely was my first input to rock n roll,in my family runs a very strong passion for dark tails horror movies and Tolkien,so I guess it led me to darker sounds.The first metal record that I bought was Vol3 from Slipknot,but my first real metal show that I saw was Entombed,when I saw LG Petrov on stage something clicked in me,I keep that memory as one of my most important ones.

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

Davideath: I think the essence of black metal, for me, can be found in albums like "Panzer Division Marduk," "Cruelty and the Beast" by Cradle of Filth, and of course Dimmu Borgir. Definitely "Sons of Northern Darkness" by Immortal as well. But also Urgehal, Darkthrone... There are just so many!As for recent purchases, I’ve bought all the latest albums from the Sardinian bands Vultur and Unholy Impurity definitely recommend giving them a listen!

Pieronoia: You made the million dollar question here.I really don't know,it could be Under the sign of the black mark,Black shining leather,Pure Holocaust,Aske,Antorn,1184,Frost,The Shadowthrone..too many,I can't pick one mate.Last record that I bought it's a live album from Slayer,live in Nottingham 1987,killer setlist,side A starts with reign in Blood,side B ends with Hell Awaits,if I were in that gig that night probably I would die in the mosh.

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

Davideath: Thank you for the interview! It’s been a great pleasure. The album is available on all platforms and social media, so go check it out, listen, share it, and keep supporting true underground extreme metal. 

Pieronoia:Thank you for this interview,I hope we didn't bore you too much.Keep listening to Cogas and always think with your head!

A big hug to all of you.

In Darkness,

COGAS  

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Aparthiva Raktadhara ‎– Adyapeeth Maranasamhita 24,99 €

Vinyl, LP, Album, Limited Edition

KHORA

 

Origen: Alemania

Formados: 2012

Estilo: Black atmosférico

Temática: Existencia, filosofía y universo

Enlaces: Facebook

Miembros:

• Frédéric Voces
• Göran Bajo
• Kjetil Orquestaciones y teclados
• Ole Batería, guitarra, letras, teclados y voces

Discografía:

Málenkij robot Demo 2016  

Timaeus CD 2020

Ananke CD 2025

ANANKE (2025)

Estamos ante el segundo larga duración de Khora, un proyecto formado en 2012 por le músico alemán Ole, ahora afincado en Dublín y por donde a lo largo de este tiempo han pasado varios músicos, unos para quedarse y dar forma a una banda completa, otros como simples colaboradores. "Ananke" son diez temas de un black metal oscuro y algo psicótico, con influencias de la segunda ola pero también con un indeterminado peso de secciones entro lo sinfónico y lo atmosférico. El álbum parece querer moverse por terrenos contemplativos con cierta dosis de melodía, las guitaras en conjunto se entregan a pasajes con cierto desarrollo y aunque son contundentes, parecen querer guiarse por una delgada linea melódica. Algo similar sucede con la batería capaz de marcar un ritmo constante pero no implacable, dejando espacio para que la atmosfera se vaya abriéndose paso desde lo profundo del sonido del álbum con un incierto carácter oscura y al mismo tiempo escondiendo algo oculto y desconocido. Las voces son un punto y a parte, en su gran mayoría optando por un carácter limpio, aunque con cierta ponzoña y también algo similar a un estilo que raya lo gótico, Por último hay que resaltar el aporte de teclado y orquestaciones, por si solos capaces de acrecentar el alcance del sonido y acercarlo a ese black sinfónico de los noventa en cierta medida, pero tampoco con un tono excesivamente marcado en ese sentido, sino que más bien sirven para tejer una intrincada atmósfera ambigua que bajo un manto de limpieza y melodía, esconde un trasfondo mucho más profundo en donde lo desconocido y la soledad habitan. (8,3)

Les Acteurs de l'Ombre Productions

1. Empyreal Spindle 05:18  

2. Legion of the Moirai 04:39  

3. Wrestling with the Gods 03:57  

4. In the Throes of Ascension 03:54  

5. Arcane Creation 02:33  

6. On a Starpath 04:08  

7. The Sentinel 04:01  

8. Supernal Light 04:33  

9. Crowned 06:47  

10. Q.E.D 01:19  

  41:09

Anomalie‎– Visions (2LP) 15,99 €

2 × Vinyl, 12", 45 RPM, Album

KANONENFIEBER

 LIVE IN OBERHAUSEN (2025)

En muy poco tiempo los alemanes Kanonenfieber han pasado de ser prácticamente unos desconocidos a entregar un par de álbumes y otros lanzamientos menores, entre los que se encuentra este, su segundo directo, siempre con la difícil tarea de que su temática bélica centrada en al I Guerra Mundial,  desde una vertiente critica sobre el conflicto, no se enquiste en la mentes de quien pueda pensar que están haciendo apología de la ultra derecha. La propuesta de Knonenfieber desde sus inicios se ha sabido mover por una delicada linea de black/death, con un cierto carácter melódico, algunas pinceladas de mayor agresividad y cierta épica, si esta fórmula en principio atractiva se logra trasladar a encima de un escenario, es bastante probable que estemos ante algo diferente, que conecta rápidamente con un publico totalmente entregado, como se puede apreciar en el audio de este "Live in Oberhausen". Si préstamos atención a los álbumes de estudio que contienen los temas aquí interpretados en directo, podemos por un lado apreciar que se pierde cierta calidad de sonido, sobre todo si prestamos atención a la contundencia y calidad del mismo, sin embargo se ganan otras muchas, sobre todo si escuchamos como un publico totalmente entrado vibra con cada tema. Y es que en directo el sonido tal vez resulte más crudo, sin tanto artificio, pero existe una mayor conexión con el público y la habilidad que tienen Noise para trazar un plan perfecto para ir dejando caer los temas como bombas de precisión, hacen que la temperatura del concierto no haga más que aumentar, sobre todo cuando se guarda para determinados momentos aquellas secciones que invitan a una mayor participación del publico, en donde tanto la épica que se desprende de su música en estudio, como esos pasajes ambientales se presten a cierta colaboración de sus fieles seguidores. Un álbum que recoge lo mejor que ha editado Kanonenfiber a lo largo de los años que llevan en activo de forma precisa, funcionando perfectamente con un publico totalmente entregado y un banda que no se guarda nada de una propuesta que por mucho que les pese a algunos sigue empecinada en revolver conciencias. (7,9).

Noisebringer Records

1. Grossmachtfantasie 01:27  

2. Menschenmühle 03:45  

3. Sturmtrupp 04:36  

4. Der Füsilier I 07:37  

5. Grabenlieder 06:41  

6. Der Maulwurf 05:27  

7. Panzerhenker 06:14  

8. Kampf und Sturm 04:12  

9. Die Havarie 06:22  

10. Die Feuertaufe 06:13  

11. Lviv zu Lemberg 06:04  

12. Waffenbrüder 06:23  

13. Verdun 01:03  

14. Ausblutungsschlacht 06:15  

  01:12:19  

Hecate Enthroned ‎– Virulent Rapture 21,99 €

Vinyl, LP, Limited Edition, Burnt Orange

SKUGGOR

 

Origen: Suecia

Formados:?

Estilo: Black atmosférico

Temática: Naturaleza, oscuridad y tiempos antiguos

Enlaces: Deezer, instagram y spotify

Miembros:

• M. Batería y voces
• X. Guitarra

Discografía:

• Drowning in the Undergrowth Demo 2022  
• A Life in Eternal Darkness Single 2023  
• Skogshypnos CD 2023  
• Whispers of Ancient Spells Single 2024  
• Whispers of Ancient Spells CD 2024  
• Requiems to the Moon Split 2024  
• Where Sun Resigns CD 2025

WHERE SUN RESIGNS (2025)

El tercer álbum de  los suecos es un inmersión en las profundidades oscuras, sombrías y gélidas de un bosque, al mismo tiempo que logra instaurar en el oyente un estado depresión y tristeza del cual no es capaz de salir. Construido en esencia con un sonido de guitarra y de sintetizadores que saben dibujar paisajes e una belleza hipnótica, con un componente melodía y un oscuro trasfondo que late en las profundidades de la mezcla, como una bestia que en cualquier momento puede hacer acto de presencia. El trabajo de guitarras es totalmente evocador, lleno de pasajes melódicos, que encierran oscuridad y rabia a partes iguales, al mismo tiempo que los sintetizadores pintan un lienzo de recogimiento, con un sonido misantrópico y triste, muy triste, con un componente depresivo también inherente. La intensidad se muestra comedida, siempre luchando por asomar a la superficie pero equilibrado por una faceta en alguna texturas de las guitarras que dotan al sonido de cierta crudeza, Esta crudeza también podemos descubrirla en las voces, en lineas generales oscuras y no exentas de cierta melodía, pero sirven también de contrapunto al ofrece cierto carácter crudo y de mayor intensidad. Por otra parte Skuggor tiene la virtud de lograr absorbernos con su música y llevarnos a la soledad de una oscura naturaleza, rodeándonos de una elaborada ambientación, sin embargo también es cierto que el álbum esconde un punto de rabia e intensidad que sin previo aviso muchas veces se abre paso para lograr despertarnos de ese ensoñación el cual el oyente puede caer. (8,3)

Naturmacht Productions

1. Writhe  

2. Meditations Upon the Roots of Infinity 05:38  

3. From Crescent to Oblivion  

4. For Every Wound a Hymn of Growth 06:34  

5. Coma Abyss, Devour Me  

6. Time Folds Spirals  

7. Grey Mountain of Sorrow 

Harlot's Nest ‎– Vasa Varicosa 24,99 €

Vinyl, LP, Limited Edition

EXILIUM NOCTIS

 

Origen: Grecia, Volos

Formados: 2021

Estilo: Black, death

Temática: Anticristianismo y satanismo

Enlaces: Deezer, facebook, instagram, soundcloud, spotify, tidal y youtube

Miembros:

• Alpha / Thyragon  Voces
• Moloch Bajo y guitarra
• Omega Guitarra y voces
• Vinderblod Guitarra

Discografía:

• Desecrators Single 2021  
• Night Witches (Die Nachthexen) Single 2021
• Crucify the Rats of Church Single 2022
• Fragments of Apocalypse CD 2022
• God's Demise Single 2024  
• Pactum Diaboli CD 2025

PACTUM DIABOLI (2025)

Exilium Noctis están de regreso con un segundo larga duración, un álbum con un sonido más elaborado que su predecesor, profundizando en aspecto del death, siguiendo con esa linea satanista en sus letras y contando con la colaboración del cantante de God Dethroned, Henri Sattler, aunque no es la única colaboración que aparece en este álbum. El sonido es contundente, sin apenas fisuras, con un mayor elaboración que su predecesor como antes comentaba, abrazando con total desparpajo un sonido black que se combina a la perfección un death de corte melódico, potente e incendiario. Batería voraz que marca un ritmo alto la mayor parte del tiempo, desgastando al oyente con un empuje brutal. Aspectos como las dobles guitarras se combinan a la perfección para estar al altura, escupiendo riffs ponzoñosos y cargados de violencia y podredumbre. Ni que decir tiene que las voces saben estar a la altura, ofreciendo un estilo que tiene al death como referencia, totalmente brutales y directas. Hay que destacar todo lo que complemente el sonido del álbum, por un lado tenemos un conjunto de teclados y arreglos sinfónicos que llevan al sonido a un terrenos de mayor contundencia, en donde el death de corte melódico encuentra el camino perfecto para abrirse paso y dejar su impronta en el grueso del conjnto del álbum. No podemos pasar por alto algunos pasajes más lentos, en donde se exploran terrenos con mayor atmósfera, aportando un extra de oscuridad, al mismo tiempo que cuando el álbum suena con mayor violencia, es cuando esas melodías de corte death se hacen mas presentes. Una banda que regresa con un segundo álbum de sonido preciso, violento y agresivo que combina el black, con un death melódico de manera totalmente apabullante (8,1).

Black Lion Records

1. Adventus Tenebrarum  

2. All Shall Burn  

3. Pactum Diaboli  

4. Fall of Babylon  

5. Deorum Cremator  

6. God's Demise  

7. Priest of Blasphemy  

8. Devil's March  

9 Rise of Serpent

Ysengrin – Liber Hermetis (2 LP, blue) 18,99 €

2 × Vinyl, LP, Compilation, Limited Edition, Blue