VUKARI - ENTREVISTA

1. Vukari is a band created this year, how and why you decided to make Vukari? What Vukari Unlike other formations in which you are involved?

Vukari has actually been a work in progress since late 2011, early 2012. It was formed because I had a lot of music stored away that I was going to use for a previous band but it fell apart, so I took it upon myself to continue with my music in Vukari, which was originally was a one man project with the help of the engineer/bass player in the band Spenser, now we have a full band.

2. Debuts with a full-length "Matriarch" How were the process of writing and recording this album? How would you define the sound of "Matriach"?

Matriarch was a long process for it was recorded over the span of a year rather than all at once. We recorded the guitars first to get down the structure of the songs, Then everything else was added. a very unorthodox way of recording I know, but I did not have a full band nor a drummer at the time to play on the recordings.

The sound of Matriarch would be best described as raw and melodic, I did not want to sacrifice any raw intensity for the sake of something sounding more melodic, which I think gives it a unique sound.

3. How is your way of working in the studio, Topics you compose together or there is a leader who imposes his judgment?

With Matriarch everything was for the most part composed by me, and that's pretty much how the writing process will go for this project. Spenser engineered and added the necessary atmosphere to the album along with playing the bass and writing his parts.

4. Today many groups are emerging that combine post-rock sounds or post-metal or other more typical of black, do you know other bands with a similar sound to yours? How black is the scene in Chicago?

There is quite the influx of bands in black metal incorporating different genres which is refreshing and it keeps the genre interesting and not so stagnant. For myself however, when writing I do not have a set style or genre, I just play what I'd want to hear and write the way I feel. With Matriarch I wrote most of it along to a short story I wrote, which is why a lot of the dynamics are emotional, why it could be quiet to heavy so dramatically in one song. The scene in Chicago is large and booming but we are a fairly new band so we are not very familiar with it, we hope to be though.

5. What are your main influences when composing, which bands have influenced your sound?

Vukari is sort of an escape for me, from society and just daily life, but lyrically and conceptually it is influenced heavily by society and daily life in a sort of fantastical way, using fictional stories and a metaphorical imagery. Sonically, it is influenced by music with a lot of atmosphere, metal bands like Drudkh, Neurosis, Darkthrone all the way to ambient music like Tim Hecker and Stars of the Lid.

6. On trying the lyrics to "Matriach", there is some history behind this conceptual album?

The historical elements on matriarch are pretty much just used metaphorically. I chose a protagonist in a weak and vulnerable state to be oppressed by someone with power and respect who promised her help, but quickly deceived her for his own personal needs. Showcasing a sort of unbalance in society, and her overcoming this oppression to reach a new understanding.

7. How were your beginnings in music, you first records you bought, the first concerts you attended? Why did you decide to make you a musician?

I played Violin in grade school and then took classical guitar, switched to electric guitar in my teens as I started getting into louder and more aggressive music, which the violin and classical could not convey the sound I wanted at the time. What made me want to become a musician was that I was constantly thinking of music in my head and needed a medium to express it, using the guitar as a vessel.

8. The album design has been carried out by Elizabeth Puetz, How does the ported with the content of "Matriach"?

Elizabeth did a great job on what I had envisioned the cover art to be. It is a wolf's skull (oppressor) in a garden of blooming flowers (a new start). Meaning that with the death of an oppressor, life can flourish and begin anew. 

9. Are you satisfied with the public and media response to "Matriach"?

Yes, we are still a very young band and most of the response has been positive so it is inspiring.

10. What can your fans expect in the upcoming Vukari terms of release dates, concerts?

We are currently working on our live show and will be hopefully playing locally in Chicago soon and around the Midwest. As for releases, I am constantly writing so hopefully we will be in the studio before the end of the year with an EP coming out then.

11. Thank you very much for taking the time to Balck Metal Spirit, if you want to add something for the followers of Vukari, this is the place. I hope the questions are to your liking.

Thank you for your interest and questions, we appreciate it!

WOMAN IS THE EARTH - ENTREVISTA

1. Woman is the earth, was formed in 2007, how was the beginnings of the band? Why did you choose the name of Woman is the earth and what it means?

Jarrod:  The band started in 2007, we were all working on other music projects at the time and decided to get to together and focus on a new project, which became Woman is the Earth. The three of us had known each other through mutual friends for several years and had similar tastes in art and music, so it came together very naturally. The name "Woman is the Earth" came about for several reasons. First, and most simply, is we wanted a name that as far as we knew, was completely original. We didn't want to have the same name as someone else. The name pays homage to traditional cultures that view the earth as a female energy, as a provider. We chose the name to actively step out of the pissing contest of what metal band can be the heaviest, most brutal, or most evil. We feel that by stepping away from stigma and expectations, we are allowed to write and focus on whatever we want. The music can speak for itself, with no preconceived expectations of how it 'should' sound. We also feel that in metal music, there is a vast under-representation of the feminine and masculine duality that exists in nature. The focus seems heavily one sided toward masculine energy. We are not feminists or advocates for some kind of social change or movement… we simply appreciate and understand that feminine energy is extremely powerful. Without it, there is no masculine energy. We felt it was important to show that understanding and step away from stigmas so that we can allow ourselves to create anything we can imagine. Anything we want. Whether its metal music or not.

2. How was the process of writing and recording of "This Place That Contains My Spirit"? How is your way of working in the studio?

Andy:  It was more tedious than any other work we'd done before.  The 3 of us took up the recording and mixing process in our house, miles out of town in the Black Hills National Forest.  We don't know a whole lot about recording and mixing so the whole thing was trial and error.  Each night we'd spend a few hours adding a couple of tracks and changing a few things, then sit on our deck and listen to it.  That went on for a few months.

3. What differences can we to find in "This Place That Contains My Spirit" regarding your previous work "Of Dirt"? How has the band's sound between these two jobs?

Andy:  TPTCMS has subtlety, experimentation, and atmosphere.  Of Dirt has some experimentation, but it's more obvious and short lived.  Of Dirt captures us in a more natural, present way.  We'll release another self-recorded album this year called Depths.  That album is a cleaner recording than TPTCMS.  It has a darker sound with more experimentation than the other albums.

4. Woman is the earth is deeply rooted by nature and especially for your home instead of Black Hill. What inspires you when composing? What aspects of nature are present in your lyrics and you speak to them? What are you trying to convey with your music?

Jarrod:  Nature, specifically our home in the Black Hills does inspire our music greatly. Nature is an extremely powerful muse… it holds so much energy, and mystery. It is harsh, but it is very real. The three of us have close connections with wilderness. We are not trying to change anyone else's outlook on nature or the environment. We write about what it means to us, and how it gives us power. It is not our only influence either… When composing, we also gain much inspiration from many different music styles and artists. We all have a great appreciation for different styles and techniques. We take inspiration from social situations, and psychological struggles as well. As far as our lyrics… In our first demo/album "of Dirt", the lyrical focus was on the cycles of life and death within the different seasons. It focused on how much impact the seasons have on nature, both the dark, brutal side along with the more vibrant, beautiful cycles at work. "This Place that Contains My Spirit" was also influenced by nature and our home, but focused more on human spirituality and primitive traditions in nature. It dealt more with a man's place in nature and the universe and focused mostly on appreciating old cultures and traditions. Just like there is much to learn from nature, there is much to learn from our own histories. Our upcoming album "Depths" is much more personal and experimental. Lyrically it focuses once again on man's place in nature and the universe, however, it goes much deeper into psychological aspects- dealing with the struggle of living, dreaming, and dying in the world we are in. It dwells on finding our place in the reality that we are in and the ability to ultimately find freedom and beauty whether it is in life, death, this reality or another.

5. How were your beginnings in music and especially in the black metal? What motivated you in creating a band of black? Are they still valid today those reasons?

Jarrod:  We all have different backgrounds with our beginnings in music. The three of us had a mutual interest in metal music and experimental, ambient music. The sound of black metal is what initially intrigued us about the music style. I had always appreciated the intensity, and emotion conveyed through the style. The musical style appealed to all three of us because of the amount of emotion and atmosphere one can inject into the music. Another appealing factor to black metal is the freedom and individuality associated with it. We do not feel bound to any 'scene', social or political movement associated with a genre. We feel the black metal style gives the artist infinite room for individual expression and power. Black metal seems to me to be one of the last bastions for magic, mystery, spirituality and freedom left in music. That appeals very much to the three of us. We don't feel connected to music that has no emotion, no power. We do feel however that with the freedom, emotion, and atmosphere in black metal, that we can expand on the sounds and emotions greatly. We feel that many artists are taking the black metal style and expanding on it, and changing it. We appreciate the progression and in fact, are writing music that strays from traditional black metal greatly. The reasons and appeal of black metal are still very much valid to us, and will continue to be throughout the life of our project, even if the style changes, the power of black metal will still be present. I think that is the beauty of such a powerful art- that it can manifest itself in a variety of styles and genres.

6. What bands is your reference when composing for Woman is the Earth? Five fundamental cds in black metal?

Jarrod:  What a great question! We are influenced by many artists from a variety of genres. Five fundamental black metal albums that have directly influenced us would probably be: "Dead as Dreams" by Weakling, "Two Hunters" by Wolves in the Throne Room, "Filosofem" by Burzum, "Ad Majorem Sathanas Gloriam" by Gorgoroth, and "Monument to Time End" by Twilight. As well as those black metal artists, one of our greatest influences is an electronic band called Boards of Canada. The way they compose and record music is very inspiring.

7. Unlike other bands that sound environment include compositions based on their keyboards, keypads you but you do not use everything you do with a good base guitar. Do you find it very difficult to develop the riffs that shape your songs?

Jarrod:  If I understand your questions correctly, yes, we do develop all our compositions on guitar first. We do use some analog synthesizers and keyboards in our music but most riffs all come from guitar. Often times the riffs are written on an acoustic guitar first to make sure we can clearly hear the notes we are playing, then they are transposed to electric guitar, generally tremolo picked. The riffs we come up with tend to come fairly naturally, without much difficulty. It is often times difficult though to connect different riffs to create a whole idea. I am sure that is a difficult thing to do for most musicians. We have found most success by 'jamming' our songs and letting riffs change and progress as naturally as possible. We try not to force sounds or riffs into our music and we rarely use mathematics or theory to write. In general, we listen and feel for what sounds the best without forcing anything.

8. "This Place That Contains My Spirit" was self-released but I know it very carefully, as the digi pack, comes packed with straw and a small sign. Who came up with the idea to offer your work in this way? There was no label interested in releasing "This Place That Contains My Spirit", or else you consider that this is the best way for a band like yours to work?

Andy:  Most times, if we can do something ourselves, we've opted to go that route.  There's been offers to help with distribution and other things, but we've really enjoyed handling everything.  The idea that the people who wrote, played, and recorded the music are the same ones who packaged it and are mailing it to you is a rare and special idea to us.  It's even more rare that some people would discover such a thing and want to hear it.

9. What can we expect in terms of concerts and upcoming releases?

Jarrod:  We do have a new release coming out called "Depths". It is being released initially on a US label in late 2013 and we may also be releasing it through a European label after that. "Depths" was written, recorded, mastered and designed by us once again, but is of a much higher sound quality than any of our last releases, and will be widely available on vinyl, cd, and digital formats. We are very excited about the new release! "This Place that Contains my Spirit" is also being re-mastered and re-released on cd by a European label. The date of that release is still to be announced. We do not have too much planned as of now in terms of touring or concerts. We have been on a hiatus this summer, but will be playing live again in the fall and winter of 2013. We hope to do some touring in the US to support the release of "Depths" early 2014. We will be updating our website with any news about those upcoming releases, live dates, new merchandise, etc. as soon as we can!

10. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for fans of Woman is the earth, this is the place. I hope the questions are to your liking.

We just want to say thank you for the great questions! It is a wonderful feeling to have people from all over the world interested in our music. We appreciate it. 

Jarrod, Jon, Andy - Woman is the Earth

OBSIDIAN TONGUE - ENTREVISTA

1. Obsidian Tongue was created in 2009, why he decided to form the band? How were the beginnings of Obsidian Tongue? Why Greg decided to incorporate in the battery?

In the beginning, the intention was just to purge as much negative emotion as possible in a couple of Black Metal style songs, hoping to find a new inner clarity once the emotions were released into a musical vessel. Once these first few songs were written, my imagination for Black Metal increased and the inner clarity achieved became the basis for more songwriting that married the "Shadow World" to a world of beauty. That is the basis of the band now, harmonizing depression and affirmation within bodies of music.

Greg and I became friends in 2009 when we were both playing in prog bands, and our bands played a couple of shows together. He had excellent extreme metal techniques that were not being completely applied in his prog band, so when I told him I had a black metal project and needed a drummer he became interested.

I sent him some demos and he learned the songs, and after we tried jamming them out a couple of times we were happy working together and decided to continue.

2. How would you describe the sound of Obsidian Tongue? What are your main musical influences? What could we tell about other bands in the area?

I would generally describe the band as a Melodic Black Metal band, to keep it simple. We are taking a minimalist & progressive approach on melodic black metal, with a psychedelic aesthetic in mind.

There is a thriving black metal scene in New England. There are a ton of black metal bands and they all have their own thing. You can go to a New England Black Metal show and every band on the bill will be taking their own approach to the genre. You can see a black-thrash band, a progressive black metal band, a black-death band and a blackened doom band all in one night. Likewise there are a lot of death metal and doom metal bands in the area, and they are more than happy to share shows with black metal bands...so you can say extreme metal in general is very united in New England to create a potent live scene.

3. How was the process of writing and recording of "A Nest of Ravens In the Throat of Time"? How has the sound of the band over the years?

The writing of "A Nest..." spanned over quite some time, with the title track actually being 4 years old now! Likewise "My Hands Were Made to Hold the Wind" and "Individuation" are now 3 years old, and all the other songs have been around for almost the same amount of time...so I had quite a lot of time to keep revisiting the songs and consider areas that could be improved.

When it came to recording it, I sent demos of the songs to Greg about 6 months before we recorded. He learned the songs and customized the drum arrangements while I finished writing the lyrics. Then we went to Mystic Valley Studio (a 100% analog studio) and recorded drums over 1 weekend. We recorded quitars and vocals over the following Friday, Saturday, Sunday and Monday. Then we got together for 2 more days the next week to mix and master. We did everything in that studio, so we left with a 100% analog album!

The sound of the band has changed quite a lot from the first few songs and the 2010 Demo. That demo is very cold, claustrophobic and bleak, with a lot more aggression in a couple of the songs. That was what we needed at that time as individuals and as musicians, and once that demo was completed and released, we no longer had a need to be as cold and bleak as possible. Melody and atmosphere became the highest priorities, as well as incorporating progressive and psychedelic moods into black metal. That is where we are now. We are just getting started.

4. What lyrical themes you use on this latest album? Why is that you treat these issues and have importance for you?

Each song has its own subject matter, although the subject matter is not usually the center of the song itself. The center of the song is a mood, and the lyrics are strategically written to connect to that mood. The lyrics are emotion-based as opposed to intellect-based.

All of the themes were pertinent to my personal state at the time leading up to the album. It takes far too long to explain every song, but I basically aimed to release my personal experiences into poetry that could serve other people and their personal experiences.

5. How are they being the album presentation concert? What does a concert Obsidian Tongue?

Performing the new songs in concert has made the songs complete. It is important for us and others to hear and feel the compositions in person to see the whole picture. It is of course much more cathartic to perform an entire song live than it is to piece it together in the studio over a long period of time. It's almost as if creating the album is just to introduce people to the songs, but to see the songs live is to truly "meet" them and feel them as they should be felt.

6. With what kind of instruments in the studio grabs and tools you use at concerts?

We use the same instruments live that we did in the studio. The record is nothing but electric guitar, drums and vocals. The only song that has synthesizer is the title track, and we do not perform that song live.

7. Five fundamental cds in black metal?

Darkthrone - Transylvanian Hunger

Burzum - Hvis Lyset Tar Oss

Ildjarn - Forest Poetry

Bathory - Blood Fire Death

Enslaved - Eld

There are so many...but these are the first 5 that come to mind.

8. Who designed the album cover? What is the relationship between the cover and the music of "A Nest of Ravens In the Throat of Time"?

Jake Kobrin designed the album cover. I told him what the album's underlying theme is, and told him the fundamental concept that the album is built on.

He resonated with the ideas deeply, and the cover was his vision that encapsulates that concept.

We see a face that seems to be wearing shamanic face paint and a headdress of feathers. However his face appears to be forlorn...despite the forlorn look his third eye is still projecting an elaborate vision of a symbolic raven flying upwards. The concept was that the raven is the art of a spirit in sorrow. Through acceptance and control over sorrow, the artist spirit can give birth to relics of wisdom that it could not create before. That is the album's concept, the Nest of Ravens is the collective offerings from artistic souls that chose to be born into a world of pain.

9. How did you get started in music, first you bought cds, concerts I attended, etc? Why did you decide to become a musician?

I can speak for both Greg and I when I say, there was a point in our youth when we realized we wanted to be able to leave behind something that could serve other people after we died. Music was that thing for both of us. I think we both started playing our instruments at the same age, 12. We both got so into practicing our instruments that we stopped caring about other stuff. Both of us were athletes in school and gradually left that behind to be the best musicians we could be. Granted we didn't meet until we were out of our teens, our paths were relatively similar leading up to that point.

10. Are you satisfied with the impact it is getting Obsidian Tongue?

It has been pretty excited to watch the band grow, yes. When I think about the origins of the project it is quite bizarre to see how far it is now, getting CD orders and articles written about us from all over the world. The exposure has been nice, but there is so much more music to put out with this band. The rabbit hole goes much deeper, and I can't wait to release more developed and elaborate material.

11. What can fans expect from Obsidian Tongue in the future regarding upcoming releases, concert, etc. ..?

They can expect more elaboration on the progressive, psychedelic and melodic elements of our music. We are going to write a song for a 4-way split release with 3 other New England Black Metal bands, and after that we will do an EP that elaborates on the concepts underlying A Nest of Ravens.

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

Thank you for inviting me to speak, and thank you to the readers for caring enough to check this out. It is quite flattering.

SLAUGHTER MESSIAH

Origen: Bélgica, Hainaut.

Formados: 2008

Estilo: Black, death y thrash

Temática: Blasfemia, guerra y satanismo

Enlaces: Facebook

Miembros:

• D. Horse Guitarra
• John Berry Batería
• Lord Sabathan Voces y  Bajo
• Rod "Iron Bitch Desecrator" Guitarra

Discografía:

• Promo Tape 2011 Demo 2011   
• Deathlike Invasion Demo 2012
• Black Speed Terror EP 2013
• Putrid Invokation EP 2014
• Morbid Re-Incantations. EP 2016
• Cursed to the Pyre CD 2020
• Donnerheim Terror Directo 2020
• Putrid Decade of Morbid Terror Recopilatorio 2021
• Exorcized to None EP 2024

DEATHLIKE INVASION (2012)

Casi imposible comenzar a hablar sobre Slaughter Messiah y no hacer una mención a su vocalista, Lord Sabathan, ex miembro y pieza fundamental en los primeros Enthroned, que en 2011 se unió a la banda. el sonido de Slaughter Messiah es característico del oscuro y primitivo thrash macerado con una buena dosis de black. Ritmos rápidos, recorridos por el mástil de la guitarra endiablados y una producción sucia son otras señas de identidad del grupo. La voz de Sabathan les ofrece nuevas posibilidades, no gustará a todo el mundo, pero es imposible no sentirse identificado con esos gritos de una tremenda orientación thrash. Está demo la componen cuatro temas, siendo el último una curiosa versión de un tema de Terrorizer. Después de un par de demos solo nos queda esperar por un larga duración que los situé en el lugar que se merecen dentro de la emergente nueva escena extrema belga. (8).

1. Slaughter Messiah 03:46  

2. N.W.O.B.H.M. (New Wave of Belgian Heavy Metal) 04:16  

3. Visual Aggression 03:24  

4. Dead Shall Rise (Terrorizer cover) 02:40  

  14:06  

 

VUKARI

Origen: E.E.U.U, Chicago

Formados: 2013

Estilo: Black

Temática: Historias conceptuales y muerte

Enlaces: Facebook y soundcloud.

Miembros:

• Jace Kiburz Guitarra
• Mike DeStefano Batería
• Spenser Morris Bajo, teclados y efectos

Disografía:

• Matriarch CD 2013
• En To Pan EP 2014
• Divination CD 2016
• Demo MMXVIII Demo 2019
• Demo MMXVIII II Demo 2019
• Aevum CD 2019
• MMXXI Demo 2021
• Omnes Nihil EP 2021

MATRIARCH (2013)

Algo esta surgiendo en la escena black, algo que comenzó de manera tímida hace unos años y que a día de hoy está eclosionando con un puñado de bandas de una calidad incuestionable y cuyo origen no tiene una frontera bien definida, pero que en E.E.U.U. parece haber encontrado un buen sitio donde crecer. Hay un puñado de grupos que de manera abierta y sin ruborizarse lo más mínimo, gracias un tremendo trabajo de años, se atreven a experimentar con el black metal y acoplarlo a sonidos del post-metal y del post-rock. A día de hoy parece un estilo bastante en forma y no dejan de aparecer grupos de sonidos similares apuntándose a la moda. Vukari es un grupo formado en 2013, cuyos componentes ya tienen cierta experiencia en sonoridades similares en otros proyectos de los que formar parte. El sonido de Vukari va cobrando forma poco, en un principio no se lanzan a toda pastilla, sino que van gestando su black poco poco, black con un cierto sentimiento melancólico, gracias a unos teclados que en segundo plano que van acompañando a todas sus composiciones. Su música se postula en los patrones del post-metal y más claramente del post-rock, unos riffs demoledores, de grandes desarrollos y rápidos, a los que acompaña una batería bastante pesada, con unos blast beast que saben estar a la altura en las partes más lentas y en las más rápidas. Las voces no dejan de gruñir en todo los temas, con una sensación de oscuridad y opresión. Opresión y desesperación aparecen también en el gran trabajo de teclados que sin llamar excesivamente la atención se nota su presencia en toda la música. Alumnos aventajados de esta nueva hornada para parir un trabajo prácticamente sin fisuras. (8,7).

1. Her Bones Rattle in the Wind 03:55  

2. A Hollow Promise 00:44  

3. Robes of Crimson Gold 06:31  

4. Bruised Skin on Cold Stone 01:45  

5. Midwife Crisis 08:35  

6. She No Longer Sings His Name 07:12  

  28:42  

 

WRONG

Origen: España, Madrid

Formados: 2012

Estilo: Black

Temática: Abandono, desesperación, dystopía, miseria y negatividad.

Enlaces: Bandcamp y facebook
Miembros: 

• DP Guitarra, bajo, piano y efectos
• Phlegeton Voces y  batería

Discografía:

• Memories of Sorrow  CD 2013
• Pessimistic Outcomes CD  2014

MEMORIES OF SORROW (2013)

Detrás de este grupo madrileño se esconden dos músicos de una dilatada experiencia a lo largo de los años en bandas como Wormed o The YTriple Corporation, bandas de cierto renombre con una orientación más death que lo que nos ofrecen en este nuevo proyecto Wrong. El sonido de Wrong nada tiene que envidiar a otras bandas foráneas y este es un aspecto a tener en cuenta, ya que estamos ante una banda que ha conseguido sonar muy internacional, dejando de lado todos los clichés que se le puedan atribuir a otras bandas nacionales, logrando una fuerza, desesperación y producción poco conocidas en este país. El universo de Wrong y de este trabajo giran en torno a un futuro postapocalíptico, en un planeta destruido tras un devastador terremoto y la lucha por la supervivencia de los pocos supervivientes de la catástrofe. Su música transmite una atmósfera opresiva, oscura y desesperante, sobre todo a las voces de Phlegeton que por momentos se internan en el camino de la locura. Las línea de batería están perfectamente trabajadas y se amoldan a las estructuras de oscuridad y desesperación. En cuanto a las guitarras, suenan muy escandinavas, llenas de frialdad y oscuridad. Cinco temas en donde el oyente tiene el placer de disfrutar con numerosos cambios de ritmo, en donde un pasaje doom al segundo se tuerce en una rabioso estallido black de los años noventa, incluso la incorporación del piano nos traslada a los años noventa a un estilo de black distinto. Un disco muy recomendable para todo aquel público ávido de la evolución en el sonido black, con la incorporación de elementos del doom, del post-metal e incluso más vanguardistas. (8,1).

1. They Look at Me 06:23  

2. Through This Slit 07:57  

3. I Prefer So 06:38  

4. Now I Remember 06:38  

5. I Want to Hear You Scream 08:58  

  36:34  

 

GOATWHORE

Origen: E.E.U.U, Nueva Orleans.

Formados: 1997

Estilo: Black, death, thrash

Temática: Antireligión, armageddon, oscuridad y satanismo.

Enlaces: Facebook, goatwhore, myspace, twitter y youtube

Miembros:

• L. Ben Falgoust II Voces
• Sammy Pierre Duet Guitarra, voces
• Trans Am Bajo
• Zack Simmons  Batería

Discografía:

• Serenades to the Tides of Blood Demo 1998
• The Eclipse of Ages into Black CD 2000
• Corruption in Increments Volume One Split 2003
• Funeral Dirge for the Rotting Sun CD 2003
• A Haunting Curse CD 2006
• Carving Out the Eyes of God CD 2009  
• (Don't Need) Religion Single 2011   
• Blood for the Master CD 2012
• Constricting Rage of the Merciless CD 2014
• Vengeful Ascension CD 2017 3 (61%) Command to Destroy Single 2017
• Angels Hung from the Arches of Heaven CD 2022

BLOOD FOR THE MASTER (2012)

Quince años avalan la carrera del grupo, quince años en los cuales han tenido que hacer frente a los inevitables cambios de formación y desastre naturales incluidos. Todo ello ha dejado la impronta en un sonido que a lo largo de este tiempo ha bebido de estilos como el death sueco, el thrash y el black, para acabar cuajando en un sonido muy característico. Desde la publicación en 1998 de su primera demo el sonido del grupo no ha dejado de evolucionar para llegar a este "Blood for the Master" en donde pretenden volver a la raíces del metal. Su música suena bastante a thrash, tal vez le falta algún riff más inspirado, tiene también una fuerte presencia del death sueco, sobre todo en la suciedad que intentan imprimir a las composiciones y la voz se mueve en un terrero intermedio entre el death y el black. Son lo que nos queda un disco de metal extremo que a pesar de los intentos de lo contrario suena bastante moderno e influenciado por sonidos más actuales. Buen trabajo de todas maneras que ofrece un buen puñado de temas de excelente metal. (8).

1. Collapse in Eternal Worth 03:40

Frigid souls that can never feel again Harvesting the dark magic in decay Falling deeper into this trance of flame Feeding from this now self worth withered Dwelling with this worship of demise This communion of transfer is complete Passion stirs in waves of assault Scraping elements sound from the mind Return these false Gods To realms of disease Transit on the rotting Harvest of the ascending soul The fall of dominions Extinction of man Ascend in this blaze That engulfs the tyrant The spirit of twilight Reclaim this dark power Digest the archetype In this verse of hate This abhorrent manner Filthy rite of outrage A trembling coldness The collapse of reason Mount the wings of death Wield the scythe of this ancient craft Poison heavens in the blackest flame Rise forth from this decay Whispered words from these deadly lips Secured to the pain from this abyss Untouched by mortal glare The throne in the void beyond despair Bound in serpents coil A final breath beneath this bitter soul Fractured hands of time These frozen moments of a sick design Spoiled with ageless blood Destroy the kingdoms on the throne above Rising legion of the damned Bring forth the holy lamb of the slaughter Open my wrists Transcendence A superb death A vile custom of perdition Adorned in this task The soul of sacrifice Blood for the master This age of oblivion A lifeless endeavor Frigid souls that can never feel again Harvesting the dark magic in decay Falling deeper into this trance of flame  

2. When Steel and Bone Meet 03:12

In vengeance the darkness will spread, as these great wings engulf the sun Birthing this black across golden skies, heavens will burn and the earth will die Emptied of guidance and hope, burning the wishes for peace Rising hatred for this false light, terror will be heard across the lands Procession by virtue of war, bloodstained hands This fall of creation Sound this requiem as we ascend, unholy battle until the end Birthing hatred for the end of gods, crawling praise has come to the end of times Crush the pious icon of delusion to silence the follower of light A war machine of this damned cause, take no prisoners without a light Forever in darkness we shall dwell No forgiveness for all that have died Reign of inversion upon the skies Feasting on blood from the divine Smashed skulls lie beneath our feet When steel and bone meet This war on gods has just begun Conquest of freedom will be won Never turn our backs in retreat When steel and bone meet Warn the king of the holy, the time has come, the war will be won And this death shall be the domain for the followers of the crucified one It's death or victory in out hearts with dead babies at our feet Superior forms of bloodshed, lead the way for this deceit The final breath of defiance, a battle to the death Raise the flag of the damned Reign of inversion upon the skies Feasting on blood from the divine Smashed skulls lie beneath our feet When steel and bone meet This war on gods has just begun Conquest of freedom will be won Never turn our backs in retreat When steel and bone meet   

3. Parasitic Scriptures of the Sacred Word 03:28

From the great hand of holocaust Great winds expose the structure of an emptied core Hollowed thoughts of this vision, this existence turned inside out Impassive vessel of confined hatred Deviated catalyst that will reconstruct The embedded image of the damned, after all is gone Behold the secret to annihilate Wormholes fading into regions of death Unexplained disease that will flood the misfortune of might Rebirth in this apex of collapse Defiled idols fall in the ages of decay Expanding force that consumes, destroying all positive intent Force of this tragic stride, hell's unforgiving arms Vortex of merciless decay, untouched by any theory Suicides from the heavens, sink into the eye of terror A mound of bodies lie in wrath, reaching the hereafter Reflection of self denied, the demon that eats the soul Sunken eyes of fear, a path of forgotten pain The lifeblood of treason, tasting this bitter steel Sacrament of disaster, wounds that never heal This venom of revenge, the judas of black skies Untouched by divine means, as this earth slowly dies Machine of destruction, satan's unholy ways Burning fire of inquisition, a demise of this grace An art of sacrosanct lust, this rite of virgin's blood Disguised by confusion, summoning of the demon legion The kindred of this ruin, awaiting the fall of this order Diminish into madness of complete death, this sufficient hunger

4. In Deathless Tradition 04:26

 Unresolved essence in a tomb of fates

Obscured by beliefs of this divine rank

You beg and crawl for forgiveness, for an answer to salvation after death

Silent prayers to the riddle of purpose, the shepherd of deceit leads into darkness

Trachery has these masses enslaved, the perfect unison in a tarnished faith

Blindly enter this portal of passing, raped desire in a promise of this undying

Forgiveness is the failure of your faith, this need brings the death of the human race

Seek this message in a structure of allegiance, these hidden secrets suffocate the truth

Praise the promised words that seems timeless, stepping off a precipice into disaster

Failed dispute of this longing regret, another shallow attempt of life after death

Consuming this hope of dreams, a gathering of ill-fated souls

Escaping the hands of judgement, an urge to be saved

Chained in snakes awaiting this hunger of the underworld

Drawn down from stellar ideals into the bloodline of curse

Dark times has begun, the existence of failing faiths

Becoming the end of awareness, sealed in this tomb of lies

Embrace the collapse of rapture, dull wishes fall from grace

Failure of this transformation, evolve into the untruth of pain

These warning trumpets have sounded

Devour the dying life force of this faith

Unite in descent towards this mouth of hell

Dreadful entry into the prison of this death

5. Judgement of the Bleeding Crown 03:58

  Falling heavens in these black flames

Nothing will be excused from the end

Even the mighty gods will be reaped

Keeping the promise of the final harvest

Painful structure of gratification through massacre, this common ground of perversion

Excavating the blackest arts of desecration, concealed in the chambers of unreason

Gods of this great death hear the voice of calling

Open the sun for bloodshed upon the heavens

Tributaries of origin flooding the harvest of war

Transfixed on the rotting convergence of ascension

A devouring dragon of war, harvest the magic of decay

To be enslaved in evermore, a shallow endeavor of life

Shards of bone

Used to decipher

Unearthly kingdoms

Fading away in fire

Hammer of this ruin, feeding on essence of revival

Denounce the ways of the light, nether planes of existence

Silence falls upon us, in the temple of the unfed flame

Denounce the king of thorns, master of this subterfuge

Bodily desecration

In lavish designs

Sculpting the skin

Into sigils that bind

The raven consumes the entrails of a dove, symbolic transfer into darkness

A hex of purpose for diluted copulation, birthing the great beast of vengeance

Lord of smokeless fire, turning the air to cold

Infect the sky with dark, devour the might of old

Return to the cold earth, born from this decay

Forced to return to it's rot, on this lifeless day

6. Embodiment of This Bitter Chaos 04:44

 Vain presence rejoiced, procreate the skill of deception

Enter the shell of flesh, cast from the soil of the cursed

Immoral rise, exiled to the dark heart of this maze

Praise this blood, wield the knife of the slain

Despair if they fail

Feeding on their own

Holding on to past desire

Great lord of death, framework of this reverence

Morbid appeal, descend into unnatural realms

Glorify the sick, forged by this imperfect touch

Sons of hell, praise the order of chaos

Stripped of these wings

On a column of fire

Hollowed of this hope

Tomb of black, prison of this fate

Rotting soul, engorge in unrest

Altered state, emerge as the snake

Drowning teeth, into bloodied flesh

This revenge, on the breath of hungry wolves

Death awaits, entrance into the vault of heaven

This pouring hatred, from the wrist of god's dream

Burning madness, pandemonium breaks free

Witching hour always strikes

Feel the bite of cold emotion

Self absorbed isolation

Grinding fangs, dripping with deceit

Urge to kill, tragedy of life

Wrath and rage, anger will consume

Bound by fire, enter into hell

7. Beyond the Spell of Discontent 04:02

 Erratic behavior prolonged in the grip of eternal unrest

Defiant in the accounts of betrayal with hateful guidance

Winds from the abyss have whispers of ruin in their revolve

Enter this wake of reality inside the confines of the beast

The irritable demigods of these endless borders

A forming darkness is waiting to swallow all the stars

Scared ideas that will latch to the dead for answers unknown

Entrance to this stolen soul for the hidden most hated desires

The implosion of fading gods has cause this curse

Screams from a dying nebula will contest to these truths

A deathlike quiet pours into the ears of the mindless

So selfish to think any of your gods will escape the emptiness of this... Colossus

Now the holy names are forgotten and the thunder moans my death

From far beneath the earth, the fires are burning bright

Abandon idols in decay, corroded prayer of concern

Stop the stances of belief, accepting all things to end

An anguish deserved by many, an anguish absorbed by one

With blood we feed the master, like a long trail into darkness

The ghosts of the past keep pushing my fall

To awake the mourning into onyx dawn

An afterlife of delirium, in the middle of the immense and the dead gods

Dismember this umbilical attachment to this secure existence

These massive stone foundations of devotion to the dead

Gravestones for man's failure to cope with the fear of the life beyond

This apparent link of flesh and blood

An art of destroying, forever breaking will

Another version of the epic flood

This time we are all damned with no survivors

8. Death to the Architects of Heaven 03:41

 Liberate this hazed vision

Misery of this great untruth

Guidance of this hatred

Creators of the blinding lie

Absolved of this virtue

Reckoning of the innocent

Blessed fabrication

Teaching man to crawl

Onslaught of the damned

Torn from this existence

The death of liberation

On the knees of prayer

Distort this mental salvation

That feeds these laws

Genocide of golden skies

Manifest of dying gods

Annihilation is upon us

Threatening to destroy

Vile words of promise

Freedom paved in ruin

Captured emotion, for the use of this deception

Sworn to an acceptance of this destruction

Gods shall be renamed

Prophecies will be erased

Infected by the human hand

Written plague of restraint

Inversion of the laws

That we most despise

Rip out these hearts

Of this holy disguise

The beating heart of heaven, torn from the skies

Thievery of this concept of grand design

Destroy the revelation of this insolence

Bastard devotion, raped of this virgin sense

The innermost emotion, replaced with fear

Kill this reborn lie

Masters of oppression

The death of a god

Antidote to freedom

Beginning of the end

Failure for all of man

Revealing the truth

Behind the laws that fall

Rejoice in the flesh

Of a bastard design

Sweet taste of insurgence

The beating heart of heaven, falls burning from the skies

9. An End to Nothing 02:49  

 Bare the guilt of intimate defeat

Only to realize it was a moment of unease

Forced upon mankind, like a sharp knife, twisting inside

Spill this blood of purity, from a slit wrist, ending life

Transfixed on this task, revive the dead, a final breath

Suffer the curse of madness, wake the rotted flesh of the dead

Splintered shards of broken glass, tearing teeth through raw flesh

Revival is not complete, rotten soul of eternal sleep

Summon the phoenix from rest, ignite the ashes of death

Call upon the kings of flame, lend me the spell to resurrect

Inhabit the restored flesh for transition of this timely fate

Manifest this chaos of blood to restore the lifeless and reanimate

Plotting for these final days inside a bastard mold of deathly rage

Another sick experimental stage while kept in this undead state

Like a drop of blood in water

Infecting the clarity of purpose

The time has come to kiss the sun, this life of flame is born of blood

Dissecting thoughts of an ending loss, take the hand of eternal rot

This pain will be forged, under the knife of pestilence

Incantation of this death, cast this the spell to resurrect

10. My Name Is Frightful Among the Believers 04:11

 A crown of warfare, a diadem of pain

Count the days of collapse, of these golden realms

Furnace of the bellows, a tempest to make the embers burn

Filling the sky with our screams, merciless mother of storm

Create the enslavement of these tyrant ways

Enter the empty blackness of these final days

Washed away in the tides of this timely hate

Buried in the oceans beneath the sand of decay

Erect this empire from the crumbled remains

Foundation of conquest, upon these soiled minds

Rise from the ravaged, ageless prince of the starless realm

Channel this vision of deviance in the sacred expulsion of man

Charm of this darkness lures us into the void

Out of corruption life emerges to be destroyed

Lord of unknown awake from this timely sleep

Buried far below the oceans and in the endless deep

Purification in ritual murder

Spilling blood for this sacrifice

Spiraling the knife in wounds of lust

Swallowed into the jaws of collapse

The abyss awaits with open arms

Concealing this nature of revenge

Unsettling moment of perversion

Creating this path for the condemned

Intoxicating aroma of death

Embrace the essence to obliterate

A dead man's scream, beyond the cold flame, voiding the mind

Shocking revelations, awake in the night, dulled by the poison of life

Where the shadows gather and the night becomes blood

These secrets within the great abyss, the gnawing fear inside

This is the end, the failure for all of man, a silent voice that descends

Unearthly pale fury, another tragedy of god, awake the horsemen of doom

Out of the abyss we share this fear for the dark, concealed inside

Beyond the light of stars an angry sky breeds the hate for mankind

  38:11