FROM THE VASTLAND

 THE HAFT KHAN (2020)

Sexto álbum para From the Vastland que vuelve a contar con la colaboración de miembros de Horizon Ablaze y Gaahl's Wyrd entre otros para dar forma a un trabajo que sigue dando muestras de su calidad y atreviéndome a afirmar que se sitúa un paso por delante de sus anteriores obras. Todas la virtudes de anteriores lanzamientos siguen estando presentes, desde el sonido que recuerda al black más clásico tomando como referencia la segunda ola del género, hasta ciertos elementos atmosférico y estructuras que van por un lado hacia terrenos oscuros y fríos como por otro también nos traen algunas reminiscencia a la procedencia iraní de Sina, miembro fundador. Sin embargo, como comentaba anteriormente este trabajo tiene un mayor peso de elementos clásicos de black, tanto en las partes rápidas que han ganado en mayor velocidad, oscuridad y violencia, todo fruto de unas guitarras implacables que escupen riffs incendiarios y destructores, que muchas veces dejan de lado elementos más melódicos por aportar mayor crudeza y agresividad, con un referente claro en el black de los noventa. El sonido de batería también ha dado un paso al frente, la velocidad ha aumentado y la dupla que forma con las guitarras construye un muro de sonido mucha más destructivo y potente, dejando poco espacio para la contemplación. Las voces suenan fría y heladoras, rasgadas, agresivas y crudas, con poco lugar para la experimentación, fundiéndose perfectamente con el apartado musical y sin desentonar en propuestas que miran a lo clásico de frente. Como en anteriores ocasiones los cambios de ritmo juegan un papel fundamental en el dinamismo de la música de From the Vastland, sin hacer abuso de medios tiempos, si que los que hay encajan perfectamente, añadiendo un halo de inquietud y misterio al conjunto. Otro nuevo lanzamiento del todo acertado, para un proyecto que sigue buceando en lo más profundo del black escandinavo de los noventa. (8).

Satanath Records

1. Khan e Aval 06:04  

2. Khan e Dovom 06:13  

3. Khan e Sevom 05:24  

4. Khan e Chaharom 07:40  

5. Khan e Panjom 06:45  

6. Khan e Sheshom 07:07  

7. Khan e Haftom 06:38  

  45:51

YXXAN

 

Origen: Suecia, Estocolmo

Formados: 2019

Estilo: Black, death

Temática: Anticristianismo

Enlaces: Bandcamp y instagram

Miembros: 

• Morbid Aggressor Todo

Discografía:

• Inverterat korståg Demo 2019  
• Satanic Fortification Overbalance Demo 2020
• Misanthropic Impulse CD 2023

SATANIC FORTIFICATION OVERBALANCE (2020)

NWN!, nos trae el segundo lanzamiento de esta one girl band sueca, un lanzamiento que es muy del gusto del sello al encuadrarse dentro de lo denominado como war black metal, en clara referencia a pioneros como Beherit on Blasphemy. Una demo que por su duración se aproxima más a un formato como el EP, que entrega un sonido crudo, violento y destructor, en donde guitarra y bajo van de la mano, ofreciendo riffs solapados y distorsionados, a una velocidad demencial que sólo se ve alterada en contados segundo dentro de las composiciones para coger aliento. La batería también suena demoledora, no tanto por su contundencia, sino por el rimo impuesto a la par que la perfecta sincronización con las guitarras, creando todo ello un violento registro capaz de arrasar con todo a su paso. El apartado vocal tal vez sea el tramo más distinto y al mismo tiempo diferenciador de este lanzamiento, ya que estamos hablando de un registro que bebe de las bandas clásicas, pero su grado de distorsión y violencia se encuentra un paso por encima de lo que cualquier banda actual de este estilo está ofreciendo. Sin lugar a dudas un lanzamiento violento, directo y crudo, que funciona perfectamente en un formato como la demo y que en su corta duración se condensa toda la rabia y agresividad sin perder la esencia. (7,8).

Nuclear War Now! Productions

1. Eradication Initiation (Intro) / Holy Father - Dethroned and Desecrated 03:29  

2. Eternal Adversary 02:08  

3. Black Sun Stillborn 03:07  

4. Kärnvapen över kärnfamiljen 03:29  

5. Crucifix Grinder 01:48  

6. Lead Me to War (Mother Satan) / Back in the Stone Age (Outro) 03:22  

  17:23

IMPALEMENT - INTERVIEW

1. Impalement was born in 2019, why did you decide to create the band? And as for the name, it has no discussion but it is also true that it is quite common, why did you decide to use the name Impalement? Does it have something to do with the fact of naming the band that way, taking Impaled Nazarene as a reference?

In fact, the idea to form a band called IMPALEMENT dates back to the time around 2010 when I started to compose music for this band, already using this name. However, none of that material was released and I keep it to myself and a few close friends. Around that time I decided on the name because to me IMPALEMENT sounds like extreme Metal up your ass and neither me or my friends have heard from a band with that name. You could be right when referencing IMPALED NAZARENE as an inspiration but it could also be the song “Impalement Without Mercy” from BELPHEGOR…I can’t remember.

2. As a member of the Germans Mor Dagor and also live of the Germans Nargaroth, maybe the fact that these bands have not been very active for a while has been one of the reasons that you started to create your own band? ? Although Impalement is more oriented towards black / death, has the sound of Mor Dagor and Nargaroth in some way influenced the final result of your album or is it something totally separate and independent?

I see IMPALEMENT as definitively independent from my involvement in other bands. Even if I had been on the road much more, I’m pretty sure that I would have released the debut album this year. Since I came up with the idea of IMPALEMENT I waited for the time to be ripe to take the first serious steps to realize it. It took the last years for me to carve out my vision of where to go with IMPALEMENT and to get more experienced as a musician to compose the music exactly the way that I want it to be. Regarding my influences: I think everyone that crafts music and art is influenced by existing things that he likes and I only participate in bands with music and people that I have a personal connection to. Especially considering the fact that Torturer, the man behind MOR DAGOR is also the drummer on “The Impalement”, you can say that he also influenced the music with his style of drumming. However, I would say that there are other bands that had a stronger influence on me and I think that you can hear that when listening to the album.

3. Guitarist Bassist in Mor Dagor and bassist guitarist in Nargaroth, however for “The Impalement” (2020), you have also dealt with the vocals, how was the process of writing and recording the album? What has been the most complicated to what you have had to face in this process? What brand of instruments have you used for recording?

Since “The Impalement” is my first album and I have no comparison to creating an album with other bands, so it’s hard to give a good answer to your question. I can say however that I really enjoy composing music for IMPALEMENT since this is exactly the Metal that I would like to listen to myself. Also it is an amazing experience to see how the music that you started to compose evolves into a real song and finally gets recorded in a professional environment. Sometimes I started working on the music and then tried to find lyrics that match to the song’s nature, on other times I had an idea for a certain lyrical topic and composed the music afterwards to create a fitting background. One of the main challenges might be the fact that I had to deal with the whole process of composing all by myself and I guess sometimes it can be helpful to have external feedback to your composition. However I got some creative and valuable inputs from my buddies Torturer and Jens (from the AMP Studio) during the time in the studio and I think that gave the album the perfect final polish. Regarding the gear: We tested different guitars, amps and effects and went with the combinations that sounded best to us. For example, the rhythm guitar parts were recorded on a guitar with a mahogany body and super thick strings to really fill the bottom with a warm and bassy tone while the leads were played on a different guitar with more aggressive characteristics.

4. I think the inclusion of Torturer on drums to achieve a more direct and warm end result in terms of sound seems to be a success, how did you decide on Torutrer to accompany him as a drummer in the studio?

When going to the studio, I simply hadn’t found a drummer for IMPALEMENT so I contacted my buddy Torturer and he stepped in to nail this incredible blastwerk. For me it’s an honor to have him participating on my first album because since many years he’s one of my absolute favorite drummers and also a close friend of mine, which underlines the personal meaning that “The Impalement” has to me. In my opinion, his style fits perfectly to the music on “The Impalement” since he is able to understand the ideas of the guitar riffs and delivers a drumming that underlines instead of competing with them.

5. The sound of Impalement can be defined as black / death using established bands such as Belphegor as a reference, however, unlike other bands that take this sound as a reference, Impalement has given it its own stamp, achieving an evolution between what these pioneer bands made and evolved this sound enough not to sound like a mere copy. What have been the main influences for you when it comes to defining the sound of “The Impalement” (2020)? and How would you define the sound of the album?

Thanks for your feedback, appreciated! I think the core of IMPALEMENT’s sound is basically the mixture of the music that influences me personally. As I already mentioned on different occasions BELPHEGOR indeed is a major influence since I’m a die-hard fan for many years now and my story as a musician is closely connected to this band. For me it was important to take IMPALEMENT as a chance to bring in all the different styles of Metal and Rock music that I enjoyed now for many years. Since I don’t see IMPALEMENT restricted by categories such as Black Metal or Death Metal, I felt free to include all elements from what I would call Trüe Metal bands…from NWOBM twin guitar leads to blues scales, Death Metal brutality and Black Metal harshness. I think you can find many different influences on the album but the common ground is the serious worship of Metal and all that it means to me: Passion, freedom, authenticity and so on. For me it is more important to stay in line with these traditions of Metal than trying to be original for originality’s sake.

6. The album has a couple of collaborations with the voices of Sarah Jezebel Deva on the song “I Am All” and Helmuth Lehner's guitar solo on the song “Satan's Fire In My Eyes”, how did the possibility of these arise? collaborations' and what do you think they have contributed to the final result of the album?

As I already mentioned, Helmuth and BELPHEGOR are closely connected to my life since my very first steps as a musician. For many years I worked as a guitar tech for BELPHEGOR and had the chance to learn a lot about being dedicated to Metal and got more experienced as a musician too. Helmuth’s persona and his songwriting had a deep impact on me and to this day I have highest respect for what he created with BELPHEGOR. Without him, there probably wouldn’t be IMPALEMENT, at least not in the way it is today. So for me it was a personal matter to approach him with the idea of participating on the album. The result turned out amazing and to this day I still can’t believe having one of my biggest influences participating on my first album. That’s the magick of Trüe Metal I guess…

When composing “I Am All” I knew that the song will deal with Pan, the Phallus god which for me is the archetype of Metal…the original Rocker! I wanted to include a part of the poem “Hymn of Pan” by Percy Bysshe Shelley and when I was looking for an appropriate way to deliver these noble lines, I instantly had to think of Sarah. I contacted her and asked if she wants to participate and deliver the spoken words to this song. And what should I say…hearing her sophisticated voice delivering these lines from classical british poetry is just amazing and it was definitively the best choice for this part. I’m honored to have her on this album!

7. I see that you have been recruiting different musicians to be able to take Impalement's proposal to the direct, however the emergence of Covid-19 has had to postpone the fear of the concerts, although I see that you already have some announced for next 2021. ¿ It has been a hard setback to have to suspend the performances ?, Blaspherion (bass), Frostbitten (drums) and Raptus (vocals and guitar) complete the band's line-up right now, do they function as full members or They are only part of the set to be able to offer concerts? Why did you choose these musicians?

Of course, as for most bands, this Covid shit is a huge pain in the ass! We definitively want to bring IMPALEMENT to the stages as soon as possible, but as you already mentioned…it is very hard at the moment to get shows since most events are cancelled and all the festivals postponed their line-ups to 2021. However we have some promising shows scheduled and in general I stay optimistic because I think when music is destined to be heard…it will be heard! Until then we rehearse and worship Metal our way. That’s also the main reason I chose to have these musicians in the band, because we have a common understanding of what Metal means to us and are very dedicated to what we are doing…even when there are no concerts. I’m not interested in labeling my comrades with terms like “full-member” etc. For me it doesn’t matter who was in the studio or played live on stage…everyone that supports IMPALEMENT is part of this story.

8. Bands like Pure or Schammasch have given a boost with their latest releases to the Swiss black scene, what can you tell us about the Swiss black scene? And being you Swiss, how did your incorporation into two projects like Mor Dagor and Nargartoh, both German, come about?

I’m probably really not the best person to answer questions about the Swiss Black Metal scene since I live kinda isolated on the countryside and I’m not well connected to the “scene” nor interested in the stuff that got hyped in the last years. Besides that I am not generally interested in the nationalities of bands…for me it’s more important if a band rocks and if they have a message of meaning that I can relate to. Unfortunately, most of the “Metal” that got hyped everywhere in the last years was in my opinion boring garbage with focus on silly costumes and weird mumbo-jumbo themes…nothing for my taste! However, every band should do as they please and there might be also good bands nowadays…I probably didn’t find many of them yet and so I basically end up worshipping the “good old stuff”!

9. Regarding the texts of the album, what theme does it cover in them and why did you decide on this theme? Have you been surprised by the good reception that the album has had among the fans?

All lyrics I write have a personal relation to me. Sometimes it deals with a topic of my personal interest, sometimes it is a blunt expression of a certain emotion. I try to avoid lyrics that are too cryptic because I refuse to be part of the trend of using pseudo-intellectual and pretentious bullshit…IMPALEMENT is supposed to be a Metal band and not a fancy vehicle for some failed philosophy students!

Regarding the reception the album received so far, I must admit that this really was not what I expected. Since today everyone can easily record at home with zero risks and lowest budget, you have too many bands flooding the market with low quality “Metal” that it became nearly impossible to find the needle in the haystack. Most labels are focusing of course on bands that serve this trend of hip pseudo-Metal that I already mentioned to make easy cash with the current consumer-sheep. That’s why I knew already that it won’t be easy to start a band to worship the virtues of the old school of Metal but in the end I am fine with that, since Rock and Metal music was always built on struggles and I’m not in it for the money or the easy-to-get fame.

The responses from the people and reviewers however turned out great and this pushes me to follow this path…it seems that there will always be a core of die-hard maniacs, just like myself that will continue to worship Trüe Metal!

10. The album cover was made by Carlos "Black Shadows" Aguilar, why did you decide to work with him? And what does the cover represent and how does it relate to the musical part of the album?

Carlos and I are friends for many years now and besides that, he did all the tattoos that I have. As already mentioned I want to keep IMPALEMENT as personal as possible and what’s better to have an artist being responsible for the artwork that is not only your friend but also delivers exactly the style that you prefer?! After so many years of working together, he knew what stuff I like and what not and we could easily communicate about all the details. “The Impalement” is a declaration of war against the modern pseudo-Metal and the worship of Trüe Metal…so the resulting artwork underlines what IMAPELEMENT stands for: Metal, tits and terror!

 11. How were your beginnings in music: first albums you buy, first concerts you attend? What happened in your life meant that you wanted to dedicate yourself to music?

First albums…I can’t remember…probably children music, haha! I guess the first stuff I bought that goes slightly in the direction of Metal was probably some Nu-Metal garbage that was available at the local store at that time…what a waste! I grew up very isolated on the countryside and didn’t had any contact to real Metalheads or the scene until my early 20s. So the first stuff I could have my hands on was the music available in my family’s household…”guitar music” from 60s -70s, AOR and stuff like that caught my attention there. But I soon started to get gravitated to themes that were more dark and obscure…you know, stuff that no one in the happy plastic world out there dares to talk about! Around that time a library opened in town and there I could not only rent a handful of CDs from bands like IRON MAIDEN, METALLICA, SLAYER but also some books that dealt with darker topics. I rented the same bunch of CDs as often as possible and spent a lot of time listening to the music and getting lost in their stories and fantasies. Since I didn’t had any budget for a long time, I could afford my first guitar when I was a teenager and since there was no money for guitar lessons, I taught myself to play guitar with these CDs.

Those days were definitively not of a lighthearted nature, but thinking back, I am grateful that I could experience first-hand how much Metal with its music, the lyrics and the visuals can give to you, especially when you search for the “more” in life!

12. Which album defines the essence of black metal for you? What is the last album you bought? And which one can't stop listening?

Tough question…I often thought “Wow…this must be the essence of Black Metal…these guys are serious!”…but then for example you see that those supposed elitists, printed in black/white on the back of this obscure album really feel the need to post their cat pictures or other worthless bullshit all over social media and you end up thinking “Fuck that shit!”. Besides that I wouldn’t say that I’m an expert for Black Metal since I listen to all kinds of Metal that in my opinion is Trüe…you know…the real Motherfuckers with a message of meaning and a genuine dedication to Metal!

The last album I bought...I have to look it up since I buy a lot of music...Old stuff, new stuff, used, mint… in the end the music that I like and think is worth supporting stays in the shelf, the rest has to leave. Last buy was the Listenable re-issue of “The Ten Commandments” from MALEVOLENT CREATION’…good Metal but man is the vinyl color one ugly son of a bitch!

In general I prefer to listen intensively to an album which means listen to it multiple times, reading along the lyrics etc. Sometimes you learn a new fact about a certain band and you can make up a new interpretation of their lyrics…that’s why there are many albums that I listen to over and over again. But if you want to do me a favor, give me a beer and put on some BELPHEGOR…never lets me down!

13. For the album edition you have opted for desktop publishing, was there no label interested in publishing the album or would you prefer to do it this way to have greater control over your music? Edited on CD, digital and vinyl, would the cassette, but what format do you prefer when listening to music?

As I already mentioned, I think that most labels at the moment are not primarily interested in supporting old school Metal because you can make more cash with pseudo Metal on twenty differently colored vinyl editions including the exclusive jute bag. Most labels didn’t even bother to write an answer so that can tell you how many of them seem to believe that a band like IMPALEMENT can turn out successful nowadays. The good thing however is that we don’t have to make a living out of the music and IMPALEMENT is free to go wherever we want. Don’t get me wrong, I am not chronically against labels, because I know that there are also great people that stayed in touch with the underground and are as dedicated to Metal as I am. I just refuse to rely on other people supporting IMPALEMENT and that’s why I keep going my own path…with or without label…and it seems to work well so far! You should never sit down to negotiate if you cannot afford to leave the table at any time and that is the principle that guides me.

“The Impalement” is currently available on CD and vinyl and we already had to repress the music because people really seem to like it…all thanks to our supporters all over the world!!!

At the moment I don’t plan a release on cassette…maybe at a later point in time. I personally prefer vinyl because in my opinion it’s great to have the big format of the artwork in hand…and the process of taking out the vinyl, cleaning it and putting it on the turntable feels like a ritual to worship this awesome music and pay respect to the bands!

14. In this short period of time that Impelement has been active, it has undergone a lot of changes, what is the immediate future for the band? Are you already working on new songs?

I am not sure what kind of changes you are referring to. As already mentioned, Torturer supported me in the studio because back in time I didn’t had found a drummer for IMPALEMENT. However since the lineup for the live shows is now complete there weren’t any changes. Currently we are rehearsing in our bunker and I hope that this Covid-19 bullshit will end soon, so that we can shred the stages as soon as possible. Besides that I am indeed already working on the next album and so far, most of the music is already composed. Now it will take its time to let the new music sink in, give it the right polish and let lyrics and visuals crystallize before re-entering the studio!

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

Thanks for this interview and your contribution to the world of Metal! I want to thank our many supporters from all over the world that do not only support IMPALEMENT but Trüe Metal in general! Keep supporting Metal, don’t forget to Rock and stay fucking Trüe!

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Quintessenz - Back to the Kult of the Tyrants 10,99 €

400 copies on black vinyl

Vinyl, LP, Album, Limited Edition

ATTIC - INTERVIEW

1. Attic was born in 2012, why did you decide to create the band? And why did you choose the name Attic?

This is Chris here, founding member and rhythm guitar player of attic. As far as why attic happened - it just did.  I had gone through a quick but rough divorce, I luckily found a nice cottage just outside of town off the Rogue River for rent in front of what is said to be the 2nd oldest Oak Tree in North America.  This was truly the first time I consistently fell into the electric guitar.  When married, I had a room full of all the stuff and did nothing.  Now, Just a small vox 5a practice amp, a ’72 reissue telecaster, some IPA and lots of time.  One night at a friends house I met Otis, we were all jamming and afterwards we got to talking about meeting up.  I told him i had some loose skeletons to show.  So, we crammed into his parent’s garage and began work.  The reason we went with attic as a name was because there was a bunch of ratty storage units next to my cottage, but their business sign and font choice just hooked us.  Attic Storage was were we got the name.  Few months later we heard of the German outfit named Attic, and said fuck it - we are lower case attic.  Sleeper creeper style.

2. A couple of years after creating the band, the first album “Seasons” is released, a work that was described as technical and melodic death. How was the composition and recording process for this first album? And how would you define the sound of the album?

Composition from the string side of things fell right into place when we brought Nathan Tracey in.  We generally do string nights outside of full band practice.  Nathan and I were able to filter down a riff really easy, and immediately play it back for each other.  Seasons had a lot of ping ponging back in forth between rhythm and lead, we both love bands that do that - and it is just so damn savagely fun to play live - I go, and then he goes, then we go!  Just massive.  So we definitely squeezed every bit of juice out of that trick.  Lead would just depart and it felt so right.  We never tabbed anything out, or wrote stuff prior to meeting up to try.  We just went, and our individual filters were aligned right to just fluidly make decisions as we went.  Following the heart more than head you know?..  Recording was pretty standard.  Drums first, we tracked two takes of each guitar.  I will say interestingly that I did use that vox practice amp for some takes.  But a Marshall Mode 4 and a Carvin Legacy were also used.  

3. Despite maintaining a fairly stable line-up in recent years, the truth is that Attic has not been lavish in terms of releases since from “Seasons” 2014 to its recent “Foster” 2020 a period of almost six years has elapsed, What is the reason for this long period of time between the two launches? Is Attic in this most recent era going through a period of restructuring in its ranks? If so. for what is this?

Sometimes you waste 90% of your energy for the last 5%.  Sometimes you collide with the philosophy of: let’s do that on the next one vs. let’s get it done now.  Sometimes you lose your lead guitar player and then awkwardly string your singer along to then awkwardly kick out.  Bands can actually be the sloppiest of relationships.  But it shouldn’t be sloppy, therefore we went back to basics and built up again. So with that we scrapped everything 4 years in when it had been done 18 months after Seasons was released, and started completely over.  Foster was about a year after that adjustment.  We also can’t pretend there weren’t Family adjustments too.  Otis got married, and we both welcomed daughters into the realm.  So, once the dust settled we brought Jonnie Saunders on vocals.  We briefly tried the 3 piece thing with Jonnie singing and playing bass, but ultimately thought it was best to free him up - so we brought in Arin Chaddock on bass - and we couldn’t be happier with that decision.  As of this moment we feel as solid as we ever have.  We have fortunately been really productive during this lockdown.  We have 6 songs finished for our next EP.  It feels like this one is starting more raw, and angry.  We are ok with that being 2020 and all…

4. The passage of these six years has played in favor of "Foster", offering a greater richness of sound and incorporating style such as progressive black in a more evident way, although for my part I also have to say that the intensity of punk plays a Supporting but no less important role in the sound of the new album, How would you define the sound of Foster? How has the sound of Attic evolved between your two albums? What are your musical influences?

Foster is just closer, all the songs were close for a really long time.  Personally I was always impressed with Trent Reznor’s remix approach Broken vs Fixed, Downward Spiral vs Further Down the Spiral- or the idea that the song can always be carried on by others, or can be made different, tweaked, and/or added too.  But, still be rooted the same, in an alternate universe still close to the one that caught your ear the first time you heard it kinda way…  Poet Walt Whitman the same.  8 editions of Leaves of Grass, tweaked through out his entire life.  Not another project, just one project forever worked.  Forster plays with those ideas, there are some similar riffs reconstructed throughout.  Musical influences: Enya, Agalloch, The Haunted, Helmet, LLNN, Death Engine, Numenorean.

5. How has your way of working on the new songs been? And the recording process, are you very meticulous? What brands of instruments do you use to compose and record?

Meticulous can be a moving target eh…  We try… hard.  Missed a couple things shhhhh.  Fender Players HSH, Epiphone Casino LP w/ Seymour Duncan Sentient and Nazgul pickups.  Randall Satan 150w Head, 2x12 Randall Cabinet w/ Vintage 30’s.  Drum side ‘o things: Vintage Fibes acrylic kit, Sabian cymbals, Remo drumheads, Vic Firth American Classic Rock drumsticks.  Bass: Squire Classic Vibe P-Bass and a Darkglass pedal.

6. The texts of "Foster" revolve around nature and environmentalism, the destruction and the scourge of the human being for the Earth, why do you deal with these themes in your lyrics? Do you consider that a black / death band should to open up its theme and move away from typical Satanism?

Foster was a snapshot of all we were seeing in those 5 years.  As far as the second part, fear is powerful tool.  Knowing that fear can be used for control can also be liberating when you can call it, and are right.  Santa Claus, The Big Bad Wolf, and Satan; satanic themes are sometimes a vehicle to understanding fear, not embracing evil.  Satan may not be real, but environmental threat is.  Maybe we should put energy into something right in front of our face, instead of the dark shadows that scare us.  Art lurks in the shadows though, so tough mission/choice yo.

7. The emergence of Covid-19 has been a serious setback for the bands that performed concerts, but I'm wrong Attic had performed a live performance of his previous album, however for “Foster” I don't know if you had something planned, how Has the pandemic affected you in terms of sales and concerts?

We were able to get out a bit for Foster.  We were just about to pull the trigger on a merch order when Covid hit.  Fortunately, we only had to cancel a few shows.  Could have been worse, it is worse for others. 

8. The cover of "Foster" is a tree mutilated by the hand of man, why did you decide to use this drawing to illustrate the album?

 We love what you see in the cover.  That is actually a photograph of that great Oak Tree I mentioned earlier.

9. The album was recorded by Rich Psonak at 10 Dimension Sound and mixed and mastered by Ken Sorceron at Avant-Audio, why did you decide to work with them for this album? Are you satisfied with the final result obtained?

Rich Psonak introduced me to Otis, and has been close to the needle for most of our history.  We were thrilled to hear he had a studio set up next to a swamp with a angry Goose.  Ken Sorceron (Abigail Williams) has always inspired from afar.  Everything he touches is good.  Those were both very easy choices.  

10. “Foster” has been released in digital format, why do you opt for desktop publishing? Was there no record label interested in making a physical edition of the album?

We have Tapes and CD’s too for sale on our Bandcamp page.  It is all about to change.  It already had when we decided to guard percentages in exchange for exposure.  When all is said and done - and we are no longer here - it is the catalogue that we leave that matters.

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

All of my friends knew I would be a musician before I did.  Learned a lot from that.  Basically that voice and urge to pluck around on 6 strings wouldn’t stop, neither would the results that would help feed back into that urge.  My brain would have to vent off through playing or I would be scattered and foggy.  We all just have so much fun with it, we love music, we love playing music.  If there are no shows, we would still just hang out and play really loud together and something tangible would always come from that.  First Tape: Billy Idol Rebel Yell.  First CD: NIN - Downward Spiral.  First Concert:  Sammy Hagar next to shirtless dude who pulled his dentures out to scream: “Fuck Van Halen”.  

12. Which album represents the essence of black metal for you? What was the last album you bought? And what album can't you stop listening to?

Ever changing with this one.  Abigail Williams Becoming is a full fledged masterpiece start to finish in every way. Numenorean Home is a constant support as well - easily one of the best executed concept albums I can think of in recent years.  Couple recent album purchases: Death Engine Place Noire, Wolf King Loyal to the Soil.

13. Precedents of Grants Pass, which reaches thirty-five thousand inhabitants, how did an extreme metal band emerge in such a small town? What can you tell us about the metal scene in your area?

We have such a diverse range of great bands in our valley.  The 90’s hit us in a very special and primitive way.  So much so that we have had some “legendary” shows by our standards that ripple to this day.  Nirvana played Medford a couple months before Kurt was murdered - rumor has it they mixed up zip codes with Portland, and that is why they stopped in Medford.  Randy Blythe of Lamb of God got pissed because a couple drunk dudes screamed at a couple of other drunk dudes to shut the fuck up during a moment of silence AFTER playing As the Palaces Burn and not before the set…  Randy said he would never play Medford again - shit like that adds up around here.  Moreover, Helmet came from here.  I swear, or at least I tell myself they used to rehearse in the old IGA Market in Phoenix that was boarded up after Ray’s bought em.  We have some resentment here as well - we are called the “Deadzone” halfway between San Francisco and Portland.  The place were no one stops - but when they do, we remember - and we convert that too.  Each one of us can point to some magic like that around here, Mastodon playing Musichead Record Store before it closed.  Best part is many bands around here use that as fuel.  Some other notable acts catching some traction are Steaksauce Mustache, Insanity’s Reign, Aitherios.

14. What upcoming events await Attic fans, in terms of upcoming releases, concerts, reissues, line-up?

We are playing Jonnie’s Wedding in October.  We are currently working on a new album titled Remnant.  Trying out a couple lead players too.  And yeah, reissues!  Great idea floated around because Seasons never got a physical release.  Something like that should happen after that 3rd album hits, we will keep you posted.

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

Thank you to your team as well.  What great questions.  And every bit of this helps THIS go on.  The scene finds a way, there is a calling - there always will be - that will never stop.  The energies are there to reach you. Thanks to everyone of you that holds that up in a vessel, each of us a different type of vessel.  Legitimize what is yours and ours.  We can’t wait to hug you in the pit!

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

Moloch ‎– Ein Düsterer Winter Kommt 9,99 €

60 copies. Black 7" vinyl. First copies comes with a little different modification of front image and printed on hard xerox paper. All other copies comes with pro-printed glossy inlay. Some copies comes with patch and sticker.

SOYUZ

 

Origen: Holanda, Utrecht

Formados:?

Estilo: Black

Temática: Batallas del frente oriental y WWII

Enlaces: Bandcamp

Miembros: ?

Discografía:

• Red Blood, White Frost CD 2020
• The Voice of Struggle EP 2025

RED BLOOD, WHITE FROST (2020)

Primer álbum de estudio para lo que suponemos como una one man band holandesa, que encuentra la inspiración para su temática en la segunda guerra mundial y más en concreto en la conocida por los rusos como guerra patriótica desarrollada en el frente oriental. Desde el comienzo Soyuz pone sobre la mesa todas sus cartas, por un lado tenemos un componente ambient en forma de discursos de corte bélico, el primero de ellos de boca de Stalin cuando los nazis se encontraban a las puertas de Moscú, estos pasaje hablados que ensalzan el honor y el patriotismo del pueblo ruso contra el invasor nazi, se encuentran salpicando la mayoría de las composiciones y ejercen tanto de catalizador da la música como hilo conductor entre los temas. En cuanto al apartado musical, Soyuz ofrece un lo-fi black metal en donde las guitarras tienen la mayoría del protagonismo, ofreciendo capas distorsionadas de riffs de carácter raw que ocupan todo el espacio, manteniendo un ritmo casi que constante, descubriendo algunos movimientos en los temas más extensos e inclinándose también en algunas partes haca terrenos melódicos con tonos de melancolía los cuales aparecen sobre todos en las "versiones" de temas y canciones bélicas de la época. La batería suena distante, pero cumple cuando se le pide ofrecer contundencia, aunque mantiene un tondo bajo. Este tono bajo también se conserva en la voces, que no dudan en ofrecen gruñidos y gritos de desesperación sumidos en la vorágine de riffs que se suceden sin piedad. Soyuz ha construido una obra que resulta inmersiva para el oyente al trasportarlo a la angustia del conflicto bélico, con un sonido saturado e impenetrable. (7,6).

1. The Great War Has Come 08:51  

2. An Arduous Battle Awaits Us 04:16  

3. The Red Army Is the Strongest! 04:16  

4. And They Rode to Stalingrad 05:30  

5. The Sacred War (Towards Victory) 13:21  

6. Funeral March - Lament for the Fallen Comrades 09:47  

  46:01

ALMYRKVI

 

Origen: Islandia, Reykjavík

Formados: 2013

Estilo: Black atmosférico

Temática: Agujeros negros, cosmos y oscuridad

Enlaces: Facebook, instagram y spotify

Miembros:

• Bjarni Einarsson Batería
• Garðar S. Jónsson  Bajo, guitarra, teclados y voces

Discografía:

• Pupil of the Searing Maelstrom EP 2016
• Umbra CD 2017  
• Astral Maledictions 2017 Split 2017  
• The Ruins of Beverast / Almyrkvi Split 2020

THE RUINS OF BEVERAST / ALMYRKVI (2020)

Compartido entre dos banda de corte atmosférico que se salen un poco de lo que entendemos por convencional en estos registros. El split comienza con dos extensos temas de Almyrkvi que nos golpea con un muro de sonido, denso e impenetrable, en donde la reverberación de las guitarras impide que acaben por sonar del todo melódicas, pero si que por contra son capaces de mostrar un ritmo impasible e impenetrable. Si que es cierto que la densidad del sonido de estas dos composiciones nos puede llevar, por un lado a tener una sensación de repetición entre ellas, pero creo que la intención de Almyrkvi es que funcionen como un mantra que vaya por un lado haciendo mella en el oyente y por otro que sirva de patrón a partir del cual se desarrolle un viaje a la soledad y desesperación del vacío cósmico. Las peculiaridades del sonido de Almyrkvi en este trabajo van más allá, al ofrecer algunas influencias que podemos encuadrar dentro de sonido industriales en esencia, al tiempo que estilos alejados un tanto del atmosférico, como puede ser el doom, cobra protagonismo, sobre todo en relación al ritmo pastoso y aplastante del conjunto. Dos nuevos temas que nos dan idea de lo complejo de la propuesta de Almyrkvi, alejado de convencionalismos, centrándose más en la profundidad, tanto en la musical como en las cavernosas voces, realizando tanto una labor inmersiva como de desgaste en el oyente, en forma de desesperación y sufrimiento. (8,4).

Ván Records

1. Almyrkvi - Asomatous Grove 10:32  

2. Almyrkvi - Managarmr 09:52  

3. The Ruins of Beverast - The Grand Nebula Pulse 12:58  

4. The Ruins of Beverast - Hunters 09:05  

  42:27

CAULDRON BLACK RAM

 

Origen: Australia, Adelaide

Formados: 1996

Estilo: Black, death

Temática: Mitos, ocultismo y piratas

Enlaces: Facebook

Miembros:

• Alim Guitarra y voces
• Ben Newsome  Bajo y voces
• Esh Batería y voces

Discografía:

• Cauldron Black Ram Demo 1997  
• Misery's Omen / Cauldron Black Ram Split 2002  
• The Devil Bellied Seven Inch EP 2003  
• Skulduggery CD 2004
• Slubberdegullion CD 2010
• The Poisoner Maxi-EP EP 2011
• Stalagmire CD 2014
• Cauldron Black Ram / Sempiternal Dusk Split 2018  
• Slaver CD 2020

SLAVER (2020)

Llegamos al cuarto larga duración de esta banda australiana, en activo desde mediados de la década de los noventa, cuyos miembros se encuentran implicados en proyectos de metal extremo como "Martire, Mournful Congregation o StarGazer" y que ofrecen un álbum de death/black con un sonido muy particular. Supongo que por un lado el poder dar rienda suelta a sonidos más "clásicos" death/black en su otras bandas ha hecho que Cauldron Black Ram pueda recoger diferentes influencias y estilos para dotar a su sonido de mayor diferenciación, al mismo tiempo que lo hace reconocible. Estás influencias son variadas, podemos hablar por un lado de influencias thrash o del rock de los años ochenta, presentes en ciertas estructuras de la canciones y fruto sin lugar a dudas de la proximidad en el tiempo con la creación de Cauldron Black Ram, pero también debido a que un estilo como el black/death estaba dando sus primeros pasos y la diferenciación entre estilos no era tan clara. Pero una escucha más pormenorizada de este álbum, ya que es un trabajo que va madurando con cada nueva escucha, nos permite apreciar por un lado la profundidad, oscuridad y putrefacción de este "Slaves", al tiempo que vamos descubriendo influencias claras del doom, así como algunas más livianas como peuden ser las del sludge o incluso el jazz. El ritmo de este "Slaves" no es rápido, más bien se mantiene en un tono comedido, que permite que su música profundice y se sumerja en un caos de densidad y oscuridad lleno de complejidad y putrefacción. Al contar con tres vocalistas, este apartado se muestra denso y profundo en un tono que vira entre el black y el death más cavernoso. Un nuevo trabajo, fruto tanto de la experiencia de más de veinte años de trayectoria, como también de una visión diferente de un estilo como el black/death. (8).

20 Buck Spin

1. Flame 05:33

   Witches fuel

The night fires

Acrid smoke now

The town cryer

Belly of the beast

Seeds furnace fire

Aroused deviants

Conspire, conspire

Poisoned by the rush of ashen filth

Choking beneath cadaverous silt

By the rat eyed merchants guild

A vile practice the fortress built

Insolent flame

Tamed for mastication

Those devout to death

Drawn to masturbation

They would suffer

The hot breath

Rather than cast

To unmarked graves

Poisoned by the rush of ashen filth

Choking beneath cadaverous silt

By the rat eyed merchants guild

A vile practice the fortress built

2. Smoke Pours from the Orificies of the Crematory Idol 03:43

 Oath breaking is a foul deed and

Savage nature is mistress see

Deflowerment and devourment

Of those that do not cannot flee

Degenerate vermin siphon vitality

Spoiling pasture, field, flock

An ashen wake within

Ashen torrent the pall without

Groomed for eventual sacrifice by the Dooms

Citadel host to nameless, backwards cults

A bastion hidden behind black volcanic lakes

Clouds caught between peerless twin mounts

Gargantuan idol predates uncommon memory

Before ailing acolytes swilling swill grew sedentary

None can ever know if or when they come to claim us

Through the sky breach, from the Abyss

3. Stones Break Bones 04:20

Knife flesh rust rend Skin melt in cess Wicked whittled lances Deranged sermon dancers Rupture, fountain red Lifeblood misled Four limbs, distend Aflame on, both ends Yet none crush None crack such Pulverised moans Stones break... bones! Scurrilous gossip Clandestine vilification Gathering posse Hurling lamentation  

4. Graves Awaiting Corpses 04:43

  Some struggled for honor, coin and sport

Here there be none of that sort

Teeth split by determination grim, faces taut

Primal fear collides with forethought

A future indentured to self-served malefic whim

Survival bodes chances none to slim

Heads split by swift integration, with chance

Primal lust collides with forbearance

Muddled by reptile hide boots

The corpses of ill repute

Posthumously, unceremoniously circumcised

Graves await corpse

Graves awaiting corpses

Graves await corpse

Graves awaiting corpses

Harried with threat n' promise, perpetuity

Stave waving fanatics fantasies

Barbaric hereafter allies, wanton promiscuity

Blood shrinking cunt sucking sodomy

Death avails no quarter

A spear for your marker

A mud pit the eternal charter

Graves await corpse

Graves awaiting corpses

Graves await corpse

Graves awaiting corpses

5. His Appearance 01:46   instrumental

6. Whore to War 03:38

 Layed out on goat hide cots

Like bodies laid out in lots

Reluctant soldiers bathed in stench

Eternal strife their bedded wench

Toilsome futilities

Senseless countermarching

Splayed spoiled blackened limbs

Scarred by a violent sundering

Worsened by the final tempest

Of vulture, smoke, rotting

Flesh

Circumslaughtery

In human battering

Burglarious misdeeds

Lose hands to the block n' axe

Or servitude

A whore to war

Honourable miscreants

Army takes towns still pet to wake

Unwilling swords

Are the whore to war

Circumslaughtery

In human battery

7. Temples to Death 03:19

Temples to death an estuary For the wretch, for the wretch Tenders a total enslavement Gathers flies to it's whip Temples to death Temples to death Mothers that birthed them Put to the torch, put to torch Skulls baked in the bricks Remains will break the arrows of enemy spite Black mud stains The white robed Flecked red with Hot fluids o' Whore Have them build their tomb A monument an ornament Slain slaves enshrined None preside This law for sins  

8. Slaver 03:34

Slaver! Slaver! With glazed eyes of opium eaters Rattling bars with some pield A tantalising, infantiling torment For the promise of freedom Of freedom... Dancing nerves of the soon to be sold Lancing shrieks of the soon to be dead Look to the razored crenellations Hear their diseased whine As they split the wolfish winds A dereliction built into it's spine Dancing nerves of the soon to be sold Lancing shrieks of the soon to be dead Lengthening, grasping shadows of talons Pierce the will of warriors Serrate hardened faith in the pious Who inhale vision from muds Enslaved to the fort of the slavers Woe presides the fort of sorrows Slaver Slaver Slaver Slaver 

9. The Pit 04:01

Mongrels of a calling Haunting scape Congregate by swamp hued pyre By no mistake The circus placates Most violent ingress Congress a mordant pursuit Commoners and brutes ...alike... Slave fat fuels the flambeaux Lick the vile air Gladiators wear Fur and night With pride With pride Expats bore scented gifts Rewarded with welts Hailed with spit Manacled and dressed In hide Paralysis of a snake Oiled into the clasp Whipping tails of cuff chains Death, thirsting crowd Rasps Desperate, yet almighty blows Rending limbs and dimming hopes   

10. His Exultance 01:28   instrumental

  36:05

Blakk Old Blood ‎– Greed 13,99 €

MLP 200 copies, 100 handnumbered with insert