OROB - INTERVIEW

1.Create Orob 2010, why did you decide to form the band?, Why the name and referred Orb?

Ben and I were playing guitar together since several years, so we decided to record something in order to recruit live members.The name of the band does not have a particular meaning. We wanted something short and simple, fitting to the "elemental" themes we develop in the lyrics. We also wanted something "round" with a lot of "O".I guess we succeed, we got 50% of "O" within that name. 

2.In this short space of time since the original lineup has been altered in a couple of members, I was difficult to replace Oliver and Benjamin What have contributed Andrea and Yoan?

Well replacing Ben was a pretty easy process since, when he left due to work, he chose Andrea to replace him. Andrea was more into blues and groovy riffs than goat-worshiping evil ones when he got into the band so he brought some serious pieces of lead guitar.In the other hand, finding a new drummer was a real problem, we searched for one year. Olivier was kindly doing sessions for us so we could play live.Fortunately, we found Yoan, who were at the moment performing in the post-metal band Agrion Splendens.

3.In these 4 years the band has released a couple of EPs "Departure" in 2012 and "Into the Room of Perpetual Echoes", how has evolved the sound of the band in between these two eps? How is your way of working and compose?

On the first EP, we tried some progressive things but it was basically black 'n roll. For most us it was our first "serious" band so we hadn't much experience yet. We chose to go for simple and efficient songs we could decently play live. The new EP is way more ambitious and very progressive.

Tracks are almost finished when I submit them to the rest of the band, but are highly prone to change. We now tend to work the songs directly in the rehearsal room to get an "organic" feeling out of them.

4.What are your main musical influences? What topics you treat in your lyrics and interesting to consider why write about it?

I would say that norwegian and english extreme progressive bands are our main source of Inspiration. I think of bands such as Enslaved, Akercoke, Arcturus or Code. But there are many others, some cascadian black metal like WITTR, some progressive death metal, atmospheric tunes in the vein of Dead can Dance. Many others.

At first, the idea with Orob was to express raw emotions about existential fears and bleak landscapes but through the two EPs, we unintentionally started to build our own little Mythology, with characters, gods, places... All seems to make sense now and be sure that the next record will tell what happens to the Trickster and the Room of Perpetual Echoes. 

5.How would you describe the music of Orob for someone you have not yet heard What you intend to convey to the listener with your music?

It's something dark and progressive, epic and majestic that talks about solitude, cold, vastness and our place in cosmos as an human.Wow, who wouldn't buy our EP with such an advertisement !? 

6.Your musical proposal fits into the metal post and black, how do you think your music fits within the French proposal scene? Bands what we recommend for your area that are not yet well known?

Even if we certainly do have post-black metal influences, we do not consider ourselves to be a part of the post movement. And the french avant-garde BM is really something tougher than our music, more chaotic (I think of Blust Aut Nord, Aosoth). Our music don't really fit with french black metal, maybe more with progressive death metal like SuP? I don't know.Talking of post black metal I appreciate the Great Old Ones, from Bordeaux.

7.What brand of tools do you use? Is it the same as you use at concerts?

We recorded the guitar parts of the EP on a Peavey 6505+ if you want to know where that gritty tone comes from, but my live guitar amp is a Valveking, cheap but cool. I know that Pierre-Henry plays on a warwick bass, the drum is a fine expensive one... But this is all about comfort, I don't think the instruments and amps are changing anything to the music.We should have picked the worst mic and worst guitar of a shop and record songs in a horrible way like Varg did. That would have been true !

8.The theme of the show seems to be very present in Orob, would you take it is difficult to direct your proposal? Satisfied in August to participate in the Xtreme Fest?

We try to play live as much as we can. I can't say we encountered that much trouble finding gigs. Toulouse is a pretty active town, speaking of metal music. A lot of serious people are keeping the scene alive and kicking. We are honored and thankful to be a part of the Xtreme fest this year, I bet it'll be a smashing experience.

9.Of all the bands that are part of the Xtreme Festl poster, what you admire most and why?

Gojira is surely that band. They just proved you can do neck-breaking death metal while being outrageously innovative. They also showed the world that France is able to deliver great metal outfits.

10.How did you get started in music, cds you bought early, first concerts I attend, etc? .. Why you decided to be a musician?

We all started somewhere around high scool. For my part, bands like Sepultura or Slayer got me into making music.I remember my first black metal concert, it was Marduk playing live in Montauban. It kind of raped my young, candid ears.

11.Not hearing record has been interested in editing your music?

We've been contacted by some labels after we released ITROPE.We'd like to get one for the next release so it can get a real distribution.

12.What future plans do you have for the band concerts, upcoming releases?

We'd like to play live outside of the south of France. We're currently planning a mini-tour with our friends Havenless for 2015. An album is in the making, we already have several tunes and a strong concept around it.We might re-release some old tracks before recording that album.

13.Thank you very much for your time, talking to Black Metal Spirit. If you want to add something to the followers of Orob, now is the time. Were the questions I hope to your liking.

Thank you for your interest, answering these questions was a pleasure.

To the readers, please note that the EP can be downloaded for free on our bandcamp page.

OROB

Origen: Francia, Montauban

Formados: 2010

Estilo: Black progresivo, post-metal

Temática: ?

Enlaces: Bandcamp y facebook

Miembros:

• Baptiste Belot Guitarra y voces
• Pierre-Henry Boivert Bajo
• Thomas Garcia Guitarra y voces
• Vincent Causse Batería

Discografía:

• Departure EP 2012   
• Into the Room of Perpetual Echoes EP 2013
• Aube noir CD 2021
• Golden Tears of Love and Sorrow EP 2025

INTO THE ROOM OF PERPERTUAL ECHOES (2013)  

Francia siempre se ha caracterizado por aportar interesante innovaciones a la escena black, siendo el apartado vanguardista un elemento muy presente en su música. En el caso que nos ocupa no es tanto el vanguardismo sino el saber integrar estilos como el progresivo y el post-metal fusionados con el black. Con una propuesta más acorde con lo que esta sucediendo en la escena estadounidense, Orob se las arreglan para entregar un ep de seis temas bastante interesante y completo. Las composiciones hacen gala de desarrollos progresivos y de intrincados cambios de registro, muy en la línea de los que se puede esperar del post-metal, aunque sin llegar nunca a traspasar la frontera que los separaría del black, ya que este ejercicio de post-metal viene complementado con una atmósfera oscura, unas voces agresivas la mayoría de la veces y claras en otros que crean un interesante contrapunto. A lo largo de los seis temas podemos disfrutar de arreglos y pasajes más claros y limpios que contrastan con las vertiente más rápida y agresiva que conforman el grueso de su música, pero que añaden variedad y les hacen subir un escalón por encima de la media. Buen trabajo en los riffs de tendencia repetitiva pero demoledores, sobre los que se construyen el grueso de la composicones, el aspecto que menos me ha convencido es el de la batería, un tanto hueca e impersonal, pero esto no empaña un muy interesante Ep de una banda a tener en cuenta. (8,1).

1. A Perpetual Echo 00:56  

2. The Pathway 05:24  

3. Marrow 03:44  

4. Celestial Abandon 08:54  

5. Through Roots and Burrows 07:15  

6. Neptune's Torch 06:36  

  32:49  

ARX ATRATA - INTERVIEW

1.The beginnings of Arx Atrata back to 2010 , how were the beginnings of the band ? Referred Atrata Arx name ?

There is not much to say about the beginning - as a fan of black metal it seemed natural to want to create some myself. It took several years because life includes many interruptions! The name of the band came later, as the album was almost ready for release. It roughly means 'blackened fortress' or similar, but it has no significance to the music as such.

2.Last 2013 the debut album " Oblivion" is published , how was the recording process and composition of the album?

Usually I start out with several musical themes I want to explore in a given song, perhaps drawing on existing influences or wanting to make use of certain instrumentation or sounds. Then it is just a case of writing and arranging the parts until the work feels complete. The work was all done in my home studio so recording and composition was basically part of the same process.

3.Having to deal with all the musical level, do you find it very difficult to take care of all instrumentation and what is the instrument with which you feel most comfortable when playing?

I am primarily a guitarist, so writing and performing those parts felt natural. The other parts were more difficult; but it is good to explore and extend your boundaries as an artist. In some ways however it is actually easier to perform all the parts yourself because it reduces the time spent on communication and on rehearsals.

4.The music of "Oblivion " conjures up cold and lonely landscapes with interesting balance between the use of keyboards and more folk elements without ever losing sight of the more traditional split of black , what are your main musical influences and how they have seen reflected in the album?

There are many influences on 'Oblivion', but the bands that had the most direct influence on the songwriting are Coldworld, Paysage D'Hiver, and Winterfylleth. Each of those bands are clearly black metal but they add in acoustic sections, ambient soundscapes, or doom influences to improve the songs, and that is the sort of musical path that Arx Atrata will continue to follow.

5.As for the black metal scene in the UK, how would you describe the scene today in your country?

The 'UKBM' scene is in great health; with bands like Winterfylleth, Wodensthrone, Old Corpse Road, Eastern Front, Fyrdsman, Ethereal, Fen, Cnoc An Tursa, A Forest Of Stars, etc., there is a lot of variety and quality. There are other good bands coming through the ranks as well, too many to name.

6.What topics you treat in your songs and why you think interesting to write about them?

The lyrics in Oblivion follow a broad theme of exploring the end of the world, or at least several interpretations of it. In a work like this the lyrics are ultimately secondary to the music and there is not intended to be a strong message contained within; they are just topics that are dark and melancholic, and which fit the compositions.

7.The cover fits perfectly with the atmosphere of the album , who designed this cover?

The artwork was done by Moonring Design (http://www.moonringdesign.com/). It wasn't designed specifically for Oblivion but was selected by myself to appear on the album as it completely fits the theme.

8.In your opinion what are your top five albums most important black metal ?

I wouldn't want to try and answer that question, as I do not consider myself an expert. My favourite albums are probably not all that important; and vice versa.

9.For someone who has not yet heard "Oblivion " , how would you describe the sound of the album What feelings are you trying to convey to the listener with your music?

It is simply "atmospheric black metal". The album tries to represent cold landscapes, lonely travellers, and abandoned places. But it is only music, and the listeners will have to decide for themselves.

10.How did you get started in music? What point you decided to be a musician and why?

It was many years ago so I do not remember all the details. However I do remember being given a keyboard by my grandparents, and also using some music software that was available for my computer. When I got into metal music I picked up a guitar and that is when I truly started to focus on music. I consider myself a creative person so creating music seemed obvious to me. However it is almost impossible to make a living as a musician now so it is not my day job. This is why it takes so long to make an album!

11.Satisfied by the reception from the media and the public to "Oblivion "?

The reception to Oblivion was much better than I had expected. The only bad thing is that the second album must be very good, or people will be disappointed! But that is a good problem to have.

12.Have you considered the possibility of offering a concert of Arx Atrata ?

It has been considered, but it is very unlikely to happen. Gigging in the UK is incredibly tough at the moment with promoters rarely booking new bands. So even if we wanted to play gigs, and formed a full live line-up in order to play them, there is no guarantee anybody would allow us to play. However, if we were contacted and asked to play, and the show was a worthwhile one, we would try to make it work.

13.What future plans does the band regarding upcoming releases ?

There will be a second pressing of Oblivion soon, for those who didn't manage to get one of the limited edition copies. Then, later in the year, the process of songwriting for the second album will begin.

14,Thank you very much for your time , talking to Black Metal Spirit . If you want to add something to the followers of Arx Atrata, now is the time. Were the questions I hope to your liking .

Thank you very much for these questions and for your interest in Arx Atrata. Keep supporting black metal and I hope to speak to you again when the new album is ready!

NARJAHANAM

Origen: Bahreim, Dilmun.

Formados: 2004

Estilo: Black, death con influencia de música de oriente medio

Temática: Génesis, guerra, historia de oriente medio y religión.

Enlaces: Facebook

Miembros: 

• Busac Todos los instrumentos y batería programada
• Mardus Todos los instrumentos y voces

Discografía:

• عندما تظهر الشمس من الغرب CD 2007 2 (93%)
• وما خفي كان أعظم CD 2013   
• Alwailu Walthuboor Single 2020
• Alzawabe'a - الزوابع Single 2021

WA MA KHUFIYA KANA A´ATHAM (2013)

Siempre resulta de lo más interesante poder escuchar a bandas de black metal de procedencia lejana y mucho más si su música está profundamente empapada de la tradición folk en cuanto a instrumentación. Narjahanam se crearon allá por el año 2004 por Mardus y para hacerse uno una primera idea del sonido del grupo hay que pensar por ejemplo en Orphaned Land que salvando las distancias es una banda que ha sabido incluir en su música elementos de la música oriental sin dejar de sonar a metal. "Wa Ma Khufiya Kana A’atham" es un disco de metal sinfónico en estado puro, por momentos se acerca más al black en otros se aproxima más al death, pero como elemento diferenciador está que conserva en todos los temas elementos de la música oriental que acompañan a los temas y añaden misterio e intriga a las composiciones. En este segundo lanzamiento se ha trabajado mucho más las composiciones y la madurez alcanzada es notable, los temas fluyen sin apenas altibajos apoyándose en una contundente y un tanto monótona batería y unas voces roncas y guturales, riffs correctos y una ambientación de música de oriente medio con tendencia al sinfonismo y que acaba por impregnar la audición de un álbum que se muestra cuando menos interesante pero que puede pecar de continuista. (7,8).

Haarbn

1. ما خفي كان أعظم  

2. كهف الخلود  

3. قدوم السلطان  

4. رمال الزمان  

5. سيمفونية الموت  

6. ما بين الظلمات  

7. حشود النار  

8. أهل القبور  

9. لعنة لوحا  

10. سليمان  

11. كتاب الطقوس

ALGOR

Origen: Eslovaquia, Nove Mesto nad Vahom

Formados: 1998

Estilo: Black

Temática: Conceptos religiosos de M.Eliade y R.Otto, filosofía y naturaleza

Enlaces: Algor.

Miembros:

• Aldaron Bajo, guitarra, teclados y voces
• Miroslav "Slavfist" Batería y teclados

Discografía:

• Emptiness Demo 1999   
• Promo 2000/2001 Demo 2001   
• Úder Pohanského Hnevu CD 2003
• Heathen Brotherhood Split 2005
• Promo 2010 Demo 2010
• Algor / Ruin of Hedonism Split 2011 
• Hierofánia  CD 2013
• Za prahom vzdialených svetov​.​.​. Split 2021

HIEROFÁNIA (2013)

Algor atesora a sus espaldas una larga trayectoria dentro del black metal eslovaco, no muy extensa en cuanto a lanzamientos pero si interesante en cuanto a calidad. "Hierofánica" es su segunda larga duración, en este disco confluyen los sonidos black de mediados de los años noventa en una delicada convivencia con sonidos melancólicos y melódicos. Los temas son variados y extensos, podríamos hablar de un estilo muy personal, se crea un ambiente de teclados o instrumentación limpia con un claro componente depresivo para a la mínima oportunidad virar hacia una descarga de black agresivo, conservando cierta melodía pero sonando contundente y emanando del mismo una atmósfera más pagana e intensa. La producción juega a su favor, se ha realizado una buena labor que permite apreciar los contantes cambios de ritmos de la batería, elemento muy importante en la música de Algor, junto con las voces que desempeñan un papel fundamental en cuanto a agresividad, no hay que olvidarse de unos teclados que juegan un papel sustancial en las canciones y de unas guitarra de riffs explosivos. "Hierofánica" tiene que trascender como una obra importante dentro de la escena black eslovaca ya que Algor demuestra ser una banda que ha sabido madurar su sonido para ofrecer un notable trabajo de black metal. (8).

Hexencave Productions

1. ... A posvätno sa prejavuje 05:18  instrumental

2. V krajine živicových sĺz 03:56  

3. Lesovik 06:00  

4. Stretnutie s posvätnom 05:22  

5. Svet v zrkadlách 05:45  

6. Mysterium tremendum 05:20  

7. Pád do dejín 08:13  

8. Za onoho času 07:50  

9. K lesným chrámom... 06:20  

  54:04  

SATANIKA

Origen: Italia, Roma

Formados: 2009

Estilo: Black y thrash

Temática: Horror, satanismo, sexo y violencia

Enlaces: Facebook, Satanika y vk

Miembros:

• Cris Pervertor Voces
• Mr. Barren Guitarra

Discografía:

• Atomic Curse EP 2010   
• Brain Damage EP 2010   
• Mutilator EP 2010   
• Re-animate the 80's EP 2010   
• The Plague of Thrash Recopilatorio 2010   
• Satanikattack CD 2011   
• Metal Possession EP 2011
• Infection CD 2012
• Sadistic Perversions Split 2012   
• Inquisitor EP 2013   
• Nightmare CD 2014
• Total Inferno CD 2015
• Horde of Disgust CD 2023
• Live Massacre 2023 (Bootleg) Directo 2024

NIGHTMARE (2014)

Con "Satanika" los italianos llegan a su tercer larga duración después de habernos dejado un buen puñado de material en estos últimos años. "Satanika" es puro thrash black con un sonido más directo que sus anteriores trabajos y que coloca a la banda en un nuevo status. "Nightmare" es una sucesión de riffs thrash metal melódicos, inspirados y que se adentran en las bandas de inicios de lo años noventa. Su  sonido se adentra también en el punk, y siempre está muy presente la escena tharsh gérmana. En cuanto a las voces son pura rabia, nada que objetar a excepción de alguna experimentación en algún tema. "Nightmare" no tiene pausas, va a toda velocidad, los riffs de guitarra se entrelazan uno tras otro a cuál más rápido y crudo, la batería asiste a este ejerccico de riffs aumentado la carga de velocidad conviviendo con voces que encajan perfectamente en el thrash que desprende esta obra. Las letras de los temas se mueven por terrenos más satánicos, Pervertor en la intro ya lo deja bien claro. Un álbum muy recomendable que nos descubre a una banda a tener en cuenta dentro de la escena. (8,9).

Irons hield records

1. Electro-Shock 04:02

  Awakened at midnight by thrills of your nightmares

they open your wounds in the dark

liars, liars, they are fuckin' liars...there is no fuckin' cure

they only want to abuse

Tools are cold as ice as they penetrate the brain

shock waves of morbid death, deep radiations from hell

injecting acid into the bleeding eyes

a lethal dose of silent death inside the putrid veins

Lurking in shadows molesting the bodies

the plague devours from within

into the dark of mental hell erasing the consciousness

like a torture with thousand blades

a depraved electric dose of experimental terror

they'll ripping out your soul, in your sleep you'll die again

Follow the black light into electro madness, fall into the dark of the mind

every nerve alive, never wake up alive, it's time for all to die...

ELECTRO-SHOCK...ELECTRO-SHOCK...ELECTRO-SHOCK...

Trapped in a corner by cowards from hell

they'll slaughter your soul with a black magic spell

don't try to escape don't try to fight

there is no light n the dark of your mind....

2. Mask of Satan 02:50

Old Moldavia saw the birth of Asa, Satan's evil witch a shame for the Vajda, line full of filth and demonic crime Satan's willing bitch laid in a tomb under the cross sworn to return by black magic curse demonic bride too evil to die son you will hear her vengeanceful cry no escape from Satan's wrath as she returns the Devil laughs crosses turn and idols crack fear the unholy witches attack The Inquisition chained her and impaled her face with Satan's mask of iron the execution flames were purged by unholy rain protected by the demon  

3. The Black Queen 03:43

She commands the demon breed

owns the beauty of the night

welcomes to you to hellfire

takes the rays of light

horny visions make me bleed

victory by satanic seed

this is what she has done to me

raped again by magic tease

Black magic is everywhere...

tease me...

BLACK QUEEN...

Black magic is forever...take me...

BLACK QUEEN

Please accept my sacrifice

mistress from the morbid side

dead and dreaming my blood is yours

my soul to feed your hungry whores

all my bones laid to your feet

your grip so cold my heart deceased

punish me if it's your desire

send my soul to infernal fire

Black magic is everywhere...

tease me...

BLACK QUEEN...

Black magic is forever...take me...

BLACK QUEEN

Kneel before the altar the shrine offering believe

A monument your body is

my sanctuary my eternal test

tease me...take me...BLACK QUEEN

My wish to cum I obey your rules

a sacrifice a foolish tool

embrace my soul with blackest shores

make me your altar whore

tease me...take me...BLACK QUEEN

4. Blood Orgy of the She-devils 04:46

See their eyes obsessed with hate see them lurkin' in the dark the darkest night, the blackest fate this is the final sacrifice Nail'em down one by one upon the altar of lies rip the skin with flames of fire fulfil Satan's desire Spilling the blood upon the altar come forth sisters of death burn the candles for Satan's tonight Spare no fuckin' life High-Priestess of total Hell rejoice in flames of death boiling blood consumes the light the gates of Hell open wide women of desire possessed with wicked minds cast the morbid curse tonight no one survives. Feel the 1000 knives... BLOOD OF ORGY OF THE SHE-DEVILS Feel the demon rise... BLOOD OF ORGY OF THE SHE-DEVILS Bring forth beasts of flesh, unleash the tortures so that no one forgets unholy evil chants...  

5. The Executioner 03:33

Melted in unholy fire, condemned by supreme force of evil burn the skin and pierce their eyes make them suffer till they die a pounding hammer in your brain possessed by death I'm insane Fear the blades of the Executioner... on your knees again for the Executioner... Hauntings victims in the night a cruel beast with burning eyes High Priest of striking evil...he'll judge who lives or dies Invoke the powers from blackest Hell feeding dead into deepest Hell  

6. Steel Aggressor 03:15

Evil invaders fallen from the sky insane parasite, destroyer of mankind Possessed by fire, sent from Hell his only order is to rape and kill Steel Aggressor...a violent weapon made to kill Steel Aggressor...total fire what they'll feel! No limits to evil...depraved sleaze from Hell repulsive flesh will bleed, once you're possessed Forged into the abyss, with Devil's fire Steel Aggressor... possessed by neverending hate Steel Aggressor... a violent plunge into the grave!  

7. Deathwitch Possession 03:35

Fear demonic force striken by tortures of death she has no fuckin' remorse slaughtered in pain by the dead Drown into the absurd fear her evil spells possessed by living death Die in Hell... Deathwitch Possession!!! Unspeakable evil penetrates your soul you won't escape, it's time to face your doom Like a plague she kills from within silent, slowly with evil and sin  

8. Sacrifice the Bitch 03:58

It's prime to light the fire of Satan's darkest wrath prepare the sacrifice, awaiting the final bloodbath Oh night so dark like blood knives take now our lives Inverted cross upon our head...hordes of the dead It's time to break the mortal chains It's time to kneel before eternal flames Into the sea of fire where sinners scream in vain the worms of Satan take your soul of pain Burn...burn...burn...it's time to Sacrifice the Bitch Sacrifice the Bitch...Sacrifice the Bitch... die, die, die.... The freezing silence in the night, deathlike damnation possesses the minds...Rise, rise, rise in scorn... blasphemic cruelty's reborn

9. Carnal Violence 03:53

Trapped inside your blackest hell - a vicious morbid mind psychosexual parasite, hunter of human lives it's time of horror, he's here tonight, innocents will die you've been warned, evil's arrived...run for your life... you cannot hide, you cannot cry, choose suicide! you've been ripped and left to die... this was, your life. Carnal Violence...satisfied by homicide Carnal Violence...the violent sacrifice Dressed in black with shining globes sadistic forces...he's uncontrolled screaming through the night, spreading violence and disease no remorse he can't be seen, blood is spilled againg paranoia's growing stronger as he brings you to the grave see his, face of death staring in your eyes addicted to the pain fear the beast inside sinkin' into mental hell, obey his morbid spell feel the blade and dig your tomb he rips the bitches' womb Carnal Violence...into the evil mind Carnal Violence...the violent sacrifice.  

10. Devil's Reject 05:14

I walk through the depths of the fiery hell in torment I'm under his spell escape from the grave the master arrives my bleeding soul is alive Possessed by the dark since the day I was born Satan awaits my return I cannot defy him my soul is condemned into the fire I'll fall with the dead hordes of demons rise coming from the darkside neverending terror's striking in my mind haunted by death they rip my burning flesh Unstoppable force netherworld is at hand I rape and kill as I can infamous eyes stare my acts of defiance extreme aggression...no pity for liars I'm the betrayer you will not survive as lethal evil's possessing my mind I slice all the throats I'm spreading the plague I bring down the world. you will fear my return Blood on my hands - I'm the Devil's reject Lethal as death - I'm the Devil's reject escape from Hell - I'm the Devil's reject born from the grave - I'm the Devil's reject Poison the world, cast my own curse rise the empire from the tomb storming the gates, burning inside thy Kingdom's gone, my will is done Feast on the flesh, tyrant of Hell victim of doom, Blessed by the sins fall to your knees and worship me... INTRO SOLO BY BARREN FINAL SOLO BY ERIC DANIEL 

  38:49  

BLODSGARD - INTERVIEW

Blodsgard was born in 2006; what were the beginnings of the band? Why did you decide to create Blodsgard and what does the band’s name reference? 

- I ( Fredrik Rex) decided to create Blodsgard out of pure necessity while serving in the Norwegian army. I was sick and tired of hearing the same old boring music and knew that if I would ever get the music I needed I would have to create it myself. The army was a perfect stopping point in my life to realize what needed to be done. It was tough, cold, dreary, boring, action packed, heavy, philosophical. It was like I had an itch that wouldnt be scratched. The name "Blodsgard" (bloody farm feud) references some of my ancestral heritage history. My bloodline has always known to be morally just and ruthless about it. We were present during the fight against the nazis in Norway during WWII, and earlier on also against Denmark and Sweden. Blodsgard is continuing the fight against oppression, this time against religious institutions influences on society. We view this fight as an intellectually and morally just cause in our time.

After all these years having released three demos, "Monument" is your first full-length album. What was the process of writing and recording the album? What is your way of working on the themes?

- It has been a long and tough process. It took us five years(!) to reach our high standards. We view Blodsgard's music as art and treat the process accordingly. It is always about the art, never about it making popular music. We write music to be great, no matter who will listen to it. We have a strickt way of writing themes. We root out a small melody-theme that we evolve into a song naturally over time. Each track takes months to finish. 

The sound of "Monument" has an important component of the sound of traditional black metal, but on the other hand doesn't shy away from a more current sound. What defines the music of the band? What bands are the principal influences on the group's sound?

- Of course, like any other metal head, we are fans of other bands too. Like Burzum, Mayhem, Gorgoroth, to name a few obvious bands. The difference between Blodsgard and other bands is that we are adamant about creating our own music. We have made our own sound by creating everything from scratch. Nothing is stolen, nothing is copied. When your process of making music is that basic and down to your roots, the sound you end up with is different from everything else. That is why people have a really hard time putting us into a box. We dont "sound" exacly alike anything else simply beacuse we have made everything ourself. Lyrically, musically, mentally. Our music-making process is the definition of originality. We take pride in that fact.

How has the sound of the band evolved since your first demo, “Nuclear Extinction” in 2008 to your album “Monument”?

- I (Rex) have personally always been interested in modernizing blackmetal music. Evolution is inevitable, but it needs to be directed in a positive way. How can we change old school True Norwegian Black Metal into a modern sound without losing the edge it had in the 90's? A part of that is being concious about what exactly it was that was so great about the original sound, and what can be modernized in a positive way. The first demo Nuclear Extinction was an attempt at bringing in clear solo guitar sections. A sort of half-futuristic sound. We moved away from this pretty fast. Finding our own sound means pushing the boundaries. Nuclear Extinction was an unserious experiment at a very early stage (I had only played guitar for one year at the time). Monument is something completely different. It is a beast that has so much work cut into it that Nuclear Ex. by comparison looks like an aborted fetus.

What lyrical aspects are used in the songs and why do you consider them interesting to write about?

- Stein Akslen: The lyrics I (Akslen) created for Monument deals with the individuals relation to his/her own conscioussness, and the world, or worlds, you are able to create for yourself. The necessity for destruction, to burn bridges, and the ambitions needed to recreate yourself and your world in your own image. Of course, it relates directly to myself, as all great art should – but I try to use a language visual and poetic enough to make others be able to connect to it. There is a certain pagan esoteric aspect of the lyrics, using elements and emotions to express something I believe many are able to relate too. The forces of nature all exist in yourself, and it is your job – your duty – to use these forces for the benefit of yourself. You should know when to conjure a storm, and when to let the ice melt. 

Although you preserve the sound and the scene of traditional black metal, it's also true that your music has a more current component and has evolved to achieve a very recognizable sound. What classic bands are your favorites and which current bands deserve your attention currently?

- I often get this question in interviews, "what bands do I reccomend". The fact that I can not reccomend any new band out there is a sad fact. But it is never the less painfully true. There are OK bands out there, but great bands that I would personally reccomend listening to? Nothing. The copy-paste thoughtless 'I-want-to-be-a-rockstar' golddigging fanboy tendencies of new bands that have exactly zero artistical ingenuity makes me want to pull my hair out. They make nothing new. What is the point of creating music if you are badly copying and repeating what (better) bands have done before you? Art is not simple consumption. Quality over quantity is the key to the survival of our genre of music. I hope that Blodsgard will be the changing factor in this musical stagnation.

Furthermore, your music also has a strong anti-religious weight; what is your opinion on organized religion as a method for subduing the human being?

- Stein Akslen: In my opinion, there is never a valid excuse to let yourself go and submit. I (Akslen) believe that freedom and mental autonomy is threatened by any religious system that has dogmatics, a defined morality or a hierarchy. Religiousity is often too ignorant and too connected to escapism, to ever be a healthy characteristic of a human being. As I have said in numerious other interviews, I do not consider religion per se the problem; the problem lies in the individual who actively and openly embraces these practices. You should never turn the other cheek.

The idea of the concerts (playing live) is secondary for the band? 

- Blodsgard does not play live. It is not for some strange philosphical reason, it has to do with timing and resources. Both Stein Akslen and I (Rex) have ambitious career plans to maintain. That takes up so much of our day-to-day resources that it would be impossible to rehearse and travel for live shows. But maybe, one day, we will push together and do one or two live concerts. That too will be something completely different. I can say this much: If you are into elitist blackmetal and come across Blodsgard playing live, you better start packing. The chances of that happening are slim, but if Blodsgard has proved anything it is that we have the ability to make the impossible happen and make greatness come alive. 

How did you get started in music; what were the first CDs you bought; the first concert you attended? Why did you decide to be a musician? 

Five key CDs for you. 

- I (Rex) decided to make music when I was very young. I think I was about 11 years old when I first started making epic techno music. I was always far better then anyone else I knew at it, so I think that was the first time I understood that I had a rare gift. Musicians come in many shapes and sizes; you have the guitarists that are good at repeating that other people have written, and then you have songwriters. Really good songwriters are maybe 3-4% of musicians in total. Songwriters are a rare specimen. I am one of those oddities of musicians.

I cant remember The first metal concert I attended, but I remember seeing Shining at a very early stage and Satyricon on several occations. They both made a lasting impression. I can't remember the first metal CD I bought, but the first CD ever was a really bad techno compilation album in 1994. One of the first metal albums that really changed me and made a lasting impression was Fear Factory - Archetype (2004). If you listen closely, you can hear technical references from that album on Monument (or at least I can). Apart from that, my "Blackmetal awakening" was through the classic albums of Dimmu Borgir, Emperor, Satyricon, Burzum, Mayhem, Gorgoroth, Troll, Ved Buens Ende, Kvist, etc.

How did you  to release the album through the Italian label The Oath? Are you satisfied with the work done by the label and by the response of fans to "Monument"? 

- The response Monument was above anything anyone could hope for. Several "album of the year" awards, many 10/10 top scores. I can't think of many bands out there that have gotten the same praise on their debut album. Of course that makes up happy. We hoped to be recognized for our art. Being named maybe one of the best bands of the century is of course above what we expected, but it is also a goal we set for ourselves too. We are not satisfied with being one of many OK bands. We want to make the best black metal art of today. Being recognized for our hard work feels good. The fans have been fantastic to us over many years. We have very loyal fans and hope to gather many more. We work for our fans, trying to give them the very best dark art that we can.

We did not decide on The Oath lightly. We were promised hard work and an easy sales platform for our fans to get hold of the album. This was extremely important to us. Surprisingly this was not in any way fulfilled by The Oath. We are not happy with the work that has been done by the label. We set high standards for our music, so there is no reason why that high standard shouldnt apply to the business aspect as well. We will not work with The Oath on our next album. Our fans deserve better. I would like to give my personal apologies to all the fans that had to go through a shady label to get hold of Monument physically. We will make sure this does not happen again.

Who designed the album cover? What does it represent and how it does it relate to the content? 

- Stein Akslen: The idea for the album cover was conceived by us in Blodsgard ourselves, and later rendered by hand by Mark Cooper of Mindrape Art. The art itself obivously relates to the Monolith by Gustav Vigeland you can see in Oslo, but has been reworked to fit our message. I (Akslen) find it fitting that the pillar of humans now have roots stretching into the landscape, and souls breaking free to fly on their own. That’s a beautiful idea. Combined with the title «Monument» and the message of our music, I think it gives a good insight into the mentality of what we decided Blodsgard to be.  

Will we have a follow-up to “Monument” soon? Any upcoming release? 

- Stein Akslen: Definitely not soon, considering it took five years to create Monument. We have some ideas, but nothing is carved in stone. Both Rex and I (Akslen) take great pride in our art, and I can assure you that nothing will be rushed or released unless it is the absolute best we can do. Blodsgard is elitist music, it’s all about quality, not quantity. Monument is one of the best Black Metal albums of all time, and I expect no less from a follow-up.

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

- Thanks to Black Metal Spirit! To our fans: I hope you will take the time to 'like' our facebookpage (Facebook.com/BlodsgardOfficial) and invite some friends as well. We post regulary interesting things abour Blodsgard, blackmetal, Norway and our lives. We like to have direct contact with our fans. 

Visit Blodsgard to buy merchandise! That is the Only place on earth to get hold of our merch. The stock is getting low, so grab it while you can. Monument-related merch will probably not be printed again.

 - Fredrik Rex and Stein Akslen 

Oslo, Norway 02.07.2014.

PROHOD

Origen: Rumanía, Sibiu

Formados: 2013

Estilo: Black atmosférico y melódico

Temática: ?

Enlaces: Facebook

Miembros:

• Andrei Oltean Batería programada, intrumentos folk y voces
• Ovidiu Ban Guitarra
• Vali Mandeal Guitarra y voces

Discografía:

• Hotarul Imbrelor CD 2013   
• Ascension: Paramatman Split 2014
• Herghelia Nimicniciei Single 2019 Pilda Single 2019 Frângerea Lumii Single 2021
• A doua moarte Single 2021

HOTARUL IMBRELOR (2013)  

El primer larga duración de los rumanos Prohod es un álbum de sonido rico y variado, en el se dan cita el black atmosférico, melódico y en ciertos puntos melancólico, al mismos tiempo también podemos atisbar elementos del death en ciertas facetas de sus composición sin olvidarnos del aspecto vocal, a todo ello le añaden algunos elementos de procedencia folk para ofrecer un disco, cuando menos con suficientes matices para resultar entretenido. Sus ideales están alejados del satanismo y su inspiración para la composición de la música viene del sufrimiento de la naturaleza bajo la opresión del ser humano. Hay que destacar el plano vocal que se mueve en una delgada línea que separa el black del death, aunque en la mayor parte de los temas se decanta por una aproximación a lo gutural. La batería es contundente, con algún doble bombo pero sin asfixiar el resto de instrumentos. En la guitarra hay suficiente variedad entre las partes más lentas y claras y los riffs rápidos. A todo ellos hay que sumarle la acertada inclusión de instrumentación folk que por un lado hacen su música más variada y por otro los acercan a sus raíces. La verdad es que me espera una música más folk y black sin tanto velocidad ni acercamiento al death, cuando menos hay que darle una oportunidad. (7,7).

1. Temnita Gerului 03:32  

2. Sacrilegiu Sfetnic 05:04  

3. Blesteme Peste Veacuri 06:05  

4. Din Sihle Pustii 07:48  

5. Vrajba 05:54  

6. Vrajmas Zamislit 05:28  

7. Al ‘naltului Prohod 09:00  

8. Nadejdei Jelanie 07:24  

9. Amurgu’Duhurilor 08:01  

10. Viers de Foc 10:28  

11. Glas de Cuget 02:14  

  01:10:58