Hace un par de años que Alessandro recompuso la formación de la banda para seguir dando rienda suelta a sus inquietudes musicales, en origen Alien Syndrome 777 surgió como colaboración entre él y el productor de música electrónica Joey Hopkins enfocada hacia la ciencia ficción. "Outer" no deja de ser un viaje y un planteamiento entre lo terrenal y lo celestial de la mano de un black metal de enfoque vanguardista. La música transmite una cierta sensación de frialdad y vacuidad pero no se ciñe solo a un plano meramente atmosférico, Allessandro se las arregla para ofrecer un sonido casi que hipnótico y repetitivo, no exento de cierta melodía, un sonido que se sustenta en programaciones, con buen trabajo a la guitarra, sobre las que se incluyen las voces, bastante agresivas que se amoldan al apartado instrumental, en ciertos puntos las voces se vuelven limpias y casi que corales, impregnando la composición de cierta épica. Una obra que en líneas generales cumple con su función de ofrecer una visión del contraste entre el ser humano y lo desconocido del espacio exterior, pero que resulta un tanto continuista en su planteamiento. (7,8).
Nueva entrega para Itnuveth que una vez más vuelve a insistir en situarnos en el panorama viking internacional con un álbum que recoge lo expuesto en su anterior "The Way of the Berserker" y lo lleva a un nuevo escalón, pero con ciertas diferencias. Lo primero la baja de Lianne Krossburner para ocuparse de Edenkaiser, se antojaba una baja sensible, el apartado vocal es bastante representativo para una banda y más teniendo en cuenta el gran trabajo realizado en "The Way of the Berserker", pero en está ocasión Funedëim (Dis Gob, FamishGod, Morkulv, Svipdagr) ha sido el encargado de llevar a cabo este difícil cometido y decir que ha superado el reto de manera notable, aportaando una mayor brutalidad y violencia a las voces. Cambio de sello discográfico, ahora en manos de Gaspar de los Base Records y de estudió de grabación, para la ocasión Marc Figueras de los F2F recordings, que ha contribuido en una mayor limpieza del sonido final, al mismo tiempo que ha aportado una batería bastante decente, que casa a la perfección con la propuesta de un álbum como "Paulsilaur: "Under the Wolf's Skin". Sin pasar por alto que en esta ocasión se ha cuidado más las guitarras, más melodía de tendencia folk y con cierta carga de melancolía. Inevitable no reconocer influencias de bandas como Windir o Moonsorrow, pero sobre todo la ambientación lograda, imposible no sentirse trasportado a la épica del combate y la historia conceptual que se esconde detrás del álbum, acaba por hacer brillar a este álbum como un referente, una vez más, dentro del black-viking nacional. (8,4).
Base Records
1.Paulsilaur I – With Ruins
2.Living Watched
3.Death Is Our Shadow
4.Wolf’s Skin
5.Round Trip....
6.Paulsilaur II – The Wolf, the Raven and the Bear
Как прежде плыли зори (The Dawns Were Drifting as Before)CD2013
The Land of Never Frightened Birds / Towards the TwilightRecopilatorio2014
Из тьмы вымерших деревень (From the Dead Villages' Darkness)CD2014
Поминальные холсты (Burial Shrouds)CD2015
Не оплакано былое / The Unmourned Past EP 2016
Сивый Яр Recopilatorio2018
Горе / GriefCD2020
Wiecznica / НеизбежностьSplit2020
Золотые нити / Golden ThreadsCD2022
Над страшной пропастью рдяный восход / A Scarlet Sunset over the HorridAbyss CD2025
BURIAL SHROUDS (2015)
El reciente lanzamiento de la one man band rusa Sivyi Yard, de la mano de Valdimir, es un álbum que pretende reflejar la dureza de la vida de los campesinos y gente pobre de su país ante los duros inviernos y mostrar la delgada línea que separa la vida y la muerte cuando vales lo que tienes. Vladimir entrega un álbum de black metal con bastantes toques atmosféricos y que encuentra en la patriotismo y el paganismo su razón de ser. Algunas melodías folk, una ambientación que pretende reflejar el ambiente de miseria y desesperación de la gente, son las principales bases en donde se sustenta el álbum,. Bien es cierto también que la audición deja un regusto a post metal, las melodías son tristes y melancólicas con un patrón continuista, todas ellas acompañadas de las voces que se muestran desgarradas y cercanas al depresivo. Un álbum que en conjunto cumple con su función de retratar las penurias del campesinado y de los pobres, sobre todo gracias a una buena ambientación y un apartado musical que transita por un terrenos de desesperación y melancolía pero que se antoja casi épica y grandilocuente. (7,9).
Segundo larga duración para el grupo indonesio, que se mantiene firme en la entrega de una black metal atmosférico que como principal salvedad con su anterior obra sabe incluir ciertos sintetizadores que contribuyen a la creación de unas atmósferas más maduras dentro de la evolución del sonido de la banda. Su propuesta cuesta englobarla dentro de la vertiente más ortodoxa del género, e influencias del Cascadian o de bandas como Deafhaevan se encuentran presentes en su sonido, echo que nos ofrece una idea de lo interesante de su música. "Homeward Path" es un álbum extenso, más de una hora de duración, tal vez el principal punto negativo del trabajo su extensa duración, ya que la música es evocadora, repleta de guiños a la naturaleza y a la nostalgia, pero no destaca por excesivas variaciones entre los temas. El discurrir de la propuesta de Vallendusk se afianza en la creación de paisajes repletos de soledad y frialdad de la mando de unos riffs melódicos, una buena carga de batería en un segundo plano y unas voces rasgadas repletas de odio y oscuridad, todo ello unido gracias al sutil uso de sintetizadores que elevan el resultado final de la propuesta. No pasaría nada si pensáramos que estamos ante un álbum de grupo escandinavo, pero las cosas aquí van por otro lado. (8,2).
Walpurgisnacht / His Majesty at the Swamp / The Lament of GodsRecopilatorio2004
Live at the SwampDemo2004
CrowsreignCD2004
Stygian Forces of Scorn CD2009
Darkness Has LandedSplit2009
Genesis of the Unaltered EvilRecopilatorio2012
Emissaries of the Darkened Call - Three Nails in the Coffin of HumanitySplit2012
Old Demons RiseSplit2014
Untrodden Corridors of HadesCD2014
The Confessional of the Black PenitentsEP2015
Patriarchs of Evil CD 2018
Archegonic Abysmal Dominion Recopilatorio 2018
Duality of the Unholy Existence Split 2019
Glorification Under the Latin Moon Directo 2020
Emissaries of the Darkened Call Recopilatorio 2021
The Demo Collection Recopilatorio 2022
Apocalyptic Mysticism Split 2022
The Crimson Temple CD 2023
UNTRODDEN CORRIDORS OF HADES (2014)
Pocas bandas se me antojan más representativas del metal heleno en su vertiente más black como los ya veteranos Varathron, bandas que a lo largo de dos décadas y media vienen manteniendo intacto su prestigio y estatus, siendo cada nuevo lanzamiento una ocasión para que el oyente pueda volver a disfrutar de la mejor tradición de black griego. Este nuevo álbum vuelve a ofrecer un black de corte clásico en cuanto a sonido, temas en líneas generales contundentes, construidos sobre riffs de guitarra que poco a poco van perdiendo un cierto componente melódico para adentrarse en otras más agresivos en donde el thrash y el death van conviviendo, las voces de Stefan se antojan imprescindibles dentro del concepto de la música de Varathron, de clara orientación agresiva y casi que brutal, contando en esta ocasión también con un buen apartado de batería que logra mayor contundencia en el resultado final, imprimiendo un aire casi que marcial en ciertas partes. Todo ello combinado con una ambientación propia de la mitología griega, en forma de algunos coros y sobre todo por la atmósfera oscura y misteriosa de todo el álbum, gracias a la extensión de los temas que permite incorporar ciertos arreglos. Otro álbum que mantiene el prestigio de Varathron en lo más alto. (8,3).
Powers of the kingdom
Be ye under my left foot
And in my right hand!
Glory and eternity
Take me by the two shoulders
And direct me in the paths of victory
Mercy and justice
Be ye the equilibrium
And splendour of my life!
Intelligence and wisdom
Crown me! Spirits of Malkuth!
Spirits of Malkuth!
Lead me betwixt the two pillars
Upon which rests the whole edifice of the temple!
Angels of Netsah and Hod
Establish me upon the cubic stone of Yesod!
O Gedulael!
O Geburael!
O Tiphereth! Binael, be ye my love!
Ruach Hochmael, be thou my light!
Be that which thou are
And thou shalt be
O Ketheriel! Ishim
Assist me in the name of Shaddai!
Cherubim, be my strength
In the name of Adonai!
Beni-Elohim be my brethren
In the name of the son
And by the powers of Zebaoth!
Eloim, do battle for me
In the name of Tetragrammaton!
Melachim, protect me
In the name of Yod
He vau he! Seraphim, cleanse my love
In the name of Elvoh!
Hashmalim, enlighten me
With the splendours of Eloi and Shekinah!
Aralim, act! Ophanim
Revolve and shine
Haioth ha Kadosh
Cry, speak, roar, bellow!
Kadosh, Kadosh, Kadosh,
Shaddai, Adonai, Jotchabah, Eiazereie!
Hallelu-Jah, Hallelu-Jah, Hallelu-Jah,
Amen!
2.Realm of Obscure07:42
The night has begun
Under most suspicious signs
The most enchanting show
Howling winds and racing rain!
The passing of time
Is different in our world
When you cross the threshold
You can still change your mind!
Just another victim
Of the dark lord's obscure designs!
Just a mysterious passage
To the wrath and merciless pain!
Balor the master of chaos
Emperor of total darkness!
Ruler of the fearful
Dominates the obscure dimensions!
Master of chaos
Total darkness
Dominates the obscure
Merciless pain
Bloody wounds
And hideous pain
A magnificent night
For a terrifying world
In the night of Samain
(he) secretly kidnaps humans
(far from the) endless battle
Sacrificed to the utter gods
Bloody and hideous pain
A horrible evil night!
Master of chaos
Total darkness
Dominates the obscure
Merciless pain
Thoughts and visions
Like a journey through time
Towards the absolute empire
Of Stygian darkness
Emperor of galaxy
Abysmal darkness
Realm of obscure
Apocryphal blasphemy!
3.Arcane Conjuring06:27
Deathstence of merciless carnage
Horrific malignance dominates
"Come, ye children, listen to me!
I will tech you the fear of the lord."
[2x]
Iao Setes
Setes Iao
Amprathax Kuraim Mizraeth Setes
There came the fullness of time
As the unholy testament
Of the ancient prophecy
Was written on the book of blood!
[2x]
Iao Setes
Setes Iao
Amprathax Kuraim Mizraeth Setes
Spelling the ancient glory
Into the endless future!
Valleys of the desert
Will call him!
I was born from the womb of uttermost hate
I remembered all my past lives
I lived there that the human mind
Doesn't want to imagine!
In the cold moonless nights
Then that all the ancient unholy gods
Passing through the winds and the forgotten
Shining kingdoms seem in the horizons!
Voices, psalms, screams around
To spelling those unholy words
"Come, ye children, listen to me!
I will tech you the fear of the lord."
[2x]
Iao Setes
Setes Iao
Amprathax Kuraim Mizraeth Setes
4.Leprocious Lord05:10
Enter into ghastly and dismay paths!
Were forbidden dimensions deprecate past and future
Demons wrath gives you pleasure
Desire for every sordid existence cryptic macrocosm declared
Your mystical unholy existence
Where every animate entity worships you
Where blasphemy is the amatory
Echo of your name!
Echo of your name!
[2x]
Leprocious lord
The pest unfold
Leprocious lord
Domiciled in nether world
Down there we shall extol
Your supernal and sullen visage
Down there we shall immolate
Our damned souls!
[2x]
Leprocious lord
The pest unfold
Leprocious lord
Domiciled in nether world
Beaver of occult
And forgotten apocryphal desires!
Oh! Leprocious lord!
Drifting into distorted realms beyond the veil!
Leprocious lord!
5.The Bright Trapezium06:45
Look the bright trapezium
Reveals the window of space-time
Look at it tracking its history
From the time constructed
In the dark Yuggoth
Before the ancient ones bring it on
Earth!
Preserved by the people
Kept by the reptiles of Valousia
Pharaoh Nefrim-Ka
Built around it, a secret temple
A strange box
With crinoidea of antarctic
An obscure lustful Naos!
Apocryphal treasure
Eternal-infernal cult!
Infernal ancient cult
The bright trapezium
Starts to seize my spirit
Quaint derangement of mind
I see things that never knew
Other worlds, different galaxies
Nightmares before my eyes
Darkness!
Lighting seems gloomy
And darkness seems bright!
Oh! Bright trapezium! [2x]
Its strange power
Has captured my spirit
I am that and that is me
Wanderings beyond dimensions
Where the powers of darkness can prevail
Where senses change into emptiness
Oh! Bright trapezium! [2x]
Recreating my thoughts
Feeding my endless wrath
Memories from the abyssic night
Reflections beyond sidereal sights!
The eternal flame of its blaze
Encharm my spirit beyond thoughts
Beyond life it depths of earth
Outlying regions in the sphere of my imagination
Super terrestrial abyssal chasms
Prophetic terror, unholy silence
Everlasting death-like silence!
La banda arranca en el año 1999 bajo el nombre de Ancestor, por aquel entonces ofrecían un heavy, thrash dejando una demo y un álbum como legado, reunidos nuevamente el grupo en 2008 comienza esta nueva andadura siendo Melikertiis a día de hoy el único miembro que perdura desde los inicios. Archemoron llega a este segundo larga duración para ofrecer un metal extremo en donde hay cabida para un black de clara tradición helena, imposible no rememorar a Rotting Christ en algún pasaje de este álbum. Pero no solo hay black en este "Sulphur and Fire", la banda sabe incorporar sutilmente una parte de death, sobre todo presente en el apartado vocal, al tiempo que una sensación próxima a la tradición griega, otro aspecto que convive a lo largo de todo el álbum, en parte por la incorporación de sonidos de gaviotas o del mar. Alguna parte épica en las guitarras y cierta carga de doom en algunas partes, acaba por completar un trabajo muy recomendable que tal vez tenga en sus casi setenta minutos de duración su principal lastre. (8,5).
La banda ya había dado muestras de su propuestas en su anterior álbum del 2012 "Tomb of Feathers", pero este "Wound Empire" se muestra mucho más maduro y completo que su predecesor, entre medias se las han arreglado para incorporar un par de miembros, que aportan ciertos elementos de calidez a su sonido. La música de Abstracter se caracteriza por ofrecer un black atmesférico con ciertas particularidades, que no son otras que doom y sludge que se van calando en los cuatro temas que conforman esta obra. Cuatro temas que se las arreglan en apenas cuarenta minutos en ofrecer unos desarrollos repletos de cambios de ritmo, con un peso importante del bajo en las composiciones, unas voces en líneas generales agresivas y sobre todo progresión en las composiciones que van creciendo desde lo más tranquilo y limpio hasta acabar por ofrecer un muro de sonido, retorcido y enfermizo en la línea de bandas como Neurosis. Ciertamente el sonido arrancado a este álbum es brutal, y las sensaciones de locura y oscuridad están presentes en cada tema, sumiendo al oyente en la desesperación y soledad más absoluta. (8,3).
1. The band was born in 1999, at that time the training was quite different from today, why did you decide to create the band and why choose the name Amidst the Withering?
Serge Farinas: Is it not the logical thing to form a black, doom, gothic metal band right in the ass crack of redneck-landia? Basically we decided we weren’t socially ostracized enough.
Seriously though, we sort of fell into working with one another through mutual friends. Looking back we didn’t know what the hell we were doing and it sounded like it. We didn’t have a stable formation until about 2000 or so. The stable members were John Hembree (drums), Cliff Widener (keys), Jason Cartee (bass), and myself (guitar).
John came up with the name. We were all a bunch of misanthropic little shites so we wanted a name that reflected our negative views of society. For me the name evokes the feelings I get when watching human society decay and destroy itself from within, that feeling of being surrounded and enmeshed by it but also rather alienated and detached.
2. This first training you editáis your first album in 2005, "Ars Moriendi", how was the process of writing and recording of "Ars Moriendi" and how to describe the sound?
Serge Farinas: “Ars Moriendi” came at a hard time in our lives. As a result it never really captured what we wanted in our music. Because we were all struggling financially, and had plenty of internal drama in the band and in our lives, the band imploded some time in 2004. Basically I was an asshole. I “dissolved” the band and then finished up the recording in 2005. I’d describe the process as tortured and I’m not sure how to describe the result. I think it was more gothic metal in sound. I’m still making amends for being a turd! Hah.
3. From here the band undergoes a transformation and began his career as a duo, what happened within the band to undergo this transformation? Sometime you think to terminate Amidst the Withering?
Serge Farinas: After the implosion of the band (see above), John and I went on to do other things musically. But ATW always stayed in the back of our minds. In 2011 we decided to resurrect the project. At the same also we also collected new ideas for a follow-up album.
So far ATW has proven difficult to kill. We like to call it our undead abomination. I seriously hope that John and I will continue this project for as long as live. When we’re ancient we can call ourselves Geriatric Metal!
4. In this 2015 you come to edit your second play "The Dying of the Light", which includes the topics of your previous work rewritten for the occasion, why this review of your older material?
Serge Farinas: We revamped the old songs as we felt that due to poor production and life circumstances we didn’t get it right.
5. But you've also composed new songs, how they have integrated these new compositions with the sound of the old compositions?
Serge Farinas: After re-translating the old material I think it sounds almost like entirely new music. This made it pretty easy to integrate the new songs. The old and new songs were both tempered by the current state of our musical experience and preferences.
6.I guess the process of writing and recording of "The Dying of the Light" differ significantly from those of "Ars Moriendi" how it has evolved manner of writing and recording with respect to the past?
Serge Farinas: The process was definitely different. For one thing writing music, for us at least, is infinitely easier with fewer people. Luckily John and I are close enough in our vision that we don’t want to murder each other (at least not all the time)! We work pretty closely with one another vetting each part and refining it to (im)perfection. We aim for weekly meetings to write and/or record. We are stubborn though and anyone else would probably find us crotchety and impossible, but somehow we get through the dysfunction!
7. Your music is very diverse, black, melodic death, doom, etc., mixed with success, what are your main musical influences and how they are reflected in your music?
Serge Farinas: We have lots of influences. And I think one of the things that defines us is we don’t feel particular allegiance to any type of metal, though we like our emphasis in black and doom. Our goal is to meld things so that the different elements are seamless and not so stereotypical of their genre origins. Some of the main bands that influenced us in the beginning are Type O Negative, My Dying Bride, Dimmu Borgir, Cradle of Filth, Old Man’s Child, Opeth, and Tristania. We are also constantly listening to new music and taking influences from all over, from newer metal to classical music.
8. I think your music, do not know if you are aware the whole, also conveys emotions, such as sadness, suffering, do you think it is important to convey these emotions with music?
Serge Farinas: Well, I think we’ve always had a fondness for sad bastard music. If there’s one thing that’s universal in our human experience it’s suffering, and somehow music that conveys those feelings seems more real to me. It’s a fine line though as it can easily become as trite and superficial as most pop music. The lyrics for the next album are still very much in the works but we will be branching out from the typical sorrow stuff to include such themes as atheism, reason, and the danger of pride.
9. Now that you are two, it really is the way we have to compose music for the band?
Serge Farinas: Every way of approaching writing music has its positives and negatives. For us at least, we enjoy the focus and ease of working as a duo.
10. I guess one of the biggest drawbacks of being only two is failing to give concerts, is it something you miss? Are there possibilities to recruit other musicians to give concerts?
Serge Farinas: We do miss it, but to be perfectly honest we love the writing and the production process more than anything. I’m not sure if many music fans understand how hard it is in general for musicians to get by these days, but playing concerts is an extremely expensive proposition in terms of money and time. Most bands are not making any money at it, breaking even or even going negative. We figure our time and resources are more wisely spent on writing music to the best of our ability.
11. The album was self-released, is there any label interested in the album's release?'ll Still self-editing your material?
Serge Farinas: We really like the independence we have. The music industry is a pretty messed up scene and it seems to only be getting worse as it’s very difficult for musicians to make any money at all. There are all sorts of problems introduced by the commodification of art and the unequal control record companies have over musicians’ material. We like having full control, but if we were approached with a good deal, we’d consider it based on what the terms are.
12. What do you reflect the album and who designed it?
Serge Farinas: The album art was designed by Bjorn Gooßes of Killustrations. If you look at it closely, you see there is a story in the art itself. The man who shows up across the pages slowly loses his “light” over the course of the booklet and begins withering and decaying until he is just a shade by the end. We think he did an amazing job and we hope to work with him in the future!
13. How charters your beginnings in music, first buying albums, first concerts? Why you decide to be a musician? Today preserves the same enthusiasm as when you started?
Serge Farinas: I became a musician in the 90’s after listening to Nirvana. My mind was blown the first time I heard Metallica though. The sound of palm muted guitars sounded unearthly to me. It was metal for me after that! I’m probably more committed to music than ever. I love to experiment, tinker, and explore. Music allows me to do all those things and infuse my emotions into it. I make music because I must!
14. What future plans do you have for the band in terms of reprints or new material?
Serge Farinas: Right now we are working hard on our next album. The demo versions of all the songs will likely be completed by the end of this year or early next. The release date will probably depend on when we can get drum tracks completed, hopefully by Travis Orbin again. We hope to release it by the end of 2016 or early 2017.
So far the new material is turning out to be a bit heavier and darker, and pushes more at both the extremes of our doom and black influences. We have also moved into some different lyrical themes (as mentioned above).
15.Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Amidst the Withering this is the place. I hope the questions are to your liking.
Serge Farinas: It still blows my mind that anyone would like our music. We make music because it’s just in our nature, but it’s incredibly encouraging and heartening to share and have some people respond positively. It’s almost enough to make this lump of coal in my chest start beating again, haha. Almost. At least my life wasn’t totally in vain.
We are incredibly thankful for anyone who takes the time to listen, whether you love or hate us.
