MÓR

 

Origen: Francia, Rouen

Formados: 2014

Estilo: Black atmosférico, raw.

Temática:?

Enlaces: Bandcamp

Miembros:

• B. Guitarra
• Lord Telümehtår Guitarra y voces

Discografía:

• Aequinoctium Demo 2015  
• MMXXI Directo 2022  
• Hear the Hour Nearing! CD 2024

HEAR THE HOUR NEARING! (2024)

Mór es un proyecto francés que comenzó su andadura en 2014, casi diez años depués de este echo llega su primera larga duración, dejando un regusto a proyecto paralelo de su integrantes. Nueve temas dan forma a este "Hear the Hour Nearing!" que desde el comienzo se muestran directos, crudos y atmosféricos a partes iguales, dejando entrever algunas pinceladas de melodía en determinados lugares, asociadas ellas al carácter más atmosférico del sonido. Un trabajo de guitarra directo y potente se abre paso desde el inicio, acompañado por una batería que sabe imprimir un ritmo relativamente elevado. El carácter de la música logra atraparnos en un sonido que se muestra directo, con aportes de lo podríamos esperar del black de los noventa, alejado de pretenciosas producciones, que redunda en un carácter más clásico del black. La propuesta por momento se muestra inmersiva, logrando tanto el ritmo elevado como los violentos riffs atraparnos en una espiral de violencia y crudeza, en donde las voces no le van a la zaga y solo en aquellas partes que parece que quieren jugar con un carácter más atmosférico del sonido logran llevarnos por terrenos más oscuros y fríos. Un álbum que irrumpe con fuerza y con su carga de violencia desde el primer minuto, ofreciendo un sonido crudo y directo que con algunos aportes de atmósferas y melodía nos sumerge en las profundidades de la muerte y lo desconocido. (8,1).

Les Acteurs de l'Ombre Productions

1. The Vanishing of Matter 05:13  

2. Eden 04:29  

3. Third Path 05:31  

4. The Apprentice 03:24  

5. Cave of Shadows 03:05  

6. The Letter of Loss 08:09  

7. Sulfur 04:37  

8. Sutcivni Los 03:29  

9. Smaragdina 05:51  

  43:48

Whipstriker, War Atrocities ‎– Struck By warwhip 2,99 €

Vinyl, 7", EP, Numbered

ADON

 

Origen: E.E.U.U.

Formados: 2019

Estilo: Black

Temática: Cosmos, guerra, leyendas y pavor

Enlaces: Apple, bandcamp, facebook, spotify y youtube

Miembros:

• Æthelwulf II Voces
• Argonath Bajo, guitarra y voces

Discografía:

• Arkane EP 2020  
• Axiom Single 2024  
• Adon CD 2024

ADON (2024)

Después de su primer EP de hace cosa de cuatro años, lo californianos Adon ya tienen listo su primer larga duración, un álbum homónimo que logra atrapar al oyente en un sonido poderoso e intenso de black metal. Son solo seis temas, pero suficientes para que nos rindamos ante su empuje e intensidad, y es que el sonido ofrecido es directo y violento, con un ritmo en lineas generales alto, salvo contadas excepciones, como sucede en el tema "Azimuth" que a lo largo de sus dieciséis minutos en un ejemplo perfecto de lo que puede dar de si la banda, al matizar su propuesta y adentrarse por terrenos más lentos. El combo batería guitarra funciona perfectamente engrasado, la primera imprimiendo una intensidad muchas veces casi que desmedida, empujando con fuerza sin que el ritmo languidezca en ningún momento, al mismo tiempo que las guitarras muestran todo un elenco de poderoso riffs a una velocidad nada desdeñable. A todo ello tenemos que añadir una textura en el sonido del bajo que por un lado nutre a la propuesta tanto de violencia como de oscuridad. Y es que violencia y oscuridad están presente también en las voces, con una propuesta directa y poderosa, cargadas de contundencia en un termino que muchas veces se pueden calificar de death y que plasman perfectamente eso componente de sufrimiento que se trata en las letras. Un álbum intenso y violento, que nos atrapa desde el inicio en una espiral de oscuridad y agresividad, con un sonido impecable (8). 

1. Ascension  

2. Æther  

3. Adon  

4. Azimuth  

5. Axiom  

6. Æon  

   

Nexion ‎– Seven Oracles (Grey-white marble vinyl, limited to 200 copies) 35,99 €

Vinyl, LP, Album, Limited Edition, Orange Transparent With Black Marble

TULPA - INTERVIEW

 

1. The band started up around 2016, how did the idea of creating Tulpa come about? What does the name Tulpa refer to and why did you decide to use it? 

The idea was born from me (Alessandro), Andrea (former bassist), and Kyoo Nam. They were my mentors regarding black metal when I was a teenager, but probably also in adulthood. Andrea and I met again after many years thanks to common non-musical interests, and discovering that both of us were appreciating the crust genre at that time, we decided to start a new project. The name "tulpa" comes from a tibetan term that indicates the creation of an entity projected outside of oneself; the reference is both to the creation of this project with the purpose of expressing what we have inside, and to the experience of an alternative reality to the conventional one.

2. Despite belonging to a lesser or greater extent to other projects such as Forgotten Tomb, Whiskey Ritual or Nocturnal Depression, what does Tulpa give you compared to these other bands and what priority do you give?

Playing in different bands is a very good condition from an artistic point of view because it allows us to experiment and express different moods and styles. Personally, Tulpa is the project that I feel most "mine" as I am more involved in composing the songs, similarly to Matteo with Mother Augusta. Each of our bands has its own energy that we feel as unmistakable; in the case of Tulpa, the cathartic aspect is predominant.

3. “Temple of Wounds” is your second album, which continues your previous “Unhealed” from 2019. There are almost five years between both editions. What can we expect in terms of the evolution of the sound between the two? How has it been? the composition and recording process of this new work and what brands of instruments have you used in the process? 

In these five years, a myriad of things has happened, including a pandemic, a reshuffling of roles in the lineup, the world has changed, and so have we. Perhaps the most evident change between the two albums is the different distribution of influences that compose it. If we can define "Unhealed" as an album heavily influenced by d-beat/crust, in "Temple of Wounds," the foundations are constituted by black metal. On a compositional level, the process has been much more individual and carried out within the confines of our homes compared to the previous work, which saw us more active in the rehearsal room. The brands we have used are Gibson, Dean, and Jackson.

4. Death, black and crust, all with some melodic nuances, as well as a current sound proposal and with enough skill so that there are no distinctions between styles, everything flows fluidly, how would you describe the sound of the album for those who I haven't heard it yet? What bands and style are influences for you when composing music for Tulpa? 

I would describe it as a melodic black metal album with crust influences, although the various contaminations you mentioned often happen spontaneously. For example, the death metal influence, noticable although not predominant, is something we only realized after recording the tracks and it wasn't intentional. That being said, we try not to keep specific bands in mind when composing, in order to avoid unconscious but evident cloning, and we try to let the songs form spontaneously. We enjoy heavy metal in any sub-genre it may be found.

5. The treatment of the voices on the album encompasses different textures and intensities, adapting perfectly to the musical level. Have you spent a lot of time defining the style and textures of the voices and how important has this facet been for you? 

The way this album was sung is similar to a theatrical performance, and the connection with the emotions evoked by each individual song was crucial. We placed greater emphasis on creating the appropriate enviroment while in the studio, rather than on defining beforehand how we would sing the parts.

6. Your lyrics cover a more mundane theme that we usually find in black metal bands, why do you address these themes in your lyrics? Do the lyrics adapt to the music or vice versa? 

The themes we address in our songs have, at their core, the experience of suffering and the constant movements towards emancipation from it. The lyrics are written in a symbolic language, but they refer to real and authentic experiences. We believe that in this way listeners can find elements to identify with and potentially encourage a certain degree of reflection. Looking inward can be scary, and we live in a society structured to hinder this process in various ways, but we firmly believe in the value of awareness. Generally, the composition of the songs starts from a non-verbal and visceral level, and then refines later with arrangements and lyrics.

7. The mastering, recording and mixing of the new album has been more ambitious than on previous occasions, working with Elfo Studio, Daemon Star Studio and La Maestà Studio. Did you consider that this was the time to take a step forward on this level? of your sound? How did the possibility of working with them arise? 

Yes, we knew that this album would require a production capable of enhancing the two aspects on which our current sound is based: atmosphere and sonic impact. We already knew the high quality of work from Elfo Studio, Daemon Star Studio, and La Maestà Studio thanks to previous experiences with our bands, and it was really rewarding to collaborate with them.

8. You have also changed the designer of the cover, this time it was the work of Mvddrak Atmospheric, however it retains that ethereal and interpretable tone like that of the previous album, how did the possibility of working with Mvddrak arise? What does this cover represent and How does it relate to the content of the album? 

We discovered Mvddrak's work almost by chance while I was looking for inspiration for the cover online. I was impressed by how it seemed like her works were created specifically for us, as if she knew more than me what we needed. I believe that nothing really happens by chance, and it was a surprising encounter of kindred sensitivities. The cover represents the experience of the sacred, identifiable in both the bright and dark aspects. It also describes well the concept of the temple of wounds, an inner dimension of pain to immerse oneself in, facing one's demons and embracing one's shadow to then be reborn and see the world and oneself with wiser eyes.

9. You have also changed record labels, this time you have worked with Folter Records, when was the decision made to change record labels and what do you think this change has brought you? 

We are grateful for the trust and support we are receiving from Folter Records. The decision to propose the new Tulpa album to them was made while Kyoo Nam and I were at the festival celebrating the 30th anniversary of the label in Friesack. Kyoo Nam was playing with Whiskey Ritual, and I was playing with them as a session musician for that occasion. The festival was fantastic, and there was an atmosphere of excitement and vitality that we felt we wanted to be part of with Tulpa.

10. How do you see the health of black metal in Italy today? What bands would you recommend from Parma? Is it difficult to stand out in a country like yours in a style like black metal? 

We believe that the state of health of black metal in Italy is excellent, as evidenced by the level, quality, and participation in the increasingly numerous events that take place in our country, as well as the numerous bands that regularly devastate international stages. Parma has become the metal capital of Italy in the span of 10-15 years, thanks to Lo-Fi Creatures and its ability to bring people together and create situations more in line with the rest of Europe. Recommending Parma bands is inevitably self-promotional because it's a small city and among those who play, we all know each other: Whiskey Ritual, Mother Augusta, Distruzione, Shenanigans, Caronte plus various bands with members from other cities or countries, like Forgotten Tomb and Nocturnal Depression.

11. Have you already started the live presentation of the new album? What can your followers expect from your concert? Who would you like to share a small mini-tour with? 

We will soon start presenting the new album live, while still including some of the older tracks in the setlist. Those who come to our shows will find the same atmosphere as Temple of Wounds, with the added impact of the live performance. We won't spare sweat, tears, and blood. There are too many bands we would like to share a mini-tour with to mention, but what is really important to us are the human qualities of the people we come into contact with.

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

My first real concert, apart from local ones, was the X-Mass Festival in 2001 with Vomitory, Krisiun, Dark Funeral, Nile, Marduk, and Cannibal Corpse. I was 16 years old, and looking back now, it was a truly monstrous bill! The first albums I bought were “Kill'Em All” by Metallica, “Antichrist Superstar” by Marilyn Manson, and “Far Beyond Driven” by Pantera, between the ages of 11 and 13. I started playing the electric guitar self-taught because I liked the idea of producing my own sounds and creating my own riffs. It was almost a meditative moment, a refuge from the bad things, and it still is like that now as it was then.

13. What album represents for you the essence of black metal? What latest albums have you bought?

That's a really tough question... What comes to mind right now is “Satanic Black Devotion” by Sargeist, but I already know that when this interview is published, I'll have several others to add. SBD, I believe, perfectly represents black metal: incredible riffs, old-school production, dark as the deepest of the nights, and clearly very inspired. The last album I bought is “Nocturnal Will” by Dödsrit, fantastic.

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Tulpa fans this is the place. I hope the questions are to your liking.

Thank you to you and all the readers of Black Metal Spirit! We would like to add an invitation to follow us to stay updated on our upcoming activities and to share our music. See you in samsara! 

Alessandro

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

Antzaat ‎– The Black Hand of the Father 18,99 €

Vinyl, 12", 33 ⅓ RPM, Single Sided, EP, Limited Edition, Ultra Clear / Silver Splatter

FOLTERKAMMER

 

Origen: E.E.U.U., New York.

Formados: ?

Estilo: Black sinfónico, ópera

Temática: Anti religión y BDSM.

Enlaces: Facebook, instagram, spotify y tidal

Miembros:

• Andromeda Anarchia Voces
• Brendan McGowan Batería
• Darren Hanson Guitarra
• Laurent David Bajo
• Zachary Ezrin Guitarra

Discografía:

• Die Lederpredigt CD 2020  
• Das Peitschengedicht Single 2023  
• Weibermacht CD 2024

WEIBERMACHT (2024)

Su álbum inicial "Die Lederpredigt" ya despertó cierto interés en la escena revoloteando en diferentes web zines especializados, supongo que la edición por parte de Century Media de su nuevo álbum supondrá una mayor visibilidad. Desde el comienzo del álbum está claro que el oyente de sonido black se va a quedar totalmente descolocado, sobre todo por el apartado voca,l ya que las voces y el estilo de Andromeda Anarchia son perfectamente encuadrables dentro de un estilo operístico, si, algo extraño, pero que acaba por encajar en al propuesta de una forma, todo hay que decirlo, bastante creíble. Por un lado tenemos un plano meramente musical que ofrece un black bastante oscuro, con un tono frio y potente, que a veces se adentra por terrenos sinfónicos, siempre conservando cierto tono de melodía, sin olvidarnos por supuesto de secciones vanguardista o de jazz, supongo que la presencia Zachary Ezrin de Imperial Triumphant a las guitarras tendrá culpa de lo sucedido. Sin embargo el factor diferencial son las voces, en algunas partes si que es cierto que parece que se ha tenido que hilar muy fino par encajarlos, sobre todo en los temas en donde hay un factor más operístico, sin embargo cuando ofrecen su versión más sinfónica el resultado final es muy alto, mostrándose oscuras y frías en algunas partes con un tono afín a la temática BDSM que abordan. De buenas a primeras tal vez no sea un álbum muy amigable dentro del black más clásico, sin embargo ese extremismo en las voces se ve equlibirado por un apartado instrumental de alto octanaje (7,9)

Century Media Records

1. Anno Domina 05:36  

2. Leck mich! 04:57  

3. Die Unterwerfung 06:16  

4. Küss mir die Füsse! 07:09  

5. Algolagnia 06:31  

6. Herrin der Schwerter 05:21  

7. Das Peitschengedicht 05:06  

8. Venus in Furs (The Velvet Underground cover) 04:37  

  45:33

Black Earth  - Diagrams Of A Hidden Order 6,99 €

CD, Mini-Album, Limited Edition

PONTE DEL DIAVOLO - INTERVIEW

1. At what point did you decide to create the band and why did you choose the name Ponte del Diavolo? 

KA: It all started from an idea of Erba del Diavolo (our singer), who wanted to form a doom project with 2 basses. We knew each other before forming the band, so we began to gather other musicians that we knew and we just started to jam. Then the music evolved on its own.

The name comes from a place around here and was an idea of our first drummer who suggested that we translate it into English, but then we all agreed that it sounded better in its original form.   

2. Since your creation as a group you have released three Eps that have just been continued in the form of a complete album in your recent “Fire Blades from the Tomb”, how has the sound of the new album evolved with respect to the Eps, or do you maintain a certain linearity? How did you approach the process of composing and recording the album? What brands of instruments did you use in the process? 

KA: I think that the evolution of our sound has been pretty linear and organic throughout the time. For sure we had a more raw and lo-fi approach on the EPs, but that was intentional as well.

That being said, having a real budget and a deadline to record our first LP pushed us to be more focused and take it one step further. We never changed the way of composing our songs however.

In the recording process we used a Fender Precision and an Epiphone Thunderbird for the basses, a Fender Telecaster for the guitar, but I cannot recall the drumset brand sorry :)

3. Although there is a connection of your sound with black metal, the influence of different styles is undeniable, among which it stands out above the rest of doom, at the same time that a disturbing atmosphere surrounds the entire album, how would you describe the sound? of the album for those who haven't heard it yet? What bands and styles have been an influence in defining the sound of the album?

KA: I like to define our music as a jam session between Siouxsie, Darkthrone and Black Sabbath, with two bassess, all high on acid. We have a ton of influences, also considering we're in 5 people. Some of the influences are individual and some of them are of course shared. You can say that the Metal part put us all together under the same roof, but then we all love less metal acts like The Cure, Pink Floyd, Kyuss to name the first ones that come to my mind.

4. It is not a completely common occurrence to see a woman take charge of the vocals in an extreme metal band, however Erba del Diavolo's voice gives a different touch to your sound, at the same time that it ends up giving it a lot of personality, how was it decided that Erba del Diavolo would take care of the voices? What reference for female voices does Erba have? 

KA: Thank you, and yes I agree. I'm a big fan of Erba del Diavolo singing style and the projects began with her. For the instrumental part we tried to create something to help her be as free and creative as possible and not necessarily being a "metal singer". She has a very personal style and even though she likes metal in general, she grew up with post punk and dark wave. We all loved the end result.

5. Returning again to the eclecticism of the album's sound, we see that it closes with a version of Nick Cave & The Bad Seeds, with that dark character and post-Nick influences, why did you decide to review this song? Until To what extent is Nick's sound and figure an influence for you?

Nerium: We decided to do a cover of Nick Cave because in the band we all have a lot of appreciation for him and his work. Also, The Weeping Song is a duet piece with Blixa, another artist that we love. I don't know if he actually influenced us in the way we compose, but I personally love the 'crescendo' typical of Nick Cave's compositions. 

6. What themes do you cover in your lyrics and where do you look for inspiration for it? At what point did you decide to alternate lyrics in English and Italian? Do the lyrics adapt to the music or vice versa? 

Erba del Diavolo: language selection is never a predefined decision. Actually I never ever thought about it that much. The voice is an instrument and to put it simply it's a phonetic choice that happens without a conscious decision, but rather by following the emotion that the music evokes in me when I listen to it. 

7. For the release of the new album you have made the leap to the Season of Mist record label. How did the contact and subsequent release with Season of Mist come about? 

KA: One the guys of Season of Mist discovered us on bandcamp and forwarded our material to the label. We were contacted by Season of Mist while we were doing a mini tour and Erba del Diavolo did the meeting inside the van with her phone, so you can imagine how chaotic and thrilling that moment was!

8. For the recording and production of the album you have worked with Danilo Battocchio and Deepest Sea Studio, as you had already done with your second EP “Sancta Menstruis”, why did you make this decision to work with these professionals again? 

KA: Danilo is a long term friend of ours, a great professional and a very well known name around here. He knows us both as persons and as musicians so the choice was very easy for us.

9. It is true that for the new album you have also had some collaborations, with a second bassist and with the mixing and mastering work of Dimitris Douvras, do you think all this extra effort has resulted in a better sound and perhaps with it being able to reach a new audience?

KA: We contacted Dimitris because I'm a big fan of Hail Spirit Noir (particularly "Mayhem in Blue"). I looked up the producing credits in the record and found out about Dimitris. He did a very good job so I'm sure that helped us with our sound. That being said, the second bassist is not a guest musician, we always compose/arrange and play live with two basses.

10. Your covers, in general terms, always tend to be quite abstract and free to interpret. Who designed the cover of the new album and what does it represent? 

KA: The drawing was made by our former bass player Laurus (who also designed all our previous covers) and it represents her vision of the album title. The design was then completed with the help of Nerium, our guitar player.

11. Have you already started the live presentation of the new album? What dates do you have closed for the next few months? Would you like to go on tour with a specific band? 

KA: We already played the first three shows of the first leg of the tour and the response was above our expectations. Here is the complete list of the shows already announced:

24/02/24 Genova @ La Claque w: Malombra

01/03/24 Torino @ Ziggy w: Shores Of Null

02/03/24 Mantova @ The Academy w: Shores of Null, Die Sünde

12/04/24 Milano @ circolo Bellezza w: Sacri Suoni

13/04/24 Liestal (CH) @ A-way

26/04/24 Roma @ Traffic w: OTUS

27/04/24 Pescara @ Tubecult Fest

04/05/24 Modena @ Notte Tempio w: Me and That Man

05/05/24 Pinerolo @ Church of Crow Fest w: Shape of Despair Official, Dawn Of Winter, Kypck Headquarters etc

17/05/24 Vicenza @ csa Arcadia w: October Tide

18/05/24 Bergamo @ Molto Male Fest w: Bongzilla, Raw Power, etc

01/06/24 Erba @ Centrale rock pub w: Voland The Scars In Pneuma

16/08/24 Francavilla al mare @ Frantic Fest w: Marduk, Darvaza, Undertakersgrind etc

EdD: Personally I would love to tour with "La Fura dels Baus". Have you seen one of their shows? Amazing!

12. What can you tell us about the extreme metal scene in a city like Turin? What bands would you recommend to us? How do you see the health of Italian black metal today? 

KA: Turin always had a history of great bands in the extreme scene and still does. I suggest you check Tipheret, Tons, Adversam, Maldoror, Putridity, Feralia, O, il Capro, Nibiru,There are of course a lot of other underground bands.

I think the Italian black metal scene is very healthy right now and we're of course very happy about it. I'm guilty of not listening to a lot of new records lately, but I can tell you there are a lot of good bands around at the moment.

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

KA: If I remember correctly I was 14, so we're talking 1994/95, and it was with the cassette of Powerslave from Iron Maiden. One of my neighbors handed me that piece of plastic and from there I went nuts.

I still remember fondly and giggling that some years later I had a strong fever during which I dreamed about carrying the bass of Steve Harris. As soon as I woke up I knew I had to play the bass. At the time I was trying to learn guitar but I couldn't connect with the instrument on a deeper level. When I first touched the bass it immediately felt right and it was love at first sight.

14. What album represents for you the essence of black metal? What latest albums have you bought? 

KA: If we speak about black metal I recently bought the first and last record of Departure Chandelier, Darkspace and Deletere.

Then I bought the remaster of The Cure's Pornography and the latest Moderat album, one of the best electronic acts of the decade in my opinion.

I cannot really quote a single name to answer your first question, but I guess you kinda knew :). I can tell you about my personal taste in terms of black metal classic records, but the chart is always changing depending on the month you ask me. This month's list happens to be: Bergtatt by Ulver, Filosofem by Burzum and Dark Medieval Times by Satyricon. We'll see how the chart goes next month.

15. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Ponte del Diavolo fans this is the place. I hope the questions are to your liking. 

Thank you and thanks for your interesting questions. Support Ponte del Diavolo

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

Vigilance ‎– Hammer of Satan's Vengeance 11,99 €

Vinyl, LP, Album

AUSTERE

 BENEATH THE THRESHOLD (2024)

Después de un largo silencio al cual pusieron fin con la edición de "Corrosion of Hearts" el pasado año, los australianos regresan con su cuarto álbum de estudio, un nuevo álbum que recoge lo mejor de ese lanzamiento y trabajando sobre seguro se adentran por nuevos terrenos, dentro de un sonido que han sabido perfeccionar y dominan a magistralmente. Guitarras oscuras, gélidas y crudas que de sin lugra a dudas recogen influencias del black escandinavo de los noventa, llevan el peso del grueso de las composiciones. Este sonido de guitaras logra crear una atmósfera entre lo frio y lo oscuro, pero a medida que el álbum va trascurriendo también nos recuerdan a secciones del black depresivo. Estos riffs muchas veces se vuelven hipnóticos con un componente melódico y melancólico, creando una atmósfera llena de unas melodías tristes que se completan con algunos aportes de sintetizadores. Austere sabe jugar perfectamente con las intensidades, ofreciendo pasajes llenos de rabia, desesperación y crudeza, coincidiendo con las partes más directas, al mismo tiempo que la música busca refugio en secciones más intimistas, con una buena dosis de introspección. Algo similar podemos decir del apartado vocal, en donde un componente agresivo y crudo se encarga de llevar el peso de la mayor parte del conjunto, pero otras veces se ven superados cuando entran en escena ottas completamente limpias que ejercen un contraste desmesurado, acercado el sonido a terrenos muy alejados de una propuesta black al uso. Un álbum de un sonido impecable, en donde conviven perfectamente esas secciones agresivas y directas con otras mucho más accesible, creando una atmósfera que invita al sufrimiento y a la melancolía. (8,1).

1. Thrall 07:36  

2. The Sunset of Life 09:39  

3. Faded Ghost 04:53  

4. Cold Cerecloth 06:45  

5. Words Unspoken 03:16  

6. Of Severance 09:49  

  41:58  

CISTVAEN

 

Origen: U.K., Devon

Formados: 2016

Estilo: Black atmosférico

Temática: ?

Enlaces: Bandcamp, facebook, instagram y spotify 

Miembros:

• Ed Wilcox Batería
• Guy Taylor Voces
• James Mardon Bajo
• Lee Meade Guitarra
• Mark Sanders Guitara

Discografía:

• Under the Silent Meadow Skies Single 2020  
• Kistvaen Single 2021  
• Under the Silent Meadow Skies EP 2021  
• At Light's Demise CD 2024

AT LIGHT´S DEMISE (2024)

Aunque en activo desde 2016 a lo ingleses Cistvaen les ha llevado su tiempo tener listo si primer álbum, un álbum que lleva gestándose desde 2019 y que pone el foco en un estilo como el black atmosférico. A veces, el black se muestra como un género inalterable, en donde parece que cada nueva banda que surge poco o nada tiene ya que aportar al género más allá de conformarse con repetir lo expuesto y apostar con ello a caballo ganador. Sin embargo este "At Light's Demise" ofrece interesantes momentos a lo largo sus casi sus sesenta minutos de duración. Innegable el peso de un estilo como el black atmosférico a la hora de definir el álbum, sin embargo Cistvaen le dan cierta frescura a su sonido con diferentes enfoque que incluyen en el mismo. Por un lado tenemos un buen trabajo de bajo, que se entiende a las mil maravillas con densos riffs para ofrecer un tono con influencias doom que acaba por apoderarse del conjunto, llevando también a niveles que pueden ser descritos como del depresivo, gracias al tono melancólico del conjunto. El carácter atmosférico sigue presente y sobrevuela el conjunto, pero también hay que destacar los soberbios cambios de ritmo que sacuden al conjunto, capaces e pasar de un tono más violento y agresivo, a pasajes casi que instrumentales de un tono más intimista, en donde el carácter más melancólico cobra mayor protagonismo y da un nuevo enfoque al conjunto. Un álbum que recoge un sonido black atmosférico, eso es innegable, pero que también sabe aportar un carácter diferenciador al tratar aspectos del doom y saber jugar con las intensidades. (7,9).

1. At Light's Demise 09:09   Show lyrics

2. Cessation of Hope 09:18   Show lyrics

3. The Epitaph 09:51  

4. Time the Mournful 07:40  

5. Bleak House 09:19  

6. Silver Birch 00:44  

7. The Blind Observer 11:44  

  57:45  

Agazul ‎– The Emperor Returns 2,99 €

Cassette, Mini-Album, Limited Edition

IN VAIN

 

Origen: Noruega, Kristiansand

Formados: 200

Estilo: Black, death progresivo

Temática: Dolor, emociones, filosofía, futuro de la humanidad, naturaleza y sueños

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

Miembros:

• Alexander Lebowski Bøe Bajo y voces
• Andreas Frigstad Voces
• Johnar Håland  E-Bow, guitarra y voces
• Kjetil D. Pedersen Guitarra y voces
• Tobias Øymo Solbakk Batería

Discografía:

• Will the Sun Ever Rise? Demo 2004  
• Wounds EP 2005  
• The Latter Rain CD 2007
• Mantra CD 2010
• Against the Grain Single 2013  
• Ænigma CD 2013
• Seekers of the Truth Single 2017  
• Soul Adventurer Single 2018  
• Currents CD 2018
• Season of Unrest Single 2023  
• At the Going Down of the Sun Single 2024  
• Shadows Flap Their Black Wings Single 2024  
• Solemn CD 2024

SOLEMN (2024)

Quinto larga duración  para los noruegos, un álbum que logra trasmitir y definir toda la fuerza del sonido modelado por In Vain a lo largo de todos estos años y que al mismo tiempo no se pone limites a la hora de dar un paso la frente buscando nuevas cotas. Con un sonido que logra combinar oscuridad y melodía se presenta este "Solemn", una propuesta que de primeras logra sonar densa y algo gélida, con un peso sustanciosos de todo lo que tenga que ver con un sonido death melódico, afrontando sin ambages el uso de guitarras limpias, combinadas con un sonido de batería potente pero de ritmo moderado. Las secciones más directas se van alternando con aquellas más accesibles, ofreciendo un contraste fuerte cuando se da paso a desarrollos de guitarras llenos de melodía y con cierta épica, sin descuidar algunos elementos vanguardistas con las incorporación de sonidos jazz, que combinados con la música más directa y potente acaba por encontrar salida en una suerte de death melódico. Por su parte las voces logran alternar también pasajes más rugosos y oscuros , con fraseados limpios llenos de matices y de melodía. Sin lugar a dudas lo que trasciende de este trabajo es lo perdurable de su sonido, gracias al fuerte contrate en el mismo, solventando el envite con un gusto por melodías casi que imposibles que van dejando un reguero de momentos inolvidables. (7,6).

Indie Recordings

1. Shadows Flap Their Black Wings 07:13  

2. To the Gallows 06:37  

3. Season of Unrest 07:38  

4. At the Going Down of the Sun 07:55

5. Where the Winds Meet 06:06  

6. Beyond the Pale 06:19  

7. Blood Makes the Grass Grow 05:43  

8. Eternal Waves 06:30  

9. Watch for Me on the Mountain 06:56  

  01:00:57

Wampyrinacht ‎– Night Of The Desecration - Les Jardins De Nyx 23,99 €

Vinyl, LP, Album

AMIENSUS

 RECLAMATION: PART 1 (2024)

Cuarta entrega para los estadounidenses, un nuevo trabajo que sigue explorando los limites de un sonido black progresivo que cada vez redunda en terrenos más personales. El sonido de este nuevo álbum logra un sincero equilibrio entre las secciones más directas y aquellas más accesibles. Por directas vamos a entender un ritmo ligeramente alto con un buen aporte de batería y unos riffs que sonando también directos y agresivos parece que quieren anteponer cierta crudeza por encima de la melodía que acaba por imponerse de alguna forma al conjunto. Por secciones más accesibles podemos entender aquellas  en las cuales las parte melódicas cobran mayor protagonismo, engarzadas con algunas secciones en donde la voces limpias hacen acto de presencia, en clara contraposición a la vertiente más directa del álbum. Un álbum con un ajustado equilibrio en el minutaje de las temas, cuya duración permite exprimir todo el potencial del sonido de la banda, con partes que incluso quieren abrazar terrenos del death melódico, sin perder de vista en ningún momento ese componente progresivo del sonido, que permite alternar agresividad y crudeza con secciones más limpias y accesibles, encontrando su punto fuerte en aquellos terrenos en donde se rompe con la agresividad con pasajes más limpios, de forma fortuita a veces, logrando recrear una atmósfera algo más oscura. Los riffs de guitarra saben ofrecer una vertiente porosa entre terrenos black más puros y aquellos en los que nos sumergen en terrenos más progresivos una buena dosis de melodía enmascarada en medio del sonido de batería, con unas voces que acertadamente se mueven en ambos terrenos, para dar como resultado un álbum de black progresivo de primer orden. (8,1).

M-Theory Audio

1. Blink of the Moment  

2. Reverie  

3. Senses Amplified  

4. Sun and Moon  

5. Consciousness Throughout Time  

6. Vermillion Fog of War  

7. Spoken into Will  

8. Transcendence Through Grief

Black Howling ‎– Return Of Primordial Stillness 16,99 €

Vinilo, LP, Limited Edition