Editorial I consider Northern Shadows concluded at this point, though perhaps not in the traditional sense. I apologise for the fact that much of the content within this issue is quite severely dated, and may not reflect the current on-goings of the bands in question. Many thanks to every single band featured not only within these very pages, but those of previous issues, as well as everyone who has helped, from the writers to those who’ve offered praise as well as denunciations. Many thanks have been forgotten in the past and I regret that I cannot name everyone individually.
Contents Stargazer 3 Reverend Bizarre 6 Elysian Blaze 11 Mourning Beloveth 14 Dawn of Azazel 17 Immolation 20 Internecine Excoriation 23 Loss 26 Noltem 29 Spiculum Iratus 31 The Dead 34 Rev. Kriss Hades 37 Glorior Belli 40 Reviews 44
Staff & Contributors Publishing & design: N. Liengme Reviews: D. Sharrock, A. Maybury, Ferdibirdi, Talie Helene, swizzlenuts Interviews: A. Maybury, N. Liengme, Skin Coffin, Tristian Templeton Cover photo: N. Liengme (South Brisbane Cemetery, Dutton Park, QLD) Logo: Nick Mather Additional thanks to: Adam Lloyd-Taylor, Andrew, Royal Carnage, Dave & Asphyxiate, Liam & Fallout ‘zine, Mike & Goran & HailMetal, Pyro & Stygmatyr, Jason & Internecine Excoriation, Anders & Nocturnal Horde and the Gaudets. No contributions were ever accepted from towards the ongoing cost of publishing this ‘zine, and all advertising has been granted free of charge. This publication is freely available under Creative Commons Attribution-No Derivative Works 3.0 Unported Licence. Some Rights Reserved. Portions of this publication may be reproduced without permission from the author, so long as full acknowledgements of the credited author is included. All enquiries: northernshadows@gmail.com
S t a r g a z e r Harbingers
of
Olde Magick
The release of “The Scream that Tore the Sky”, 10 years in the making, has effectively unleashed a formidable force in Australian death metal. Stargazer defy convention without pretensions. Interview & live photos by N. Liengme, orb image provided by Stargazer
G
reetings Damon, how are things with yourself and Stargazer? Back in April 06 at the ANZAC Day Celebration, you performed live for the first time in quite a while as I understand. As far as I’m aware, it’d been the Nunslaughter tour back in 03 that you’d last performed prior to that. Was this long delay in public appearances only to work on the album, or were there other things involved?
Though Stargazer have existed since 95/96, it wasn’t until last year that you finally managed to release a full length album, though you’ve had a few EP’s and splits. What was it that convinced you that this was the time to record an album? GRD: In the early days we simply did not have money to record a full length the way we wanted. All of the recordings up until this album were done by myself as I had access to a studio. I think 8 years for any band will convince them that it is time to do an album...... though the album songs were written and the whole scheme of the album was well planned out prior to its production, we never had a label to fund it. In hindsight this helped it to become a much better album than it would have if recorded at any other time.
“I consider that we are impatient listeners of music to some extent in that we seek ‘freshness’ and originality even in the most old style and basic abominations, and thus we seek constant aural delights and we deliver this simply to appease ourselves.”
GRD: Ave! Yes, there were other things involved. In fact it was all due to the line-up. Because we were offered the Nunslaughter Australian tour we decided to initiate a session guitarist into the folds (Arganoth from Misery’s Omen to be exact) which meant that The Serpent Inquisitor had to crawl behind the shadowy drum kit instead of taking centre stage with guitar in hand where he would normally reside. So this arrangement was only exacted for the purpose of that tour alone. As you well know, TSI also performed drums on the album, which was also mainly out of necessity, though he is a competent and working drummer anyway. But we had been seeking a full time drummer since 2000, and he finally came in 2005. And so it came to pass that the Stargazer trinity was once more complete. So it was only this year that we could finally resume where we last left off performancewise.
What can you tell us about “The Scream that Tore the Sky” now, having had time to gauge the fans and media responses, and reflect upon the recording process? GRD: It seems to be considered a rather ‘fresh’ and well composed album according to reviews. We really couldn’t have made this album any better I feel. As far as the recording process goes - it will be different next time as we will be a 3 piece as opposed to a 2 piece for a start. Apart from this we will strive for a darker more natural timbre in terms of sound, especially the drum sound. By darker I mean more wooden and antient. Our instruments are made of wood and we want to hear that wood in our sound.
You’ve recently returned from a tour of Japan, which seems to have been quite successful. Was this your first trip playing live outside of Australia, and were the live experiences like over there?
Since much of the material from “The Scream...” was written in the decade preceding its release, how different is it from the material you’ve been writing more recently?
GRD: I myself had previously been to Europe to perform session bass for Zemial on their 2001 tour. But as far as Stargazer goes, this was our first performance outside of Australia. We played 6 shows in as many days basically which was bloody hectic considering the distances we traversed. But the glimpse of the cities, customs, lifestyles and music scene that we saw was illuminating. To sum up the live experiences I would have to say that each and every band we played with put in their ALL. They are extremely focused on their music.
GRD: The next albums’ songs are written and mapped out already. They have been for quite some time. We have close to another albums’ worth of material after that also. This is what happens when it takes so long to produce the FIRST album. So when speaking of recent writings, we are talking of a gap of perhaps 8-10 years. While we strive to maintain all the original elements of
our earlier style and sound, we have progressed in the way of further interaction between all instruments, further bizarre tonal concoctions, further rhythmic excesses, further timbral variants and examinations into modes, rhythms and even sounds not yet named. I consider that we are impatient listeners of music to some extent in that we seek ‘freshness’ and originality even in the most old style and basic abominations, and thus we seek constant aural delights and we deliver this simply to appease ourselves. But of course never forgetting what befits any given song/ riff. Each song tells its own tale musically and lyrically and we rarely repeat ourselves...... for our own benefit and yours!
improve ourselves musically to keep our hyper-active minds at ease. All the music we write collectively and individually does not fit into the Stargazer mould, therefore we are forced to express it through different mediums. I must say that this does have its draw-backs in that it is hard to find the time of day to do each project its justice, but it works out over time somehow. Just briefly, tell us about the name “Stargazer”. Who came up with this moniker and what significance does it hold? GRD: It came through The Serpent Inquisitor’s brain. The significance is quite evident considering our whole outlook.
“Occidentale Magick” was a bit of a rarities/ best-of release that you put out to commemorate the Japanese tour. Though it won’t appease the diehard collectors, it seems beneficial that you’ve made available some of that painfully hard to find material. But the first four tracks are taken directly from the album. Wouldn’t it have been more interesting to put older or demo versions of these tracks on there?
In your time in the Australian scene, and the extreme metal underground in general, how do you perceive the changes that have occurred in the past decade, both in terms of music and fanbase? Where do you see the future heading? GRD: I percieve the changes like anyone else I guess, I mostly dislike the way the scene has gone, and back in the earlier days I never expected things would go this way. I thought the underground was rising and becoming stronger. When I first discovered ‘underground’ bands in the early 90’s I was listening to alot of the great bands and most of them died out or changed style, especially most of the Australian ones, and for me this was very disappointing. I think seeing all this made my views stronger and I vowed never to let down these ideals.....and here I am. Here we are. What can I say? For some people maybe they are just discovering the underground scene and maybe there still is integrity and ‘freshness’ there to them? I would hope so.
GRD: We never thought of that! Maybe it would have, we do in fact have some early 4-track versions of these songs on hand. But it was initially made available so that beings who do not own the album can get a scope of what we sound like, and to miss out on the album tracks is to be living in the past only. The artwork on and in all your releases is remarkable, in its eye-catching quality, superbly intricate detail and obscurity, and there are many mythological and spiritual references. In what ways would you say this represent Stargazer musically and philosophically?
Modern death metal doesn’t hold much interest for me personally, but Stargazer are one in a handful of bands that keeping to the high ideals of old school death metal while innovating and moving forward the genre in unknown directions.
GRD: The manifold aspects of these paintings are phenomenal and they easily represent the manifold aspects of Stargazer, our music, our lyrics, our beliefs, our whole fibre. Taken on face value they are already brilliant, but would you look further they are even more brilliant. And our whole symbological make up is important beyond words.......the very reason we use such symbology. A symbol speaks a thousand words.
GRD: Exactly. What are your thoughts on the state of death metal today, and are there any bands (of any genre) you can name that hold these same ideals today?
All members of Stargazer seem to be quite musically prolific, being involved in a multitude of different bands. What can you tell us of the bands you’re involved in, and in writing, how is that you decide which bands to focus on?
GRD: This was answered in question 10, but bands that still uphold the ideals? There are in fact many I could mention, but I think most people can discover them for themselves. It’s really not hard to find the good bands if you are looking.
GRD: We constantly seek to appease ourselves and
How much of your influence is purely musical, and what other sources of inspiration do you gain from? In what ways do the Eastern artworks portrayed in your albums represent you individually and creatively? GRD: It is safe to say all of our artistic, lyrical and symbological make up is of a nonmusical influence, and all of our music is of a musical influence, though it must somehow intergrade at certain points, adding in our own personality. So while some bands obviously have relatively dead personal interests, it becomes obvious we pursue other avenues of interest that are unique to us and which shine forth in our exterior motifs. This is not to say we are TRYING to be ‘original’.......these are genuinely our interests and I really wish more metalheads would seek these avenues and contact us regarding such interests, which actually rarely happens! The Eastern artwork portrayed is relevant to us in that it represents the outward chaos and demonical nature of life itself, and the outward brilliance of artistic patience, but also the profound inner nature of life and thought, and this is how I would percieve our musical constructs in the form of painted matter. But this association with Eastern art may only represent this era of Stargazer......there are many aspects of great art aside from the Eastern format that we could and will utilize in forthcoming works. Name a few of the albums that you’ve held in the highest regard throughout your life. GRD: Celtic Frost - Into The Pandemonium, To Mega Therion, Morbid Tales Watchtower - Control And Resistance Iron Maiden - First 7 studio albums Judas Priest - Stained Class King Crimson - In The Court Of The Crimson King, Red, Lizard, Lark’s Tongues In Aspic Candlemass - Epicus Doomicus Metallicus King Diamond - Abigail, Them, Conspiracy Frank Zappa - Too many to mention Megadeth - Peace Sells...But Who’s Buying? Accept - Breaker, Restless And Wild Morbid Angel - Blessed Are The Sick Cathedral - Forest Of Equlibrium Thergothon - Stream From The Heavens Disembowelment - Transcendence Into The Peripheral Weather Report - Black Market, Heavy Weather Gong - Gazuese Nocturnus - The Key, Thresholds Deicide - Deicide Jaco Pastorius - Self Titled Will your enigmatic nature continue in the foreseeable future, with live performances few and far between, and releases infrequent and obscure? GRD: Our enigmatic nature is just that, our nature, but in regards to live performance, releases etc, it is more to do with label support. And at this point there seems to be a very dark grey veil veiling any sort of foresight. What plans do Stargazer have now? I’ve read in places that you’re working on a new album, but one would hope another decade won’t have passed before it sees the light. Are there any definite plans for future releases, or will it all just happen when it’s ready? GRD: We are indeed working on our next album, and I cannot see why it would not be able to be recorded in 2007. There will also be some more live performances sporadically spread throughout the rest of this year, but no more tour plans as yet. It has already been 3 years since we actually began recording the last album. Many thanks for your time in answering these questions. I wish you luck in your future endeavors, musical or otherwise. Please feel free to leave any final comments. GRD: The conversion of a savage to religion only means the conversion of that religion to savagery.
R e v e r e n d B i z a r r e Dooming
t he
World
Although the band is now dead and gone following the release of the two hour long opus “III: So Long Suckers!”, Reverend Bizarre left behind a legacy of heavy metal that anyone with a taste for beer and doom can appreciate. Interview by Skin Coffin, photos provided by Spinefarm Records
H
ail, Witchfinder Albert and greetings from myself and Northern Shadows. First off, let me congratulate you and your fellow band mates on one of last years’ most crushing and powerful doom metal albums. Could you tell us a bit about the band’s history?
have been rolling. Lots of trouble has been on our way but also amazing moments. When Reverend Bizarre first formed you were a cover band for you favourite doom acts. How did you eventually evolve and begin to write your own material and to be where you are today?
Albert: Thanks!!! We started around 1995 after I felt it is time for me to dig deeper into Doom Metal fanaticism and actually try to play this kind of music. Before that I had been doing bit more experimental things and noise and also some bit more ordinary rock and punk music. The first line up was me and Peter and guy called Juippi on drums. He was a hard hitter. We weren´t that great back then but the seeds were sown. After a year and half the band disappeared, but never really died. When I moved to Turku where Peter was already living we decided to put some life in RB. I asked my band mate from some other circles, Void, to join us. At first he was meant to be just temporary drummer. I had in my mind to get Juippi behind the set, but after our one and only demo was made in 1999 it was clear THIS is the line up. Bit later we did our first album and since then things
Albert: This disinformation can be found on some sites in the internet. I don´t know where it came from. We were never a cover band. I have always been in the first place writer of my own music. In the beginning we were also so poor musicians that the only way was to play our own stuff or just jam as we could not have been playing songs of others. Songs like In the Rectory, Sodoma Sunrise and Apocalyptic Riders date back to those early days. Actually The Hour of Death is even older but it was originally made for other band, KLV, with Finnish lyrics. Void was in KLV. How happy are you with the outcome of your last album? What has the response been like so far?
Albert: It has been the first record of ours that actually got bit more mixed response. Some people were openly dissatisfied. I was very happy with the thing when we were in the studio, but I am not totally happy with the mixing and because of some trouble with bass tracks the sound had to be made bit too smooth. It is not as heavy as I wanted it to be. Still all the songs are good and I am proud of them. This album is probably the best of all things we have done when it comes to the vocals. Even when some people have criticised them too. I am never totally happy with anything I do.
music, like Human League, Of course those that were important to RB were always Heavy Metal bands, but I am sure these non-Metal influences can be heard also in little details. We all listen to music very widely, but we all have our own slightly different favourites outside of the Metal field. I have read you and your band mates have set a date for the end of Reverend Bizarre; a time for you last album and last live show. However, I have also heard that regardless of these plans you have split up. My sources are questionable and I’m not really up to date on the news of the metal world. Can you please fill me in on the details for these plans and your current situation?
Your approach to II: Crush the Insects was somewhat different to some of you past releases. The tempo and speed had increased in comparison to you debut album “In the Rectory” and it seems a bit more... laid back. Was the writing and recording process different from past instances on your first album or you later EP’s?
Albert: We just did our last ever tour abroad and now the last gigs here in Finland have started. We will play our last gig as an active band abroad in Estonia. All the other gigs take place here in Finland. The last gig is at TVO, Turku, 30th of December. In Feb-March we do our last ever studio recordings. Then it is more or less over,some promotional work and putting some releases together etc,Year 2007 will mean the end for Reverend Bizarre.
Albert: When it comes to writing process, no it was not, and there is one obvious reason. Half of the songs and ideas were there when we did the debut album. We had so much material already back then that we just decided what shall be on the second album and there was still enough material for our other full lengths. The working in the studio was more laid back. I had nervous breakdown and ended up in psychosis after Harbinger sessions so I knew I HAD TO work in easier ways. This I did too. I focused in keeping my mind bit more light even when it was hard. Crush is happier album than anything we have done and will do. The last album will be much darker. Life is getting darker all the time too. Again.
What is your relationship like with you band mates at the present stage? Albert: It is much better now. Not so many fights as we have had earlier. I think the consciousness of the end calms us down and makes us take things bit more lightly. Still, we will never be really close friends. We never were. We all have our own very different lives. After RB is gone I don´t think I will see the other guys too often. I will also walk away from many other things that surround me right now.
Aside from your obvious reverence for bands like St Vitus, Pentagram, Black Sabbath and Witchfinder General, what have been some of your influences while growing up and now, as a musician?
In you native country of Finland, the single ‘Slave of Satan’ hit the top of the charts, landing in at number three. Did the reaction to this single and your album surprise you, or would it be relatively normal to sit down to watch TV and see a band such as Beherit on the Finnish equivalent of Top of the Pops?
Albert: Too many to mention as I have done several kinds of music. To name but a few, Iron Maiden, Deep Purple, Venom, Godflesh, Arvo Pärt, Christian Death, Joy Division, Burzum, Boyd Rice, some of the best 80´s pop
Albert: Number two actually, then number three. It was surreal but also partially planned thing. I mean we knew that we could get to the charts as we had a single with exclusive material included in. Still that position made history of Finnish extreme Metal music as real Doom Metal has never been there before. We have this nerd Metal on charts all the time, but more underground bands rarely are on so high positions. It was great and funny but did not have any lasting impact in our career.
comment things that I really don´t know thoroughly. I don´t know about Peter´s motivations either. Could you tell me a little about the cover of II: Crush the Insects and why you chose it? It was meant to be a cover of our second demo,which was also already had the title Crush the Insects in my plans. I think it fits the whole idea perfectly. I had to work hard
and for many years to finally find this picture. I mean find the owner of its rights! There is this controversial vibe in this picture and the title. I like it. People can try to guess on which side we stand. I am very proud of this cover even when in some sense aesthetically it is bit clumsy. But it was all intentional. Sometimes ugliness is beauty!
I was even interviewed in tv´s chart program. That was funny thing to happen. I mean I really don´t belong to that scene. Could you tell us a little about the way you write and processes your music compared to the other members of the band? How do the arrangements and music come together?
What are the main lyrical themes in your music? And where do you get your inspiration from?
Albert: I feel that all the material sort of comes to me. I don’t know how it is to Peter, or Void who sadly never got any of his songs recorded with RB. When it comes to arrangements I usually have very clear ideas in my mind before we start rehearsing the songs. I hear the whole thing in my mind. Now when we enter the studio for the last time I will give more room to others as I have been not too well lately and I just can´t carry the burden of saying how everything should be. I will take it easier and not worry so much. Still I am a perfectionist and I HAVE to take care of everything in the END.
Albert: The darker sides of life generally,They can have many forms and many origins. When we really started our thing I did not want to write about personal things, and I was able to stay away from them as my life was happier. I had gotten married etc. I felt real Doom should not be too “serious” and “deep”. Then when my life became very tortured I could not write about just occult or what ever,I had to write my demons out so to speak. After that I have mostly written about my own things even when in metaphorical way. Peter likes to write about history and religions etc. That is good. It keeps our things in balance. Some of my songs are very dark.
One of the more interesting songs on your last album: ‘Cromwell’ blew me away and seemed to fit in with the rest of the album, yet it somehow struck me as a bit odd to hear a song about a historical figure like Oliver Cromwell. Could you tell me a little of how this song came about, the inspiration behind it and why you think it suited the last album and your style of music?
Do you think you will ever stop playing metal? Albert: It depends on what you call Metal. In some sense I will stop playing Metal after RB as for me Metal is something so pure and sacred as it has its roots in my life in my childhood that I can´t call my new music Heavy Metal,.and modern Metal music is mostly shit so I can´t use any fancy subgenres either. I really am not SO much into Metal after all. I love the old stuff and some of more obscure Black Metal, Death Metal etc, but still most of the music called Metal is useless to me, But
Albert: I actually can’t as it is not written by me but Peter. Why it suits the album? Because it is a good song. It is fun to play live as it is in a way so easy! Peter is historian so these kind of things are familiar to him. I have read something too in my lifetime but I won´t
What do you still have to achieve through Reverend Bizarre as a musician?
when saying this I also know that I am pretty sure that I will never stop playing some Heavy Metal riffs. They have place in my musical works until the end. And I am sure I will one day again do a pure Metal album too. So probably there will be a long break in my Metal career but I will return as it is inside of me. And I am quite sure that my work with this new band will be labelled as Metal too. Of course it will be. I just think of things in bit different way. For me Heavy Metal is Heavy Metal and there are certain ways how to do it.
Albert: Nothing. I got everything I wanted that this band could bring me and even more. But there is lots to achieve as a musician on other areas. What plans to you currently have for Reverend Bizarre’s future? I believe you had three more albums planned, but now only have intent to do one before ending the band. How does this change your own greater intentions?
Name your five favourite albums of all time:
Albert: I guess I told you all the necessary details already,but to answer the last part: This all gives me at last the possibility to go further and feel bit more free. I have had so many ideas that have been waiting for too many years. Even when I have been doing other things all the time it has been impossible to totally focus in other things when RB has been growing and demanding more and more time. All the other guys have new and old things waiting for them too so in the end this is just a good thing for all of us even when we will miss these days in future. That is for sure. Right now Reverend Bizarre is on a position where it actually could become a bit more bigger and well known so I guess this is the perfect and same time most foolish time to end it all, but we have always done what is TRUE and RIGHT instead of thinking about what would be reasonable and best when thinking of “career”.
Albert: Quite impossible task, but I tell you five albums that mean a lot to me, Iron Maiden: Piece of Mind, Black Sabbath: Black Sabbath, Joy Division: Substance, Godflesh: Streetcleaner and Vesa-Matti Loiri: Loiri/ Leino, I could go on! Lately I have listening mostly to Boris, Virgin Prunes, Sigh, Gallhammer etc, You and the band seem to be one of the few purists left in the doom genre, do you think you are redefining the genre or carrying the flame of old? Albert: Both if I really think about it. I wanted to say we just carry the flame, but it is not true. With our first album we practised sort of a total cleansing. We tried to do as pure Doom Metal as possible. In some ways even the bands that were our influences were not so pure as they probably did not all even think about themselves as “Doom Metal”. I mean bands like Trouble etc. With our later works we re-defined the scene even more clearly as we sometimes became almost impure and broke our own laws. I dare to say now that even when I know what would be pure Doom Metal to me, it is very rarely when you really hear that kind of material. For me it would be combination of certain elements of Sabbath, Vitus, Witchfinder General and Trouble.
What can we expect from this next release? Albert: Everything that has been there before and also few surprises. I really don´t know how people will take it and I don´t even want to think about any expectations and as I said we have now so many new fans when compared to all our earlier records that if I would think of these people it would be impossible to enter the studio. We will do these songs now and if the audience thinks it sucks it is their problem. Then again I am sure there will be moments that at least some people will love.
Your live shows are rare but from what I hear they are also phenomenal. What makes an intense live set in your experiences and opinion? Do you have any shows planned for the near future?
Upon ending Reverend Bizarre, do you have any immediate musical plans?
Albert: Rare in what sense? We have just played ten gigs in row abroad and six in Finland. Tomorrow we play in estonai and then we have three more here at Finland. But yes,We never played so often. That is true. Still we have done plenty of gigs in last few years. What makes an intense live set,.Good sounds, enough, but not TOO much intoxication and audience that really gives you the power.
Albert: Plan is not the right word when the first record, 12” MLP, of my new band is already released. This band, The Puritan will be my main thing now. Things work pretty well. We are already continuing working on our first CD soon. The drums have been recorded already. Other guys have interesting things coming soon too. Check out Orne´s first album and wait for Lord Vicar and you will hear about Void too!!!!
What have been your best and worst live experiences?
Well that pretty much wraps it up, so thanks for your time, any final comments?
Albert: Some of the best have been Washington D.C., Dublin, London, Paris, Nürnberg, Turku at Klubi, Vantaa, oh and Hannover. Worst experiences have been first gig at our hometown Lohja, where Peter totally fucked it up because of being too drunk and Helsinki at Semifinal where I was in totally fucked up mental condition. That was horror! There are some other bad experiences of course where the bad memories are caused by fights instead of the gigs, but there are also poor gigs were the feeling is still great.
Albert: Thank you very much! Take care and control and please don´t breed! There are too many of us already! Instead of giving life to another new human being you can adopt children who have been cursed by bastard parents or poverty in places you don´t want to even hear about but which still exist! And before I go too far in these rambling keep the flame pure and burning!!!!
Elysian Blaze Fractal Invocations Introspection and suffocating, abyssic darkness. These are the key elements from which Mutatiis, sole member of Elysian Blaze, manifests his music to explore the edge of consciousness. Interview by N. Liengme
I
t’s safe to say that Levitating the Carnal was a significant expansion of the sound that you introduced on Cold Walls, but seemed to contain more abstract and arcane concepts. With the announcement of your forthcoming double album Blood Geometry, it sounds as if there’s a thematic continuation from Carnal, which seems more obvious than the one from Cold Walls. Was Carnal an immediate follow-up? Or are there detached concepts running through each album?
“Beneath Silent Faces” demo re-release was a bit unnecessary, but at the same token, many people requested it, so it was more about pleasing others than myself, which is something I am not going to do again. I do not like revisiting the past that much, especially when my focus is so much more vital nowadays when it comes to the energy of my current work. Even so, I would not do anything differently. The evolution has been as natural as possible, and it has paved the path in which I seek. There is no time for regret now, and no turning back.
Mutatiis: Within the contextual makeup of my albums, I do believe that “Cold Walls & Apparitions” signified the end of a ‘teething’ era as such, whilst “Levitating the Carnal” represented a far more focused and in-depth skeletal and muscular system to my art form. My body of work is representative of an evolutionary system, mirroring both my internal microcosm of focus, and how that interacts with the way I view the outer macrocosm, which thus manifests in the form of Elysian Blaze. Saying this, “Blood Geometry” represents the next stage of evolution, the logical step from the shedding skin of “Levitating the Carnal”.
Both Carnal and Cold Walls have similarly cold, lethargic atmospheres, but the music carries different feelings on the separate releases. Cold Walls seemed more inwardly focused, dwelling in the darkness of solitude, while Levitating seems to be more abstract and explorative of aspects beyond the physical. Can you explain how the releases differ from your own perspective, taking into consideration the mindset each was written within? Mutatiis: I’ll try and answer this as concisely as possible, as I could easily write pages and pages in regards to these matters. “Cold Walls” was very introverted, as all my releases are I guess, but the difference lies within the scope of vision in the albums. “Cold Walls,” merely started to touch on subjects that I would later completely dissect on in “Levitating the Carnal”. If “Cold Walls,” was a window, then “Levitating the Carnal” is an open door, allowing access to that in which I sought after. The amount of personal growth I experience between each album is priceless, and is a result of my studies within remembrance, selfassessment, will power and vulnerability. To take this a little further, during “Cold Walls,” I was a human; during “Levitating the Carnal” I was a higher form attempting to mutate the human into something else.
How do you feel about your existing releases at this point? Are there many things you would have done differently in different circumstances? Mutatiis: Looking back, I feel quite satisfied with how everything has turned out. Even so, “Levitating the Carnal” was the first release in which I was 100 percent satisfied with. It was such a natural album to create and compose, and its results spoke louder volumes than I could ever have imagined. When “Cold Walls,” was released, I hated it for a long time, and stopped listening to black metal for a few months. I became very depressed during the recording process with that album, and it symbolizes a lot of personal weaknesses for me, but I have learned very much from it, so it has its rightful place. I think that the
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A personal criticism of mine, but also of a number of others, is the exhaustive nature of your albums. It’s always a heavy-going and intense experience to put on an Elysian Blaze album, and personally, if I don’t have the time to pay attention, it’s not very rewarding. To remain attentive and focused for the duration of an album can be draining, and with Blood Geometry slated to be a double CD, have you considered that you may be increasing the number of people who don’t have the required attention span?
recordings? Mutatiis: I manage to write, record, produce, mix and create master copies all by myself. The advantages of doing everything by yourself are very great. It is a true self-enlightening experience. You are by yourself, with your own thoughts and will to create. It caters for a very strong evolution of the self, and it strengthens the alignment of focus. It can also be very hard and negatively isolating. I tend to experience moments of extreme self-doubt and lose all faith in what I am doing. But this is all apart of the experience, and every mistake I make, I learn from. Even so, I am getting much better at my own system of work when it comes to creating an album. Each album has been approached completely different. I tend to write and compose the majority of my material behind a piano. It’s a very effective method for me, and I would like to think that it mirrors how the great composers of past times developed their lifework. With “Levitating the Carnal” I did all the string instruments (guitars, piano, synth, etc) first and then the drums at the very end with a click track. A strange way to approach a recording, but it best suited the flow of the album and played a huge part in creating the atmosphere and textures that album possesses. With “Blood Geometry” on the other hand, the drums were the very first thing recorded, without a click track. This in turn has given this album a very individual feel in itself. I did a lot of compositional and body work for the new album while behind the drum kit. This caters for a FAR more intricate flow of composition in the songs. Songs will range from 22 minutes to 36 minutes in length on this new album and has broken many boundaries within normal music convention. Yet funnily enough may I say that it completely abides by the best musical rules out there.
Mutatiis: I have noticed that people either become easily bored with my albums or are extremely enthralled with their depth. Even so, one of the main aims with my creations is to never compromise the limitless depth of creation with easily digestible, ‘user friendly’ mediocrity. If people want to truly appreciate what I do within Elysian Blaze, then they are going to have to dedicate a small portion of their life to the listening and absorption of the art form presented within. This is gnosis, not entertainment. If “Levitating the Carnal” is exhausting, then “Blood Geometry” will reap your soul. It shall consume everything around you, until you find yourself within its spectrum of influence, and if/when that does happen to a listener, they will surely view music in a different manner. This is something I take very seriously. In a world of stagnation and deevolution, I create to reinvoke, to reflect, and to refocus the alignments of those whom seek higher form! This new opus shall divide the masses, and for the very few whom are willing to submit, they shall reap the rewards that I offer. Do you think that you’ve currently found your own style of writing at this point? Have you reached the point at which your music is achieving exactly what you hope for it to do, or is there still room for improvement?
“The geometry and shape of my spirit will grow as an absolute abstract” are some of the very few words found within the artwork of Levitating the Carnal. The language you use fits well with the music, as there’s certainly some geometric aspects, and I might even go so far as to describe the music as “fractal” for the abstract patterns found within. Are these metaphysical references? Or am I imagining the whole thing?
Mutatiis: I do feel that I have crafted a certain soundscape that is unique to Elysian Blaze. “Blood Geometry” will be the representation of something that I have been working towards to ever since I started out back in 2003. Even so, there is always room for growth and improvement. There is no reason to stagnate and become comfortable. I find inspiration in approaching music from opposite spectrums if needed. My music is slowly but very surely evolving to a very vital point where its initial focus is being realized and materialized. But even so, I am an extremely harsh judge on myself. I mustn’t be afraid to be honest with my own intentions when it comes to creating. I can never envision exactly how things will evolve, but when the moment arrives, it always ends up being the bestimagined way possible. These are rewards you receive when you dedicate your lifework to THE path you were MEANT to follow. And for this I am eternally grateful.
Mutatiis: You are very much correct in saying those things. To work as a sole entity with the vision of achieving things that might take 2 or 3 people, you have no other choice but to look inwards to the fractal properties of the inner being. The deeper you look, the more infinite and complex do things become. This is symbolic of evolution. To look beyond what is placed in front of you, and towards the more obscure and esoteric, does the truth in which you seek reveal itself. Within these processes you may encounter truths that are corruptive of your being. These corruptions within the geometrical system of inner self are the objects that aim to increase illusion and mediocrity. If one can accept this, then they will do anything they can to destroy, and kill away such corruptions. But if the corruptions are embedded in that person’s personality/being, then to destroy them would mean destroying everything they thought they had to live for. This is the virtue of suffering. By killing off parts of you inner being which at one stage
At this point, have you developed a system that best works for you in taking an album from its foetal stages through to completion, including recording and mixing? Do you do all of this yourself? Has it been advantageous to you to have total control over every aspect of your
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provided you comfort is extremely painful. I consider these actions as FRACTAL SUICIDE. A concept which plays a big part within the lyrical and thematic concept of the new album “Blood Geometry”.
us imagine an individual. This certain individual has recently awakened to the fact that the current manifestation of ‘life’ is nothing but a falsity. Upon realising this, he looks within the self, and destroys the influence and concepts of modern day religion, ideals and influence. He is then thus a selfcreated being. Even so, he must delve even further than the simple concept of self-creation. It is also through self-destruction that he will be able to reach the fate that is bestowed before him. Through the act of selfsacrifice, he gives up his body, but submits his soul to the all destroyer. Satan. Through this act, he may resurrect as the Cold Son, in order to cleanse the earth, and release the souls of those trapped within mortal flesh. This album is about rebirth and cyclic function. It is about understanding and noticing the patterns and influences that appear before the individual of the left hand path, and how geometric symbolism and functions further enhance and translate such powers. The aspect of Blood is highly involved due to the fact that I believe that such awakening lies within the blood itself. If the blood is the life, then the blood will reveal the true life that one seeks. In this case, the individual seeks ultimate truth through apocalypse: a time of great cleansing.
Are audiences more receptive to your music locally or abroad? Do you find there to be a typical mindset among those who appreciate what you do? Mutatiis: I tend to find that people abroad are more receptive to Elysian Blaze. Russia, Germany and France to name a select few. The re-occurring mindsets that I come across are those of an introverted significance. They are people who look within towards the darkness, and who are of individual capacity with the passion of creation. They create their own paradigm and path, while at the same token appreciating what I do as a mirror of their own evolution. These are people I do not take for granted. I am very grateful to talk to anyone anytime if they wish. How significant is Elysian Blaze for you as a creative outlet? And how necessary? If you were not so musically inclined, would you have found another creative outlet?
Lastly, I get the best enjoyment from your music while reading. Could you recommend an appropriate book or author that will suitably complement your forthcoming album?
Mutatiis: The significance of Elysian Blaze for me is almost beyond life itself. I say this because everything that I learn and experience in life I translate into musical format within Elysian Blaze. I say that it’s almost beyond life because Elysian Blaze also represents the functions that are beyond life! It is my main conduit. My main portal and messenger. It is absolutely necessary for me to create such art forms by myself in order to share what I’ve learnt, and to receive the gift of knowledge from others. If the quest of truth were not available to me through music, then I would either be an author, artist or an actor. Regardless, I do plan to write in the future, but only until I feel I have something important to share other than just inflating the illusionary ego. The power of creation rules all. But until one truly learns the benefit of destruction, they will never realise the scope of creation itself. These cyclic functions are infinite and without compromise. Hail to these ancient words!
Mutatiis: Great question! Okay, let me suggest a few books that I have found much influence within leading up to and within the creation of “Blood Geometry”. First of all, may I recommend the author Graham Hancock. The books “Supernatural” and “Fingerprints of the Gods” namely. Both books are highly critical and informative within the evolution of man, and the influences of ancient practice, both magickal and practical. May I also suggest “Chariots of the God’s” by Erich Von Daniken? Basically the concept of a totally re-written and supernatural pre-existence of so-called ‘modern’ man is truly inspiring for me. I have never felt 100 percent satisfied in this flesh and realm. I have always felt I’ve been abused and pushed down from certain unseen and unknown powers that we could behold. Not to mention the mere fact that I believe “man” to be a very lesser power and icon of evolution than we ought to think we are. Blood of Ancients!
Would you ever like to work with with other individuals in the creation of music? Who would be your preference, if anyone? Mutatiis: I’ll answer this as honestly as possible. Within a more ‘mainstream’ sense, I would find every benefit working with an artist such as Trent Reznor. I say this because I mirror a lot of myself with him, not in a worship sense, but in a very practical and ‘nature’ driven element. If I were to delve within the underground, Diabolous from Vrolok comes to mind frequently. Vrolok are very highly underrated. Total elitism within the manifestation of darkness. May I urge anyone who reads this to obtain “Soul Amputation” and their latest opus “Void”,
Many thanks for your time Mutatiis. Good luck in your continuing artistic pursuits. Mutatiis: Many thanks for the interview. It has been an absolute pleasure. I shall pursue my artistic visions with the upmost dedication and honour. It is the support delivered by individuals such as you that make the quest so much more invigorating and inspired. My goodwill goes out to you my comrade and to all those who follow the same path. It is us against the world. Hail the Blood of Ancient times!
Could you possibly delve into some of the lyrical matter of Blood Geometry? Mutatiis: I shall explain some of the main aspects within the lyrical composition of the album. Let
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13
MourningBeloveth In
the
Glow
Autumnal Fires
of
Crushing waves of inconsolable doom wash over, leaving desolation and sorrow in wake. This is how listening to Mourning Beloveth feels. Although this interview should have been published in our previous issue, it finally makes an appearance. Interview by T. Templeton, photos provided by Mourning Beloveth
T
he songs on The Sullen Sulcus are very similar, being more like one epic, mournful song. The songs on a murderous circus, however, have more variation and are a lot more distinguishable from each other. Was this a conscious effort? Did you feel the need to move away from the sullen Sulcus’s feel of one epic song?
Darren: Well since the releases of the album we have played some one off shows in Portugal and Germany. We have just finished the Heathen Crusade tour with Primordial, Moonsorrow and Gardens of Gehnnah around Europe for 2 weeks and the crowds and the reaction on this tour showed us that the underground is alive and well. It seems people are sick and tired of the same old metal by numbers that the labels are releasing and are digging in to the underground to find bands that play with passion and feeling and the turnouts and reactions at those shows really showed that.
Darren: It is probably the first time we made a conscious decision about what we had to do with a recording. We felt we had taken the Sulcus style as far as we could at that time with its thick layered sound and almost suffocating production and so with the new album we went for a colder, harsher and rawer sound than on Sulcus.
The name Mourning Beloveth just bleeds sorrow. Where exactly did the name come from? Did anything in particular inspire it or was it more or less just stumbled upon?
A Murderous Circus is a lot rawer, both of your vocalists have developed their voices more. Again a lot more varied then say Dust or Sullen Sulcus. And the use of clean vocals has been more sparingly. Could you tell us why you decided do this?
Darren: The name came from our original bass player when the band was formed. It is basically a collective thought on what we try to release through the music the fact that we are all touched by feelings of loss, desperation and fear.
Darren: Yeah we felt this album needed to be different and the songs were coming out a lot darker this time round so therefore we used the clean vocals a lot less. I also developed my voice to suit the mood of the music as again we felt we had taken the deep growls as far as we could. It is funny coz when we released the album people were split on the “new” direction but since touring and the album being out for some time people have gotten used to it and most people reckon it is our best album. When you listen closely you will notice it is still MB, playing slow and dark just with some new elements added, and the length of the songs increasing haha.
Can you tell us a little about the history of MB? Did you always intend to be a doom band? Darren: Well if you want our history go to our website, as for us being a doom band well that is open to interpretation. We play slow, dark and heavy ,metal and always will. It is up to people who listen to our music to label us as they see fit. Mourning Beloveth for us is a release of all of our negative emotions that we encounter through life and to do that we must play slow, there is no point in singing about misery if you play in a power metal band.
What lies ahead in the near future for MB? Touring? A well deserved break? I hear that you have started writing material for the new CD already? If so could you tell us a little about the material written thus far?
Your style of doom has that rawer edge to it then most, which helps to make you one of the more unique bands in the scene. Which makes one curious, what styles of music/bands etc. does the band listen to? What inspires the thoughts and
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creative process behind the music?
sleep but it’s soon all forgotten over a few pints and a gig.
Darren: In the beginning we used piano but never with the songs more as separate pieces of music but we always felt that Mourning Beloveth are a metal band and that means guitar, bass drums and vocals and nothing else. We do not associate ourselves with the so called romantic goth doom death bands we like to concentrate more on the harsher side of life. We find ourselves more comfortable trawling through the sewers of eternity than skipping through a flowery garden.
A Murderous Circus seems to have less of a personal theme and seems to be focused more so around people as whole group rather then individuals? Is this so? Would you care to tell us a little about the theme or general message behind? Darren: A Murderous Circus? I don’t agree with you as the lyrics on this album are probably the most personal to date, they are not wrapped up in a lot of words or beautiful language. However I wrote personally and universally, personally about the hell we go through after a time of excess and the depression that follows, how I feel that everything around me is dead or perhaps it is the fact that I am dead to the world. It is also a statement on the world in general and how so many people live such vacuous lives forced upon us by this uncaring, unfeeling world of mass commercialism and globalisation. The two topics are intertwined as we question is it because the world is like this that I follow the path of excess to block out the mundane existence around and by creating my own world through excess does it eventually lead to an existence parallel with what we are trying to escape from?” Most of us in the band over a number of years have been leading lives that are not exactly healthy, pushing ourselves to the limit on many occasions and the past two years has seen this very focused. This album musically and lyrically is dealing with this and it is a very diverse album as two things pull against each other creating a grey vastness between, musically we have written some of the softest pieces yet and also some of the most brutal and cold. It is a reflection of our own world and the world we live in that we have to try to create our own chaos to escape from banality and by trying to escape we are slowly killing ourselves.
Inspiration can come from anywhere. We listen to metal mostly from AC/DC to Vitus to Skepticism to Priest to WASP to Esoteric,the list is endless. Inspiration can come from anywhere, from a book to a riff to a word. When we rehearse we just start jamming riffs and it goes from there. The arrangement is the killer part, we have a lot of riffs but trying to tie them to a song is the hard part and that’s where the lyrics come in. we might discuss what I am trying to get across in the lyrics or how the vocal patterns will come out and we develop from there, I ask every band I interview this in the hope that one of them will answer “yes”. But, any plans to come to Australia in the near future? We have a great doom scene. Darren: Yeah I know the mighty Mournful Congregation, howya Damon, and also Virgin Black and Chalice as for our plans to come to Australia, we are just waiting for an offer. You have toured with some brilliant bands (Primordial, Cathedral, Arcane Sun to name a few) to name a few. What was it like touring with these bands, has it had any adverse affects on the band and/or the music in good or bad ways? Darren: Well we have toured with Primordial, Morgion, The Prophecy, While Heaven Wept, Pantheist, TPOG and Moonsorrow. Every tour is a positive as it is a chance for us to meet people whom we have been emailing or talking to on forums and it is also a chance to play the songs we have in a different environment. The advantage of touring with different bands is that you get to play to a wider audience and we have seen that the strength of our music and live performance has turned many a pagan or black metal fan along the way. Touring is such fun that even the negative points are good, the lack of sleep, constant driving, having no money but these are far outweighed by playing a gig every night to people you have never seen before, the joy of someone coming up to you afterwards and shaking your hand for giving them a great night,
You have done a split with Lunar Gate I believe. The track that was chosen to feature on it was “Part 1””, why is this so? What was the selective process behind this? Is there a reason it never made it onto one of the full lengths? Darren: Yeah we wrote a new song when Brian from sentinel asked us to do a split 7” as par of the sentinel 7” series. Originally the song was 12 minutes but we had to cut it back to 7 minutes. It helped us focus on what was really needed in the song and I feel all the MB characteristics are there. A re-recording of it appears on our new album, only on the bonus disc though. Well that about sums it up for now. I would just like to say thank you greatly for taking the time to do an interview and the best of luck to you all in the future. We hope to see you in Australia one day soon and please, keep the doom coming! You’re welcome to put any last thoughts or comments here. Cheers!
You have had the same line up for a long time now. Does it help that you all know each other so well when writing music? Does it tend to just flow more because of this? Darren: Yeah definitely, we know each other so well, especially after touring, that when we rehearse we almost know what each other is going to do when we jam a new song or riff and this just helps the creative process flow, same as our music. We fight, especially on tour when we are cramped up in the same van for 2 weeks with little
Darren: As the vicar said to the tart,. hope to see you down under.
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Dawn of Azazel On
t he
Road
to
Babylon
New Zealand isn’t well known for its contribution to metal, but Dawn of Azazel aim to change that. Tours across the US, Europe and Australia supporting names like Immolation, Incantation and Behemoth has given their homeland a place on the map. Rigel seems to enjoy it. Interview by A. Maybury & N. Liengme, photos by N. Liengme
G
reetings Rigel, and congratulations on the release of your second album Sedition. How does it feel to be the first New Zealand extreme metal band to achieve such international recognition?
far as the number of shows and the amount of money from punters goes. However, on the other hand they are really very spoiled for choice over there, you have to really shine to impress there, and I certainly believe that it doesn’t take just a couple of tours to get a good thing going there either. Asia is really going to be a big market in the future as soon as they can figure out to afford to get more bands over there I believe, the crowds there are really fucking crazy, extremely enthusiastic, and really show up the rest of the world in my opinion. So far on this record we have played just under 100 shows in NZ, Australia, USA, Germany, Netherlands, Belgium, Austria, England, Scotland, Ireland, Czech Republic, Denmark, France, Spain, Portugal, Switzerland, Indonesia and Thailand, and I definitely thought the best 5 were Australia, Indonesia, Thailand, USA and Spain.
Rigel: Hey mate. First off thanks very much. Its great, when we started out there was really no scene here whatso-ever for metal, only really one other metal band active in our city and not that much going on elsewhere, so it is quite an accomplishment in my mind to have gone from that to what we have now, both with Dawn of Azazel and the NZ metal scene in general. I would like to think our accomplishments can have their own little part to play in getting the scene as a whole here in NZ a little more recognition worldwide. Are you happy with how Sedition turned out? Is there anything you would change in hindsight?
How about at home? Have you had much feedback from the locals? What’s an average turnout for a DoA gig in NZ?
Rigel: Yes I think so, maybe we were a little rushed in the rehearsal process, Martin [drums] joined only 5 months before we recorded and we had a three-week thirteendate New Zealand tour a week before we entered the studio. But I still think the end result was pretty much what we were aiming for at that point in time. Obviously things have progressed musically, but I think the main two differences that we will implement with our third album will be to take a little more time to embellish and develop the songs in the rehearsal room, and to record with an engineer with strong credentials and experience with metal. Although Dave Holmes did a stellar job, especially considering it was his first metal project, there were alot of issues throughout the recording and particularly the mastering process that could have been avoided if there was someone experienced who actually understood this music in the country. At this point in time there really isn’t anyone.
Rigel: Well things have been really good here in some regards, I mean we have had some crazy opportunities like opening for Korn and another very big metal band later in the year which hopefully will be public knowledge by the time this is printed. On top of that we have had a lot of T.V. coverage and of course the controversy in relation to my occupation [as a police officer] and my lyrics around the time of the albums release. On the other hand its such a small place you have to be very carefull not to over-play here, especially when you have been giging here for 7 years. On top of that being a small place, where everyone knows each other and where isolation makes it quite frustrating and difficult for bands to become succesfull, we also have a lot of tall poppy syndrome and backstabbing going on compared with other parts of the world, a lot of stupid vendettas and grudges for a place which is really to small for things to work when people don’t look for what they can support as opposed to what they can knock down. As far as turnouts go, if the show is on a weekend and properly promoted we could expect over 200.
How have overseas audiences (not counting Australians) responded to Sedition? I imagine the US would be quite welcoming to your sound, but how about Europe? Rigel: Yes, the US as far as the average audience response goes is better I would say, but it is really one of the hardest places in the world to tour as far as the way you are treated by promoters and what you have to take care of yourself. Europe is always the hardest market to break in my experience, and according to alot of other people I talk to on tour also. On the one hand it is really the best place on the planet for metal at the moment, as
You’ve recently returned from a tour of the US with the death metal heavyweights Incantation and Vital Remains. What was this experience like, playing with such highly respected mainstays of the US scene? Any interesting stories to tell from your time on the road? Rigel: Yeah, and more recently also in Europe with
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Krisiun, Immolation and Grave also. Well, the US is tough, in Europe if you are touring with anyone half decent you will be on a nightliner, with crew, backline, food and alcohol supplied so all you really have to worry about it is playing. In the US its a lot more ‘everyman for himself’, you drive yourself, you rent your own vehicle, your own sound guy, merch guy and crew if you can afford the luxury, accommodation, food etc. Almost all the bands in the death metal scene, far more than you would expect, opperate this way and have been through their whole carrier. So, basically it was 4 weeks of driving an average of 6 1/2 hours a day, on 3 hours sleep to make it to the show early afternoon so that you could set up, sound check play and squeeze in some sleep before you did it all over again. On top of this I filled in on bass for Incantation for 2 1/2 weeks. So you can get an idea of why people say that touring Europe is like a holiday and touring the US is hard work, haha. However the shows were killer and the audiences there were really enthusiastic. The scene there is much harder to break into than Europe, so the number of extreme metal bands that tour their regularly are actually not all that many, so people really appreciate something new and exotic there I think. Sedition was released in New Zealand a few months before the international release came out on Ibex Moon. What was the reason for the separate releases? Rigel: Oh just to do with money and different release time lines. As you could probably imagine, not many labels are very well set up down here in NZ so we have the rights so that it is done right and consequently make a little more from the CD sales. Ibex just ended up releasing the CD a little later than they originally planned, whereas we stuck to the original timeline. How did the recording process of Sedition compare to your previous album, The Law of the Strong? How do you feel about the musical progress between the two? Rigel: Well it wasn’t easy, we had one week and as I mentioned earlier Dave Holmes had never worked on something like this so we had to bring him up to speed with the aesthetics of this music rather quickly. We had to remix and remaster a few times, however I think we are all quite happy with the end product. As far as the progress goes, Sedition is definitely much more stripped back structurally, and to a lesser degree compositionally also. We wanted to create something that was a little more to the point and in your face, it was always our objective long before the recording to tour as much as possible for this album so the end product was definetly created with that in mind, something that would translate a little better to the live setting. Production-wise we also wanted something a little clearer but to retain the raw edge. We definitely got the raw sound we were aiming for on the first album, however I think alot of the detail was lost in the chaos and that was reflected in some of the interpretations of what the aim of the music was in my opinon. Your lyrics deal heavily with natural selection, the will to power and much of the philosophical premises that Nietzsche was famed for writing about. Do these lyrics reflect your own philosophies and life code? Rigel: Yes, undoubtedly so. Grasp life by the horns and become the master of your own destiny, rather than wait for it to land in your lap. Living in an isolated place like this certainly teaches you that. Do these beliefs come into play in your daily life? If so, how? Rigel: Yes, personally I think that at the base of these philosophies are the premise that your destiny is your own responsibility. Rather than blame your personal circumstances or your social or physical environment people should hold themselves personally accountable for their lot in life to a much larger degree than what is currently fashionable. Particularly with my line of work I see a lot of people with the opposite mentality and how damaging
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that is to the individual and the outside world. In short physically, mentally, spirtually etc. I believe a successull life is one where one strives to make the most of the lot they are given. Which bands have influenced you musically the most? Rigel: That’s a very difficult question, and one that every member of the band would answer differently. For me however it would be Blasphemy, Morbid Angel, Sarcofago, Immolation, Incantation, Conqueror, Order from Chaos, Diamanda Galas, Swans, Krisiun, Emperor, Non. What is the New Zealand metal scene like? I’ve noticed a growing number of black metal bands, but I’m still yet to check them out. Any bands worth mentioning? Rigel: There isn’t really alot of black metal here, more death metal really. Some bands that are worth checking out are Ulcerate, Relentless Attrition, Sinate, Skuldom, Asphixiate, Odiusembowel, Select and Dissect, Necroternal and Slave Cadaver How did you feel about supporting Korn in New Zealand? Rigel: That was a really great show. We were really lucky to be given that opportunity to play to around 10,000 kids who wouldnt have heard our music otherwise. I really didnt know what to expect when we walked on stage, I expected 50% would dig it at best, but the response was really really good. To have that many people cheering in front of you is a big rush.
What are your plans for the near future? Any more overseas tours in the works? Rigel: We will be back your way in December supporting another killer band, then most likely we will be knuckling down to recording album 3. Thanks for your time and best of luck for the future. Hope to see you guys back here soon! Any last words? Rigel: Thanks for the interview and your support. Check us out at: www.dawnofazazel.com myspace.com/dawnofazazel 666!
I m m o l a t i o n Harnessing the Everlasting Fire As far Death Metal veterans go, Immolation are among the few in managing to hold together a respectable attitude whilst still producing high-quality music many years after they made their mark. Guitarist Bob Vigna talks a bit about the new album and life on the road year after year. Interview by N. Liengme, photos provided by Metastazis.com
G
reetings Bob, many thanks for your time. To begin with, how are things going for yourself and Immolation at the current moment?
Speaking in all aspects (creatively, compositionally, lyrically, thematically, etc.), do you think there is a logical progression between each of your albums? Do you believe that Shadows in the Light is a point you’ve come to as a result of all your previous work over the years?
Bob: Very good, we are on the road with Skinless and Suffocation now and the shows are going great!
Bob: Yeah we definitely improve and progress with each record and “Shadows” brings things further but at the same time is more aggressive and probably one of the heaviest records we’ve done. We always try new things and extra twists. It keeps it interesting for us and the fans.
This year already, since releasing a new EP and full length album, you’ve done an extensive European tour with Krisiun and Dawn of Azazel, and before the year is out you’ll be touring North America with Suffocation and Skinless. So I’m wondering how it is that you find time to live anything resembling a normal life? Do you ever feel yourself getting jaded?
Being considered a cornerstone of death metal, as well as one of the longest serving and most consistent bands within the genre, how do you perceive the current (modern) death metal scene? Are there many bands you find to be of interest? Do international tours and festivals open you up to a significant number of new bands?
Bob: No not at all, we love doing this and the fact that we are able to get to hit the road so much on this album is awesome! We have plenty of time when we are home, so being out for a month here and there is not bad at all, its always cool to see all the different places and countries. We actually have another tour planned in the US for Feb and another in March for Europe.
Bob: There are some good bands out there... but they are few and far between. I think it takes a lot to impress us these days as there are so many bands all trying to do the same thing and they all start sounding the same to me. But there are some out there and the scene itself seems to be doing really well,...especially in Europe , it was killer over there during the summer fests!
Immolation are often perceived to be one of the more sophisticated bands within death metal, something of a “thinking man’s” death. Do you take pride in any such evaluation? Does it mean anything to you to be seen as standing above the average perception of death metal?
You released an EP called Hope and Horror a month or so before Shadows in the Light. Since this was the first EP you’ve released, what led to its conception? Do you think it would be something you’d do again?
Bob: We just do the best we can and its cool to see that people appreciate it. We are really into the music so we try and make things as interesting as we can and as dark and heavy as we can at the same time.
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Do you think any one song or album really summarises Immolation best of all?
Bob: Listenable came up with the idea, so we did the 3 songs and the DVD with it. It was cool to finally do something like that. I’m sure we’ll do another one in the future. It gives you space to try some different kind of stuff,...yet I have to say we didn’t really pick which songs were going on the EP until they we all recorded. It was a hard decision. Of course the instrumental was really cool to work on, a lot of fun and I think it really came out great for our first ever.
Bob: I’d say Shadows and Harnessing , as they are the most reflective of what we are about and the most mature records we’ve done Beyond your obvious anti-Christian subject matter, do you personally aspire towards higher ideals, or follow any sort of path of self enlightenment? Bob: No we just like music and enjoy creating it. We’ve been fans for years of metal and this is something we just love to do. We just look at things and write about them. Like “World Agony” is about how the world is destroying itself and how we are all responsible for it. We just like to bring things to attention and let everyone get their own thing out of it.
In all the time you’ve been together as a band, have there been many points in which you’ve been pushed beyond your capacity as an artist and performer? Points where you’ve just wanted to throw it all in? How do you deal with such moments? Bob: Yeah, it takes its toll sometimes and we say “Why are we here? What are we doing? Why didn’t I become a lawyer or doctor?” But then we realise that we are driven by music and its our passion.
The uniqueness of Immolation among the scene seems to have always been a point of pride for all of you, and rightly so. Has it always been a conscious intent for you to separate yourselves from precedents and create your art from a wholy original angle?
The whole band seem to lead something of a “straightedge” lifestyle without alcohol or drugs. Given the expected behavior of bands on tour, I suspect your lifestyle is not something you would preach onto others, but does it cause any friction with other bands and the friendships you have with them? Has it always been this way for Immolation - a unifying code of conduct, of sorts?
Bob: Just like anyone else we just do what comes natural and work hard to create the best music we can. I think we have created a pretty unique sound over the years and continue to expand on it, while still keeping it well rooted and keeping our style intact.
Bob: Well thats just me and Ross... Steve and Bill like to burn a few. It doesn’t matter really, we all are 100% when it comes to the music, none of us are smashed each night, etc. Everyone knows their limitations, so its good, as being a bunch of drunks on the road can really lead to a lot of lemons along the way! Haha.
How do you feel about Celtic Frost and Possessed reforming and playing live once again after so many years? Bob: Hey man, people are digging it, more power to them. It shows the younger kids where the roots of all this music came from!
Of your range of influences, what proportion of creative inspiration is derived from non-musical areas? In particular the lyrics, which make use of many biblical references, as well as other literature. Richard Bach’s “Illusions”, for example, seems to have on some level inspired Reluctant Messiah.
Once or twice a year for the past 3-4 years running there has been rumour of an Aussie tour, which causes untold premature ejaculation among the southern hordes. So what we’d all really like to know is - what’s it going to take to get you here? What are the odds? Bob: We’re trying! Haha, hopefully it will happen soon. This is the most touring we’ve done in a while so hopefully things will work out and we’ll be able to make it happen.
Bob: No not really, I’ve never heard of that before. We just write about what we see in the world... most of the new stuff on the last two albums is really more about the war and the terrorism... we do it in such a way where you really have to look into the words. I’ve seen many people review the record’s lyrics as anti-Christian, but almost 95% of it deals with personal issues, somewhat political themes and what is relevant to today’s climate. If you really look at the words you’ll see what I mean.
Lastly, I’d just like to thank you for your time and your continuing devotion to your art. Best of luck with what may come. Bob: Thanks a lot for the interview, we appreciate the support! All the best!
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I n t e r n e c i n e E x c o r i a t i o n E x ec r a b l e D ec r e p t i t u d e Internecine Excoriation use bigger words than most people, which clearly makes them better people. But for all the syllables exchanged, it didn’t take much to prove that my dictionary was bigger than theirs. Interview & photos by N. Liengme
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bhorrent greetings Jason. Whence has this deplorable horde congealed, and to what ends?
At what point did you come to the realization that modern death metal needed some fixin’? Jason: I certainly think death metal stagnated with the dawning of the new millennium, and it has only been the last 2-3 years that a fresh re-emergence of sound, production and writing skills has began to formulate a neoteric tide. Many of the newer wave of American styled Death metal bands which seemed to have proliferated the ‘scene’, tried to encompass technical writing patterns, which is fantastic to listen too, and watch to a certain point, but lacked feeling and the power to invoke emotive. To say we decided to ‘fix it’ is an overstatement. As your questions down the page indicate, we are influenced in part by some founding death metal bands who embraced what we believe death metal was created for. Music which depicts DEATH, horror, uncertainty and fear. We wish to pick out these certain elements of Death Metal’s foundations and disfigure and contort them into something that is darker and more foreboding.
Jason: Hails Nico. The initial conceiving of IE took place in the cold, concreted womb of Matthews garage around April ‘03. At that time, Matthew (Drums), Dave (guitar) and myself (vocals) were united as friends and the embryonic founders of Internecine Excoriation. After two months Brad was scraped off the streets of Eagleby and ordained. The search for another guitarist remained, so David could resume his most effusive work on the bass. Due to a prior association with Brad, we then enlisted the services of our final combatant Kevin, at which time the lineup became solidified to this point and beyond. Obfuscate and arcane linguistics predicate inextricable aural abhorrence. Is the discomposure of your assemblage indispensable for the personification of your cumulative auricular form, or do you just talk a lot of shit for a laugh?
What is the IE ethos?
Jason: To converse in everyday life as such, would obviously be far too complexing for the vast majority, yet the scriptures we wish to transpire seem to carry over in a more vivid and somewhat distressing state with the language we choose. It will alter none, if only to become more exacerbating.
Jason: Based on the elements of the founding ethos of ‘Death Metal’ is what certainly forms our sound and ‘image’. Conventional yet unconventional, we also wish to steer clear of the orthodox elements of death metal. We wish to formulate something that draws inspiration and influence from original concepts of death metal, but
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progenerate into something that we aspire to be recognized as our own. Near five years the direction of the band has changed dramatically, and is something we are still yet to harness or perfect ourselves. Far from it. We still question ourselves and our overriding objective. I imagine and hope it will constantly evolve, however, our demo; Prognosticate the Decrepitude (“to foretell the demise”, for the layman) really sums up where we wish to take our music and our doctrine. Whilst receiving compliments like “you karnts are so fucking heavy and brutal” is somewhat flattering, this is not what we wish to be depicted or known for. We want to create something that is dark, unsettling, vomit-inducing and questioning. It’s a year since Prognosticate the Decrepitude came out. Do people dig it? Does anyone care? I know mine has made a fantastic drink coaster and dart board. Jason: Reactions are mixed, however, the majority is favorable from what we receive. A lot of time was put into the promotion and exposure of PTD and from outside circles it has been hard at times to gain much feedback, which has been disappointing. Yet, it still trickles in. It was sent to various sources for critique and dissection. Few were kind enough to send back their honest appraisals, yet considering the volume of music that is distributed and circulating these days, all wanting immediate opinion, I guess it isn’t to be taken personally. The most pleasing aspect however, has been the feedback and support from our immediate peers, which we respect the most and those which reside in Australian icons such as Astriaal, Excruciate, Portal, Funerary Pit, Ignivimous, DarkLord and the like, who have been nothing short of praise and guidance. These are the greatest compliments of all. Further, once our music has then been shifted into the live arena, the reactions are different again, but generally a more prominent reaction of vile horror and disgust, which is most pleasing. When people can experience the emotion and horror through their veins and ears whilst being displayed before them visually, it seems to garner more reaction than that of CD. You should try the inlay for toilet paper. The texture is so so smooth. Beats 3 ply! It’s safe to say you’re heavily influenced by Immolation and Incantation, and probably Crimson Massacre for namedrop’s sake, but who else tweaks your nipples and awakens your guitars from their flaccid state? Jason: Sound wise, correct in part. As a whole package, shift your influence calls towards something like PoRTaL. Baring in mind three people write the music with an eclectic range of influences amongst all three, to name influences would be too space consuming and varied amongst your pages and also too limiting towards ourselves and what inspires us as individuals. As I understand, Antti Boman from Demilich eventually became incredibly sick of being asked about his guttural vocals in countless interviews. Doubtless, you’ll be the same in time, so let me get in before you’re jaded - how and why do you use such brutal vocals? Ever thought about mixing it up a bit? Jason: Of course. But it must all be contextual. Originally my vocals were based on a ‘CorpseGrinder’ sound. After many months of practice, I didn’t feel I was achieving enough within the space of time granted, and was also listening to a lot of lower pitched vocals such as Disgorge, Wormed and Pustulated. The music, with the addition of the two guitarists also shifted, along with the tuning. Therefore it was necessary for me to make the shift down an octave or three, otherwise the vocals would sound too high, too outdated and non fitting. Nonetheless, the older school death metal vocals are still exercised, alongside agonizing screams and will be placed were it is appropriate. The goal is to execute these older vocals eventually to my personal degree of perfection. The entire vocal perspective must match the music, as well as the emotion of the music and lyrics. How? Through extreme personal manipulation of ones vocal chords. It’s extremely insalubrious and un appropriate. But that’s my love of this vocal style, to push and challenge ones self beyond their limits. It must go LOWER! You’ve done some solid supports in a fairly short time, featuring on local shows with Suffocation, Deicide, Napalm Death, Disgorge, Blood Duster and probably other important ones I’m forgetting. Who’s left on your wish list of bands to play with? Jason: Suffocation, no, I made guest appearance on vokills with Excruciate. However 5 souls will give you 5 different answers. For me personally, and weather IE would fit the bill, I would love to either see the following defile Australian soil, or support: Morbid Angel, Dying Fetus, Retch, Goreopsy, Defeated Sanity, Wormed, Decrepit Birth, Pustulated, Primordial and I would love to have another crack at supporting Disgorge (US). Australian luminaries such
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Lastly, what future emanations do you have planned for IE? A full length album? Another EP or demo? Perhaps a “best of both worlds” DVD repackaged with your logo on the front? When? What’s the scoop?
as PoRTaL, Funerary Pit, Beyond Mortal Dreams and reformed Miscreation and Misery outfits would be most appeasing. Evil Speaks Records are re-releasing Prognosticate on tape, as well as a live performance of your support slot with Deicide. Who the fuck listens to tape these days? But more importantly, how did this deal come about, and do you have any future plans for the magnetic medium? I imagine a few tapes unwound would suffice as a strong bind in lieu of rope or duct tape during a night out on the town.
Currently IE has been on a hiatus of sorts. A self induced break was sought after our last show and also garnered an opportunity for several members to concentrate on their various side projects. Feb ’08 the IE horde reconvened in full motion were the whole IE package was put under the microscope, dissected, reviewed, reassembled and the future 6-8 months were strictly outlayed. At this time of writing, we have parted ways with our percussionist Matthew, due to concealed reasons. He remains a close ally regardless. Over the months of May and June we will be trialing several applicants for the position. Currently six new songs, minus lyrics, have been written and a further two are verging on complete, for an album. Lately, we have been discussing another prospective demo, before delving into a full-length. We foresee perhaps one Brisbane show for 2008 at most, which will be visually far different to anything we have done before, and more targeting the ethos discussed earlier. All details will be closely veiled until concrete. Our main priority amongst all points of discussion will be the writing of a full-length, which we will push beyond previous boundaries. A late 2008 to early 2009 release is expected.
You listen to tape on your Sony walkman, whilst strolling along the Sunny Coast beaches every morning in your budgie smugglers you little bastard – FACT! Unfortunately do to reasons outside of both Internecine and ESR’s control; the tape release has been shelved indefinitely. It is a shame as grand artworks and outlays where made by Dave and Kev for the ‘Live’ tape which was recorded upon our support of Deicide – Dec 06. Whilst it has been shelved, Tape is a medium that I certainly enjoy listening too and collecting and I certainly do not think that this will be the last opportunity for IE to pursue using tape as a form of documentation. We also take this time to apologize to those who we had made mention and promise too of these particular releases, they didn’t eventuate – yet! It will surface at some point thou, whether it is through our own finance or the assistance of a label!
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L o s s C o n ce p t u a l F u n e r a l i s m The doomed walk among us... Interview by N. Liengme, photos provided by Loss
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he “Life Without Hope... Death Without Reason” demo has made quite an enormous impact, having been re-released about 5 times now in various formats. I read that this demo was simply meant to be a precursor to your debut album, so you couldn’t have expected the kind of response you’ve had from it, surely?
Metal thus the Goatlord covers from both bands. Both bands wrote an original in the same old vein in praise of the style that we were all influenced by. Obviously it was a departure from the style Loss normally plays but we cannot deny our past. I love our song on that split (The Bare-backed Burial Of A Torn Angel) its fucking great to play live as well.
Mike: We made an impact? That’s unexpected,Actually it was released in 4 different ways. Our original CDR versions,the official Weird Truth cassette release,the Deathgasm CD release with bonus tracks and the next will be the vinyl version via Parastic Records.
Goatmolestor I don’t care for and Proclamation is ok but I’d rather listen to the actual version of Blasphemy’s Fallen Angel Of Doom instead of a carbon copy. Necros Christos is an amazing band. Their new record is by far the best release this year in the Black Death realm as well as the debut from Negative Plane,
Yes people seem to really like those songs and that’s great. We appreciate the positive response weve gotten with basically 2 songs and yes it was originally meant to be a precursor to our debut but it grew into something else I suppose. Those songs will both see themselves transformed and reworked for the debut full length.
Doom metal, at least within the extreme metal spectrum, has never really “suffered” from the popularity of the other main genres of metal thrash metal in the late 80’s, death metal in the early 90’s, and black metal in the mid 90’s. As a result, the genre never became as flooded with such a number of weak imitations, and to this day it remains comparatively exclusive in terms of both fans and artists. Why do you believe this is?
It was a bit surprising to see you release a split 12” with Necros Christos, who are far more in the old death metal vein than yourselves. I’m curious about how you ended up working with NC for this release. Further, what are your thoughts on other bands in this style of old death worship, such as Goat Molestor and Proclamation?
Mike: No, there are plenty of clones that will remain nameless. Just open your ears. I will admit that there is much more originality and interesting things going on in the current Doom scene though. Its fucking great.
Mike: I used to run a record label called War Hammer Records. This is how I first got in contact with Necros Christos. Mors Dalos Ra sent me a demo and I was to a release for them but the label went under. We remained in contact as a lot of our views were very similar and we became friends etc. When we formed Loss I sent him some rehearsals and the demo and he was into it so we started discussing a split. That idea then turned into more of a “concept” split in honor of the old ways of Death
Do you think it will remain this way? Mike: No, all metal scenes move in cycles. A split release between you an Worship was released as part of Paniac’s infamous “Suicidal Doom” series. Being such a relatively new band,
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it must’ve been quite an honour to have a release included in such a cult series. Mike: Yes absolutely. I was shocked when we were asked by both The Doom-monger and Fred from Painiac. They both seem to believe in us and that is an honor indeed. I was in contact with Fred/Painiac for years before and when he got in touch it was very exciting as I was in touch with Max from Worship before he died and this was a chance to kind of honor him. The song we wrote for that split is one of my favorite Loss songs and it will be reworked for the debut I believe as so many people seek this and its long sold out. The song also encapsulates the same feelings that Worship gives me and it was basically written for Max. Is it important for you to feel and experience the emotions you write about, as you write them? Or do you write retrospectively, when the proverbial (and physical) wounds have healed? Mike: I do both really (I’m speaking for myself here as I write the lyrics). The emotions and lyrics in Loss are very real and are things we have all experienced. We write during and after the pain. The demo for example was written in a very hard time in my life as well as Tims (guitar). We were both going through massive depressions and various other downtrodden emotions and it was a difficult time for everyone but the music is a reflection of that and those songs serve as scars for the wounds that have healed. Newer songs written were done in a similar mental state or a reflection there of. How important to you is the format of your releases? Each of your recordings have now had vinyl releases, some of which were exclusive to the wax medium. Is it important for the method of delivery to remain true to the spirit of the music? Are underground values better retained in a format that’s less ‘accessible’ to the majority of people? Mike: The underground is dead. Its been bought and sold on ebay its lost its spirit for the most part. As for medium I like CD’s and LP’s equally. As long as our message is heard I don’t really care. Whats the point of working so hard on songs literally putting blood sweat and tears into it just to keep it a secret. Those old days of the underground are gone for me, I don’t feel the magic so to speak but I hold them in my fondest memories. The REAL underground does exist I suppose just in a newer form. Remember what I said about cycles. You must surely have some influence from outside of the metal spectrum. Who would they be? Mike: Oh absolutely. All of us in Loss do. From power electronics, dark ambient and old gothic/darkwave and industrial to deathrock, the blues and even film scores. As for names... hmm... some non-metal bands that have had an impact on me: Joy Division, Interpol, The Cure, Oren Ambarchi, Earth, Nick Cave, Stalaggh, The Grey Wolves, Genocide Organ, Boyd Rice/NON, Der Blutharsch, Death In June, The Moon Lay Hidden Beneath A Cloud, Johnny Cash, Dernier Volante, Rome, Diary Of Dreams, Mz. 412, Goblin, SWANS, Skinny Puppy and Sunn O))) are some but the list goes on.
Imperial from Krieg did vocals on your live rendition of Katatonia’s “Brave” which was released as a bonus track on various re-releases of Life Without Hope. First, why Imperial (for a doom cover), and second, why was Brave your choice? Have you played any other covers? Mike: Imperial is an old friend of mine from the early 90’s. He was coming for a visit for that show (it was our first) and we decided to ask him to do live vocals. It was fucking great sharing the stage with an old friend and doing a killer song like Brave. We chose Brave because we were asked to participate on the Katatonia tribute album December Songs and originally were covering Nowhere but another band had taken it so we chose Brave. Katatonia is a huge influence for us so any of their songs would do.as for other covers,well we did a Goatlord cover for the split with Necros Christos but the future holds a couple more. We will be on the Thergothon tribute album covering Everlasting and also we have Saint Vitus and Nick Cave covers coming soon on a MCD. How does metal stand to develop in the coming years, both in the general “scene” (fans and attitudes, both in the underground and mainstream) and in terms of music and stylistic approach? Is there much ground left to be broken, and could you think of any examples of current bands doing just that? Mike: Everything has been done. It’s all left to improve upon. Bands doing something new... hmm... I could list 100 bands here that in my eyes are fucking amazing and have made an impact on me but you asked for newer bands breaking ground, currently I guess the only bands that come to mind are Rope, Rome, Oxbow, Nachtmystium, Manes, Kinder Totenlieder , Boris, Rwake, Om, Asunder, SunnO))), Crippled Black Phoenix, Orthodox, Mournful Congregation, Oren Ambarchi, Moss, Monarch, Otesanek, March Into The Sea, Oak, The Body and I’m sure theres nore. Ultimately, do you believe doom is a reflection of inner torment or the frustration-gonedespondency caused by external forces? Do these approaches offer obvious differences in music? Does it really matter anyway? Mike: Yes. Nothing really matters. Nothing. Lastly, what fate do you think mankind deserve? Mike: To be silenced. Suffer as much as I have and try to breathe tomorrow or even get out of bed. Until then don’t talk about pain. This shit isn’t a joke.We don’t talk about depression to be cool. It isn’t cool.It fucking sucks but we have to either hang from a rope or keep going.Loss is us keeping going I guess. Off yourself and Doom your life.
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T he W o o d l a n d R u n e d a n ce This old interview does little to convey the current direction and ambition of Noltem. Here it is anyway, with some light edits to reflect current developments. Interview by N. Liengme, photos by MFJ
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reetings MFJ, I thank you for joining us. How are things for you?
MFJ: Good, thanks. I just moved to Vermont in August, and I’ve gathered some very interesting inspiration from this area. How did Noltem get started? Did you ever have any different intentions initially than what resulted? MFJ: I had been playing in a two different black metal bands at the time, and I didn’t feel that I was using my full potential with either group. While there were some good songs, we weren’t doing anything new. I quit both bands and started Noltem as a project that focused on melodic and natural themes. Initially, the songs had more of a pagan/doom feeling, but they gradually progressed into what you hear now. Tell us about the meaning of the word “Noltem”, and why you chose it as a band name. MFJ: Noltem, to me, is the culmination of inspiration that I have gathered from nature. The word has no actual meaning; I created it. How it came to mind I am not exactly sure, but I knew immediately that it fit. The forthcoming EP “Mannaz” has been in the works for quite a while now, having been delayed for years at a time. What sort of issues have you had to overcome thus far in its writing? MFJ: There have actually been several drafts of Mannaz. When I record a song, I need to make sure that it is absolutely perfect. While I am not as concerned with the quality of my performance, I need to make sure that I am 100% confident with my compositions. I am trying to do something new and innovative with Noltem. I don’t know if I have done that, or if I will ever do that, but the last thing the world needs is another “black/folk metal” clone band. The first songs I had written for the EP weren’t necessarily bad, but they didn’t really have anything new to offer. Each time I would finish a song, I would begin to rewrite its structure after careful thought. Because of this, I never officially made it to the studio before Ashes Records was shut down. You were signed to Ashes Records for the release of Runedance, but with the release delayed and the label owner’s tragic accident, they’ve since closed. Where does that leave you now?
MFJ: As of now, I have postponed the release of Runedance for an indefinite amount of time. Instead of searching for someone to host the album, I have decided to record another demo that will be a proper bridge between “Hymn of the Wood” and an officially-released EP. Have you had much response from Hymn of the Wood from your own country? Do you find Europeans more receptive to your musical style? MFJ: I think I’ve had pretty equal response from Europeans and Americans. My inspiration is split between domestic and European influence, so I suppose that makes sense. Out of the 50 “Hymn of the Wood” tapes, I believe I sent most of them to Europe. Though Noltem is a solitary musical vessel of yours, Erik Grahn from Nasheim will be providing vocals for Mannaz. What was the reason you decided to use another vocalist? Has it been difficult to collaborate with him being in Sweden? MFJ: One day I suddenly realized that I had this excellent opportunity to have Erik do vocals for Noltem. If you have heard my demo, you might agree that the vocals are the weakest aspect. My “style” has progressed since then, but I feel that Erik could simply do the job far better than I could. He is still on board after all of these delays and problems, and for that I am thankful. He’s a very talented musician. Once we actually get down to recording with each other, I don’t believe it will be that difficult because we are both pretty experienced with digital recording. I’ll take care of the guitars, Ellis Whitson from Eternal Winter (a newer addition to the band) will take care of the drums, and Erik will polish things up in the end. Will you still be writing the lyrics? MFJ: Definitely. Even though I will have other people performing with me, the music and lyrics will still be of my own creation. Both your music and lyrics are of a style not generally associated with bands from the US. Do you think the lack of naturalistic/spiritual/ pagan themed metal bands from your country is a result of American culture and overly materialistic social conditioning?
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MFJ: That’s a very dense question. Most people only look so far for music, and it is not a very important aspect of their lives. The limit is pretty much what can be seen on television or listened to on the radio. Once the inspiration to search for new music develops, it’s very possible that people will find more personal musical interests. All they need is that initial inspiration to find something new and unique, something that can apply to them.
hear that song with real drums and clean vocals, For a brief period you were involved in running a small label/distro. What happened to it? MFJ: My business-partner and I simply began to run out of money. Our operation was so small that we never really became sustainable, but we did have two full releases. The tapes were successful, so I’m honestly satisfied with what we did.
Do you believe this is changing?
Many would comment on your age, being that you wrote Hymn of the Wood at age 15/16, while most “musicians” of that age would be doing a high school thrash band or shitty bedroom black metal project. Are many people surprised by this?
MFJ: I have exposed some very open-minded people to folk metal and folk music in general. Pretty much everyone that’s heard this stuff has enjoyed it. They just need the exposure. You’ve labeled your main influences as being early Ulver (mainly Bergtatt) and Vintersorg. How have each of these bands influenced and affected you, both in your own music and in your life? And what are your thoughts on the significant stylistic progression that each band has undergone?
MFJ: I’ve surprised a few people since the release! I started playing guitar about 10 years ago, so perhaps that is why I was writing songs like this by such a young age. I’m glad that there has been such a positive response to the demo; it has helped to build my confidence as a composer and performer. Do you ever find that people don’t take this type of folkish/pagan metal seriously, on account of the themes being too “hippie-ish”?
MFJ: I first got Vintersorg’s album “Till Fjalls” when I was a freshman in high school. It was pretty much my initial exposure to European folk themes, and I fell in love with them. All of the melodies and natural themes really inspired me to create my own project. “Bergtatt” was an album that showed me these ideas with a more somber approach. I’d say that my music is inspired by both of the artist’s styles; some of it is majestic, and some of it is more romantic and dark. As for the stylistic progression of these bands, I support their progression entirely. While I don’t necessarily enjoy Vintersorg’s new albums as much as the older ones, I still recognize his unique compositions. They are well done, but it’s not exactly what I’m interested in.
MFJ: I’ve personally found that people don’t take the genre seriously because the folk melodies sound goofy to them, or it sounds “too soft”. I view my songs as serious music, and I try to present my ideas in such a way. Do you have any plans post-Mannaz? MFJ: I’m sure there might be another release, but it won’t be for a few years. Being at college really limits the time I have for writing and recording. If I do put something else out, it will probably focus more on acoustics - who knows?
You had planned to record a short promo for limited CDR release before the Mannaz release. Is this still planned? Would the material be otherwise-unreleased, or Mannaz material?
Much thanks for your time MFJ. May your travels go well. Feel free to leave any last comments. MFJ: Thank you for the interview. Keep an eye open for a new CD-R demo in 2008! I may be working slowly, but Noltem is still alive!
MFJ: I’m planning to record this during January and February (although it may happen later). There will most likely be 2-3 brand new songs that are exclusive to this demo. Also, there will be a re-recorded version of the song “Hymn of the Wood”. I’ve always wanted to
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Spiculum Iratus Wrath
of
Flagellants
Who knew that there were bands playing with conviction the us US? Other than just about anyone who bothered to dig deeper than a bunch of scene bullshit, that is. Some terrible questions get some thoughtful answers. Interview by N. Liengme, photos provided by Spiculum Iratus
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ve Entity Savnok, Os Miserum, Impious. Start by telling me why Spiculum Iratus exists, and what you hope to achieve through your music?
What kind of musical background do you and your band mates come from? What was your first record (metal or otherwise), first metal record and first black metal record?
Entity Savnok: Personally for me it is an outlet to unleash my views/ideals along with creating audial substance. I think we aim more to appease ourselves with the music we make rather than trying to please certain crowds.
Entity Savnok: I don’t exactly remember what the first album I had was. I do remember probably the first metal record I had was Slayer’s Reign In Blood. The first black metal record was Emperor’s Anthems To The Welkin At Dusk. I picked up a guitar when I was pretty young, at around 12 years of age. I just recently took up bass about 2-3 years ago.
Black Metal in the States get a fair amount of shit from the international crowd, though this is less the case these days compared with 3-4 years ago, I think. Do you think this is because USBM is improving in quality, or just that people have stopped paying attention? Entity Savnok: I think it is ridiculous to put so much emphasis on where a band is from. The reason why the rest of the world has stop giving Americans shit is because the newer wave of bands have stopped trying to imitate the early Norwegian bands. In my opinion that is a good thing. We get a different more original sound out of these bands.
Som En Gang Var”.
Impious: I have always been a dedicated musician. My first Guitar was given to me at the age of 16 and since then I have always been trying to improve my skill. As for records, I was first introduced to Darkthrone’s “Transilvanian Hunger” and Burzum’s “Det
Os Miserum: I have studied piano since a child, so I’ve more or less had a musical background for a majority of my life. First metal record I listened to was “Master of Puppets” in my pre-teen years, and first black metal record was Arcturus “Aspera Hiems Symfonia” and
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Sacramentum “The Coming of Chaos.”
band, and we strive to somehow be a spear in the side of Christianity and Religion In general.
Are you in any way interested in any “scene” over in the US? I know you’re each involved in a few bands, but anything more than just solitary pursuits?
Do you think black metal requires certain attributes to “be” black metal? Praise of Satan? Misanthropy? Anti-religion? Anti-humanity?
Entity Savnok: There isn’t much of a scene here. There are some notable mentions such as Ashdautas, Bestial Inca r nation, Nos Vrolok, and Vatican.
Entity Savnok: Well some things are pretty much traditionally a given in black metal. What you mentioned is, but I do not see a problem with different trains of thought, As long as those ideals do not interfere with the basic attributes of black metal. For instance I do not see life loving or God loving to ever be a part of black metal. That is a problem I have with NS metal that it advocates extermination of certain races yet also promulgates the well being of a “race”. Im not against it I just believe it shouldn’t be considered “Black Metal”.
The Myspace revolution seems to have impacted the US hardest of all, with untold thousands of worthless black metal bands popping up on a neardaily basis. It is concerning for you to be entering such an obscenely saturated scene? Do you think it’ll get worse before it gets better? Entity Savnok: It is a pretty big plague, and probably another reason foreigners will have to hate the US bands. Certainly there are great bands that have myspace accounts but most of them established themselves as a band well before they made an account or had one made for them. Is it a good method of spreading music? Sure, but its also a very lazy method of spreading it. This is the reason why you don’t see a Spiculum Iratus Myspace page, and I hope nobody ever makes one in our name. I don’t see things changing anytime soon, unless myspace becomes a pay site or something of that sort.
an issue?
Spiculum Iratus have done a split release with Bestial Incarnation, of which you are also a member. Though the styles are a bit different, is band member inbreeding ever
Entity Savnok: I am currently not a band member, I did session bass for them for their demo tape, and Impious is now an ex-member of Bestial Incarnation so there is no real issue there. Os Miserum: As far as music styles weaving into each other due to band member inbreeding, it doesn’t seem much like an issue. I think what is most concerned with the band is level of commitment and if they are able to put 100%. I’m currently in 4 bands (including Spiculum Iratus) and am able to put 100% into each band. Give it all or nothing. I don’t think any band would want to carry dead weight around.
What exactly does Spiculum Iratus mean? Does it relate to any sort of band-concept? Entity Savnok: The band is formed from Latin words, spiculum means spear, Iratus is a form of Ira which means Wrath/Anger. So in essence it is a form of “Spear of Wrath/Anger”. You can relate it to the spear of Longinvs. We are for the most part an Anti-Christian
Quick question about Dona Eis Requiem; the
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funeral doom projected you’re involved in. Similar projects seem to be popping up all over the place, so I’m curious to see if you think it’s a good time for doom, or the beginning of the end?
What are your thoughts on the romantic revivalism in black metal - trying to “bring back the true spirit” and so forth, a decade and a half too late? Is it hopeless idealism, or a simple attempt at credibility?
Entity Savnok: It’s a great time for Doom. Not only is the genre going beyond the traditional “woe is me attitude”, but music wise its been evolving. I think different lyrical themes certainly contribute towards that. There are many bands out there pushing the envelope like Asunder, Mournful Congregation, Dolorian, and Loss. As for Dona Eis Requiem we will be recording our Full Length soon which will be out through Baneful Genesis Records.
Entity Savnok: The fact of the matter is that very few individuals actually translate their ideals into concrete actions. I think it will remain this way. Many of the classics of old have been dug up and proclaimed for their underrated status, but I’m curious about what you think might be some of the underrated classics of today, or at least the past 4-5 years?
You’ve had your “Procession of Flagellants” demo recorded for a while now, yet still no official release. Surely a fully recorded demo needn’t be subject to delays? When will it be made available?
Entity Savnok: Not much comes to mind...Ved Buens Ende-Written In Waters, also The Abyss(SWE)-The Other Side is a pretty good black metal album. Although not black metal October Tides’ Albums. Archgoat,They Always seemed to be in Beherit’s Shadow and never really taken in until recently.
Entity Savnok: Its been delayed by numerous reasons, it was re recorded several times, we realize a demo shouldn’t be so well produced but we decided the first batches did not properly depict the sound we wanted. At this point it’s really to late to put out a “demo” per say. We are focused on recording something more concrete. Some of the tracks that were to be used for that demo will be used for a 2nd full length.
What’s next on the cards for Spiculum Iratus? Have you been working on new material? Will you have anything available at any time soon? Will the “Procession” demo see release finally? Entity Savnok: Our split CD with Bestial Incarnation has been out for quite some time. Initial songs have begun to take shape for the Full Length album.. We will probably be dormant for at least a year due to some circumstances. If we can get the album recorded before this hiatus then it will be released otherwise it will have to wait. The procession demo has been scratched entirely as mentioned before and will become a separate possible 2nd full length, as for a release date for this there simply isn’t one.
The intro on your demo differs in production quite dramatically from the later songs, with a much more noisy, abrasive and prominent guitar tone. What was the reason for this? Entity Savnok: The intro/demo has been scratched entirely, it was a different recording from the actual guitar tracks you hear on the rest of the demo hence the sound.
Thanks for your responses, we can hope to hear from you soon. Closing statements are yours...
What sort of influence and inspiration drives you to write your music and lyrics? Is it primarily other black metal, or do you take influence from other areas, outside of metal or even music?
Savnok: Visit www.banefulgenesis.com for any news concerning us. And we hope to one day invoke a live Manifestation for all you dedicated Australian and AntiChrist individuals.
Entity Savnok: My lyrical themes basically stem from Anti-Biblical thoughts, but I also do draw allot of inspiration from Philosophy, and History. Obviously we are really inspired by other black metal bands, and it is very natural to imitate that which you put in highest regard, we try not to do that so much. I try to really inspire some deeper thought within my lyrics. I am not for this “dumb down the lyrics” recent trend that some bands have taken in order to take black metal to a more broad audience. In my opinion if you are not capable of abstract thoughts you have simply not developed well as a human being, therefore should have no business listening to certain types of black metal. Does it ostracize or shun away certain people from listening to our music? Sure it does but then again I wouldn’t want just anyone listening to our works.
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T h e
D e a d
Stalking
t he
Doomsayer
Slowly rising from the earth, The Dead make their vibrations heard. With more shows planned across Australia and a full-length album now out, it probably won’t be long before you hear the heavy groove of the deceased... Interview & photos by N. Liengme
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reetings Chris, how’s yourself and The Dead currently? First thing would be to take us through the short but eventful history of The Dead and who you all are. Chris: Good thanks. The Dead started in March (I think) of 2005. Myself (drums) and Adam (bass) decided to put a new band together as our previous one had fallen apart. That was more of a rock kind of thing, so we were both keen to do something a lot heavier. Around the same time Misery was winding up as Damon (Misery vox/bass player) was heading off to the USA to live. So I asked Scotty (guitar) if he wanted to have a jam with Adam and myself. We worked on some ideas for about a month or so and talked about getting a singer but never did anything about it, as the thought of auditioning singers wasn’t something we looked forward to. Then I think at the ANZAC Day gig Scotty ran into Mike (vox)... he told him what he was doing with us and asked if he wanted to come and check it out. At that first jam we wrote Doomsayer and that was it. You’ve got a new demo just around the corner. Tell us what to expect from this new offering, and how/where it’ll be available. Chris: We are recording in mid Feb, 4 songs. Demo style like the first one all of us playing live in the same room. I like that way of recording a lot... it’s more honest. At the time of writing, your releases were limited to the self produced “Demo I” and the “Armoured Assassin” 7” released on Obsidian Records. From what has been heard, you’re more than comfortable playing death metal in some brutal and interesting ways, with more than a touch of groove from time to time. Did you just fall into this style, or was it a conscious intention from the beginning? Chris: We got told at a gig we sound like Deicide meets Primus... that guy was pretty drunk though. There has never been a concious decision to play that way, I think it’s just what happened with our influences.
Scott, your guitarist, has played for many years in Misery, who’re quite a staple of Aussie death metal, so he quite clearly has a strong background. But what about the rest of you? I’ve heard mentioned that one of you once played for Obfuscate Mass, a band I’m entirely unfamiliar with. Anything else? Chris: Mike used to be the singer in Obfuscate Mass... they were a Death Metal band from Brisbane in the early to mid ninetees. Craig, the original drummer from Hollow was in it as well. They were great... I used to go see them at Metropolis ‘back in the day’. Do you have plans in the pipelines to do a full length album at any point in the nearish future? Would any of the songs from your demo(s) be making their way on to such a release? Chris: We definately want to do an album around midyear. The idea was to have a set of songs that we wanted to release as an album, not just pile all our songs together as soon as you have enough and call it an album. A few of the demo songs will be on there for sure. Was the idea of a 7” your idea, or that of Obsidian Recs? Do you hold any favourable feelings towards the vinyl format? Chris: The 7” was James from Obsidians’ idea... both he and Geeks from Obsidian have been great. The two tracks on it are from our first demo. I like vinyl because thats what I used to buy when I first started buying music. Your live presence has certainly been felt within Brisbane, but what about elsewhere? Do you have plans to travel south any time soon? Have you had much interest from the rest of the country based on your existing releases? Chris: We have had interest about playing down in Melbourne, but there isn’t much point until we have an album... especially since local gigs have been getting 300+ people attending. The Brisbane metal scene seems
to be getting much bigger than it ever was. How do you find the Aussie scene to be faring at the moment? What other notable acts do you think are worth mentioning? Chris: There are a lot of good bands around doing something unique in their style... off the top of my head I would say Portal and Beijing Tank are two Brisbane bands that I really like.
Much thanks for your time and answers Chris, I wish you and The Dead great luck in the future and look forward to hearing future releases and seeing more live shows. The final comments are yours...
The logo used on your first demo was never seen again. The logo seen on your first gig flyer was also never again used. There were a few gigs with bizarre and slightly alternating logos, one of which ended up on your 7”, and now you’ve got one you’re using on your upcoming demo. Will this be the end of the logo saga?
Chris: Thanks Nico.
Chris: Haha... is that the one with the cross? That was a last minute “need a logo” thing. Both Scotty and Mike are artists so we end up with an abundance of artwork. I kinda like the idea of having a different style logo for each release but it does get confusing having a different one for every gig. If there were one band, past or present, with which you could release a split, what would it be? Chris: Metallica... imagine the royalties!? The second track from your first demo, “The Doomsayer”, is an utterly devastating affair of classic mid-paced death metal. I often tire of bands who’s sole aim is to play as fast as possible, since a slower tempo has the ability to really drive home the crushing heaviness of a brutal riff. What do you think? Will any of your upcoming material be in any way like The Doomsayer? Chris: To us the idea is to come up with songs not just a style. It gets boring to play only fast or only slow... When and what was your first experience with death metal, and how did you respond to it at the time? Did it grip you from the beginning? Chris: ...I think the first true death metal I heard was the band Death probably 1990 or so. I remember buying Sepultura ‘Beneath the Remains’ vinyl secondhand around the same time because the cover looked evil... up until then I was listening to Metallica, Maiden, Sabbat.. that kind of stuff. Between the band name, various logos and artwork, one could assume The Dead to have something of a comical quality. Is it intentional? Do you think a grain of salt is a necessary part of being a fan of extreme metal? Chris: Ha ha... no it’s not intentional... I never really thought about it like that. It just seems to go hand in hand with the genre... I mean if the first time you heard Obituary or Cannibal Corpse and it didn’t make you laugh and you took it seriously...something is wrong with you.
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Rev. Kriss Hades Unorthodox Meditations Black, twisted visions of the void and beyond — both in music and in art — are the specialties of Kriss Hades. Though Sadistik Exekution may never play again, the continuing work of said maniacal axeman may surpass his past. Interview by A. Maybury, photos by N. Liengme, artwork by RKH
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here has been a trilogy of albums in the works for some time now, beginning with Damascus Orthodox, then The Astral Orthodox of Ouija and fininishing with Orthodox of Infinitus. What is the concept behind the trilogy, and what is the state of progress on it overall?” RKH: The concepts for the trilogy were black magic, communication with the dead, and mathematics. The original idea for a black mass was to cause damage to an enemy through mystic or occult powers. The three ideas were what I was surrounding myself with at that time, quite a while ago it seems now. They are separate pieces as they sound vastly different, however progress logically from a musical viewpoint. They are finished as far as the writing is concerned.
contact with was prepared to finance my projects so I have decided to keep them frozen rather than producing an inferior quality recording. A demo by the name of “Meditation of the Midnight Candle” was released in 1991. How was this demo recieved, and how does it compare to your modern work? Why was nothing further recorded under your name until the Wind of Orion release?
The opening track on ‘The Wind of Orion’ is noted as being from the ‘Damascus Orthodox’ album, which I understand was due to be released on Decuis back in 2003. What has happened to this album? Will it ever see the light of day? RKH: Damascus Orthodox is the first in the trilogy series. The cost of the recording was too high for Decius at the time to go ahead with a real production. By normal recording standards not very much, about $20,000 AUD. Around that time Alchemist and Bestial Warlust were rumoured to have spent $30,000 AUD supplied by their record companies. No one I was in
“The visions inside my imagination are the driving force behind the compositions, all combined with the strange and twisted emotions they create.”
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RKH: I was received very well internationally and still sustains interest in underground circles. There are multitudes of recordings in pre-production form. Endless. What has been holding you back in terms of releases? Have you had trouble financing them, or getting label support? RKH: This seems to be the situation. When I finance things myself, events Art exhibitions, live shows (Necrokult I + II) and releases such as “PAGANINI, BLOODLUST, STATIC AGE” they go very well, people go to the shows and the CD’s and shirts sell. I live off my art so it is difficult to generate the type of money needed to build my own recording studio or to make a feature film. I signed a deal with Modern Invasion Music about a year ago for a small amount of money and a computer system which would enable me to produce and engineer my own productions. They have yet to come through with the computer system,
which would be cheaper than paying a studio for a recording. I feel very angry frustrated and ripped off. I have a new cd recording waiting to be recorded and a full music video with live and animation just siting around next to all the other projects. Ultimately I will burn everything and take it all to the grave. I will balance out the equation with these others first of course.
as HR Geiger, Rodger Dean, Chris Foss, Tim White and Rodney Mathews as well as writers like Michael Morecock, Asimov. There is a certain unique aspect to this era that appeals to me. Comparisons usually say more about the critic than the artist. What is your opinion on the current metal scene in Australia? Do you have any favorites among the bands that are thriving at the moment?
What are you trying to convey to the listener and viewer, both in your recorded material and live shows? How effective do you think your methods are, compared with other bands?
RKH: Australian metal is usually disregarded in the international media creating a false sense of value. I believe that Australia produces the best metal acts in the world.
RKH: I am communicating on a psychic level through the various mediums and styles I gravitate toward. The forms are often misinterpreted and a paradigm shift is usually necessary for most individuals to get anything out of them.
What are your sources of inspiration while making your visual art? RKH: I will concentrate with the current artistic issue. HP Lovecraft = writing. I only recently noticed that you’d done the cover for Hobbs Satan’s Crusade. What other bands/albums have you done art for?
At one point you were working in Nazxul, SadEx and your own solo project. How were you able to separate and identify the material you were writing for each individual band? Did you rely on seperate mindframes to write for each of them?
RKH: Death Sentence – Needle Park (Melbourne hardcore), Cruciform – Atavism, Massive Appendage – The Severed Erection, Abortus (unused), Grenade (single), Baltak, Toe to Toe, Massapeal – The Mechanic
RKH: The separation is necessary. There were gaps in the time frames, they rarely coincided. Where are your main sources of inspiration whilst making your music? Are you inspired by any artists in particular? RKH: The visions inside my imagination are the driving force behind the compositions, all combined with the strange and twisted emotions they create. I am primarily interested in writers such as HP Lovecraft for this next phase of artwork.
of ‘WINDS OF ORION”
In am currently working on the cover for “Possession”, which is supposed to be Modern Invasion Music’s second release. The imagery for this is written in the text of the Modern Invasion Music re-release
Considering your obvious talent for visual art, what was the reasoning behind using the silhouette photos of yourself on the covers rather than some of your infamous artwork? Do you think these photos suit the mood of the albums better than your artworks?
I’ve been honestly surprised to see you compared with Pink Floyd and King Crimson, which I’d guess was mainly due to your experimentation. How do you feel about such comparisons?
RKH: Rok used artwork exclusively for Sadistik Exekution. I wanted the audience to move to my way of thinking and used images that would associate the cds with an instrumentalist of the dark surrealist extreme metal. The separation is established immediately
RKH: Excellent. Syd Barret, Adrian Barlow, Robert Fripp, you could include Richard Wagner from Alice Cooper, Ritchie Blackmore, Toni Iommi. Science fiction was making a fresh impact on the world with artist such
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You have a reputation for very bizarre and extreme live shows, both with Sadistik Exekution and your solo performances. What are some of the strangest things that have happened at a show?
Are you playing many live shows at the moment, or have any planned for the near future? RKH: At the current stage I must reinvent my show as well as rebuilding my Kramer after my last performance in Brisbane at Her Majesty’s Basement. I plan to present that to the public as soon as possible. Lately some artists have been claiming that they are the fastest guitarist in Australia. I will be proving at these next series of shows that they are wrong. I am the fastest. I earned that title in 1995 at the Hell Club (Now Hi-Fi Bar Melbourne) at a capacity crowd with Sadistik Exekution before touring Europe.
RKH: There were many bizarre strange activities at Sadistik Exekution shows. The audience would get so hyped up and a lunatic atmosphere could be felt. A weird event for the RKH performances was on 06 06 06 which was held at Club 77. There were lesbian orgies in the audience and flares being let off. I was electrocuted and blacked everything out for a while. People were going very mental indeed. The manager came down and closed the venue down due to excessive excitement, violence and alcoholic debauchery.
What was the extent of your involvement with Nazxul? Did you contribute to the creation of the yet to be released Iconoclast?
Could you describe a typical Rev. Kriss Hades show?
RKH: I was one of the main songwriters and idealists for the band. I worked on and inspired many of the new songs yet to be released.
RKH: An insane dark surrealist nightmare vision. Mesmerizing for the psychic magi to dream horrific thoughts while the invisible vampire christ plays faster than god over nephelim’s woe.
What was the story behind your departure from Nazxul? Are you still on good terms with the band?
You play live to prerecorded drumtrack with other effects and guitars on it. Have you ever considered attaining other members to aid you instrumentally in a live performance, or do you think you work better alone?
RKH: After 13 shows my chapter in Nazxul had ended. I keep in contact with the members when possible. I will have more artwork on display at Adrian Henderson’s store in Newtown on Enmore Road.
RKH: I built new stage for myself, no Sad X, no other band. I imagined a throne that I would build. It was purely and necessarily a selfish ideal. I gradually added other members when it was appropriate (Morte, Laz). I may eventually have a full line up of brilliant musicians, drums, guitarists, keyboards, singers, lights ,camera, action. Alone I can survive to create a dark world of sights and sounds for the audience, however with an army I will obliterate.
Do you intend to continue Sadistik Exekution in the future? Recent interviews with Dave Slave have indicated that the band has broken up, but he has said that in the past. RKH: I wrote the music for “Total Fukking Kunt” which is what I call Sadistik Exekution’s next recording. Dave Slave as usual refuses to be part of this. I think we could kill him and just put his rotting corpse on stage, or maybe a naked female bass player with a Dave Slave mask. All very horrifying indeed.
Earlier this year, there were some issues with you being listed for gigs you were unconfirmed or unable to play at, including the ‘No Sign of Light’ festival. Can you explain how the confusion over your ability to play these shows came about?
Lastly, how important would you say “artistic expression” is for you? RKH: ‘Art’ may come across as idle amusement for the dominating elite ,or it is the ultimate vehicle where one can arise and usurp the enemy.
RKH: There were promoters very keen to have RKH play, as they believed that more people would go to the show if I were advertised. They don’t think about the trouble it causes me and the confusion for the audience.
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G l o r i o r B e l l i Reverie
in
T o r me n t
France and black metal. It’s a bit like fire and ice, in some respects. With the already legendary French selfrighteousness, you can begin to see that things were going to get out of hand somewhere along the line... Interview by N. Liengme, photos provided by Southern Lord
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s I understand it, the rough translation of the band’s name would be “to bask in pride during war”. Can you explain how this relates to your music and concepts? Our name has several meanings but Glorior Belli has to be understood as audio “violence” as well as spiritual retribution. It’s not about physical contacts but more like a psycho-revolution. We are the challengers of the grand Demiurge, sparks of rebellion and knowledge! Your recent album Manifesting the Raging Beast seems to have a more unique, definitive sound than its predecessor O Laudate Dominus, which was seen by many to be following in the footsteps of Watain and Ondskapt. Was it a natural and logical progression for you to develop and mature your sound? Or was it a conscious choice to move away from a comparative sound? Honestly the first album had quite a shitty sound. It was totally self-produced so we didn’t really have the choice... it wasn’t intentional. “Manifesting the Raging Beast” has been recorded in a real studio and we had total control of the sound. It’s simply a natural and logical “progression”. When I record in a studio I’m not trying to sound like “x” or “y”, but to seek the best tones for our music. Though there are three credited members of Glorior Belli on both O Laudate Dominus and Manifesting the Raging Beast, your website for some time listed 5 members. I found it surprising you had expanded your legion so dramatically, considering the music heard on the albums seemed more than competent as a 3 piece. Were these
other members a part of the creative process, or were they just live/session members? I tried for a while to have a full line-up but it didn’t work. I am and will remain the main compositor/mastermind. On the first album I was playing with Antarès (drums) & Nefastvs (2nd guitar). On “Manifesting,” I played with M:A FOG (drums) & Dispater (bass). The rest is pure nonsense, I don’t even consider the others as session members. Many obstacles were crossed and I don’t need any feeble minds by my side. Southern Lord seems an unusual choice of label for a band such as yourself (or maybe, would have seemed unusual 3 years ago). Tell us how this deal came about and what sort of release plans you have under them. We got a great deal with Southern Lord. Greg asked us right after we left E.A.R. if we would be interested to join his label. We signed for 2 fulllengths, “Manifesting,” is the first one. There are some great bands on Southern Lord and we’re proud to dwell there. So far, we have nothing to complain about. You’re undoubtedly well aware that the Orthodox Satanic black metal movement has gained a huge amount of momentum in recent years, and some have begun to regard it as becoming the next trend in black metal. What are your thoughts on this? Orthodox means: conforming to the approved form of any doctrine, philosophy, ideology. What is an Orthodox BM band then? I guess it’s a band conforming to the approved black metal doctrine. So in fact it’s just another damned word for “true” which was used in the past. I
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Do you believe Satanism and anti-Christianity are rudimentary aspects of black metal? Can music that contains neither of these elements still be considered black metal?
don’t see any reason to adopt this prefixe since I consider my path sincere and real. Why the fuck would I need to justify it to the whole world with one stupid adjective? This is a waste of time to try to understand what people call trendy or not - It doesn’t affect me at all.
Basically, black metal was rising like a fist in the face of nice and stupid marketing music, borrowing the image of Satan as all that is forbidden/feared. The message was quite simple at this time, almost deriving from the punk scene. But it was justified and it generated many bands. Only few were able to understand the real message entirely and only few are still carrying it. You can call “black metal” whatever you want but it doesn’t make any difference when the judgment comes, most people just don’t have what it takes!
Do you think it’s necessary to sub-categorize these Orthodox bands? Absolutely. Then we will re-sub -categorized the subcategories,. come on, be serious! Who the fuck cares about that? I don’t. On your website, you describe within your music there to be an “...almost indie-rock feeling to the melodies...”, so I think it would not be presumptuous to say that you’re influenced by a lot of music outside of the black metal spectrum? How important is it to integrate outside influence into black metal?
What kind of importance does your music hold to you as a personally creative output? Without it, do you think you would be doing something else to express similar ideas? Music holds a great place in my life, as you can guess for a so called musician like me. I think I would be an author if I wasn’t able to play music since I was really attracted by letters at school.
It is important for me to go over the limitations, especially when it comes to music. I feel sorry for those who clearly can’t detect any originality in our sound, they are wrong and lost in a cycle of established boundaries. I listen to various kind of music and it would be a shame to restrict my creativity. I stand out of the common mindset enclosure and it’s normal if my music reflects the same attitude.
The traditional black metal image seems to be gladly adopted by yourselves. Do you perceive this as another aspect to the greater feel and atmosphere, unifying the music with appearances?
Is accessibility something you value highly in your music?
Image can be provocative, attractive, vulgar, ugly, funny, and so on. Some people think we could drop the corpse-paint and the usual accessories already but I don’t. At least I’m not ready to... it’s kinda weird but as much as I usually like to break the “cliché” I still need those things badly! A disguise can deceive but it can also reveal your true face since it inhibits all the bounds.
If you mean – do I care about being accessible when I compose – the answer is NO, I don’t. I only follow my feelings. Our message is for the few. I know that many won’t be able to understand entirely since some efforts have to be made and most of the audience is quite apathetic.
Most of your members participate in various other underground bands. What can you tell us about these, as well as any other non-musical projects you may be involved with?
You’ve used a classical piece of Gregorian chanting as the introduction to OLD. Various other and similar bands have used such pieces within their music, such as Ondskapt and Deathspell Omega, among others. Was it really necessary to have it there?
I wanted to skip that one, so I’ll make it short and simple: Bands we’re involved in (m:A Fog and I) are Black Flame/Wolfe/Sangraal/Obscurus Advocam. No “nonmusical” projects at the moment.
No it wasn’t. It pissed me off already 2 or 3 months later. That’s why I avoided this kind of shit in the new album. Question of personal tastes I guess, some people still enjoy it anyway.
Many of the second wave black metal bands have changed sounds quite dramatically and turned away from their ideological roots. Some say that black metal died with Euronymous, but would it be any different if he’d survived? Is it justified putting the appeasement of diehard fans over musical progression?
I haven’t had the fortune of hearing your demo release, but what kind of progress do you think was made between that demo and OLD? How do you feel about the progress from OLD to Manifesting the Raging Beast?
Once again, F-U-C-K this shit! Some say/some don’t/ some think, you cannot change history unless I missed something? Leave Euronymous and the gossips alone. Diehard fans are not better than newbies when it comes to the bullshits contest.
The progression was quite extraordinary. This feeling is almost due to the sound quality rather than the composition itself, but anyway a lot of things changed in 5 years. I’m glad I was able to keep going with Glorior Belli through all these years. I improved a lot my creativity by listening to many different musical styles and wasn’t scared to blend new ingredients in the recipe. Conceptually speaking, Glorior Belli also evolved a lot, following the path of Lucifer alongside few people who share the same ideology too.
Much thanks for your time in answering these questions. O Death! From the eye of Satan upon that star.
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Akitsa La Grande Infamie 2006 Christhunt Productions
Akitsa is a band from Quebec that plays rather ugly Black Metal with influences ranging from Oi! to Pink Floyd. They are one of the most original bands around these days and have never failed to impress me. With the terrific ‘Aube De La Misanthropie’ rerelease the mood was certainly set for a new Akitsa full length. The album starts out with the typical sombre, gloomy intro which is not a bad thing of course, it sets the mood for the rest of the album. ‘Magie Et Verites’ is the first song, and it is a good one. The only way to describe the music is something like Darkthrone meeting Brainbombs whilst being raped by Throbbing Gristle, it is of course great stuff and a perfect way to open the album. Other highlights would be tracks such as the melancholy ‘Cthonos’ and the 20 minute black/doom epic ‘Foret Disparue’. At the end of the day, this is a great album when in the correct mood. It is perhaps Akitsa’s finest work to date, although it may not be accessibly to everyone. Recommended to fans of the ‘strange’ strain of Black Metal that seems to be going around these days. Dane Sharrock
Altar of Perversion From Dead Temples 2003 Drakkar
It must have been Mr. Northwind’s utterly convincing review of Altar of Perversion in The Sinister Flame 1 that got me on the hunt for a release by this band. Obtaining their sole full length album was a bit of an endeavor in itself, but thankfully, rewarding in its own right. This
album continues to blow me away each time I listen to it, yet I always struggle to quantify exactly why this is, on a tangible level. The music is fucking sinister, dark and grotesque black metal, akin in some ways to the bestial bands of old such Beherit, Necrovore and Von, but with far more finesse. The songs and riffs are constructed with a great level of detail and perfection, and never display any of the amatureism that the aforementioned bands were notable for. It seems to me that this sits in a very careful and precarious position, between an intelligent and conscious construct, and a primal and morbid beast. This is true evolution of the best kind. Nico
Ares Kingdom Return to Dust 2006 Nuclear War Now!
Ares Kingdom from Kansas City, Missouri kicks our arse with their debut of intense death/thrash. I know what you are thinking when you hear death thrash, something in the vein of Vader, the lovable Gojira, or any of the new polished stuff, but this is completely different and similar to the late 80s early 90s death/ thrash slowed down(at times) and better production. It has loads of mid-paced thrash riffs that chug along moving to doomier parts or more aggressive parts, and using gaseous vocal onslaught of Alex Blume to keep moving. The vocals, which are my favourite style, deep, gaseous, and lenghty, are used perfectly to accentuate the riffing. This release will keep you head banging all the way through, and a closer inspection shows the great lead work, specially over top of the main riffs; however, I’m not talking
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about leads like Pagan Altar, but more of switching the style the riff is played and the sound, similar to what heavy metal bands do (Fear Itself is a good example of this). After a good chunk of riffs are thrown at you, a solo, which in gives me chills most of the time, rips through the riff. To get another perspective to this, think of a rope as being a riff, and then the solo being the strands of the rope as you gradually unwind it, then weaving it perfectly back together (Dream of Armageddon and Ironclad do this very well). The drumming on this album is obviously fed from the riffs; moreover they do not use the typical thrash beat, but they do accomplish the same goal to let the guitars take over. From start to finish the album throws riffs at you, never becoming tedious or making you think you’ve heard it many times before; moreover, this is one of the better releases in 2006, and it will get many more plays from me. Sternpe Ndobra
Craven Idol Demo I 2007 Self released
Craven Idol are the English answer to the black thrash movement, although they don’t compare well to staples such as D666, GOTH and Toxic Holocaust. This demo is more speed-metal influenced, with a raw black edge akin to Megiddo or Countess. Though this 3 track demo only spans about 10 minutes, the emphasis on speed means quite a lot of ground is covered. The thin, abraisive guitar tone isn’t the most conductive for this style, and unfortunately neither is the somewhat eratic and underdeveloped songwriting. What these guys definitely have on their side though is a huge
amoung of energy, and ace musicianship. Nico
Creeping Funeral Crawl 2007 Asphyxiate Recordings
Creeping plays swamp/black metal, says the press release. Well, sure. And why not? Though it’s not the most obvious progression of the genre, nor is it terribly revolutionary, it’s certainly different to hear black metal infused with sludgy, stonery groovy doom. But the band seem to be treading the water a little with what they’re doing, and not really embracing what could be an excelent variant on two established styles. Many of the riffs on this 8 track debut album from these New Zealand-based swamp dwellers are somewhat exclusive to either black metal or some variant of groovy sludgy doom. Only occasionally are the two styles combined properly. It’s understandable... the styles are fairly polarised to one another and many riffs would cease to be black metal if they were played palm-muted, with catchy grooves and hooks. But in no way to I mean for this criticism to detract from what this is. Regardless of the noticable stylistic variations, the songs themselves are very well crafted, with many of the changes from one style to another taking place smoothly and coherantly, instead of being simply for the sake of it. The leads and solos highlight the combination of genres well, and are often very clever in their execution. Though it can be said this is an intriguing album of high quality, it’s not something I find myself coming back to often, probably because it’s a bit too borderline.
It’s not specifically dark nor light... sort of a middle ground where the obscure and macarbe meets the fun-loving and relaxed. When the occasion strikes me to listen to it, I find myself skipping to certain songs or sections, many of which are excelent and memorable. But as a whole, it doesn’t capture me. Nico
Diable Amoreux Horns Used For Butting 2006 Self released
It’s not every day I open my mail and find I’ve been sent a promo from a “Gnomic Folk” band from Tasmania. I wasn’t aware Tasmania had a gnomic folk tradition – but according to the press release, Diable Amoreux’s ‘Horns Used For Butting’ is their seventh album. The true horror of the six preceding releases being ‘out there’ is something I am still coming to terms with. A solo project for someone who identifies themselves only as “7” – this ‘apocalyptic folk’ has been evolving since 1998. Plenty of brilliant bands cannot boast such a vintage – but now they have nothing to be ashamed of. Diable Amoreux’s ‘Horns Used For Butting’ is the only recording in my collection to outshine Slug’s ‘You May As Well Kill Yourself Now’ for sheer unbridled annoyingness. There are moments where it almost starts to sound good (the album features a long list of session players), but never fails to return to utter shit form. ‘Horns Of The Great Inverted Goat’ - vocally, think PeeWee Herman in the role of Reagan in The Exorcist. ‘The Contemplation Of Gnomes’ is like a bad mushroom busker trip in the market area at Earthcore. ‘Those Newfangled Towers’ is
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bad gnomic epic poetry. ‘,Is A Scary Place’ is crap keyboard sequencing. ‘Deer Hunting’ is more crap sequencing, with annoying vocals. ‘The Island Of The Dead’ just proves that no amount of delay on vocals can make up for having no idea, and atonality is not the same thing as picking notes out randomly. ‘Ruby Jade’ is more wanking on over nonsense motifs. ‘Storchy Weather’ features the following stirring anthem: ‘Necro Clouds, Necro Clouds, I want to be under Necro Clouds’ repeated ad infinitum. ‘In Van Diemen’s Land’ is more pretentious bad keyboard nonsense. ‘It’s German’ is an unaccompanied crazy person’s monologue. ‘Poltergeist Girls’ is gothic in its awfulness. ‘Mr Eternity’ is a kind of shoegazer interlude about Sydney graffiti. ‘Goodbye Emma’ is more gothic pretension with no redeeming features. Finally, the title track ‘Horns Used For Butting’ segues from brain-damaged piano interlude to drum machine blackened folk metal, I feel bad that I cannot give the gnome a nice review. I like gnomes, I really do. In books with pixies, and cute woodland animals, gnomes are always thoroughly decent folk. The hospitality and kindliness of gnomes is well documented in fairy tales. But trust me – gnomes and spoken word, gnomes with sequencers – avoid. Arguably the most originally awful project in Australia. The bio states Diable Amoreux have ‘only performed once’ – I’m astonished “7” got out of the venue alive. Talie Helene
Dimensional Psychosis Magical Matrix of Dimensional Continuum 2005 Asphyxiate Recordings
This debut release has been a while in the making, since the band has reportedly existed in some form or another since 97 (formerly as Goatlord), and this album having been recorded and self released in 2003. So thankfully in late 05, it finally got a deserving label release, and some new artwork. Contained within is a chaotic, brutal, technical, fast and hateful mix of black metal and death metal, with neither genre really taking dominance. Instead, it’s a really slick and unique style, each of the riffs are well developed and the songs maturely written, though the inherent chaos might make you think otherwise on first listen. But it’s that chaos that really gives this release the unique edge, and suits the cosmic themes that the album and song titles portray. Ultimately, it’s a fucking lot to take in, but if you can get past the brain-imploding aspect of it, there’s a heap of fantastic material on this album. Nico
Dissection Reinkaos 2006 Black Horizon
From the early moments of Dissection’s “rebirth”, following Jon Nodtveidt’s release from prison, things were going to be pretty uncertain. The band made their intentions clear to leave Nuclear Blast and release any future material on their own label, “Black Horizon”. When the “Maha Kali” single surfaced a couple of months after his release, with the claim that it had been recorded in prison, most, if not all previous fans, were thoroughly unimpressed. This was not the
dark, sinister and melodic black metal people were expecting. This was some bastard child of In Flames and Dark Tranquility as some claimed, with melodies too happy and harmless, and even the vocals lacking the sinister edge people were familiar with. Even though it was recorded in jail, Dissection fans feared the worst. I’m not sure whether or not it was on account of people having such dire expectations, but when Reinkaos was released, it copped a torrent of shit. Too happy, too catchy, too easy listening, too simple. The only one of the complaints I find justified is that of the staccato nature of the riffs, which stop/start too often and sound like it was written by ADD kids. But that aside, a great many people seem to be over-sighting the true power that this album holds, which is a great shame. The complaints of catchiness or simplicity are superficial. Indeed, it’s pretty easy to think that about the album on first or second listen, because it doesn’t seem as challenging as previous Dissection albums. What I’ve found from repeated listening though, is that the apparent simplicity is a facade, under which there’s a surprising level of complexity and power. The production can be offputting for a black metal record, with its razor sharp guitar tone and clarity, but given the nature of the music, I see no wrongdoing. The melodies are indeed catchy, and the vocals quite clear and understandable, though dry and raspy. Each riff, and furthermore, the structure of the songs, seems to have been very intentionally weaved to appeal on a basic aesthetic level, while providing a more subtle, and vastly more profound musical experience on an underlying level.
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This shouldn’t be overlooked, since Jon considered Dissection a propaganda vehicle for the ChaosGnostic cult, the Misanthropic Luciferian Order. Perhaps I’m alone in this belief, but I think that the two-tiers of music found on this album is indeed reflective of both the profound idealogic devotion of Nödtveidt and of his desire to expand the horizons of more people. His will be done. Nico
Dolorian Voidwards 2006 Wounded Love Records
It has been a long 5 years since Dolorian’s last full length. Their self titled album was a masterpiece that seemed to transcend and recreate many different genres at once, the result being and incredibly bleak dirge. After the long wait, Voidwards is finally here and we shall see if it was worth the wait. The album starts off with the track ‘Dual - Void - Trident’. At first it seems to be a steady progression from the last full length, so we have a rather quiet music with a whispered or spoken vocals, guitar with a large amount of echo and an incredibly dark bass sound. The result is very bleak, the guitar echoing into nothing seems to evoke feelings of emptiness. Then it begins to get much heavier, reminding one of the debut ‘When all the Laughter has Gone’. Essentially ‘Voidwards’ is the perfect mixture of the first 2 albums although much, much darker. The artwork is also spectacular, visually stimulating and perfectly fitting given the content of the album. Ultimately, this is one of the best albums of the year and is the darkest album in many years. Highlights would include ‘ In The
Locus of Bone’, ‘ Ivory Artery’, ‘ Epoch of Cyclosure’, and the mindraping acoustic track ‘The Flow Of Seething Visions’. Highly recommended. Dane Sharrock
DoomSword My Name Will Live On 2007 Dragonheart
The production of this album is clean and exactly what one would want in an epic album, thick guitars, yet keeping the vocals high in the mix. The vocalist shines in this album; he’s lost his Hansi Kürsch sound, and replaced it with more of the strained epic Italian vocals. Every lyric is sung with oozing emotion, over top riffs to compliment the vocals and set an epic battlefield. The album does have a slow tempo at times, it doesn’t have doom riffing nor the usual Viking metal sound. The slow paced epic riffs that evolve into a speed up at the perfect times make this a great album. From the start of the album DoomSword shows the theme of this specific album, which is Viking. Though the songs are mostly epic battles, never does the album become dull and focus on how epic they can make the music nor do they need huge hooks in each song for one to become intrigued. The album starts with a warrior conquering various lands in the name of his gods. The music follows along the lyrics and sets the mood perfectly. When reading along to the music through the ups and downs of our hero, the music becomes more epic in the battle scenes, and gradually builds up through other parts. The progress of all the battles throughout the album creates tension for the epic monster of a The Great Horn, where the tension is released, and the hero
calls upon all of his warriors take back their land.
‘psychotic’ edge to an already diverse album.
Songs should not be listened to singularly, but in the context of the full album. Nothing cheesy nor over the top, thus continues the legacy of DoomSword, and keeping true to metal.
My only quibble with this album is that some of the tracks seem to drag on a little (the opening track, Poisonous Eye in particular). Other than this, Elend have mastered the art of composing for this style of music. Elend must be commended here, for their extensive use of instrumentation gelling together seamlessly. In terms of dark, sombre music, Winds Devouring Men absolutely hits the spot.
swizzlenuts
Elend Winds Devouring Men 2003 Holy Records
I have been meaning to buy an album from this unique French band for quite some time and earlier this year I was happy to finally get a hold of their last two albums. Elend have been noted for their evil and violent take on atmospheric, Neo-classical music; yet this particular album has been noted by fans as a much calmer take on the said style. That being said, there still is a sinister presence throughout the album, and Elend will occasionally break into their signature chaotic parts. Don’t expect any metal, what we have here is dark, brooding, symphonic music. Winds Devouring Men is the first chapter in a five-part series of albums, based on a poem by Iskandar Hasnawi. The first thing that grabbed my attention was the stunning use of percussion, which really adds variety, depth and dynamics to the already grand and atmospheric sound. The vocals on this record are mostly sung in a very sullen tenor voice, though female soprano are present throughout most of the album as well as the occasional evil sounding whisper. Extensive use of violin adds an almost tragic feel to their already immense sound, while subtle use of white noise and slight industrial undertones are placed cunningly through the album giving a more
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Ferdibirdi
Elysian Blaze Cold Walls and Apparitions 2005 Northern Silence Productions
Following two painfully obscure demos, Elysian Blaze took the ambitious step of recording a full length album, which became known as “Cold Walls and Apparitions”. Though apparently just another solo Aussie black metal band among the dozens that seem to pop up every year, Elysian Blaze seem to have made quite an impression with their demos, ending up signed to the German “Northern Silence Productions” for the release of this album. A great thing too, as Northern Silence has given Elysian Blaze the proverbial “foot in the door” that many bands don’t get, particularly at such an early point. Now it’s not uncommon to see Elysian Blaze mentioned alongside such contemporaries as Xasthur, Shining and Nortt. Such comparisons are fair enough, since parallels can be drawn inspirationally, stylistically and atmospherically. The lethargic gloom that Cold Walls emits throughout its entirety is not unlike the plodding doomscapes of Nortt, and the rough, hypnotic riffs have their roots in
such founders as Burzum and Forgotten Tomb. But as always, it’s unfair to say that Elysian Blaze is simply the result of a+b+c. The slow and winding riffs provide the desolate, cold atmosphere that the title of this album owes thanks, and the production gives it the perfect brooding, yet distant characteristics. It certainly sounds as if it’s being played in a cold, damp, dark cellar. Aside from the difficulty of staying focused on this album for its 54 minute duration, there’s nothing to stop you enjoying just how perfectly this album achieves what it sets out to do. Nico
Epoch of Unlight The Continuum Hypothesis 2005 The End Records
Hailing from Memphis Tennessee and boasting a long history in the trenches – since 1990. Epoch Of Unlight offer eleven songs on this third full-length album, with nothing over six and a half minutes. Usually bracketed as melodic death, but there’s a strong thrash influence in the riffing and vocals; you can thank producer Erin Farley for that guitar tone and oldschool sizzle on the vocals, unsurprising since he also engineered Agnostic Front, Sick Of It All, Madball, M.O.C. and Overkill. Title track ‘The Continuum Hypothesis’ lays down some tight drumming from Tino LoSicco – great name! Also a great sound. ‘Under Starside Skies’ reveals more of a European death influence, although that 80s US thrashcore heart never stops beating. ‘Argentum Era Secui Duos’ slows things down, simple riffing, nice bass sound, spoken word vocals breaking things up; really oldschool riffs. ‘Cardinality’ bears the stamp
of Diamondhead courtesy of Dave Mustaine, if you know what I mean. ‘Highgate’ evokes a spooky horror movie western atmosphere, with twanging guitar and percussion – original – before roughing things up. Bit more of a nasty insistent Destruction influence here. ‘The End Of All’ is inexplicably louder than the preceding track. (Naughty mastering engineer.) Black metal influence pervades this one, punctuated by panned thashy riffs. ‘Broken Pendulum’ flows through with a blackened influence; in a rocky way. Interesting phrases with vocals locked in with guitars. ‘Aberrant Shadows’ picks up the pace; straight ahead, kinda sea-shantyesque – death in the ‘melodic’ sense, not the uber-death metal of yore – think At The Gates or Witchery. ‘Quicksilver To Ash’ is really thrashy, and pushes slightly through into a tech metal vibe – but that equates to deliberately unexpected shapes, rather than serving the song first. The whole thing settles into a total meat and potatoes riff after that – kinda bipolar song. ‘Denubrum’ is one of the more interesting and memorable songs, with an instantly recognizable riff. Gets lost along the way in a chromatic progression – meh, didn’t do it for me. ‘The Scarlet Thread’ comes on with full melodic death assault – cool drums in this one, and the harmonic progression builds tension simply but effectively. Hah – galloping old ‘Four Horsemen’ rhythm in the transition from verse to bridge. What a cuddly old metal teddy bear that sound is. All up, not staggering in terms of originality – or anything – but you could do worse. Talie Helene
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Eyes of Ligeia A Fever Which Would Cling to Thee Forever 2006 Paragon Records
The swansong final release for Eyes Of Ligeia – and the only release to feature a full band, as previous to this Eyes Of Ligeia operated as a solo project for Dante (AKA Toby Chappell, also with Without a Shadow and Amphigory). Opening with undulating synths and dank processed vocal ambiences, ‘The Stillness Fades’ bleeds into ‘The Shadow Out Of Time’, of course referencing a short story by master of horror HP Lovecraft. Repetitive blackened doom riffing, following each idea out to a plodding conclusion – expect no rhythmic or structural surprises. Like a lot of bands in the blackened doom vein, Eyes of Ligeia bank on ambience, and the listener’s emotional containment within it. ‘”The darkness draws me into the abyss where eternity awaits beyond, Time only has the order we give it, The mind reaches across all eternity” – the lyrics are painted musically as ‘The Shadow Out Of Time’ stretches on for eight minutes that feel much longer – obsessive worrying of one riff after another, with no clear theme. ‘A Strange & Fitfull Presence’ enters with a brooding slow black metal rock riffs, eventually giving way to an oddly major stoner rock riff, brightening like sunlight through a filthy window. ‘What The Moon Brings, Part 2’ picks up from ‘What The Moon Brings’ [Unsung Heroes Records, 2004] a very rare pro-CDR release in a limited edition of 81 copies. More textural, with a folky flavour – although marred by messy volume on the drums revealing how low budget the production is. ‘Watcher In The Water’ reveals
Dante’s doom/death roots, as this is practically heritage repertoire from the early 90’s. Redolent with brooding bluesy riffing, although again let down with messy drumming – no Protools Beat Detective at work here, very much a live drum sound. Awful under-represented bass guitar sound. Some nice layering, despite the poor production, that flows out to fill a solitary room with despair. The title track ‘A Fever Which Would Cling To Thee Forever’ alludes to the Edgar Allan Poe poem ‘Spirits of the Dead’ – the lyrics are an adaptation. Harmonically, this is the most ambitious song – moving from bittersweet melodic riffing, to sinuous black riffing with an interesting and unpredictable contour – if only this originality purveyed all the riffing, this band might have risen above obscurity. Closing track ‘As The Ravens Descend From The Tower’ takes a drone approach to black metal tonality – freely circling the tritone in lazy ambient circles, a wash of noise suffusing the mix with odd textures and shadows. Comparisons to both Dolorian and Burzum should ensure Eyes Of Ligeia will have a minor place in the cult pantheon. Talie Helene
Fruit ov Guile ...and the Moon Sank to Rest in the Wilderness of Waters 2006 Self released
First thing worth knowing here is that Fruit ov Guile aren’t a metal band. If you’re at all familiar with the ambient work of Ildjarn or Wongraven, or even the quieter side of Summoning, you’ve got some grasp on what Fruit ov Guile are doing. If not, the basic premise is synthdriven soundscapes which would
be appropriate dubbed over footage of mountains, clouds and running streams. The music itself consists of epic, layered keyboards playingfolky, dark and haunting melodies. This is the second release by Fruit ov Guile, and contains the two tracks of the previous promo CDR , bringing the total running time to 22 minutes. This is music best enjoyed in a solitary environment, in cold and preferably rainy weather, eitherwilst reading or deep in thought. The only trouble I can see for those who take an interest in such music would be obtaining this release, as there’s absolutely no information about them anywhere. Fruitovguile@ yahoo.com.au will certainly be the only source. Nico
the vocal chords just to listen to. The lyrics are all written in the band’s native tongue of Dutch, so I can’t go into much detail of the exacting stories told, but I’ve in places that the main lyrical topics include classic mythical stories of heroes and trolls, as well as some simpler drinking stories. Again, this album works best if you’ve had a few beers beforehand, as it allows the music to pierce you in a way that’s nearimpossible to do sober. And if you’re fond of any of the other bands I mentioned in this review, you’re more than likely to get a kick or two out of Grimm. Nico
Ibex Throne Total Inversion 2006 GoatowaRex
Grimm Dark Medieval Folklore 2006 GoatowaRex
Grimm feature a lineup of some of the individuals often featured in GoatowaRex releases, coming from other bands as Gauhaert, Zwartketterij and Urfaust. If you’re familiar with any of these bands, you’ll have at least a rough idea of what to expect from Grimm. Raw, gritty folk heavy metal with a lot of black metal influence thrown in for good measure. The guitars are driven by powerful folk melodies played in the way Otyg or Isengard would play, which leaves you wanting to jump up onto a table in a dank basement bar with a full stein of mead or ale and dance with a stupid grin on your face until you’re too exhausted to move. The influence of alcohol is strongly obvious in the vocals, which are erratically clean sung, but with sporadic segments of howling screeches, which hurt
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There’s certainly no way anyone could call this band “misrepresentative”. The artwork adorned with demons sacrificing virgins, bullet belts and assorted satanic imagery is not going to lead you in the wrong direction here. The band play a very straightforward, very aggressive form of raw militant black metal, complete with apocalyptic themes (though lyrics aren’t included) and “fuck off” attitude. Many riffs and even entire songs are hellthrashing in the utmost, which essentially means that this album works best after a few beers. This is not any sort of progression within the genre of black metal, so people looking for that should look elsewhere. This is devoted raw black metal, as was seen in days of yore. The straightforward approach may make some think that there’s nothing original enough here to make it worthwhile, but a band of this nature doesn’t need originality to
competently write quality black metal. I’d recommend this to anyone who doesn’t seek strong atmosphere in their black metal, and desires just straight up raw hateful fury.
death in it, Prognosticate the Decreptitude is something most definitely worth possessing. Nico
Mandatory
Nico
...Where They Bleed
Internecine Excoriation Prognosticate the Decreptitude 2006 Self Released
It’s not wise for bands to make claims about themselves. It devides those who agree with those who don’t, and plants expectation in potential fans. Seemingly with that in mind, Internecine Excoriation make no claim with which to either invite or deter listeners, simply letting the music speak for itself. Besides the obvious Death Metal-ish bandname and logo, the artwork and title of this demo/EP make it abundantly clear that death metal is at hand. And not merely death metal, either. Metal of the most unholy death; a tremor of the unearthly rumbling from the bowels of hell. IE use a barrage of technical yet upsetingly crushing riffs, so the generally mid-paced tempo nods towards some of the established sounds of Incantation and Immolation, but with a nod towards the vile approach of early Gorguts, Demilich and Asphyx. The production provides a muddy, obscuring sound that kindly suggests that anyone looking for clinical, clean death metal would do well to fuck off. Vocally, the uniquely low utterances suggest daemonic bowel-rot as their inspiration, or perhaps their source. In the live setting IE provide an imposing sound, but this demo is crushing from all angles, making it slightly difficult to walk after listening to it at volume. If you like your death metal with some actual
2007 Asphyxiate Recordings
Mandatory have been around in some form for five or six years, but Where They Bleed is the official non-demo release (ignoring a split from the same year) of this German crew of death metal aficionados. Unfortunately thisMCD only essentially contains three original tracks, though an acoustic intro and a cover of Razor’s “Cross Me Fool” have been tacked on for good measure to flesh out the running time to a modest 17 minutes. But of the three originals, strong promise is shown.Mandatory’s preferred style is sick and crushing European death metal that takes notes from Entombed and Dismember, showcasing brutal riffs and a production to suit, but ensuring that there’s still room for some darkened melodies and leads which give the songs a grimy unwholesomeness. Due to the short length of thisMCD , it’s nothing essential, but the quality of the material is solid, and a forthcoming full-length album would definitely be something to keep an ear out for. Nico
Misanthropia The Suffering Within 2007 Inner Voice
As the name might imply, suicidal black metal is Misanthropia’s (now known as Paroxysmal Descent) preferred style on this two-track-plus-outro demo. The largely Filosofem-derived music is breaking no new ground, but
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that’s not to say the songs aren’t well crafted. The riffs buzz in hypnotic patterns while quiet keyboards wind haunting melodies underneath. I can appreciate that this demo falls short of 20 minutes for the fact alone that it doesn’t wear out its welcome, and indeed if I were to put this on without a definite craving for this style of music, I might even find the relatively short length arduous to sit through. That’s the real catch for this genre in general though; it’s only possible to really enjoy it when you’re in the perfect mood for it, which may be quite infrequently for the many of us who find it hard to maintain a constantly selfdestructive attitude. Nico
Monolithe Monolithe II 2005 Appease Me / Candlelight
A single track – 50 minutes and 25 seconds – literally a ‘monolithe’. The second concept album from Monolithe – single song CD’s, telling a continuing story. The brainchild of Sylvain Begot (guitars and devices), this is drone doom and space rock taken to a filmscoring extreme – the concept is to musically convey the beginnings of the universe (as in SPACE). Monolithe shape the space they’ve given themselves, to sculpt an epic, undulating journey. It’s not terribly schooled or technical composition, but it possesses musicality and a sense of drama – it is progressive. The sense of free floating anxiety powerfully sweeps the listener along, through swells of timbre, and finally coherence enters in a guitar riff like light catching on the contour of an indescribable stellar object. Some interesting tones extracted from analogue
synths. Every now and then a clearly idiomatic doom riff will enter, bluesy and brooding – but this is best taken as a soundscape to play in the background, when you don’t need to focus on music. Might be totally cool for stoner gatherings, but I’d avoid in more outgoing situations. Would be ideal for reading to, particularly horror of the cosmic variety. The lyrics are a stream of consciousness poetry, a kind of surreal astral monologue, delivered in a doom spokenword style owing a great deal to Darren White (Anathema.) Obviously minimalism and ambience are defining features, but needless repetition is not, and that lifts this far beyond drone mediocrity. A lengthy review is actually unnecessary - to call this epic is an understatement. If you dig funeral doom, and also enjoy Pink Floyd and space rock – the Monolithe recordings are a must have. Talie Helene
Necros Christos Grave Damnation 2005 Worship Him
This is the re-released demo from the ever-impressive Necros Christos, and as such is their only really “available” release, in the broadest sense of the word. With previous demos being very limited and heavily sought after, it’s a pain trying to get hold of any official releases. My introduction to this band was with their split with Goat Molestor, which for both bands was just demo material rereleased on CD. If you’re familiar with any material from the various demos of Necros Christos, you won’t find any surprises here. This is evil, brooding, mid paced death metal played in the vein of old,
with some black metal influence, and heavily laced with antiChristian lyrics and blasphemous aesthetics. This recording only really features 3 original tracks, each of which is spaced out with short pieces of morbid ambiance. There’s also a cover of Goatlord’s “Acid Orgy” to finish it off. Even including the cover, this recording spans less than 20 minutes, and in my opinion the material contained within it is weaker and more bythe-numbers than the “Black Mass Desecration”. However, now that Necros Christos have released their full length “Triune Impurity Rites”, I’d say this is mostly redundant. Nico
Negative Plane Et In Saecula Saeculorum 2006 Ajna Offensive
Negative Plane’s debut has received a lot of attention over the months since it was released. It’s common place these days, especially in the ‘Black Metal scene’, that alot of the most hyped albums are, in reality the most weak. Fortunately this is not the case with Negative Plane’s debut record. ‘Et In Saecula Saeculorum’ is a unique and killer album, reminding one of some type of Mercyful Fate, Furze, Mortuary Drape hybrid with some dashes of vintage Pentagram. The production works wonders for the record, in the same way the production on Mortuary Drape’s ‘Into The Drape’ worked for it. I suppose a valid description would be ‘necromantic’, conjuring images of fog filled cemeteries, incense billowing in rooms filled with shady characters, corpses and the like. All of the musicianship on this album is top notch, the guitar
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work is superb, the bass is prominent and the drumming is fantastic. The vocals are unique and perhaps some of the more original vocals recorded lately. The riffs are fantastic, alot of the time they are perfectly structured, though at other times they are very unconventional. This works very well though and the band deserves credit for being able to pull it off so well. Perhaps ‘Et In Saecula Saeculorum’ is overhyped to an extent, it is a terrific, unique and dark album though and is recommended to all who feel the need for Black METAL. Dane Sharrock
Niroth Niroth 2006 Bad Head Records
Finally, a full length from the mighty Pommy hordes. It has been a long time in waiting for those like myself, who saw huge potential in their 2003 demo “Iconoclasm”, and the various unreleased demos that followed. This full length surpasses my expectations though, managing to sum-up and expand upon the sound they explored through previous recordings in a big way, which is nothing but a great thing to me. The style of black metal on this album is the furious sort, for lack of a better phrase. It’s all quite fast tempo, although the occasional slowdown or interlude(ish) segment parses the tracks nicely, which provides a necessary dynamic to the lengthy tracks. The vocals are growled in a level, aggressive tone for the most of it, though a few variations are present in the occasional Burzumic howl of despair. The riffs are nothing short of epic, with sinister melodies taking
their time to take form, which provides a sense of grandiose to the music. The sometimes brutal, sometimes doomy, sometimes utterly stark atmospheres present in each song reminds me at times of Weakling, which as far as I’m concerned, elevates them to the upper levels of current-day black metal. Unfortunately, this album may prove difficult to aquire due to poor distribution (at the time of writing, at least). This is an album worth hunting down though, it’s one of the best releases this year. Nico
Overmars Affliction, Endocrine... Vertigo 2005 Appease Me / Alchimia
Hailing from Lyon, France, Overmars have seemed to capture a unique and signature sound right on their debut full-length, which in many cases, is a rarity, especially in the (now), almost crowded “Post-Neurosis” scene. The moods and emotions depicted on the disk are extremely varied to say the least, which also seem to be somewhat darker and sinister when compared to the rest of the bands in this genre. What is also varied here, are the styles which are incorporated into their sound. Expect to hear heavy apocalyptic industrial overtones; similar to Red Harvest, sickening dark ambience depicted in an almost funeral-doom-like manner (not dissimilar to The Axis of Perdition’s last full-length), Eerie avant-garde leanings, as well as skull crushing, doom riffs. There are a number of short acoustic interludes scattered throughout the album titled “Destroy All Dreamers”, which feature Xavier’s clean (and somewhat varied vocals), sometimes accompanied by a
female. These tracks are a good example of the darkened form of beauty the CD has to offer, as well as the more “avant-garde” quality scattered throughout the album. Lyrical matter is genuinely obscure and reflects the dark and artistic views of the band. Most of these lyrics are in French, but the booklet does include translations, which definitely helped me appreciate the album more. If you wish Isis and co were somewhat more extreme, this is the band you must check out, though don’t expect to fully grasp the music in the first few listening sessions. Atmospheric, mind-boggling, intense and artistic, this is definitely one of my favourites from ’05. Note: My release came with a bonus DVD which really has a lot to offer. Content includes live shows, remixes of tracks, totally warped artwork, and some obscure short films. Nice little bonus indeed! Ferdibirdi
Pestilential Shadows Cursed 2006 GoatowaRex
Following up on what was an impressive debut was clearly not going to be a problem for Pestilential Shadows, who released a limited tape of new material shortly after the Embrace After Death album which had many people itching for the next album. While Embrace After Death was a remarkable album for a variety of reasons, Cursed surpasses it for an even larger variety of reasons (not least of all the production). But there’s no need to get into an album comparison. Cursed stands very well on its own two feet as a violent and tormenting
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album. The clarity that this recording introduces is beneficial to the presentation of such music, which is quite traditional in its approach. There’s a merciless catchiness to many of the riffs, which for the most part are fast paced and brutal, and when the music slows down, this really shines. Splitting the album down the middle, The Black Eucharist is an orchestral track which provides an intermission from the black assault, as well as both an epilogue to the first half and a preface to the second half. I can safely say that this album was crafted by minds who have tapped into a pure source of negativity, and adeptly translate those forces into music. Nico
Sangraal Unearthly Night 2006 GoatowaRex
First thoughts upon listening to this CD was how fucking morbid it sounds. Next thing was the surprise to find out they’re actually from the US. This kind of grotesque perversion in music seems far more likely to come from a place like Finland or France. It’s quite possible that Sangraal stand against the culture of moral Alas, what’s sick is sick, no matter where its from, and so I won’t hold their nationality against them. The album opens with a Mayhem cover, “Voice of a Tortured Skull”, which isn’t so much a song as it is a grotesque ambient piece. Upon the closure of that track, the whispered words “silence, silence” are uttered, and the album launches into its full attack. The music is chaotic and morbid, and heavily lacking in the kind of melody that would make it “enjoyable” to listen to. Indeed, the band seem to take
more than a musical page from the books of Mayhem in this respect, producing an album that is aesthetically horrendous and at times almost painful to listen to. This can be a real treat if you’re in a suitable mood for music as dark and abhorrent as this, but unfortunately, there’s little to gain from it otherwise.
the unsettling and unwholesome nature of this music, which is stylistically both death and black metal for the intended purposes of each genre towards the goal ofSA’s music. My only gripe is the inconsistent production between songs. Otherwise, there’s greatly distressing enjoyment to be had from this release.
“Repugnant” might be a word to use to describe the overall feel of the album. It’s a fucking marvelous example of just how dark and obscene black metal can be without blasting your ears off. It has a quality that smells of vomit and blood, but it takes a strong stomach and perverse mindset to appreciate it in all its glory.
Nico
Nico
Sepulchral Aura Demonstrational CD MMVII 2007 Ahdistuksen Aihio
This band just came out of fucking nowhere. Somewhat. J. Partanen, the solitary Finnish architect behind Sepulchral Aura, appears to be in a few other bands, none of which I’ve ever heard of. But none of that particularly matters because this demo (which is actually more akin to a professional recording in presentation) is such a tremendous piece of work. According to the written statements in the booklet, Sepulchral Aura is dedicated to the aesthetics of death, lunacy and possession. Certainly J.Partanen has outdone himself in his capacity to capture these forces in his music, with multiple listens opening up the music to the exploratory among listeners, providing a rewarding experience which first impressions might not reflect. Indeed, cacophony and dissonance are the keys to
known in some songs more than others. This is a near-flawless album, for what it actually is, but one I fear I’ll seldom have the rigidity of will for. None the less, it goes highly recommended. Nico
Tenhi Maaäet 2006
Spearhead Deathless Steel Command 2006 Invictus Productions
Though I’ve been known to have a whinge in the past about the “war” death metal sub-subgenre, I’ve always been open to the idea that it could be done in a way that doesn’t cause as much brain injury. Complaining about the fact that it’s too fast and too heavy doesn’t bode well with most people, who’ll just laugh at such a concept. But for me, I get no enjoyment out of the absurd speed and brutality of many of these bands, mainly on account of having no fucking idea what’s going on in the music at any point in time. For which Spearhead may be my saviour! Deathless Steel Command is strongly war themed, with lyrics and artwork all alluding to the cold brutality of warfare. But these UK chaps have been kind enough to slow it down a notch from what might be expected, and utilize a fair amount of mid paced segments to break up the monotony, which acts as an intensifier for the moments of insane bestial carnage. This is actually a really good idea, particularly for those like me who have difficulty digesting an album of nonstop blasting. The music itself leans towards death metal, but with a definite black metal influence which makes itself
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Following their interesting, yet slightly disappointing album Väre, Tenhi have returned in full swing with an absolute winner. While Väre was predominantly filled with utterly beautiful songs, I found the flow of the album was hindered by a few upbeat and ‘bouncy’ songs, which resulted in the listening experience being mere fractions off perfection. With Maaäet, Tenhi have eradicated this problem and settled for a more consistent, sombre and less folkoriented sound. For those who don’t know, Tenhi are a Finish folk band, whose songs are fragile, moody and somewhat progressive. The band combine acoustic guitar, flute, violin piano, unusual percussion and various vocal styles to create serene musical backdrops. As with the previous Tenhi releases, the opulent packaging is the first thing that draws you in, and reflects the music perfectly (as all album artwork should). The music found on Maaäet is possibly the darkest and most dismal the band has composed, redolent of a thick, black, atmosphere. Here, Tenhi’s music is more piano driven than before, and the vocals are deeper, and more haunting than ever. One could describe the album’s sound as a mixture of the lush ambience of Väre, with the stark, gloomy tone of their debut.
Definitely recommended to fans of their past two albums, and people captivated by truly organic sounding music. Easily my pick of ‘06 and easily the bands most cohesive effort to date. Firdibirdi
The Uncreation Dreaming in R’lyeh 2006 Self released
Whatever your take on the multitude of classifications for the different styles of metal, it can be a beneficial thing for a reviewer. Being able to slot a band into an established niche helps establish the base of a review. It doesn’t always work, particularly when you get a band that challenges conventional genres, but for the most part, it’s pretty handy. But I’ve found that the term blackdeath, which is often used to describe bands like Dissection, Dawn and early Sacramentum, isn’t at all suiting, because there’s very little death metal influence outside of some rhythmical similarities. The Uncreation actually lives up to the “death” part of the name, with a far more tangible death metal influence than other bands under this banner. Bands such as Incantation and Asphyx could be compared with some of the slower, brutal passages found on this album, between the more black metal oriented sections, with haunting and occasionally rich melodies and leads scattered throughout, as well as the occasional acoustic interlude. It’s worth noting that the songs are written extremely well, and don’t succumb to the directionless randomness of other bands that have tried putting death and black metal riffs together into the same song.
However, there are also a lot of elements that detract from the quality of the music. First of all, there are the spoken samples, used as occasional intros and outros, which seem to be ripped from various films, and feature simple, stupid quotes about the farce of God and Jesus. Then you’ve got your song names and lyrical content, which is mostly anti-Christian, with titles such as “At War with God”, “The Fall of Jehova” and “Hypocritical, Lies, Divine”. It really comes across as very juvenile, and makes this album feel a lot less serious than it should be. To top it off, the artwork is quite awful, featuring the already over-used drawing of Cthulhu, which, judging by the pixelation, looks to have been ripped directly from a Google image search. There are lots of great things about this album, but the band shoot themselves in the foot by having an unserious approach. It’s a real shame, because while this isn’t the most original band in the world, musically speaking, their merits far outweigh their faults. Nico
Vital Remains Icons of Evil 2007 Century Media
Opening with a short sonic montage – ‘Where Is Your God Now?’ - slathers of violent Foley Art, a processed snatch of Carmina Burana, and sound design ambience. The arty frame gives way to straight up death, with the title track ‘Icons of Evil’ working the harmonic minor, lots of pace and texture changes, opening out to bold simplistic riffs as a support structure for quite melodic harmony guitar parts – very much following in the
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footsteps of neoclassical double guitar leads of Hank Sherman and Michael Denner (Mercyful Fate). This colourful classic metal groove is layered over ferocious blastbeats, and contrasted with limited and ugly death riffing. Of course the icing on the cake is vocals from the undeniably charismatic Glen Benton. Doubled vocals, with a harmony in the ‘black metal range’ is a change for Benton, and works quite well. ‘Scorned’ moves on to more ornate lead riffing – more in the vein of Andy La Roque with King Diamond - yes, these guys love the Kings work. It opens out into a really lovely epic guitar bridge, fluid, descending arpeggios with spoken word from Benton. Great short groovy riffing through the choruses. Such a montage of eras! ‘Born To Rape The World’ is denser, rockier in a modern black metal way – with flowing, unmusical technique oriented riffs inserted like a cadenza. ‘Reborn,The Upheaval of Nihility’ is closer to thrash, with a punchy golden-era Kreator and Coroner vibe, minus the midrange vocal assault; the death range vocals actually sound too muffled inside the throat in this context. ‘Hammer Down The Nails’ moves into grindcore, with total drum porn blastbeats. ‘Shrapnel Embedded Flesh’ is more on the technical death side, with shredding riffs punctuating traditional death sonorities. With ‘‘Til Death’ Vital Remains jump the fence, and walk black metal territory as though it is their own. Very minimal riffing, bleak and chiming – moving to a Sodom-on-steroids warmetal vibe when the blastbeats go full-pelt – and just when you think you know where you are stylistically, they slip in a guitar interlude that is pure bay area thrash.
‘In Infamy’ follows through the warmetal simplicity, and then the band make me very happy with the final track – an unlikely cover – a much heavier version of Yngwie Malmsteen’s ‘Disciples of Hell’ from ‘Marching Out.’ The bridge over the keyboard section, with Benton delivering the spoken word bit in a voice worthy of youknow-who – cheeseball, but fully rocking and very entertaining. Vital Remains have followed their formula - Tony Lazaro writes all the songs, and plays bass and rhythm guitar; Dave Suzuki tracks all lead guitars and drums. Mr Benton is brought in to weave his dark magic at the last. The result is extremely integrated death, that stands up to repeat listening – there’s a lot of detail here. I guess the real question is – when are Vital Remains going to invite King Diamond in to sing along with Glen Benton? C’mon! Talie Helene
Valkyrie Valkyrie 2006 Twin Earth
Valkyrie’s self titled debut is primarily a doom metal album that fuses the established heavyness of Black Sabbath but fuses a melodic groove element which at times is reminiscent of Iron Maiden. Together this gives off an almost stoner-type feel, but without any of the lethargy, instead replaced with energetic composition and fun, catchy riffs. Simply a fun album, a perfect compliment to a night of heavy drinking. swizzlenuts
Vorkuta Into the Chasms of Lunacy 2007 Paragon Records
Vorkuta are a Hungarian black metal band, originally called the overly Norwegian Fjord. Intro by name of ‘Warriors Of Past’ consists of gloopy Viking synthpads and gongs – your usual metal keyboard tribute to Basil Poledouris (Conan The Barbarian filmscore composer.) First song proper ‘Gargoyle’ clocks in at almost eight minutes. Rain samples, more synth pads – very simplistic keys player. Attempt at timpani programming. Minor thirds and seconds ahoy. Doomy black riffing, a hint of DarkThrone, a dash of early My Dying Bride. Drums are clear, if very raw – kinda nice to hear live (no drum replacement), but too much tops on the cymbals. Needs a savage EQ. Some strange harmonic progressions. Am I alone in hearing this massive Joy Division influence in black metal? It might not be an influence. It might just be a common musical ignorance giving rise to lumbering progressions, and inebriated rubato sloshing the cross-rhythms about. You know, I prefer Joy Division songs when someone else plays them. No disrespect to the dead, but Ian Curtis had the intonation of a dead donkey. (Just one of the many reasons why it’s safer for me not to get drunk in goth clubs.) But I digress. ‘My Flaming Soul’ is constructed around some pretty ordinary semitone riffing, but does boast a great strangled-Muppet (as in Jim Henson et al) “Wraaagh!” from vocalist Blizzard. Thin, reedy, and somehow puppetlike. ‘Stardust’ is a five minute plus ambient instrumental; relies on bell-tree synth presets for ambience perhaps overmuch. Sounds like a real bedroom effort;
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I guess it saved them paying for studio time. Gets boring fast. ‘Vorkuta’ opens with more of that Joy Divisiony vibe (it’s uncanny!) Clean guitars, simple two-chord progression, leading into an almost grungy riff. The bass line is really post-punk new romantic. Amusing. Finally stretches out to some epic slow rocky black metal, with nice layering. Interesting drum sounds. That live sound is growing on me. ‘Within The Fortress Of Melancholia’ is another unforgivably boring ambient instrumental that helps bump the track listing up to full-length, without the costly studio rental. Seven and a half minutes! Those cheap, lazy buggers! I wouldn’t be critical if it was breathtaking synth programming, but it ain’t. The verdict: I can’t tell you what a diehard BM aficionado would think, because I’m not one. Check it out if you have to own everything. Talie Helene
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