ARCHIV HATE #13

Cover by VELI NYSTRÖM

Sometimes it’s better just to suffer, and enjoy the suffering.

It kills the dreamer inside to feed the fire.. ..if only we knew the truth, what an evil assault, Archiv Hate zine #13, will bring to our melancholic clinic.. we were in the middle of loosing our mind.. ..but it’s worth that, it’s everything we are – the place of skulls and souls!

A reflection of our personality in interviews w/ Uboa, Making Fuck, Valentin Mellström (mlstrm, Nixa, Death Wolf).

Crew : Veli Nyström, Danial Gambler & Arturs Vilmanis.

-ARCHIV HATE, April 2015

My heartwarming story will make you sick, but this is where my land turns into darkness. I know this doom/ noise project for 4 years already and it totally reflects everything that I am. Ever since discovering Uboa it’s hitting me like an exorcist with it’s spiritual performance – it stopped all the living thing around while I was standing in the middle of the street with my headphones blasting Uboa pretty damn loud–that was most apocalyptic feeling I ever had and I was ready for an end.

UBOA IS A STRANGE CREATURE, THE NAME ORIGINATED FROM JAPAN AND IT’S A TYPE OF SCREAM… IS THIS PROJECT YOUR OWN TYPE OF “UBOA”?

It’s interesting how much attention the name has been getting, as I originally chose it simply as I was a fan of Yume Nikki and liked the word ‘Uboa’. Now a lot of people encounter the music through the game and character as opposed to just another bandcamp bedroom project. The good side is that it got people interested in it and brought a new perspective to it that I didn’t see before. The bad side is that the more ‘personal’ aspects of the music have been lost when you look it at it from the lens of a homage, or as me trying to do music inspired by the character. I also managed to piss off some YN fans who saw the name as trying to leech parasitically off YN’s fame, which was unintentional. Either way, there is a lot more to it than that, and I’d prefer the music to be judged on its own terms rather than musical fanart.

As for my project being a type of ‘u-hoa’, but I am not doing this just to be scary. From my perspective It’s mainly a way of coming to terms with some of the things I have experienced with mental illness. I guess it is also a form of communication too, a scream to others, but the exact message I am trying to send to others is unclear, I can only speculate.

WHY ONE MAN METAL? I am a pretty shut-in person, although luckily I can still leave my room. I’ve been writing music by myself under various names for over a decade, it’s just what I do. I probably wouldn’t be able to do this music ‘band-first’ due to the usual complications arising from trying to start and maintain a band: finding likeminded musicians, finding days when everyone is free, booking shows, getting equipment, creative control disputes and so on. It was just more convenient to do it all myself, even if I had to teach myself drums and some other instruments to do so. Also, I guess isolation is kind of the

point of Uboa. That being said, I had some friends help out on the newer record and borrowed their equipment to record, so it wasn’t entirely solitary.

DOES UBOA HAVE A LIVE FORM TO DELIVER METAL ON STAGE OR IS IT JUST A DIGITAL PROJECT? At the time of this interview, Uboa is strictly digital. There is no live form, nor physical copies for either of the albums for the reasons outlined above.

I never really thought I would ever have enough people like what I do to put out CDs, vinyls or tapes, and the idea of Uboa merch doesn’t really appeal to me much either. I might try and bring it live one day, but I would need to find the right people. Also, I would no idea how I could do justice to what the recordings imply live. It could be very interesting and probably would be very dangerous.

AN UPSIDE DOWN CROSS IS ON UBOA’S DEBUT “SOMETIMES LIGHT”.

WHAT’S THE IDEA BEHIND THAT – DOES IT HAVE MORE LIKE “DEEP PLACE WHERE THE SUN IS SILENT (DON’T SHINE)?” OR “STAIRWAY TO

HEAVEN” ATTITUDE? I honestly have no idea why it is there: probably to mark (or warn) others of what it contains. Then I thought of Uboa as a ‘metal’ project, but now I am not so sure. It might not be the case with future stuff: as soon as I have a constraint or expectation put on what I do, the first impulse I have is to subvert it. Now, in retrospect, I would probably remove the inverted crucifix, which strikes me now as a little silly. It also caused some people to mistake it for a ‘Witch House’ record, which was pretty funny.

On ‘Sometimes Light’s’ music, I still don’t understand that album very well. I don’t know how I made it and probably could not recreate it even if I tried. I basically wanted to make music to suit the landscapes I live in such as that on the cover: urban rot. I tried to make the songs ‘shattered’ like glass or like scattered weeds growing through cracked concrete. I’ve always been fascinated by abandoned

urban wastes, maybe because they give us a glimpse of a world without us; a world I think which is much more peaceful. I am not alone, this eschatological desire is everywhere. This is pretty evident in Christianity, which I guess what the inverted cross on the cover means now. It’s probably why urban exploration, ‘ruin porn’ and postapocalyptic settings are so captivating: something about the world without us is beautiful. I think a lot of us want the world as it currently is to end, and secretly get excited when the possibility arises. But this end will be total: there will be no nice place in the sky afterwards, we’ll be just dust left on a sterile earth. This is the planet we deserve.

AFTER A LONGER PAUSE YOU RELEASED MIND CRUSHING “JOUISSANCE”, ALBUM TITLE REFERRING TO CONCEPT – THE SUFFERING…

Yeah, it took me a while to do it. The best thing about doing music yourself is you can take all the time you want to do

things exactly how you want, but the downside is that you have nobody to help out creatively when writers’ block strikes. During those three years, my mental illness really intensified, and experienced terrors that even now I have difficulty discussing. The music is a reflection of that terror, like a dream diary.

Probably the worst part of mental illness is the fact is that it has no image. When you break your arm, you have a cast. But when you have anxiety, depression, obsessive delusions or all of the above, its difficult to prove you have an ‘illness’. Even if they say they do, nobody truly believes anything is wrong until things get really bad, and even then they might not believe you. You are held to the same expectations as everybody else, even when you constantly fail them. Worse, despite or because of this disbelief, you don’t believe yourself. Maybe that is why so many jump in front of trains: nobody believed them, including themselves, so they had to do something to prove

it. Its a terrible feedback loop. Perhaps the reasons are cultural, or perhaps they are to with the fact that in mental illness, the ‘problem’ is your mind, the ‘closest’ thing to you and perhaps the most difficult to see. It’s like when you lose your glasses because you are wearing them.

Even when you admit you have a mental illness, it doesn’t appear anywhere: even if you hallucinate or have delusions, what appears simply appears before you with certainty, like anything else. I guess what I did here was try to give an image to the unimaginable, to this Real: something that says ‘there is something wrong: this is what it looks like.’

Evidence of it for myself, maybe others.

As for the Lacanian psychoanalytic concept of Jouissance (french for enjoyment, with obvious sexual overtones), there are two reasons for using it as the name, referring to two aspects of the concept. You are right to link it with its ‘opposite’, suffering, as the first is the

idea of a ‘lost’ enjoyment: this mythical lost state where everything is fine, total enjoyment. It’s basically the idea of the Fall: we were in an edenic paradise, then we bite into the apple… we would be happy now if it were not for X, which gets in the way of us being completely satiated. This is clearest in xenophobic fantasies: for example, ‘our country would be fine if it were not for those immigrants, who have robbed us of our enjoyment’. Of course, this state of bliss we can’t get despite our struggle, and if we were to get it, it would destroy us. Its the monstrous totality, being a god. A monstrous, (un)godly maternal pleasure. Sometimes its better to just suffer. This is especially clear in the overlap between sex and trauma, which is also important thematically.

The other side of Jouissance is the deathly, repetitive aspect: not only is it the total enjoyment which is obstructed, Jouissance is also the obstruction to our enjoyment.

For example, the ‘enjoyment’ of

doing terrible habit or action: ‘I know I shouldn’t and it is bad for me, yet I do it anyway…’. In my case, its the symptoms of my illness: the triggers, the episodes, the obsessive thoughts which kept intruding into my mind… …yet I keep thinking about them, returning to them. In fact, I write music about them. I enjoy making and listening to music which is essentially about my suffering. On some level, I enjoy the suffering my mind inflicts upon me, which is precisely why I keep suffering.

It was this aspect I wrote some lyrics about (i.e. “I’ll choke you until you like it”), and is quite possibly one of the reasons for me producing the album itself.

THE WORLDS PSYCHOPATH MONTH (NOVEMBER) IS GONE AND THIS MAKES ME THINK ABOUT THE SONG “I'LL CHOKE YOU UNTIL YOU LIKE IT”.. YOU WERE EXPOSED TO THE EFFECTS OF THIS BLEAK TIME PERIOD?

This song is basically about OCD. It’s not just germaphobia and washing your hands or

whatever as pop culture thinks it is. One of the waking nightmares I experienced was the conviction that I had done - or was - something terrible.

I was under the delusion of being some form of violent psychopath, pervert, criminal… whatever, and not only was I guilty of doing something horrible, I was going to be (or had to be) punished for such crimes. This made me not only hate myself, but also made me really paranoid. There is also the overlap between suffering and pleasure mentioned earlier: that is, liking being choked.

Perhaps that is exactly what I am doing to myself. I don’t know, I don’t want to.

COMPOSING MUSIC IS A CONTRADICTORY BALANCE BETWEEN THE MATERIAL AND THE SPIRITUAL, BETWEEN THE RATIONAL AND THE IRRATIONAL AND AT THIS POINT “JOUISSANCE” LYRICS ARE ALL ABOUT BEING A PSYCHOPATHIC SINNER? Your interpretation of the lyrics coheres with my intention, although for me it is about not just being a

psychopathic sinner, but the obsessive guilt about being one despite not being one.

Elaborating on what I said earlier, other people with this form of OCD have, say, fantasies that they will accidentally write a letter confessing their guilt in a murder, and then act on compulsions - like burning all the paper in the house to stop you from writing the letter. Of course, no murder took place, yet the guilt is real, complete with the terror of thinking you are a monster and that you will be punished accordingly. It’s basically the opposite of being a psychopath: a psychopath seems to have no superego to make them guilty of the horrible things they might do.

With OCD it’s the opposite, you don’t do the crime, but you do think you have done it and feel horrible about it. Your superego is so overwhelmingly powerful that it tortures you.

It’s totally irrational, of course, but it obeys an enigmatic unconscious reason on its own. Of course, this is all my ego trying to interpret what

my unconscious is doing and what my music is doing. The lyrics are probably not just about this dimension, other people might find something in them I am completely blind to, or read it in a totally different way. I don’t think the author’s interpretation is always the definitive one. I do want to stress that it isn’t another stupid metal album using sex and violence - often with misogynistic overtones as shock value or because it is ‘cool’ or ‘interesting’ or whatever… I don’t want to glamorise this shit: trauma real and it fucking shouldn’t be. I’d put a big trigger warning on Uboa for anybody wanting to check it out too, but I think the song titles hopefully make that clear.

DOES YOUR PART OF THE METAL WORLD CREATE NEW MUSIC, OR IT'S JUST ANOTHER OLD REPLICA LIKE THE REST OF THE WORLD? I guess that ‘my part of the world’, experimental metal, is always trying to do something new, but its not often that something significantly new

with a significant qualitative difference comes along. As I said above, I don’t really identify with ‘metal world’ or the scene around it that much anymore. With Uboa, I don’t really think I am doing anything significantly different from what maybe Swans or Khanate have done before, although I try my best to keep things interesting.

As for whether new music is even possible, I think it is true that due to the easy accessibility to all forms of music from the internet there seems to be increasingly little space to do something new. It seems the more creative freedom one has, the less creative one gets. The more our capitalist culture tries to inspire creativity, the more insipid the results. Our culture is reaching new heights of coprophagia with the same old shit eaten willingly over and over again. Everything is new, and yet nothing is. It’s a strange dialectical paradox. I think related to this is the fact that music is no longer bound to material forms: it is

just information which can be endlessly and losslessly copied.

It for a similar reason I think people are still attached to outdated mediums like vinyls and tapes: their materiality gave them a limit, a body and allowed them to degrade, and be forgotten. This forgetting is not just part of music itself, it also means doing something new is easier. They remind us of a better time, where good and original music was scarce and hard to get, and consequently more rewarding to listen to.

Material formatting stopped us from accessing everything and anything, and allowed us to forget the forgetting of music.

Baudrillard said computers don’t have memory as they have the incapacity to forget, and I think our situation where ‘everything is done’ is a symptom of the latest technology has given musicians.

Now that we can’t forget, and that we can access everything, its more difficult - maybe impossible - to do something

truly new, as often what was ‘new’ was just the old being forgotten and remembered.

You can demonstrate this state where music seems stuck in a creative ditch. Cultural theorist Mark Fisher asks us to imagine any record from the past few years and launch it back in time to, for example, 1995. Aside from slight improvements to recording fidelity, would there be any real future shock? Would any of our music today be truly ‘alien’ or ‘futuristic’ to our past listener? Even our weirdest music today - would it shock a listener of Gary Wilson or Jandek? As Fisher says, what would likely shock our past listener is how familiar our ‘futuristic’ music would be.

That is not to say there has been no progress since then, but rather it’s almost as if the very idea of the future, of the New, has been washed away and hence why it is demanded more and more. This might be, yet again, due to the incorporeality and infinite accessibility of music robbing music of its ‘history’, making

it all seem timeless. This is not just music, I think its endemic to late capitalism. Of course, I depend upon this technology and I still think this accessibility is definitely a good thing, but the unexpected downside is that we seem to have lost loss itself, so it’s a double-edged sword.

I think if something truly new or ‘futuristic’ were to come along, it would have this oversaturation of accessibility to contend with. It would probably have to be different not just in content, but in form. It’s still possible, I think just less and less likely. Maybe we would not even recognise it as music when it comes along.

But sometimes something doesn’t have to be new to be shocking, experimental, cathartic or whatever. Also, sometimes the ‘new’ appears in repetition itself. Like a band trying to pay homage to another band and end up doing something more original or better than who they are trying to copy, say like Sunn O))) paid homage to

Earth. Also, as Freud discovered, there is something pleasurable in repetition, so its not all bad. That is how I justify my lack of originality, anyway.

ANYTHING NEW FROM UBOA IS ON THE WAY TO BE REVEALED? I was exhausted from working on one album for three years, but I am working on new stuff now.

I don’t know what it would be, and I certainly don’t know when it will be done. Patience may be required.

WOULD YOU LIKE TO ADD SOMETHING? Thanks for thinking I am worth interviewing.

UBOA WWW. FAC EBO OK. COM / UBOA THE FLE SH WWW. UBO A.B AND CAM P .COM

Ī

+ Not your ordinary rock’n’roll band!+

WHAT MARKED A BEGINNING OF MAKING FUCK? Making Fuck started as a side project while I was in a band called Nine Worlds. MF was just a fun music project with an old friend Jeff Wells, who was the original drummer, in 2008. after writing a few songs we decided we wanted to add some low end dynamics thus bring in cellist Jessica Bundy to join in 2012. with the addition of the cello it created a unique tone and timber that drove us into more song writing and playing shows. With a great response to our music we decided to recorded and press our first self titled 7” in 2013, along with a north american tour. in 2014 With the addition of Anson Bischoff on drums we have completed our debut full length which is being released by Gypsy Blood records in the summer of 2015. that will be supported with some north american tours. We were lucky to have Kim Pack from Subrosa join us on “A Harrowing End”.

BTW, EXCELLENT BAND NAME! The name is a reference from a Kevin Smith film, “Clerks” but it goes deeper than that. The improper grammar of the phrase Making Fuck reflects our music in a way that we don’t follow conventional time signatures

and song structure or even the use of traditional rock instruments.

IF YOU COULD PICK ONE OF THESE TWO ABSTRACTIONS, WHICH WOULD FIT MORE AS A DESCRIPTION OF MAKING FUCK – “DIFFERENT GOD” OR “ART OF CANCER”?

Art of cancer. Its almost like Charles Bukowski’s quote “find what you love and let it kill you”. We play music to medicate our souls. Its a product of our life we can’t live without.

BRAKING THE RULES OF CONSERVATIVE METAL AND USING CELLO INSTEAD OF A BASS.. WHICH ACTUALLY CAN’T BE RECOGNIZED BECAUSE IT SOUNDS LIKE A GUITAR.. LIKE A BASS.. LIKE EVERYTHING YOU NEED IN ROCKNROLL! A lot of the Cello sound comes from a Jessica using a drop octave for her cello through one amp, and blends it with the natural cello sound through another to get a really thick and full sound. At first it sounds like a bass, but once you realize it’s a cello you start hearing little nuances here and there. It’s fun hearing the cello’s interpretation of heavy bass riffs.

IN HOW MANY BANDS YOU ALL ARE CURRENTLY INVOLVED? Well I (Kory) am currently in a

band called The Ditch and The Delta, and Anson is in a band with Kim Pack of Subrosa called Cicadas.

HOW DOES THE LABYRINTH OF YOUR CONSCIOUSNESS DIVIDE IDEAS FOR YOUR PROJECTS YOU’VE BEEN INVOLVED? In Making Fuck I(Kory) comes up with basic ideas of the riffs, while Anson and Jessica come up with their own parts to compliment and create songs. In the end, its a band effort to collaborate together and create what ever sounds the best. In The Ditch and The Delta, I mostly follow Elliot Seacrist’s lead, who is the guitar player for the band and the main writer. In Cicadas, it is just a two piece between Kim and Anson, where Kim writes all the parts on her violin while Anson plays the drums.

WHEN YOU WAS WORKING ON A VERY FIRST SONGS OF MAKING FUCK, MAIN TASK WAS CREATING DESTROYER IN THE FIRST PLACE? Yes! Ive all ways been heavily influenced by bone crushing guitar tone. I wanted to created a sound that was not only unquic sounding with the mix of the cello, but loud, heavy, and abrasive.

WHAT BENEFITS ARE FOR BANDS MAKING SPLITS AND COLLABORATIONS? KIM PACK OF

SUBROSA IS A GUEST FOR YOUR UPCOMING RELEASE. Kim is an amazing violinist for sure, but she is also a long time close friend. We are just lucky to have her available to us. One of the benefits of living in a smaller city where everyone knows each other is that we get to work with a lot of talented musicians.

“UPCOMING FULL LENGTH ARE JUST A TASTE OF THE HEAVINESS AND MAYHEM TO COME.” MY CALL IS THAT IT WILL BE A SUPREMACY OF PERFECTION. We are super excited about our debut full length record, and I hope that it pleases our listeners. As artist we are our own worst critics and with MF still being a young band. i feel we have a few kinks to work out before we can evolve into a seasoned band. along with the release of the record we will be support it with a few US tours.

ALBUM EACH YEAR OR TWO SO PEOPLE DO NOT FORGET? We always stay busy, always coming up with new ideas to try out. in fact while waiting for our record to be released we have already stared writing our next full length. which I think will surpass anything else we have done musical so far.

MAKING FUCK WWW. FAC EBO OK. COM / PAGE S/M AKI NG - FUC K /138 686 703 824 069 9 WWW. MAK ING FUC K .B A NDCA MP. COM

W W WW W WW W W ... VVV EEE RRR III TTT AAA SSS VVV III N N N YYY LLL ... N N N EEE TTT

Rider, visual artist and musician + V alentin Ivar Herman Mellström YOUR CREATIVITY IS YOUR FAMILY'S LEGACY, IT’S IN YOUR ROOTS FOR GENERATIONS. YOU’RE THIRD GENERATION RIDER, PHOTOGRAPHER AND VISUAL ARTIST. CAN YOU SHARE THE BROADER STORY OF YOUR ANCESTORS?

Well most of the riders, fighters and creators came from Småland, Sweden, south of Östergötland where I grew up.

My Great grandfather was a boxer and a glass maker, his brother was a writer, my grandfather a photographer, painter and rider, his brother a sailor, boxer and ground breaking Muy Thai fighter, first European to ever do professional fights in Thailand back in 69, which is pretty damn cool achievment. My uncle rode a chopper and was photographer as well. Myself Ive been boxing on and off since 13, been around motorcycles my whole life and been working within the creative fields since teenage years. So its pretty much been all about riding bikes, fighting and making art for the lot of us.

A PICTURE WORDS. TO PHOTO YOU EQUIPMENT

IS WORTH A THOUSAND CATCH THOUSAND WORD CARRY A LOT OF WHEN GOING ABROAD?

Preferably no. The less I carry

the freer I am to get around and go about the day wherever It may take me. Ive also always preferred the journalistic and abstract approach to photography in order to capture images that may be interesting.

Also those moments can be kinda hard to get to when your carrying around a big camera with a multiple lenses, tripods and flashes. I have cut down quite a bit on the manic shooting that I used to do while traveling when I was younger. These days I feel the most interesting moments are lived without being caught on camera, they get an even higher worth too since they become more personal. Not that I have stopped completely but Im definitely trying to live a bit less behind the camera and enjoy the moments more in person these days.

WHAT MOTORCYCLE DO YOU RIDE & HOW MANY BIKES DO YOU HAVE? IS IT TRUE - TRUE ROCKERS DON’T HAVE DRIVING LICENSE? I got a mean old chopped up black Harley sportster, that´s usually my daily ride during the winters here in South Florida. It actually took me a bit more than a “couple” of years before I got my license so there you go haha.

YOU HAVE WORKED WITH GREAT BANDS, SUCH LIKE EVOKEN, MARDUK, PG.LOST, YEAR OF THE GOAT, ENTOMBED A.D AND THERE’S MORE – YOU DID ARTWORK, MADE VIDEOS. WHICH IS YOUR FAVORITE PROJECT YOU’VE GOT INVOLVED?

Must be the art I do for my younger brothers band pg.lost.

They´ve always given me free hands to visually interpret their instrumental music and create concepts for their albums. I of course always enjoy working with Morgan and Marduk as well, since we share a similar taste for both minimalism and death themed arts.

YOU DO VOCALS FOR TWO BANDS DEATH WOLF AND NIXA. HOW DID YOU GET INVOLVED INTO THESE BANDS AND HEAVIER MUSIC? I think it was around 16 when I got into allot more heavier stuff, mostly allot of hardcore and punk music. Taste got a bit darker and faster as the years went on and I started playing in different constellations with my old friend Thomas “Sluggo” from (Year of the Goat, Griftegård). Plague Majestic/Deadpulse was one of them and most of the members from that band are now in the excellent band Year of the Goat. In 2008 Morgan asked if I

wanted to join Devils Whorehouse, the Samhain/Misfits tribute band he had started in 2000 and over the next couple of years we did some selected festivals and shows in Central America and Europe. 2011 Death Wolf was born from the ashes of the previous moniker, since we wanted to do something more of our own and since then we´ve been touring Europe, US and Canada and released 3 albums, III:Östergötland being the latest one. The doom/sludge project NIXA came to life at the end of 2012 here in South Florida and we´ve released a self titled demo in 2013 and also recently a full length debut “Trembling Path”. Ive been wanting to start up a heavy doom/stoner/sludge project for many years prior to getting to the US so Im very excited to now see it manifested.

MOST INFLUENTIAL BANDS FROM YOUR MUSIC COLLECTION? Im inspired by allot of bands so its kinda hard to answer what band has influenced me the most. Bands like The Cult, Bathory, Amebix, Celtic Frost, Neurosis or Woven Hand never stays to far away from the player, but the same goes for allot of other bands too.

Allot of good stuff from the 60ies and 70ies in there too like Sabbath of course, Humble Pie, Dust and Pentagram to name a only few excellent ones. Im still digging around in those eras and it never seems to be any end to all the good stuff.

YOU'RE AN ARTIST IN ALL ITS FORMS - HOW YOUR DAY STARTS AND WHEN IT ENDS? I pretty much wake up and just try to create, work or plan the future as much as possible through out the day. With what I do theres really nobody but myself deciding when my “shift” is over and having a brain fuelled with equal amounts of ADD and persistence, it can go a bit over the edge sometimes.

I don´t mind sacrificing sleep for progress thou, there will be plenty of rest when Im dead hehe.

VALENTIN IVAR HERMAN MELLSTRÖM W WW. MLS TRM .CO M WWW. FAC EBO OK. COM / NIXA BAN D WWW. NIX ABA ND . BAN D CAMP .CO M WWW. FAC EBO OK. COM / DEAT HWO LFC ULT

www.mlstrm.com

www.mlstrm.com

www.mlstrm.com

www.mlstrm.com

www.mlstrm.com

www.mlstrm.com

www.mlstrm.com

www.mlstrm.com

www.mlstrm.com

Split This is one that I've been meaning to write about for a little while now.

Finally getting around to it a month after it was released. It's getting to be crunch time within the realms of Archiv Hate. SO HERE WE GO!!!

Holy blasting blackened fury on the Ancst side. It has just enough melody with the blast beats to keep it interesting. And just enough anger with the world to not make you bored with it. Top quality bad ass shit right there. When sitting around trying to do stuff. It's my first choice for something to listen to. Very very highly recommended. CHECK IT OUT! The AST side is kind of hit and miss for me. It starts out with that semiunderproduced black metal sound and feel.

Which is really cool. But it's one of those things that I have to be in the mood to listen to. It's good stuff, but just mood music for me. Although there was a really cool treat a few minutes towards the end of the last song "F.S.“ A really cool harsh noise moment. It kind of caught me off guard. When it started I was wondering if I was having technical difficulties with my music player. But nope, just a couple minutes of noise. And if you know me, I like noise. So it was a really cool treat for me.

Anyway, you can order this album from Vendetta Records. Which is the way I would recommend getting it. You can buy the digital download for €3. OR you can buy the 12" silver vinyl for €12. That's the way I would recommend buying to.

But look it up, check it out, buy a copy!!!

CHEERS!

“Split” Wonder what ever happened to Angelcorpse?

So have I. Since they've kind of fallen off the face of the earth for the time being.

Check this one out!

Same vehement intensity spewing forth the same sickening blast beats and vocals that only above mentioned band could incarnate. I don't know much about Wargrinder but I gather they're from Athens, Greece. And have been around since 2001, were on hiatus for a while and came back in 2012. They have several other split releases and one full length.

Now they bring for an amazing cacophony of intensely sick black death metal on a Split with Salt Lake City's Iconoclast Contra. Salt Lake City you ask? The land of Mormon enslavement? There is black metal and other forms of darkness from there?

Why yes, yes there is. Iconoclast Contra being one of them. Some really intense blackened sickness with this side of the split. Some really intense blackened sickness all around with this release all together.

I'd recommend picking this album out before the third world starts. You will need this for the sound track.

You can find the CD via Nykta Records for €6 EUR on the bandcamp page.

“Grindmother” Well it's here! The long winter wait is finally over! Corrupt Leaders "Grindmother" is finally out! And out with a vengeance!

Raaarrrr.... (or some shit) 4 songs of blasting unrelenting furry that will make all posers in grind tremble in fear.

Feel their wrath!

Feel their fury!

TREMBLE BENEATH THEM IN THEIR UNRELENTING BLASTING GRINDING MAYHEM!!!

Or just buy this album and listen to it really loud and make everyone else around you tremble beneath you. If you do that though, make sure you have some ironic glasses and a fancy beird. Personally myself though, I would just buy a fuckton of beer and drink large quantities of it.

If you have checked out their split with DOGMA, you know what to expect from this.

A little less D-Beat but more grind. All 4 songs on this less than a minute long.

Just go look for it.

You can find this via name your price on Bandcamp. Or if you want for an exclusive 5" vinyl release, wait until April.

In the meantime....

Go to their bandcamp page, and name a price, EVEN $1 would go awesome to help get that 5" release out as well.

Go look it up!

Cheers!!

“Mud” So I don't know why. But for some reason I had a hard time listening to this one.

It's not a bad album at all. It's actually really cool, really original. In some ways they kind of remind of Kill The Thrill. But a little more the harsh than they are.

I don't know, it's kind of hard to describe this band. I don't know, I guess really artistic would be one way. I was trying to think of what to say about them earlier today. About all I could come up with is that they're something I would listen to if I was just sitting around and being all "artsy" and working on an art class assignment.

I guess post-hardcore with a ZING could be about the best way to describe them. I know there are other bands out there that are like this. But I never really get around to checking them out. I'm lazy like that sometimes.

Anyway, if you like your hardcore with a post traumatic ZING. This would probably be something you would want to check out.

I'm not exactly sure on where to find this release. About the best way I can think of is to go to their Bandcamp page and order a record, cassette, or CD. The 12" record will cost you €12. The CD will cost you €10. And the cassette will cost you €6.

So go look this album up. Give these guys a listen. You might find something you thorougly enjoy. This one is growing on me.

66 REVIEWS

“Split” I remember discovering Keeper last summer. I introduced them to the people of Archiv Hate and they loved them. I loved them as well.

There are multiple distro labels on where you can find it. The American location is through Halo Of Flies. They have released some amazing shit over the past year.

Crushing discordant doom! Just right up where I love my doom to be. Unfortunately at the time, I was starting to get bored with things for a little while.

Completely shutting down and casting out the world. Music included. Shame upon shame on that time for me. But I'm slowly starting to get back to where I was a while before last fall.

The Canadian distro is: Medusa Crush Records. I'm not entirely familiar with the label. But if they're releasing this, they have to be good.

So Keeper, if you're familiar with them, you know what to expect. CRUSHING, depressing, lonesome, hating the world doom. Just right where I love shit.

Looking for no lite, looking for nothing.

Just pure vehemence and contempt.

I'm actually more prone to the Sea Bastard side of this split. I just feels, I guess a little more up-beat or some shit.

Nevermind there is a slightly more crustier moment. I guess it's just that time for me to get more back into the DBeat shit.

It really is a totally solid release.

Don't let my words fool you. If you're looking for the more devastating side of doom. These two songs are where to find it.

The "Keeper - 777" side only comes in at 14 minutes. Which is kind of short for where doom-metal was going for a while.

The "Sea Bastard - Astral Rebirth" side comes in at 20:50 minutes. But it's not a 20 and a half minutes that bore you. Or at least that's what I discovered while riding the bus and listening to it.

The UK release is available via Dry Cough as well as Black Reaper Records.

I would personally recommend going to your local record store and have them order it for you. Either way though, go look it up.

Cheers!! And “visu gaišu”!

“Burnchurch” So I guess this fancy piece of work is from Koln, Gemany. Or maybe it's the record label that is from there, Contraszt Records. I don't know. I guess I'll have to check that that shit out sometime.

But this is some bad ass D-Beat Punk.

Something that will take you back to the day when you first started getting into the whole underground thing. Unlike me where I started out with some Motley Crue and Def Leppard and just ran from there when I was 7.

HAH! Anyway....Some really decent punk.

If you're sick of all the shit that I've been reviewing over the past year. This is something refreshing. Something more up beat. Really worth a listen if you get around to it and you're into the whole punk thing.

I can't really find any info on the band so you may have to dig around and see what you can find. All I can say is go to their Bandcamp page and order a record.

€9 will get you a copy of this bad boy.

So go look it up and buy one.!

“Satori Junk” SYCHODELIC STONER DOOM SPACE JAM!!!

Well not entirely. But that's what I thought of when I first heard it. They have some samples at the beginnings of some of their songs that cracked me up.

But yeah, it pretty much is some stoner doom side of things. Stoner doom with some funny samples that make you want to boogy!

If you're into the whole stoner doom thing I'd recommend looking this one up, if you haven't yet. It's kind of cool and kind of catchy. It kind of caught my interest. And I'm not even really into the whole psychedelic/ stoner side of doom. But still it's worth checking out and giving a listen.

"Monsters" is one of the tracks that stands out to me. The intro to "Shamaniac" is what stood out to me the most. Fucking killer intro on that one.

You can find this little monster on CD from Taxi Driver Records for €10.

So go look it up and buy one!

Now pass me the bong.

66 REVIEWS

“Sator”

“Disintigration”

Holy fucking raging MONSTEROUS slab of sludge!!! Fucking shit, this is right up where I like things with my music. Big, heavy, and nasty riffs and vocals. Damn this is some good shit right here.

Okay, I know I said the Sator release was possibly one of the best releases that I've heard so far this year. I lied.

So while trying to find more info on the Satori Junk album, I came across this MONTEROUS sludge release. I remember Taxi Driver Records posting something about it on Facebook. But me being me, I forgot about it and yeah...

Doom versions of The Cure Disintegration?

But then I saw it while looking up info and I thought to myself, "I should check this out.“ So I did and now here I am writing about it.

If you can't tell by the beginning sentences. This is a sludge release. One of the most bad ass releases that I've heard so far this year. Right off from the opening track it grabbed me by the balls and told me that it's taking me for a ride.

If you live or die, that part is up to you! Just kidding, not really. But it was seriously that monsterous of a sound that it might as well have said and done that.

This would definitely be a buy of the year if you're into the whole doom/ sludge world and you don't know about this yet. It's well worth looking up.

There aren't any CD's available. But there is going to be a vinyl release in April on Taxi Driver Records. So keep an eye out for that.

There is also a cassette available on the band's bandcamp page. But it was limited to 66 copies though, so I don't know if it's still available or not. Either way, go look it up and buy something.

Both Taxi Driver Records and Sator's bandcamp pages have it priced for €8.

THIS ONE IS!!!

Well, just four songs: Plainbong

Doseclown Fashination Trip Retitled If you're familiar with the album, you'll know which songs those are. Oh fuck, I'm swoonining and getting weak in the knees!

This is the best things I've heard in years!

And I was beaten to it at doing this! I wanted to do a bunch of The Cure covers, particularly "Disintegration" at some point in a doom format. Not that I ever would because I'm too much of a lazy ass to do cool things like this. But I still wanted to.

Anyway, this is a release that is DEFINITELY not to be missed. Fucking coolest thing ever! I don't even know what else to say about it. There is nothing else to say about it.

I'm a huge fan of The Cure's Disintegration album, I love doom metal.

PERFECT combination right here!

So go to Taxi Driver Records, buy an orange splatter or just plain orange 10".

Both available for 15,00€ each and you'll be set.

“Split” Not too long ago I was assigned the task of writing a review for this latest release from Nomadic Rituals and Tomes.

It's a split 2 song album, which isn't bad. I don't mind writing about just two songs. That is A-O-K with me! In fact I was actually looking forward to this one.

So lets get started with this shall we?

I came across Nomadic Rituals' "Holy Giants" release late last year. I was kind of blown away and intrigued by it.

Crushing and devastating, something to fuel the end of days of the world.

The song they have for this release isn't much different than what you would hear on the "Holy Giants" album. Fucking crushing and devastating goodness. There isn't much let up in the devastation until about 5 minutes to the end of the song. They let go of the crushing devastation and completely destroy you.

Trust me, this song will leave you crushed under the opressive masses of Terminators as they're stomping on skulls (Just like in the movie) and bulldozing right over you. You will be crushed. You will be destroyed. And you will enjoy every 14:14 minute of it.

Now the Tomes side. This one has me a rockin' and a groovin' the whole way.

Well not really, that just seemed like a dumb ass thing to say.

This is the side that really caught my attention though. Just a consistent steady beat. Very little variation which I really liked. 11:03 minutes of them just crushing everything as they march on and stomp on everything that gets in their path.

This is an album that has got to be listened to! Especially if you like your doom relentless and not for the faint of heart.

No happy stoner moments here. Track it down and BUY IT! I'm not exactly sure where to find it though. I do know you can order a copy via Nomadic Rituals Bandcamp page.

There is digital and self produced 12" vinyl for it. You can get the vinyl for £10.

66 REVIEWS

“See The Light Beyond The Spiral” Taxi Driver Records has had a busy year so far this year. 4 releases since January, this being one of them. All of those releases being fucking awesome/ amazing albums. But this one isn't on the doom side, like the other three were.

This one is different.

More on the hardcore side of things. But kind of sludgy vibe with Slayer's "Searsons in the Abyss" feel to it in some ways. Or at least that's what I get from it. Everyone gets a different feeling from different albums. But that was the first thing I thought of when I first heard it. Mostly just different guitar tones used through out this album kind of gives it that "Seasons In The Abyss" feel to me.

It's kind of in ways completely different than a lot of the stuff I've been listening to lately. It's hard to put your finger on it. But it completely stands on it's own. All I know is that I like it. It's a brilliant release. Done fucking amazingly and on a completely different level than what I'm used to.

Which is a good thing.

You'll probably get a completely different feeling from it than I did.

Which could also be a good thing. I'm sure a lot of the reviews that have already been written about this album are completely different than this one.

So go look it up, check it out and see what you think of it. Looking up music is rarely ever a waste of time. If it turns out to be something you like.

You can buy a CD from Taxi Driver Records for 10,00€. So give it a listen.

Feel free to let us know what you think of it.

“Demo” A little while back these guys were looking for people to write a review of their demo. I volunteered and tried to get this in Archiv Hate Issue #12. But I was a lazy ass about it.

You know how that goes right? RIGHT! Anyway, anyone remember back in the 90's when hardcore was all about the more upbeat punk parts then mid-way through the song....THE BREAKDOWN!?

Yeah this is basically following that same pattern. Not bad stuff. But there is also a lot of room for growth. Since this is just a demo though, I'll cut them some slack.

I've heard some people call this BroCore. But no, just some hardcore, the way I remember it back when I was in high school back in the 90's.

Look them up, check them out.

I'd really like to see where they go with things in the future.

“As The Dark Clouds Swept Away We Could See The Sunset�

It's kind of amazing at times to watch a band grow and change as the months and eventually years go by.

I barely remember when I reviewed the first Merdarahta release I think a year and a half ago. I could already tell the band was heading somewhere interesting.

Something other than just being a drone project.

This time around they occupied Melanie Mongeon's time. Who is also involved with Fuck The Facts as well as busy with her own artistic projects and daily essential routines.

This album is a release of pure and totally refined beauty. I was listening to it earlier today and all I could think.

Take some moments of Converge.

Take some moments of Isis.

Take some Fuck The Facts (Mel's vocal brilliance).

As well as a fuck-ton of Topan Das.

Sorry if I ignored anyone else's in the band contributions. And there you have a release that essentially goes back to the hardcore and I guess post-hardcore days of the late 90's and early/ mid 2000.

Kind of where I left off with that scene I suppose. It's a stunning album, one that you would be a fool to bi-pass.

The song that really stuck out to me was "Poverty Will Spread". I don't know why and I don't know how to describe why. But by the time I got midway through that song I was hooked on this WHOLE album.

It is essentially a masterpiece to my ears. But that could just be me. Look it up and check it out.

I'm not entirely sure what record labels have copies of it.

I'm guessing it's the usual Mel Mongeon and Topan Das DIY ethic of doing things like they have for so long.

But look it up!

You will find it on Bandcamp with ordering info, prices and everything, Cheers!

66 REVIEWS

“Idle Stones” So I came across this one the other day at random. It just kind of popped up in my Facebook news feed thingy. I wasn't sure if I wanted to check it out or not.

But I clicked on the link to see what it was all about. I only did that though because the picture on it looked kind of interesting.

This is something that is completely worth looking up and checking out. Shit even buying a copy of it from Svart Records also. It's available on both vinyl and CD.

It kind of said, "HEY LOOK AT ME! LIKE ME!!"

So go the the Svart Records Releases section on their website and order yourself a copy.

YOU'LL

So I decided to, got reading around on the page, then I noticed that it is released on Svart Records. Svart Records is usually always releasing something cool and interesting. And then I hit "Play" on the streaming button.

The first couple minutes of it, I wasn't really sure what to think of it.

Psychedelic stuff really isn't much of my thing. But as I got listening to it more, I was eerily enchanted by it. Further listening to it, I was hooked on it.

Then by the time I got half way through the last track. (The Sleeper including Being Is More Than Life) I was blown away and amazed by it. It's an enchantment of haunting eerie beauty that takes you on a voyage of the forests of your mind that leaves you in the red rock deserts of Southern Utah somewhere around Zion National Park and the Navajo Reservation by the end. Or well at least it did with me.

Quite possibly one of the best songs I've heard in a while. If you like psychedelic stuff from Finland and you haven't heard Garden Of Worm yet. You might want to check this out.

The CD will cost you 14,00€ The LP will cost you 16,00€

“From Nothing Comes Everything” What the fuck is there to say about this?

At the beginning of 2013 or late 2012, before I started writing for Archiv Hate.

Arturs put their demo out there to check out.

And I did..

Now I could go off on some rant about the creation of space and time concerning this album. But I'm guessing some of us understand that us humans are carbon based made from hydrogen. At least on a molecular level anyway.

BUT ANYWAY!!!

Ever since I check these ladies and gentlemen out. I've been hooked! Take all the doomier downtempo parts of hardcore (IE Converge) out there and throw them into a bubbling boiling stew.

Now let simmer for a good hour..

Add a small few moments of the up beat parts of hardcore. Throw in a little bit of lime for just because.

Now through in some jalapeno/ serrano peppers just for some "zing!“ And you have yourself a tasty little treat of some of the most bad ass doomcore chilli available to man.

The playing of the riffs add all the beans and what ever else you like to add to you chilli. (Taking into account as to if you're veggie or vegan or not).

All in all, until I find something else, this is going to be one of the most devastating releases of 2015.

Arturs, be sure to add this to my best of list in case I forget.. (bro, it’s already there!).

You can find this behemoth of a release via Head of Crom Records.

There are rumours of a cassette and CD release coming out in coming future. But in the meantime order a 12" record from Head of Crom for: £12 GBP England £15 GBP Europa or £18 GBP world Order a copy!

66 REVIEWS

TOP ALBUMS OF 2014

ALASKAN - DESPAIR, EROSION, LOSS BASTARD SAPLING - INSTINCT IS FOREVER BEREFT - LOST AGES BIRD EATER - DEAD MOTHERS MAKE THE SUN SET COFFINWORM - IV.I.VIII CULT LEADER - NOTHING FOR US HERE THE GREAT OLD ONES - TEKELI-LI GRIDLINK - LONGHENA HEXIS / PRIMITIVE MAN - 10” SPLIT HUSH - UNEXIST IMPLORE - BLACK KNEEL MUTILATION RITES - HARBINGER SONANCE - BLACKFLOWER TEMPEL - ON THE STEPS OF THE TEMPLE TORCHRUNNER - ENDLESS NOTHING TRAP THEM - BLISSFUCKER WOODS OF DESOLATION - AS THE STARS YELLOW EYES - STILLICIDE YOB - CLEARING THE PATH TO ASCEND YOUNG WIDOWS - EASY PAIN SELF DEFENSE FAMILY - TRY ME SELF DEFENSE FAMILY - INDOOR WIND CHIMES B/W COTTAGING TRYER - KUKKIA KAAMOKSESTA RAVAGE RITUAL - SOUL EATER THE AUSTERITY PROGRAM - BEYOND CALCULATION A PREGNANT LIGHT - BEFORE I CAME WHITE LUNG - DEEP FANTASY SWANS - TO BE KIND ANCST - IN TURMOIL BOG OAK - A TREATISE ON RESURRECTION AND AFTERLIFE BONGRIPPER – MISERABLE CASKETS OPEN - TO SERVE THE COLLAPSE GRAVES AT SEA, SOURVEIN - SPLIT LORDS OF VENUS - VOL. 1 MONOLORD - EMPRESS RISING SATANIC WARMASTER – FIMBULWINTER WOLVHAMMER - CRAWLING INTO BLACK SUN VANHELGD - RELICS OF SULFER ANAGNORISIS - BEYOND ALL LIGHT BLAND VARGAR - PERPETUAL RETURN WARGROUND - CRUCIFIXION MYRKUR - SELF TITLED WARGRINDER / ICONOCLAST CONTRA - ADVANCING INTO CEASELESS VICTORY VAINAJA - KADOTETUT DYING SUN - TRANSCENDENCE LARVAE LARVAE - GRAVE DESCENT GOT NO SOUL - SELF TITLED MAMMOTH STORM - RITES OF ASCENTION EIRÐ - A SILENT SPIRIT'S AFTERMATH GALG - MONOCHROOM SUN WORSHIP/UNRU - SPLIT SUN WORSHIP - ELDER GIANTS HEXIS - ABALAM TACIT FURY - A SOCIAL BERSERKER RELIC POINT - VIXI NOÛS - ἈΗΔΉΣ KIMI KÄRKI - THE BONE OF MY BONES MOPE - SELF - TITLED DEAD BODY COLLECTION & J ADOLPHE - DEAP INTO THE HALLS TOPON DAS - ALL SPLITS, ALL RELEASES, OTHER PROJECTS, EVERYTHING HELVETICA - FIN PANOPTICON - ROADS TO THE NORTH PANTHEON I - FROM THE ABYSS THEY RISE BARABBAS - MES POUR UN CHEIN THE ATLAS MOTH - THE OLD BELIEVER VILKACIS - THE FEVER OF WAR ODOTA - FEVER MARSHAL THOU – HEATHEN LORD MANTIS - DEATH MASK DOWNFALL OF GAIA - AEON UNVEILS THE THRONES OF DECAY INDIAN - FROM ALL PURITY FUNERARY - STARLESS AEON

W W W . F

W W W . A R C H I V H A T E . C O M A C E B O O K . C O M / A R C H I V

. H

A

T

E