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It is with much honor that I present to you the first issue of Forbidden Magazine!
Originally intended to be a compilation with a short downloadable info sheet, I decided to take it all the way and make a real zine. I had grown frustrated with my previous writing position and decided to start my own magazine, for better or worse. Being that most of the content and layout of Issue Zero was put together in under two months I am very proud of the finished product. I will admit I have much to learn. My theory for success, in any endeavor, is to simply always make the most out of your resources. I relearned word processing and photo software, reconnected with labels, artists, contributors and fans, listened to a massive amount of music and did my best to overwhelm myself for your benefit! There aren’t any established rules or guidelines pertaining to what you will find in future issues of Forbidden Magazine. I didn’t want a ‘black metal only’ zine, or anything of that nature. The only general rule is that if the music doesn’t suck and kicks my ass, it will be supported by Forbidden Magazine. Oh, and no weak ass bullshit…no pussy nu metal nonsense…if you have to ask…fuck off! Thanks to the bands, first and foremost. The labels who support them, hails! The zines, the PR gurus and the fans who still buy music, all the people who have helped make this a reality…my blackest regards to all of you! The moment of truth has arrived! With your help, Forbidden Magazine will be a printed quarterly zine of no less than 48 pages and include a compilation CD with every fucking issue. I need contributors and I need advertisers. My rates are negotiable and trades are welcome. I will never charge a band or label to be interviewed, reviewed or to appear on the compilation. That is worse than the rip off record labels who want to collect money from an artist to release their songs…fuck off! If you want to contribute interviews, reviews or have a great idea for a column, get in touch! I am very interested in hearing from everyone who makes the underground strong. My goal as a leader is to create more leaders, not more followers. Working together is what makes the underground such a great place to be! Be sure to check out Forbidden Magazine online as there will be reviews and interviews posted all the time!
-Sleepwalker February 2010
officialforbiddenmagazine@gmail.com III
Staff Editor and Publisher Sleepwalker officialforbiddenmagazine@gmail.com Senior Writer Nate of the Living Dead brainvaultillustration@gmail.com Staff Writers Brianos Kellicos John Larsen occultblackmetalzine.blogspot.com Marty the Devilman www.myspace.com/sunhatingcult
Advertising Rates are flexible And Space is limited! Trades are welcome! Bulk Discounts are available! Get in touch to discuss your project! Full Page 40 USD Half Page 35 USD Quarter Page 20 USD Inside Front Cover (Full Page) 45 USD Back Cover (Full Page) 50 USD
CONTENTS Deaditorial - III Rotting Christ - VI Forbidden Compilation - X Pcyst - XI Gravespawn - XIV Judgments - XVI Live Shows -XXII Negura Bunget - XXIV Skitliv - XXX Spellcraft - XXXIII Episode 13 - XXXVI Abscess - XXXVIII Yhdarl - XLIII Resurrections - XLVI
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otting Christ is one of the few extreme metal acts to remain relevant for over 20 years and 130 released songs scattered amongst the extreme genres of black to melodic-death; from goth to grind. Since 2007’s highly acclaimed ‘Theogonia’, mastermind Sakis Tolis has orchestrated his Magnum Opus and is ready to unveil his creation… VI
‘Aealo’ is the title of your new album out in February…please tell me in your own words what the title means and why you chose the name for your album…I assume it is a Greek word?
I understand that since signing with Season of Mist, you have been doing everything yourself in regards to production, recording and even mastering? I grew up in the real underground era back in late 80’s and early 90’s and as you can guess DO IT YOURSELF has been my favorite motto. So I do enjoy more doing everything by myself and I guess I am fairer to the people that are into my music. Ok I can’t tell that I am the best producer but definitely express each of my artistic anxiety as I really want and not as a producer wants. There are really good producers out there but very few wants the best for you…We care more for our bands and this is totally logical. So with all our recent releases you hear a 100% ROTTING CHRIST album.
AEALO...The transfer of the ancient Greek word ΕΑΛΩ into Latin characters which means Thrash/catastrophe/destruction/The Fallen and has to do with the musical and lyrical concept of the album. Aealo will be the feeling after listening to our album. How long was the songwriting process for Aealo? How long was the production/recording process? It is common knowledge that a very good album can hardly be surpassed…so that filled me with stress and I do not hide from you a little touch of insecurity! As an artist I had to surpass my abilities. So I took really seriously the composing process and I isolated for more than a year in order to find out a way for unexplored paths in my soul. I worked different this time. I was based more on the thoughts and less on playing guitar. I philosophized a lot, I slept a little and I finally came up with AEALO. An album that I want to believe that will bring the band a step up and considering the first feedback I think that we did managed to create a worthy and maybe even better, follow up to Theogonia. Concerning the recordings now, we moved to the glorious mountain Olympus…the mountain of Gods, in order to get the inspiration we were really seeking for the recordings. This is where the studio Lunatech is located and spending almost 4 months there and having a continual spiritual touch I think that we expressed our feelings as we really wished.
The album will be available in four different packages including DLP and ‘Shield’ Box Set! Please tell the fans what is on the DVD bonus and about this killer looking box set… Season of Mist does its best in order to release this album in killer editions so that it makes sense for someone to spend their precious money. We are really satisfied with the special editions of the AEALO (including of course vinyl). Check it out. Concerning the bonus DVD it includes our appearance in WITH FULL FORCE festival + making of the album. In my opinion it makes sense to check it out. Are the multiple release versions of ‘Aealo’ a way to combat piracy or digital sales? Does Rotting Christ oppose things like iTunes or is it most important that the music is heard in whatever format?
What can fans expect of the new album?
Albums sales are going more and more down…so down that I have the feeling that they will not exist in the forthcoming future. As a band after the first shock we had to turn more and more to the idea of downloading as long as the quality is good enough and accompanied with the
The most Metal, the most soulful and the most ethnic ROTTING CHRIST output ever.
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artwork. Ok nothing to do with the way we used to listen music nothing to do with the relationship of love we had with our favorite albums but at least your music now could be listened all around the globe and especially from poor people that never had the ability to buy our albums officially. This is our goal for us. Our music is to be heard in every corner of this planet. Now if we have lost an important income…ok we can work more in different ways so we can also live.
release and it had a fair reaction from our fans. We are also fans and we know bro….It includes too many things so someone that wants to have the sum of ROTTING CHRIST’s history NON SERVIAM - 20 YEARS OF APOCRYPHAL is the right release! Rotting Christ will be headlining a tour of Poland beginning in April…is that one of your favorite places to play?
Tell me a little about the theme of ‘Aealo’. Did you have a specific goal or a story you wanted to tell when it was time to begin writing?
Poland has always been one of our favorite places to perform. These guys have been keeping the flame since the early days and there is always great performing there.
Aealo refers to the feelings of a warrior during a battle. Weird feelings, strange feelings, feelings like the feeling of anger, the feeling of fear, the feeling of grief and so many other vibrations that can a warrior have during a battle. Listening to the album you will feel that you are in the middle of a battle field and you are fighting against your feelings. No, it is not a warlike album…I think the opposite. When you end up listening to it you feel relieved you will feel like you escaped from the trials that only a war can create! This is what I wanted to express when I started up writing this album.
Immediately after Poland, Rotting Christ is supporting Bolt Thrower for 17 dates across Europe…will you be including any of your early material in the set list as a special occasion of two ‘grindcore’ pioneers sharing a stage? We always includes our early stuff in our set lists and especially now that we will play with the fathers of Death metal…really anxious for that. With such an extensive discography, how does Rotting Christ determine set lists?
‘Non-Serviam’ was released last year, a DVD. Is that a history of the band, concert footage, etc.???
This is a nightmare bro...it is a nightmare to choose something like 10 songs between more than 130 songs we have released. It is a real pain and I am sure that someone will be disappointed but we have a few “casualties” because we do include as many songs as possible from all of our history as a band.
Yes we did create a release like NON SERVIAM - 20 YEARS OF APOCRYPHAL STORY last year in order to celebrate the 20 years of our existance. This release included 2 DVD’s and 2 CD’s at a very low price. It is a fixed band request to have low prices faithfull to our underground roots and I want to believe that with that release we managed to compact a great part of our story as a band in one
What is the hardest part of being in Rotting Christ? You seem like a very hard working and busy
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individual! Are there things that you just don’t like doing? There is a song on ‘Aealo’ called ‘Thou Art Lord’, referring to another project of yours?
I hate deadlines! My life has became a long deadline and I really hate this cause this is the metal way of life I have known…Ok things have changed since then but is it worth it?
No!!!!!!! It has to do with the war religions that still goes on nowadays...They fight for their lord. Thou Art Lord...You are our lord...When I end up with the composing of this song i thought that a clear voice could lift up the whole atmosphere of the song so i called my brother Alan from Primordial to give a hand. Concerning now Thou Art Lord is currently inactive due to the heavy program that me and Magus from Necromantia have with our bands. As long as we find some free time we will go ahead with something new cause playing with Thou Art Lord I swear is one of the most enjoyable things. No stress and deadlines here...Just Rock N Roll...
Rotting Christ music has evolved over the years but has always maintained a certain level of capable musicianship. Tell me how you stay inspired, keep your chops up and continue to be creative! I am doing my voodoo…Being a productive composer is one of my goals so I pay attention a lot in the composing process and the artistic way of living. I try to keep myself trippy contrary to the faceless era we are currently living in. I try to keep my mind in another place and I am always exploring some hidden paths of my soul in order to see if there is something to tell. It is hard but till now it works and as long as it works I will keep on creating. If I will ever wake up and realize that I have nothing more to say then I will definitely quit.
Do you have any other active projects? How do you make time for all of your projects and why do you have so many?
Your signature Grosmann Guitar is vicious looking, the Grosmann Sakis V! How did that come about, how involved were you in the guitars design and how does it play?!
No I haven’t and wish I could find some time to express and some other artistic anxieties I do have …really I wish for that. You will be surprised from what you are going to listen. So I hope to find out some time.
It is ROTTING CHRIST design made off really good material and I am sure that you will enjoy playing with this piece of wood…It sounds really Metal! Feel free to contact Grossman guitars in order to ask for more.
Will you be supporting ‘Aealo’ with a tour of America? A worldwide tour without passing from your land cannot be called a worldwide tour. So we hit the road right after the release of AEALO and we will definitely pass from your land that we really enjoy and this is not just a compliment. American audiences seem to have a turn to the more underground and that is great!!! Looking forward to be there. Last Words? Keep the flame burning…and always…HORNS UP! SAKIS on behalf of ROTTING CHRIST
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Forbidden Magazine Issue Zero Compilation Trac k
Artist
Song
Origin
Album
1.
Deiphago
Christ Eater
Philippin es
2.
Spellcraft
Crossing the Seventh Gate
Spain
3.
Artisian
Orion
United Kingdom
Filipino Antichrist Stripe Obscura The Cave Sessions
Going Blind
U.S.A.
the Outsider
www.atransylvanianfuneral.com
4.
A Transylvanian Funeral
Contact www.deiphago.com sadixmo.com/spellcraft www.artisian.co.nr
5.
Dei Tetra
The Beheading Ceremonial
Thailand
In Nomine Dei Nostri Satanas
www.myspace.com/deitetraband
6.
Gravespawn
The Exalted Tyranny
U.S.A.
Praetorian Maleficus
www.gravespawn.com
7.
Immolith
Raise the Dead (Bathory)
U.S.A.
Unreleased
www.immolith.net
8.
Episode 13
Pitch Black
Turkey
Pitch Black
www.episode-13.com
9.
Moloch
Ljosalfaheimr
Ukraine
A Journey to the Vyrdin
10. 11. 12.
Negura Bunget
Maiestrit
Pcyst
Anthroclysm
U.S.A.
Pestilent Grave
Virtuous Self Multilation
United Kingdom
Your Tears Will Bring Flies Esoteric Blasphemy
Abyss
Ukraine
Abyss
Nechronicles 1916
Spain
Nechronicles 1916
Belgium
Forbidden Magazine Exclusive
13.
Saturn Form Essence
14.
Temple Abattoir
15.
A-vint In Abis Romania
Yhdarl
Hurt (Nine Inch Nails)
www.myspace.com/molochukr www.negurabunget.com www.myspace.com/pcyst1111 www.myspace.com/pestilantgrave www.myspace.com/ saturnformessence templeabattoir.freeconfigbox.com
www.myspace.com/yhdarl
Tell me about OWMG Productions… Ah yes, OWMG is officially the production company I created about 2 months ago. It was formally known as PCYST Studio but I wanted to go further with not just PCYST but with trying to help other bands get heard and help with distribution. Mainly a large amount of marketing. It is a lot more difficult than I had expected as I have a lot of bands getting in touch asking to help with distro, etc. There is only so much one man can do and half the time I have to turn down offers because I am so damn busy. Tell me why Pcyst is a solo project…it did not start that way did it?
Does working in someone else’s studio make the recording process easier for you or more difficult?
I never intended for PCYST to be a solo project. It sort of happened that way unfortunately. Back about 12-13 years ago when it started it never actually was intended for it to be anything more than a noise industrial side project since I was working with a more serious project at that time. Unfortunately it is quite difficult to find people willing to work on a project such as PCYST.
Honestly it is pretty much the same. I prefer to work in my own studio simply for the solitude but with my other band, Midnight Sunrise, we work in another studio. I suppose as long as the recording comes out sounding good I am happy working in another studio. Tell me about your new album…’Your Tears Will Bring Flies’?
Pcyst has a lot of material released in the last 5 years…how do manage to be so prolific?
“Your Tears Will Bring Flies” was originally intended to be released through my other now dead project, Open Wide My Gates, and the album itself was going to be much different than how this came out. “Tears” is quite a different album for PCYST as it is incredibly progressive with every song being a whole other entity all to itself. It also has a prominent amount of clean vocals opposed to my normal screaming or death growls. Honestly, I think it is the best work I have ever written. I just don’t know what audiences are
I never thought of it that way. Well, when I decided to resurrect PCYST in 2005 I never thought it would have turned into what it has. It started with a 6 track demo and I just got hooked on writing material. I also had been in hybernation from the world as I was going through some major drug problems at the time and really needed to be alone. Writing music was really a good way to keep focused. It ended up being downright addictive. I have calmed down quite a bit as I am almost exclusively playing keys for another band.
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going to think since it is a big change from my last album.
were really struggling at the time and Dark J was the one that made the decision to have it released for free and online. I went along with it since I just wanted to get it out and heard. It is not my personal best work but it was a lot of fun working with Wolf from Funeral Dust. Personally, I thought the Frozen Mist material was far superior.
Did you have a certain goal in mind when you began work on the album? Not specifically. I had started writing material for it about a year or so ago and the material was for a split release. That never came to fruition and the material (which was only 4 tracks at the time) just sat around. I decided one day to sit and really listen to the material and really liked two of the tracks as they didn’t sound like anything else that I had recorded. I removed the other two tracks and started writing material. By the time I had written about 3 more tracks I new this was going to be something totally different and just kept on going.
Pcyst is very keyboard intensive…how do you approach song writing? Well, I started playing piano many years ago and started getting interested in messing around with keyboards in the mid 90’s. Around that time I formed a band called 11:11 which was very much industrial with a heavy amount of keys and synths. At the same time I formed Polinoidal Cyst (PCYST for short) and that was even more inventive with noise and keys. I believe at one point there was 5 members with all of us playing at least 3 instruments at a time. I suppose it just started from there. Recently, like with the new album, I tried
What format will you be releasing ‘Your Tears Will Bring Flies’ on? It will be quite professionally released. The CD will be pressed with a full insert with bizarre imagery. It should be my best looking release thus far. Where can fans get ‘Your Tears Will Bring Flies’?
focusing a little more on guitar. Not a great deal but you can tell a big
They initially will be able to order them from the OWMG website. In the long run I am currently looking for a good distributor as distribution can be quite difficult and advertising on myspace or facebook just doesn’t work anymore in my opinion.
difference. My music will always be heavy with the keys though. That is just what PCYST is. What influences you? Books, movies, other music…?
What prompted you to distribute some of your music for free? Namely, ‘The Blasphemy Initiation’, the split with Frozen Mist.
I like to think that I influence myself. It sounds arrogant but it’s true. But if I had to pick influences it would certainly be bands such as Limbonic Art or Mystic Circle (old Mystic Circle).
That was not my decision. That was going to be a really great looking/sounding release. The problem there was budget issues at the time. Both of us (Dark J from Frozen Mist)
What can you tell me about your lyrical content?
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It’s out there. Sometimes I don’t even write lyrics. I just get on the microphone and totally improv the lyrics. But when I do write lyrics they are dark and intense. I really find it hard to describe them other than saying that they are from the depths of my mind and are true and not fake bullshit like some other bands. How has the sound of Pcyst evolved over the years? As specifically PCYST the music has taken some liberties. The EP “Kingdom Misery” is pretty much a tribute to symphonic black metal/thrash. But by the time I released my first album “BloodThrone” the sound was taking a sort of change as it mixed black metal and industrial. I didn’t like the outcome at all. So I decided to continue progressing with PCYST. It has gotten to the point now that I purposely have a different strong sound for every release. What bands influence you? Do you listen to extreme music exclusively? Well, I stated earlier that Limbonic Art and Mystic Circle were some influences. But no, I don’t exclusively listen to extreme music. Actually, I really love Black Metal but I find myself getting more and more into mood music. Doom and Folk Metal is actually some of my all time favorite music to listen to. Empyrium’s Weiland is actually my favorite album. What does the next five years hold for Pcyst? Shit if I know! Haha… Actually, I hope to continue work with PCYST as long as time permits it. Or until people lose interest all together. We shall see. Last Words? Thanks for the interview and the interest in this project. And to my fans, I hope that I don’t disappoint you with this next album. If I do though, oh fucking well.
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Did Gravespawn produce the album or was someone else brought in to guide the album in a certain direction? We produced it ourselves and will continue to do so in the future. This is our music and only we have the authority to guide it in whatever direction we choose. What about live performance? How often does Gravespawn destroy their followers? Last year we played more shows than we feel were necessary. We want to try and cut it down to playing maybe four shows a year. We don’t want to overdo it causing the audience to lose interest. Gravespawn released ‘Praetorian Maleficus’ last year…is that correct?
Gravespawn has shared the stage with some notable black metal masters, is that correct?
Yes, we released it in August 09. Our first show was opening for Horna and Bloodstained Dusk. It was an honor for me personally to be sharing the stage with Bloodstained Dusk who have been one of my favorite American black metal bands for some time now.
What kind of response have you received? So far, nothing but positive. We often get comments from people about how the cd hasn’t left their player or how this or that riff is stuck in their heads. We get a lot of compliments on the drums and vocals which pleases me considering the two previous Gravespawn demos used a drum machine and I personally hate my vocals on the old recordings, hahaha.
‘Praetorian Maleficus’ was self-released? Have you had any offers from labels? Not yet, we’ll see what happens when the full length is released I guess.
‘Praetorian Maleficus’ had a clean production that was still very aggressive… were the previous releases as well produced?
What do you think of USBM…does it get a bad name for no reason?
Not at all. They were all home recordings. The first Gravespawn demo was actually nothing more than my own side project that I recorded myself as a way of familiarizing myself with recording software. Praetorian Maleficus was a huge step forward for us, but it wasn’t so great that it doesn’t leave room for us to evolve and put out better recordings in the future. We honestly feel that if we were completely satisfied with an album, there wouldn’t be much of a point to continue releasing anymore.
The whole “true kult black metal” ideology gives USBM a bad name, which as far as I’m concerned is no less trendy than the mainstream they claim to hate so much. Bands feel obligated to pay tribute and live up to the standards of bands like Mayhem and Darkthrone that they create cheap and generic ripoff albums in hopes of continuing what the Norwegians were doing years ago then shoot their mouths off about how everyone, except themselves of course, is a “false poser”. The rest of the world sees this and believes that American Black Metal bands are all just a bunch of fucking tools with no true identity of their own. Of course, the really good USBM bands out there who put
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out decent shit worth listening to don’t get the attention they deserve because of a few retarded douche bags.
What bands does Gravespawn consider their allies and their equals? Too many to count. Our closest allies are the ones we share the stage and drink with though. Neckrium, Conjuror, Gravehill, Mictlantechutli, Sothis, and Ritual Combat to name a few. Does Gravespawn have a specific ideology or philosophy that can be named? That’s kind of a hard question to answer considering there are five different musicians in Gravespawn with five different opinions. One could lean more towards the traditional Satanic ideology, or another could lean more towards a straight forward anti religious ideology. Or myself for example, am more inspired by history, mythology, and ancient warfare. So lyrics I write would lean more towards that but with dark demonic themes incorporated into it.
How is the scene in Los Angeles…I hear that the Black Castle is closing…that is where you released ‘Praetorian Maleficus’…correct?
Is there new material in the works from Gravespawn? We’re currently in the process of busting our asses trying to write new material for the full length. This would be the first album written by the full present line up today. So of course there will be some things that are different from previous efforts but still retain a lot of the same atmosph ere I think.
Yes that is correct, the Black Castle where we released the demo, is closing down. Even the LA metal scene has to take a bite of the big shit sandwich that is the economy right now. Shows aren’t as packed as they used to be a few years ago. However, it certainly doesn’t stop us from playing them. The LA Black metal scene is huge. There are more bands here than I can count. LA has a long history of being one of the Thrash capitals of the world so its no surprise that Black Metal would become so popular here. What are some of the things that influence Gravespawn to write music? What inspires the lyrics?
What else does the future hold for Gravespawn?
Our inspiration could come from a number of different sources. Our goal is to take the more raw and violent style of black metal and the more epic melodic style and bring them together in the middle somewhere. We also bring in some thrash influence occasionally or even medieval folk and classical influence in some parts. As far as lyrics go, it depends greatly on the kind of song we’re writing. If we’re writing a violent hyperblasting song, we write violent and brutal lyrics for it. If we’re wrting an epic song, we write epic lyrics and so on.
The album. Last Words? Buy our cd, burn it, steal it, download it, I don’t give a rat’s ass. Just show it to your friends.
www.gravespawn.com XV
Judgments Skitliv Skandinavisk Misantropi Season of Mist Records Out Now! It was difficult for me to find something I didn’t like about ‘Skandinavisk Misantropi’. The numerous guest appearances on the album did little to dissuade its direction or vision. Dark, poetic, artistic and undeniably fucking twisted, Skitliv has released a work that flows seamlessly between doom, black and experimental metal music for over an hour. Skitliv’s founding member, frontman and creative visionary Maniac may be best known for his double stint as vocalist for the notorious Mayhem but is well on his way to making a name for himself with ‘Skandinavisk Misantropi’. Skitliv does without all the familiar black metal trapping of corpsepaint, blastbeats and Satanic imagery while retaining enough vile darkness and uneasy atmosphere to beg the question, ‘If this isn’t black metal, what is?’. Gaahl (God Seed, ex-Gorgoroth), David Tibet (Current 93, ex-Psychic TV), Kvarforth (Shining), Attila Csihar (Mayhem) and a few others each spill their blood to make ‘Skandinavisk Misantropi’ and strong piece of creative madness. Raging from somber clean pieces, epic doom marches, experimental vocal passages and the ten minute psychedelic album closer ‘ScumDrug’, ‘Skandinavisk Misantropi’ offers something for everyone who has the intelligence to comprehend it and the balls to admit enjoying it. Without all the ‘trve’ or ‘kvlt’ nonsense holding Skitliv back, most low brow metal heads will find this album a little too ‘artsy’ to be considered black metal. It is an intelligent album that requires some patience and an open mind. Skitliv went for the path less traveled…instead of reaching for a blastbeat every other 8 bars or so, ‘Skandinavisk Misantropi’ uses time to build a mood and works subtle subliminal sounds in and out to fuck with your mind and keep you hypnotized. This all encompassing album is a dark dream that all should experience! Cold Spring Records is releasing a limited pressing of 777 Picture Disc called ‘Bloodletting’ that includes three songs/remixes of tracks from ‘Skandinavisk Misantropi’ on February 22, 2010. Track Listing I. II. III. IV. V. VI. VII. VIII.
Luciferon (Intro) Slow Pain Coming Hollow Devotion Skandinavisk Misantropi Toward the Shores of Loss (Vulture Face Kain) A Valley Below Densetsu ScumDrug XVI
Perversor Demon Metal Hells Headbangers Chile thrash masters Perversor take classic German speed and mix it with South American hatred in their newest attack, ‘Demon Metal’, due out March 1st 2010 on Hell’s Headbanger’s Records. This 5 track EP doesn’t cease for a moment…no breakdowns or bullshit solos…’Demon Metal’ rips you in half in under 20 minutes. Perversor do an excellent job of pissing on whatever ‘thrash revival’ may be happening in other metal circles. This is extreme metal in the classic sense…aggressive blasting metal played tight as fuck. Released on CD and LP, ‘Demon Metal’ is filthy black thrash meant to destroy anything in its way.
Bestial Mockery Christcrushing Hammerchainsaw Hell’s Headbangers The resurrection of Bestial Mockery’s 2002 full length is a welcome addition to any black thrash collection. Available in CD, LP and new limited press Deluxe Picture Disc, ‘Christcrushing Hammerchainsaw’ is a violent, ugly and pissed off collection of 10 songs that do maximum damage in minimal time. New cover art by Chris Moyen displays a chainsaw wielding reaper walking amongst dismembered angels in a blood splattered throne room…perfect. This album never ceases to rip, blast and scream blasphemies in the name of Satan. Don’t be a pussy and get your copy right now!
Rimfrost Veraldar Nagli Season of Mist Sweden’s Rimfrost has just unveiled their newest release, ‘Veraldar Nagli’, a moody and aggressive album that is a natural progression for this black metal trio. ‘Veraldar Nagli’ offers clean production and thoughtful songwriting that keeps the listener enthralled for its duration. Comparatively speaking, ‘Veraldar Nagli’ may not be as aggressive, raw or intense as their previous efforts. In one word, I would call it intelligent. The clean guitar movements are flawless and fit well into the scope of the album. While previous releases may have showcased more aggressive musicianship, ‘Veraldar Nagli’ displays a strong sense of songwriting and vision.
Havohej Kembatinan Premaster Hell’s Headbangers The second full length from Profanatica main man Paul Ledney has arrived in the form of ‘Kembatinan Premaster’; a black noise fuck that gouges holes in the soul and empties your mind of all but darkness and delusion. With one prior full length (1993’s ‘Dethrone the Son of God’), Havohej has built a cult following and reputation for dark noise at its best. The blasting drum sound reminiscent of Profanatica is recognizable amidst swirling seas of noise, screams and minimal guitar and bass work. Havohej is not pop music, not approachable and not to be confused with something it is not. When I first heard it, I was hooked. The sound is minimal, primitive and at times, monotonous. The ever present drive of the drums varies little throughout ‘Kembatinan Premaster’ and reminds me of late 80’s Ministry albums with the 2/4 rhythm section being at the center of the songs. Having not heard previous material from Havohej I can only assume that this is the best effort yet as a handful of reviews I read dismissed previous releases as absolute noise that lacked in both direction and depth. I must say that ‘Kembatinan Premaster’ is compromised of raw subconscious energy and opens channels whose depths plunge further than most would care to explore.
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Deiphago Filipino Antichrist Hell’s Headbangers Records ‘Bestial’ is a fucking understatement… Deiphago established themselves in the 90’s with their raw and punishing demo tapes and are now back to destroy again with ‘Filipino Antichrist’. This release is 10 songs of tormenting destruction at its very best. No mercy is shown from these Philippine blasphemers. Creating the most unrelenting madness imaginable, Deiphago unleash attack after furious attack on ‘Filipino Antichrist’, including a cover of Sarcofago’s ‘Hate’. ‘Filipino Antichrist’ does not provoke thoughts of existential doubt or any other melancholy nonsense. This album sounds like your stereo, along with your skull, is being destroyed. Aside from the occasional sporadic guitar lead, guitar and bass riffs are nigh unintelligible, which kind of sucks but the overall outcome completely levels the battlefield. A few studio tricks enhance the already sick and vicious vocal vomiting and the drums rarely cease to gravity grind leaving you to ultimately realize that everything else you have ever heard is complete pussy bullshit. Put on a helmet and blast this record!
Imperium Dekadenz Procella Vodens Season of Mist Records Imperium Dekadenz has always had a penchant for melody and mood…the ability to say many things without using any words. ‘Procella Vodens’, the German duos third full length album is no exception. The album drifts on the night air and marches across miles of mysterious and dark terrain. ‘Procella Vodens’ is heavily laden with clean instrumental interludes; piano, acoustic guitar, female vocals, violins and even a ‘new age’ sounding track, ‘The Descent into Hades’. Only a few times does ‘Procella Vodens’ bring the standard Black Metal attack…the majority of what you hear is thought provoking and awe inspiring background music that reminds the listener of being beside the sea, upon the mountain or at home in the forest.
Negura Bunget Maiestrit Prophecy Productions/Lupus Lounge ‘Maiestrit’ is a ‘re-interpretation’ of the classic Negura Bunget album ‘Maiastru Sfetnic’ from 2000. Romanian for ‘Mastery’, ‘Maiestrit’ is an work of alarming depth and texture holding dominion over the dark realms realms of extreme and progressive black metal. The recording for ‘Maiestrit’ begun in 2007 just before Negura Bunget completely re-formed it’s lineup and was finished in 2009. The production is clean without being flashy and retains a very organic feel…the sound is extremely textured with the two guitars, voices, percussion and keyboards yet shows no signs of studio gimmicks or special effects. With several years of production, Negura Bunget accomplished what the albums namesake implies. Includes two bonus acoustic versions of the albums songs.
Gravespawn Praetorian Maleficus Self Released Review by Marty the Devilman Accquired at the Black Castle at the Gravespawn release show on 8-8-09, this new release is 5 tracks of pure anti-Christian war propaganda, so those readers of mine that know me can see why I like this band so much. My personal favorites are A Red Moon Rises Over Transylvania (Because I am lucky enough to have a video I shot of that song) and Satanic Terrorists Elite. (Reminds me of a friend) So storm your local metal record store and if they don't carry it, demand it in the name of the dark lord!
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Ihsahn After Candlelight Records Review by Nate of the Living Dead 'After', the new release by Ihsahn (formerly of Emperor), is quite possibly the most experimental work of his career. Unconventional song structures are present from start to finish, as are a few surprises, such as the psychotic splattering of saxophone featured in the record's third track (and definite highlight), "A Grave Inversed" and 10-minute journey of "Undercurrent". The presence of saxophone seems to tie all the parts together into one simultaneously beautiful and vicious monster. Vocally, 'After' runs the gauntlet from a polished clean style (opener "The Barren Lands") to a raw-throated harshness, found in tracks like the thrashy "Frozen Lakes on Mars". Meanwhile, the riffs spit a metallic venom hybrid of prog and black metal stylings alike. In the end, it seems that the only noticeable drawback in 'After's mission is the near absence of bass in an otherwise razor-sharp sound. Ihsahn's work has clearly gained ground in a new level and long-time fans should easily find something to sink their rabid teeth into here. Listeners new to his work could very well be just as intrigued by its moodiness and complexity. Thornspawn Consecration of Evil Flesh Self Released (1997) Review by Brianos Kellicos Thornspawn is a black metal band hailing from San Antonio, Texas. Many closed minded individuals would assume that South Texas is a very unlikely place for black metal to exist, but since 1995, Thornspawn has been proving that the true hatred and aggression of black metal lies not within the soil, but within the black hearts of the individuals executing it. This is the second demo from Thornspawn, and the first to feature drummer Blackthorn handling vocal duties. Production on this 6 track tape is a huge step up from the first demo, as is the song writing. The band’s style changed completely, and this new style is a foreshadowing of what would be later released by Thornspawn. This is where they developed the style they still use today. Blackthorn’s unique style of drumming began here, and it fits the simple, yet powerful guitar riffs very effectively. This release is filled with black metal style “blast beats”, sporadic, yet perfectly placed cymbal crashes, unrelenting guitar riffs, and satanic themed lyrics. This is not for the weak of heart or mind, but fans of Beherit, Blasphemy, and Necrovore will surely enjoy it. Blood of the Black Owl A Banishing Ritual (Into White) Bindrune Recordings Review by Nate of the Living Dead Blood of the Black Owl’s third full-length release, ‘A Banishing Ritual (Into White)’ through Bindrune Recordings, essentially spans the duration of a powerful 40+ minute epic. The record unleashes an emotionally-charged blend of ominous, doom-laden riffs and percussion along with plenty of eerie, ambient atmospherics. Vocals are minimal, present mostly in the last ¼ of the journey, and make a transition from a short spoken passage to gravel-throated screams. The message is driven home with experimental textures that bring to mind ‘Through Silver in Blood’-era Neurosis. All of these things make ‘A Banishing Ritual’, once again mastered by Mel Detmer (Earth, Wolves In The Throne Room), a very solid effort all around which comes highly recommended in this neck o’ the woods!
Enthroned Pentagrammaton Regain Records Enthroned have undergone enough line up changes that as of now, no original members remain. Their newest release, ‘Pentagrammaton’, is a strong album that bears little similarities of the early, classic sounds that established Enthroned as Belgium’s premier black masters. A well produced album of 10 songs, ‘Pentragrammaton’ starts fast and aggressive while slowly working it’s way toward slower and more thought provoking passages by the b-side. It is a matter of opinion as to whether a band should evolve and explore new territory or keep repeating themselves, album after album. ‘Pentagrammaton’ shows us a more mature, polished and dare I say, ‘commercial’ side of Enthroned.
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Bestial Holocaust Temple of Damnation Crush Until Madness Records Bolivia’s Bestial Holocaust released Temple of Damnation in the middle of last year and I am still listening to it now. The songs are neither flashy nor boring but simply well done and memorable. ‘Temple of Damnation’ has a good production where all instruments are distinguishable while still retaining the raw feel of a band playing live together in a room. Bestial Holocaust is a tight band that moves well between blasting fury, half time tempos and thrashing rhythms. The fact that Bestial Holocaust has a female singer may be one of their greatest differences from so many other black thrash bands but don’t let that be their only redeeming quality. Sonia Sepulcral’s piercing, venomous vocal assaults chill the blood and dominate all who hear the call. Taking parts of early 80’s thrash and combining them with blasting, Satanic black metal, ‘Temple of Damnation’ delivers the goods. Complete with a blasphemous and orgiastic cover, ‘Temple of Damnation’ contains all the elements that will make maniacs listen again and again.
Nechochwen Azimuths to the Otherworlds Bindrune Recordings ‘Azimuths to the Otherworlds’ is the second full length album from West Virginia’s Nechochwen…a project that intertwines dark, classical guitar atmosphere with occasional aggressive black metal passages to create a truly unique musical experience. The Native American themed subject matter adds a twist to the all too common extreme metal heretical stereotypes and is a breath of fresh air. Main-man Aaron Carey is an accomplished multi-instrumentalist and provides a terrific display of his abilities on ‘Azimuths to the Otherworlds’. All the pieces fit, whether they be clean guitars, ethnic percussion, spoken words or blasting attacks. While not a typical extreme metal album by any means, ‘Azimuths’ contains just enough soul, atmosphere and edge to provide an worthwhile listen for most fans of dark spirited music. Blood Cult Cult of the Plains Moribund Records ‘Redneck Black Metal’…I didn’t know what to think. I heard ‘Devil’s Sabbath’ and decided it was worth it. Yes, it has some black metal elements such as the raw production, lyric content, evil logo and album art but the majority of ‘Cult of the Plains’ is better described as hard rock complete with flashy guitar solos and dark driving rhythms that I would compare to a Danzig album without the melodic vocals. A long series of releases that combine country western and dark blues make up Blood Cult’s discography proving that they take their work seriously whether you do or not. A Transylvanian Funeral / Black Torment Split Defiling the Abhorrent Creations Thorn Laceration Records / Forbidden Records Review by Marty the Devilman The split album with A Transylvanian Funeral from the US and Black Torment from Mexico, a great mixing of two fine black metal bands and released by Thorn Laceration Records. Only 500 were made, so if you want one, contact the bands or label if you want to get your hands on the tape. Yes, I said tape. I got to dust off the old cassette player for the first time in ages, and rather enjoyed it. Nice to see people going old school and making split tapes like this the way they did in the early days. Hoping next someone surprises me with an 8-track next, unlikely, but I can dream! My favorite track is ‘Worship A Dead Fucking Goat’, truly words to live by. And Black Torment is very raw and savage, just the way I like things, because anything less would be too civilized.
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Abscess Dawn of Inhumanity Peaceville/Tyrant Syndicate Review by Nate of the Living Dead Since their formation in the middle of '94 (from the remains of Autopsy, Hexx and Immortal Fate), Oakland CA's legendary Abscess have continued to cut their own jagged, bloody path through the world of death-infused extreme metal. The band's newest release, 'Dawn of Inhumanity', only helps further solidify the Abscess name in the history of the genre. While much of the record harkens back to a time (the late '80's-early '90's to be exact) that could easily be called the heyday of brutal and/or extreme music, there are some stylistically-different standouts within. For example, 'Dead Haze' switches the gore-caked gears in the middle of the record with a somewhat experimental turn in both vocals and guitar work (mind-warping solos included). Topped off with a guest appearance by Darkthrone, 'Dawn of Inhumanity' is proof that Abscess are still flying the blood-soaked banner of extreme music with pride.
Nile Those Whom the Gods Detest Nuclear Blast Records My friend Sojourner and I often debate who the heaviest band really is. I play devil’s advocate and say there are many ways to define ‘heavy’ but Sojourner has always stated that Nile is the heaviest band, period. ‘Those Whom the Gods Detest’ is an album that drives such a bold statement home. Nile’s brand of Egyptian technical death metal has never been heavier, faster or better executed in their careers. Their 7th full length, ‘Those Whom the Gods Detest’ has all the classic elements that make Nile great without sounding like the same old rehashed bullshit. These guys are top notch musicians who know their instruments and their subject matter through and through. The riffs dominate, the drums destroy, the leads are unstoppable and the acoustic passages are both mystical and magickal. If this album overwhelms the uninitiated, may it also destroy them! Avsky Scorn Moribund Records Sweden’s Avsky return with their third full length album since 2007 with ‘Scorn’; a 7 song dirge of insidious black hatred and suffering. The sound quality is great while still retaining an excellent ‘raw’ quality, due primarily to AE’s tormented vocals. At over 45 minutes, ‘Scorn’ does a good job of balancing blast beats to slower paced passages…all the elements of this album feel naturally progressive and never cease to lose interest or direction. Good use is made of the guitar layers and ‘The Beyond’ gives us a 3 minute instrumental work that lives up to its name. A great follow-up to ‘Malignant’ that is more patient and thought out in a ‘pre-meditated murder’ kind of way, ‘Scorn’ demands your worship!
Urgehal Ikonoklass Season of Mist Urgehal, one of Norway’s great Black Metal artists from the early 90’s, now attacks with their full length album, ’Ikonoklast’. With a sound that is their own yet unmistakable Norse, Urgehal embrace a clean sound a steady production to decimate the horde. ‘Ikonoklast’ sees Urgehal moving away from blasting drums and simple guitar progressions into more intricate song structures and arrangements. The album still drips with blood and reeks of death while proving that Urgehal is not afraid or unable to advance into a new realm of dark metal madness.
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Live Rituals Bulletwolf Struck By Lightning Coffinworm Saturday Feb. 21, 2010 The Melody Inn Indianapolis, IN
A Bulletwolf (Photo by Kris Arnold)
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nother horn-raising show at the historic Melody Inn was unleashed by three bands that pulled absolutely no punches inspiring the house to a fury. Indy’s own alcohol-fueled Bulletwolf started the evening off with a resounding bang. Performing crowd favorites such as “Get The Horse Out” and “Dead In The Water” among others from the full-throttle ‘Double Shots of Rock and Roll‘ release, they delivered a raging slab of their own brand of pure rock fury, and celebrating the birthday of a guitarist in true, unbridled Bulletwolf fashion.
Coffinworm (Photo by Hutch)
Columbus, Ohio’s Struck By Lightning were up next. The band brought their own hardcore/metal/prog hybrid sorcery to Indy with force, in songs like “Nothing Sacred” and “False Hope”, erupting into what could be described as the punky mutant offspring of Disfear and Mastodon. Closing out the evening’s festivities were Coffinworm, Indy’s marauding messengers of skull-grinding sludge and blackened doom insanity. As the band performed material from their forthcoming ‘When All Became None’ release through Profound Lore Records, the Melody Inn’s video screen accentuated the band’s bludgeoning sound with a barrage of gore-caked film clips further assisting the already eager crowd into their viciously delightful world of gloom, decay and blasphemy. XXII
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egura Bunget has returned to extend their reign as black metal masters in 2010 with a new line up, a new album, a recorded and re-interpreted classic album
and a DVD. Before kicking off this year’s live assaults in March with the ‘Spirit of the Land’ tour, Founding memb er Negru speaks with us concerning Negura Bunget’s current manifestations as well as the bond between their breathtaking music and native Romanian spirituality… XXIV
for something like this. So it was not for the whole album, just for a small, but significant part of it. Would have been nice to do it, but I also think it came out well as it is now.
First, tell me about this new album, ‘Maiestrit’…I understand that it is a re-interpretation of ‘Maiastru Sfetnic’ and Negura Bunget had some serious line-up changes in the middle of the recording process?
Was ‘Maiestrit’ a more challenging album to make than the others, besides the line-up differences? Was it difficult to re-imagine the songs that already have a form?
Yes, Maiestrit is a re-interpretation of the old Negura Bunget - Maiastru Sfetnic album. The material was completely rerecorded and re-arranged, so there are quite a lot of differences between the two. We also had some line-up changes as well last year. Hupogrammos and Sol Faur left the band, so we got some new official members, including long time live collaborators Inia Dina on keyboards and Ageru Pamintului on vocals/percussions/pipes/xylophone. Beside them there’s Corb on guitars/vocals, Spin on guitars and Gadinet on bass. And of course me, Negru on drums/percussions. We had the basics of ‘Maiestrit’ recorded already when the departure happened, and we later decided that the two former members will finish this project, while I will finish the live DVD material we also had recorded (this will be released later this year as well).
Hmm… it was a mixed thing. On one hand we wanted to do this since the moment we left the studio first time, but at the same time we knew that material turned out quite interesting then. So our goal was to keep the good elements, and just take it further in terms of production and atmosphere. It was not hard in terms of ideas, because we already knew what was missing the first time; it was hard to make all our intentions come to reality. Were any of the lyrics altered in this reinterpretation? Does ‘Maiestrit’ convey the same message as its predecessor? The lyrics were not altered, and the message is also identical. Of course the expression of that message is a bit different, which also makes the message itself somehow new.
Why did you feel it necessary to reinterpret an album that was great already? Does the title hint at this decision? I believe the English translation is ‘Mastery’?
Tell me about the limited art book edition of ‘Maiestrit’…what can the fans expect to find in the pages? Who is responsible for the photographs and design?
Well, we were never satisfied the album turned out on the first place. We knew of course its strong points, but for us there were always some weak ones as well. We always felt there was a lot more we didn’t managed to capture on the original release, and that’s why we knew from the very beginning time will come to make it right. ‘Maiestrit’ would, in English, be something like enriched, crafted, mastered... which is pretty accurate of what we did with the material.
It’s more like a band illustrated presentation… in 48 pages. There are 4 main chapters covering the band and its evolution: landscapes, official band photos, artworks and live photos. The photos are selected from our collections, and were done by different photographers. The Maiestrit cover and book were worked together with our friend Dan F. Spataru / Encoil MARK.
What is a ‘traditional Transylvanian Orchestra’ and was there one involved in the making of ‘Maiestrit’? Was this album conceived with an orchestra in mind since the beginning?
2008 saw the re-issue of your entire back catalogue as well as many bonus tracks…why were some of the bonus materials not released before?
No, sadly there was no orchestra in the end… That was the original plan, but as we got into those problems in the middle of the recording process, so we had to change this. Our idea was to work with a traditional local ensemble for the beginning of ‘Plecaciunea mortii’ track, which is very fit
Actually most of them were released already… but they were like tape versions done in 1996… so very few actually had them. So we put everything together for the first time in this re-issue.
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With your music reaching such a large audience, many of whom know nothing of Romanian language, do you feel your message is somewhat lost in translation?
Is all of Negura Bunget’s music a direct manifestation of this spirituality? Yes. The music reflects the persons from behind, but also changes them. We see Black Metal as a spiritual endeavor, alchemizing the souls and shaping our spiritual evolution as individuals. That’s the way things are for us.
Not really. We thought on this matter from the very beginning, and our message is not strictly focused on the lyrics…At the same time people seem to be able to understand way more just by listening to the music. That is, of course, if there’s anything important inside of it.
Tell me about ‘the Principal of Four’ in your own words…Negura Bunget seems to hold ‘Four’ in high regards but in East Asia, there is a strong superstition against the number ‘Four’…it is called ‘Tetraphobia’!
My own band is called ‘A Transylvanian Funeral’. Do you feel that ‘Transylvania’ has become an overused term attached to anything supernatural or occult and makes light of your strong heritage and mythology structure?
I think there’s quite a difference between the kind of concepts we talk about, and this superstition, which is indeed quite present in some areas. For us the principle of 4 is the natural form of the Universe to manifests itself (the 4 seasons, the 4 phases of the moon, the 4 moments of the day, the 4 winds, the 4 cardinal points, the 4 elements...). 4 also stands for the Macrocosmos’ manifestation in microcosmos and the most balanced and moderated form of the contraries to coexist. The principle of 4 is a form that needs to be activated, through the consciousness of the conscience (the awakening of the conscience) moving towards contemplation, standing for the initiation though mystery.
I think it depends… there are of course lots of superficial approaches when dealing with Transilvania… but that’s probably because the attraction of the concept is so powerful. There is a lot to be explored when it comes to Transilvania, and I’d just like people take some different ways, and try to discover things on their own, rather than follow the stereotypes. It’s also a bit of a paradox that not many local bands have a Transilvanian approach in their music. It’s maybe because with all the known things and all the stereotypes a more profound approach is not easy. The concept is vast and impressing and easy to get lost into.
What is the music scene like in Romania? Are there many bands that produce extreme metal in your homeland?
Negura Bunget is a very indescribable musical experience…’Spiritual’ is a word that appears often at your website… tell me, is your own spirituality still being explored or do you have a foundation of beliefs or religion that you are aligned with?
There are quite a lot of bands around here. I’d say everything is a bit too underground. No good labels, magazines… so no releases, everything is done by the bands on their own. I wish there were more Romanian bands present in the international scene, as some really deserve it.
We explore things all the time, and music is a part of that exploration. We don’t have a system that we’d like to explain to people, but rather express musically our quest, and anyone can take it further on their own.
I met a man named Pablo this week…he says he has worked with you promoting shows and that you have a strong education in Musicology…I can only assume this is true judging by the complexity of Negura Bunget’s
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I play drums... so obviously the rhythm is what comes first to me. There’s no ritual… when you’re in a good state of spirit, things just flow through you. We usually start from ideas and concept, and try to make the music power them even further. But it goes both ways also, music sometimes defines the ideas and concepts.
work…If this is so, please tell me about your formal musical training… I can’t say we have a formal musical education. I have a degree in literature, some advance studies on history and folklore, and only some art school focused on music & drums. But I do enjoy listening to a wide array of music, from local traditional folklore, to dark ambient, post rock. And in the end the genre doesn’t even matter that much. The quality can be present in different form, but you can notice it easily if you know to listen.
You have in the past weeks played some clubs and will be performing bigger events this spring and summer? How do you enjoy clubs compared to the large open air festivals? It’s a different experience, but if you do it well, it’s enjoyable and meaningful both ways. Smaller venues mean closer connection with the audience, people already familiar with the band and the music and more time available to present it… while bigger festivals mean lots of new people there, who might not be familiar with the band, less time to present the music to them. Best way is always to impress new audience at festivals, who then later can experience a deeper atmosphere on club dates. So it’s different in many ways, but in the end we just try to be ourselves all the time, and put everything we had on stage, no matter it’s in front of 10 or 10 thousand people.
You are very involved in many aspects of the music industry…why was Negura Music formed? Tell me about what all Negura Music is… We originally started Negura MUSIC to support better on our own some of the activities needed for Negura Bunget. We released some of our materials though the level, have a studio, distro, do promotional work… We know a bit about everything, and whenever we are not satisfied with the way things go, we can take it further on our own. This is not easy at all, but who knows better what we need and what way we should take than us? You also are the editor of a great zine, Negura, the Central European Ideological Magazine…why did you choose to also create this web and printed zine?
Are there any plans to conquest across America in 2010? Actually we are considering doing an US tour later this year. But it’s not easy; we already tried several times before and couldn’t make it. For the moment we are preparing the massive European tour, which starts in March 18 and ends on May 30.
I’m afraid I didn’t have much time lately for the magazine. But the idea is still present it me, and when the time will come, we’ll power again the magazine as well. I always enjoyed exploring the meanings behind the music so doing the magazine was first my thirst to discover more about the artist I always enjoyed listening to. The printed magazine has also a feeling that no webzine can achieve, at least for me. That’s why Negura is more of a printed magazine than a webzine.
When can your legions of fans expect brand new Negura Bunget music? Well, very soon. We worked on the new album ‘Vîrstele pămîntului’ apart of Maiestrit, so now they are coming out almost at the same time. ‘Vîrstele pămîntului’ is an album about places of the earth and places of the spirit, about bounds transcending worlds. The work on the album was completed on a seclusion we took into the wilderness of the mountains, concentrating solely on the work for the album. Now album will be released by code666 Records in a special limited edition - handmade wood box, roped and filled with the very earth of the place it comes from. Release date is scheduled for end of March 2010.
How do you have time to run a label, promotion, publishing, studio and zine and still make some of the most inspiring and well written extreme metal ever recorded? Do you never sleep?! Well, if you plan things well, it’s not that difficult. I know sounds kinda hard if you present it like that, but in reality it’s just things I enjoy doing. What is your preferred instrument to write music with? Do you have a writing ritual? Do words come first or music or just lucid ideas and thoughts?
Last Words? Thanks for the support! Stay Black!
www.negurabunget.com XXVII
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Photos by Sebastian Ludvigsen
sounds in a very good way. They add an extra perspective to the music itself.
You have so many things going on…let’s start with talking about the Skitliv Picture Disc coming out February 22nd on Cold Spring Records…’Bloodletting’. Are the songs different versions of what was previously released on ‘Amfetamin’ or ’…Swimming in the Sea of Equilibrium…’?
Why the title ‘Bloodletting’? I assume there is a meaning behind each word as poetic as your music is… I was actually going to use the Norwegian word for this originally, because it feels like doing these songs over and over for such a long time now is like bloodletting. There is always a reason for my choice of words, but often the reason is obscure to others and I rarely feel the need to clarify.
Not completely different, no. The mastering is slightly different. I really wanted these songs on vinyl; I like the medium, as I think do most musicians. The fact that it’s a picture disc really enhances the release. Why did you choose the particular images that will be on either side of the Picture Disc?
February 22nd will also be the release of another album. ‘Wuste’ by Sehnsucht. Tell your fans what to expect from this release as it is very different form Skitliv…
Both artists mean a lot to me personally and because I think these two images represent the XXX
Do all these different genres and groups help to express different layers of your existence or multiple personalities?
I don’t know what they can expect except that it is my ever-wandering mind at work again. I create music mainly for myself and this is what I had to do this time. It was like bringing in the dawning. I have tried this time to find different ways of using sound to represent whatever I wanted to say. I am very fond of this album and I intend to work much more with this band in the future as well.
I guess they do yes. And I HAVE to listen to a lot of different genres as well, I have eclectic tastes and limiting myself to listening to any one genre would be boring, and I enjoy working in different areas to express different sides of myself.
Cold Spring Records has a very broad range of experimental artists on their roster…what is your relationship with them? Did they approach you or did you approach them with your works?
What other projects are still active? Are you working at all with Killjoy anymore? I have not done anything with him for a long time. These days I concentrate on Skitliv and Sehnsucht, and I recently released an album with Andrew Liles and Czral. I have other ideas as well, but we’ll see.
I have known Justin for a very long time, so long in fact that I really don’t remember who asked who. It was a natural thing and just happened - you know how it is, casual conversations lead to bigger things. With the reputation and expertise that Cold Spring has in the experimental field, it was a natural home for Sehnsucht.
‘Skandinavisk Misatropi’ is an amazing album…how long was the recording and production process from start to beginning? The songs had been with me for a very long time before we started the recording process itself. The actual recording took about one month to finish, including production. However, the mastering was done a while later since I had to go to Heptonstall in the UK to Andrew Liles´ place to get that done.
Vivian Slaughter, your fiancée, of Gallhammer, is a member of Sehnsucht. What is it like working musically with someone so close to you? It´s hectic, hehe. We are both a bit egotistical, so working in the same room can be very trying. However the closeness brings out certain subtleties as well. Fortunately this album was not recorded in its entirety in one room, but in different locations, and different parts of the world.
You have several different contributors and musical styles on ‘SM’…yet the album retains a unique singularity…it is entirely your vision, yes? How did you maintain such clear XXXI
direction with the extra influences from your guest artists?
Skiliv’s ‘Amphetamin’ included several live tracks, which I have unfortunately not heard…does Skitliv try to change the songs and play them differently each time when performing live to add a uniqueness to each show?
I was just very clear right from the start on how I wanted this album to sound. The other people had ideas and gave me inspiration but in the end I am to blame for what you hear. Is there a track that stands out to you more than the others; one that is very special? Why or why not?
We always play things differently depending on how the mood takes us. In performance the music is a living thing, and experimenting is a vital and important part of Skitliv.
I guess the one with David Tibet is sort of glorious. Mainly because of the way his vocals erupt into mine. But I actually have no favorite tracks.
What is the hardest part about being a songwriter such as yourself? Getting the stuff out of my head and transformed to real music.
Tell me about the cover image…at first glance it looks like a gentleman in formal Freemason attire. What is the story behind the cover of ‘Skandinavisk Misantropi’?
What is most rewarding for you as a musician? To hear a well song that has been done well, and know that I nailed it. And to be free of the images it represents.
It´s a long and private story. In short it’s my Nietzschean view on what Christianity represents in its core.
Skitliv is Norwegian for ‘shit life’. Does that imply that your life is shit or in a broader sense applied to all humanity and existence?
What about touring? Have there been shows or are there shows scheduled for either Skitliv or Sehnsucht?
It was. I try to enjoy life as much as possible and I would say I do. It´s the rest of humanity that is a problem, hehe.
We did some shows a couple of years ago with Skitliv, but at the moment I’m concentrating on other things and the touring is taking a back seat.
Do you ever think you will work with Mayhem again? Or, at least, Blasphemer?
Your live performances earned you a bit of a reputation when you were in Mayhem. Do you feel that distracted from the music or added to the live experience as a whole?
At this point, no. The last words are yours, Maniac!
Initially it added, but then people started turning up just to see what would happen, and in the end it really did distract from the music.
Strike dear mistress and cure my heart....
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We are true friends of the same city and our music do stronger our union. Tell the maniacs about ‘Stripe Obscura’...your debut full length! Sorry but we are very proud of our LP “Stirpe Obscura”. We recorded that during 5 weeks in Barcelona and Tailor Maid (Dark Funeral, Marduk, Dimmu Borgir) did the mastering. We have a lot of influences of black metal and perhaps death metal bands but here in Spain the critics tell us that the we play an original black death. People should tell us when they had listened “Stirpe Obscura”. We are more critics with our songs and we want to know the opinion of our fans! We like the dark scene, the forest, the moon, the darkness but we have our identity as a band. SPELLCRAFT has an evolution during this eleven years. We played an old and raw black metal like Dark Funeral, Marduk, Satyricon and now we take and mixed the old age with melodic riffs and aggressive voices near or Dissection, Nalgfar, Sacramentum, Emperor...perhaps with a little death metal influences. Our objective is always do our own music and enjoy in our particular performances.
You have just released ‘Infernal Demos Revelation’ with Peruvian master, The Legion of Tchort. Tell me about the material on this classic re-issue! It´s a mixture of our past Demos recorded in the past. People ask us about them and we are re-issuing a limited edition copies for our fans. We are very surprised about the answers of our fans about these old songs were recorded in 1997 and 2001. How many copies of ‘Infernal Demos Revelation’ are available?
What exactly does the title mean in your own words?
Only 100 copies. Limited edition for our best and close fans but it shall depend on the fans demand. How did your relationship with The Legion of Tchort happen?
All people are the Stirpe Obscura, we are her blood and revenge…the world is like that. The majority of the songs are new, yes? How long have you been working on the new material?
We sent our old music and it liked a lot. For this reason he offers to release our old demos. We have a correct relation with him and with his support to SPELLCRAFT. How has Spellcraft changed since the early demo days…you formed in 1997, correct? We are the original band since our origins. We have a stable singer since Midgard (ex-OUIJA) entered in the band in 2001. The members of Spellcraft have remained the same for all these years, is that correct? How have you remained together, as many bands do not?
Yes of course, we are working in our new album. We will record our new LP in the fallen of 2010 and in the beginning of 2011 we will have a new full LP , three years since “Stirpe Obscura”. With only 7 songs, the full length is still over 45 minutes…did Spellcraft intentionally write the songs to be so long or do they have a mind of their own? We compose the music and lyrics without thinking if our songs are so long. In the future we want to do seven songs too like a seven gates of darkness, hate and infernal music and lyrics for our fans.
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Naturally we have a lot of influences from different fronts. We want to transmit different emotions to our fans and the hate to the human race and all around the world hypocrisy. What music inspires Spellcraft? Are there other bands that you look up to and draw from? Do you listen to only extreme music or does Spellcraft enjoy other forms of music? I only listen metal music; from old heavy,thrash,death up to current black metal… we were influenced by bands like Dissection, Morbid Angel,Sacramentum,Slayer,Kreator,King Diamond and so on… it would be a never-ending list. What does the future hold for Spellcraft? Tours, shows, releases, writing new material? Well we are preparing our next album in the fallen of this year. Then four of the five SPELLCRAFT members are playing with OUIJA and we are preparing the rebirth of the mythic band of Spanish black metal. And various concerts around Barcelona, Madrid, Portugal and France too. The production is aggressive and clear…the instruments are well balanced…does Spellcraft grow tired of low-fi and ‘raw’ black metal sounds?
Your Last Words??? Thanks a lot for you great support and friendship…
We like mixed raw and melodic riffs. We have grew since a raw black metal and during this 12 years we have evolved without losing our infernal riffs but with a touch of Sweden black melodic riffs and a small touch of death metal. We are very proud of our evolution as a band.
Do you have a favorite song from the album? “Stirpe Obscura”, the second one. It´s the most complex track and it defines perfectly the song that we want to do. Aggressive, raw, melodic and with hate and infernal darkness. The vocals on ‘Stripe Obscura’ are very diverse and well done…what are the lyrics about? We are an antichristian band and our lyrics reflect it. We don´t want to invent anything new, we only want to transmit our senses and the real and hypocrisy world. Then everybody will do their own conclusions in relation with his own point of view of the life and the world that is around us. I always like mixed different registers with my voice for push the final result of our songs. What inspires Spellcraft to write the music that you do? Books, philosophy, theology, history…?
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SPELLCRAFT DOBERMANN ANTICHRIST METAL…
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When will your new full length be released, ‘Death Reclaims the Earth’? Right now album is being mastered in Sweden. After that we will start looking for a new label that is suitable to work with and spread our propaganda. So there’s no release date yet. I understand it will have 7 tracks…is the material all brand new or has some of the songs existed in different forms previously? It’s completely brand new material. We started to write songs when I rejoined the band. At the point where we started recording we had 10 tracks, but we decided to go with 7 of them. We felt these were the ones to convey the right atmosphere. ‘Death Reclaims the Earth’ also marks the return of original vocalist Ozan Akyol…is that correct? Yes that’s right, and we now have a completely different mind set as regards our music. There’s no such thing as job separation any more. I am the vox of the band literally, but in this album I have contributed many guitar and bass riffs, drum parts, arrangements etc., and all the other guys got involved in different sections too. Our only point of compromise is that the best gets used regardless of which one of us came up with it. Is Episode 13 stronger than ever with the re-formed line-up? Hell yes. We’re stronger and wiser than ever. New songs from ‘Death Reclaims the Earth’ was debuted at Norway’s Inferno Fest last year…how has the reception been so far?
Our live sessions have included some new material for around two years now and doing this has been useful in reshaping and refining the songs day by day. It also helped to show people what Episode 13 had been up to, and to gauge their reaction. One of our new songs, “Ignorance is Bliss” already has its fans for instance. What makes this new album different or similar to ‘Pitch Black’ or ‘Tabula Rasa’? Our sound now has moved far beyond those 2 albums. And I think it’s the first album for which we painstakingly rehearsed our material over and over again. We drastically changed our ideas about “songwriting”. I think you will understand what I’m trying to say when you hear the new material on MySpace soon. Were there any specific ideas or goals in mind when the album began to take form? Yes. We set about to create an inevitably chaotic and dark atmosphere with the album. The themes we explore and the points we wanted to make had to fit in exactly with the sound that we were trying to create. And the result is satisfactory. Are there any definite tour plans yet to support ‘Death Reclaims the Earth’? We’re going to play in Finland, Russia and the UK in April. All future touring plans are inevitably related to finding a label and setting a release date. But we want to perform in every possible country, and as much as we can. We believe our effect is more explosive when we play live in front of an audience. You have shared the stage with black metal masters such as XXXVI
Marduk and Gorgoroth…what bands have influenced Episode 13? There are many bands and artist from many different genres that have influenced us both directly and indirectly. But when it comes to Black Metal we worship Mayhem , Burzum and Darkthrone. Has all of your material been self – released or do you have an allegiance formed with any record labels? Our past recordings were released on different local labels and distributed by several European and US labels.
affects humanity on so many different levels. I’ve chosen to curse. How has Episode 13 changed or remained the same over the years? We hold more closely to our doctrine with the passing years. Musically we reshaped our sound and style with each album, but with our third album we’re entering a new decade for the band. The next albums will follow in the footsteps laid down by “Death Reclaims the Earth” to put definitive stamp on Episode 13. How is the scene in Turkey? We have so many talented and productive bands but they need to spread their music overseas more. What does the next few years hold for Episode 13? Do you have any specific goals? Making albums, touring and spreading our disease. Last Words? Release the beast inside. Anti Human
What inspires lyrics? Books,, movies, philosophy…? The inspiration behind the lyrics comes totally from my sick subconscious. I have a straightforward intolerance of religion and falsely constructed “human” ideas - “humanism”. If you concentrate on “Life”, obviously you have no choice but to mention the lack of intelligent that
Anti Religion
www.episode-13.com
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Interview by Nate of the Living Dead
Emerging from the carcasses of bands such as Autopsy, Hexx and Immortal Fate, Oakland, California’s infamous masters of lunacy Abscess have continued to unleash generous helpings of their own filthy brand of deathly carnage since the mid-nineties. Featuring a line-up of former members of the above bands, along with Death and a few others, Abscess have completed the construction of their newest insanity-driven beast, ‘Dawn of Inhumanity’. The record is filled with the chaos the fans have grown to love, along with some surprises. Drummer/vocalist Chris Reifert gracefully supplied the Abscess stamp to this conversation with insights to the band’s world of depraved madness. Hi, Chris! How are things in your neck of the woods? The new record, ‘Dawn of Inhumanity’, contains a few somewhat new and experimental elements, stylistically speaking, in comparison to the sound of past Abscess efforts. How did the writing process manifest itself and progress in relation to the band’s previous recordings? HELLO, YOURSELF. THINGS ARE GOOD HERE. AS FAR AS 'DAWN OF INHUMANITY' GOES, WE DEFINITELY WANTED IT TO BE A HEAD TRIP AS WELL AS BRUTAL AND HEAVY AS HELL! WE'VE XXXVIII
TOUCHED ON STUFF LIKE THAT BEFORE BUT THIS TIME WE WANTED A SICK NEW ABSCESS WORLD TO BE CREATED. THE WRITING PROCESS WAS EXECUTED WITH THAT IDEA IN MIND. The new record is the final release issued by Darkthrone’s Tyrant Syndicate Productions imprint through Peaceville Records and the record also bears a guest appearance by the Darkthrone guys. How did this collaboration come to be? WE THOUGHT IT WOULD BE A COOL IDEA TO GET THE DARKTHR ONE SICKOS ON THE ALBUM SOMEHOW OR ANOTHER. I ASKED MR.CULTO IF THEY COULD RECORD SOME SORT OF VOCAL STUFF AND WE'D INSERT IT WHERE IT SEEMED FITTING. I DEFINITELY GOT SOME SICK AND AT TIMES JUST PLAIN STRANGE RESULTS WHICH WAS PERFECT. WE POPPED THEM IN THE RIGHT PLACES WHICH ADDS A BEAUTIFUL EXTRA SPRINKLING OF UGLINESS.
Death as inspiration) are holding true to those roots and influences? HONESTLY WE JUST PLAY WHAT WE DO BEST AND THAT IS SICK, RAW AND BRUTAL NOISE. THERE'S NO TIME BRACKET IN OUR MINDS WHEN WE WRITE OR PLAY SO PEOPLE CAN MAKE WHAT THEY WANT OF OUR MUSIC WHICH IS FINE. AS FOR NEW BANDS, I DO HEAR GOOD STUFF AND BAD STUFF ALL THE TIME AND ANY BAND WHO LIVES THEIR SOUND AND GETS THAT MESSAGE ACROSS IN THE LISTENING IS ALWAYS GOOD. How has the progression of Abscess compared to that of the other bands in the “family tree”, such as Autopsy and Death? JUST DOING OUR THING, YOU KNOW? CAN'T SAY WE REALLY PROGRESS MUCH, RATHER THAN WORK DIFFERENT ANGLES OF DEATHLY MUSIC. AS FAR AS 'DAWN OF INHUMANITY' GOES, THERE WAS A CLEAR VISION OF WHAT IT SHOULD BE AND THAT INVOLVED LOTS OF HARD WORK AND THE FURTHER WARPING OF OUR IMAGINATIONS.
Being that the Abscess sound serves as a sort of flashback, in a way, to the late 1980’s/early 1990’s extreme death metal sound, does it appear to you that bands emerging in the genre over the last few years (bands that claim the likes of XXXIX
Within the band’s catalog of full-length records, starting with ‘Seminal Vampires and Maggot Men’ in 1996, which would you say best portrays the overall blueprint of the Abscess sound? Why?
PRETTY MUCH ALL THE ALBUMS CAPTURE WHERE OUR HEADS WERE AT AT THE TIME. NO APOLOGIES HERE. HAHA! SO YOU COULD SAY 'DAWN OF INHUMANITY' BEST REPRESENTS ABSCESS' SOUND RIGHT NOW. EVEN THOUGH WE'VE DONE LOTS OF DIFFERENT SOUNDING RECORDINGS, THEY ALL HAVE OUR FILTHY STAMP STUCK DEEPLY IN THERE AND THAT'S WHAT KEEPS US TRUE TO OURSELVES.
IT WAS AS SIMPLE AS AUTOPSY SPLITTING UP AND DANNY AND MYSELF WANTING TO CONTINUE WORKING TOGETHER. SOME PEOPLE ASK WHY WE DIDN'T JUST CONTINUE AS AUTOPSY WITHOUT ERIC BUT THAT JUST ISN'T POSSIBLE. WITHOUT ERIC, THERE IS NO AUTOPSY JUST LIKE WITHOUT CLINT, THERE IS NO ABSCESS. WE WEREN'T AFRAID TO START OVER AND WE JUMPED INTO THE DEEP END OF SICKNESS STRAIGHT AWAY. MY SPOT BEHIND THE DRUMS IS THE SAME ONLY WITH ABSCESS, CLINT SPLITS UP THE VOCALS WITH ME.
Abscess is comprised of members who all have their own histories as parts of other bands. What effect does this have on the band’s creative process?
Sadly, I missed out on the insanity of Maryland Death Fest last year, so I have to ask. What are the upcoming tour plans, if any for Abscess and should fans expect more of the live chaos the band has been known for in the past?
NOT MUCH TO SPEAK OF, REALLY. WHEN WE WRITE AND PLAY WE ARE JUST FOCUSED ON WHAT'S IN FRONT OF US RATHER THAN WHAT'S BEHIND. With ‘Dawn of Inhumanity’ being the last release for Tyrant Syndicate Productions, what’s in store for the future of Abscess as far as label support and distribution are concerned?
MARYLAND WAS INDEED A GREAT TIME LAST YEAR. WE HAD A TOTAL BLAST. AS FAR AS TOURING GOES, MY STOCK ANSWER STILL HOLDS, WHICH IS : WE'LL LEAVE THAT TO BANDS WHO HAVE THE DESIRE AND CAPACITY TO DO SO. A SELECT GIG HERE OR THERE IS MUCH MORE LIKELY.
WE'LL FIGURE THAT ONE SOON ENOUGH. YOU HAVEN'T HEARD THE LAST FROM US. HAHA! AT THE MOMENT WE ARE PLEASED TO BE PART OF TYRANT SYNDICATE'S CLOSING CEREMONIES.
Everyone has their own source of inspiration, a special thing that gets the creative gears grinding. What are the influential muses (in any form) that Abscess draw from in the construction of their brand of death metal?
Being a former member of both Death and Autopsy, could you describe the transition from working in those bands to the present and your current spot behind the drums with Abscess? XL
IT REALLY COMES DOWN TO DRAWING FROM OUR OWN DISTURBED MINDS. THERE'S ALWAYS SOMETHING WEIRD AND UGLY BUBBLING RIGHT NEAR THE SURFACE SO IT IS A GOOD THING TO BE ABLE TO PULL CHUNKS OF IT OUT AND TURN THEM INTO BEASTLY SONGS.
IT WAS MY PARENTS WHO STEERED ME TOWARDS DRUMMING. THEY THOUGH IT WOULD BE A GOOD IDEA, I GUESS. THIS WAS BACK IN '81. MY FAVORITES ARE STILL KEITH MOON AND DAVE LOMBARDO. TOTALLY DIFFERENT APPROACHES TO PLAYING, BUT BOTH TOTALLY HEARTFELT. THERE'S OTHERS TOO LIKE BILL WARD, MITCH MITCHELL, CLIVE BURR, NEAL SMITH, BUDDY RICH, GENE KRUPA, ETC. ZAK STARKEY IS FUCKING AMAZING. THERE'S SOMEONE WHO USES THE WHOLE KIT AND HITS THE DRUMS HARD.
You’ve had a lot of involvement in the visual art aspect of the music. What’s your process of figuring out what the cover art needs to portray to fit the sounds on the record? What’s your personal favorite of your album art contributions over the years? SICK MUSIC, SICK ART. THEY DO GO WELL TOGETHER. I THINK THE WHOLE PACKAGE IS IMPORTANT. SOMETIMES I FEEL LIKE TOO MANY PEOPLE FORGET THAT THE ENTIRE EXPERIENCE OF AN ALBUM MATTERS. I LIKE TO ENVISION WHAT THE MUSIC DICTATES. AS FAR AS COVERS I HAVE DONE, MY FAVORITES ARE PROBABLY OUR SPLITS WITH BONESAW AND POPULATION REDUCTION AND THE UPCOMING FUNERAL CD. DENNIS DREAD DID THE COVER FOR 'DAWN OF INHUMANITY' AND THAT WAS HIS VISION, WHICH WORKED OUT KILLER!
From your early days in ‘Scream Bloody Gore’era Death to the release of Abscess’ ‘Dawn of Inhumanity’, how do you feel you have evolved over time, as both a drummer and artist in general? HONESTLY, I FEEL THE SAME AS I ALWAYS HAVE. MAYBE SOMETHING IS WRONG WITH ME. HAHA! FOR BETTER OR WORSE I STILL LOVE PLAYING BRUTAL PUNISHING MUSIC AND EVOLUTION IS NOT AN IMPORTANT PART OF THE EQUATION. STAYING TRUE TO MYSELF IS WHAT MEANS THE MOST.
How would you describe the reception of Abscess in what seems to be a “resurgence” of extreme music in the last few years?
How would you compare the audiences of extreme music in the U.S. with fans in other parts of the world, such as the UK?
BETTER AND BETTER ALL THE TIME. WE'VE BEEN GOING AT IT WITH THIS BAND FOR 16 YEARS NOW AND IT SEEMS LIKE OVER THE LAST COUPLE OF YEARS INTEREST AND BELIEF IN ABSCESS HAS REALLY BEEN ESCALATING WHICH IS GREAT. WE ARE PERSISTANT BASTARDS TO SAY THE LEAST!
I THINK YOU EITHER LOVE IT OR YOU DON'T, REGARDLESS OF WHERE YOU ARE LOCATED. IN OUR CASE PEOPLE SEEM TO INDEED LOVE IT OR HATE IT. THE ONES WHO 'GET IT' REALLY GET IT, THOUGH. Speaking of audiences and fans, what, to you, is the more appealing of live environments, a festival setting, such as MDF, or a smaller club show setting?
As a drummer, who and/or what would you say are your biggest influences? What force was at work to inspire you to get behind the kit as a beginner?
DEPENDS ON THE CIRCUMSTANCES I GUESS. BOTH HAVE PROS AND CONS. IF I XLI
HAD TO PICK JUST ONE THOUGH IT WOULD BE A FESTIVAL SETTING. PLAYING TO A LARGE CROWD IS FANTASTIC AND THERE'S ALWAYS LOTS OF OTHER KILLER BANDS TO WATCH AND SHOOT THE SHIT WITH.
PLAY IT THAN TALK ABOUT IT TO TELL THE TRUTH.
Tons of horror-inspired imagery can be evoked by the sounds and lyrics of death metal. Many bands have revolved their entire careers around horror movie subject matter. If Abscess was a horror flick, what would be its storyline?
IT DIFFERS BY THE DAY WITH THE EXCEPTION OF REGULAR FAVORITES. I TRY TO ENTER MY OWN LITTLE WORLD OF SICKNESS WHEN WRITING SO NOT TOO MUCH OUTSIDE INFLUENCE GETS THROUGH.
What newer music and bands have you been listening to, and what effect (if any) does that exposure have on the writing process?
I HAVE NO FUCKING IDEA! MAYBE SOMETHING ABOUT ZOMBIES WHO DRINK FROM THE VEINS OF PEOPLE WHO BLEED JIM BEAM AND SING DEATH METAL LYRICS WHILE TEARING BODIES LIMB FROM LIMB. HHMMM, THAT ONE MAY NEED SOME WORK.
Finally, do you have anything to add, anything the fans might salivate over? BUY 'DAWN OF INHUMANITY' OF COURSE! OH YEAH, AND BUY 'DAWN OF INHUMANITY'. THANKS TO ALL WHO SHARE OUR DISTURBING WORLD AND IF YOU ARE READING THIS, THAT MEANS YOU! AND OH YEAH, BUY 'DAWN OF INHUMANITY'. IT WILL PUT HAIR ON YOUR EYEBALLS AND MAKE YOU A BETTER PERSON IN 52 MNUTES OR LESS!
Where do you see the future of extreme music and/or death metal heading, and how do you foresee Abscess as a definitive part of that evolution? ANY TIME DISCUSSIONS ABOUT DEATH METAL AND IT'S RELEVANT OR IRRELEVANT RAMIFICATIONS THEREOF SPRING UP, I HAVE TO JUST SIT IT OUT AND LET OTHERS INDULGE. I'D RATHER
www.abscessfreaks.com
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one of the best songs ever to me, it’s damn depressive, its melodies drive me fucking crazy and it’s like I’ve been drowned into some mental disease when I listen to it. You know what I mean. How would you describe Yhdarl to someone who is unfamiliar with the terms ‘drone, depressive or suicidal’? Suicidal Black Art, though it’s ‘too much’. Yhdarl is slow, way too slow, mixing ambient elements like drones or noises, with a funeral doom feeling, and suicidal black metal elements. Yhdarl is more like something to listen to instead of putting it in some cheesy ‘etiquettes’, but the main goal is… yeah, depression. I know, they’re plenty of bands with the same goal, but I want to enlarge all this depression to melancholy or suicidal thoughts, with the same aura of “you’ve got to live with this pain, assume it, accept it, feel it”. I’m kinda glad that I can reach many styles with Yhdarl, from typical noisy funeral black metal (Humainly Sick), to droning sick black (The Essence) or more melodic stuff, like the next album ‘Ave Maria’. You just can’t know what’s coming next with this project, and I assume that. Putting many sub-styles in one band, without losing its own aura, that’s my goal.
Tell me about the releases you put out in 2009… One of the songs off of ‘The Essence’ is titled ‘Dunkelheit’…is that your version of the Burzum classic? Actually, it’s not a cover song, yet it is way inspired by Burzum’s masterpiece, especially for the very end of the song. This track was made in a pure semi-improvisation and I felt the lyrics go this way, with that certain poem “when night falls…” and it just went out. But know that it’s not a cover song. It’s inspired by the original and very personal. “Dunkelheit” is like a “thank-you” note to Varg’s music. You chose to record a great version of the Nine Inch Nails song ‘Hurt’ for the Forbidden Compilation…why did you choose this song? It became rather popular with the Johnny Cash version… I don’t really care about what’s popular or not, especially that Johnny Cash’s version is a golden gem, too. I chose this song because I could have written the lyrics myself. This song is ‘the’ song for me. And actually, my version is way fucked up compared to the original… I hope this one will please, cause I’m not convinced at all. But “Hurt” is
Several Yhdarl tracks have been made available for free download at your Myspace page…why do you choose to give such work away? Do you feel that selling music takes away from the artistic value to any degree? My goal is to be listened to, no matter how. When I created Yhdarl back in 2006, I did not intend to make it ‘known’ all over the world. I wanted to keep this project only for me or some close friends, but then I came to realize that people can actually like this kind of music and feel the same feelings that I do, so I went on. I’m also coming from an electronic scene, the soundtracking one, in which we used to release freely all stuff we did, because we are musicians, not businessmen. So, freely releasing many things (albums, eps, demos) means many things to the people I’m aiming : “this is for you, I’m not forgetting where I come from, this is for free, take it, burn it and slice your fucking arm with it.” Of course I’ve been released on physical releases, which is also some goal, but putting my music for free helps me, cause I want people to listen to my stuff. This is not a problem about artistic value (even if we can find a bunch of dickheads releasing pure mp3shits each month),
because music-making is a fucked up way of living, damn difficult. And honestly, I know that piracy, to me, is one of the best ways to get known. It sorta,
worked for me. So I’m not stopping to release for free, and I’m also not stopping to release some physical stuff. I know that real music likers would buy what they like. Yharl has many works that are extensive and beyond the 20 minute mark…why are some of your songs so long? Because it lays down to some trip and I don’t want this trip to be cut. Take the free EP “Ø” for example, this one is a 40-min-long track. If I decided to make 4 or 6 tracks out of it, people could listen only to part 3 or 4. Thus, I wanted to make one fucking big piece of music, undissociable, because of the trip I want to put while we’re listening. It’s like, one day I got a mail from a Mexican ‘fan’, telling me he burnt ‘Humainly Sick’, went down to his cave with some friends, lighted a candle, put the cd, sound at maximum volume, and he just liked every fucking second of it, without stopping the album once. You just cannot know how glad I was. And that day, I imagined some long trip, like this one, with an unstoppable song of some outstanding length, for a better trip. So, that’s why. I’m stopping the music when I’m feeling that it has to be over. What inspires you to write…? Do you have certain things in your mind that you want to relate with music or do you just begin writing without any direction? Yhdarl is a pure catharsis for me. As I told you, back in 2006 when I created it, I only wanted to take the shit out of me with music, and I wanted to keep it for myself. And Yhdarl is the best way for me to release. Release. It’s about death, humanity, sorrow, real depression, analogies, and worse things. Composing becomes a need, above all, and even above many other things… Like, other inspirations can be misanthropy, ignorance, emptiness, religions, dogmas, … or sometimes, it’s all about some concept. But I won’t go farther than this, you’ll know in time. Yhdarl has many tracks that are named only by numbers…is there a certain theme running between all of the tracks or a concept? The numbered released are more like a concept, but not on lyrics or else, it’s more for the compositiontrip. It’s raw and based on a special trip I’m putting on myself, meaning some extreme artistic ways of feeling. For most of them, it’s demo tracks (except IV to VII which are to be found on “The Essence”, released by Svartgalgh), rehearsals, improvisations, …
I liked what I heard of your other project Merda Mundi but you have many projects, is that correct? They all seem to vary greatly in styles… I am a music lover, my friend. And considering my numerous musical projects, I feel myself ‘stuck’ into metal. ‘MerdaMundi’ is black metal, ‘Slow’ is ambient doom metal, my two bands Deviant Messiah (death/thrash/black) and DunkelNacht (black) are fucking metal too. Even if I like to vary styles on the metal subgenre, I’m mostly stuck here because I can’t find the musicians to make other things. And when I mean other things, it’s jazz rhythm and blues, rock n roll, electronic, even your worst mainstream pop metal shit. But I’m already making some non metal music. “Aurora Borealis”, for example, is a special post rock/ambient project where I’m alone, I’ve got a neo/prog/rock project with a true friend of mine, an abstract hiphop project with another guy, … I’m busy, let’s say, but it’s music. I don’t like to be considered as a metaller. I’m a music lover, and a music maker. No matter what styles. Do you consider Yhdarl your primary project? If you could only have one, which would it be? Yhdarl for fucking sure. Yhdarl is not primary, but it has become a real big part of myself. So this is why Yhdarl is so much present. It’s me, it’s one big part of me I have to release and honestly, that ‘Yhdarl’ sound can be found on some parts of my ‘real’ bands. For example, on “Mental Disease” from DeviantMessiah. I just need this shit. Worse than some fucking drug. What music do you listen to when not creating your own? Is it always extreme? What are some groups you currently like? Music Lover, man. Means each styles I like. My tastes are, for sure, into black metal for its most part, but well… For some names, I can’t name them all. I’m spending 18h per day listening to music… But people can know one thing : in each style, you’ve got two choices : either you don’t accept to listen to something and you’re a fucking dumbass, either you do and maybe you will find the gem which is only in this proper style. In metal, there’s something, in classical music too, in jazz too, and in any fucking music genre. Period. My highlights for now are Through The Pain (awesome DSBM by my friend Baelvect), Anaal Nathrakh (no introduction), VI (pure dissonant French BM), Helel (Indus French BM), Neal Morse (magnificent prog rock), Abigor (no introduction), Heretic Blaze (Belgian BM), Viper XXL (Extreme Techno ‘Schranz’), Queen (no introduction needed), …
What is the best way for fans to get copies or your releases? Oh, well,firstly by MySpace or email, this is way simple, I always answer as soon as possible. I’m no MySpace freak at all, but I live with my time. But I made a blog with nearly all my musical projects and all the links to the free releases are on it (or, well, search the web). For the two CDs I’m selling, goggle “Frozen Veins Records” and “Svartgalgh”. I released “Counting Seconds…” (compilation of demos and unreleased tracks) on the first label, and “The Essence” (full album aimed on rawness and suicidal art) on the second one I’ll also release some free demo, as usual, this year, and one DroneNightmare release (conceptual releases based on drone doom metal only) And I am working of the live exportation of Yhdarl. The line up is found. And it’s great, to me. What is in the future for Yhdarl and your other projects? Any releases scheduled for 2010? What is sure for Yhdarl is the next album. “Ave Maria”. I’ve been working on it for two years already. It will contain a full +50min track, mixing choirs, droning melodies and sick vocals, pure Yhdarl soundings also, and many guests, for example Phorgath, bass player from Enthroned. For my bands we’re currently on the road, trying to find gigs. We’re also recording the new DeviantMessiah EP, and DunkelNacht will soon release its first album (with ex singer, not me) For my other projects, I’ll release the second album of Slow, I’ll hope to finish the MerdaMundi album, I’ll also find the time to lay down, one day.
myspace.com/yhdarl
Resurrections -by-
Brianos Kellicos
Mayhem - Live in Leipzig Lineup: Vocals- Dead Bass- Necrobutcher Guitars- Euronymous Drums- Hellhammer
M
ayhem’s “Live in Leipzig” album is perhaps one of the most famous live albums in black metal history. It was recorded on November 26th, 1990, and was released in the summer of 93. It features vocalist Dead, who had taken his own life only 5 months after this album had been recorded. Also featured is guitarist Euronymous, who would be murdered only a couple months after the release of this recording.
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here is a lot of history surrounding this recording. The performance took place in Leipzig (Germany). The band travelled there by train, carrying all of their instruments and equipment. The actual stage contained several things to heighten the atmosphere of the performance. There were severed pigs heads, impaled on spikes. Bags of dead ravens were placed on stage, so the members of the band could inhale the wretched stench of death and decay. Pieces of rotting meat were thrown into the audience, and vocalist Dead is rumored to have cut himself open during the show. It is said that the band’s clothing had been buried several days before that performance, then exhumed to wear on stage…this, along with the corpse paint, made the members of the band literally look like lifeless corpses. All of this, combined with their savage black metal (that, at the time, had been played by very few), made for a legendary recording and performance.
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ead had been doing a vocal style that was so extreme and over the top for its time, and had rarely been done previously. It has since been imitated, but very few can match the atmosphere that his voice created and produced. It had a cold, chilling feeling to it that matched the music so well. Without guitarist Euronymous, black metal would not be the same today. The second wave of black metal would’ve been drastically different. Darkthrone and Immortal would probably both still be playing Death Metal. He also released all of Burzum’s black metal records, and ran the Helvete metal shop, where black metal bands and fans would meet and gather. Aside from that, his guitar playing and song writing in Mayhem was innovative and groundbreaking, if you will, and it would come to inspire many.
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ive in Leipzig is a recording that seems to be revered by all black metal fans and enthusiasts. Sure, there are several moments where the band gets off track (Carnage), the vocals lag behind (Buried by Time and Dust), and the guitars are out of tune (Pagan Fears), but it is overall a solid live effort. Production is rough, but for the most part, all of the instruments are heard. Most of the Mayhem essentials are here, ranging from the Pure Fucking Armageddon demo, Deathcrush EP, and a few newly written tracks that would later become classics. Every self respecting fan of black metal should own a physical copy of this recording.
Mandatory!!!