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úterý 16. července 2024

Recenze/review - BLACK LAVA - The Savage Winds of Wisdom (2024)


BLACK LAVA - The Savage Winds of Wisdom
CD 2024, Season of Mist

for english please scroll down

Pokaždé, když se za mnou zavřou dveře do katakomb, mám pocit, že se už nevrátím zpátky. Už nikdy neuvidím světlo, neucítím čerstvý vzduch. Zde, hluboko pod zemí, je vše zatuchlé, plesnivé. Můžete potkat duše svých předků, nasát mrtvolnou atmosféru. Již několik let exhumuji těla pochovaná kdysi dávno, ve středověku. Popisuji smrtelná zranění, nechávám si vyprávět starodávné příběhy o nenávisti, o mučení, o válkách, které nemají nikdy vítěze. 

O australských black death metalistech BLACK LAVA jsem již na našich stránkách psal (recenzi můžete dohledat na odkazu dole pod dnešním článkem). Líbila se mi tenkrát těžká a chladná atmosféra. Pánové letos pokračují ve své práci. Opět dostanete syrovou porci nahrubo nasekané tmy. Budete prokleti a uloženi do stejných rakví, jako jsou ty, které právě exhumuji. 

 

Pánové vzali staré legendy, upravili je ke svému morbidnímu obrazu, načerpali energii ve starých kobkách. A vše promíchali se syrovým death metalem, black metalovou špínou a mrazivými náladami. Během poslechu mám neustále pocit, že se nade mnou vznáší hejno krkavců. Čekají na vhodný okamžik, abych se mohl stát jejich pokrmem. Možná se tak stane, protože letos Australané představili hodně jedovatý materiál. Jako by mě kapela pozvala ke starému šamanovi, k čaroději, který se mi ihned dostane do hlavy. Stačí se napít, stačí zapnout play a budete strženi do hlubin. Zvuk (Troy McCosker - producer, engeneering,Fredrik Nordström - mixing, masterin) i obal (Paolo Girardi), krásně doplňují pochmurnou, tajemnou, magickou a mlhavou atmosféru celé nahrávky. Občas, když je tělo příliš zubožené, začne mi šeptat děsivá slova o hrozných činech. BLACK LAVA jakoby exhumovala staré hroby a nechala je vyprávět. Skladby jsou spíše obřadem, ozvěnou z nekonečných chodeb podzemí, než jen obyčejnou hudbou. Těžké, smutné a šílené emoce létají kolem jako můry kolem ohně. Deska vyžaduje od posluchače čas, plné soustředění a klid. Teprve potom vylezou na povrch jednotlivé nuance. Postava ve stínu, která o vás ví všechno, o vašich touhách i temných myšlenkách. Kapele se povedlo vše vytáhnout na povrch a vypálit na hudební nosič. Někdy bývám rád sám, toužím po chladné kobce. Odkrývám jednotlivé vrstvy, jsem archivářem smrti. Přesně takhle na mě působí i "The Savage Winds of Wisdom". Pokud se vám líbí, když je tenhle styl okořeněný progresí, technickými prvky i ambientem, potom jste zde správně. Záhadné, magické, krvavé, temné black death metalové příběhy ze starodávných chrámů! Nahrubo nasekaná tma, smíchaná s krvavou mlhou!


Asphyx says:

Every time the door to the catacombs closes behind me, I feel like I'm never coming back. I'll never see the light, never smell the fresh air. Here, deep underground, everything is musty, moldy. You can meet the souls of your ancestors, soak up the dead atmosphere. For several years now, I've been exhuming bodies buried long ago, in the Middle Ages. I've described mortal wounds, had ancient tales of hatred, of torture, of wars that never have a victor. 

I already wrote about Australian black death metallers BLACK LAVA on our website (you can find the review on the link below today's article). I liked the heavy and cold atmosphere back then. This year the gentlemen continue their work. Once again you get a raw serving of roughly chopped darkness. You will be cursed and placed in the same coffins as the ones I am currently exhuming. 


Gentlemen took old legends, adapted them to their morbid image, drew energy from old dungeons. And mixed it all with raw death metal, black metal filth and chilling moods. While listening to it, I constantly have the feeling that a flock of ravens is hovering over me. Waiting for the right moment for me to become their meal. Maybe it will happen, because this year the Australians have introduced some very poisonous material. It's as if the band has invited me to an old shaman, a wizard, who immediately gets into my head. Just take a drink, just turn on the play and you'll be swept into the depths. The sound (Troy McCosker - producer, engeneering,Fredrik Nordström - mixing, mastering) and the cover (Paolo Girardi), beautifully complement the gloomy, mysterious, magical and misty atmosphere of the whole record. Sometimes, when the body is too impoverished, it starts to whisper terrifying words about horrible deeds. BLACK LAVA seems to exhume old graves and let them tell the story. The songs are more of a ritual, an echo from the endless corridors of the underground, than just ordinary music. Heavy, sad and crazy emotions fly around like moths around a fire. The record demands time, full concentration and calm from the listener. Only then do the nuances come to the surface. A figure in the shadows who knows everything about you, your desires and your dark thoughts. The band has managed to bring it all to the surface and burn it on a music carrier. Sometimes I like to be alone, longing for a cold dungeon. I'm an archivist of death. That's exactly how "The Savage Winds of Wisdom" affects me. If you like it when this style is spiced up with progression, technical elements and ambient, then you've come to the right place. Mysterious, magical, bloody, dark black death metal tales from ancient temples! Coarsely chopped darkness mixed with bloody fog!



Recenze/review - BLACK LAVA - Soul Furnace (2022):
https://www.deadlystormzine.com/2022/12/recenzereview-black-lava-soul-furnace.html


Tracklist
1. Colour of Death (6:44)
2. Dark Legacy (4:08)
3. Wrapped in Filth (4:03)
4. Unsheathing Nightmares (4:45)
5. Summoning Shadows (6:03)
6. Ironclad Sarcophagus (4:08) [WATCH]
7. Pagan Dust (4:46)
8. Sanguis Lupus (5:21)
9. The Savage Winds to Wisdom (7:07)

Recording line-up
Dan Presland (drums)
Ben Boyle (guitar)
Ben Boyle (bass)
Rob Watkins (vocals)

Guest Musician
Benjamin Baret (Ne Obliviscaris, Vipassi) plays the guitar solo on "The Savage Winds to Wisdom".

Live line-up
Dan Preslans (drums)
Ben Boyle (guitar)
Nick Rackham (bass)
Rob Watkins (vocals)

Recording Studio
Bushido Studios in Melbourne, Australia

Producer and Sound Engineer
Troy Mccosker

Mastering, Mixing and Engineering
Studio Fredman and Fredrick Nordstrom

Cover Art
Xenoyrs (Ne Obliviscaris)

Biography
Will Yarbrough

Order & stream: https://orcd.co/blacklavathesavagewindstowisdom

Recenze/review - ABREAKTION - Bornhatred (2024)


ABREAKTION - Bornhatred
EP 2024, Chaos Records

for english please scroll down

Poslední roky často přemýšlím, kde se bere v lidech tolik zla. Většinou to začíná nevinně. Mrtvá zvířata, pověšená na stromech, návštěva psychologa, žádní kamarádi. Divný pohled a velké problémy s matkou i otcem. Zrozeni k zabíjení? Prokletí? Přesto je někteří obdivují, uctívají a hltají každé jejich slovo. Dávají jim bestiální jména a ve snaze šokovat je jim jedno, jak se cítí pozůstalí. Žijeme v divném, pokřiveném světě. Možná, nebo právě proto, se rád čím dál tím častěji vracím do dob svého mládí, kdy kolem nebyl všemocný internet, lidé nekoukali jen do obrazovek. Ano, pořád sleduji i thrash metalovou scénu a když se objeví nějaká kapela, co mě zaujme, rád o ní napíšu.

ABREAKTION pocházejí z Chile. Letošní album "Bornhatred" je jejich debutem. Nenechte se ale mýlit, pod nahrávkou jsou podepsáni zkušení muzikanti (ADDICTION), kteří přesně vědí, co a jak chtějí hrát. Máte rádi syrový, temnou energií nabitý thrash metal staré školy? Potom jste zde správně. A tak se zase jednou usmívám, podupávám si nohou do rytmu a když se nikdo nedívá, tak provozuji headbanging. Tahle smečka je zrozena k zabíjení hudbou! Dávám známku vysoké kvality!

 

Nebudu se opakovat, jasně, že pánové nevymýšlejí nic nového. Vybrali si podobnou cestu jako kapely typu SACRIFICE, HOLLY TERROR, ARTILLERY, DEATHROW, ATROPHY. Mísí se tu vlivy klasického německého teutonic běsnění, ale i tradiční Bay Area éry. Líbí se mi, že jsou Chilané nejen prašiví a syroví, ale nebojí se i lehkých technických prvků. Dodává to skladbám větší šťávu a drive. Je to vlastně jednoduché, pokud tenhle styl bezezbytku uctíváte, neváhejte ani chvilku. Líbí se mi zvuk, který je jak vystřižený z přelomu osmdesátých a devadesátých let. Oceňuji i obal, který mě samozřejmě inspiroval k úvodu dnešní recenze. Je na něm novorozeně, které bude jednou zrozeno k zabíjení. Troufám si tvrdit, že u porodu bude hrát nové album "Bornhatred". A to pořádně nahlas. Musím zmínit i cover od DARK ANGEL, který je zahraný s náležitou úctou i silou. Takhle nějak by se to mělo dělat. Pánové přijdou středem, rozsekají vám na malé kusy a odejdou rovnou do pekla. Naživo to musí být pořádný masakr. Jsem moc rád, že mi podobné nahrávky chodí na recenze. Je pro mě velmi příjemné se vracet do dob mého mládí. Není v tom ale jenom nostalgie. Tahle smečka dokáže napsat poctivé skladby, které jen tak z hlavy nevyženete. Včera psali v novinách, že se naším městem toulá násilný vrah. Lidé se ohlížejí přes rameno a lekají se každého stínu. Až toho bastarda chytí, tak všichni budou litovat, že byl zrušen trest smrti. Cítím v kostech vztek, pomstěte se svým vlastním démonům! Nelze jinak, než vám album doporučit. Je totiž skvělé po všech stránkách. Starý, prašivý thrash metal, který vás roztrhá na kusy! Budete tančit na svých vlastních hrobech!

 

Asphyx says:

In recent years I have often wondered where so much evil comes from in people. It usually starts innocently. Dead animals hanging in trees, seeing a psychologist, no friends. Strange looks and big problems with mother and father. Born to kill? A curse? Yet some admire them, worship them, and devour their every word. They give them bestial names, and in their attempt to shock, they don't care how the survivors feel. We live in a strange, twisted world. Maybe, or maybe that's why, I like to return more and more to the days of my youth, when the internet wasn't all-powerful around, when people didn't just stare at screens. Yes, I still follow the thrash metal scene and when a band comes along that catches my attention, I like to write about it.

ABREAKTION are from Chile. This year's album "Bornhatred" is their debut. But make no mistake, the record is signed by experienced musicians (ADDICTION) who know exactly what and how they want to play. Do you like raw, dark energy-laden thrash metal of the old school? Then you are here right. And so I'm smiling once again, stomping my foot to the beat and headbanging when no one is looking. This pack was born to kill with music! I give it a high grade!


I won't repeat myself, clearly the gentlemen are not inventing anything new. They chose a similar path as bands like SACRIFICE, HOLLY TERROR, ARTILLERY, DEATHROW, ATROPHY. Mixing influences of classic German Teutonic fury, but also traditional Bay Area era. I like that the Chileans are not only dusty and raw, but not afraid of light technical elements. It gives the songs more juice and drive. It's actually simple, if you worship this style to no end, don't hesitate a moment. I like the sound, which is like something cut from the late 80s/early 90s. I also appreciate the cover art, which of course inspired me to start today's review. It features a newborn baby who will one day be born to kill. I dare say that the new album "Bornhatred" will play at the birth. And it's loud. I must also mention the cover by DARK ANGEL, which is played with due reverence and power. This is how it should be done. Gentlemen come in the middle, chop you into small pieces and go straight to hell. Live, it must be a real massacre. I'm very happy to have recordings like this coming in for review. It's very nice for me to go back to the days of my youth. But it's not just nostalgia. This bunch can write honest songs that you just can't get out of your head. Yesterday the paper said there's a violent killer roaming our town. People are looking over their shoulders, scared of every shadow. When they catch the bastard, they'll all be sorry the death penalty was abolished. I can feel the rage in my bones, take revenge on your own demons! I can't recommend the album enough. It's great in every way. Old, dusty thrash metal that will tear you apart! You'll dance on your own graves!


tracklist:
1. Empty Promises
2. Pyromaniac
3. Amnesia Chronicle
4. Mental Torture
5. Welcome to the Slaughterhouse [Dark Angel cover]

ABREAKTION on this recording are:
Roran Fatehatred - guitars/vocals
Javier Salgado - guitars/ drums
Sebastian Logan - bass



pondělí 15. července 2024

Recenze/review - OBSCENE - Agony & Wounds (2024)


OBSCENE - Agony & Wounds
CD 2024, Nameless Grave Records

for english please scroll down

Vím to již dávno. Znám svoji duši. Rád se ukrývám ve stínu. Toulám se v katakombách. Naslouchám děsivým ozvěnám ze záhrobí. Rozmlouvám s démony, kývám se rytmu jejich zlých slov. Vím to již dávno. I po své smrti budu poslouchat death metal. Mám velkou sbírku desek, kterou si hrobu nevezmu, ale až přejdu přes řeku Styx a zaplatím svým svědomím, narvu si do hlavy podobné desky, jako je ta od OBSCENE z Indiany. Tuhle smečku sleduji od jejich počátků. Pokud máte chuť, přečtěte si recenze na minulé desky i rozhovor. Obojí je odkazováno dole pod článkem.

Pánové se vracejí po dvou letech a jsou silnější než kdy dřív. Pokud máte rádi absolutní tmu promíchanou s chladem a klasický, starý, prašivý death metal, neváhejte ani chvilku. V téhle kapele hrají zkušení muzikanti, kteří tvoří hudbu srdcem. Zaznělo jen několik prvních tónů a už jsem byl spálený na popel. Hroby jsou znovu otevřeny a Smrt čeká i na vás. Stačí jen přijmout pozvání. 


Kapele se opět povedlo nahrát desku, která má všechny předpoklady pro to, abych ji poslouchal stále dokola. Sází se tu na silné melodie, masivní a surový zvuk (Engineered and Mixed by Noah Buchanan at Mercinary Studios, Mastered by Dan Lowndes at Resonance Sound Studios). Je to přírodní živel, je to vichr, který proletí márnicí a zůstanou po něm polámané kosti. Cítím chlad, mrtvolný zápach rozkládajících se těl. Album je nahráno postaru, poctivě a je uvěřitelné. Jako bych se dusil vlastní krví, nemohl se nadechnout, jako bych se stal svým vlastním stínem. Stylově potom máme co do činění s odrůdou death metalu, který hrají třeba i takoví ASPHYX, HAIL OF BULLETS, BOLT THROWER, OBITUARY. U těchto kapel se pánové volně inspirovali. Přidali potom své vlastní nápady a invenci. Nálady, létající kolem jako noční můry, jsou pochmurné, misantropické, nihilistické, doomové. Líbí se mi, jak kapela kombinuje rychlé pasáže s těmi pomalejšími. Pokaždé, když navštívím nekonečné močály Hádovy říše, tak si říkám, že desky jako "Agony & Wounds" sem patří. Album muselo být v podobných místech nahráváno. Jinak si nedovedu vysvětlit naléhavost, tlak a energii, které ze skladeb odkapávají jako krev z čerstvé rány. Je to zběsilá jízda, která končí v samotném pekle. Je sice pravda, že se nejedná o nic nového, ani převratného, ale prodám vám klidně svoji duši - novinka vás smete z povrchu zemského. Rovnou do podsvětí. Rád se ukrývám ve stínu. Toulám se v katakombách. Naslouchám děsivým ozvěnám ze záhrobí. Rozmlouvám s démony, kývám se v rytmu jejich zlých slov. Vím to již dávno. I po své smrti budu poslouchat tohle album. Zničující, mrazivé death metalové tsunami, děsivé ozvěny z onoho světa! Vaše kosti budou rozdrceny na prach!


Asphyx says:

I've known for a long time. I know my soul. I like to hide in the shadows. I wander the catacombs. I listen for the eerie echoes from the beyond. I converse with demons, swaying to the rhythm of their evil words. I've known this for a long time. Even after I die, I'll still be listening to death metal. I have a large record collection that I won't take to my grave, but when I cross the River Styx and pay with my conscience, I'll cram records like Indiana's OBSCENE into my head. I've been following this pack since their early days. If you're so inclined, check out the reviews of past records and the interview. Both are linked at the bottom of the article.

The gentlemen are back after two years and are stronger than ever. If you like absolute darkness mixed with cold and classic, old, dusty death metal, don't hesitate a moment. This band features experienced musicians who make music with their hearts. The first few notes were played and I was already burnt to ashes. The graves are open again and Death is waiting for you. All you have to do is accept the invitation. 


The band has once again managed to record a record that has all the ingredients to make me listen to it over and over again. It relies on strong melodies, massive and raw sound (Engineered and Mixed by Noah Buchanan at Mercinary Studios, Mastered by Dan Lowndes at Resonance Sound Studios). It's a natural element, it's a whirlwind that blows through the morgue and leaves broken bones in its wake. I can smell the cold, the dead smell of decomposing bodies. The album is recorded the old-fashioned way, honestly, and it's believable. It's like I'm choking on my own blood, unable to breathe, like I've become my own shadow. Stylistically then we are dealing with the variety of death metal played by such bands as ASPHYX, HAIL OF BULLETS, BOLT THROWER, OBITUARY. These bands were freely inspired by the gentlemen. Then they added their own ideas and inventiveness. The moods, flying around like nightmares, are gloomy, misanthropic, nihilistic, doom. I like how the band combines fast passages with slower ones. Every time I visit the endless swamps of Hades, I think to myself that records like "Agony & Wounds" belong here. The album must have been recorded in similar places. Otherwise, I can't explain the urgency, pressure and energy that drip from the songs like blood from a fresh wound. It's a frantic ride that ends in hell itself. Admittedly, it's nothing new or groundbreaking, but I'll sell you my soul - the novelty will sweep you off the face of the earth. Straight to the underworld. I like to hide in the shadows. I roam the catacombs. Listening for the eerie echoes from the beyond. Talking to demons, swaying to the rhythm of their evil words. I've known this for a long time. Even after I'm dead, I'll listen to this album. A devastating, chilling death metal tsunami, eerie echoes from the afterlife! Your bones will be crushed to dust!


about OBSCENE on DEADLY STORM ZINE:




Rozhovor - OBSCENE - Death metalová misantropie!


tracklist:
1. The Cloverland Panopticon
2. Watch Me When I Kill
3. Breathe the Decay
4. Noxious Expulsion
5. Death's Denial
6. Written in Blood and Covered in Flies
7. The Reaper's Blessing
8. Rotting Behind The Madness
9. Dressed in Corpses
10. Oceans of Rot
11. Agony & Wounds

band:
Kyle Shaw - Vocals
Mike Morgan - Guitars
Roy Hayes - Bass
Brandon Howe - Drums

Engineered and Mixed by Noah Buchanan at Mercinary Studios
Mastered by Dan Lowndes at Resonance Sound Studios
Band Photo by Scott Wilson
Art by Brad Moore (http://bradmooreartwizardcom)
Layout by Obscure Visions




Recenze/review - BEYREVRA - Echoes: Vanished Lore of Fire (2024)


BEYREVRA - Echoes: Vanished Lore of Fire
CD 2024, Trollzorn Records

for english please scroll down

Studuji starodávné spisy a přemýšlím o tom, kolik zlého církev způsobila. Procesy s čarodějnicemi, rozpoutané války, kněží, co trápí své svěřence. Jsou to jenom věci, které vylezou na povrch, které se dozvíme a vnímáme je. Větší zlo je ukryto pod povrchem. Na to můžete vzít jed. Do rukou se mi dostalo nové dlouhohrající album německé black death metalové kapely BEYREVRA. Klasická surovost se zde potkává s chladnými melodiemi a výsledkem je album, které rozhodně stojí za bližší prozkoumání.

Zaujala mě hlavně atmosféra, umně budované nálady. Jako bych stál před dveřmi do hlubokého sklepa. Ve starém kostele, kde je to stěn otištěna bolest prokletých. Melancholie, postupný rozklad mysli, částečné zatmění slunce. Právě v těchto chvílích vynikne síla této desky nejvíce. 


Pokud máte rádi klasický severský melodický death metal, v podání třeba takových AT THE GATES, nebo DARK TRANQUILLITY,  neváhejte ani chvilku. Nové album se vám bude určitě líbit. A pokud se vám líbí i špína a chlad black metalových pohřebišť severu, budete doslova nadšeni. Skladby jsou napsány velmi dobře, deska má syrový zvuk a tak jsem si často při poslechu připadal jako na přelomu devadesátých let minulého století. Jednotlivé melodie se mi zadíraly postupně do mozku, tančil jsem mezi prašivými kostmi, nasával jsem krví nasáklou mlhu. Nechával jsem se unášet na zpěněných vlnách krvavých riffů a album si vyloženě užíval. A to dokonce natolik, že jsem raději dlouhé týdny raději poslouchal, než abych sepsal pár slov. BEYREVRA na to jdou postaru, klasicky a tradičně, ale zároveň jsou svěží a opravdoví. Věřím jim každou notu. Tohle jsou věci, které jsou pro mě vždy velmi důležité. Pokud se mnou hudba nic nedělá, nepíšu o ní, ani ji nepodporuji. Znáte to, času je málo a kapel hodně. "Echoes: Vanished Lore of Fire" na mě má ale doslova magický účinek. Jsem přímým účastníkem inkvizice, jsem stínem, který sleduje bolest, lži a přetvářku, kterých je církev dodnes schopna. Procesy s čarodějnicemi, rozpoutané války, kněží, co trápí své svěřence. Jsou to jenom věci, které vylezou na povrch, které se dozvíme a vnímáme je. Větší zlo je ukryto pod povrchem. Na to můžete vzít jed. Němci tohle všechno vzali a vytáhli na povrch. Jako děsivé svědectví. Je to velmi dobré album, pro všechny prokleté. Magické, temné black death metalové příběhy! Melodie plné chladu a smrti! 


Asphyx says:

I study the ancient writings and think about how much evil the church has done. Witch trials, wars fought, priests tormenting their charges. It's just the things that come to the surface that we learn about and perceive. The greater evil is hidden beneath the surface. You can take poison for that. I got my hands on the new full-length album by German black death metal band BEYREVRA. Classic rawness meets cold melodies here and the result is an album that is definitely worth a closer look.

I was especially interested in the atmosphere, the artfully built moods. It was like standing in front of the door to a deep basement. In an old church where the pain of the damned is printed on the walls. Melancholy, the gradual decay of the mind, the partial eclipse of the sun. It is in these moments that the power of this record shines through the most. 


If you like classic Nordic melodic death metal, such as AT THE GATES or DARK TRANQUILLITY, don't hesitate a moment. You will definitely like the new album. And if you also like the dirt and coldness of the black metal graveyards of the north, you will be literally thrilled. The songs are very well written, the album has a raw sound and so I often felt like I was at the turn of the 90s when listening to it. The individual melodies drilled into my brain one by one, I danced between the scabby bones, sucking in the blood-soaked fog. I let myself drift on the frothy waves of bloody riffs and downright enjoyed the album. So much so, in fact, that I'd rather listen for weeks rather than write a few words. BEYREVRA go at it the old fashioned way, classic and traditional, but at the same time fresh and real. I trust them with every note. These are things that are always very important to me. If the music doesn't do anything for me, I don't write about it or support it. You know, time is short and there are a lot of bands. But "Echoes: Vanished Lore of Fire" literally has a magical effect on me. I'm a direct participant in the Inquisition, a shadow watching the pain, lies and hypocrisy that the Church is still capable of today. Witch trials, wars unleashed, priests tormenting their charges. These are just things that come to light, that we learn about and perceive. The greater evil is hidden beneath the surface. You can take poison for that. The Germans took all that and brought it to the surface. As a terrifying testimony. It's a very good album, for all the damned. Magical, dark black death metal stories! Melodies full of cold and death!


TRACKLIST
1. Sentenced
2. Path of Baptism
3. Burning Fate
4. New Aeon Rising
5. Erased
6. Fallen Son
7. Beheading the Truth
8. Barren Tales
9. The Hermit's Torment

LINE-UP
M.S. - Guitar, Compositions
M.D. - Vocals, Keyboard, Lyrics
S.L. - Bass
D.B. - Drums


neděle 14. července 2024

Interview - SCEPTOCRYPT - Hybrid death metal!


SCEPTOCRYPT - Answered by Malcolm Callus, thank you!

Questions prepared Duzl, thank you!

Sceptocrypt was formed in 1992 in Malta with the members there, however let's cut to the chase! It is now 2024 and you are trying to bring the band back to life after 24 years, how is it going and why the attempt to come back didn't come sooner?

Although Scepto was founded in Malta, it's always been artistically limiting and too hot for my liking to live there. So come our split in 1999, I started extreme metal band Dysmenorrhea, momentarily joined Achiral (2nd guitar) & Weeping Silence (bass), and continued organising underground music events under the monicker of Bisoul Promotions, while waiting for Malta to join the EU, which happened in 2004, so I left to Germany intent to make a living out of teaching music (which is more possible in a bigger country).

But as my German was far from decent, and discovering there were less metal bands per capita in the cities I lived (namely Berlin & Hamburg), I popped to London on a 2-week holiday to test the waters. I was immediately sold, and 2 months later, I moved here.

Despite the idea to reform Sceptocrypt always at the back of my head, I initially met a metalhead into flamenco (Mick from Corpsing) and together we started a duo that evolved into an anomalous world music band EthnaMorte, which pushed me to better my guitar/composition skills. So when EthnaMorte came to a hiatus in 2015, I resumed writing for Sceptocrypt with new ideas learnt along the way. Jammed with some guys on and off but never managed to get a steady line-up so in 2016 we all went our separate ways. Until in 2022 I was introduced to a good drummer available to jam (as much as the big city with lots of metal bands that London is, finding a good drummer able to commit seems quite the feat here). We meanwhile tried some bassists, and chose our current one Dip Roy. Our search for vocalist was not as successful, so currently I am writing all lyrics and singing them. Along the way, Andrea Paro joined us on samples & noize.

It did not work out with the 2022 drummer! So how's it going? It could be much more fun if we had a drummer, but things are alright anyway, life has to go on...... anyone interested, email us at band@sceptocrypt.com


Have you thought about starting a completely new band instead, wouldn't that be easier?

I see no reason why starting a new band is easier. To find dedicated musicians is the harder part. So once that is sorted, why start afresh when the name Sceptocrypt already had a small name for itself through acclaimed reviews worldwide in the 90s?

The music of Sceptocrypt is somewhat atypical - it has a lot of different elements, be it the instruments, the atmosphere, the backing chorales and the overall concept. The individual songs are different, some are death metal, others I would say are more like scenic ambient music! Tell us something about how the songs are created...

Like every other band worlwide I suppose – i.e. someones comes up with a motif (aka a riff), and then that idea is developed. Not necessarily so, but more often times than not, a tentative sequence of riffs is laid out by one bandmember, and the others contribute by suggesting changes to the riffs/sequence.

I however do not have a clear cut answer why songs differ sometimes. Come to think of it, it might be as we definitely listen to a wide array of music, and just like when one goes to dine out they are free to choose cuisines from all corners of the world, likewise we set no limits to the food for our ears, and the food we present to others!

What's for sure is that we do not consider our musical presentations as songs, but as soundscapes, where the listener is taken on a journey. And who knows, maybe along the trip, they sometimes stop for a salad, then hike a bit, then have a steak to stack up on protein before going uphill, then after a good ole cold pint & passing of wind, they wanna have a soup! I am kidding of course. We are artists, and we compose the way we feel! Hopefully others understand the avalanche of emotions conveyed.

But I lately tried an experiment & fed an AI analyser our latest two tracks. Whereas one came up as predominantly death/black metal with gothic, thrash and doom metal/sludge making up for the smaller percentages, in contrast, the other one popped up a mix of art rock, experimental electronic & folk rock. Do I have a problem, or should any of your readers, have a problem with that? I say that as long as it is done right, they should enjoy the experience.

 

Could you somehow define your work to the listeners?

Well, despite I never abandoned the idea of reviving Sceptocrypt, I always had it at the back of my head that the return had to differ from being a complete rehash of our 90s sound.

So whereas non-metal influences were quite obvious before (in the sense that when songs delved away from their main extreme metal core, it was obvious what style we were flirting with), nowadays, with 25 years more experience dealing with varied genres, whenever an influence is non-metal, it is disguised more maturely. In the sense that a musician might trace the influence, but a non-musician might not.

So for Sceptocrypt mk2, we set out a manifesto for our new Extreme Music Research sound, which is also published at our website as follows :

Proud of but not limited by the heritage that is extreme metal, Sceptocrypt have always been known to not be confined by one style and to welcome cross-genre influences! So for our re-launch, we have a vision that we are calling Extreme Music Research. Read our manifesto as follows!

Extreme – undettered by trying different forms of experimentation, from over-the-top technical riffs to the lack of same in form of time & harmonic changes that flow seamlessly, an extremity measured in the myriad of influences recalled to shape the final aural palette.

Music – in a time when visual media continually compliments the music industry, we aim to present you music that evokes you the more you close your eyes, aiding you to see colours with your ears, where colour has no limit set by your visual spectrum, and thus extreme!

Research – we shall be free to research past effective music templates as we merge them with/as merchants to/for future sounds.

We look forward to share with you some surprising musical twists as this new journey unfolds! And that you welcome our will to stay restless in our discoveries!
The tag “you need not fear shame to play this game” that you see at our website is there for a reason. So enjoy this game with us! Shamelessly!

Are the lyrics conceptual and intertwined with the songs? Were they newly created or did you pull them out of the drawer just like the songs?

Everything is a reflection of when inspiration hits.

The soundscapes dropped since our comeback (Oratorio Mortem 2 : The Unwanted Requiem) and The Wards Outside were both penned in 2023.

Other tracks for our upcoming full-length were composed over a timespan. Without spilling beans about song titles yet, listeners will be presented with a tune from 1999 with original lyrics & structure yet all music re-written in 2015, an instrumental from 2016, a completely new 2023 banger, and another that started off in 2016 but was finalised only in 2024.

This is a works in progress. We keep refreshing the tunes ever so often, and I am sure the spectrum of influences will present itself once we release the full-length fucker!

 

You're a guitar/bass teacher, so there's no doubt about your playing skills, but anyway, listening to your songs, I wonder if it's not difficult to find similar experienced musicians who could keep up with you and especially understand the philosophy of your songs?

It is extremely difficult believe me, but I persist out of my love for my music!

The world of a private teacher (not working in a school) translates into most evenings being held up, and hence less networking.

What makes it even harder is that once you find skilled players they got to be realistic that the underground functions on artistic merit over financial reward. Being an artist is about pushing boundaries, and I do not think that many greats of the underground - bands like Dodheimsgard, Gorguts, or similar ilk for instance - live from music full-time. There are rewards in life no money nor popularity can buy!

To feel part of this school of thought, one has to continually get a kick from merging music styles. No more no less – just the right mindset to produce music to make listeners go “wtf?” !

Is it your band, where you rigorously apply teaching tendencies to set the direction, or does democracy and creative freedom work in Sceptocrypt? Do you allow the members to change the music you have written, or do you insist on your own and always have the last word? There are a lot of musicians, especially composers, who can't imagine playing someone else's music and there is a dictatorship in their bands. How do you perceive it?

Sceptocrypt in Malta had 4 main song-writers, Abela & myself in the 1st line-up, and then myself, bassist Johann and vocalist/keyboardist Conrad in the 2nd line-up. With others contributing occasionally, but less. So we were always feeding off each others' ideas (sometimes fighting hehe, but disagreements can only exist in a democracy) and suggesting changes to each other accordingly.

Fast forward to Sceptocrypt mk2, I would welcome suggestions to current riffs from the other bandmembers anytime, even a whole song for the matter. But nowadays, the others prefer writing around my riffs. Maybe inadvertently, as we are all so keen to find a drummer to get out live as soon as possible that unconsciously we sticking to the songs as they are, to then experiment once the line-up is complete.

So what is your idea of a music teacher if I may ask? A good tutor is the student's friend, using one's experience to consistently get the better out of their student. Through showing the fastest way to learn anything, but also by allowing them to make mistakes, since every slip-up is a small win in learning how not to do it! As bandmembers (myself included) past and present, we feel content how any musical challenges within a riff turn into a reward – to better ourselves collectively as musicians, and also for the benefit of better tunes!

Dictatorships are arguably a weak trait of who cannot handle a divergent opinion, and maybe composers who do not accept suggestions are sometimes incapable of adapting their style, and growing. Not that original ideas have to always change, but there is never any harm in trying alternative suggestions from each bandmember. After all, it creates a chemistry that every one can stand behind!

 

If I'm not mistaken, you yourself feel more of an artist than a musician, could you explain why and what you see as the fundamental difference in these two terms in the context of music, creation and performing?

I consider myself to be an artist, a musician and a metalhead all at once, sometimes one taking over the other, which one depends on the mood of the moment.

Whether I try to avoid it or welcome it, whatever I do/create, comes from years of loving/disliking things about metal - the type of music I generally gravitate to - and other musical genres in general.

As a musician, I however do not allow metal to cast any confines of what musical emotions I can explore.
Finally, I consider myself an artist, and for me the creation of art is something that should always get a reaction. Not necessarily be liked, sometimes it could upset, but definitely and mostly never could one be indifferent to its presence.

So going back to your previous question about the polar diversity of our songs, this maybe explains further why.

You are known to be a great lover of flamenco, could you describe what fascinates you about it?

Considering the guitar's predecessors were the lute (that came from Europe) and the oud (that came from Arabia), the latter had considerable influence on the Mediterranean, and in turn the Arabic influence on the gypsies that moved to Andalusia, and developed the Roma chanting of flamenco. As a son of the mediterrean seas, this flirting with the Phyrgian mode must be something in the air and sands, broken chants you can hear from flamenco to Maltese ghana to Greek lullabies. This is the b9 interval, the 2nd most used interval after the diabolus in musica b5th, due to its dissonance, and there is hardly any avant-garde act that does not use it, even in metal!

Growing up as a guitarist, I always admired the amazing plucking techniques that this style of music brings forth, as well as the half-barre techniques of the fretting hand. Indeed, to play flamenco is no easy feat, and I hold them players in high regard. Like blues, it is the chant of the forsaken, and like metal, it comes with many subgenres. I personally gravitate towards Canto Jondo (deep singing) and the Solea, a solemn style of flamenco where the subject matter is generally tragedy, death & desperation, as opposed to the more upbeat flamenco the non-aficionados associate the style with.

So there you go, even in the flamenco world, I tend to prefer the styles that are less subject to commercial capitalism.

But of course, flamenco is just another facet of what I listen to. For example, I like reggae for its bass lines, jazz for its harmonies, latin & African music for its beats, and etc etc,...., I like to learn from any style.

 

Let's continue with the flamenco influences. During the Sceptocrypt hibernation you had a project EthnaMorte - which we shouldn't forget to mention - combining elements of metal with traditional music and Latin rhythm. How would you define EthnaMorte's genre, and what brought you guys to dissolve?

First off EthnaMorte was not a project but a band. I find this word “project” as a term when musicians put their hands into many pies not knowing what they really want, as opposed to dedicating themselves towards a purpose. So as Ethnamorte was the main thing I was involved in from 2007-2015, it was not a project but a life choice.

Our sound was a collection of different types of music from diverse corners of this world, hence the “ethna” as a reference to the various ethnicities that helped shape different musical genres, and “morte” (Italian for “death”) to reflect the band’s gusto to promote the death of musical confines by experimenting with same genres as tools not limitations!

Shifting our sound along the years, we started off with a tag “world music with a dark twist” moving to “death to music confines” and finally to “avant-world-noir” as to compliment our ever-changing sound and more literature works that continued to surface into our works.

Although there were times in our ever-changing line-up where we were 9 people, the best synergy existed when we were primarily only a duo, of myself on many instruments, and Fabio on vocals and percussions, theatrics & scenography. Being a sought after tourist guide in his hometown, Fabio always returned to Italy to make a better living in summer. One fine summer he made a baby, and eventually moved back there to grow his son up. As we both preferred to compose by rehearsing face to face, we decided to put the band on hold. I been to see him earlier this year, and both him and his son are doing fine, quite frankly much better than he ever felt living in London, a city that can drain you as much as it rewards you sometimes.

You come from Malta, you lived in Germany, USA & Australia for some time, now you live in England (London). Could you compare the differences between the scenes (metal - underground) in the countries and highlight both the positives and the negatives?

I think I cannot, because it has been so long ago, that my comparisons might be outdated.

But I am a gentleman, and as Dasa has asked, to lady shall be answered haha!

· Australia – Although Sydney has a consistent calendar of events, Melbourne is the best for music overall. But overall, the isle is still very far away, and hence ends up with having more local bands and a repetitive music calendar due to less touring bands.

· USA – New York is amazing, truly a city with many colours that never sleeps, with anything from goth to metal to punk to any other alternative adding to the buzz! On the other hand, in Boston I was mostly studying so did not go out enough other to say there is a healthy jazz scene (then again I was studying at Berklee College of Music, so knew no other). Found some goth but no metal.

· London – was much better before Brexit came along making it difficult for smaller bands to tour here. But still a place for lots of live music. But London is not reflective of all England, and any other cities I only visited mostly for few days. I like Liverpool, but it seems more of an indie & cover version scene.

· Germany – Hamburg has more live music whereas Berlin is a good scene for industrial, being the electronic mecca it is. For metal, both however do not compare to London, not even in its post-Brexit slope. On the other hand, for industrial & goth, Berlin is one of the capitals of the world!

If any of your readers are sure I wrote something that is complete bs, blame Dasa for insisting on an answer :D

 

You recently performed with Sceptocrypt in London as part of Renaissance Open Air Festival, but your fans might have been surprised, as it was an acoustic one-man show set. How did that happen, what were your impressions, and what was the feedback?

I see no reason why fans would have been surprised as it was advertised both by ourselves and the festival as an acoustic show. But yeah, you always get those who do not read the details......

Anyway, Sceptocrypt played 2 sets. The 1st was earlier so the people were still arriving. Being an open air park, luckily it rained during my 1st song so more people came to the stage, the only place offering shelter.

On the contrary, the 2nd set was received much better as the place was buzzing with attendants by now. Maybe as one of our songs features the French playwright Antonin Artuad as protagonist, some French people attending came to compliment me about our works afterwards.

The reason I however played was to present Sceptocrypt in hope of finding a drummer by playing live to the London audience. Unfortunately, this has not yet happened, so once again, if anyone is interested in the tunes you can hear at www.sceptocrypt.com/lyrics-songs, pls email us.

You took the role of singer in the new songs, I know you are struggling finding a drummer, but what about the vocals? Growl, clean, narrative - what is your idea of a singer? Or do you plan to do both roles in the future?

I actually do not want to be the band's vocalist for the main reason it frees me to focus more on the guitar riffs (which are not that easy). I also believe that a vocalist not having to play the guitar at the same time is more flexible with his voice and building a rapport with the audience, and hence we are looking for a vocalist too.

But as vocalists normally prefer to have a full band before entering the scene, for now I am singing in the studio, and writing more lyrics, just because they come to me. Ex-vocalist Conrad might also contribute.

Funnily enough, from feedback for The Wards Outside more people appreciated my erratic vocals than my guitar work :) So let's see what the future holds!

The band could definitely benefit from a second guitarist, right?

It could, but we are keeping it under consideration for now. Once we have a vocalist and drummer and the songs are more full, there is more magic in my head that could be translated onto the guitar, not to forget we now have a noize & synths guy.


You have quite long tracks, how much material do you have at the moment, are you planning to record any album? So far you're only releasing singles, if I'm not mistaken.

Yes, we released 2 singles 3 months apart, mostly as a statement to showcase we are back, but the long-term intention is to release full-lengths.

Other than the 4 tracks mentioned earlier, we also currently have 5 more songs that could encompass a 2nd full length. But things could change and we might release an EP between albums, so only time will tell.

Music in general is your passion and also your job. I wonder what are the trends in guitar teaching? How's it going with the younger generation? What's their motivation nowadays? In the past everyone aspired towards The Beatles, what do they want now? I suppose The Beatles are not idols for the young generation anymore :)

I agree that The Beatles are not the thing anymore, although they do have some numbers, that from time to time I suggest to learn easy strumming songs. Kids nowadays idolize more Ed Sheeran and bimbo Taylor Swift, but then again I teach adults too, who tend to lean towards Slash, Bonamassa, Tool and Rage vs the Machine! But that is just an idea. The best thing about being a tutor is the amount of new artists that each student listens to – I am always presented with new names I have not heard before – and us working on their fave songs to help boost their motivation.

And that brings up another question. Technology today - streaming, spotify, etc.... what do you think? Social media and its influence on music? How do you find yourself in these areas?

As for streaming, it is a double edged sword. With people always on the move, they tend to listen to music more on streaming platforms, so although most bands know that most digital platforms are ripping them off, they still post their music there to reach a wider audience. As for Sceptocrypt, we are not on Spotify, but on the free platforms like Facebook, Instagram, etc. Eventually, once we start gigging we might bow to the unwanted elephant in the room, but for now, we find no necessity.

Personally, I never use Spotify/similar. I work from home so I listen music via playing my CDs or YouTube. I sometimes discover new music from YouTube, but I prefer to discover bands live as support bands to other bands I attend shows of.

I do not stream music from a mobile, also as generally I leave home to go to gigs, so during my journey I rest my ears.


Because of your job you have a home studio. Are you the type who likes to do everything yourself or do you let someone else with an objective view mix and master your music? Do you always have the final word?

Before the advent of the current Sceptocrypt line-up with no drummer leading us to share ideas more remotely, I never recorded my riffs other than as a quick video from my mobile, and even nowadays my home studio is more set up for teaching group lessons than recording.

Due to the time I have to spend – not necessarily like - working on computers to promote myself as a guitar tutor, I spend less time on DAWs. I do not hate the process, but there is only so much my eye sight can deal with daily.

For that reason, guitar, bass & drums for our latest “The Wards Outside” were recorded live at our ex-drummer Dan, with anything else handled later at bassist Dip's own home studio. With the mastering outsourced to the crafty hands of Ays Kura from Amnion Studios.

Do not take me wrong – I love the studio and can do more than 12hours at a stretch playing, listening, etc. But I like it as my playground where I get to be the musician and the others push the buttons. I try to be present throughout nearly every step, as for it to get released as Sceptocrypt, it needs my stamp of approval, as every strict dictator must ensure haha!

Kidding apart, it is like a parent who wants to ensure their children look good before going out, so creative control is rightly called for. There can not be Rotting Christ without Sakis, Kreator without Petrozza, Sabbath without Iommi..... so Callus has to oversee Sceptocrypt!

You are quite a thoughtful person. Do you look for some kind of philosophy in music (extreme metal in particular)? Yeah, I guess there's a difference between looking for depth and soul and social dimension in Cannibal Corpse as opposed to Napalm Death. How do you feel about it?

I follow or seek no particular line of philosophy, thus allowing myself to be free to conceive Art, in all its facets, like a sponge takes to water. But every now and again, like any human, I go through experiences that I end up writing about. These end up into my lyrics, into which I put a lot of effort. I hope to think I am right in saying they are miles away from your average metal band, and hence invite your readers to check them out at https://sceptocrypt.com/lyrics-songs/

What are your ambitions after all these years? What would you like to achieve, do you have any goals and what are your closest plans for the future?

My short term goal is to find a drummer, and soon after a vocalist. My long term goal is to release more music under the monicker of Sceptocrypt. We already have a label deal for once we get to record the songs, so hope the line-up is completed soon so we get cracking!

Thanks for your time Malcolm, it was a pleasure. Good luck with the band and the last words are yours.

Thanks to you Dasa, and the readers of Deadly Storm! If anyone is interested further about Sceptocrypt, please follow our @sceptocrypt handle for our socials, with direct links at www.sceptocrypt.com

Some riffs can also be found using the handle @coolgoolmusic where I post music-related reels as a music tutor, including but not limited to only Sceptocrypt, and where you can also see me play guitar in different tunings, bass & ukulele, and occasionally other instruments.

One last shout out for drummers (and maybe vocalists) based in London or who can commute here regularly – pls read https://sceptocrypt.com/2024/02/20/seek-drum-vox/ and act accordingly via email and/or phone (no whatsapp/facebook pls). We chat only by talking to you not through msg ping-pong! Like normal human beings!




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Recenze/review - VOID MOON - Dreams Inside the Sun (2024)


VOID MOON - Dreams Inside the Sun
CD 2024, Personal Records

for english please scroll down

Určitě znáte takový ten divný pocit, když nemůžete spát. Váš život je zcela v pořádku, celý den se usmíváte, přesto, když se ocitnete v podivném stavu mezi spánkem a bděním, obestře vás jako nějaká chladná mlha smutek. Vstáváte brzy a něco vás láká ven. Ještě je rosa a ulice jsou prázdné. Vyběhnete nahoru nad město. Mezi stoleté stromy. Pach umírající země. Díváte se na šedivé domy, na továrny, nasloucháte tlukotu svého srdce. Slunce vychází a v žilách se vám rozlije klid.

Jsou nahrávky, které jsou mocné, majestátní. Raději poslouchám, než abych psal slova. Toulám se v lesích, vyhledávám temné kouty. Pokaždé usednu do stínu a jen tak pozoruji. Zpomalím dech i ostatní životní funkce. VOID MOON jsem si užíval již u jejich předchozího EP "Waste of Mind". Na novince kapela volně pokračuje v předešlé práci a já mohu napsat jenom jediné - hudba se opět stala i mojí součástí. 


Doom metal dodnes považuji za jednu z nejtěžších extrémních disciplín. V pomalých rytmech totiž všechno vynikne, je slyšet jakákoliv nedokonalost. Jsem velmi rád ve společnosti "Dreams Inside the Sun". Po formální stránce bylo uděláno vše pro krásně smutný zážitek. To by ale bylo samozřejmě málo. Hlavní jsou nakonec stejně melodie, nálady, způsob, jakým se mi dostanou skladby do hlavy. Přiznám se bez mučení, novinku si neskutečně užívám. Mám totiž rád probouzející se les na městem, chladnou zem, do které mě jednou uloží. Stále mě fascinuje východ slunce, jeho síla i nebezpečí, takové ty momenty, kdy je za obzorem vidět jenom část ohnivé koule. Pokud bych potom měl VOID MOON k někomu přirovnat, volil bych jména jako CANDLEMASS, SOLITUDE AETERNUS, DOOMSHINE, ISOLE, GRIEF COLLECTOR. Moje přirovnání ale berte s rezervou. Pánové jsou jinak samozřejmě svým způsobem originální, mají vlastní výraz, rukopis. Mám rád nahrávky, které ve mě dokáží probudit nějaké emoce, donutí mě, abych si sedl a sepsal pár slov. Připadám si napojený na něco neznámého, neuchopitelného, na věčnost, na přírodní síly. Nevím, jistý jsem si akorát s tím, že nové album jsem si nejvíc užíval venku, na čerstvém vzduchu. Jakoby se kapele povedlo do songů otisknout temnotu a chlad. Cítím v kostech, že brzy přijde bouře. Přidávám postupně hlasitost a mraky jsou zase jednou velmi nízko. Jsem v podivném stavu mezi spánkem a bděním, obestřel mě jako nějaká chladná mlha smutek. Zemřel jsem? Narodil se? Silný doom metalový zážitek! Chlad a temnota, smutek i síla věčnosti!


Asphyx says:

I'm sure you know that weird feeling when you can't sleep. Your life is perfectly fine, you smile all day long, yet when you find yourself in that strange state between sleep and wakefulness, sadness envelops you like a cold mist. You wake up early and something beckons you out. It's still dewy and the streets are empty. You run up above the city. Among the hundred-year-old trees. The smell of the dying earth. You look at the grey houses, the factories, you listen to your heartbeat. The sun rises and peace pours through your veins.

There are recordings that are powerful, majestic. I'd rather listen than write words. I wander in the woods, I seek out the dark corners. I always sit in the shadows and just observe. I slow my breathing and other vital functions. I already enjoyed VOID MOON with their previous EP "Waste of Mind". On the new one, the band freely continues their previous work and I can only write one thing - music has become a part of me again. 


I still consider Doom Metal to be one of the hardest extreme disciplines. In slow rhythms everything stands out, you can hear any imperfection. I'm very happy to be in the company of "Dreams Inside the Sun". Formally, everything has been done for a beautifully sad experience. But that would not be enough, of course. In the end, the melodies, the moods, the way the songs get into my head are the main thing anyway. I'll admit without torture, I enjoy the novelty immensely. For I love the waking forest on the city, the cool earth in which I will one day be laid. I'm still fascinated by the sunrise, its power and danger, those moments when only part of the fireball is visible over the horizon. If I had to compare VOID MOON to someone, I would choose names like CANDLEMASS, SOLITUDE AETERNUS, DOOMSHINE, ISOLE, GRIEF COLLECTOR. But take my comparisons with a grain of salt. Gentlemen are of course otherwise original in their own way, they have their own expression, handwriting. I like records that can awaken some emotions in me, make me sit down and write some words. I feel connected to something unknown, ungraspable, to eternity, to the forces of nature. I don't know, the only thing I'm sure of is that I enjoyed the new album the most outdoors, in the fresh air. As if the band managed to imprint darkness and coldness into the songs. I can feel it in my bones that a storm is coming soon. I turn up the volume and the clouds are very low once again. I'm in a strange state between sleep and wakefulness, sadness has enveloped me like a cold fog. Have I died? Born? A powerful doom metal experience! Cold and dark, sadness and the power of eternity!


Recenze/review - VOID MOON - Waste of Mind (2022):

tracklist:
01. Rays of Vindication
02. Dreams Inside The Sun
03. Season Out Of Season
04. The Dreaming Spire
05. Nadir
06. Broken Skies
07. East Of The Sun
08. Still Dark
09. The Wolf (At The End Of The World)

VOID MOON lineup
Marcus Rosenkvist – lead vocals, drums
Peter Svensson – bass, lead & rhythm guitars

Guest guitar solos:
Martin Jepsen Andersen (Blindstone, Meridian, Anchorite)
Kjetil Lynghaug (Paganizer, Vredesblod)



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