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neděle 12. dubna 2026

Recenze/review - VOMITORY - In Death Throes (2026)


VOMITORY - In Death Throes
CD 2026, Metal Blade Records

for english please scroll down

Jedna rána střídá druhou. Musím použít velkou sílu, abych docílil svého. Vstávám pozdě odpoledne a odcházím za soumraku. Na starý hřbitov za městem. Do márnice, ve které jednou budu pochován i já, starý hrobník. Drtím staré prašivé kosti, exhumuji prokleté hroby a celý život poslouchám death metal. Stále netuším, jestli jednou po smrti přejdu na druhou stranu, do země nekonečných stínů nebo jen shniju ve chladné zemi. Jistý jsem si jenom s tím, že téhle kapele zůstanu věrný ještě dlouho po té, co mé kosti budou ležet rozemleté v prašivé rakvi.

Patřím totiž k věrným fanouškům kapely již od jejich počátků. Určitě to znáte. Mám doma celou diskografii, různá trička  a zažil jsem koncerty, u kterých mi byl pokaždé vystřelen mozek z hlavy. Nové album "In Death Throes" volně navazuje tam, kde pánové minule přestali. Opět se jedná o severský klasický death metal s prvky kruté brutality. To vše zabalené do krvavých pavučin. VOMITORY jsou zpět a působí jako politi mrtvou vodou. 


Pokaždé, když přijdete k nám na hřbitov, tak vás obejme studená mlha a neustále se ohlížíte za sebe, jestli mrtví nevylezli z hrobů. Máme tu děsivé příběhy a ještě horší smrt. Každé pohřebiště je kronikou utrpení, bolesti a prokletí. VOMITORY tohle všechno vzali, smíchali to se zkaženou krví, hudebním násilím a vypálili to do nových skladeb jako cejch. Jednotlivé motivy v sobě mají stále takový ten pradávný drive, sílu, tlak a energii, ale také touhu ničit a zabíjet hudbou. Připadá mi, že tento rok pánové sázejí na větší melodičnost, což rozhodně není na škodu. Naopak, album je tím pádem trošku stravitelnější, pestřejší a velmi dobře se poslouchá. Zajímavě znějí i thrashové prvky. Zároveň si deska zachovává takovou tu neklidnou, staroškolskou patinu a feeling. My, staří fanoušci, moc dobře víme, že na tuhle smečku rozzuřených prašivých psů je spolehnutí. Švédi vždy měli a stále mají svůj originální rukopis a zůstává po nich pokaždé hluboká krvavá stopa. "In Death Throes" je přesně tím druhem nahrávky, která vám vyčistí mozek od zbytečností, od hnusu a špíny, od zla a nenávisti. U kapel, které mám rád, velmi často hovořím o tom, že se mi na nich líbí, že jsou opravdové, ryzí, uvěřitelné a naprosto autentické. Tahle smečka splňuje veškeré mé požadavky na sto procent. Navíc se novinka opravdu dobře poslouchá, tak nějak sama leze do hlavy, je surová a melodická zároveň. Zkrátka a dobře, opět jsem se přesvědčil o tom, že na VOMITORY je spolehnutí, stejně jako na smrt. Zmiňme ještě velmi povedený masivní zvuk a skvělý motiv na obalu, který budu brzy hrdě nosit na tričku. Brutální, krvavý švédský death metalový masakr v márnici! Album, které vám rozdrtí všechny kosti v těle! 


Asphyx says:

One morning follows another. I have to use all my strength to get what I want. I get up late in the afternoon and leave at dusk. To the old cemetery outside town. To the morgue where I, the old gravedigger, will one day be buried. I crush old, rotten bones, exhume cursed graves, and listen to death metal my whole life. I still have no idea if, after death, I’ll cross over to the other side, to the land of endless shadows, or if I’ll just rot in the cold ground. The only thing I’m certain of is that I’ll remain loyal to this band long after my bones lie ground to dust in a moldy coffin.

I’ve been one of the band’s loyal fans since their very beginnings. You know how it is. I have their entire discography at home, various T-shirts, and I’ve been to concerts where my brain was blown out of my head every single time. The new album, “In Death Throes”, picks up right where the guys left off last time. Once again, it’s classic Nordic death metal with elements of brutal savagery. All of this wrapped in bloody cobwebs. VOMITORY are back and sound like they’ve been doused with cold water. 


Every time you come to our cemetery, a cold fog envelops you, and you keep looking over your shoulder to see if the dead have risen from their graves. We have terrifying stories here and even worse deaths. Every graveyard is a chronicle of suffering, pain, and curses. VOMITORY took all of this, mixed it with rotten blood and musical violence, and burned it into new songs as a mark of their trade. The individual motifs still possess that ancient drive, strength, pressure, and energy, but also a desire to destroy and kill through music. It seems to me that this year the guys are betting on greater melodicism, which is definitely not a bad thing. On the contrary, the album is thus a bit more digestible, more varied, and a very good listen. The thrash elements also sound interesting. At the same time, the album retains that restless, old-school patina and feeling. We, the old fans, know very well that this pack of rabid, mangy dogs is reliable. The Swedes have always had and still have their own original style, and they always leave a deep, bloody trail in their wake. "In Death Throes" is exactly the kind of album that clears your mind of all the clutter, the filth and grime, the evil and hatred. When it comes to bands I like, I often say that what I love about them is that they’re genuine, pure, believable, and completely authentic. This pack meets all my requirements one hundred percent. Plus, the new album is a real pleasure to listen to it just kind of gets stuck in your head; it’s raw and melodic at the same time. In short, I’ve once again convinced myself that VOMITORY is as reliable as death itself. Let’s also mention the very well-executed massive sound and the great cover art, which I’ll soon be proudly wearing on a T-shirt. A brutal, bloody Swedish death metal massacre in the morgue! An album that will crush every bone in your body!



about VOMITORY on DEADLY STORM ZINE:






tracklist:
1. Rapture in Rupture 
2. For Gore and Country 
3. Forever Scorned 
4. Wrath Unbound 
5. In Death Throes 
6. Cataclysmic Fleshfront 
7. Two and a Half Men 
8. Erased in Red 
9. The Zombie War General 
10. Oblivion Protocol 

Recenze/review - TOWERING - The Oblation of Man (2026)


TOWERING - The Oblation of Man
CD 2026, Dolorem Records

for english please scroll down

Když jsem se probudil uprostřed noci, tak bylo nebe nebývale temné. Hvězdy nebyly skoro vidět a měsíc měl barvu krve. V ulicích se objevily přízraky toužící po čerstvém mase. Nejdříve jsem si myslel, že je to jenom hnusná noční můra, která přišla na návštěvu, ale po chvilce jsem věděl, že je konec. Apokalypsa, o které staří mluvili již několik let, se stala krutou skutečností. Lidé umírali po stovkách, po tisících a země byla pokryta jejich mrtvolami. Člověk se stal člověku vlkem.

Podobné dystopické vize mě napadají při poslechu druhého dlouhohrajícího alba francouzských tmářů TOWERING pokaždé, když zapnu play na svém přehrávači. Dívám se na černé nebe a přemýšlím, kdy nastane konec, úplný konec. Kolem mě létají chladné, ostré a disonantní melodie a v kostech se mi usadil mráz. Svět je zahalen do špinavé mlhy. 


Jakoby se do mě zabodávaly ostré hřeby. Hudba mě drásá, bolí, pálí a zároveň chladí. Francouzi mají svůj jasný rukopis. Volně se inspirovali u kapel typu ULCERATE, SVART CROWN, WATAIN a udělali to velmi elegantně a zkušeně. Vlivy zmiňovaných smeček jsou sice patrné a zřetelné, ale pánové do skladeb vložili i velkou porci vlastních nápadů a invence. Za velmi povedený, masivní, ostrý a velmi dobře čitelný, považuji zvuk (Eloi Nicod at Craftline Studio (The Scalar Process)). Dodává nahrávce na ještě větší uvěřitelnosti, opravdovosti a autenticitě. Motiv na obalu (Leoncio Harmr) ve mě evokuje spoustu představ, které jsem napsal v úvodu dnešní recenze. Zpočátku vám možná budou připadat nové skladby nepřístupné, zahalené do složitosti a v některých momentech pro vás budou i nepříjemné. Není to také album na první poslech. Chce čas, vyžaduje plné soustředění a i určitou dávku trpělivosti. Když ale vydržíte, začnete po nějaké době rozkrývat jednotlivé vrstvy, zajímavé momenty, pasáže, které po sobě zanechávají hlubokou krvavou stopu. Osobně jsem potřeboval klid, tichou místnost a otevřené okno nad pulsujícím městem. Hudba vynikla opravdu nejvíce v hluboké noci. To potom na mě měla až magický účinek. O "The Oblation of Man" lze s jistotou napsat, že bude jednou znít éterem, až se budete procházet po spálené zemi. Netuším, kdy ten okamžik přijde, ale každým dalším rokem víc souhlasím se starými spisovateli sci-fi, kteří nám náš současný stav světa předpovídali. Temné a chladné black death metalové album, u kterého se noční můry stávají krutou skutečností!


Asphyx says:

When I woke up in the middle of the night, the sky was unusually dark. The stars were barely visible, and the moon was the color of blood. Ghosts craving fresh flesh appeared in the streets. At first, I thought it was just a horrible nightmare that had come to visit, but after a moment, I knew it was the end. The apocalypse that the elders had been talking about for years had become a cruel reality. People were dying by the hundreds, by the thousands, and the land was covered with their corpses. Man had become a wolf to man.

Similar dystopian visions come to mind whenever I listen to the second full-length album by the French dark metal band TOWERING, every time I press play on my player. I look up at the black sky and wonder when the end will come the absolute end. Cold, sharp, and dissonant melodies fly around me, and a chill settles in my bones. The world is shrouded in a dirty fog. 


It’s as if sharp spikes were piercing me. The music tears at me, hurts me, burns me, and chills me all at once. The French band has a distinct style. They drew loose inspiration from bands like ULCERATE, SVART CROWN, and WATAIN, and they’ve done so with great elegance and skill. While the influences of these bands are evident and distinct, the guys have also infused the songs with a generous dose of their own ideas and creativity. I consider the sound (Eloi Nicod at Craftline Studio (The Scalar Process)) to be very well-executed, massive, sharp, and very clear. It lends the recording even greater believability, sincerity, and authenticity. The cover art (Leoncio Harmr) evokes in me many of the ideas I wrote about in the introduction to today’s review. At first, the new songs may seem inaccessible to you, shrouded in complexity, and at times even unpleasant. This is not an album for a first listen. It takes time, requires full concentration, and even a certain amount of patience. But if you stick with it, after a while you’ll begin to uncover individual layers, interesting moments, and passages that leave a deep, bloody trail in their wake. Personally, I needed peace and quiet, a silent room, and an open window overlooking the pulsating city. The music truly shone brightest in the dead of night. That’s when it had an almost magical effect on me. One thing we can say for certain about "The Oblation of Man" is that it will one day echo through the ether as you walk across scorched earth. I have no idea when that moment will come, but with each passing year, I find myself agreeing more and more with the old sci-fi writers who predicted our current state of the world. A dark and cold black death metal album where nightmares become a cruel reality!


Tracklist:
01. Asceticism 
02. To Die Once And Emerge 
03. Shattering Individuality 
04. The Devouring Presence 
05. Herald Of The Black Sun 
06. Embraced Atonement

band:
Vocals, Lead Guitars / T. J. S.
Guitars / Christnacht
Bass / Arboria
Drums / Mortem

sobota 11. dubna 2026

Interview - RELIC - Devilish, raw, dark black death metal that reeks of sulfur!


Interview with black death metal band from Milwaukee - RELIC.

Answered Kevin Forsythe, thank you!


Ave RELIC! Greetings from the underground, from Milwaukee. How’s it going over there? I have to tell you one thing up front. When I got your email saying you were starting a new band, I’d just broken my leg about two weeks earlier. It hurt like hell, my bone was burning, and I was pretty pissed off. I needed to get that anger out of my head somehow. I put on your new album “Crown of Flies” in my headphones, stared at the ceiling, and before long I had to fight the urge to punch the wall! It’s a great record devilish, wild exactly the kind of death metal that runs through my veins. How did you guys get together? Please walk us through the history of RELIC.

Kevin Forsythe: Things are good here in Milwaukee! Oh man sorry to hear about your leg that sounds horrible. I hope that you heal up fast without any complications. Alex, Jeff and I have been doing bands together for almost 15 years so we are long time friends. About a year ago we wanted to do a more Death Metal focused band. Something more mid 90’s Midwest Death Metal inspired. I wanted to go back to my roots. We jammed a few ideas and in a short amount of time we came up with a few songs. We liked the direction so we continued to build on that.


“Crown of Flies” is truly a work straight from hell. Each of you, as musicians, has a lot of great albums under your belt; you’re veterans of the scene. But you’re also all strong personalities. How did the new album come together? Who had the final say? Did you argue, for example? I’m interested in the actual process of creating new songs…

KF: We really write as a band. When coming up with riff ideas or arrangements it can be anyone. We kind of have two different ways of putting the songs together. Vinny or I will come up with a riff or two away from rehearsal and bring it to the band to see if anyone likes it. If yes then we finish the song as a band everyone will have ideas and input. The other way is improvising things during warm up. I come up with my best stuff off the top of my head just winging it so to speak. Alex will be on the drums warming up and I will just play whatever comes to mind and somehow we will click on something. If it seems like a solid foundation we will finish the song again as a band with input from everyone.

It’s always been about the sound, and you’ve come up with death metal that has that old, raw energy. You can feel a lot of pressure in the songs, but everything also feels primal, animalistic. It reminds me of a lot of recordings from the nineties (sure, DEICIDE, ANGELCORPSE). Was that the goal? How and where did you record, how did you want to sound, and who handled the mastering and mixing?

KF: Yes, that was our goal exactly. I started playing in bands in the early 90’s and I wanted to bring the Midwest 90’s Death Metal sound back into the music. We record the drums live as a band but the other instruments are isolated so they don't bleed into the drum tracks. Once we have the drums down I will go in and track the guitars. Then Jeff will put the vocals on over the music that is 90% done. Sometimes we will have an idea to put a part in a song or take a part out after the vocals are done so it's a group effort. Mix wise this time we wanted to be loud and kind of beat the shit out of the listener. I wasn’t as concerned about making sure everything was balanced perfectly or making sure you could hear every note perfectly. We wanted to have the listener feel like they just got beat down haha.


They say that the cover sells the album. There’s a motif on “Crown of Flies” that really caught my eye. It features a figure with a shattered head, with bloody shreds where the face should be. It’s a very interesting piece of art, and I think it fits your music perfectly. Who created it? How exactly does it relate to your music?

KF: Jeff had the idea of a crown soaked in gore being held up as an offering. The artist Sant V. Schreiber (Instagram: sannosferatu) we had worked with in the past. We gave him the general idea and he ran with that. His detail and color concepts are what catches my eye. We were very satisfied with the results. As far as how it relates to the music I think his style mixes with our sound very well. It's dirty and grim yet detailed and rich with atmosphere.

Whenever I hear a new recording, I always try to focus on the lyrics as well. What are the lyrics on “Crown of Flies” about? Who wrote them, and where did they draw inspiration from? Was it books, life? Or movies?

KF: Jeff writes almost all the lyrics and comes up with the lyrical concepts. Some of us will come up with lyric ideas and send them to him but ultimately Jeff has final say on what makes it. We will work as a band when placing the lyrics over the music from time to time. Inspiration wise can be anything from movies or just real life in general.


I really love that ancient rawness and intensity in your music. Every time I hit play, I feel like the album is going to sweep me off the face of the earth. But everyone had to start somewhere; that journey was surely complex and demanding. Who was your role model way back when? How did you get into music in the first place? What was the first band you saw live? And when did you first stand on stage?

KF: I’m a little older than the rest of the guys (one of the reasons the name Relic fits so well for this haha) and I love 80’s rock / metal. That is what I grew up on and saw on MTV all the time. This led me to discovering bands like Metallica. That opened the door to the Bay Area Thrash scene. I was 100% captivated by that scene and loved everything that came out of it. Not too long after the early Death Metal scene started up and all the Thrash bands went from Eb or D tuning to around 1990 everyone dropped to C or B. It was a great time to be in the thick of it and witness the change to Death Metal. First metal band I saw live was Metallica. It blew my mind how many other Death Metal fans were in the audience. I really didn't know anyone else that liked it and I assumed I was on my own. When I saw Obituary, Grave, and Morbid Angel shirts all over I was like cool more people to talk to and find out what bands are out there. I wanted to be apart of the Death Metal scene to me it was the new exciting thing. First official gig I did was in High School. I formed a band with some friends from school and we mostly played for friends at our rehearsal space. We knew some other bands from the surrounding area and we all put our heads together to put the show on. Was a very exciting time, some of the bands had members that went on to do great things. Was great time!

Years ago, I wrote a review of your band EMBLAZONED. But they’re not the only band from Milwaukee and Wisconsin that’s been making waves in recent years. I don’t know how you see it, but lately it seems to me that your scene is really thriving when it comes to extreme metal. How do you perceive your scene, the bands, promoters, and labels? Where would you take me to a concert? I like smaller clubs with good beer, sound, and pretty girls 😊)…

KF: The Milwaukee area metal scene has had its ups and downs over the years. Right now we have a lot of great bands. We have been getting a lot of great underground or DIY shows. We have a few venues in town now that support this so we are very lucky to have that working for us. I like playing in smaller bars and clubs because the energy in a smaller space is more captivating. Big shows with a lot of people are great too but you make friends with the audience when it's smaller. That is what I like the most when playing live is meeting others and making friends. You can have totally different upbringings, jobs / professions, economic or political beliefs, or whatever else divides people out there. But, when you come to the show we all have one thing in common that brings us together. The music and that is what keeps me going.

Bands worth you time to check out:
To The Dogs - tothedogs.bandcamp.com


When I started my website ten years ago, my vision was to support bands that I felt weren’t getting enough attention. To let the world know about them. I think I’ve been pretty successful at it, at least judging by the feedback. How do you approach promotion? Do you leave it up to the label, or do you send out CDs for reviews yourselves? For example, I buy albums that I really enjoy. How about you? Are you also fans who like to support your peers? Do you go to concerts? Do you party?

KF: I'm definitely not a party guy! Those days are long gone haha. I still like to get out and flyer the city and go to shows to talk to people. Most band promotions are over the internet now and I will do as much as I can with that as well but I like talking to people. If there is a label or PR guy working with us that is great but I'm still going to get out there and promote face to face. If someone is playing nearby and I can make it to the show I will go support. It's important not only to support the band but the promoter that backed the show and the venue that hosted the show.

On the one hand, a band starting out today has plenty of ways to get their name out there, but on the other hand, there are a huge number of bands, and fans get lost in the crowd. A lot of people just download MP3s from the internet and, instead of going to a concert, prefer to spew venom on Facebook. How does modern technology influence you, as RELIC? What do you think about downloading music, Google Metalists, streaming music, etc.?

KF: You are correct there is so much out there and so many choices it's hard to stand out. The streaming platforms get thousands of songs a day sent to them to host so as a band it's very difficult to stand out. I think that is why so many bands now are focusing on the visual live show almost like KISS did back in the 70s. The best way (in my opinion) to get the name out there is to play as many shows as you can. If you are not able to play shows then you have to go to them and talk to people and let them know your band exists and is worth their time to check out. You can't be in a band nowadays and not have streaming available but I still make CD’s and take them to shows to promote and talk with others.

I like to ask musicians what death metal means to them. How would they define it—is it more of a philosophy and lifestyle for them, or “just” a way to relax? What does it mean to you? How do you perceive and experience it?

KF: Death Metal for me is an escape from the world and everyday life. It's good friends and people that I have known for years having fun together. It's my go to when I want to write some riffs or listen to something that has a little bite to it. I feel very lucky to have seen the scene from the early days to what it is today. My contribution to it may be small or not as impactful as others around me but I was able to be a part of it. I'm grateful for that and the fact that all these years later I'm still able to do it! I'm not the best musician in town but that is not what it's about. It's about really liking something and wanting to be a part of it and if you can find a few people that feel the same way awesome! That is what it's all about.

To wrap things up, a classic but important question. What does RELIC have planned for the coming months? Where can we catch you in concert? If you have a message for fans, labels, or promoters, this is the place…

KF: We are putting together more songs. We have some that we didn't record yet that are coming along very well. We have some live shows booked for this summer and we plan to play out as much as we can for the rest of the year. If anyone else came along that wanted to work with us and got in touch that would be great but I'm totally fine doing this DIY style too! We hope to have a full album out in 2027 so be on the lookout for that!

Thank you so much for the interview. I wish not only the new album every success, but also that your fan base grows as much as possible. I look forward to seeing you live somewhere, and I wish you all the best both musically and personally. I’m going to blast “Crown of Flies” in my head again!

KF: Awesome man! Thank you for the interview and continued support means a lot to us. All the best cheers!

Rozhovor - RELIC - Ďábelský, syrový, temný black death metal, který smrdí sírou!


Rozhovor s black death metalovou skupinou z Milwaukee - RELIC.

Odpovídal Kevin Forsythe, děkujeme!

Recenze/review - RELIC - Crown of Flies (2026):

Ave RELIC! Zdravím do podzemí, do Milwaukee. Jak se u vás máte? Musím ti dopředu říct jednu věc. Když mi přišel od tebe email s tím, že zakládáte novou kapelu, měl jsem zrovna asi dva týdny zlomenou nohu. Bolelo to jako čert, pálila mě kost a byl jsem pěkně naštvaný. Potřeboval jsem nějak dostat vztek ze své hlavy. Pustil jsem si vaši novinku „Crown of Flies“ do sluchátek, díval se do stropu a za chvilku jsem měl co dělat, abych nemlátil pěstí do stěny! To je skvělá nahrávka, ďábelská, divoká, jedná se přesně o druh death metalu, který koluje i v mých žilách. Jak jste se dali dohromady? Proveď nás prosím historií RELIC.

Kevin Forsythe: V Milwaukee se nám daří dobře! Je mi líto, že máš zlomenou nohu, zní to hrozně. Doufám, že se brzy uzdravíš a nebudeš mít žádné komplikace. Alex, Jeff a já spolu hrajeme v kapelách už skoro 15 let, takže jsme dlouholetí přátelé. Asi před rokem jsme chtěli udělat kapelu zaměřenou spíše na death metal. Něco spíše inspirovaného death metalem ze Středozápadu v polovině 90. let. Chtěl jsem se vrátit ke kořenům. Nahráli jsme pár nápadů a za krátkou dobu jsme vymysleli pár písní. Líbil se nám směr, takže jsme na něm dále stavěli.


„Crown of Flies“ je opravdu dílo ze samotného pekla. Vy máte každý, jako muzikant, za sebou spoustu skvělých alb, jste veteráni scény. Každý jste ale také osobnost. Jak novinka vznikala? Kdo měl poslední slovo? Nehádali jste se třeba? Zajímá mě samotný proces vzniku nových skladeb…

KF: My vlastně píšeme jako kapela. Když vymýšlíme nápady na riffy nebo aranžmá, může to být kdokoli. Máme dva různé způsoby, jak písně dávat dohromady. Vinny nebo já vymyslíme jeden nebo dva riffy mimo zkoušku a přineseme je kapele, abychom zjistili, jestli se někomu líbí. Pokud ano, tak píseň dokončíme jako kapela, každý bude mít nápady a podněty. Druhý způsob je improvizace během rozcvičky. Já vymýšlím své nejlepší věci z hlavy, jen tak mimochodem. Alex bude hrát na bicí a bude hrát, cokoli vás napadne, a nějak se do toho pustíme. Pokud se to bude zdát jako solidní základ, píseň dokončíme znovu jako kapela s podněty od všech.

O zvuku to bylo vždycky a vy jste přišli s death metalem, který má takovou tu starou, surovou energii. Ze skladeb je cítit velký tlak, ale také vše působí živočišně, zvířecky. Připomíná mi to spoustu nahrávek z devadesátých let (jasně, DEICIDE, ANGELCORPSE). Bylo to účelem? Jak a kde jste nahrávali, jak jste chtěli znít a kdo je podepsán pod masteringem a mixem?

KF: Ano, přesně to byl náš cíl. Začal jsem hrát v kapelách na začátku 90. let a chtěl jsem do hudby vrátit zvuk death metalu z 90. let na Středozápadě. Bicí nahráváme naživo jako kapela, ale ostatní nástroje jsou izolované, aby nepronikaly do bicích stop. Jakmile máme bicí hotové, jdu do toho a nahraju kytary. Pak Jeff přidá vokály přes hudbu, která je z 90 % hotová. Někdy máme nápad přidat part do písně nebo part vyjmout až po dokončení vokálů, takže je to skupinová práce. Co se týče mixu, tentokrát jsme chtěli být hlasití a posluchače trochu umlčet. Nešlo mi tolik o to, aby bylo všechno dokonale vyvážené nebo aby bylo perfektně slyšet každou notu. Chtěli jsme, aby se posluchač cítil, jako by ho právě někdo umlčel, haha.


Říká se, že obal prodává. Na „Crown of Flies“ je motiv, který mě opravdu zaujal. Je na něm postava s roztříštěnou hlavou, s krvavými cáry místo obličeje. Je to hodně zajímavá práce a myslím si, že se perfektně hodí k vaší hudbě. Kdo je autorem? Jak přesně souvisí s vaší hudbou?

KF: Jeff měl nápad s korunou nasáklou krví, která by byla držena jako obětina. Autorem je umělec Sant V. Schreiber (Instagram: sannosferatu), se kterým jsme v minulosti spolupracovali. Dali jsme mu obecný nápad a on s ním pracoval. Jeho detaily a barevné koncepty jsou to, co mě zaujalo. S výsledky jsme byli velmi spokojeni. Co se týče toho, jak to souvisí s hudbou, myslím, že jeho styl se s naším zvukem velmi dobře mísí. Je špinavý a ponurý, ale zároveň detailní a bohatý na atmosféru.

Vždycky, když slyším nějakou novou nahrávku, tak se snažím soustředit i na texty. O čem jsou ty na „„Crown of Flies“? Kdo je jejich autorem, kde pro ně bral inspiraci? Byly to knihy, život? Nebo filmy?

KF: Jeff píše téměř všechny texty a vymýšlí textové koncepty. Někteří z nás přijdou s nápady na texty a pošlou mu je, ale nakonec má Jeff konečné slovo o tom, co vytvoří. Budeme jako kapela čas od času pracovat na tom, abychom texty spojili s hudbou. Inspirací může být cokoli z filmů nebo obecně ze skutečného života.


Mě se na vaší hudbě hrozně líbí taková ta pradávná surovost, tlak. Pokaždé, když zapnu play, tak mám pocit, že mě album smete z povrchu zemského. Každý ale nějak začínal, ta cesta byla určitě složitá a náročná. Kdo byl kdysi dávno tvým vzorem? Jak si s hudbou vůbec začínal ty? Jakou kapelu si viděl jako první naživo? A kdy jsi stál poprvé na pódiu?

KF: Jsem o něco starší než ostatní kluci (jeden z důvodů, proč se k nám jméno Relic tak dobře hodí haha) a miluji rock/metal 80. let. Na tom jsem vyrůstal a pořád jsem ho sledoval na MTV. To mě vedlo k objevení kapel jako Metallica. To mi otevřelo dveře k thrash scéně v oblasti Sanfranciského zálivu. Byl jsem touto scénou stoprocentně uchvácen a miloval jsem všechno, co z ní vzešlo. Krátce poté, co se rozběhla raná death metalová scéna a všechny thrash kapely přešly z ladění z Eb nebo D, kolem roku 1990 všichni klesli na C nebo B. Byla to skvělá doba být uprostřed dění a být svědkem proměny death metalu. První metalová kapela, kterou jsem viděl naživo, byla Metallica. Ohromilo mě, kolik dalších fanoušků death metalu bylo v publiku. Opravdu jsem neznal nikoho jiného, ​​komu by se to líbilo, a myslel jsem si, že jsem na to sám. Když jsem všude viděl trička Obituary, Grave a Morbid Angel, byl jsem si jistý, že je tu spousta lidí, se kterými si můžu popovídat a zjistit, jaké kapely existují. Chtěl jsem být součástí death metalové scény, pro mě to bylo něco nového a vzrušujícího. První oficiální koncert jsem měl na střední škole. Založil jsem kapelu s pár kamarády ze školy a většinou jsme hráli pro kamarády v naší zkušebně. Znali jsme i další kapely z okolí a všichni jsme dali hlavy dohromady, abychom udělali show. Byla to velmi vzrušující doba, některé kapely měly členy, kteří později dokázali skvělé věci. Byla to skvělá doba!

Před lety jsem psal recenzi i na vaši smečku EMBLAZONED. Není to ale jediná kapela, o které je z Milwaukee a Wisconsinu poslední roky slyšet. Nevím, jak to vnímáš ty, ale mě poslední dobou přijde, že to u vás, co se týká extrémního metalu, opravdu žije. Jak vnímáš vaši scénu, kapely, promotéry, labely? Kam bys mě pozval na koncert? Mám rád menší kluby s dobrým pivem, zvukem a hezkými holkami😊)…

KF: Metalová scéna v oblasti Milwaukee zažila v průběhu let své vzestupy i pády. Momentálně tu máme spoustu skvělých kapel. Pořádáme spoustu skvělých undergroundových nebo DIY koncertů. Ve městě teď máme pár klubů, které tohle podporují, takže máme velké štěstí, že nám to tak funguje. Rád hraji v menších barech a klubech, protože energie v menším prostoru je podmanivější. Velké koncerty s velkým množstvím lidí jsou taky skvělé, ale v menším publiku se s nimi spřátelíte. To je to, co mě na živém hraní baví nejvíc, je setkávání s ostatními a navazování přátelství. Můžete mít úplně jinou výchovu, práci/profese, ekonomické nebo politické přesvědčení nebo cokoli jiného, ​​co lidi rozděluje. Ale když přijdete na koncert, máme všichni jednu věc společnou, která nás spojuje. Hudbu a to je to, co mě drží nad vodou.

Kapely, které stojí za to si poslechnout:

Když jsem před deseti lety zakládal svoje stránky, měl jsem vizi, že se budu snažit podporovat kapely, které podle mě nejsou tolik na očích. Dát o nich vědět světu. Myslím, že se mi to celkem daří, alespoň podle ohlasů. Jak přistupujete k propagaci vy? Necháváte to na labelu nebo sami posíláte CD různě na recenze? Já si třeba alba, která mě opravdu baví, kupuji. Jak jste na tom vy? Jste také fanoušci, co rádi a často podporují své kolegy? Chodíte na koncerty? Paříte?

KF: Rozhodně nejsem žádný pařmen! Ty časy jsou dávno pryč haha. Pořád rád vyrazím ven, létam po městě a chodím na koncerty, abych si povídal s lidmi. Většina propagačních akcí kapel teď probíhá přes internet a já se s tím taky snažím dělat, co můžu, ale rád si s lidmi povídám. Pokud s námi spolupracuje nějaký label nebo PR technik, je to skvělé, ale stejně se tam budu chtít promovat osobně. Pokud někdo hraje poblíž a já se můžu na koncert dostat, půjdu ho podpořit. Je důležité podpořit nejen kapelu, ale i promotéra, který koncert zajistil, a místo konání.

Na jednou stranu má dnes začínající kapela spoustu možností, jak o sobě dát vědět, ale zase na druhou stranu, skupin je obrovské množství a fanoušci se v nich ztrácejí. Hodně lidí jen stahuje mp3 z internetu a místo koncertu raději plive jedovaté sliny na facebooku. Jak vás, jako RELIC ovlivňují moderní technologie? Co si myslíš o stahování muziky, google metalistech, streamování muziky apod.?

KF: Máte pravdu, je toho tolik a tolik možností, že je těžké se odlišit. Streamovací platformy dostávají denně tisíce písní k hostování, takže pro kapelu je velmi těžké se odlišit. Myslím, že proto se tolik kapel nyní zaměřuje na vizuální živá vystoupení, podobně jako to dělali KISS v 70. letech. Nejlepší způsob (podle mého názoru), jak se prosadit, je odehrát co nejvíce koncertů. Pokud nemůžete hrát koncerty, musíte za nimi jít, promluvit si s lidmi a dát jim vědět, že vaše kapela existuje a stojí za to si ji poslechnout. Dnes už nemůžete být v kapele a nemít k dispozici streamování, ale já pořád nahrávám CD a beru je na koncerty, abych je propagoval a mluvil s ostatními.

S oblibou se ptám muzikantů na to, co pro ně znamená death metal. Jak by jej definovali, jestli je pro ně spíše filozofií a životním stylem nebo „jen“ relaxem. Co znamená pro tebe? Jak jej vnímáš a prožíváš?

KF: Death metal je pro mě únikem ze světa a každodenního života. Jsou to dobří přátelé a lidé, které znám roky, kteří se spolu baví. Je to můj cíl, když chci napsat nějaké riffy nebo si poslechnout něco, co má trochu říz. Mám velké štěstí, že jsem mohl vidět scénu od počátků až po to, jaká je dnes. Můj přínos k ní může být malý nebo ne takový jako u ostatních kolem mě, ale mohl jsem být její součástí. Jsem za to vděčný a za to, že to po všech těch letech stále můžu dělat! Nejsem nejlepší hudebník ve městě, ale o to nejde. Jde o to, abyste něco opravdu měli rádi a chtěli být toho součástí, a pokud najdete pár lidí, kteří cítí totéž, je to úžasné! O to jde.

Na závěr klasická, ale důležitá otázka. Co chystají RELIC v nejbližších měsících? Kde vás můžeme vidět na koncertě? Pokud máš nějaký vzkaz pro fanoušky, labely, promotéry, tak zde je prostor…

KF: Dáváme dohromady další písničky. Některé jsme ještě nenahráli a daří se nám velmi dobře. Na toto léto máme domluvené živé koncerty a po zbytek roku plánujeme hrát co nejčastěji. Pokud by se ozval někdo další, kdo by s námi chtěl spolupracovat, bylo by to skvělé, ale mně nevadí dělat tohle ve vlastním stylu! Doufáme, že v roce 2027 vyjde celé album, takže se na to těšte!

Děkuji moc za rozhovor. Přeji nejen nové desce spoustu úspěchů a ať se co nejvíc rozšíří řady vašich fanoušků. Budu se těšit někde naživo a ať se vám daří jak po hudební stránce, tak i v osobní rovině. Jdu si „Crown of Flies“ zase narvat do hlavy!

KF: Úžasný chlape! Děkujeme za rozhovor a tvoje pokračující podpora pro nás hodně znamená. Hodně štěstí!

Recenze/review - RELIC - Crown of Flies (2026):

pátek 10. dubna 2026

Recenze/review - CIRCLE OF BLOOD - In Praise of Darkness (2026)


CIRCLE OF BLOOD - In Praise of Darkness
CD 2026, Grindhead Records

for english please scroll down

Tma bývá někdy natolik nasáklá zkaženou krví, že se dusíte, nemůžete dýchat a umíráte v nekonečně bolestivých křečích. Pokaždé, když sestoupíte dolů, do podzemí, tak je to jiné. Někdy býváte rozsekáni na kusy, jindy zase postupně zahaleni do prašivých pavučin. Záleží, jaký druh démonů potkáte. Vstup do podsvětí jsem tentokrát našel v Austrálii, v jedné staré jeskyni, ve které mě ihned přivítaly vybělené kosti těch, kteří podlehli bestii. Poslouchám právě nové debutové album death metalové kapely CIRCLE OF BLOOD a mrazí mě po celém těle.

Pánové pochází z Melbourne a hrají ostře, divoce, s old schoolovým feelingem v žilách, krví v očích a nekonečnou touhou zabíjet hudbou. Nezapomínají ale ani na mrtvolně morbidní a nekonečně chladnou atmosféru. Jejich nová nahrávka je tak velmi podmanivá, ďábelsky uhrančivá a obsahuje v sobě potřebnou dávku pradávné energie posbíranou v nekonečných chodbách Hádovy říše. 


Jsem doslova přikován k přehrávači, dusím se vlastní krví, umírám a znovu se rodím. Skladby v sobě mají takový ten hnilobný odér. Navíc má kapela svůj vlastní rukopis a zůstává po ní hluboká krvavá stopa v mé hlavě i podvědomí. Australané se sice volně inspirují ve starých archivních death metalových knihách, které byly napsány jak v americkém, tak i evropském podsvětí někdy v devadesátých letech minulého století, ale CIRCLE OF BLOOD také přidávají spoustu svých nápadů a invence. Jsem starý pes, který hlídá již několik dekád vstup do samotného pekla a který zvedá hlavu už jen v případě, že jej nějaká hudba doopravdy zaujme. Nahrávka musí mít dobrý zvuk, zajímavý obal a musí mě zaujmout. "In Praise of Darkness" splňuje všechny body ryzích, opravdových, uvěřitelných a naprosto autentických death metalových zákonů. Navíc mě opravdu baví novinku poslouchat a rád a často se k ní vracím. Nevím, jestli jste se někdy účastnili obrácené černé mše, ale pokud ne, tak ani nemusíte. Tahle smečka vám zprostředkuje srovnatelný zážitek. Společná setkání pro mě tak nejsou jen obyčejným poslechem, ale spíše záhrobním rituálem pro vyvolávání temných sil. Věřím kapele každý tón, melodii, úder bicích, výkřik do tmy. Jako bych seděl v márnici a několik nocí sledoval své vlastní tělo, ležící na chladném kamenném stole. Pohřbí mě, jako každého prokletého, za hřbitovní zeď a předtím, než se tak stane, tak mi srdce probodnou kůlem a uříznou mi hlavu. Na pohřbu mi bude hrát tahle deska a přijdou na něj všichni prokletí i démoni. Tma bývá někdy natolik nasáklá zkaženou krví, že se dusíte, nemůžete dýchat a umíráte v nekonečně bolestivých křečích. Pokaždé, když sestoupíte dolů, do podzemí, tak je to jiné. Někdy býváte rozsekáni na kusy, jindy zase postupně zahaleni do prašivých pavučin. Starodávnou hnilobou nasáklý, prokletý death metal z plesnivých katakomb! Album, u kterého vám popraskají všechny kosti v těle!


Asphyx says:

The darkness is sometimes so saturated with corrupted blood that you choke, can’t breathe, and die in endless, agonizing convulsions. Every time you descend into the underworld, it’s different. Sometimes you’re torn to pieces; other times, you’re gradually enveloped in filthy cobwebs. It depends on what kind of demons you encounter. This time, I found the entrance to the underworld in Australia, in an old cave where I was immediately greeted by the bleached bones of those who had succumbed to the beast. I’m currently listening to the new debut album by the death metal band CIRCLE OF BLOOD, and a chill runs down my spine.

The guys are from Melbourne and play hard, wild, with an old-school vibe in their veins, blood in their eyes, and an endless desire to kill with music. But they don’t forget the deathly morbid and endlessly cold atmosphere either. Their new recording is thus very captivating, devilishly mesmerizing, and contains the necessary dose of ancient energy gathered in the endless corridors of Hades’ realm. 


I’m literally glued to the player, choking on my own blood, dying and being reborn. The songs have that rotten stench to them. Plus, the band has its own signature style, leaving a deep, bloody mark on my mind and subconscious. While the Australians draw loose inspiration from old archival death metal texts written in both the American and European underworlds sometime in the 1990s, CIRCLE OF BLOOD also adds plenty of their own ideas and creativity. I’m an old dog who’s been guarding the entrance to hell itself for several decades now and who only lifts his head when some music truly catches his attention. The recording has to have good sound, interesting artwork, and it has to grab me. "In Praise of Darkness" fulfills all the tenets of pure, genuine, credible, and utterly authentic death metal. Moreover, I genuinely enjoy listening to this new release and gladly return to it often. I don’t know if you’ve ever attended a black mass, but if not, you don’t need to. This pack will provide you with a comparable experience. For me, these gatherings aren’t just ordinary concerts, but rather an otherworldly ritual for summoning dark forces. I believe every note, every melody, every drumbeat, every scream into the darkness. It’s as if I were sitting in a morgue, watching my own body lying on a cold stone table for several nights. They’ll bury me, like every cursed soul, behind the cemetery wall, and before that happens, they’ll pierce my heart with a stake and cut off my head. This album will play at my funeral, and all the cursed and the demons will come. The darkness is sometimes so saturated with rotten blood that you choke, you can’t breathe, and you die in endless, agonizing convulsions. Every time you descend down into the underworld, it’s different. Sometimes you’re torn to pieces, other times gradually shrouded in mangy cobwebs. Ancient rot-soaked, cursed death metal from moldy catacombs! An album that will make every bone in your body crack!


Tracklist:
01. Casca 
02. Immolation 
03. Legions Rise 
04. Tentacular Invasion 
05. Bastard Child Of A Coward God 
06. Dethronement 
07. Defiler 
08. Devouring The Sleeping Entombed 
09. Grant Me Strength 
10. The God Hand

čtvrtek 9. dubna 2026

Interview - TERATOMA - An old, grimy death metal album that will bury you alive!


Interview with death metal band from Germany - TERATOMA.

Answered Santos, thank you!

Recenze/review - TERATOMA - Longing Voracity (2026):

Ave TERATOMA! Greetings to the German underground. I hope everything’s going well over there. It should be you’ve released the second fantastic full-length album of your career this year. I have to admit, it literally pinned me to the wall. It’s dark, energetic, and cuts like a sharp knife. It’s very clear that you’ve done a great job and brought a lot of talent to the table. How do you view the new album in relation to your debut? Where did you want to take things, and in what ways do you think the recordings differ?

Santos: Hi there Jakub! Glad to hear you're enjoying Longing Voracity. This album was made in a rather hard time for all of us personally and took longer than we expected but we are very satisfied with the results and the feedback. For this album we wanted everything pushed a bit further than our debut. All aspects were taken into consideration: production, songwriting, performances, artwork etc. And scrutinized down to every detail.

The recordings differ in a meaningful way but we didn't divert from it all the way. When we recorded Purulent Manifestations during the summer of 2021, we had absolutely zero ambitions with it, beyond making 50 diy tapes for our local friends in Berlin and playing some gigs at the local squat. That the record got enough interest from serious labels after its initial release on bandcamp was a surprise even for ourselves and we just went with it. If we knew that would be released on vinyl and compact disc before, we might have approached things a bit differently but then again, it wouldn't be as it has become and it remains an important and dear record for us.


“Longing Voracity” embodies all the attributes of good old-school death metal. For me personally, it’s an album I love coming back to. How did it come about? How does TERATOMA compose new material?

S: Replay ability it's one of the aspects we take heavy into consideration when writing, arranging and ultimately deciding on a running order of songs. A few cuts, such as the title track, dates back to 2023/2024 and we were playing live already well before the other new songs were done or even written. So it kind of set the tone more or less to how we would go from there. By mid 2024 some of us had to deal with personal affairs and the band got in a bit of slumber, sitting on a pile of riffs, song ideas and rehearsal space demos without being fully developed.

Around late 2024, early 2025 we got back together in Berlin and there was enough of a spark to ignite a creative drive to work on arrangements and songs start blossoming in what felt like a very natural way.

We compose material I guess like most of other bands, 99% of songs start from a guitar riff. Sandro writes the majority of it with valuable contributions from Giacomo and Rolo and we all arrange it together to its final form in the practice room, with Dani placing lyrics and vocal lines at the very end of it after listening to the song a number of times. If we need to try a specific part too hard in order to fit in, it's most likely we'll ditch it. Usually we know when a riff or groove hits hard by instant gut instinct, others we might try different rhythm or tail variations until we get it in the sonic puzzle.

Who’s behind the sound? I have to say the sound is absolutely killer. It keeps making me turn up the volume on my stereo. You have a sound that’s brutal, raw, yet dark and animalistic—it has an analog feel to it. How was it working with him, and why him specifically? Which studio did you record in, and how did everything go?

S: Those flowers go all to our own Giacomo, who under an herculean effort, put it all together almost driving himself mad in the process and endured a lot of stress moving gear, adjusting calendars, engineering, and ensuring he's got the right performances. The drums were recorded in the basement of an old cultural center in Berlin, in a cellar room with very little acoustic treatment, all very bright and loud. Guitars and bass were tracked at Giacomo's home studio and later reamped and vocals were done in a singing booth rented from a local studio facility.

Nothing fancy really besides a few good mics from our friend Moro.

We had some people in mind for mixing and mastering. After 2 or 3 try outs we ultimately settled with Yave Rust and Brad Boatright for mixing and mastering, respectively. Both are total pros and had a deep understanding of what direction we were going for with this record and we are very satisfied with the final result and how professional and reliable they were along the way.


An integral part and a sort of bonus for fans today is the music CD (cassette, vinyl). You released it on Me Saco un Ojo Record, and it features a deathly, dark cover. Who designed it? How did you choose the motif, and how does it relate to the music on the new album?

S: To be fairly honest, we'd much rather leave that up to the listener's mind and imagination of what to make of it instead of giving you a concrete meaning to an indeed very abstract painting. That being said, I can only give you my personal interpretation since it may differ from even the other band members:

It's a desolate landscape, where once things and people may have used to thrive but a feisty ancient entity in form of that ominous black cloud is about to engulf everything in darkness with a voracious appetite, whose presence has been festering long in the depths of gloom corners before unleashing its vile upon the earth, hence the title. In the process you can see what might be a church tower or other similarities to man made obelisk, falling helplessly to the ever consuming darkness who will inevitably take over the entire reality.

That's only my take.

I know it's very far out but the artist worked with us before and in a way I even feel it's a progression, in a darker way from our first album cover. The eyes just got smaller and more mysterious instead of the desperate stare from the first to second album.

I wonder what you would make out of it and at the end hope you find it complementary to the music as well.

Our songs are very straightforward, so I guess we do like to keep the visuals a bit more abstract, instead of the usual copycat skulls and bones and slimy corpses (which we also like and appreciate).

Marcio Blasphemator is the fabulous artist behind the cover of both our albums.

I’ve been wandering the underworld for over thirty years now, and when it comes to music, I always turn to Germany for a sure thing. I think we share a similar nature and taste when it comes to metal. I really like your bands and follow your scene closely. Maybe I even envy you a little we only have a few death metal bands back home that are worth checking out. How do you explain the fact that death metal is doing so well in your country? How do you perceive your scene, fans, and labels?

S: Well, here we have to break to you and other readers, that besides the fact the 5 of us live in Berlin, none of us are Germans. We come from Brazil, Chile, Italy and Ukraine and have been in the city from 8 up to 16 years. We didn't want to use the term ‘international’ to define or describe the band since we all live in the same city, where we met at squats and grime bars before having anything to do musically with the other.

Some band members are more aware of recent bands and labels but generally speaking, we don't follow any particular scene too closely or obsessively, but have strong ties to punk, crust, grind and Latin American folk music and people in Berlin and outside. From the first time the 5 of us jammed together back in 2020, it was clear this band would have a very multi cultural identity and approach rather than being specifically bound to a certain local scene.


You play old-school-influenced death metal. These days, a band can’t really avoid comparisons, but I’d be interested to know how the idea to form TERATOMA actually came about, who your role models were and are, and where you want to take your band? Are you tempted by big international festivals, for example, or would you be willing to go on tour with a more famous band?

S: We are OK with comparisons since it's how most of us are used to do you want ordinate things, somewhere (band to music genre). The idea of Teratoma came from Sandro and Giacomo having a more death metal project and Sandro had the basic riffs for Tortured Voices. He played it to me during one slow bar shift while I was working and after a few seconds I said I was in. Rolo joined some days after, during early summer of 2020 and after couple tryouts at vocal duties it all clicked when Dani joined us for a session during summer of the same year. Role models is a bit of a strong word in a band context but we look up to anyone who's passionate about something and has respect for others. Carl Jung, Jaz Coleman, Patrick Walker, Steve von Till and Lemmy are just a few of a myriad of outstanding individuals that might play an even unconsciously role at the Teratoma creative forces. Cooperation, not competition.

About playing live we would certainly be up for playing big festivals and going on tour with bigger bands. We much rather focus on that kind of stuff and playing relevant bills instead of punishing our local friends every month at the same old place.

When I started my website ten years ago, my vision was to try to support bands that I felt weren’t getting enough attention. To let the world know about them. I think I’m doing a pretty good job of it, at least judging by the feedback. How do you approach promotion? Do you leave it to the label, or do you send CDs out for reviews yourselves? For example, I buy albums that I really enjoy. How about you? Are you also fans who like to support your peers? Do you go to concerts? Do you party?

S: We might not be as active anymore as we once were regarding promotion, mainly because we don't and will not turn into a meme or insta band and music will always comes first, but at the same time understand the value of being in the right channels and how good promotion might make or break an album. Luckily Me Saco un Ojo Records is well connected so we don't need to attack too much at this front but are always up for interesting questions and a friendly chat generally speaking. We're all surely music maniacs, some of us with more records at home than anything else, we prefer to pay the door price at the local gigs instead of punishing someone for that old guest list spot and will empty our pockets at the merch of any killer band, metal or not. I guess genuine support comes a long way and people feel it when the connection and assistance is real. We party.


On the one hand, a band starting out today has plenty of ways to make themselves known, but on the other hand, there are a huge number of bands, and fans get lost in the crowd. A lot of people just download MP3s from the internet and, instead of going to a concert, prefer to spew venom on Facebook. How does modern technology influence you, as TERATOMA? What do you think about downloading music, Google Metalists, streaming music, etc.?

S: Ultimately, I think music should be listened to and people will do it in a way or another. Personally, as an underground artist, it's cool when someone supports the band in any way if they want the music, but we won't be mad either if the only means available for this person was to get it via an ‘illegal’ download. It's no secret that spotify pays a very low percentage to the artists, and bandcamp and live merch sales are the financial driving forces behind any moderate musical ensemble. We do not feed trolls nor tolerate hate speech on our socials, and are much more keen to engage with people over a beer after a concert than being overly talkative on the internet, but we try to keep up with support messages every now and then.

I like to ask musicians what death metal means to them. How would they define it—is it more of a philosophy and lifestyle for them, or “just” a way to unwind? What does it mean to you? How do you perceive and experience it?

S: This is my personal view only but I see death metal as a music genre similar to jazz, where one can be as free or orthodox as he wants to be, get really into very theme specific concepts and has a bit of take or leave vibe. Surely not meant to everyone, and even within the people who like it, there will always be some sort of controversy among them regarding who's better, who's faster, who's heavier and all that subjective stuff. We might not be particularly morbid or obsessed by death themes in our daily life, being more of a goofy dudes but all with a sense of reverence and respect for the various ways mankind has of trying to understand the only thing we can not.

Finally, a classic but important question. What does TERATOMA have planned for the coming months? Where can we see you in concert, and when will you visit the Czech Republic? If you have a message for fans, labels, or promoters, this is the place…

S: We love the Czech Republic, the landscapes, the bands, the beers and ultimately the people, always make us feel very welcomed and at home, with a relaxed mentality and a great sense of humor. We are playing at OEF this year but hopefully will announce some more gigs in the future. Interesting promoters feel free to get in touch.

Thank you very much for the interview. I wish not only the new album every success, but also that your fan base grows as much as possible. I look forward to seeing you live somewhere, and I wish you all the best both musically and personally. I’m going to blast “Longing Voracity” in my head again!

S: Thanks to you for this nice interview and the interest in Teratoma. All your work and dedication is not going unnoticed and we thank you again for the opportunity, space and everyone who has been enjoying and recommending Longing Voracity around. See you on the road, muchas gracias!

Recenze/review - TERATOMA - Longing Voracity (2026):




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