Někdy máš pocit, že na tebe padá celý svět. Mraky jsou nízko, v ulicích se rozlézá jako jedovatý břečťan strach a továrna produkuje další dávku jedovatých zplodin. Vše ti připadá černé, zahalené do krvavé mlhy. Přemýšlíš nad tím, jestli zvolíš nůž, žiletku, provaz a nebo prášky, kterých máš plnou skříň. Ne, dnes ještě ne, dnes zůstane koupelna prázdná, říkáš si nahlas a marně hledáš na nebi slunce. Zapínáš play na svém přehrávači a pouštíš si hudbu, která by polámala tvoje kosti. Finské HAUTAJAISYÖ jsem si pro sebe objevil víceméně náhodou, při jedné z mých nekonečných toulek podsvětím.
Zaujal mě černobílý obal, pro které mám slabost již od devadesátých let minulého století. Těšil jsem se do svého pokoje, až si letošní album "Surun paino" pustím a až se ztratím ve svých myšlenkách a dám na chvilku vydechnout unavenému tělo. Seděl jsem ve svém křesle a kýval se spokojeně do rytmu. Nakonec jsem uspořádal jeden ze svých ďábelských tanců, mlátil jsem pěstí do zdi. Jo, tohle je přesně death a thrash metal, který koluje i v mých žilách.
Na ulicích potkávám čím dál tím častěji mrtvé postavy, hledící do obrazovek. Jsou mimo realitu, mimo tenhle svět. Je hrozně zajímavé poslouchat novou nahrávku a chodit ulicemi našeho průmyslového města. Žijí ti lidé vůbec? Nebo jsou dávno mrtví a zanechali zde jenom své nebohé schránky? Finové čerpají ze starých metalových archívů, jsou syroví, ostří, divocí, živočišní, opravdoví a hlavně naprosto autentičtí. Vidím před sebou malý zaplivaný klub na periferii města, šedou ulici a v dálce desítky komínů. Prodíráš se smogem a marně hledáš včerejší den. Piješ jen levný alkohol, ale když stojíš pod pódiem, tak ti celým tělem rezonuje velké množství nakumulované energie. Ano, došlo ke vzájemnému přenosu pochmurných emocí, mezi mnou a kapelou. Je to pro mě důkaz, že se k novému albu "Surun paino" budu rád a často vracet. Hoří totiž zevnitř, i když je na povrchu chladné jako ruka čerstvě exhumované mrtvoly. Skladby jsou velmi dobře napsány a trefují se přímo do černého, rovnou na solar plexus. Nevím, jak to vysvětlit, ale tahle deska na mě funguje na sto procent. Nikde nic nepřebývá, ani nechybí, má prašivý zvuk, spoustu skvělých záhrobních nápadů. Jedná se o hudbu, která musela vznikat hluboko v podzemí. Až na tebe přijdou pochmurné sebedestruktivní myšlenky, jako na hrdinu dnešní předmluvy, tak si pusť HAUTAJAISYÖ uvidíš, že nebe rozsekne blesk. Nemůžu tedy jinak, než vám album doporučit. Prašivý, surový death thrash metal ze starých katakomb, který vás rozseká na kusy!
Asphyx says:
Sometimes you feel like the whole world is crashing down on you. The clouds hang low, fear spreads through the streets like poisonous ivy, and the factory churns out another batch of toxic fumes. Everything seems black, shrouded in a bloody fog. You wonder whether to choose a knife, a razor blade, a rope, or the pills that fill your cabinet. No, not today, today the bathroom will remain empty, you say aloud, searching in vain for the sun in the sky. You press play on your player and put on music that would shatter your bones. I discovered the Finnish band HAUTAJAISYÖ more or less by accident, during one of my endless wanderings through the underworld.
I was drawn to the black-and-white cover, for which I’ve had a soft spot since the 1990s. I looked forward to getting back to my room to play this year’s album, “Surun paino”, and losing myself in my thoughts while giving my tired body a moment to breathe. I sat in my chair, swaying contentedly to the beat. Eventually, I broke into one of my devilish dances, pounding my fist against the wall. Yeah, this is exactly the kind of death and thrash metal that runs through my veins.
More and more often, I come across lifeless figures on the streets, staring at their screens. They’re detached from reality, detached from this world. It’s incredibly fascinating to listen to a new recording while walking the streets of our industrial city. Are these people even alive? Or have they been dead for a long time, leaving behind only their pitiful shells? The Finns draw from old metal archives; they’re raw, sharp, wild, animalistic, genuine, and above all, completely authentic. I see a small, dingy club on the outskirts of town, a gray street, and dozens of smokestacks in the distance. You push through the smog, searching in vain for yesterday. You drink only cheap alcohol, but when you stand beneath the stage, a massive amount of accumulated energy resonates through your entire body. Yes, there was a mutual exchange of gloomy emotions between me and the band. For me, this is proof that I’ll happily and often return to the new album, “Surun paino”. It burns from the inside, even though on the surface it’s as cold as the hand of a freshly exhumed corpse. The songs are very well written and hit the mark right on the solar plexus. I don’t know how to explain it, but this album works for me one hundred percent. Nothing is superfluous, nothing is missing; it has a gritty sound and plenty of brilliant otherworldly ideas. This is music that must have been created deep underground. When gloomy, self-destructive thoughts come over you, like they did for the hero of today’s introduction, just play HAUTAJAISYÖ and you’ll see lightning split the sky. So I can’t help but recommend this album to you. A gritty, raw death thrash metal from the ancient catacombs that will tear you to pieces!
Zavřený ve staré kapli přemýšlím, jestli existuje bůh. Moc v něj nevěřím. Přeci jen, pokaždé, když jsem se k němu modlil, tak nikdy nepřišel, nikdy mi nepomohl. Považují mě za kacíře, jenže Satana můžete potkat na každém druhém rohu. Ukrývá se ve stínu, ale i v každém z nás. Pomalu se setmělo a přízraky vystoupily z temnoty. Jsem tu zase jednou jenom já, mé svědomí a hudba, která se do mě zařezá jako ostré žiletky. TRAGOS jsou kapelou z Francie, která velmi umně, zkušeně a inteligentně kombinuje ve své tvorbě dva světy. Ten starý, prašivý, death metový a klasický, tradiční.
Jako mladý, ale i teď, když mé skráně zdobí šediny, se rád nechám unášet na zpěněných vlnách klasické hudby. Pokaždé, když chci trošku klidu, tak si rvu do hlavy skladatele se jmény jako Carcassi, Scarlatti, Bach, Paganini, ale i spoustu dalších, které si pro sebe objevím. Jinak jsem samozřejmě naprosto věrný death metalu. A když vám potom nějaká kapela spojí tohle všechno dohromady, tak mě to samozřejmě extrémně zajímá. TRAGOS mají navíc tu výhodu, že nikde zbytečně nepreludují, nepředvádějí se, jak jsou na tom technicky dobře. Naopak, základem je vždy to, aby skladba dobře zněla, aby v sobě měla drive a sílu.
Přes veškeré mé nadšení si myslím, že tahle nahrávka není asi pro každého. Osloví spíše přemýšlivější jedince, posluchače, kteří mají bohatou fantazii. Na jednu stranu je skvělé, že se zde potkávají oba tak na první pohled vzdálené světy, na tu druhou, jsou ale přeci jen Francouzi trošku svázaní. Musí dodržovat postupy, snažit se přenést ducha doby i času. Myslím si, že se jim to daří na výbornou. Jedná se spíše o takový gurmánský hudební zážitek, než jen o obyčejné album, kterých dnes potkáte na každém rohu desítky. Osobně se mi líbí právě jinakost, odlišnost, originalita, s jakou pánové ke své tvorbě přistupují. Texty jsou plné mytologie, pokud tedy mohu soudit, jsou v jejich rodné řeči, kterou bohužel nevládnu. Pocitově ale tak nějak vím, o čem skladby jsou. O temnotě, o ďáblu, o věcech, které nejsou z našeho světa. Jednotlivé motivy by se mohly zdát někomu až příliš ohlodané na kost, ale nenechte se mýlit, je to jen první dojem. Pokud dáte nahrávce více času, vylezou na povrch jednotlivé nuance a vy se stanete samotnou součástí hudby. I když jsem zavřený ve staré kapli a přemýšlím o životě a smrti, tak jinak se moje myšlenky při poslechu "Bellicum" toulají napříč časem i prostorem. TRAGOS jsem dosud neznal a jsou pro mě velmi příjemným překvapením. Album je navíc velmi zvukově povedené, má stylový motiv na obalu a celkově zní jako z jiného světa. Baví mě jej poslouchat, vracet se k němu a rvát si jej neustále pod tlakem do hlavy. Potkávám své vlastní démony, rozmlouvám s nimi a neustále přidávám hlasitost. Temný death metalový výlet napříč časem! Ďábel se ukrývá ve stínu i v každém z nás!
Asphyx says:
Locked inside an old chapel, I wonder if God exists. I don’t really believe in him. After all, every time I’ve prayed to him, he’s never come, he’s never helped me. They consider me a heretic, but you can run into Satan on every other street corner. He hides in the shadows, but also within each of us. It slowly grew dark, and spectres emerged from the darkness. Once again, it’s just me here, my conscience, and the music that cuts into me like sharp razor blades. TRAGOS is a band from France that very skillfully, expertly, and intelligently combines two worlds in their work. The old, grimy, death metal world and the classical, traditional one.
As a young man, and even now that my temples are grayed, I love to let myself be carried away on the foaming waves of classical music. Whenever I want a little peace, I blast composers like Carcassi, Scarlatti, Bach, Paganini, and many others I discover for myself. Otherwise, of course, I’m completely devoted to death metal. And when a band manages to blend all of this together, it naturally piques my interest immensely. TRAGOS also have the advantage of not wasting time on unnecessary flourishes or showing off their technical prowess. On the contrary, the foundation is always that the song sounds good, that it has drive and power.
Despite all my enthusiasm, I don’t think this recording is for everyone. It will appeal more to thoughtful individuals, listeners with vivid imaginations. On the one hand, it’s wonderful that two worlds which at first glance seem so distant come together here; on the other hand, the French are still a bit restrained. They have to follow certain conventions, striving to capture the spirit of the era and the times. I think they succeed brilliantly. This is more of a gourmet musical experience than just another run-of-the-mill album, of which you’ll find dozens on every corner these days. Personally, I love the uniqueness, distinctiveness, and originality with which these gentlemen approach their work. The lyrics are full of mythology; as far as I can tell, they’re in their native language, which I unfortunately don’t speak. Emotionally, though, I somehow know what the songs are about. About darkness, about the devil, about things that aren’t of this world. The individual themes might seem to some to be stripped down to the bone, but don’t be fooled that’s just the first impression. If you give the recording more time, the individual nuances will come to the surface and you’ll become part of the music itself. Even though I’m locked away in an old chapel, pondering life and death, my thoughts wander through time and space when I listen to “Bellicum”. I hadn’t heard of TRAGOS before, and they’ve been a very pleasant surprise for me. The album is also very well-produced, has a stylish cover design, and overall sounds like it’s from another world. I enjoy listening to it, coming back to it, and constantly blasting it into my head. I encounter my own demons, converse with them, and keep turning up the volume. A dark death metal journey through time! The devil lurks in the shadows and within each of us!
Ztracený ve tmě kráčím dál. Slyším šepot lesa, obličej mám rozdrásaný do krve. Před několika hodinami mě přepadla panika, ale teď, uprostřed temné noci, jsem klidný. Moje kroky směřují na jedno staré pohřebiště, o kterém kolují děsivé legendy. Probudil jsem se z nočních můr a moji vlastní démoni mi prozradili cestu. Poslouchám nové album norských TULUS a opět si připadám, jako bych dávno nebyl v současném divném světě, ale někde daleko na severu, v kruté, ale krásné přírodě, s přízraky ve stínech, ale hlavně s hudbou, která se mi vždy dokáže dostat do žil i do podvědomí.
Pečlivý čtenář našich stránek moc dobře ví, že mám pro tyhle severské bardy velkou slabost. I když se směr mého zájmu týká většinou extrémnějších kapel, tak mě pokaždé tahle smečka, složená ze samých zkušených muzikantů, dokáže doslova přikovat k přehrávači. Letos je to opět velmi podobné. Zapínám znovu a znovu play a užívám si originální odrůdu black metalu, který je napsaný a složený s elegancí starých mistrů v oboru. Kráčím dál a tma je čím dál tím víc hustší, vzduch těžší a kosti v mém těle bolavější. Potom se přede mnou otevře mýtina a já spatřím, jak mezi náhrobky tančí nemrtví.
Jako bych si četl ve starých spisech, jako bych se toulal podsvětím a ztrácel se mezi naším a oním světem. Nové album "Morbid Desires", opět volně inspirované temným severským folklorem, ve mě probudilo emoce, které dlouhé roky ležely v mém podvědomí. Každá skladba v sobě má zajímavý motiv a jako celek je pro mě novinka spíše takovým velmi temným obřadem, než jen obyčejnou hudbou. Doporučuji vám hlubokou noc, naprostý klid, abyste slyšeli tlukot svého srdce a nejlépe samotu. Potom vyniknou jednotlivé nuance této nahrávky nejlépe. Nové album není rozhodně prvoplánovou muzikou na jedno použití. Naopak, jeho síla, načerpaná při nekonečných toulkách po severských lesích, starých pohřebištích, vynikne až po nějakém čase. Líbí se mi, nebál bych se napsat charakteristický, neklid, který se vine celou deskou jako jedovatý břečťan. Pokud máte ve svých sbírkách kapely jako VENOM, CELTIC FROST, HELLHAMMER, ROOT, potom věřte tomu, že se těmito smečkami Norové lehce inspirovali. Osobně se mi ale nejvíc líbí, že hrají jinak, odlišně, originálně, mají své vlastní nápady, rukopis a pokaždé po nich zůstává hluboká krvavá stopa. Těžko se to popisuje, ale myslím si, že zasvěcení moc dobře ví, o čem píšu. Lehká progrese v některých skladbách dodává všemu na ještě větší uvěřitelnosti. Vždycky jsem měl rád kapely, které hrají srdcem, které na mě umí přenést svoje emoce. Musím se přiznat, že ke vzájemnému souznění mezi mnou a TULUS došlo i letos. O chladném zvuku, hororovém obalu a celkovém provedení netřeba diskutovat, vše je v nejlepším pořádku. Ztrácím se v temnotách! Mrazivé black metalové příběhy plné bolesti, naprosté tmy a utrpení! Album, které rozdrásá vaši mysl do krve!
Asphyx says:
Lost in the darkness, I keep walking. I hear the forest whispering; my face is torn and bleeding. A few hours ago, panic overtook me, but now, in the middle of the dark night, I am calm. My steps lead me to an old burial ground shrouded in terrifying legends. I awoke from nightmares, and my own demons revealed the path to me. I’m listening to the new album by the Norwegian band TULUS, and once again I feel as though I’m no longer in this strange modern world, but somewhere far to the north, in a harsh yet beautiful wilderness, with ghosts in the shadows, but above all with music that always manages to seep into my veins and my subconscious.
A careful reader of our site knows very well that I have a soft spot for these Nordic bards. Even though my interests usually lean toward more extreme bands, this group composed entirely of seasoned musicians always manages to literally glue me to the player. This year is no different. I hit play again and again, savoring this unique brand of black metal, written and composed with the elegance of the old masters of the genre. I walk on, and the darkness grows ever thicker, the air heavier, and the bones in my body ache more. Then a clearing opens up before me, and I see the undead dancing among the gravestones.
It’s as if I were reading ancient texts, as if I were wandering through the underworld and losing myself between this world and the next. The new album "Morbid Desires", once again loosely inspired by dark Nordic folklore, has awakened emotions within me that have lain dormant in my subconscious for many years. Each track contains an intriguing motif, and as a whole, this new release feels to me more like a very dark ritual than just ordinary music. I recommend a deep night, complete silence so you can hear your own heartbeat, and ideally, solitude. That’s when the individual nuances of this recording come through best. This new album is definitely not superficial, disposable music. On the contrary, its power drawn from endless wanderings through Nordic forests and ancient burial grounds only truly comes to the fore after some time. I like and I wouldn’t hesitate to call it characteristic the unease that winds through the entire album like poisonous ivy. If you have bands like VENOM, CELTIC FROST, HELLHAMMER, and ROOT in your collection, then believe me when I say that these Norwegians were clearly inspired by them. Personally, though, what I like most is that they play differently, uniquely, and originally; they have their own ideas and style, and they always leave a deep, bloody trail in their wake. It’s hard to describe, but I think those in the know understand exactly what I’m talking about. The slight progression in some songs adds even more believability to the whole thing. I’ve always liked bands that play from the heart, that can convey their emotions to me. I have to admit that the mutual connection between me and TULUS happened again this year. There’s no need to discuss the cold sound, the horror-themed cover, and the overall execution everything is in perfect order. I’m losing myself in the darkness! Frosty black metal tales full of pain, utter darkness, and suffering! An album that will tear your mind to shreds!
Oči vypadaly jako skleněné. S mrtvolným pohledem, s břichem plným kroutících se červů, s hnilobnými procesy, které byly zahájeny již před nějakým časem. Kusy oblečení, roztrhané a již trošku zetlelé. Nůž, zabodnutý do krku, všechno svědčilo tomu, že se zde stal násilný čin. Ohledával jsem mrtvolu a do hlavy se mi dostal neodbytný pocit, že se mnou rozmlouvá. Šeptala děsivá slova, o prožitých hrůzách, o životě plném bolesti a o ještě krutější smrti. Kráčel jsem prázdnou zmrzlou krajinou a neustále na ní myslel. Jak asi vypadá smrt? Co se stane, až jednou zemřeme? Poslouchám zrovna debutové album dánských death doomových FOETOREM.
Jejich hudba je velmi podobná náladám, které můžete potkat na místech násilných činů, v pitevnách, chladných márnicích, na starých pohřebištích, zkrátka všude tam, kde se potkává mráz s temnotou a kde rozmlouvají nemrtví. Kapelu jsem si pro sebe objevil při jednom z mých nekonečných výletů v záhrobí a musím rovnou napsat, že se mi jejich nová nahrávka líbí natolik, že jsem s ní strávil spoustu pochmurných dní. Už teď vím, že se k ní budu rád a často vracet.
Pánové totiž hrají velmi opravdově, ryze, uvěřitelně a naprosto autenticky. Pomalý, těžký, prašivý doom metal se zde potkává se surovým death metalem v krutém poměru. Skladby se mi postupně zarývají do mozku, stávají se mojí součástí. Neustále přidávám hlasitost a najednou nejsem ve svém pokoji, ale zase někde na místech, kde se stalo něco zlého. Mám rád hudbu, která ve mě dokáže vyvolat pestrou paletu emocí a to umí FOETOREM na výbornou. Album je plné zajímavých momentů, nejdříve kolem vás plyne jako řeka smrti a vy se houpáte na zpěněných krvavých vlnách jako utopenci. Dusíte se špinavou vodou, jste součástí stoky, která vytéká z hlubin vašeho města. Pokud bychom si spolu měli promluvit o zvuku, tak ten považuji za velmi povedený. Jednotlivé motivy v sobě mají drive, krvavou jiskru, potřebný tlak i energii. Jakoby hořely zevnitř, ale na povrchu jsou potažené vrstvou námrazy. Nevím, jestli jste někdy navštívili staré katakomby, plné shnilých a zpuchřelých mrtvol, ale teď už nemusíte. Stačí si pustit tohle album. Zmínit se musím o zajímavém obalu. "Incongruous Forms of Evergrowing Rot" je přesně tím druhem nahrávky, kterou si užijí fanoušci třeba takových MORTIFERUM, INCANTATION, AUTOPSY, CIANIDE, RIPPIKOULU, CEREMONIUM, KRYPTS, WORM, SPECTRAL VOICE, KRYPTS, HOODED MENACE. Nemohu jinak, než novinku doporučit všem tmářům, prokletým nebo všem, kteří se rádi a často toulají ve stínech. Oči vypadaly jako skleněné. S mrtvolným pohledem, s břichem plným kroutících se červů, s hnilobnými procesy, které byly zahájeny již před nějakým časem. Temný a mrazivý death doom metal za starých prokletých močálů! Budete strženi do hlubin vlastních myšlenek!
Asphyx says:
The eyes looked glassy. A dead stare, a belly full of writhing worms, and the decomposition process that had begun some time ago. Pieces of clothing, torn and already slightly decayed. A knife stuck in the throat everything pointed to a violent crime having taken place here. I examined the corpse, and an insistent feeling crept into my head that it was speaking to me. It whispered terrifying words of horrors endured, of a life full of pain, and of an even more cruel death. I walked through the empty, frozen landscape, thinking of it constantly. What does death look like? What happens when we die? I’m currently listening to the debut album by the Danish death doom band FOETOREM.
Their music is very similar to the moods you might encounter at crime scenes, in autopsy rooms, cold morgues, old cemeteries in short, anywhere where frost meets darkness and the undead converse. I discovered the band during one of my endless journeys into the afterlife, and I have to say right away that I like their new record so much that I’ve spent many gloomy days with it. I already know that I’ll be happy to return to it often.
These guys play with such sincerity, purity, believability, and absolute authenticity. Slow, heavy, gritty doom metal meets raw death metal in a brutal blend. The songs gradually burrow into my brain, becoming a part of me. I keep turning up the volume, and suddenly I’m not in my room anymore, but back in places where something terrible happened. I love music that can evoke a wide range of emotions in me, and FOETOREM does this perfectly. The album is full of interesting moments; at first, it flows around you like a river of death, and you’re bobbing on foamy, bloody waves like drowning victims. You’re choking on dirty water, part of the sewer oozing from the depths of your city. If we were to talk about the sound, I consider it very well done. The individual motifs have drive, a bloody spark, the necessary pressure, and energy. It’s as if they’re burning from the inside, but on the surface they’re coated with a layer of frost. I don’t know if you’ve ever visited old catacombs, filled with rotting and decaying corpses, but now you don’t have to. Just listen to this album. I have to mention the interesting cover art. "Incongruous Forms of Evergrowing Rot" is exactly the kind of record that fans of bands like MORTIFERUM, INCANTATION, AUTOPSY, CIANIDE, RIPPIKOULU, CEREMONIUM, KRYPTS, WORM, SPECTRAL VOICE, KRYPTS, and HOODED MENACE will enjoy. I can’t help but recommend this new release to all dark souls, the damned, or anyone who loves to wander in the shadows. The eyes looked like glass. With a deathly stare, a belly full of writhing worms, and processes of decay that began some time ago. Dark and frosty death doom metal from the ancient cursed swamps! You will be dragged into the depths of your own thoughts!
Odkud jsme přišli a kam směřujeme? Jsme opravdu jen kusy masa pochodující na porážku, které když jednou zemřou krutou smrtí, tak shnijí v temnotě? Nebo je v našich duších něco většího, neuchopitelného, éterického? Netuším, vím jen jediné. Když poslouchám nové album litevských black death metalistů SISYPHEAN, tak mě podobné otázky napadají. Je něco zvláštního, neklidného, divokého, nespoutaného v jejich muzice, co mě nutí se toulat krvavou mlhou děsivých představ.
S touhle smečkou jsem se setkal již dvakrát. Jednou, když jsem psal recenzi na jejich nahrávku "Colours of Faith" (2022) a potom o rok později na skvělém pražském koncertě. Obě seance dopadly na výbornou a zanechaly ve mě hlubokou bolestivou stopu. Letošní novinka je pokračováním věcí minulých. Ihned se mi dostala do žil i do podvědomí. Byl jsem prokletý a chycený do pevných sítí disonantních ostrých riffů, krutých melodií i chladné a temné atmosféry.
Na "Divergence" naleznete spoustu zajímavých momentů. Jedná se spíše o starodávný obřad pro vyvolávání sil, které nejsou z tohoto světa, než jen o obyčejnou nahrávku. Alespoň tak novinku vnímám já, starý pes, který hlídá vstup do podsvětí již několik dekád. Líbí se mi jak jsou jednotlivé skladby napsány, jaký v sobě mají drive, sílu, tlak i energii. Pravděpodobně se nebude jednak o desku, kterou by pochopili všichni, zpočátku je nepřístupná, komplikovaná na poslech. Doporučuji vám tedy klid, ticho a naprostou tmu. Album opravdu vynikne nejvíce v noci, když se budete dívat na umírající město a přízraky v ulicích. Velmi dobře je postaráno o zvuk, který je chladný, velmi dobře čitelný, hoří zevnitř a rozdrásá vás do krve (engineered and mixed by Wojtek Wieslawski at Hertz Studio). Malba na obalu mi zase připomíná obrázky ze starých kronik. Pokud bychom si měli promluvit o tom, k jakým dalším kapelám tvorbu Litevců přirovnat, určitě by musela padnout jména jako DEATHSPELL OMEGA, BLUT AUS NORD, MGLA, SVARTULVEN, SVARTIDAUDI, PANZERFAUST, MISTHYRMING. Má přirovnání ale berte jen jako lehké připodobnění. Jinak mají SISYPHEAN spoustu vlastních, originálních nápadů a invence. Hlavní je pro mě ale nakonec to, že mě baví se k novému album vracet, s chutí jej poslouchám uprostřed noci a myšlenky mi létají hlavou jako zběsilé. Odkud jsme přišli a kam směřujeme? Jsme opravdu jen kusy masa pochodující na porážku, které když jednou zemřou krutou smrtí, tak shnijí v temnotě? Nebo je v našich duších něco většího, neuchopitelného, éterického. Netuším, vím jen jediné. Tahle nahrávka je opravdu povedená po všech stránkách a já nemohu jinak, než vám ji doporučit. Mystický, temný a do krvavé mlhy zahalený black metal, který vás rozdrásá zevnitř! Album, které útočí na samou podstatu našeho bytí!
Asphyx says:
Where did we come from, and where are we headed? Are we really just pieces of meat marching to the slaughter, destined to rot in the darkness once we die a cruel death? Or is there something greater, intangible, and ethereal within our souls? I have no idea; I know only one thing. When I listen to the new album by the Lithuanian black death metal band SISYPHEAN, such questions come to mind. There is something strange, unsettling, wild, and untamed in their music that compels me to wander through a bloody fog of terrifying visions.
I’ve encountered this pack twice before. Once when I wrote a review of their album “Colours of Faith” (2022), and then a year later at a fantastic concert in Prague. Both experiences were outstanding and left a deep, painful mark on me. This year’s new release is a continuation of things past. It immediately seeped into my veins and my subconscious. I was cursed and caught in the tight nets of dissonant, sharp riffs, cruel melodies, and a cold, dark atmosphere.
You’ll find plenty of interesting moments on "Divergence". It’s more of an ancient ritual for summoning otherworldly forces than just an ordinary recording. At least that’s how I, an old hand who’s been guarding the entrance to the underworld for several decades, perceive this new release. I like how the individual tracks are written, the drive, power, intensity, and energy they possess. This is probably not an album everyone will understand; at first, it’s inaccessible and complicated to listen to. So I recommend peace, quiet, and complete darkness. The album truly shines brightest at night, when you’re watching a dying city and the ghosts in the streets. The sound is exceptionally well crafted it’s cold, crystal clear, burns from within, and tears you to shreds (engineered and mixed by Wojtek Wieslawski at Hertz Studio). The painting on the cover, in turn, reminds me of images from old chronicles. If we were to discuss which other bands to compare the Lithuanians’ work to, names like DEATHSPELL OMEGA, BLUT AUS NORD, MGLA, SVARTULVEN, SVARTIDAUDI, PANZERFAUST, and MISTHYRMING would certainly come up. But take my comparisons as just light analogies. Otherwise, SISYPHEAN have plenty of their own original ideas and creativity. Ultimately, though, what matters most to me is that I enjoy coming back to this new album; I love listening to it in the middle of the night, with thoughts racing through my head like mad. Where did we come from, and where are we headed? Are we really just pieces of meat marching to the slaughter, destined to rot in the darkness once we die a cruel death? Or is there something greater, intangible, and ethereal within our souls? I have no idea; I know only one thing. This recording is truly excellent in every way, and I can’t help but recommend it to you. Mystical, dark black metal shrouded in a bloody fog that will tear you apart from the inside! An album that attacks the very essence of our existence!
Pokaždé, když se vrátím do svého rodného města, tak se neubráním tomu, aby mi začaly hlavou létat vzpomínky. Procházím se ulicemi, ve kterých jsem kdysi s kamarády získával cenné informace o hudbě i o životě. Lahev piva v ruce, síla a energie mládí a touha objevovat svět. Měl jsem doma tenkrát několik ohmataných, zkopírovaných kazet kapely ANASARCA z Německa. Začínal jsem zrovna s death metalem a doslova mě fascinoval zvuk a temnota, která ze skladeb odtékala jako hnis.
Bez toho, aniž bych se zašel podívat na hřbitov, to zkrátka nejde. Jsem již ve věku, ve kterém jsem spoustu kamarádů, známých, i členů rodiny ztratil. Čas běží neúprosně dál a my tu pořád jsme, věrní death metalu. Povídám si s hroby, představuji si, jaké by to bylo, kdybychom byli stále spolu. Myslím si, že nové album "Achlys" by se jim líbilo. Je totiž po okraj narvané tím, co jsme měli a máme na tomhle stylu rádi. Ryzostí, opravdovostí, surovostí, melodickou brutalitou, naprostou tmou a tlakem, který se mi pokaždé dostane do hlavy i do podvědomí. Rozloučím se, mezi náhrobky se již válí mlha a jdu pomalu domů. Čas nejde zastavit. Jednou ulehnu vedle vás.
Na ANASARCA se mi vždycky líbilo (a je tomu tak i letos), že kapela má svůj vlastní originální rukopis, výraz, ksicht chcete-li. Skladby jsou napsány s vášní a elegancí starých mistrů v oboru, nikde nic nepřebývá, nikde nic nechybí. Pánové sází na dobré motivy, na hnilobu, špínu a nekonečnou smrt, která tento styl vždy definovala. Nové album není ale jen dobrým řemeslem, starým artefaktem dávno zaniklého světa, ale také muzikou, která obstojí i v současnosti. Jednotlivé motivy mi lezou do hlavy, zůstávají tam, zadírají se pod kůži, stávají se mojí součástí. Určitě to znáte, přinesete si nahrávku domů, jen tak si sednete a po chvilce víte, že je to ono, že je to tam. Nedokážete to vysvětlit slovy ostatním a o to víc vám chybí staří kamarádi, na které stačilo kdysi dávno jen kývnout, usmát se a všichni jste věděli - ano, je to tam! Německé tmáře šlo vždy zařadit po bok kapel jako MORBID ANGEL, DEMIGOD, INCANTATION, IMMOLATION, SUFFOCATION, GOREFEST, OBITUARY, GRAVE, EDGE OF SANITY. Jedná se o staré, zkušené psy, kteří hlídají vstup do podsvětí již od roku 1995. Nutno rovnou dodat, že to dělají stále s naprostou oddaností stínům i záhrobním rituálům. Pro mě osobně je letošní album "Achlys" nejen mementem a vzpomínkou na dobu, kdy jsem se toulal ulicemi s partou prokletých death metalových maniaků, ale také hudbou, která definuje moji samotnou podstatu. Pokud to máte nastavené podobně, neváhejte ani chvilku. Dostanete poctivou porci toho nejlepšího, co kapela kdy nahrála. Také skvělý zvuk (mix Daniel Meinzer, mastering Dennis Israel) a motiv na obalu, který chci nosit na tričku. Temné a surové death metalové album, které probudí i nemrtvé! Hudba ze starých prokletých pohřebišť!
Asphyx says:
Every time I return to my hometown, I can’t help but let memories flood my mind. I walk through the streets where I once gathered valuable insights about music and life with my friends. A bottle of beer in hand, the strength and energy of youth, and a desire to discover the world. Back then, I had a few well-worn, copied cassettes at home by the German band ANASARCA. I was just getting into death metal, and I was literally fascinated by the sound and the darkness that oozed from the songs like pus.
It just isn’t possible without stopping by the cemetery. I’m at an age where I’ve lost many friends, acquaintances, and even family members. Time marches relentlessly on, and we’re still here, faithful to death metal. I talk to the graves, imagining what it would be like if we were still together. I think they’d like the new album, “Achlys”. It’s packed to the brim with everything we’ve always loved about this style. Purity, authenticity, rawness, melodic brutality, utter darkness, and a pressure that always seeps into my head and subconscious. I say goodbye; fog is already rolling among the gravestones, and I walk slowly home. Time cannot be stopped. One day I’ll lie down beside you.
What I’ve always liked about ANASARCA (and this year is no exception) is that the band has its own original style, its own voice its own identity, if you will. The songs are written with the passion and elegance of the old masters of the genre; nothing is superfluous, and nothing is missing. The guys rely on classic themes decay, filth, and endless death that have always defined this style. But the new album isn’t just a fine piece of craftsmanship, an ancient artifact from a long-vanished world; it’s also music that holds its own in the present day. The individual motifs seep into my head, stay there, burrow under my skin, and become a part of me. You surely know the feeling: you bring a record home, just sit down, and after a moment you know that this is it, that it’s there. You can’t explain it to others in words, and all the more you miss your old friends, with whom all it took long ago was a nod, a smile, and you all knew yes, it’s there! German darkness has always been on par with bands like MORBID ANGEL, DEMIGOD, INCANTATION, IMMOLATION, SUFFOCATION, GOREFEST, OBITUARY, GRAVE, and EDGE OF SANITY. These are old, seasoned veterans who have been guarding the entrance to the underworld since 1995. It must be said right away that they continue to do so with absolute devotion to the shadows and the rituals of the afterlife. For me personally, this year’s album “Achlys” is not only a memento and a reminder of the time when I roamed the streets with a bunch of cursed death metal maniacs, but also music that defines my very essence. If you feel the same way, don’t hesitate for a moment. You’ll get a solid dose of the best the band has ever recorded. Also great sound (mixed by Daniel Meinzer, mastered by Dennis Israel) and a cover design I want to wear on a T-shirt. A dark and raw death metal album that will wake even the undead! Music from ancient cursed graveyards!
Kolem těla se vznáší hejno much. Leželo u cesty, zohavené, opuštěné. Bylo dalším v řadě. Na každém byl nakreslený kříž. Někdo tu zase jednou vraždil ve jménu jediného Boha. Hnus a špína tu byla v děsivém kontrastu s přesvědčením, že tahle bestie očišťuje svět. Mnohdy o tom poslední roky přemýšlím. Kde se bere v lidech zlo? Jakou tvář má vlastně Satan? Je to chlápek ze sousedství, co vždycky tak slušně zdraví? Divně se usmívá a po nocích se toulá ulicemi. Mohl by to být on. Podobné myšlenky mi létají hlavou jako zběsilé, když poslouchám nové album amerických maniaků RELIC.
Tahle smečka je složena ze samých zkušených veteránů scény (členové RELIC působili v kapelách jako Jungle Rot, Emblazoned, A Night At The Chalet, Slam Pig, Decrescent,Micawber). Pánové hrají od srdce, s krvavou jiskrou v oku, s takovým tím pradávným přístupem, feelingem, surově, bestiálně. Tohle se nedá dle mého úsudku naučit, to musíte mít v sobě. Museli jste být kdysi dávno, v devadesátých letech prokleti a musel vám být pravý, ryzí, krutý a ostrý death metal zakódovaný hluboko do vaší DNA. U téhle smečky a jejich hudby to alespoň platí na sto procent. Koneckonců, stačí zapnout play a otočit volume úplně doprava.
Nutno ale také rovnou dodat, že tahle kapela není jen obyčejným setkáním starých zkušených muzikantů, kteří si chtěli zavzpomínat. Naopak, pokud bych měl letošní nahrávky seřadit podle toho, jak často a rád je poslouchám, tak tohle album by atakovalo přední příčky mé diskografie. Hudba je zde totiž opravdu bestiální, řeže přímo do živého, je surová, ďábelská. Připadám si při poslechu opravdu jako někde na cestách, když zastavíte a unaveni se jdete najíst. Místo toho naleznete u cesty mrtvé tělo, kdysi mladé dívky, která je zohavena k nepoznání. Jakoby při poslechu Satan číhal za každým rohem, usmíval se, čekal na vaši chybu, aby vás nakonec chytil do svých pevných sítí. Budete navěky prokleti, amen! Skladby jsou zde velmi elegantně a morbidně napsány, mají v sobě drive a pověstnou pradávnou sílu, načerpanou v nekonečných chodbách Hádovy říše. Povedl se syrový a masivní zvuk (Mixed and Mastered by Billy Diamond), stylový je i parádní motiv na obalu (Sant V. Schreiber). Tahle smečka zkrátka a dobře moc dobře ví, jak do vás zaseknout dráp a už nepustit. Pokud máte rádi kapely typu DEICIDE, ANGELCORPSE, DEAD CONGREGATION, IMMOLATION, staré BEHEMOTH a BELPHEGOR, DIOCLETIAN, MORBID ANGEL, KRISIUN, potom věřte tomu, že jste zde správně. To vám klidně podepíšu vlastní krví. "Crown of Flies" je přesně tím druhem alba, které hoří zevnitř. Na povrchu je temné a surové, ale nepostrádá ani chladnou, mrtvolnou atmosféru. RELIC se svým debutem zapisují hluboko do knihy hříchů a dělají to vlastní krví. Na téhle nahrávce jsem si pro sebe našel všechno, co mám na tomto stylu tolik rád. Agresivitu, naprostou tmu, definice zla, špínu, hnis. Novinka ve mě zanechala hlubokou stopu a nelze jinak, než ji doporučit všem pravověrným i prokletým. Ďábelský, syrový, temný black death metal, který smrdí sírou! Satan čeká ve stínu! Album, které se krvavě otiskne do vašeho podvědomí!
Asphyx says:
A swarm of flies hovered around the body. It lay by the roadside, mutilated, abandoned. It was just another one in the line. A cross was drawn on each one. Someone had once again been murdering here in the name of the one true God. The filth and squalor stood in stark contrast to the belief that this beast was cleansing the world. I’ve been thinking about this a lot in recent years. Where does evil come from in people? What does Satan actually look like? Is he the guy from the neighborhood who always greets you so politely? He smiles strangely and roams the streets at night. It could be him. Similar thoughts race through my head like mad when I listen to the new album by the American maniacs RELIC.
This pack is made up entirely of seasoned veterans of the scene (RELIC members have played in bands like Jungle Rot, Emblazoned, A Night At The Chalet, Slam Pig, Decrescent, and Micawber). These guys play from the heart, with a bloody spark in their eyes, with that ancient approach, that feeling—raw and beastly. In my opinion, this isn’t something you can learn—you have to have it in you. You must have been cursed long ago, back in the ’90s, and true, pure, cruel, and sharp death metal must have been encoded deep into your DNA. With this pack and their music, at least, that’s 100% true. After all, just hit play and crank the volume all the way up.
But I should also point out right away that this band isn’t just a casual get-together of old, experienced musicians looking to reminisce. On the contrary, if I were to rank this year’s recordings by how often and how much I enjoy listening to them, this album would be right up there at the top of my collection. The music here is truly brutal; it cuts right to the bone it’s raw and diabolical. When I listen to it, I really feel like I’m out on the road somewhere, when you stop and, exhausted, go to eat. Instead, you find a dead body by the roadside, once a young girl, now mutilated beyond recognition. It’s as if, while listening, Satan is lurking around every corner, smiling, waiting for your mistake so he can finally catch you in his tight nets. You will be cursed forever, amen! The songs here are written with great elegance and morbidity; they possess a drive and that legendary ancient power, drawn from the endless corridors of Hades’ realm. The raw and massive sound is a success (Mixed and Mastered by Billy Diamond), and the cover art’s fantastic motif is also stylish (Sant V. Schreiber). This pack simply knows exactly how to sink its claws into you and never let go. If you like bands like DEICIDE, ANGELCORPSE, DEAD CONGREGATION, IMMOLATION, early BEHEMOTH and BELPHEGOR, DIOCLETIAN, MORBID ANGEL, KRISIUN, then trust me, you’re in the right place. I’d gladly sign that with my own blood. "Crown of Flies" is exactly the kind of album that burns from within. On the surface, it’s dark and raw, yet it doesn’t lack a cold, cadaverous atmosphere. With their debut, RELIC are writing themselves deep into the book of sins and they’re doing it with their own blood. On this record, I found everything I love so much about this style. Aggression, utter darkness, the definition of evil, filth, pus. This new release has left a deep mark on me, and I can’t help but recommend it to all the faithful and the damned. Devilish, raw, dark black death metal that reeks of sulfur! Satan waits in the shadows! An album that will leave a bloody imprint on your subconscious!
Track Listing: 1. The Void Between Gods 2. Filth Of Rebirth 3. Scavengers Daughter 4. Iron Sacrament
RELIC is: Kevin Forsythe (Jungle Rot, Emblazoned) – Guitar / Bass Jeff Plewa (Micawber, Emblazoned) – Vocals Alex “Pulverizer” Pulvermacher (Decrescent, Emblazoned) – Drums Vinny Alvarez (A Night At The Chalet, Slam Pig) - Guitar
Ave BLASART! Greetings to the Chilean underground. I hope everything is going well for you. It should be, since you have released the second great full-length album of your career this year. I must admit that it literally pinned me to the wall. It's dark, energetic, cutting like a sharp knife. It's very clear that you've done a great job and that you have a lot of talent. How do you perceive the new album in relation to your previous recordings? Where did you want to go with it and how do you think the recordings are different?
Ave Deadly Storm Zine! Thank you for your words — we truly appreciate it.
We definitely see Depravatus Christianis Sacris as a significant step forward compared to our previous recordings. The Art Of Blasphemy was more instinctive, raw and immediate — it captured a certain energy, but it was less structured and less deliberate in its execution.
With this new album, we wanted to move towards something more cohesive and intentional. Not only in terms of sound, but also in atmosphere and overall direction. The goal was to create a work that feels unified from beginning to end, rather than a collection of separate tracks.
The main difference lies in maturity. The songwriting is more controlled, the dynamics are more defined, the identity of the band and the messsage is clearer.
We were not trying to simply sound heavier or faster, but to build something with more depth and permanence.
"Depravatus Christianis Sacris" has all the attributes of good death and doom metal. For me personally, it's an album I love to come back to. How did it come about? How does BLASART compose new material?
We appreciate that perspective! even though we see ourselves primarily rooted in black and death metal, it’s interesting that you perceive elements beyond that, as Doom. Maybe the atmosphere and weight are aspects that you considered. It’s very interesting.
Well, about the álbum, it came together over a longer and more stable period for the band. One key factor was having a more consistent lineup, which allowed us to develop ideas with greater continuity and focus.
In terms of composition, the process usually begins with core guitar structures, which are then expanded through layering and arrangement. From there, we work collectively to shape the dynamics, especially focusing on how tension and release evolve within each track. The drums play a central role in defining the direction of the songs, establishing a strong and deliberate rhythmic foundation that guides the overall intensity.
Who is responsible for the sound? I have to admit that the sound is literally killer. It keeps making me turn up the volume on my hi-fi system. You have a sound that is cruel, raw, dark, and animalistic, with an analog feel. How did you work together and why did you choose him? In which studio did you record and how did everything go?
The sound was handled by Carlos Fuentes, who was responsible for the mixing and mastering of the album.
From the beginning, we were looking for someone who could understand the balance between rawness and clarity. We didn’t want a polished or overly clean and simple Production. The intention was to preserve the aggression and atmosphere while still giving each element enough space to breathe.
Carlos was deeply involved throughout the process, not just from a technical standpoint, but also in understanding the identity we were aiming for. There was a constant exchange of ideas, which allowed the sound to evolve naturally without losing its essence.
The result is exactly what we were aiming for: something cruel, dark and organic, with a certain analog character, but still defined and powerful.
The process went smoothly overall, mainly because there was a clear vision from both sides. It wasn’t about forcing a sound, but about shaping what was already there into its most honest form.
An integral part and a kind of bonus for fans today is the music CD (cassette, vinyl). You released it on Lavadome Productions and it has a hellish cover. Who is the author? How did you choose the motif and how does it relate to the music on the new album?
The artwork was created by the extremely talented Luciana Nedelea.
From the beginning, we had a clear idea of what we wanted to represent — a vision of the church not as a place of salvation, but as something oppressive and consuming. Luciana understood that direction perfectly and translated it into a highly detailed and disturbing visual composition.
The central motif shows a monumental structure that resembles both a cathedral and a monstrous entity, with an entrance that suggests a devouring force. Beneath it, human figures are depicted in states of suffering and chaos, reinforcing the idea of domination and decay.
This imagery is directly connected to the atmosphere and intention of the album. The music follows a similar path — oppressive, intense and ritualistic — so the artwork functions as a visual extension of that experience.
I must admit that I was also intrigued by your texts, which deal mainly with anti-Christianity. Why this topic in particular? What is the situation in Chile with regard to the church? Does it influence the situation in your country in any way? I mean, for example, education, politics, or the banning of concerts, etc. What is your relationship to faith?
Anti-Christianity, in our case, is not approached as a superficial provocation, but as a response to what we perceive as a deep historical contradiction.
The Church, as an institution, has held immense power throughout history, and that power has often been accompanied by actions that stand in direct opposition to the values it claims to represent. That tension — between doctrine and reality — is something we find impossible to ignore.
Our perspective is mainly directed at the institutional aspect rather than personal faith. We are not concerned with individual belief, but with structures that position themselves as moral authorities while being involved in practices that contradict those same principles.
In Chile, the influence of the Church has been significant, especially historically, although its role has changed over time. There is a growing distance and critical view from society, particularly in response to scandals and loss of credibility.
For us, this is less about opposition for its own sake, and more about questioning imposed narratives. The themes we explore come from that need to confront and reinterpret what is often presented as unquestionable.
I have been wandering the underworld for almost thirty-five years, and I go to Chile for music because I know I won't be disappointed (I love PENTAGRAM CHILE and SADISM!). I think we have a similar nature and taste when it comes to metal. I really like your bands and follow your scene closely. Maybe I envy you a little, because we only have a few death metal bands that are worth mentioning. How do you explain the fact that death metal is so successful in your country? How do you perceive your scene, fans, labels?
Thank you for your words, especially coming from someone who has been following the underground for so long. My sincere respect.
Death Metal Bands like Pentagram Chile, Criminal, Undercroft, Atomic Aggresor, Dominus Xul, Totten Korps, Inanna, and Sadism are fundamental pillars of the Chilean scene, and they helped shape a strong identity early on. Alongside them, many other acts have contributed to building a consistent and respected underground presence.
In Chile, metal has always had a very committed audience. Considering the size of the country, the scene is surprisingly active and diverse. It’s not only about death metal — black metal (Xul ov Kvlten, Animus Mortis, LvxCaelis, Missa Mortvm, Selbst), doom (Mar de Grises, Poema Arcanvs, Wooden Veins, Mortajas), and traditional heavy metal are also deeply rooted and constantly evolving.
There is a sense of persistence within the scene. Many bands operate independently, driven more by conviction than by external recognition, and that gives the music a certain authenticity.
From our perspective, the Chilean scene is strong, passionate and constantly renewing itself, with both established and emerging bands contributing to its identity.
You play old-school-influenced death metal. Today, bands can't avoid comparisons, but I'd be interested to know how the idea to form BLASART came about, who your role models were and are, and where you want to take your band. Are you attracted to big international festivals, are you willing to go on tour with a more famous band?
Blasart was formed as a result of a shared vision among its members — a need to create something that combined the intensity of extreme metal with a stronger emphasis on atmosphere and conceptual depth.
While our sound may be perceived as rooted in old-school death metal, we see it more as a convergence between black and death metal. Our goal has never been to replicate a specific sound, but to develop something that feels authentic and consistent with our vision. With ‘Depravatus Christianis Sacris’, that direction became much clearer and more defined.
Looking forward, we want to continue evolving without losing that core identity. Bringing the album into a live setting is a priority, especially in a way that preserves its atmosphere and intensity.
Sure, we are open to playing international shows, festivals, or touring opportunities, as long as they align with the spirit of the band. For us, it’s not just about scale, but about context — sharing the stage with artists and events that resonate with what Blasart represents.
When I started my website ten years ago, I had a vision that I would try to support bands that I felt weren't getting enough attention. To let the world know about them. I think I'm doing pretty well, at least according to the feedback. How do you approach promotion? Do you leave it to the label, or do you send CDs out for reviews yourself? I buy albums that I really enjoy. How about you? Are you also fans who like to support your colleagues often? Do you go to concerts? Do you party?
First of all, we really respect that approach. Supporting underground bands and giving them visibility is essential, and it’s something that keeps the scene alive.
In terms of promotion, we work closely together with Lavadome Productions. Jan has been consistently supportive from the very beginning, and his commitment to the album has been clear throughout the entire process. We share the same level of conviction — both in the work itself and in how it is being presented.
At the same time, we also try to stay involved in spreading the material whenever possible. It’s a combined effort, where both the band and the label contribute to getting the music out there.
As listeners, we are deeply connected to the physical format. We collect CDs, vinyl and tapes, and we actively support bands we believe in. Attending shows is also an important part of that — we go to concerts regularly, and it’s something that keeps us grounded within the scene.
One of our members will even be attending Brutal Assault this year, which says a lot about how we experience metal not only as musicians, but as fans.
For us, this goes beyond making music — it’s about being part of a community that we genuinely believe in.
On the one hand, today's up-and-coming bands have a lot of opportunities to make themselves known, but on the other hand, there are so many bands that fans get lost in the crowd. Many people just download MP3s from the internet and instead of going to concerts, they prefer to spit venom on Facebook. How does modern technology influence you as BLASART? What do you think about downloading music, Google metalheads, streaming music, etc.?
Modern technology is a double-edged sword. On one hand, it gives bands the possibility to reach a global audience without the limitations that existed years ago. It allows underground projects to be discovered far beyond their local scenes, which is something valuable, in a way.
On the other hand, the sheer volume of content has made everything more disposable. Music can be consumed quickly and forgotten just as fast, and that can take away from the depth and attention that a record deserves.
We understand that streaming and digital platforms are part of the current landscape, and we use them as tools for dissemination. However, we still believe that the full experience of music goes beyond that — it involves time, attention and, ideally, a physical connection to the work. So, it’s imposible remove the physical format.
For us, supporting bands through physical formats, attending shows and engaging with the scene in a real way remains essential. Technology can amplify the reach, but it cannot replace the substance.
I like to ask musicians what death/black metal means to them. How would they define it, is it more of a philosophy and lifestyle for them or "just" relaxation. What does it mean to you? How do you perceive and experience it?
For us, black and death metal are more than just musical genres, they represent a form of expression that goes beyond entertainment.
It is not necessarily a “lifestyle” in a literal sense, but it is deeply connected to a way of understanding and interpreting reality. There is a certain honesty in extreme metal — a willingness to confront ideas, emotions and contradictions without filtering or softening them.
What draws us to it is precisely that intensity. It allows us to explore themes that are often uncomfortable or ignored, and to transform them into something tangible through sound.
For us, it is both a creative outlet and a way of channeling perspective — something that demands commitment, not just passive consumption.
Finally, a classic but important question. What does BLASART have planned for the coming months? Where can we see you in concert, and when will you be visiting Europe? If you have a message for your fans, labels, or promoters, now is the time...
In the coming months, we have several live performances planned in Chile, including the official release show for Depravatus Christianis Sacris. Bringing the album into a live setting is a key focus for us, as we want to translate its atmosphere and intensity into something tangible on stage.
At the same time, we are open to opportunities beyond our local scene. Playing in other countries — especially in Europe — is something we are definitely interested in. The intention is there, and we are ready for it when the right opportunity arises.
To everyone who has supported the band — listeners, labels, promoters and the underground media — we truly appreciate it. This kind of support is what keeps the scene alive and allows projects like ours to continue evolving.
We invite those who connect with the álbum, to experience it fully, whether through the recordings or in a live setting. This is only one stage of the path.
Thank you very much for the interview. I wish you every success with your new album and hope that your fan base grows as much as possible. I look forward to seeing you live somewhere and wish you all the best, both musically and personally. I'm going to listen to "Depravatus Christianis Sacris" again!
Thank you for your time and for the thoughtful questions. We truly appreciate the support!
It means a lot to know that the album resonates with you, and we’re glad it’s something you return to.
We hope to cross paths in the future, perhaps at a live show.
