RANDOM

NEFTARAKA "Eternal Harsh"

2010-08-23T22:48:00.007+08:00

NEFTARAKA "Eternal Harsh" (Apocalypse Venomous Recs.)

You be damned. You and I. The new NEFTARAKA is dawning upon us. "Eternal Harsh" did kept me anticipating. The rawness of "Law Ist Law" still lingers to say the very least, nothing unexpected if I did prepare with some sort of blueprint, readying for what is to be unfolded as "Eternal Harsh". Meticulously considered, this is what I could bestow upon as the most 'hearfelt' (a romanticised?) collective of NEFTARAKA opus so far. The compositions are, while still retaining that certain rawness, have now developed into some sort of dark melancholia deeply embedded within those blackening structures. This, amidst flirting a little with their straight-forward purpose, succeeded in making them driven more deeply into the listening senses, and this; the knack of identifying significant verses and manipulating it for that maximum impact, has been promised in onw way or another on their previous outputs. Those reached a new height in "Eternal Harsh", bare witness with those hateful yet sorrowfilled endeavours. NEFTARAKA could be one of Malaysia's most potent Metal exports, and with a weapon like "Eternal Harsh", nobody needs further arguing. A single wrong track-listing aside, this nicely done cassette tape release deserves your utmost attention. It shouldn't be limited to 150, and should be made available in various formats. All hail "Eternal Harsh", it could be the only Metal album of black arts from the local scene you'll ever need this 2010.

myspace.com/avenomousrecords

myspace.com/necroneftaraka

SINGHASARI "Promo 02/10"

2010-07-29T11:39:00.006+08:00

SINGHASARI "Promo 02/10"
Nationalists bands are everywhere, even in Malaysia. But that's not the topic of discussion here, my reviews are; always. On the music itself, this 3-track promo is what I would refer to as Eastern black Metal, in and out. You should look no further than AS SAHAR (again) for inspiration. Listen to the guitars, they're such a norm in the local scene, or to some extent the primitive-inclined Southeast Asia sounds. SINGHASARI displays the elements that possibly only the eastern bands will proudly call their own, and there's no intention of straying into other territories at all. They stand comfortably in and within the realm, so much that I think that's their intention anyway, coupled with the Malay-lyrics and such. This promo is not for sale apparently, and is limited to 30 copies. Enquiries are to be forwarded to these addresses.
antichristwar666@yahoo.com
myspace.com/singhasari

DARAH & MARUAH PST

2010-07-29T10:54:00.005+08:00

DARAH & MARUAH PST Compilation CD-R

A compilation of the bands within the Darah & Maruah PST (sorry, I know shit about it, so don't ask). Again, this is a promotional compilation and is not for sale. Six bands all in all, namely VETIS, DEXEKRATORS, STEEL CRESCENT, WRAITH, MARUAH, and CHAINS. Ok, the bad sound will affect my review nevertheless, it's important to not that. I found DEXEKRATORS, VETIS sound a bit similar to each other, VETIS being more 'thrash' while DEXEKRATORS has this 'bestial' vibe going on. STEEL CRESCENT is a heavy Metal band that stays generic and ordinary-sounding. MARUAH is a kind of punk/oi! band with penchant for heavy Metal-ness. CHAINS are blessed with the better production here, and they're thrash as predictable as it could be. WRAITH presents a cover song, so I couldn't be assuming just by that, isn't it? It takes more that this Promo for me to make a properly thorough listening. This is not enough for now.

antichristwar666@yahoo.com

MANTAK "Diabolical Psycholust"

2010-02-25T17:13:00.004+08:00

MANTAK "Diabolical Psycholust" (Chalice of Blood Angel)

Numerous EPs and splits aside, I'm really sure that this is only the third full length of Borneo overlords MANTAK. To put "Diabolical..."side-by-side, say, with the first long player "Polymorphous Perversion", stark enhancements can easily be found. But if you follow them close enough with those EPs and such, you get the scenario quite well. "Polymorphous..." is thick with eastern extreme Metal characteristics, "Diabolical..." is the continuation of the direction shown in its predecessor the "666" MCD/EP. A harsher, faster, hornier, to-the-point MANTAK without so much of the alienating, mechanised drive of "Sabahell's Blasphemer", their second album. In "Diabolical...", it can also be seen as some sort of a MANTAK grab-bag. There are some reworkings of old songs, thus a blurred polarity between the present sound and the not too distant past are bridged. I do find the production a bit tame compared to "666", it's a bit controlled so to speak. No mistake it's MANTAK in and out though, the sexually-driven extreme Metal perverts from Sabah, Malaysia. That cover of BLACK SABBATH 'Paranoid' is unbearable. Old Cemetery Records for the CD version, Chalice of Blood Angel Records for the LP, and Evildead Production for the tape.

http://mantakhz.com/

http://oldcemetery.org/

http://chaliceofbloodangel.free.fr/

www.myspace.com/deadevil666

EASTERN DAMNATION

2010-02-25T11:35:00.003+08:00

EASTERN DAMNATION 4-way split CD (Eternia Recs.)
Split releases are good. They give you the chance to discover more than a band in a single release. And most of the time they're full of surprises. Bands that you've never cared about suddenly became the one to watch. Or the other way around. "Eastern Damnation" gathers four black Metal-insinuated bands, two each from Malaysia and Singapore respectively. NEFTARAKA initiated the damning , and rightly so they deliver. NEFTARAKA is the unofficial 'budak jahat' of Malaysian black Metal at the moment. One of the few bands able to infuse the rawness and eastern nuances effortlessly. These enormous capabilities, however, is dampened by the 'oh-so-obvious' low-bitrate compressed MP3 sounding of the tracks. I'm pretty sure the master-audio source for NEFTARAKA's part is in MP3 format of the lowest bit, and no matter how hard you try to salvage, whatever has been compressed is not going to come back. It's a real pity, all three tracks of them here show what NEFTARAKA is capable of. It's a pain to hear such fine song as 'The Knoll' being badly bruised by this MP3-to-cd audio format banality. EIBON is up next, and let's just be clear that this is not 'The Garden of Theoprastus' part two, all over these years EIBON has transformed into a different beast altogether. It is still black Metal, prevailently on the more personal side. It's like a mix-and-match of their various influences into one. Obviously more aggressive than before, a bit dreamy and drifting in places, with the synths very much in use, EIBON is somewhat of an acquired taste these days. They did it alright, just. 'Damnation (Heart Whisper)' is not a song though. A slightly different looking NEFARIOUS AZARAK comes next, they're way into the blackthrash realm nowadays, hardly the NEFARIOUS AZARAK in their earlier releases. And as before, you know that they can pull it off, as the way it is before; but the somewhat weak production prohibits them to destroy you into pieces. Well-executed production is somewhat vital for 'thrashing' it all out, if you know what I mean. 'Enslaved by Satan's Reign' rips. Last on the line is the veterans AS SAHAR, and these years of experiences show in the three tracks here. If you're familiar with them, it's still the typical AS SAHAR minus 'Baku Karama', especially the trademarked guitars sound. It is quite positive to see AS SAHAR on the path discovered once again with the last album "Tir", it might be possible sooner or later classics like 'Tinggam', or 'Depressive Moonsoon' will surely be reincarnated in another form. "Eastern Damnation" is presented in a nice digipak format with 12-pages booklet, typical Kompgraphner graphic arts (think HAYAGRIVA's "Red Heaven"), and a poster for the first few hundreds.

deathrone777@gmail.com

REBELLION "Perjuangan"

2009-10-26T18:19:00.002+08:00

REBELLION “Perjuangan” (Nusantarajim Prod.)
Shocked. REBELLION managed to slap me hard in the face just from the ‘shocking elements’ of it. This is not my usual feedings for the ears. Although formed by some of the guys from KREMATION, a death Metal band, this is nothing like it. This is some kind of free-flowing, art-rock music. If you’re locals I can easily says this: “macam band Indonesia yang selalu kita dengar kat radio”. I bluff you not, songs like “Harus Setia” in this humble release can easily give those Indonesian pop-rock bands a run for their money. Play this to your woman, you might get laid in no time. It is that good, in that, err; tearjerking, soppy nature of it that is. Approach this with an open mind. I did just that and guess what I’ve found? Those couple of strong tracks in their own sense, that is. Go commercial, REBELLION; and show them what the underground musicians are capable of if they ever to get astray as ‘extreme’ as this.
puterajm@yahoo.com
ask_whatra666@yahoo.com

GORESLUTS "Cumshot Kamikaze"

2009-10-01T11:40:00.002+08:00

GORESLUTS “Cumshot Kamikaze” (Dark Coleseum Recs./Morgue Café Recs.)
With such a predictable name and album title, without anyone asking I’m gladly announcing it as a porn-relishing feast. And without sounding a little pretentious or anything, I have to tell you that I got through this successfully. That is in the sense that “Cumshot Kamikaze” never give me the urge to press the ‘stop’ button incessantly. How predictable, how limited the genre might(seems) to be, GORESLUTS does it varied enough that the linearity boredomness escapes me. Some unnecessary sound-samples (some are very well-fitted, believe me), this is an admirable Malaysian porn-perverted grooving gore grind death assault. And no grunts on the final product either; good production, excellent artwork, nicely done layouts, etc; they’re very well in line with what GORESLUTS try to offer. Favourite song? ‘Bukkake Café’, absolutely. I do not support female-degradation of any kind, but in here it is some fun shit, hehe. They’re cum-soaked, they’re foul-mouthed. Good.
www.myspace.com/darkcoleseum_records
www.myspace.com/slutdegore

POLONG "Worship In Jahanam Darkness"

2009-10-01T11:30:00.002+08:00

POLONG “Worship In Jahanam Darkness” (kvlt666)
Just one look on the cover and I guessed that this must be another AS SAHAR worshipper. Flip on the traycard and yez, a cover of AS SAHAR’s ‘Meditation Embun Pagi’ is here. POLONG, you made me smile. Now let’s get on with what to be offered here. Don’t get misguided first and foremost. I don’t mind at all with all these ‘AS SAHAR-ness’ if it’s being done well. And this doesn’t apply to POLONG solely. Very well, the cover-artwork itself sets that kind of ‘mood’ for “Worship…”. This crude sounding recording delve into the eastern mystickal realm once again, and I bet that they, the POLONG guys, eat, sleep and drink ‘Meditation Embun Pagi/Santau’-era AS SAHAR and nothing else. I hear it, yez; those familiar signs. Some passages could’ve even end up in AS SAHAR hymns should they get stuck up in that aforementioned era. Luckily for POLONG, AS SAHAR are way past that. I can vouch for POLONG in the future, should they get even better and less juvenile, if you wish to savour those moments once again.
www.myspace.com/kvlt666prod

SYMBIOTIC IN THEORY "Scream Theory"

2009-10-01T11:16:00.003+08:00

SYMBIOTIC IN THEORY “Scream Theory”
Allow me to justify another big nod of approval for SYMBIOTIC IN THEORY. “Scream Theory” is without doubt one of the better self-releases of the local scene. The first thing I’m going to be discreet upon is of course the music. The very music. That, in reality; is what to define a release for. Solely for that reason. And I won’t be wrong if I deemed their music as technical, prog-inclined death Metal. And they handle it the way it should be. The songs are tight, solid, and served well. I have no complaints on it. What matters is whether you dig this kind of death Metal or not. A cover of ATHEIST’s ‘Unquestionable Presence’ included as well, reminding you of one of their obvious heroes. Or take NECROPHAGIST for the most recent ones (the band name, isn’t that obvious enough?heh). The decision to record this in Indonesia of all places resulted in that mammoth-like juggernaut of “Scream Theory”. The recording studios and its people in the local scene should take notice. Solid.
www.myspace.com/screamtheory

HELLBANGERS DOMINION

2009-09-09T12:41:00.004+08:00

HELLBANGERS DOMINION compilation CD (Eternia Records)
How much work being labored to make this compilation a reality? Just take a look at its 12-page booklet and make your own guess. The layouts are darn simple, but it’s scarce to see an album, yet alone a compilation; with booklet that’s more than 4-pages in the local scene. In tandem with the simple concept though, the label adorn it with participating bands’ pictures and the email/website/address related to them in case further information is needed. 16 bands, 13 Malaysians; and 1 each from the Singapore, Indonesia and Brunei scene. No prizes given if you’re right by saying that its aim is to expose the talents in the Southeast Asian Metal scene. AKHNAKH is the first in line, “Vengeances for The Mortal” is a melodic jibe rooted in staunch eastern death Metal. Rough production aside, it is actually a good song to start it all with. Worth checking out. NIGHTSHADERS took the ‘easternity’ further with “After Us”. If you’ve heard of them before, you should know that they’re not ashamed of their melodic eastern death Metal path, and the song here is another testimony of this. Continuation is in the hands of HELDRASIL, “Proud Land” being another Southeast Asian Melodic spices, this time complete with female voices part that actually attempt to sing rather than just being there. Can’t get enough? ZURIARTS eastern black Metal of the ‘as-expected’ kind took centre-stage with “Dead to Hell”. Now, NOIRATASYA from Brunei. “Era Fantasia” is a hypno-like effects heavy, death black Metal hymn, something like a hybrid between THE MYSTICKAL EAST and RUST SAKARATZ, being the other bands that the main person involved in. Nice twist to the compilation’s proceeding anyway. Next is HAYAGRIVA, weaving their magick the way you know it. It’s always about the ‘vibe’ for these guys, no mistaking that it’s HAYAGRIVA indeed. TASYIM “The Blessing Moon of Telok Tongkang” will always be another proof of what they could be. TASYIM is the Malaysian answer of ‘Vittra-era’ NAGLFAR and AMON AMARTH soaked with a lot of somber, gloomy atmosphere. CASSARRAH is death Metal alright, but judging by this “World Destroyer” their brand of death Metal is one that’s open to various influences and elements, old and new. There’s only one chance of thrashing it out here with LOGAM “Darah di Hujung Sabil”. Some rusty speedy hellthrashing bastardizationis the fukking game here, and that ‘Malay heavy-Metal’-stylized of singing might just add to that ‘authenticity’ found here. “Darah di Hujung Sabil” will not sounds out of place if it was released in the late 80’s local Metal scene. I’ve always consider LARRONG’s demo as one of the finer ones from the local scene, and seeing they’re still here after all these years could only fuel my expectations. “Narratik” sounds unmistakably LARRONG, though there’s this slight hunch of ‘this could have been better’ lingering, at least they’re still here, and yez; they’re capable of more than this sample. Grind is not forgotten, DAMOKIS making sure of its presence with “Extremely Sounds from Scratch”, some rotten grind death done by experienced hands. DIMAN goes on another eastern black death Metal rampage, the instrumental “Preposterous” is nothing short of a homage to the eastern Metal scene. AMETHYST is probably the prominent gothic-tinged Metal bands of Malaysia, “Mimpi” with their singing female vocals is an ample truth on that. Dreamy, spacey, trippy, definitely one of the more outstanding songs here. Even with its ‘thin’ production HELLGHAST “Cry Bloody Sorath” is one cruel sounding old-skull death Metal feast. I could only imagining it with a ‘fuller’ production. “Syurga Di Bawah Telapak Kaki Anjing” by FUNERAL INCEPTION is the most accomplished song here. I couldn’t reiterate it being perfected than what it is; absolute crushing brutal death Metal with just the right production. Last on the line is another brutal death Metal assault by Malaysian very own NECROTIC CHAOS. “Dead Man Walking” is by far one of the darkest sounding NECROTIC CHAOS ever. When everything’s being touched, “Hellbangers Dominion” is one of the better ways to check out just a glimpse of what the Southeast Asia, Malaysia in particular; scene has to offer.
deathrone777@gmail.com

BURNING SPHERE "Deceit Theory"

2009-09-02T16:05:00.001+08:00

BURNING SPHERE “Deceit Theory” (Nusantarajim Productions)
At first I was about to condemn the keyboard-parts, alas upon further listening they sound quite befitting to the songs though. Those keys, no matter how cheapo-sounding it is to my distorted ears, actually accentuates the BURNING SPHERE compositions. “Deceit Theory” is a by-product of daily diets on some kind of CRADLE OF FILTH-poppy darkness and a hefty sum melodic death, PLUS by listening to those ‘I think I’m Metal but I’m not’ disillusioned hardcore bands out there, hehehe. Actually they’re very much in the same vault of DAARCHLEA, another young band that emerges from the local scene not so while ago. And as the aforementioned band, BURNING SPHERE are actually pretty good at what they’re doing. This leaving us up on the sole reason of personal preferences. Well, this might be ‘the’ sound of the so-called extreme music for the youths nowadays. So if you’re into it, no disappointments expected from BURNING SPHERE then. “Deceit Theory” isn’t really what I would like to hear everyday, but they’re quite apt at what they’re doing, I think?
www.myspace.com/burningsphere666
www.myspace.com/nusantarajimprod

MILITANT ATTACK "Hostile Takeover"

2009-09-02T15:36:00.003+08:00

MILITANT ATTACK “Hostile Takeover”
You guessed it right this is thrash Metal. Some fukking raging thrash Metal from Borneo. And that’s it. What else there is to be expected. Except, except; if I could get my wishes granted, there should be better vocal-lines in here, some vocals that could keep up and punctuate the aggressive (aggressiveness is in abundance here anyway, great that these guys managed to pull it off) music they deliver, vocals that always stay in the line and not out of it. And what else a good thrashing bash-up needs vitally rather than some memorable, catchy parts. And they should be executed as tight as possible. That, my friend; are what epitomizes a satisfying thrashing delirium for me. Do those, and the thrashing greatness is there for the taking. Keep it up, never lose that already ever-present aggressive nature.
www.myspace.com/militantattack

ENSEMBLE OF SILENCE "Dark Moon Rising"

2009-09-02T15:30:00.003+08:00

ENSEMBLE OF SILENCE “Dark Moon Rising” live promo
This is a good sounding live promo. Whatever the band means by ‘live promo’ anyway. But, as it is, the recording is good enough, audible enough for a promo. ENSEMBLE OF SILENCE assembles themselves into the melodic Metal realm, being more death and conventional heavy Metal inclined more than anything else. And by melodic I don’t mean a direct descendant of anything remotely ‘Swedish’. They rather sound very close to the Malaysian scene itself. Melodic the Malaysian way. That’s the main ground here, and they’re playing around in that compound. As long as it doesn’t cross that ‘melodic’ border, ENSEMBLE OF SILENCE are just comfortably in the zone. Two originals and a cover (SIL KHANNAZ’s “Kiss of The Whisper”, which I won’t get into further; pretty sure I’ve mentioned about it in some reviews here, hehe). Those two, I tell you, lingers in all their melodic-ness. And what is that I hear? This sounds more and more in the same breath of present days SIL KHANNAZ. And no, it’s not because of the cover song.
www.myspace.com/melodicdeathmetal

ATOMICDEATH "Missile Massacre"

2009-07-30T10:49:00.004+08:00

ATOMICDEATH “Missile Massacre” cassette EP (Black Konflik Records)
What will happen if a crust and a black Metal band confines in each other and having a mutual butt-fest? Enter ATOMICDEATH, and the fornication spells only one word, ‘thrash’. Fukking ‘thrash’. Made up of members from APPARATUS(crust) and D.C.A(black Metal); the cassette only release “Missile Masacre” became a fierce destruction of stripped-down raw meat-style no-nonsense total thrash Metal approach. These 5 tracks are pure bastards of good ol’ thrash Metal whoreship, more then once the fondness for Araya and co. are shamelessly emulated therein. ATOMICDEATH are short, sharp, straight and to-the-point. Guitar solos are kept at a minimum, but what the fukk, here it’s thrash approached crustifully yours. So the aptness for simplicity and raw energy are here to stay. Solid.
Black Konflik Records, PO Box 28, 27600 Raub, Pahang, Malaysia
atomicdeathsquad@gmail.com

ATHOTORGH "Promaster Dieyana"

2009-07-13T11:57:00.003+08:00

ATHOTORGH “Promaster Dieyana” LP (Gempita Records/Morbid Invasion Rex)
Sure, this is an old one. But seeing how good this is, and considering the fact that it’s the first ever vinyl release by local labels, and of course for the unreleased “Einchfriekel” track, why not we reminisce a bit eh? “Promaster Dieyana”, being a 12 years old release done by Ultra Hingax Productions, still retains its title as the definite Malaysian thrash Metal assault ever, undoubtedly due to ATHOTORGH’s enviable penchant of writing catchy-as-fukk pure adrenaline-driven underground thrash Metal the Malaysian way. It is all in its entire glory here, immortalized in pure black wax. I have to praise the labels involved for opting to have it all in 45rpm speed, the tracks are screaming for it. Talking about “Einchfriekel”, this unreleased recently recorded track shows ATHOTORGH in a more direct approach, very to-the-point aggressiveness feel in it with the structures are leaning more on the speed Metal appetite; then being thrashed, ATHOTORGH-style, at will. One thing for sure, they never lose their extremelyfrustratinglybrilliant catchiness. ATHOTORGH will always be ATHOTORGH. The presentation itself is overwhelming in a certain way. Included is a 20-page A5-sized booklet reeking with ATHOTORGH-ness and a poster. Apart from minor fault like spelling mistakes (“Einchfriekel” spelling on the sleeve and the centre-label, for example), it is all a job done right, a labour of love shining bright, huhuhu. A well-deserving tribute to one of a kind Malaysian band. This is a piece of Malaysian underground Metal scene history. Limited to 250 copies.
morbidxinvasion@yahoo.com
gempita.records@gmail.com

ISTIDRAJ "Blasphemized Perversion"

2009-07-13T11:41:00.004+08:00

ISTIDRAJ “Blasphemized Perversion” MCD (Bidadari Desecrators Legion Records)
Anyone who is familiar already with ISTIDRAJ; I can tell you this: nothing else is to be found here except a polished ISTIDRAJ. This is applicable if their earlier releases are to be taken into considerations. Here’s how to put it in perspective: the ISTIDRAJ of today are more straight-forward/direct, for instance those so-called melodic-ness are still there, but they’re being done in a much more aggressive, direct way. To pin-point their sound, I’d prefer this: European black Metal-influenced, yet there’s still that certain touch of eastern black Metal that wouldn’t just let them go; and several nods to the more traditional thrash and black Metal sounds. Far from being groundbreaking, yes; but to regard “Blasphemized Perversion” as a worthless release is not the point either. This is a good 10-minutes plus of, err, perversion, I’d prefer a longer duration of ISTIDRAJ though. Hats off for the great cover-photo, I have a soft spot for these kind of ‘em, hehe. Ah, and a decent cover-version of VON “Satanic Blood” anyway. Bidadari Desecrators? A true BLASPHEMY/Ross Bay Cult homage eh. Whatever, nice cover-photo. Great cover-photo. Shit, I can’t stop.
istidraj@hotmail.com
http://www.istidraj.cjb.net/
www.myspace.com/istidraj
bidadari_desecrators@hotmail.com

PATHOGEN "Blasphemous Communion"

2009-07-10T11:52:00.001+08:00

PATHOGEN “Blasphemous Communion” (Evildead Production)
Yet another MORBID ANGEL-infested death Metal slugfest on the offering. Throw in some other various influences from the untainted real death Metal sounds, and Philippines’ very own PATHOGEN executes their duty, and things are more deservingly interpreted this time around. It is well-played, decently produced, so all that’s to be expected are all here; just to put everything presented in one crammed sentence. Reasons good enough seeing this being released in various formats, including on LP by Iron Bonehead of Germany. This pro-cdr version on Evildead is strictly in 200 copies existence. “Blasphemous Communion” is being what it is, a tolerable, to-the-point death Metal orgy, well-heeled on underground enthusiasm and integrity.
evildeadproduction@yahoo.com
www.myspace.com/pathogenonline

MORTUARY ANCESTOR "The Reincarnation"

2009-07-10T11:50:00.001+08:00

MORTUARY ANCESTOR “The Reincarnation” (Evildead Production)
MORTUARY ANCESTOR is a well-versed name in the Sabah/Borneo scene, I might say so. It’s been a while that I’ve heard of anything from them. Along came this CD in the mail then. Here lies several tracks recorded on different occasions. What I’m hearing in this is some straight-up, honest death Metal in the tried and tested ancient formula, heavily leaning towards those prescribed by MORBID ANGEL (there’s even a cover of their song here), unmistakably so. I regret the muddy and crude recording quality though, it certainly affects my appreciativeness in a way or so. There should be more that I could have lashed out from this release, if only the productions could be a tad better. And if my memory serves me right, I’ve heard of a more inspired MORTUARY ANCESTOR before “The Reincarnation”, another fact that could be challenged given a better, proper production they definitely deserve. Only for the die-hards, “The Reincarnation” is.
evildeadproduction@yahoo.com
www.myspace.com/mortuaryancestor

BESTIAL HORDES / HEREAFTER "Street Metal Terrorist"

2009-07-06T16:20:00.002+08:00

BESTIAL HORDES / HEREAFTER “Street Metal Terrorist” split
HEREAFTER presented here three tracks, totally raw rehearsal recording specifically done for this recording. For whatever reason they opted for rehearsal recording is beyond me. I’ve missed their previous outputs before, but what summed up from the tracks here they deliver some raging furious thrash Metal from the deepest bowels of the earth. Some quite solid, but standard and predictable underground thrash Metal served fukking raw. Thought HEREAFTER raw enough? Enter BESTIAL HORDES with another three tracks here. And they are even more uncontrollable. Get ready for some fukked-up shit here. Bestial sounding blackened thrash Metal seems to be the ingredients. BESTIAL HORDES are here to make it as ugly and disgusting as possible, and on most parts they seem to be able to do so. Just listen to the straight-forward simplicity and vile vocals. BESTIAL HORDES are here to annoy you, and if they succeed they’ll piss on you for fun. Just hoping that the lousy drumming of track three “Born In Fire” will be rectified though. It is so bad.
evildeadproduction@yahoo.com

BILHARZIA "Mujjahid D' jannah"

2009-07-06T16:04:00.003+08:00

BILHARZIA “Mujjahid D’ jannah” CD EP
With “Mujjahid D’ jannah”, I can safely say that one of the (if not THE) most ferocious Malaysian release ever to be witnessed should be this release by BILHARZIA. They made my job of deciphering them easy, simply because they do it so well. Expect to be pummeled by this excellent three pronged-attack of fast, precise, cunningly executed death Metal; any other fukking nonsense is crushed to dust. They rammed you up in no time, I kid you not. Just revel in the blitzkrieg, a pure pleasure, and whenever those breaks and intimidating solos rare their heads, they’re so… glorious. Important to mention is also the lyrics, sung entirely in Malay, thus becoming some of the meanest, hate-filled Malay songs ever to be devoured, being spit forth mercilessly. To top it all up, the cover art is plain ‘disturbing’. I couldn’t praise it enough, and certainly have no intention of licking up their asses. That is not the case entirely. It is just that good. THAT good. M.A.N.D.A.T.O.R.Y.
www.myspace.com/bilharzia

BRABAZOM "Beast of Mortality"

2009-06-30T18:16:00.001+08:00

BRABAZOM “Beast of Mortality” promo EP ‘09
Now if this is to be remarked upon, taking into account that I simply don’t have all the resources to sample everything from the local scene, it is one of the more promising black Metal demos I’ve encountered in years. There certainly is nothing revolutionary here, but what BRABAZOM do is nothing short of presenting what they know best without the daunting task of trying to be original and such. “Beast…” consists of three well-honed melodic black Metal not concerning about anything else. They go for the balls here, no bullshit allowed. They shift between being aggressive and melodic as necessary, worthwhile to mention that they didn’t rely solely on the keyboards to create the atmosphere needed. Couple that with their awareness of not dragging things far from what it’s supposed to. A glimmering three tracker effort, what more could be said. Sure, you might argue that you’ve heard it somewhere, but if it’s being done properly those are just lame excuses. Show me more.
www.myspace.com/brabazomcorpse
brabazom_corpse@yahoo.com

INNARDS DECAY "Ignorance of Humanity"

2009-06-30T18:03:00.004+08:00

INNARDS DECAY “Ignorance of Humanity” MCD
I’ve always regard INNARDS DECAY as another of the uprising brutal death Metal bands from the very own fertile soil of Malaysia, period. “Ignorance…” proved me right, but not entirely so. You see, herein it’s brutal and blasting all over, yes they’re in abundance. But that’s not the entire perspective of INNARDS DECAY. If this self-released MCD is the one to be judged from, it is apparent that INNARDS DECAY do want it to be blasting and brutal, but not without a twist. Just listen to the songs here and you’ll admit there lie some variating influences snugly tucked within. Some inventive arrangements here and there, occasional thrash, or even utterly dark, harrowing orientated riffage; among others, are to be found within. Brutal and blast, doubtless; it’s a welcoming fact INNARDS DECAY proceed them with multi-angled approach, where variations are things that shouldn’t be denied. The result is simply an interesting listen for a genre deemed too often as predictable and limited. Horns fukking up, or penis stiffening up; if you will.
www.myspace.com/innardsdecay69

UNLIGHT DAWN "Unlight Dawn"

2009-06-11T11:53:00.001+08:00

UNLIGHT DAWN “Unlight Dawn” MCD (Evildead Production)
Tight-fisted, bullet-ridden, christ-devoured black Metal from Unlight Dawn takes no prisoners. Right from the opening scream in track number one “Born With Satan (Pure HellSeed)” – hear this at maximum volume, you’ll understand my point. Unlight Dawn takes you on a tormenting, taunting, glorious fast black Metal throughout this 4-songs MCD. Taking ques from the sound of Swedish black Metal that is untouched by melodic plague, fukk it; Unlight Dawn does it so well. If you’re delved into this type of sonical impurities, for (un)god sake, you’ll be hooked on this. This MCD stands firmly on par with EVILDEAD’s previous release, that excellent Mantak “666” MCD, complete with a similar production result (Hellvete Studio to the fore once again, being utilized here and there on this). Can’t help sensing a bit of ‘Mantak-ness’ as well though in some part, probably due to the production, and of course their single-mindedness in the compositions. To hell with originality if you can pull it off well, hahah. I’m impressed. One ferocious Malaysian release. Qualities churning out from the Borneo in recent times just keep my adrenaline pumping. Be proud.
evildeadproduction@yahoo.com
unlightdawn@yahoo.com
www.myspace.com/deadevil666
www.myspace.com/unlightdawn

IMPERIAL "The Conquering"

2009-06-10T12:44:00.006+08:00

IMPERIAL “The Conquering” single ’09 (Astral Lore)
Who (in the local scene especially) would have thought to hear about Imperial again, after something like 10 years or so of silence. Well, in true Ripley’s style, believe it. And take a very serious heed of it. “The Conquering”, being a single it is; features one sole new song bearing the same title. You’ll have to deal here with some of the fresher direction and sound you could garner from the Malaysian (black) Metal scene, period. Still rooted in black Metal, the Imperial of today delivers their craft in a somewhat modern (in a positive sense) progressed template, and the result in “The Conquering” is well-elaborated atmospherical Metal of the blacker kind that defies from being short-sighted of various other extreme music nuances. The effects and samplings here are utilized adequately and do their job well, punctuating and enhancing the main structures whenever needed without fail. Included in this single too is “The Conquering” in rawer rehearsal mode minus the effects, confirming the bare essence of Imperial is still black fucking Metal. Ahh, and the 1995 demo “Emperor of the Hordes” is included here as well, the Imperial in their mid-paced, Greece-influenced, and of course; fukking Hellion Studio-produced years. Herald the second coming of Imperial. With the debut album forthcoming, I highly encourage you to delve into “The Conquering”, and prepare for what is to come.
http://astrallore.cjb.net/

astrallore@hotmail.com

http://www.myspace.com/imperialbattlefront

imperialegion.war@gmail.com

Interview with LATHEBRA in Issue#3, 1998

2009-06-10T11:59:00.004+08:00

Dark, enchanting, sophisticated, meticulous, particular…. Such are the fumes of the short-lived musical entity of Lathebra. Interview with G. Principe. C. and F. P., who is now the owner of eccentric Italian dark music label MY KINGDOM MUSIC.

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First of all, why’s the demo titled “Angels’ Twilight Odes”?
G. Principe. C. – The twilight of the angels is a sort of mystic reign which represents a partial subversion of the normal existence. The title expresses the contrast between what is real and what isn’t real, a contrast which at the same time represents the inevitable union between matter and the spirit. The title of our demo is the symbolic place of the lathebra: an angelical twilight and we are the angels of this twilight…
For the demo, you have to attend a seven days studio session until it is completely finished…
G. Principe C. – Seven days are surely a lot of time to record a demo but I think that they are not too many. We wanted a work that satisfies our expectations under every single point of view and I can affirm that we are very satisfied about the final result even if the complete and total satisfaction is an utopia.
It’s neatly packaged, so you must be aiming for something more than just to introduce Lathebra to the scene…
F. P. – We have had the consciousness to have a good product since the beginning, so the fact to present it in a professional way, with a good production, a professional layout and a neat package has been just a consequence of our aim to present us in a certain way. Then Lathebra is not a simple band who play music to enjoy the listeners. Through our music we want to express our feelings and sensations and the only way to do it is to give to the listeners a visual scenario of what we feel, a picture which goes beyond the musical aspect.
Lyricwise, it seems that they’re some kind of revealing one’s ultimate feelings and emotions.
G. Principe C. – Lyrics are a sort of thoughts written in poetry and so they are subjected to personal and relative interpretations. What I can tell you is that they represent the ‘darkest’ side of our concept, the Lathebra’s gloomy manifestation and, by the way, they are something of really intimate and deep. They come from our innermost recesses….

The sleeve is beautified with images of women. I wonder why? Strong taste on artworks, by the way.
F. P. – I’m very delighted that you have noticed the beautiful images that are represent on the sleeve. The presence of a woman is due to the fact that the image represents, at the same time, the passionate and the spiritual side of the reality. The image is misty, enshrouded by a mystic halo and it is so mysterious that when I see it for the first time I was really enchanted by its beauty. I don’t know how to define the real sensation it gave me with simple words, but it represents in a perfect way the Lathebra’s concept and naturally the characteristics of our music and lyrics… I think it’s really superb with its mysterious charm!!!
The music is mostly covered in somber moods and depressions. Do you try to drift people’s mind with your music?
F. P. – I partially agree with your opinion because I think our music is characterized by somber and depressive moments, but these ones are often broken by dramatic and epic passages. I don’t know if the people who listen to our music are drifted by our sound, in any case we try only to express in music what we are and what we feel in a way that is more personal and as true as possible. I think that it’s the only certain aspect of our music and at the same time our main perspective, the other things are subjected to the personal opinion of the listeners.
Lathebra’s music is full of fantasy, right?
G. Principe C. – Surely my way to feel music is different by what the other people feel, so I don’t know how to answer to your question. Our music born in a spontaneous way, without any reflection. In this sense there is fantasy, even if it is absolutely not programmed. It’s natural like we are. But probably you’re referring to the compositive and creative fantasy and under this aspect, I’m agree with you undoubtedly. Fantasy as ‘mobility’ and creativity.
Basically I could sum up Lathebra’s music as some kind of melancholic, doomy type of black Metal, but maybe you have your own opinion…
G. Principe C. – Your definition of our music is probably the nearest to what it represents, almost in this moment, and to what we think of it. For what concerns our own perception of our music, all the members of the band have different opinions, but I think that they are only different opinions nothing more… The most important thing for us is that it is simply our music and we don’t care a lot about the labels that the musical scene can give us.
What are the elements that shape the sound of Lathebra? Do your surroundings play an integral part?
G. Principe C. – I think that more than the surroundings, what marksthe visions of an individual is his inwardness, his recesses. Nature, events, other aspects of the life are important too, but they are always filtered and transposed by each single individual in a different way and with different intensity. I think that the most enchanting place we can visit is our inwardness.
Do you consider Lathebra as an original band in one way or another?
G. Principe C. – Lathebra is a young band, only the time will tell if we are original. Now we have only expressed ourselves with a kind of music that we consider quite personal.
Tell us how the slow, depressive parts shape the ‘colour’ of the aggressive Metal music. It’s quite visible in Lathebra.
G. Principe C. – This is just the natural manifestation of our moods… it’s written in that way in our innermost recesses, so what you listen to in our music is the real expression of what we feel and the way in which we feel it. The blending of melancholic melodies and aggressive parts are probably the peculiarity of our sound. It’s the only way we have to express in music the different aspects of our personality.
F.P., you’re also the editor of Vampiria ‘zine. Being in a band and editing a fanzine, it must be very time consuming I guess.
F. P. – Vampiria ‘zine is my bleeding creature, probably another aspect of my personality and my essence, it’s born in 1995 with another name, Demonizzati, then I decided to change it to Vampiria. In these days I’ve released my second issue after the good responses of the first one and of a newsletter. In this issue called “The Arcane Beauty” there are 104 pages featuring interviews with all my fave bands involved in the dark, death and black scene. Some of them are Borknagar, Sopor Aeternus, Lycia, Funeral Oration, Nightfall and many others… There are tons of reviews, interesting articles about crusades, church of Satan and Gothic. I think it is a good product even if I’m not the right man to say it. You ask me if the band or ‘zine have ever bothered me. My answer is no!!! because it is a great passion of mine. Music is an important part of my life, and these are the ways I use to satisfy this passion.
Let’s talk about the black Metal scene in general. Lots of boycotting, backstabbing, gossiping isn’t it?
F. P. – I think that a true black soul doesn’t lose his time in spreading shit or praises about other bands, but he follows his own path, neglecting what happens around him. Naturally this so called mystic halo of hate that is now inside the black Metal scene is a natural evolution of the great trend that is burn around this musical phenomenon, but I remember that black Metal was born just to express the dark feelings of an individual… This is my opinion the true essence of black Metal.
A bit about the Italian black Metal scene. There’s an anti-Norwegian movement going on there right?
F. P. – Probably you know the best Italian bands involved in this kind of music (Mortuary Drape, Necromass, Funeral Oration, Handful of Hate, Opera IX and few others). Now there are a lot of new black Metal bands but I don’t see originality or true black feelings in what they propose. The only new promise of Italian scene is a band called The Magik Way, they are in my opinion a great band, one of the few new reality of Italian underground. About the anti-Norwegian movement, I know it exists, but I don’t like to speak much about it, because I think in the world there is only True music or False music and I don’t think it is so important the geographic origins of this or that band. In any case I don’t know the real essence of this movement, probably there are other reasons that I don’t know.
Does Lathebra means just a mere music group to you?
G. Principe C. – Lathebra is more than a simple band, it’s a way to see the things and the events around us. It’d exist even if it was not the representation of a band.
Got some plans already to shape the future of Lathebra?
F. P. – Naturally we are working at the following act of our musical manifestation and so we are working on new songs even if our musical songwriting is very difficult and very long, so at the moment nothing is definitive. Very soon, probably in June, We’ll take part in a Cd-compilation released by the Italian label NOCTURNAL MUSIC. It is a compilation featuring Italian bands and among these are very promising acts of the Italian scene. Other projects at the moment are very uncertain so I can only say that the future will speak for us…
Thanks for participating in this issue.
F. P. – I would like to thank you a lot for your support and this very enticing interview. It’s very difficult to answer to good questions and to give our opinion about what we feel and not about what we play. My darkest greetings to thee and… Kiss My Scars!!!

http://www.angelfire.com/la/lathebra/
www.mykingdommusic.net/

Interview with HEAVEN GREY in Issue#3, 1998

2009-06-03T15:10:00.004+08:00

Some convincing doom death Metal from Latvia’s very own Heaven Grey. 1998 is the year, “Memory River” for your ears. Answered by Vlad…

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Tell us about Heaven Grey’s reputation there in Latvia…
Heaven Grey- a doom Metal band, taking one of the leading roles in the Latvian Metal scene. We put out our demo in 1994 titled “Under The Grey Clouds.” In 1996 we recorded and edited the first album “Memory River” that has been sold for over 1,000 copies all over Baltic states (for Latvia, it’s quite much). Nobody here (of course, Metal bands), has sold so much. We have been invited to almost all the biggest rock/pop festivals here in Latvia. We played more than 120 gigs not only in Latvia but also in Lithuania. By now we have recorded the new stuff called “Northwind”, with that it would be popular not only here but also abroad.
In the beginning, Heaven Grey used to play total death Metal with doom and grindcore elements. So, why did the music changed drastically in “Memory River”?
We really started with death Metal. The demo “Under The Grey Clouds” shows that. The change of style was connected with some personal changes as well as with personal opinions. The music of “Memory River” is more interesting and emotional than on the demo.
Besides the musical concept, what are the other things that you think differentiate your demo and the album?
The differences between the demo and the first album amongst musical are: covers, quality, amount of songs, amount of edited MCs.
Why did Heaven Grey decides to include cello as one of the main instruments? What is so special about the usage of cello in the band’s music?
The cello is used for years. Ernests was asked to play some stuff even before the recording of the demo. At first it was played only on the parts with acoustic sound, but later we decided to have fun and use it more and it sounds great. Cello brought more melody, pain to the music. The music become more beautiful, atmospheric and melodious.
Ansis was your manager before he became the vocalist of the band. How could this occurred?
During the time of the original vocalist Andris, Ansis was kinda manager. He helped us to organize gigs and was like a member of the band. After the deporting of Andris we sought for another guy but it was difficult enough to find one. On one of our rehearsals we asked Ansis to try himself as a singer. He tried and it was not bad at all. Step by step he worked out his voice and after some gigs we decided to have him for eternity.

“Memory River”… being released by the band independently? Couldn’t find any label address in the inlay, but what’s the relationship with MAPL Music?
The “Memory River” was financed by ourselves as well as the design of the cover. The label MAPL helped us just to promote and distribute it here in Latvia- that’s all. If I have to answer why there is no address on the cover- I don’t know. My opinion is that they weren’t interested in because they sign mostly pop-dance music but helped us because of good friendship.
Vyacheslav Niketin composed most of Heaven Grey songs right?
On “Memory River”, the themes mostly were written by Vyacheslav but it doesn’t mean that the others are less productive. The main part is done by him but their own things and shades are done by everybody. But on this new album, Sigvards and Vyacheslav write songs partly.
And what about the lyrics? They’re kind of depressive, I think.
All the lyrics are written by Ansis. They tell about relations between people, about life, about love, hate. There is no aggression or evil, or satanic stuff in the lyrics.
What’s so special about the music that made you choose doom Metal?
The style of doom is the most emotional, atmospheric, sorrowful, among the others. You can brightly show your inner, emotional world, your experience.
Looking at the current doom Metal scene, what could you say about it?
I think the style of doom is interesting enough but, unfortunately, there is tendency to play it as it was already played. However, the new bands will take place of the old ones.
What about the gothic music, which is much more associated with doom Metal these days?
The style of gothic is much equal to doom. The lyrics and music. I like such bands as The 3rd and The Mortal, Funeral, Moonspell but actually I don’t care about the names of styles. We like all music and who cares about titles.
I don’t know much about the Metal scene there in Latvia…
By now the scene of Latvian Metal has become greater as it was some years ago. Big festivals take place once in a two months, but little club-gigs every week. Riga (our capital) is the hometown for all the leading bands- Skyforger, Neglected Fields, Sanctimony, as well as there are some bands with perspective all over the country.
You will release your second album, “Northwind” on Wild Rags Records?
In days we had to cut the relations with the label WILD RAGS in the US and Richard Gee because of his now very understandable way of working. He said too much unspecific things. Also many good friends from other countries told us to cut off the deal because of the bad reputation of the label. We have many offers from different labels and we’re seeking for the best contract.
The album title, why “Memory River”?
The name “Memory River” presented vocalist Ansis. I think he wanted to show some episodes of his life but I don’t know which ones, really.
Will Heaven Grey remains like this in the future, sound-wise etc?
We’ll be truthful to the style we play. The approvement is the new stuff “Northwind”. The new one is more melodic than “Memory River”, but also includes some hard rock stuff. The vocals are more extravert and atmospheric. You can’t live without experimenting.

http://www.myspace.com/heavengrey

Interview with ETERNAL THRONE in Issue#3, 1998

2009-06-03T10:51:00.003+08:00

ETERNAL THRONE is a ‘love it or hate it’ affair. Their demo of ‘raw black Metal’ caught glimpses nevertheless, and obviously piqued my interest on them. Short-lived they may seem, here’s one of those interviews, perhaps something to read.

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How’s the debut demo, “Eternal Throne” being received by the scene so far?
To be honest, we are moved by the response. So far, our eternal brothers in Malaysia were our #1 listeners so far, and we had various reviews good, bad, ugly and these are positive signs for our band.
Eternal Throne exists since 1991. But there’s no output from the band until the year 1997. Line-up problem?
Eventhough we’re formed in 1991, the band was in common dilemma like attending to stupid National Service, schooling and most of all our line-up was not really into making any demo at that moment.
Your materials are dark and raw black Metal. Do you consider your musical direction original? That guitars sound reminds me very much of Darkthrone’s “A Blaze In The Northern Sky.”
So far as we are concern we played our own material, about the guitar’s sound similar to Darkthrone’s “A Blaze…” it’s purely coincidental. No intend to copy or whatsoever, afterall I don’t mind what people might label our style, our music sounds like, the bottom line is we believe in our ability and that’s what we got!
The drums pattern, it’s a bit unusual for me. Is it intended to be that way? The double bassdrum parts are a little awkward, I might say so…
Musically we arranged as a band and that is the sort of drum sounding that we want. Eventhough it sounds awkward, its sounds were in line with our way of “Dark Raw” concept. Anyway the double pedal was not in good condition! Fuck the studio!
The demo… how’s the making of it? Is it really easy to get the sound that you warranted? Satisfied?
Frankly we are very happy and satisfied with the whole demo, even time constrain, we managed to get the sound we wanted most.
What about live-shows? You’ve played in the jam-session of a Johor gig not so while ago right?
Ya, Johor’s jamming session was absolutely great experience, it was our first appearance on stage and its kind of thrilling! Anyway we were glad that it goes fine and thanks to our eternal brothers As Sahar, Beast, Knight and Kibosh Sybil Kismet for their support.
And I’ve also heard that you’ll never play live in Singapore, why?
Simple. Fuck Singapore! Hail Malaysia!
Where the hell is Seventh Gates of Hell now? It seems that you guys respect him a lot. Tell us a bit about him, and also Beast.
Ok, Seventh Gates of Hell had changed to be a better person after he had overcome his ‘personal problem’, sorry we can’t elaborate more, he’s doing fine right now. Seventh Gates of Hell were someone we look up to as his contribution to our band in a spiritual way, without him we won’t be into black Metal kind of thing. Hail to our eternal brother Seventh Gates of Hell. Beast is another individual whom we respect as best friend and eternal brother as he was the only survival soul remain. He is around us most of our time even good or bad days! Hail to Beast!
What’s your relationship with the band Netherealm? I’ve got the chance to hear their demo, and it sounds quite like Eternal Throne’s.
OK, Netherealm kind of music is a mix of Norway and Swedish style musically, I am the sessionist drummer of Netherealm and it’s a great experience working with Knight and Sam of Kibosh. Eternal Throne respect Knight as a friend and also Netherealm as a band that could be a force to be reckon with.
The Singapore scene, it seems that the black Metal bands there have their own circle of friends and despise bands that’s not one of them…
Ok, I don’t give a damn about the Singapore circle or what it is called, as we are concern we only support our eternal brothers such as As Sahar, Kibosh, Netherealm, Dicius and of course all Malaysian bands like Langsuir, Sil Khannaz, Hayagriva, Aradia, etc.
Being an eastern black Metal band, how does it feels? It’s pretty different from the Westerns…
It’s true we can’t really copy all Western bands concept and music but we can take them as an inspiration figure and we could do it in our unique Eastern concept. For us we like and hail Norwegian bands like Mayhem, Darkthrone, Dimmu Borgir, Kampfar and Emperor because they came from the same country but still had their own different style! For us we took them as an inspiration but add our own pattern of play.
So, it actually means that Eastern bands should seek for their own sound, isn’t it?
If possible yes, uphold our Eastern mystical roots.
But I could say that Eternal Throne sounds very much like those Europeans and so on, so…
Whatever it is we are an Eastern band and we are happy to be that way, it is up to individuals to decide.
There’s no ‘real’ artworks on your demo cover. Is it not that important?

As you know, it’s our first demo, we don’t really press for the cover but in the future who knows, maybe a better logo for instance, but we are happy with the simple logo cover of our first demo. “Tak kisah cantik atau buruk, asalkan muzik kita faham cukuplah”!
What do you think about the black Metal scene nowadays in general?
In general? Lots of wave change and most of them wanted to be true black Metal head. But we don’t care about all this nonsense.
By playing your own music, you believe that it’s a truly, great eternal quest towards your own throne. Could you tell us a bit about the ‘throne’ that you’re talking about and aiming for?
“THRONE” to us is “Singgahsana yang abadi”. It is verse spiritually of peace… in our souls by playing our music we feel and it’s great to have that divine experience.
A true black Metal band is not justified as one only by the music they play is simply called ‘black Metal’, isn’t it?
It’s not too easy to be true in everything in life, you had to focus yourselves into this avenues and understand it. Eternal Throne believe that ‘black Metal’ is an art of spiritual, mystical, knights.

ETERNAL THRONE c/o Black Emperor, Blk 14, Kampung Arang, #07-33, SINGAPORE 431014

Interview with SACRAMENTUM in Issue#3, 1998

2009-05-27T17:21:00.005+08:00

The best blackened Swedish death Metal legacy will always be DISSECTION – SACRAMENTUM – DAWN. Those are the compulsory three if you wonder what makes them absolutely revered by the scene in general. Here’s an interview with Sacramentum’s mainman Nisse Karlen, in the year 1998.

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Speak something about your latest release, “The Coming of Chaos”?
“The Coming of Chaos” was recorded in June 1997 in Los Angered Studio in Gothenburgh where we live, the record contains eight tracks and an infernal and chaotic outro and was released on CENTURY MEDIA in September 1997.
No more Dan Swano to engineer and co-producing it. Why?
Well, as you probably know we have worked with Swano two times before and we felt that we needed to change studio to be able to develop our infernal sound.
And what made you chose Andy LaRoque? How about his work then?
We chose Andy because he has a very good studio here in Gothenburgh and we had been visiting the studio when other bands recorded and we felt that this studio would be the place where we would feel most comfortable in working. It’s been a pleasure to work with Andy since he is a very nice guy and also a damn fine musician, we will for sure use his knowledge again.
No more in Unisound too. Opted for a different sound, I guess…
Sacramentum will always progress and don’t stand at the same point all the time, but everyone will for sure recognize the infernal sound of Sacramentum.

Why you didn’t use the artwork of Necrolord for “The Coming of Chaos”? His work on “Far Away From The Sun” is brilliant.
The reason why we didn’t use Necrolord this time was that we wanted something different like we always have done. I mean the first cover is a photo and the second cover is a painting. And this latest cover is computer made and I feel very satisfied with all the covers. They have their own unique feel and I think it would be boring to use the same artist all the time.
What is your lyrics about? “The Coming of Chaos” is some kind of a conceptual album right? And the song, “Black Destiny”, will have its continuation in your next album?
Well, yes and no. Some of the songs are connected to “The Coming of Chaos” and some are not. The lyrics is about the blackness and frustration of my own soul, it’s hard to explain. You’ll have to figure it out yourself. Yes, “Black Destiny” will continue on the next album which will be entitled “Thy Black Destiny” and it will be recorded in November 1998.
What is the relevant of the two naked girls photographed with the album?
Haha! It has nothing to do with the actual album, we wanted to have something different than just standing there and since we enjoy naked girls very much we choose to have these beauties as a contrast to us.
Sacramentum produced all the releases by themselves. You don’t really trust other people huh?
We totally know what we want and we know how Sacramentum should sound so we don’t need anyone to tell us how we should sound. People can come with opinions and we listen to them but it’s Sacramentum who decide if it’s good or bad and you’re right we don’t trust anyone to shape OUR sound.
Your line-up seems to be pretty stable with only three members since “Far Away From The Sun”. What made you kicked-out those ex-members? Three is a family?
Yeah, we have found the ultimate line-up now but it would have been a lot easier if we had a second guitarist. But it’s impossible to find one who’s not already playing in a bigger band since we are very careful with who is worthy to play for us. You have to be a good musician and have the same personality as we have. The reason for kicking the old bandmembers out was that they were not dedicated to what they were doing. They did it because we told them to and they thought it was fun. We cannot accept such behavior.
Sacramentum frequently plays live-shows. You’re using sessionists in them?
We always have a session guitarist with us since much of our music is based on two guitars. For the first European tour we used Nightmare from Swordmaster and on the second tour we have used Vassago from Lord Belial and he is also rehearsing with us nowadays but he is not a full member of Sacramentum since he has Lord Belial.
Sacramentum’s sound is great Swedish death Metal with blazing technical parts…
Our influences comes mostly from old heavy Metal bands and a lot of speed and thrash bands where we have our roots. A lot also comes from within ourselves, moods and so on.
And does the fact of being Swedish contributed?
I don’t really know. But probably I think that you get influenced by everything you hear and see. So if we lived in Malaysia we might have sounded completely different but it feels very weird to think like this because we would still have our early influences from the beginning of the 80’s but who knows.
Is anything such as ‘Gothenburgh Sound’ really exists?
I don’t know. It’s just that there are some bands from Gothenburgh who plays aggressive and melodic music. It’s not that many bands from Gothenburgh who sounds like this. It’s more in other cities in Sweden who want to have a piece of the cake for the winning concept. Gothenburgh sound or not, who cares.
What do you think about the comparison people always made between you and Dissection?
It’s rather frustrating because I think we are far more aggressive than Dissection and I also think we have our own unique Sacramentum sound, but we play similar kind of music and because Dissection became known before us, people like to compare us to them. The truth is that we have been around for as long as Dissection but they spread their name better while we just played and didn’t care much.
“The Coming of Chaos” also marks the changing of the label for the band…
After we had released “Far Away From The Sun” we didn’t have a contract anymore so we started to send out promo packages and some labels were interested in signing us. So we started to negotiate with some of the labels and came to the conclusion that CENTURY MEDIA would be the best option for Sacramentum. We are very satisfied with all that CENTURY MEDIA have done for us so far. The only problem is that we really could need some better equipment but CENTURY MEDIA is not very interested in that because it costs money and they want to make money but hopefully this will change.
How would you compare the works of ADIPOCERE and CENTURY MEDIA?
Well, ADIPOCERE is an underground label and is run by one guy and CENTURY MEDIA is a big label with over 50 employees. So there’s a very big difference in professionalism and promotion and so on.
The Swedish bands (well, lots of ‘em), has kind of losing their aggressiveness, and are veering towards more melodic lately. What is your comments about this?
There are very few bands who can do this good so I think it sucks. I have nothing against melodies as long as they are not happy circus melodies. And that’s the problem, everyone seem to like this happy sounding shit, extreme Metal should not be happy. I really don’t like this. Aggression is important. Fight it. Fight till death.
I don’t think Sacramentum will get rid of their aggressiveness…
No, we will never get rid of it. It’s like you say, a very important part of our sound. Aggression and intensity is Sacramentum’s trademark.
Sacramentum is already in the scene for a while, what’s the secret?
I think that you have to be yourselves and to be comfortable being yourselves. Be true to yourself and to your surroundings, that’s the combination for success I think. Years of hard work is of course a big part of it as well.
What is the importance of image then for a band?
As I said in the previous question, I think that by being yourselves you gain a lot more than pretending something. It makes the music and the lyrics really mean something important to yourselves and hopefully to others as well. Image can sometimes be cool and interesting but that’s nothing for Sacramentum.
Since the very beginning of Sacramentum’s existence, what is your main ambition by joining the Metal scene? Has it been fulfilled?
When we started it was just because we wanted to make extreme music, violent music. We had no ambitions whatsoever. Then thing started to happen. A lot of people liked the stuff we made. So we became more serious and after we had recorded the MCD “Finis Malorum” we realized that we could really achieve something. So we kicked out the unserious members and started rehearse more often and that’s the way it is. I think that everything we could dream about then has been fulfilled but we will carry on for many years to spread our message of hatred.
Reveal us Sacramentum’s forthcoming plans…
We will play live as much as possible in the nearest future and we are working on our forthcoming album “Thy Black Destiny”, which will be recorded in November ’98. Thanks a lot for the shown interest and good luck with your ‘zine. Let misanthropy and sodomy show the way. Die hard.

http://biphome.spray.se/anders.brolycke/sacramentummain.htm

SPELLCASTER "Spellcaster"

2009-05-26T17:22:00.002+08:00

SPELLCASTER "Spellcaster"
The advent of ‘bedroom bands’ is something that’s a norm these days, and while the growing numbers are admirable, sightings of useless craps emerging are nothing unexpected. Well, that’s the case with all releases anyway isn’t it. Spellcaster was born as a creation moulded from the tiniest of ‘studios’ imaginable. Here’s a journey into the mind behind it, into realms of musical landscapes evoked from his very own experiences and taste, fruiting a product of instrumental Metal of the various kind, when the lack of vocals are substituted with the instruments taking the turns being the lead that the other parts and bits should follow. I’m very sure there’s only guitars and programming samplers (loads of ‘em) being utilized here in accordance with the creator’s capabilities of utilizing them. Fragments of Metal from various kinds are, as I’ve stressed, everpresent; there’s no pin-pointing the exact direction of Spellcaster. Here and there you’ll hear this and that. The experience is somewhat akin to that of later days Nomicon, if you need some reference, probably something to do with the frigid, numbing sensaural claustrophobia by listening to this. Spellcaster’s music is progressive and experimental without (fortunately) leaving the aggressiveness behind. But this, the tendency of being here and there all over the place; plainly kill the focus if you try to imply it. You’ll end up being taken on a topsy-turvy ride. The programmings used are OK I guess, but those keys; whenever they’re in the lead, very much reminds me of ancient 8-bit or 16-bit video games. Perhaps geared towards the ‘musician-at-heart’ crowd, though, this release is. I don’t know. Your reviewer here always take pride in being a listener, not a musician; and those listening experiences are what you’ll always going to read should you even bother doing it.
http://www.myspace.com/crypticspellcaster
experimental_spellcaster@yahoo.com

Interview with CATASEXUAL URGE MOTIVATION in Issue#3, 1998

2009-05-26T16:41:00.007+08:00

Whenever I’m in need of some demented, mechanized gore; Catasexual Urge Motivation will always be on the top of the playlist. Their “Encyclopedia of Serial Murders” is my permanent reference. Briefly changing the name to Vampiric Motives before using the C.U.M monicker again, this is one fine interview.

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Hello Tomoaki. How’s your sickening bizarre life there?
Greetings Shah. My life has been quite ok but it is not as sick as you consider. Yeah, sometimes I watch porn movies but not every night.
C.U.M has released the debut CD “Encyclopedia of Serial Murders” in Sept ’96. How’s the response? Tell the readers something more about it.
Sure, it does. The response is really sick as we wanted. Every sick mother fuckers loved it very much. Unfortunately, we haven’t received all the responses from people we sent the promo yet. And because of label’s support to promote the CD as he, Frank the label’s owner, is really busy with his life and stuff. As far as I’m concern, we did really good job for the promotion work by ourselves instead of the label. So, time will tell. Well, the CD contains some older songs from our ’95 demo, split 7” ep’s, ’96 demo, and many new songs of course. It seems that everyone thinks it’s a grindcore album but we think it’s a death gore Metal with huge grindcore influence. The sound maybe caused it but we don’t care. We are not as good as we’re just now playing. 22 tracks of pure brutal and sick grinding death gore Metal in 61 minutes long. Very heavy sound and ultra sick puking vocals on it. Faster than the speed of light. Groovy as fuck. Check it out.
You released the CD on DELIRIA PRODUCTIONS from Germany. Why did you choose this label? This is the second time you made a deal with them, so how do they treat C.U.M?
Yes, it was the second time he released our stuff on his label. First one was “Satsujin Live” studio live tape ’96 anyway. We choose this label because Frank is my personal friend before the release. He really loved us from the beginning. It’s a simple reason that he wanted to release it and we agreed. DELIRIA PRODUCTIONS is still a very small label that only cares for grind, HC, noise, experimental stuff. Not so many releases on the label yet, and it was the first CD product of the label. We really thank him for the release.
You’ve planned to release the “Fantasy Wants Victim…” on V RECORDS, but it is cancelled. Any problem?
We didn’t cancel it. V fucking RECORDS refused it. The label offered to many bands for CD’s but nothing has been released yet. Andrew of the label is a liar. Don’t trust him and forget the V RECORDS’ name. In the beginning, V RECORDS wanted us an MCD consists of our ’96 demo. But we changed it to full length album consists of unreleased materials. “Fantasy Wants Victim…” album was a compilation stuff consists of never released tracks recorded back in ’95 and ’96. The album was screwed up now. So nobody will release it at the moment. We used a couple of tracks for our next cassette EP’s which will be out soon (or out by now I think).
C.U.M consists of you and your brother, Yuzin. Is it convenient enough to have only two members? Do you try to keep it that way?
Yes, we are. It has been really good enough to have only two human beings in the band. I used to play in a band before with four other guys but I was sick and tired of that line-up. I want to control everything. This way we have a really good relationship between me and my brother. There’s less argument, less fight. We used to listen to the same kind of music and we know what we want to play. There’s no room left in the band.
You’re also using a drum-machine instead of a real drummer. I personally think that without a real drummer the sound produced is a bit ‘hollow’, if you know what I mean. Maybe there’s no drummer that could provide the pace and speed that you prefer huh?
Thanks so much that we are a ‘hollow’ band, ha. We use it because we have huge Industrial music influence. Ministry, Nine Inch Nails, Godflesh, Pitch Shifter, Dead World, Gore Beyond Necropsy etc. used machine and we are the same. Why not? They’re pretty cool bands and we followed. We never have searched any human drummer for the formation. We want to be different. We’re not a rock n’ roll band. There’s no room left for a human drummer, either. I like machine sound. But we haven’t reached the top yet but maybe someday.

You recorded your debut CD at the Meat Fuck Semen Studio. I bet that it’s owned by you. By the way, the production is quite good too for what it is.
Thank you so much. Yeah, it’s my room! I used to play in the real studios before but I didn’t get the sound I really wanted there. And the cost of using a studio is really high here in Japan. So, we decided to record all the materials by ourselves using my own room with an 8 track recorder and some effects. I’m not satisfied with all the records being released but they’re all fine so far. I’m always thinking about tomorrow. Future brings hope, as far as I know I think so. Next recording will be our second album that will be stronger than ever. With the same studio and technique of course. Our sound is getting better and better.
The time-gap between each of your releases is quite short, I must say so. Is it because you have too many songs?
It is because of labels’ request. They wanted from us some new songs and we recorded them for that. I’m responsible for song-writing but most of the songs (70%) are not as good as I wanted. Actually, it’s really easy for me to write a typical grind/death songs that we did in the past (the 70% I mean). Other songs that I’m really pleased with are not very easy to write. It’s getting harder to write good songs for me. But I will try, I will try to write as many good songs that I want. We have some other unreleased tracks that didn’t see the daylight but they’re crap. We have to take much time to compose a good song. I write the songs for me, for my enjoyment. If you like the songs, that’s cool.
You also have another band in the name of C.U.M FEATURING CYBER E.M.F that has recorded an Industrial album “Cyber Gore”. What’s the differences since the line-up is the same? Just the musical concept?
It’s not another band. It’s the industrial side of C.U.M. All songs (except one) were released under C.U.M monicker before on the CD, tapes. We re-arranged the songs to very Industrial direction using gigantic Industrial rhythm and mood. Because, to prove that we have huge Industrial influence. No one did that Industrial meet Gore before, but we did this already. Epoch making stuff. The line-up is the same. Sure, it has to be called musical concept, an Industrial album. I think I already talked about the formation. Hey, anyone who’s interested to release it, get in touch.
I’ve noticed that your song-titles are quite long and dealt with hyperperversitygorelustmurder type of topics. How do you able to write such lyrics? Where do you get your inspiration from? Do you stay in contact with any serial killer?
You’re right. They’re very long for a title. Some of the songs have the same content as the title, some may not. All the lyrical contents is my brother’s responsibility. I don’t know why they’re so long. That’s maybe because he wants to be different than other band’s boring short titles and lyrics. Yes, there are lyrics in Japanese sometimes. They’re long because he said what he wants to say in a long title, and lyrics (sentences). That’s enough space for him to say something about serial murder. There’s no inspiration as we know very much about killing and murder. “Murderous Philosophy”, if you ask me. I don’t need to get in touch with any serial killers because we are the serial murders.
Sorry but I have to admit that I don’t find too much originality from bands of this genre. Am I right, Tomoaki?
I think so too. Who cares about originality. We need brutality. I’m sure that Internal Bleeding, Cryptopsy, Torture Crypt, Deranged and lots more bands copying Cannibal Corpse but they’re really big in the scene because they are all very brutal. I couldn’t find any single piece of originality in them. But every brutal death Metal fanatics like them so much, why? If we play that kind of music, we can be very big? We don’t want to be like them but we need brutality. Hey, lyrical element shouldn’t be an originality. The music that is being played is the main thing. If you want an originality, listen to NOT death Metal and grind. Death, black, doom, grind, noise, industrial, experiment, sound like all the same to me. There’s no original bands today. We don’t follow the originality. All we need is the brutality.
I think grind death Metal is quite popular there in Japan, but I think it might be overcrowded with those. A phenomenon? Which bands stand apart from the rest?
You’re totally misunderstood. It’s not really popular here at all. Phenomenon? Bullshit! We’re the only band who plays grind death gore Metal in Japan. 99% of bands here are playing boring grindcore, hardcore, crustcore, noisecore, grindnoise. There’s no band who plays pure death Metal. I don’t give a shit and don’t care what will happen to the Japanese scene. We, C.U.M, don’t belong to the Japanese scene. And I know nothing about grindcore and noisecore scene. I don’t care if you say S.O.B is your favourite band because we hate them. We hat 100% of Japanese grind stupidity. No one stands out. I think we have now loads of enemies but we don’t care. We care for us.
There’s also a cover of “Defiling the Grave” from the gods Impetigo in the album…
It’s one of my favourite Impetigo songs. Why not? We covered some Impetigo songs before because they’re the only band that influenced us. Also the song is/was Stevo’s favourite. Stevo told me via email after he listened to our CD. How cool, isn’t it? We don’t have influential bands now. Some of our older songs remind you of somebody because they’re too old and we didn’t have ourselves at the time. However, time has changed. We learned how to be like ourselves. I didn’t listen to death/grind stuff for almost a year now. So, who might inspire me in those days?
You’re also doing this Corporal Arts ‘zine and now it is RIP and you made another called The Banned…
I quit everything related with fanzine for some time now. We’re concentrating on band’s activity. I lost interest to help bands. And I don’t listen to death/grind so much now, how can I do this?
I give you the honour to devour some ultrasikkgore messages to close this interview then.
Thanks much for this great interview. I mean it. You’re honest. I like this kind of interview. Well, I used to say ultrasickgore messages before but I quit. People seem to misunderstand when I say like that because they think I’m a moron or something. I just would like to say goodbye and see you soon again.

http://www.myspace.com/catasexualurgemotivation

Interview with HORNA in Issue#3, 1998

2009-05-25T13:07:00.005+08:00

“Hiidentorni” introduced me to the world of Horna, where uncompromising primal black Metal worship brewed in their own way is the name of the game. Countless releases of Horna are to be found after this excellent promotape, as you all are well aware of. Warmaster Nazgul Von Armaggeddon (also of Pest) answered the questions when he was still in the band.

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Since the release of your promotape in CD format, what is the progression of Horna up until now?
Our upcoming MCD, “Kohti Yhdeksan Nousua” is recorded, and scheduled to be released in a few week, actually. We played some shows around Finland with Barathrum, Wizzard and Babylon Whores, and we’ve also already recorded our second full-length, “Haudankylmydden Mailta”. At the moment we are very passive, because of the military service of some of our members.
What’s the real reason of releasing “Hiidentorni” as a promotape in the first place? Why don’t you release it as your second demotape (although in one way or another, it could be called that way)?
The purpose for releasing “Hiidentorni” mainly was to send it out to labels, to hopefully get a deal to release an LP. Still, we sold it like any demo, just to get our name more out in the underground. If you think it deeper, the difference between demotape and promos is not so big after all.
And as a promotape, it has a long duration of playing time…
Yes it has. But when there are CDs released with 20 minutes of music, I think that our promo was really a run for one’s money.
What leads to that deal with SOLISTITIUM RECORDS? Any other possible releases with them?

Carsten (who runs Solistitium) liked the “Hiidentorni” tape a lot. He wanted to release it on CD, and we thought it was ok because the tape really is very professional and has a playing time of more than some of the CDs of already well known black Metal bands. We have, as I told before, recorded our new MCD, “Kohti Yhdeksan Nousua” and our second full length “Haudankylmydden Mailta” for SOLISTITIUM already, and there are no plans to change our label at the moment. I think Carsten’s done a pretty good job with our releases.

You’re developing your own direction in sound since the release of “Varjoissa”, and the result is of course “Hiidentorni”. So tell me, what is the differences of both of these releases?
If you would listen to “Varjoissa”, and then to “Hiidentorni”, I think you would not possibly even think that they were made by the same band. It is hard for me to compare these two, because I was not a member of Horna when the first demo was released. Maybe “Varjoissa” is a bit more melodic and primitive, with a lot worse sound (it was recorded with an 8-tracker, as “Hiidentorni” was recorded in a pro digital studio with 16 tracks). “Hiidentorni” is just aeons more professional than “Varjoissa”.
Has Horna found the definite form of black Metal that suited the band yet? Or would Horna never venture further than the sound displayed in “Hiidentorni”?
Of course not. If we would stop to the present situation and stop progressing in any way, it would be very unhealthy for the band. Things would be soon so much worn out, that it would not interest the listeners and neither the musicians. The future releases will be much different, especially the upcoming MCD.
Horna never longed for originality, but I could sense some of it (and also the intention for it) in “Hiidentorni”.
To speak the truth, I don’t think Horna’s music is not original at all. It’s just uncompromising Nordic black Metal, plain and simple. I cannot speak too extensively about the process of creating Horna’s songs, since all my musical donations limit to one riff on the upcoming MCD.
But you claimed originality in lyrics? Because it’s written in Finnish? Perhaps there’s other reason.
Shatraug (guitars) write all of the lyrics, except for one song, “Imperial Devastation” on the upcoming MCM, which is written by me. I don’t know if the lyrics are so original after all, they deal mainly with the destruction of Christianity. I don’t think that the fact that most of our lyrics are in Finnish makes us any more original lyrically than any other band singing in their native tongue.
The Finnish black Metal scene… What differentiate the scene there compared to other countries?
Finland has always had a scene of some sort since the days when Impaled Nazarene and Beherit were rising up in the international scene. There are now quite many newer, so called ‘second wave’ bands, that are releasing albums, like Thy Serpent, Diaboli, Darkwoods My Bethrothed, etc. Some bands I can recommend are Children of Bodom, Barathrum, Wizzard, Vordven, Tunrida, Black Swan, Dawn of Relic, Enochian Crescent, …And Oceans, NIghtside, Kyprian’s Circle, Urn, Warloghe, Flauros,Withered Garden and a lot more. Of course we have some really pathetic bands popping up like RAVENSTORM, who don’t know jack shit about the underground and are now signed to CENTURY MEDIA for 7 albums! That forementioned band has been around for a year now and they claim Dimmu Borgir, Cradle of Filth and Emperor as their main influences. Pathetic.
Horna claims no relations with any religious groups and sects. So what is your opinion about them?
It really is not very intelligent to let someone say what everyone in the band thinks about things, since most bands are groups of individuals, and it is impossible to think that everyone in a band would think just the same as others. I personally have even planned on joining some religious sects. Of course some pathetic hippie groups which stands for world peace and love are pathetic but there are also some sects that contain ideologies and principles I find very intelligent and powerful.
And you understand yourselves as paganistic.
This case is just the same as the aforementioned. I’ve never said to be a paganist/heathen or whatever. I have been a practicing Satanist for 4 years now, and I don’t see any reason to be anything else.
And the lyrics, why do they have to be in Finnish?
I guess because Shatraug feels it suits him better. I have no problem singing in Finnish, so it is ok by me too. Still, we will have translations available for those many who do not understand Finnish.
I really like the intro… haha!
The intro is taken from some porno-movie. We thought it was cool, so we use it. We just added a bit of low-pitched speech to make it even more sick.
I don’t know why, but it seems that black Metal is getting ‘softer’ and ‘kinder’ these days…
It is true that the musical (as well as the lyrical) approach of a large part of the modern black Metal bands has become somewhat less extreme. I’m not sure how to react to this, since I admit that some of these ‘kinder’ black Metal bands are way much better musically that some bands that play fucking primitive and raw just because they simply cannot handle their instruments. Black Metal cannot be defined musically, because bands like Rotting Christ, Bathory, Deicide, Beherit and Mysticum are all black Metal, still they are completely different music-wise. This is what makes black Metal such a strong movement, musical variety. That wouldn’t be very enjoyable if all the bands would sound the same. Of course this does not mean I like some fucking wimpy lullabies with some arsehole screaming on top of it all. As long as the music is good, I support it.
And what do you think about the participation of females in the black Metal scene?
Sure, why not! I think it is positive if some of you wicked witches out there participate in the scene. I have found out that some females within the scene are way more dedicated and intelligent than most of the male ones. So actually, all you females out there MUST write to me at once!
Black Metal is the ‘thing’ of the day. I mean, lots and lots of labels are trying to release black Metal albums, and this somewhat affects the scene itself whenever crap releases are to be found…
First of all we must remember that we are living in anno 1998, not in ’92-’94, when things were somewhat in control in terms of black Metal albums released. Releasing a CD is the same as what was to release a 7”EP back in ’93. There have been crap releases ever since there has been heavy Metal. Still, it is true that labels that release black Metal just to get some money out with it exist, but still there are a fair bunch of good-quality albums released by labels that know what they are doing.
And it also seems to be profitable right? Should black Metal be linked or considered as a way of making profits and so on?

Yes, it is possible to make some money with black Metal, as it is with any kind of music. Horna was not formed to make money, but to satisfy the need to express ourselves. Still, if I could make some extra cash with Horna, I would not mind. It would give me the freedom not to care about every single penny I used. Still, black Metal will always in essence be much more than just commercial music. It is a CULT which not everyone will understand.
Horna sounds like primitive black Metal, I might say so. What about the modern black Metal then?
Yes, Horna is somewhat primitive. I don’t think it is the right thing for Horna to develops towards the modern sound of black Metal. We have found the more raw and brutal expression to be our way, and we have chosen to follow that path wherever it will lead us. The earlier days of black Metal were much more easier in a way… If a black Metal album was released, it was for sure of good quality, and the bands expressed their art in a way nobody is able nowadays. Black Metal will never be the same as it was before…
Potray Horna’s vision of the scene in their near future…
The underground scene will become more and more isolated from the mere public and commercial scene. Only those who really are into this will stay with black Metal, the rest will hopefully lose interest. Still, it is impossible to know what exactly will happen.

www.legion-horna.com

Interview with LANGSUYR in Issue#3, 1998

2009-05-22T11:15:00.009+08:00

LANGSUYR circa “Occultus Mysticism” and “The Eastern Cruelty”:UNTOUCHED. Eastern Death Metal supremacy. LANGSUIR over LANGSUYR, and don't ever argue with me on that. Oh well, just leave it to where it is anyway. This interview, hopefully; will be one of those memorable reminders of what could have been, what should have been. This is one meaningful chat with Sam.

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Langsuir is left to three-piece right now. How does Langsuir cope with this situation? It certainly affects Langsuir’s progression isn’t it?
It has been a major problem since the beginning even though I admit I told to some zines before that it’s not a problem. Ego problem. Yes, it does affect our progression. I wished UTM is near Ipoh so I could rehearsed more. My location is a major problem too. We could have been 1000x better if we live near ourselves. How to cope? Hmm… let see… By magic? No! Occultism? No! Mystic? No! Luck? A little bit. Commitment? YES!
Sometime ago, I heard that you’re hunting for a drummer to fill up the vacant slot. It seems that it’s still vacant till now, right? Is it because nobody is up to the capabilities that you demand? You’ll rely to the energy of Wira (Athotorgh) in times to come, or? And I sense that there’s no real bassist in the band since the beginning, am I right?
When you write a piece of music you had already the vision of how the song going to be. Basically, I already had the basic drum structure to the song. When I rehearsed, I hope the drummer will come up with a fresh idea. If not then we have to use my basic structure. If I have a drummer who can blow me with innovative drumming then he will be our drummer. Me and Azmaniarkht dig out drums even though we play guitars. Well, at the moment there are no drummers up to our par, not yet. But, we should have not wait for it. What the best we have is what we are going to use. So Wira is the guy right now. The same criteria goes to the bass player. Yeah, there’s no permanent bassist from the beginning. We are comfortable that way. We: me, Azmaniarkht and Azlanthor act as the vision. Both the drummer and bassist are the tools with limited voice given.

And people would certainly not forget the sensational news of your ex-drummer, Adjheez who’re now playing in a so-called alternative band Sky Juice. I really like to know what do you feel and think about this? Does this also means that he doesn’t play anymore with your other band Vociferation Eternity?
I have sense it even before he was out because I know he was playing with his friends in an alternative band. Well, I have no problem with that. He should have his decision but he should have played with more independent form of music, be it punk or hardcore. Alternative sucks heh! Playing in that band means that he has to beg for recognition. He has to beg for mercy from the press, the electronic media and all those commercial butts. He has no voice on his band. The label tells him what to do. He just nod ‘yes’. No question asked. He even has to beg for people to buy the product. But again, it is his decision. Not the one that I will venture in the future though. Now, what else can Vociferation Eternity do when he’s already in contract for three years with the band. He can’t play with any band other than his Sky Juice. We are not nuts who wanted to get sued in the future. So we said, “Adjheez (or Jay), you’re a poser”.
What’s your personal evaluation on your latest release so far (although it’s out ages ago), “The Eastern Cruelty”? I’ve been informed that it’s the fastest selling local extreme Metal release so far? I’ve also heard that it didn’t came out as what you’ve expected it to be? What’s the problem with it?
Fastest selling local extreme Metal release? Heh, even if it’s not true, I’ve already flattered with your suggestion. That is a boost! Production-wise, it’s crap. It could have been better. Good songs but shit production. It should have been re-recorded. Too bad nice idea just being dumped out coz of the production. Well, I really don’t want to talk about it (even though we hope it sells so we can suck out the royalties!)

“Occultus Mysticism” certainly is the stepping stone for Langsuir to carve a name in the local extreme Metal scene and abroad. Do you still admiring it in any way? The first 500 copies of its re-pressing on EASTERN GRANDEUR PRODUCTIONS are sold-out by now. Any further plans with EGP?
“Occultus Mysticism” is a nice start because at that time (1993), local demos were recorded in a shitty studio. So, we came out with a 16-tracks recording quality with three pieces of death Metal shit. The first pre-hearing we did in Ajak’s (owner of ULTRA HINGAX PRODUCTIONS) house, he was totally impressed. Well, if I can quote him… he said he has not heard our kind of death Metal since ages! That was certainly a start. Yeah, in a way, I still admire it even though we hesitate to play any of the numbers in our gig. Well, it may be interesting, but not as interesting at the time when it was released. The 500 copies thru EGP was sold-out. EGP has planned to put it on MCD + some new songs on it. Nothing is certain yet.
And compared to “The Eastern Cruelty”, people say that Langsuir is more black Metal-orientated then. What’s your words?
We have not deviate from death Metal. Never. Don’t be confused with our painted faces in the cover. It was really, a mockery when we use it. At that time, I guess we are the first local band to wear full paint onstage. We are not a black Metal band. Never was and never will.
How’s the idea of ending the song “Bastardised Rejaman Sihir” with the old 60’s song “Pontianak” came up? You’re really hooked-up to that song huh?
It came out spontaneously during our rehearsal. Azmaniarkht who came out with that shit. I thought it was cool and it may fits our song. It does, well at least to us. Why? You didn’t like it? Maybe because of my solos? Or maybe it should have came out proper vocals? Why don’t give it a toast and let’s dance?
What about that song with total Malay lyrics, “Tangisan Embun Pagi”? I’m sure that it’s probably the most difficult song to write for Langsuir so far? I mean, marrying our soft, artistic language of old-times with death Metal hymns? It must be painstaking…
“Tangisan Embun Pagi” is the hardest part in the EP. It has a lot of twist, music-wise. We have some parts where I have to really twist my fingers to one side while Azmaniarkht has to twist his on the other side. But when combined together, it’s like watching “Silence of the Lamb”, a real twister shit! Not to mention, to exactly combine Malay lyrics with music that is full of aggression. You’re right. It’s really painstaking. A lot of effort was given to the song. It will be our greatest piece of shit.

So, does “The Eastern Cruelty” a conceptual piece? Tell us about it; and perhaps what do the songs in it tells about? The cover is very much linked with the song “The Seven-Headed Dragon of Pelangi”? At least, it really gives out some well-connected feel with the songs, so…
Conceptual? Now, that’s interesting. I mean, no one had ever thought it of being conceptual. You are the first. Well, I really don’t know. Probably yes or no depending on how you are looking at it. Lyrics-wise, they are not connected. It’s true the cover is a mirror to the song “The Seven-Headed Dragon of Pelangi”. But it is not a conceptual album. Maybe in the next release?
Langsuir plays occult death Metal. People tend to think that occultism and Satanism are very much linked with each other. I heard that Langsuir views this in quite a different way.
Honestly, I really don’t care on this subject. You see, when you play in a band for, say, 6 years, that is not an important thing anymore. When you are just being chained with certain topics, it really don’t get you anywhere. Well, OK maybe we did write on the subject 2-3 years ago but today, we really don’t give a shit. I tell you what, when you get older, you see things in a different way. There are lots of this world than you could probably can imagine. We see it as a tool. Not an absolute. We prefer to stress on the musical side, if you know what I mean…
Your influences in the making of your songs rooted out from our own heritage of occultism. Why are you ever so interested in it? How deep have you studied it? And what can you tell us when you compare it to that of the Westerns?
Generally I have answered this in the last question. Just to add… I have no deeper understanding on the Malay heritage. Let make it this way, if I concentrate more on the philosophy than the music, I may end up being a historian! Shit, I dig out the music more than anything. If people just can understand this. I don’t deny that it influenced us a lot in making music. But it does not make sense anymore when your heart is hungry for more. Those subjects will or may not be our choice in the future. What is certain? We play death Metal with ‘Malay’ feel. Yeah, ‘Malay’ feel : social, emotional, thinking, vision, pain, trauma etc. not specifically myth and mystic.
You’ve got two new songs under your belt, namely “Ku Cemari” and “Descent of the Fire-Breathed”. They’re scheduled to be released in the Ipoh Metal compilation by ULTRA HINGAX PRODUCTIONS soon. Are they still in the “The Eastern Cruelty” vein? “Ku Cemari” is another song with all Malay lyrics right? “Descent of the Fire-Breathed”, a continuation of “The Seven-Headed Dragon of Pelangi”?
Yeah, you’re right. “Ku Cemari” is basically a 3 minutes piece of shit with some fast twist on the guitars and drums. The aggression is in the vein of “My Oath For Thee” but the twist is more like “Tangisan Embun Pagi”. The lyrics is on vengeance. It’s about one man who has a deep hate on this other guy. Inspiration – Hang Tuah myth. Venue – could be anywhere. Date – could be anytime. “Descent of the Fire-Breathed” is more melodic. Mid pace with longer duration of playing close to 6 minutes. Unlike “Ku Cemari” which has little riffs being played again, “Descent of the Fire-Breathed” is more conservative. Even though it is not meant to be the same to the song “The Seven-Headed Dragon of Pelangi”, it accidentally has the same feel. If people feel it is a continuation, it will not do any harm anyway. It was not our intention. Lyrics-wise, it is a play of imaginations, which I bind together with my Malay feels. It will appear on the UHP compilation. It will probably be titled “Hail To Ipoh” coz there’re only Ipoh bands playing in the compilation.

Does it actually mean that you no longer have a deal with NEBIULA PRODUCTIONS?
It was a short deal with UHP with no real black and white. We are not in deal with any label yet.
And that deal with NAZGUL’S EYRIE PRODUCTIONS from Germany. How has it been going on? I’ve heard there’s some hassles circling the deal? Have they released “The Eastern Cruelty” on MCD format? And what about the album deal?
The latest news that I’ve got from NEP is that they are dead already. Rumours are that an English label has bought NEP. I guess that what it, the deal we signed ages ago is invalid. So we are free. So, no album and no MCD from us thru NEP.
The local extreme Metal scene is getting better these days, so it seems. Being an ‘avid’ scene-people for quite a while, it really is worthwhile to know your opinion about it…
The scene is in its peak. Where in the history in Malaysia that you have countless bands and local labels who fully concentrate in the Metal scene? These are the years. Instead of being ‘poor’ in the past, you get some extra cash from it right now. We are the band from the second generation so we can’t really care on the scene from the first generation. It’s over years ago. We respect the first generation as pioneers. If not because of them, we may have started late. Well, you can’t hold anything to start, right? If they don’t start, we might have started it. Well, the reason of this intended ‘sarcasm’ is, the past is over! There is no reason to hope bands like Rator and Punisher to resurrect. We already know that such reunion will spell disaster! Remember the Rator resurrected in ’94 (gig)? They play crappier than anything you can imagine. The Metal scene is much better now. Some people say it is not the same. Yes because the past is smaller than the present. Of course there is no denial that you have some clowns here and there at the moment but it is really our decision to choose. You want them to be alive, you should support them or either way around. I don’t know about the past, but today it is more money-oriented. The labels and organizers gain a lot from us, so we want our shares too. It is ethical. But I know some organizers who sucked too much, well at least that is what I feel.
What about your other activities? When will the latest issue of Krenmaut (#3 I think) will finally be released? Give us some latest information on Vociferation Eternity…
DO NOT HOPE FOR #3 TO BE OUT! The issue was lost when my computer stucked. So, it will be no more. It really pissed me off that I will not continue it in the near future. I have a better idea with my Malaysian Metal Madness homepage. It’s more practical and efficient. Vociferation Eternity will be entering the studio in April ’98 hopefully for the second album. At the moment the songs are more Swedish oriented on Dark-E’s side while on my side it is more progressive. You have to wait for the full impact (if there is any). At the moment, I’m enjoying my full week of holiday after finally finishing my studies. Then I’ll be doing my work as a Research Assistant before continuing for my Masters degree in Civil Engineering. I hope that this will give a boost to those who are still studying heh…!
That’s it. I think this would be sufficient to get us something about Langsuir while waiting for further releases. End up this interview with something…
Thanks for the refreshing interview. I complete this task in 1 hour 30 minutes. Hmmm, I would probably like to ask those out there to buy our stuffs (if you don’t have it yet) from Nebiula Productions. Thanks to the fans who have been faithful and understanding. Metal forever!!! Hail and kill!!!

http://members.tripod.com/~devourment/langsuir.html

Interview with MOURNING SIGN in Issue#2, 1997

2009-05-21T17:16:00.004+08:00

One short interview. Based on one song. How could that be? ‘En to Pan’ is an excellent song, that is; featured on the legendary W.A.R compilation volume 1. This interview serves it purpose though back then, the time when I didn’t know shit about Mourning Sign.

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Say as you wish.
Hello everyone. How’s it hangin’? Mourning Sign has been around since 1992.
I only got the chance to hear “En to Pan”. Any other releases of Mourning Sign so far?
Here’s our complete discography: “Last Chamber” (a demo) released in ’92, “Alienor” (miniCD) released in ’94, “Mourning Sign:Mourning Sign” (fullength) released in ’95 and “Multiverse” (also fullength) released in ’96.
Basically from your song, I can conclude that your musical style is some kind of a Swedish melodic death Metal variations.
Our concept is not to have a ‘concept’, I think… We try not to imitate any bands, for the plain reason: why be a copy of some band or so, when you’ve got something unusual or unique to say with your own music.
What about Mourning Sign lyrical approach? “En to Pan” is about Pan, the God of Nature, right?
Yes. Pan is the ‘dude’ with the flute but “En to Pan” is Greek and means : all is one, and the meaning of the lyrics is something for whoever is listening to find out for themselves.
How did Mourning Sign managed to contribute a song on that W.A.R compilation?
It’s simple. Wez from W.A.R likes us and and wanted us to contribute with a song…
All of you, except Hendrik, do the vocals. Is there any problem with Robert’s voice?
No, no problem at all. We just made it that way. Hendrik has got his revenge on us. He’s the one who’s reciting the lyrics on “Neerg” on our new album.
Who’s this Pelle Saether which co-produced “En to Pan”?
Pelle has been around in the music business since… who knows? He’s been singing in many bands. He’s also the owner of “Studio Underground” where we’ve recorded our albums.
What about the use of additional instruments to Mourning Sign…
When we made our first album we tried different things in the studio with the keyboards. On “Multiverse” (the new CD!) there isn’t any synths at all. Instead we got a violin player for two songs. Additional instruments are great, if they add something to your music otherwise, why bother?
Why do you choose to play this type of music? The compositions, does Kari writes all of it?
Good question, I’m not sure, I guess it has something to do with the energy in our music that makes us playing it. And yes, Kari is our main songwriter. He’s the one who has to purge, then the rest of us mould it to what becomes a Mourning Sign song.
What’s your opinion on the Swedish Metal scene right now?
It has changed I guess. Many bands (in my opinion) do sound alike. There isn’t any new angles. There’s a few bigger rock acts and then there’s copycats. And the Metal scene is small. Not too many bands tour as much as they did a few years ago. Record sales has decreased too.
This is the first time I’ve ever came across a band from Hallstahammar. Is there any more potential bands beside yours?
No, we are the one who rule the Hallsta mob of music (ha ha!). But seriously, there’s some bands around here but none of them has made any records or so. Hallstahammar is a small place and we know each other who’s involved with music really well! We’re one big happy family…
What do you think about the latest development in the (Swedish) scene, like the bands on Cold Meat Industry for example?
Sorry, I don’t know anything at all about Cold Meat Industry, but generally I think the scene and genres are mixed up with all kinds of styles and I think it’s great!
What will Mourning Sign brings up next?
For the moment, not a lot. We’ve had some difficulties with our record label and it has kinda messed up things for us, but we’ll make it!
Anything else to add!
Hopefully you’ll find our records out there. They are released through GODHEAD RECORDS in Italy. If there’s some troubles finding them, contact Mr. Editor for the address. So long everybody!

MOURNING SIGN c/o Petri Aho, Kapellgatan 15, S-734 35 Hallstahammar, Sweden

Interview with PURNAMWULAN in Issue#2, 1997

2009-05-21T11:40:00.005+08:00

Purnamwulan showed some good promises with their “The Fullmoon Over The Kliwon”, but that is the only release that you could ever hear of them till today. Words has it that there’s an unreleased demo lurking somewhere, not being released due to the bad sound produced. Exactly not in the state of knowing the latest development of the band nowadays, and of course lots have been happening as well (Sanghyang Wulan is no longer the Aavimarga in Hayagriva, etc, etc), here’s the 1997 interview.

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I think a few Javanese words would be great to start up this interview…
Sulamet nang siro… of course, it means “Blissful and Well-Being Upon You”…
Purnamwulan, does it mean ‘fullmoon’? Why did you choose this name?
Yes, it means fullmoon… It’s very unique and specific to describe… the roots is the main point why I’ve choose this name as the band’s name… the fullmoon has a lot of inspiration to me and of course to all of my band’s line-up… Therefore, the fullmoon is the main roots, so, here I don’t want to take pathetic things to mention towards my band’s name… Purnamwulan gives to us an enlightment and it has a vast meaning of the fullmoon in fifthteen’s night of Friday’s night in Javanese calendar… I sing my songs with my mythologickal lyricks in Kaendranian Heathendoms’ Javanese Kingdom… Purnamwulan are ours!!!
“Java Celestial Ethos Metal”. Give us the full description of this particular style of music that you claim your own. In what way does ‘Javanism’ connected with the music and the band?
“Java Celestial” came from our mystick and poetick lyrics, narrating about the kingdom of Suralaya and Singhasari in Javanese Deities mythology… It happened in Kaendranian’s epically and historically… and the main point of the most unique life-style of Javanese cult and culture… “Ethos Metal” came from our aggressive, enthusiastic sound and musickal style… containing the vast meaning of art!!! Also have a little connection with Java’s musickal style eventhough there are no traditional Java equipment included… just listen and get an appreciation on our songs!!! Of course, Javanism does connected with our life-style, musick and the band because honestly, we came from this blood-roots!!!
You’re also involved in Hayagriva as Aavimarga, Sanghyang Wulan; so made you decide to be in two bands at the same time? What’s the latest news on Hayagriva right now?
Both of them is my main bands… I’ve arranged myself into these two bands without any problems because we’re undergoing and living together under the same roof… and I’ve done everything for both of my bands successfully… In other words they really need me… At this moment, Hayagriva is still preparing for our forthcoming release… Just wait and see what is to come from Hayagriva!!!
You’re involved in both bands so the similarities will always be there…
Yes, you’re right… I agree that I really can’t avoid the similarities in the vocals parts… Anyway, I’m trying my best to do it differently… the similarities is only in Eastern style… I mean, Hinduism and Buddhism roots… The differences is only in the concept and style… Purnamwulan is more into mythology and Hayagriva more into mother-nature… Both of them were universal… that’s all!!! “Seropoh Sombrong Mabhur”. Does this song is written in Java? What does it all about?
Absolutely, true… the hymns of “Seropoh Sombrong Mabhur” lyricks was taken from my late grandfather and my elite descendants (nominated as Jawa Ponogoro) magickal spells or mantra for the magickal weaponry of flyingself kris and it’s dealing with the spirit of daughter namely Sombrong… The spell must be cast before she does her ‘job’… and of course I am the true one of Java real life as I’ve mentioned above…
Purnamwulan is very much linked to the moon. What the moon really means to you and in what way does the moon ‘eclipses’ Purnamwulan?
If you really don’t know about Java races unique life-style… this is a little bit about it… An occult source have been sworning in the flowing blood of Java’s individual person and an enlightenment was given to it… So, the moon is the main ceremonial emblems to do with occult source of Javanese black magick… It’s the main subject and inspiration for Purnamwulan and we’ve come from this blood!!! I hope you’ll understand… What do you mean by ‘eclipses’? ‘Eclipses’ will ‘loosening the power’ of Us… That’s all!!!
All lyrics are written by you…
The story behind Java’s roots is the actual thing I’ve express in my lyricks… I’ve my own stand-point to write my lyricks… Let the myths, the legends and the cults of Java remains again and that’s what Purnamwulan exists for!!!
Why don’t you sing all of your songs in pure Javanese language?
It is just an ‘introduction’… we’ve plan for it and we’ll do it in upcoming releases… just wait and see what is to come…
Any specialities of a Purnamwulan live-shows? I think that gig in Ipoh on 2nd March ’97 is Purnamwulan’s first ever show, or am I wrong on this?
As the other bands done on stage, we’ve done successfully… I guess, the specialities, we’re just wearing Purnamwulan ‘s ‘uniform’ in our action on stage and I’ve six times singing on stage… You’re really misunderstood cause this 2nd March is the third time we’ve done gigs by featuring our new line-up and this is the greatest for us!!!
I can say that you’re not using any additional instruments on the “The Fullmoon Over the Kliwon” demo. Don’t you ever interested to use for example keyboards in your songs?
True…!!! There are no Java traditional equipments such as nafiri, rebab, rebana and so on… added in our first demonstration cassette… but we will do it in our forthcoming release… Right now, we have our own latest songs and it’s different with the previous ones… on some of them we’ll use keyboards sampling to make the song more enlightment and beautiful…
What do you think about the eastern Metal scene right now?
Anyway, be honest in what you’ve done!!! Do the right way to the eastern Metal tunes… eastern Metal is not for the stupids… Get an observation before you involve in these things… Actually, eastern Metal is only for eastern blackness spirits!!!
How important is the band Purnamwulan to you.
The important things to mention about is my true race and I knew what I’ve involved on towards Purnamwulan…
So what can we expect from Purnamwulan after the good demo?
See what is to come for the forthcoming future time and it’s up to everyone should expect us… Behold, for ‘sheeps among the wolves’!
Help us to spread our words of revenges and hate… Let this poisonous weapon embracing your soul!!! “The flame of revenge and hate will forever burning deeply in our heart and chest” is the actual meaning of “Sombrong Urep Nang Jungringsakalaka!!!”

http://members.tripod.com/~naluwmanrup/index.html

Interview with FUNERAL RITES in Issue#2, 1997

2009-05-13T10:40:00.007+08:00

When “The Wintermoon…” was released, it felt like a ‘friendly-slap’ on the forehead of the black Metal scene at that time. Everywhere you could only find Norsk-influenced black Metal demos in abundance then, something that could alter a bit of that linearity would be very much welcomed, and of course, appreciated. Thus came Funeral Rites with this demo; heavily, proudly and brilliantly done in awe and respect for the old, traditional black Metal sound. Important to mention too, that they’ve done it convincingly. This interview emphasized on that period of Funeral Rites. Kentaro speaks on behalf of them.

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Funeral Rites is definitely a band that I don’t know much of. So Kentaro, brief us the history of Funeral Rites. Has the line-up changed a lot of times? How did you get the name ‘Funeral Rites? It seems that a lot of bands has either the word ‘funeral’ or ‘rites’ as their name, do you think that by using this name your band will get a better recognition?
Funeral Rites is a Japanese black Metal band. The band was formed December 1994. The first line-up was Kentaro (guitar&vox), Nobuyoshi (guitar), Takehiko (bass) and Masahiro (drums). Our first gig was in March 1995. At that time we played cover songs of early thrash Metal bands like Sodom, Bathory and Celtic Frost. After the first gig, our line-up was changed to Kentaro (bass&vox), Hiroyuki (guitar) and Masahiro (drums). After that the guitarist was changed to You and Yuki (keyboards) became our member. Then December 1995 we released 1st demo, “Demo 1”. This demo tape get good responses. We managed to make friends with many black Metal bands and fans and make distribution contracts with some labels. And October 1996 we released 2nd demo, “The Wintermoon…”. The present line-up is Kentaro, You, Masahiro and Aki. Our band name Funeral Rites was named after the song “Funeral Rites” from Sepultura. This song was contained in their 1st album “Morbid Visions”. I like only their first album. So our band name was named after it. I know many ‘funeral’ songs and bands like “Funeral Fog”, Funeral Winds, Funer(e)al Moon and etc. But I’m proud of our band’s name because it is simple and quite cool. I know another Funeral Rites from Poland. They seem to have released their first album, but I have never heard it. They must have the same sense as us.
Let’s talk about “The Wintermoon…” demo. How’s the response? Satisfied with it?
“The Wintermoon…” is our second release. It was recorded September 1996 and released October 1996. In this demo there are many middle tempo numbers and keyboards part than our first demo. The responses to it is good. But I’m not satisfied with it yet because our second demo was released just now, last autumn.
I think Funeral Rites are influenced by old black Metal bands. Is it true? I wonder why it is such a norm in Japan. I mean, most of the other Japanese black Metal bands like Sigh and Abigail are also mainly influenced by the old bands.
Yes, we are influenced by old black Metal bands (Sodom, Bathory, Hellhammer, etc). and today’s black Metal (Mayhem, Emperor, Burzum, etc.). And in Japan almost all the black Metal bands are greatly influenced by old black Metal. Sigh plays many cover songs of Venom and Abigail plays cover songs of Bulldozer in their gigs. We play cover songs of Sodom, too. I think the reason why is because there are few good today’s black and thrash Metal bands (thrash Metal was dead long ago). Many of today’s black Metal bands are imitations of today’s black Metal bands like Emperor, Satyricon, Cradle of Filth, Marduk and etc…. Against it, many old black Metal bands had originality. So we listen to old black Metal very much and we are greatly influenced by them. But we must not become an imitation of old black Metal. Today’s black Metal bands including us must make original black Metal music. I think Sigh and Abigail have their original style. We always try to make our own original style too.
On the demo there’s a cover of Sodom’s classic “Blasphemer”.
Sodom is one of the greatest black Metal bands that influenced us. Especially I like their debut mini, “Outbreak of Evil” and first album “Obsessed by Cruelty” very much. In our gig we don’t have any permanent keyboards member. So we play many cover songs of Sodom besides our original songs and recorded their classic “Blasphemer” in our second demo.
I noticed that keyboards are widely used on your songs and it’s quite successful. Does keyboards remain an integral part of Funeral Rites’ compositions?
Many keyboards parts give our songs atmospheric and illusional impressions. But I have not ever studied music theory and keyboards (I write all of our songs). So our keyboards parts are difficult especially. And I try not to rely on keyboards too much because I think the most important point is guitar riffs if you’re talking about Metal music. But it is true keyboards parts are important to our music.
What are your lyrics dealing with? How important is the lyrics to you? Why don’t you sing in ‘Nihongo’?
Lyrics is very important to black Metal. My lyrics deal with Satanism, many satanic stories, human beings and etc. They are based on my belief, but not based on realistic problems. I don’t sing in Japanese language (‘Nihongo’) because the pronunciation of Japanese language does not go well with Metal music. So I don’t sing in Japanese language. Judging from the demo, I think Funeral Rites prefer the slow, midtempo, doomy type of black Metal.
Yes, our second demo include many middle and slow tempo numbers by chance. But our first demo include fast black Metal numbers. On the whole half of our songs are fast numbers and rest half of them are middle or slow numbers. Our next release will include fast black Metal number.
Your demo cover. I think it’s too simple and look like it was done in a rush. I would like to know the hidden messages behind it. Some says the logo is not that attractive too.
Our second demo cover was painted by You (guitar). It may be too simple, but I think it is easy to see and it’s attractive. I like it. The crucified Christ means the fate of fools. I don’t like a logo that is difficult to make out. Many great bands have simple logo. I like a simple logo too. I don’t think our logo is not attractive. If there are people who think our logo is uninteresting, I don’t take notice of them. The music is important than the logo to us.
Some people tend to agree that an eastern black Metal band will never have the capabilities and achieve the so-called ‘evil’ of the bands from the north and the west. I would like to hear your comment.
If they think the eastern black Metal bands will never have the capabilities and are inferior to the north and west bands, they are people who cannot think progressively. Because almost all the black Metal bands came from the north and west till now, they must think so. I don’t like to stick to that old custom. They should appreciate the band regardless of the country if the band makes good music. I think many eastern bands have originality and scarcity value because there are few eastern black Metal bands.
Tell us more about the Japanese culture. Is there any traditional belief of spiritualism, Satanism, occultism, etc? If there’s any, I hope you don’t mind to tell us a bit about it.
In Japan many people make much of spiritual power. It’s called “Konjo”. Many people say that spiritual power bring about a miracle. I think so. Satanism and Christianity are not familiar with many people because religion is separated from our educational system (of course there are exceptions…). So many people grow without being conscious of religion. But I passed my school days in mission school and became aware the contradiction of Christianity. So I became a Satanist. I think Satanism is a metaphor that a crisis of our world. Occultism… there are many occult movie and book in Japan. I like occultism, too. In Japan there are original occult stories, “Kwaidan” written by Rampo Edogawa.
From your personal opinion, what can you describe about this whole universe and its creatures?
This whole universe is wide. There are still many things I must know of. So I cannot describe it clearly.
Give your personal comment on how a black Metal band should live their life as.
Black Metal bands including us should establish their music style and their belief. And they should pursue originality without sticking to a fashion.
What can you predict of the eastern Metal scene two or three years from now?
Eastern Metal scene (especially in Japan) will not change because Metal music is not a fashion music and a number of people that listen to Metal music seems to be in stability. The originality will be kept instead.
Can we expect a Funeral Rites album soon?

We will release third demo or an MCD this summer. But we won’t be impatient to get a success for example an album deal. We will continue making our music from now on. We are a black Metal band forever.
Add some final words.
Death to false black Metal!!!

RANDOM address

2009-05-12T15:48:00.003+08:00

These should be the permanent, eternal addresses of RANDOM.

SHAHRIZWAN SHAMSUDIN

224, Jalan Abdul Rahman

Kaw Per Melayu, Kg. Baru

28700 Bentong, Pahang

MALAYSIA

besteel@hotmail.com

Interview with IRONSWORD in Issue#2, 1997

2009-05-12T15:25:00.004+08:00

Back when power Metal was not actually the ‘thing’ in the general underground extreme Metal scene, there’s Ironsword from Portugal brandishing some serious Lusitanian Power Metal Thunder with their debut promo- tape in ’95. Evolving into a full line-up band nowadays, and have released three albums so far, the quest of Tann is continuing, not to forget that he’s a seasoned person in the Portugal underground scene, having played in bands like Moonspell, Alastor, Filii Nigrantium Infernalium, and the great Decayed. Impressive resume nevertheless.

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Your opening summon to all the readers, Tann…
A big Hail and Kill to all the readers of RANDOM fanzine! Thanks Shah for this opportunity and all your shown support…
Introduce a bit of Ironsword’s history for those who don’t know it yet.
I hope it will clear up everyone in just a few lines, oh well, let’s try… Ironsword is a power Metal band formed more or less in late ’94, and it’s completely inspired by old Metal 80’s bands like Manilla Road, Manowar, Saxon, Maiden, Priest, Running Wild, etc. It was supposed to start in early’89 under a different name, with line-up etc., but it took me all this time to recover, and put myself on the right track again. In between I have played in other bands, which helped to delay the real beginning of Ironsword. I am the only member, I released in late ’95 a 3 song promo tape that received good feedback… that’s basically the history of Ironsword so far, so there is not much to tell!
So, Ironsword is a one-man band. Don’t you find that it’s quite difficult to be the one who handles all the instruments? Why do Ironsword is a one-man band? Do you try to make it that way or planning to get some new members soon? I think chances of playing live are rather slim too for a one-man band.
Not only I’m the one who handles all the instruments, but the mail, interviews, photos, designs, etc as well, and it’s pretty hard sometimes when you get overloaded and quite often there’s no spare time left. But anyway, I love what I’m doing, it’s a very old dream of mine that came true, there is no one interfering my ideas, projects, slowing me down or whatever, everything is under control, you know. It may sound a bit selfish of me but I don’t feel it’s necessary at the very moment adding more musicians to Ironsword because since the beginning it was made to retain as a one-man band. Sure it would be great to have a stable line-up to do some gigs or maybe a tour but if it will ever happen, everything must develop naturally, and besides it would have to be a big event with lots of cool pyrotechnical effects etc. and for that you need money and to be at least well known. Sometimes I think of that possibility, and it’s a question I always have to face during interviews, with friends, family etc. Maybe one day my stubbornness will have no basis…
In this era of the ‘awakening of black Metal’, it’s quite refreshing to hear a band that plays a different concept. So Tann, why did you choose to play power Metal?
Ironsword means power, means Metal! I chose to play power Metal because I only like 80’s Metal in general. May it be hard rock, speed, thrash or black Metal. It’s in my vein, my spirit! Obviously if I would form a thrash or black Metal band myself it would sound totally different from you are used to hear from new bands. I can only play in the old style. You know I come from a very old-school Metal and these new bands I don’t find them exciting at all. I even don’t know what is black Metal nowadays because all bands seem to label as one, so…
You’ve started Ironsword for about 6 years before you finally unleashed the promotape to the public. Why did you take such a long time before you start promoting Ironsword?
As I’ve told you previously, Ironsword was supposed to start in ’89, but meanwhile I joined other bands for reasons I felt it were right back then. Only in late ’94 I decided to move forward, and a year later I released the promo, and begin with the promotion etc. but since I’m alone taking care of the band, it’s always difficult to follow a certain timing, you know. A lot of things get delayed, sometimes you have to choose between an interview or a song you’re composing and I simply cannot do both things at the same time. Well, afterall it is my quest, I will not give up no matter what…
You claimed that Ironsword plays Lusitanian Metal, what is it, really?
“Lusitanian” literally means the inhabitants, tribes of pre-Celtic origin which lived in Portugal, formerly known as Lusitania, in the Iron Age period. They were known as the Lusitanians. Some people still use this word to describe something mythological, immemorial, epic… so it makes sense to label my music as pagan power Metal or just Lusitanian Metal, since I come from Portugal, I was the first as well to come up with this label even when I was playing in other bands and everything in Ironsword is connected with this side of Portuguese historical background.
What about your lyrics then?
As I was telling you in the previous question, everything in the band, may it be image, lyrics, music etc. is connected with Lusitania and its people. My lyrics deal with its mythology, legends, heroic deeds, battles, swords and magic, ancient rites etc., basically it deals with Paganism, but I guess viewpointed in another direction than most band usually do. My lyrics contain a lot of forgotten honourable values and principles from the elder times. I personally think that the lyrics are a complement of the song itself and vice-versa. Hmm… I don’t need any special occasions to write lyrics or music, usually it happens naturally, it flows when I’m inspired, no matter how and when, but sometimes I can be completely blocked as well!This is an excerpt from your promo booklet, “I behold from the mountains the thousand hoisted banners from countless pagan hordes, prepared to fight and die against the world, spouting their ‘true’ words of death, evil and destruction… ironically, these mortals have been clouding each other only…”. Hmmm…
When I wrote that, I wanted that people would have their own opinion after reading that sentence, to judge for themselves. I know the truth behind, I know what it means for me, and I can assure you that it has a lot of meaning, you can apply for example for music, for people’s mentality and behavior etc. It was just opening my heart…
I think you take your national culture seriously, Tann. What is the connection between your eternal belief and your songs?
I’ve been studying for quite a while the past of my national culture, and it makes me very proud to know the glorious history of my pagan forefathers, it’s something of high interest I consider very important because I do feel personally linked with that period of history, I’m still Lusitanian though blood and soil. It’s like if I belonged to that period. The band is just a way to express the knowledge, to put me closer to this matter. Unfortunately, nowadays people don’t care for old values, for their own history etc. They care more for materialism than knowing more about their lives, their history.
Your influences comprise of old Metal bands like Manowar, Bathory, etc. Don’t you have any new ones which you liked the music? What do you think about the extreme Metal scene of today compared to the early days?
I just like what I feel that is good music, so that’s why I only like 80’s Metal bands mostly! Besides, I like classical music, especially Wagner. Of course I like as well some new bands, those which I’m in contact with, friends of mine, like Cruachan, In The Woods…, etc. Well, they know who they are, so I don’t need to tell the interviews. Hail and Kill to all of you in case you read this! As for the other questions you made, I guess you can compare the musical evolution and progress with other expressions of art. Since we are heading to a position that soon there will be nothing left to invent, while some bands follow the trends, others have to search for new things to sound original for how strange it may seem for your ears, so that’s why the whole thing is becoming so senseless. There’s no Rock n’ Roll spirit anymore! Just pure materialism, music for profit etc.!
“Ironsword music is full of strong feelings and atmosphere.” What are the feelings you’re talking about?
Longing for my homeland, for a noble life with honour, glory and pride, battles fought for freedom, to be one with nature etc. Those are the feelings I’m talking about.
Some people confine to the thought that says by singing in their own language will give some extra plus points. So why don’t you sing in your own mother tongue, Tann? Do you agree with such opinion like above?
To tell you the truth, I’ve thought of that previously, but I realized that people would not understand the lyrics and what I was singing, except maybe for Portuguese people that are familiar with. I agree it may give more atmosphere if you sing in your mother tongue, making it more mysterious, mystical, ancient etc. but on the other hand there’s always the problem that only a few could understand and it can cause lack of interest before others. I think anyone can do whatever he wants! Perhaps I will do in the future a couple of lyrics in Portuguese or Latin, but nothing’s sure yet. We shall see if it works!
Any upcoming releases from Ironsword soon? Is the demo “Power Metal Thunder” had been released?
The demo “Power Metal Thunder” will hopefully be released in a couple of months, as well as a new promotape “Get What You Deserve!” filled with covers from Saxon, Judas Priest, Manowar, Anvil and a lot more heavy Metal bands. Besides that, I’m still negotiating with the German label N.E.P for the release of the first album, hopefully still this year, so I’ll be pretty busy as you can see…
What about some poetic words a s a closing for this interview?
Well, I’m listening to Virgin Steele, honestly I don’t feel too inspired to write poetry, but I can write something like “Hard n’ Heavy on Metal, Raise the fist of the Metal child, Iron, leather and Metal is the law, Under the sign of Metal we fight!”. Hail and Kill!

http://www.myspace.com/officialironsword

RECIDIVIST "Peaceful Of Doom"

2009-05-08T10:25:00.002+08:00

RECIDIVIST “Peaceful Of Doom”
Death Metal on the offering, and Recidivist does it the old-school way. No ultrafast blastbeat, no dizzying fretboard shredding, there ‘re only feelgood old-school death Metal here. Wait, did I just mention ‘feelgood’? Do such words accepted within the death Metal vocab? But then , that’s the word instantly emerged listening to this “Peaceful of Doom”. It’s not happy-sounding death Metal, no; but it ain’t that evil too. That’s right. Everything is predetermined here, no way surprises. That is what you should get from them. They’ve released a mini-album prior to this, my guess is this is the way they sounded too. You see, Recidivist confine themselves in that safe zone of traditional death Metal, and I won’t see them ever going out from there anytime soon. You know what to expect then. If I’m not mistaken, this recording (a live studio session I think) is being given free to anyone interested. Contact the band.
has79run@yahoo.com

SAMARTARY "Kebangkitan"

2009-05-08T10:13:00.001+08:00

SAMARTARY “Kebangkitan” (Wira Athotorgh Production)
“Thrash Kemelayuan” is their own description of their sound, and who could blame them for claiming as such. This is as rusty a Malaysian thrash Metal can get, and there should be more than once occasion that you’ll be reminded of the Malaysian thrash godfathers Black Fire upon listening to “Kebangkitan”. The similarities are there, totally barenaked; and transparent enough for everyone to see.Summing it all up, this is thrash Metal the Malaysian way, comfortably draped in mid-pace throughout most of the proceeding; and if you’re familiar with Malaysian rock and heavy Metal scene of the late ‘80’s and early ‘09’s, this one reeks of it, so pungent that suggest it is the band’s intention of showing it. But hey, I traced some old Greek black Metal-influenced riffs here too. On a more personal level, I do wish that the band produce more of those faster passages though. And on the last song, I can’t help but noticing that the vocals seems like playing catching-up with the rest of the instruments. A well-balanced minimal production though, no need to be grumpy on that. Now, Malaysian thrash Metal, anyone?
www.myspace.com/samartary99
http://amp.channelv.com/samartary

Interview with MANIAC BUTCHER in Issue#2, 1997

2009-05-07T18:02:00.005+08:00

Self-proclaimed the only true kings of Czech black Metal, but who could blame them? The duo Barbarud Hrom and Vlad Blasphemer had, from their early years right up until 2002, delivered what they know best: fucking raw black Metal with no compromises. Splitting-up for the reason of getting disgusted with the current black Metal scene, you should know what to expect from them. Barbarud Hrom was summoned…

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Vomit some blasphemous introduction to all the readers…
Hell-o! Here’s Barbarud Hrom, singer of Maniac Butcher and Dark Storm and owner of PUSSY GOD RECORDS.
Suddenly, “Barbarians” CD was released in Nov ’95 and Maniac Butcher is carving a name in the black Metal scene. Does Maniac Butcher personally satisfied with this release and how’s the reaction from the Metal scene?
We are very satisfied with our debut and also the major parts of listeners, because sells are very good and also reactions were very positive.
Maniac Butcher’s sound is almost similar to the Scandinavian bands. What is your comment about this and does Maniac Butcher is really influenced by the Scandinavians? Don’t you ever wish to be a so-called ‘original’ band?
We don’t see original to use many instruments (like flute, violin, cymbals) or to do some mixture of more styles. We believe in true METAL sound – one male vocals, two guitars, bass and drums – nothing more!
“Lucan-Antikrist” was released in Sept ’96. From my point of view, the difference between “Lucan…” and “Barbarians” is only in the production. They’re basically in the same vein.
We love our style, so there’s no reason to change it. We tried only to do darker riffs and of course, production is much better than the debut.
On “Barbarians”, the lyrics dealt with pure antichristianity whilst on “Lucan…” it is about the Lucans (correct me if I’m wrong). So what made you change the topics, Barbarud?
I think the main topic is the same. Because the lyrics of the second album tell the story about bloody fight of Lucans against Christians.

Could you tell us more about the ‘Lucans’?
Lucans were our paganic ancestors, cruel barbaric warriors, eternal adversaries of Christianity. Zatec (our town) was the centre of their mighty empire (8th-12th century). Their blood is in our veins. We are true sons of them.
Lots of black Metal bands nowadays are using keyboards and female vocals. Doesn’t Maniac Butcher plans on doing so?
No!! If you take any primitive slow guitar riff and join some keyboards line, it will sound each time ‘well’. It is easy and the most of bands do it by this way… but we don’t like it!! The forever best hordes Mayhem, Darkthrone and Immortal didn’t need some fucking keyboards too!! I remember ancient times when it was a shame to use keyboards in Metal.
Maniac Butcher sings in Czech language. Do you think by singing in your own mother tongue, it fits the songs better?
Maybe… and maybe it can sound interestingly in black Metal scene. From the beginning (’92) we use Czech language. “Lucan…” is written in old Czech language (language of Lucans) – so, it can be interesting also for Czech listeners. By the way, English translation are written on the CD booklet too.
Since that you’re singing in Czech, why don’t you name the band in Czech too?
Ha – it is a very often question… The name “Maniac Butcher” is much older than the real band (it is from ’88-’89). Well, it is in English, and it is not ‘suitable’ for today’s black Metal hordes… but we have strong relation to it and we will never change it!! If we would translate it to Czech – “Sileni Reznik”, I’m very sure that very few people will be able to write it without mistakes and no one would remember it…
You and Vlad are also in the band Dark Storm. Both of you are also doing another band called Nhaavah. For what reason that you decided to form these other bands beside Maniac Butcher? Is there any differences between these three bands?
Nhaavah is only a studio project. We’d like to use bass and drum-machine for ultrafast passages. But in this time we have no free money and time to record it. Dark Storm is a real band with four members. I sing there (as in Maniac Butcher), Vlad plays drums in Dark Storm but guitars in Maniac Butcher! Both bands play quite similar music, but 90% of Maniac Butcher music is written by Vlad and Dark Storm music is written by Martin Desecrator and C.O.F.E.E. Dark Storm music is more primitive and lyrics are in English. By the way, debut CD “Four Lucan Emperors” is out from Nov ’96!!
What about the Czech Metal scene right now. Before this, I only knew of Master’s Hammer and Root. Any other ‘bohemian horns’ that is great in your opinion? Will Bohemian bands take the black Metal scene by storm once again?
I don’t think so… because there is too many hordes in other countries. We must fight very hard for good position in the world black Metal scene. From the other Czech hordes I would recommend you only two names, Unclean and Sorath. There is also several young bands. But the most of them are only bad copies of famous hordes, without any own philosophy (stolen riffs etc.).
Lots of black Metal bands are despising each other by accusing words like ‘trends’ and ‘false’ between them. What do you think differentiate the ‘true’ from the ‘false’? Do you ever give a damn about this situation?
One year ago, I thought that 99% of all bands are true people which love their music. But if I see some new Czech bands, I must change my opinion. What do you think about, when some Czech bands have lyrics in Norwegian, sings about the Vikings, and use photos with plastic Viking helmets and wooden axes on the cover…! Also one other band stole my own lyrics “The End of Messiah”. They changed only several words… their version is called “The End of Christ”. I think it is real hard to say ‘true’ about these hordes.

You set up your own record label, PUSSY GOD RECORDS. Tell us more about it and what are you planning to release in the future?
My forthcoming releases: CD of Unclean “Ten, co sevyhyba svetla” March ’97, CD of Sorath “Gnosis” May ’97, 3rd CD of Maniac Butcher “Krvestreb”, EP of Nazgul (summer/autumn ’97) and 2nd CD or MCD of Dark Storm (till the end of ’97).
You seem to have some problem finding a suitable second guitarist. Is this problem been settled now?
Yes, from May ’96 Lord Uncleans (Pan Necistych) is our new member. He leads his own studio band Unclean. We have known them for a very long time – he is a good friend and honest man… and of course- very good guitarist.
On the first CD, the cover depicts the bandmembers riding horses, second CD depicts you with a sword and of course, riding a horse too. So what are you trying to portray from the covers?
I think that three things – cover, title and lyrics should have common concept. So “Barbarians” means warriors on horses, “Lucan…” means warriors and horses too. Moreover, many bands use ‘war-painted’ photos on the cover, but horses are unique in my opinion. New album will be called “Krvestreb”. It is a name of mighty falcon in old Czech language. It is a symbol of power, freedom, fight against Christianity. It will be again something common with the Lucans. But I’m not sure if we will use again the horses on the cover…
Anything that we can expect from Maniac Butcher soon?
Instead of a new album, we would like to make two videos for songs “Zatecky Hrad” and “Postledni Bitva” from “Lucan…” soon. We only wait for better weather. Now it is too cold and snow is everywhere. We will make it on one castle-ruin and we don’t want to make it in snow. Many people would say that we copy Norwegian hordes, if we would make it in snow. It seems only Norwegian bands can use war-paints or snow, only Norwegian bands can play black Metal. All bands from Norway are true, all the rest are false trenders…?? Sorry, I don’t think so!!
If there’s anything else to be said, devour it now.
I’d like to give my dark greetings to all my Malaysian friends. Thanks for the support!! Death or Die!! Black or Bye – Forever!!

www.maniacbutcher.com

Interview with CALLENISH CIRCLE in Issue#2, 1997

2009-05-07T11:39:00.006+08:00

Some of the really excellent death doom bands could be found in Holland, names like Celestial Season, Orphanage, Officium Triste, The Gathering, and the likes have; in certain points of their careers, released such unforgettable opus to a genre that is bludgeoned with sadness and desperation. Callenish Circle, especially during their demo and 1st album period, delivers just the right death-dooming splendour manufactured proudly in Holland. Years after they’ve evolved to be more of a melodic death Metal bands, that doomy approaches are being left further behind. Calling it quit in 2007, those doomish years are what to be the most memorable ones in my Callenish Circle-experiences. Interview with Patrick Savelkoul, the vocalist.

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Some brief introduction of the band please…
Well, Callenish Circle was formed back in 1992 under our former monicker Genocide. In the beginning of 1994 we got a steady line-up and we planned to record a demo-tape in 1995. Finally in May 1995 we entered the Beaufort Studio to record our debut-tape entitled “Lovelorn”. This demo got a really overwhelming response from the underground scene. It was voted to be best ‘Demo of the Month” in Dutch major magazine Aardschock and it even reached a 3rd position in Aardschock’s yearcharts. Furthermore established magazines like Rockhard, Mindview, Grindzone, Metallian and Decibel Storm were really positive about the first effort. Besides Callenish Circle appeared in on tons of compilation-tapes and on two compilation cds. With the demo Callenish Circle already got a settled name in the international underground scene. With the success of the “Lovelorn” demo also record companies started showing interest and finally in January 1996 we decided to sign with the Dutch Metal label HAMMERHEART RECORDS for the release of one album. In April 1996 we entered the Beaufort studio again where we recorded our debut album “Drift of Empathy” under supervision of wellknown producer Hans Swagerman sr. (who is known for his work with a lot of Dutch bands like The Gathering “Always” and Phlebotomized). The “Drift of Empathy” CD contains nine tracks with a playing time of 50 minutes.

Let’s talk about your demo first. What’s your opinion about it? I noticed that the lyrics dealt with personal emotions or something like that, am I right? And the song “Lovelorn”, is it dedicated to someone? Any specialities of this song as it is also the title of the demo?
Well we are still very satisfied with our “Lovelorn” demo. The sound is good and it also has a very professional inlay. Besides the tape got some really good response from the scene and that’s what counts. Yes, the lyrics of our songs deal mostly about human emotions like sadness, psychotic problems and subjects like that. No, the song “Lovelorn” isn’t dedicated to a particular person like most of our lyrics don’t reflect reality. The lyrics are just topic we like to talk about, no more and no less.
Now that you have released your first CD “Drift of Empathy”; so what differentiate this CD from the demo?
The sound of the CD is better. Talking about the new material… I think the new songs are more well thought and maybe a little bit more technical, but the music is still in the same direction as the demo tracks. We like to describe our music as ‘various and melodic death/thrash with a doomy touch’.
You recorded both your demo and CD at Beaufort Studio. Why did you choose this studio and also Hans Swagerman as the producer?
We were very satisfied with the sound of our “Lovelorn” demo that’s why we decided to return to the Beaufort studio. Before we recorded the demo we checked out the sound of several studios and we thought that Beaufort studio was the best option for our music.
The CD was released on HAMMERHEART RECORDS. What made you chose this label and how’s the deal?
You must know we didn’t send the demo to labels for a deal. We released the demo to spread our name and to see how the scene reacted towards our music. But we did sent the demo to some labels/distros for a possible distribution and that’s how HAMMERHEART RECORDS got interested. We talked a few times with them and finally we decided to sign with them for one CD. There was some interest from other labels but that didn’t become really concrete and that’s why we chose to sign with HAMMERHEART.
You’re using piano on “Slough of Despond”. Is additional instruments play a big part in Callenish Circle’s songs? Don’t you think that by adding a lot of additional instruments might loosening the aggression of what is classified as “Metal” music?
No, not really because we ain’t having a permanent keyboard player in our band. Right now we are looking for a permanent keyboard player but they are very hard to find in our area so probably we will stay as a 5-piece in the future. On the CD we have a few little keyboard parts but it’s mostly additional and on the background so we still are able to play these songs live without losing the identity of the songs. I think you should try to find a good balance between the raw and aggressive side of Metal music and the additional instruments on the other side if you want to use them more frequently. In Callenish Circle we only use some keyboard parts when we think it can add something to parts in our songs and not because we want to have keys in our music, so we use keyboard only in a functional way and not as a priority instrument if you understand what I mean. Besides we compose our songs only with drums, guitars and bass so you can say Callenish Circle is a guitar-orientated band.
Your demo received quite a good response in the worldwide underground scene. Did you expect this, and what how do you feel about this?
No, not at all… when we planned to record the demo we only wanted to spread our name and to see how people reacted towards our music. So we certainly didn’t expect this huge response… of course we are very thankful to all these people who have helped us so far by supporting Callenish Circle. I hope we will always be able to give them even better music in return in future times. So thanks to you all, you know who you are!!!
What do you play your music for? Are you playing for your self-satisfaction or just to attract listeners ? Do you take your music as your way to earn a living?
There are two reasons why I play in Callenish Circle. The first reason is because I like this kind of music and I also listen to it at home. You see; what can be more fun than playing the music you also like to listen to at home. The second reason is to attract listeners and to get the recognition for what you are working for. I mean it really gives a kick when people in, let’s say Malaysia like your music or when you are featured in magazines with interviews or good reviews. With this you won’t forget why you are spending so much time in the band.
Lots of bands are singing in their native language right now. Ever thought of doing so?
Yes, I also noticed that more and more bands are singing in their own language. Right now I don’t feel much for doing this. I don’t know why, it just doesn’t attract me but maybe in the future we will create a song in our own language… who knows???
What do you think about the development in the Metal scene nowadays. I mean lots of bands are trying to make their own sound. Does Callenish Circle belongs to this ‘circle’ or staying intact to the ‘originators’?
I’m aware that Callenish Circle isn’t playing 100% original music. You see we like to describe our music as various and melodic death/thrash with a doomy touch and all the elements in this description are already existing. But of course we are trying to create our own sound and not to copy other bands. You see we are constantly trying to develop our music in a way that people will recognize it’s Callenish Circle when they hear our music. We are trying to create a very own identity for Callenish Circle but to reach this goal for 100% it takes a long time I guess but we are working on it very hard!! I wonder why Callenish Circle is very fond of the colour blue. Any special reason(s)?
No! We just like this colour and we think it fits good to the music we play. It’s a mystical colour like the colour red can be referred to aggression. The inlay of our demo was in blue and also our flyers are printed in blue. The colour of our album is a combination of the colours purple and blue… I think we just like it this way.
What about the Holland scene right now. Isn’t it too over-crowded with lots of doom-orientated bands.
You are right that the Dutch scene contains a lot of bands but I don’t agree with you that they are all playing in the same doom/death Metal style. We have a lot of talented bands and their style are really varied. For example bands like Sinister, Nembrionic, Consolation and Altar are playing really brutal death/grind. Bands like Orphanage, Celestial Season, Phlebotomized and some more have doom influences and bands like Threnody, Polluted Inheritance and Creepmime are playing progressive death Metal. But I think they all sound really different from each other although they might play in the same overall style. So I think most of the Dutch bands try to create their own sound. But there is one strange thing in the Dutch scene. Now in a time when black Metal really dominates the scene there are almost no black Metal bands around that are worth mentioning, only Liar of Golgotha and Countess are bands that people might have heard about. I think this is on the one side really strange but on the other side it proves that the Dutch musicians aren’t blind trend followers. That deserves also some respect I think.
I noticed that most demo-tapes from your country comes in a really nice packaging and excellent sound quality. Is the costs really cheap there or is there any other reasons?
No, it’s not really cheap to produce a professional demo tape here. I think it’s even more expensive compared to other countries. I don’t know why most of the bands want to release their demo in a professional way. Maybe because the scene in Holland already exists for a long time and it contains a lot of bands. So when there are a lot of bands in such a small country you should try to your very best concerning your product otherwise people won’t be interested as there are many more bands with quality demos to choose from.
OK, is there any new bands that you think stands apart from the others? What is your current playlist for the time being?
I always discover new bands that attract my attention and I think Sirrah (Poland) is really an excellent newcomer. I already know them from the time they had their “Acme” album out on cassette only. MUSIC FOR NATION now signed the band and re-released that album on CD. I hope they will be able to release another great CD like “Acme” and they will develop more and more. Maybe the new stars in the future…??? Also Endless (Czech) is a really promising band. They are only in their demo-period but when I had a label I would sign them immediately cause they really are able to create very good music. Of course there are more bands that are promising and also here in Holland but these two are my favourites at this time!
Do you know something about the Metal scene here in Malaysia?
No, unfortunately I haven’t heard bands from Malaysia that kept in my mind but I am in contact with some magazine-editors from your country. We really often receive mails from your country and that’s cool!!!
Before we end this interview, what can we expect of Callenish Circle in the near future and any last words for the readers?
Right now we are working on new materials for future releases. But don’t expect a new release very soon as we wil take all the time needed to compose the new songs and be sure they will be killing. The new material will be more melodic and most important of all more wellthought than the songs we wrote before. Besides we try to play as many live-gigs as possible to promote the album in a proper way… To the readers I would like to say check out our music. Thanks for reading this and take care!

www.callenish-circle.com

Interview with EVOL in Issue#2, 1997

2009-05-06T14:35:00.006+08:00

EVOL is one fascinating black Metal band. Obviously not your usual blasphemies Metal of the blacker kind, their atmospheric black Metal are not to be ignored. What's more interesting is their uncompromised single-mindedness in their quest for the glorification of evil, albeit with hymns that are actually more inclined towards the milder, softer kind. Intended for the first issue (and guided only by their first demo), this one appears in the second nevertheless. And though the band has completed its cycle, don't miss out on any of their releases if you have the chance. Questions answered by Prince of Agony.
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How’s your life there, unholy Prince of Agony?
Quite busy: mail, band, study, and work! Anyway, there are always problems in living in a world dominated by the damn follower of light. We are ruled by ignorant people, so it is difficult for a Guide to carry on in all this mess!
One compulsory ‘boring’ question. Tell us a brief history of the dark orchestra, namely Evol!
I formed Evol, during the first month of 1993 and I was joined by Lord of Sorrow and Princess of Disease. We started to work on our common Faith and we released at the end of 1993 our first demo “The Tale of The Horned King”. Then, in 1994 we made a deal with the Italian label MAGGOT PRODUCTIONS, which produced our second demo “The Dark Dreamquest Part 1”. In 1995 ADIPOCERE RECORDS, being impressed by our demos, produce our debut-CD, “The Saga of The Horned King” and in 1996 the same French label released our second CD, “Dreamquest”.
That’s brief enough. So what is the concept of Evol’s symphonies, it’s quite original from my point of view.
Well, we believe that black Metal is not a fixed musical kind, but it can varies from band to band. You can listen to very fast and aggressive black Metal bands, such as Immortal or you can find more melodic acts such as Evol. We play very atmospheric music, inspired by our Dark Essences.
Don’t you find it a bit unusual as one of your permanent band members (Princess of Disease) is a female?
There is nothing strange in this. Princess of Disease (female vox) shares with us our common Faith in the Black Principle of Existence, so she is a fundamental part of Evol; absolutely.
Your first demo “The Tale of The Horned King” really approves Evol’s existence in the realm of black Metal. Could you tell us more about it? The cover is quite mysterious and I’m sure it has some special meanings.
“The Tale of The Horned King” is our first demo and it is self-produced and self-distributed. Now it is nearly sold out (about 500 copies). The recording is quite good, but it is a shit compared to our Cds. The cover we used for that demo is a medieval painting. It shows the presence of the Devil during a war. In the distance you can see a burning town. It is linked to the lyrics of the title track “The Return of The Horned King”.
As a black Metal band (and a good one!), could you tell us more about your belief?
First of all, I’m a follower of the Black Principle, Source of Darkness and Forger of the Black Souls. Satan is a manifestation of the Black Principle in a certain age and so I’m also a Satanist.
Do all black Metal lyrics have to deal with Satanism and what is your opinion on bands who sings about other themes? What about Evol?
Black Metal is a very effective mean to express the Cult of Darkness. Not every black Metal band must sing about Satan, but every black Metal band SHOULD sing about Darkness. Concerning Evol, we sing the glory of the Black Principle and of all His manifestations.

Have you heard of any stuffs from Malaysian and Singaporean bands?
Sorry but I’ve never listened to any bands from those countries. However I know that Black Brothers live in those places. I’ve seen some flyers. Hail to them!
Evol. Is there any special meaning or just an anagram of the word ‘Love’?
Evol represents the Black Principle of Existence, opposed to the other Principle, Love, Source of Light. We are the followers of Darkness and we are opposed to the followers of Light.
How Does Evol compose their dark, unique and blasphemous symphonies?
Guitar parts are proposed by Lord of Sorrow and then we arrange all the other instruments and I adapt the lyrics. Regarding the synth parts, I write them at home and then I record them in studio.
Any new releases or merchandise from Evol?
Evol merchandise (cds and in future t-shirts and long sleeves) should be available from ADIPOCERE RECORDS. Our newest release is the full length CD “Dreamquest”, based on the tale of H.P. Lovecraft’s “Dreamquest of the Unknown Kadath” and the mythology of the Necronomicon. It is composed by 13 songs, some of them more atmospheric some other more aggressive. It is a praise to Cosmic Darkness and to the Guides, which wander in the Dreamland, searching the forgotten Truth and Black Deities.
Have you ever burn churches, killing people or something related? Hehe. Do you support such act?
Well, you’re quite direct, aren’t you? If I’d ever make some of the acts you said, I will never confess them in public (I would be stupid then!). Anyway, I support those kind of violent acts, fighting against light and its followers.
Any special messages to the readers of RANDOM?
All the Black Brothers should listen to our music. With it, we try to establish a link between us and them, in order to survive in a world dominated by light and ignorant people, waiting the time of our revenge.
Closing speech?
Hail Darkness, Hail evil, Hail Victory!!! D.U.N is the Law!

http://www.evol.de.vu/

Interview with ANGELCORPSE in Issue#2, 1997

2009-05-05T16:24:00.006+08:00

Metal of Extermination at its finest. May all the glory forever be remembered upon the ashes of Angelcorpse. Further reincarnations and fragments should be found in the likes of REVENGE, FELDGRAU, APOCALYPSE COMMAND, BLASPHEMIC CRUELTY, among others. A chat with Gene Palubicki, and back then I need nothing else than the utterly raw, classic, legendary “Goats To Azazael” demo that this is a band to be heralded.

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Hail Gene! How does ANGELCORPSE going on there?
All is well here.
Tell us a bit about your latest release, that is the debut album “Hammer Of Gods”. How’s the response to it until now?
It was recorded on 26th July-5th August. It eclipses the earlier material in both sophistication and savagery. Most everyone I’m in contact with feels it is a very good album, some thinks it’s the most brutal and evil stuff they’ve heard in years. We don’t have sales figures or anything like that but it’s not important.
Very soon after releasing the debut demo you’re releasing “Hammer Of Gods”. Don’t you think it’s too soon to release an album? So what differentiates both of the releases?
Maybe in hindsight we should’ve waited maybe another six months or so but it’s all history now. The obvious difference between the demo and album is production. The demo was done on a 4-track while the album in a 24-track studio. OSMOSE signed Angelcorpse immediately after the releasing of the demo. What do you think the ‘pushing’ factor for their decision? Your earlier reputation maybe? Are they treating Angelcorpse well enough?
Herve from OSMOSE heard our stuff and was truly impressed with our songs. He immediately sent a contract to us. We agreed with it and here we are. Angelcorpse had no earlier reputation except for the fact that our bassist/vocalist sang in the band Order From Chaos which incidentally Osmose refused all Order From Chaos material in the past. Osmose is a great label that does the real work that a label should do. We have no problems except minor things with communication and such.
You claim to play ‘Metal of Extermination’, so what do you really mean by that?
Tyrannical aural battery! Relentless sickening chaos and evil Metal fury!!
You obtained the drumming service of John Longstreth from the band Malicious Intent. Does he a permanent member of Angelcorpse now?
Yes, our drummer was formerly a member of the KC based Malicious Intent. He was the only drummer near us that could possibly do what we wanted. He originally started as a session member but is now full time in Angelcorpse.
I’m sorry but I have to know this. Why did Pete disbanded Order From Chaos? Don’t you think it’s such a shame to disband it?
Pete is the only person in Angelcorpse that played in Order From Chaos. This band has nothing to do with Order From Chaos. The reason they broke up was because the the guitar player of that band turned into an art fag. It is a shame that the band is gone but I really don’t think they had very much longer to go anyways.
So what’s the reason of forming Angelcorpse. Continuing the reputation of Order From Chaos? Any similarities between both bands?
Angelcorpse pays NO HOMAGE to anyone’s reputation, and aside from the sound of Pete’s vocals there is little or no comparison between the bands.
Don’t you aware of the risk by forming Angelcorpse, people will always compare it with Order From Chaos?
They can think what they want. There was no risk in forming Angelcorpse. Order From Chaos was a very simple band. Angelcorpse is much more demanding musically.
What about the lyrical concept of Angelcorpse. What does it deal with?
Vengeance, hatred, chaos and war, dark pleasures.
I’m really attracted with your logo. Tell me who’s taking care of the Angelcorpse artworks and how important is an artwork to Angelcorpse?
A friend of ours, Joe Craig, did our logo and various other designs that appear on our releases. We want the art we use to reflect what the band is about.
These days, almost every band is influenced, at least a bit; by black Metal. Does Angelcorpse too, affected by this?
Old albums from Sodom, Hellhammer or the first couple of Bathory albums were definitive ‘black Metal’. Pure disgusting Metal with abominable lyrics. That stuff is truly an influence in Angelcorpse.
So how’s your three week European tour, supposedly with the likes of Vital Remains and Impaled Nazarene?
Actually it was with the Swedish Gehennah and Impaled Nazarene. It was great, and many people after the shows were unable to fully express how blown away they were. We were unquestionably the most brutal band on the tour.
Lately, people are not that much interested with US bands. It seems that scene there is not that exciting anymore, moreover with lots of ‘clone’ bands sprouting up. Your opinion about this?
I think that here in America, as well as Europe and elsewhere, there are so many bands that people are actually hearing about and buying album from that are total shit. I mean, what’s the reasoning of putting out a CD of a band that cannot play and say that it is brutal and evil. The definition of what is truly good is lost, and all the shit bands mask their inferiority by using terms like ambience or atmosphere. To me it sounds like fucked up practice amps. Bands that cannot play should not be supported.
Brief us something about your next release, that is the “Iron, Blood, Blasphemy” MCD?
Actually, we are going to do another full length album and then the “Iron, Blood, Blasphemy” will follow. Hails to the warriors who truly fight in this world!!!!!

http://come.to/angelcorpse

Interview with IMPIETY in Issue#2, 1997

2009-05-05T11:10:00.007+08:00

Interview with Shyaithan in 1997. IMPIETY: no words needed. Asian and Arrogant, with enough ammos to prove it right.

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Hello Shyaithan. Some welcoming words would be nice to start it all.
Hail SEX AND SATAN!
You’ve just released your cassette EP “Funeralight…” on your own and distributed by ULTRA HINGAX PRODUCTIONS here (Malaysia). So, how’s the response for it and how do you judge its outcome? It’s pretty different from the album “Asateerul Awaleen”, and it should be clearer if you tell us the differences of those releases. A ‘new’ IMPIETY maybe?
We are satisfied with the overall production of the “Funeralight…” mini-album. In our opinion it is definitely much better than the 1st album “Asateerul Awaleen” in which the sound sucks. This time for the mini-album, we spent more time in the studios and also the vocals see a change as I have decided not to use any other fucking effect… I now choose to sing raw, just like “Salve The Goat…” 7” single back in ’93.
Your lyrics title are very ‘exotic’ to me. How do you manage to write those kind of lyrics and what does it all mainly about?
All from my demented brain, don’t ask me how but things just pop out. Yes, all the song writing for “Funeralight…” was done by me, so were the grim lyrics. The lyrics IMPIETY preaches, deal mainly with, Total fuckin’ AntiChristianity, total destruction, perversion, chaos, terrorism, barbarism, satanic war, sodomies, Lord Satan fucking all the Angels…etc,etc… that kind of stuff.
The new logo was designed by Christophe Szpajdel, so how did you manage to work with this great guy?
Christophe Szpajdel wrote us before the first album was released and offered to design for us a new logo… yeah, he fuckin’ rules and many hails to this diabolical hell-art master!
You recorded the “Funeralight…” EP at “The Battledrome”. Why don’t you record it at “The Blessed Womb Of Leftness” like your previous release or is it the same place?
Basically the same place but I decided it was best to put “The Battledrome” down in the cassette sleeve as some assholes apparently used the same name.
Watching your live show at the Rock World Lasertheque not so long ago, I can say that IMPIETY got a very good support from the crowd. I would like to know your words about that show and how was it since it is the first time ever to play in Malaysia?
Well, being a debut assault, I could say it was OK, but all of us felt as if more could have been done to make it more lively… in any case, the monitor speaker for the great Belphedeus (lead guitars) gave him hell and so, many solos were not executed. All in all, it is still an achievement for us. The fans must have been disappointed to see us without the paint… frankly speaking, too many fucking new untalented black Metal bands on the planet are exploiting it… so now we choose to have our own original style. But hail the fans at Penang, they fuckin’ rule!
I witnessed that there’s no Iblyss and Hanael in the line-up of that day. So what’s the reason of their absentees? I’ve rumours that you have some dispute with the great Iblyss.
Iblyss has been proudly kicked-out… Hanael was just a session for the “Funeralight…”, only for that we thank him, and Abyddos had to leave us as he was about to enter the National Service (Army)… so they do not prevail any longer with me. Again about that gig. The drummer is from the hard-core band STOMPIN’ GROUND. So, what do you think of hard-core band members play in a black Metal band? Doesn’t this against the principle of a black Metal band?
The history of Falmi (Ayong) goes back to ’88 when he formed STOMPIN’ GROUND… hard-core no doubt but also he formed the legendary death Metal band MUTATION in ’89. He played for another local death Metal band LEVIATHAN when MUTATION ceased in ’92… All in all, he has played/and still is playing for one hard-core band and has played in more than five local death Metal bands prior to IMPIETY. He can be considered a veteran and expert in his own field. In any case, why should this affect our principles? A guitarist/drummer who can only play black Metal riffs/strokes is a FUCKED UP MUSICIAN. As musicians, we must listen to all sorts of music like thrash, speed Metal, death Metal, rock, classical, jazz, etc, etc… but of course this is just to enhance one’s musical talent. Only early aggressive speed/death/thrash/heavy Metal interest us from the very beginning until today. Black Metal means nothing to me anymore, it’s just another fuckin’ trend for kids to jump into. IMPIETY works with Wicked professionals, not fuckin’ losers who can’t even read notes… that is why you see too many kids/dickheads forming shit bands that produce shitty demos/releases. Our musicianship has improved throughout these so many years, despite changes which are made, for the better of the band. Also Falmi (Ayong) together with the other two ex-MUTATION band mates are all direct shareholders and running the great PULVERISED RECORDS.
I think that you’re not very fond of Anton La Vey and the Norwegian black Metal scene. Could you tell us exactly why?
No I am not… I don’t care about that bald fake bastard and his fuckin’ bullshit propaganda… I am more fond of ‘pukis’’. I long to eat Ning Baizura’s someday. The Norwegian scene is total shit, the Swedes are more superior in all aspects.
Seeing that cassette EP being released, I can’t help to wonder about this: do you still have some kind of deal with SHIVADARSHANA RECORDS?
Yeah, SHIVADARSHANA will release the mini-cd version of “Funeralight…” in a month’s time… include lyrics and the sound is much better than the cassette version.
I’ve also heard rumours that the new, fledgling label from Singapore PULVERISED RECORDS will release an IMPIETY mcd. Is this correct?
They wanted to, we nearly had the deal sealed but at the last minute, SHIVADARSHANA called them and me up and proposed to do it… so, for us it wasn’t much of a problem. We will stick to SHIVADARSHANA in the future, also there are three other major European labels still interested to sign us for another full-length album. We have no worries about labels now.
Looking at the current eastern black Metal scene, more and more bands are seeking for originality by displaying their own cultural heritage of magick, sorcerism, etc. But I don’t see IMPIETY in this particular move. Am I right? And what do you think about this phenomenon?
It’s not a phenomenon, it’s a fuckin’ joke… we have no interest in fuckin’ culture/heritage… only fuckin’ Terrorism, Desecration and pure fuckin’ AntiChristian hate… we are fuckin’ barbarians. Armageddon Awaits!
Is there any chance of IMPIETY slowing down the pace a bit? Don’t you ever think of playing, for example; more atmospheric or anything else?

Slowing down for us means wimping out… no, never! Expect us to be the same speed-demons after “Funeralight…” ha ha!
How high do you rank IMPIETY among all the other bands in the eastern Metal scene?
Well, our Terroristic AntiChristian Battlehordes of Blackness will answer this… I can’t answer such a question.
What is IMPIETY all about to you and what does IMPIETY stands for?
IMPIETY is IMPIETY… to me it is the blackest Hate Hell-force there is, that attacks, kills and finally extinguishes the ‘pukimak’ Christian light… The trouble with too many new black Metal bands, they are nothing but wimps who can’t stand up and fight, only know how to talk shit. IMPIETY means blasphemy, impiousness, desecration… all that is unholy!
Any blasphemous forthcoming plans and releases from IMPIETY?
Watch for the 2nd album late September, it will rule! Also in September, a debut Singapore assault show with four other local outfits, including ABHORER which will make their debut appearance on stage! A final Malaysian show around November is scheduled to take place.
These are the fiery sentences of Shyaithan to wrap things up.
Hails to you Shah, sorry for the short answers. A thousand Hails to the terrorists who stormed the stage we played at KL on March 2… you rule! It is time to see the end of Christianity… we and our terroristic Battle-hordes will be Hell’s final Victors.

www.mightyimpiety.com

Interview with AS SAHAR in Issue#1, 1996

2009-04-23T11:23:00.006+08:00

This one is pure nostalgic. It’s the very first ever interview I’ve initiated, and until these days I’m always proud of the fact that my consciousness those days resulted in the decision to choose AS SAHAR as the one to begin it all with. It’s not that exaggerating to call them as pioneers of what to be known as ‘Eastern black Metal’, spawning countless goatherds especially from the southeast Asian underground Metal scene. “Santau/Meditation Embun Pagi” will remains as the definite artifact and blueprint of eastern black Metal supremacy, not to be surpassed, ever. Take note that as this is my first interview, marked progression are to be encountered throughout the years. This is AS SAHAR in their most notorious and splendorous years, don’t let it skip through your memory!

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Well! I guess this band needs no introduction at all. They are one of the most promising black Metal bands ever unleashed from the scene. Formed in late ’87 they have progressed since that to become what they are today. I don’t want to bore you anymore, so let’s go straight to the interview!!!

Darkest gratitude to you! Who’s answering this interview and how’s your day?
As usual it’s One Barchiel Dukunnashiheir, - Infernal Warrior of The eastern Skies, answering on behalf of all As Saharians.. It’s been great today, ‘coz there’s not much work during the day. It’s been one whole day of journey beyond dreams where I encountered paradise – In sperma-spilt melodramatic ecstasy with some familiar faces and sighings…
What would be your opening chant?
Aaarrrggghhh!
Uriel has been playing with AS SAHAR since the early days. Could you tell us why he left the band?
Uriel had always wanted to lead a normal life as a married-man… This is even so even before “Meditation Embun Pagi” EP was recorded. We managed to make him stayed around for a while till that EP is released. Interference from his swined mother who accused us of restricting Uriel’s freedom (that is to go back on his religious paths and create a family) had got me fucking sick!! It is mainly because of his bastard mom that he left AS SAHAR… his dreams was to be a filial and obedient son!! Can you imagine, after a 7 and a half years stint with AS SAHAR, he left just like that… He’s a goddamned-fucken-weak-mortal-Moslem!!! We never blessed whatever he is doing now and I will personally find ways to destroy his family!
Is it true that one of you works as a police officer in the Singapore Police Force?
Yeah… it’s me. But don’t get me wrong, ‘coz I’m not full 100% part of the Police Force as I am actually into this uniform shit due to National Service. I’ve got something like 10 months more to serve this “freedom-ripped-off” shit… It’s really fucked up to do National Service, the work is so much while the pay is only sufficient for 2 weeks of expenditure. A lucky you Malaysians need not have to serve your government in this manner. In S’pore you can’t escape ‘coz if you do, you have to go to jail… I’m not a Jehovah Witness man, so I just have to obey this – 2 and a half years is nothing, really. Anyway, fuck the Singapore Government!!!
Why did you re-release the “Santau” EP with the title “Meditation Embun Pagi”?
“Santau” is a release of BLACKWINDS PRODUCTIONS. Malaysian – NEBIULA PRODUCTIONS bought the license for the Malaysian market from BLACKWINDS… As the cover on the BLACKWINDS edition was ‘stolen’ from a book, it has its copyrights. NEBIULA couldn’t use that illustration as it is a registered label, so we used that photo of forestic dawn for the NEBIULA’s edition. We have discussed and agreed that “Meditation Embun Pagi” suit the new cover rather than “Santau”.

What is the difference between your demo, “Primitively Eastern Winds” with your current stuff?

Not much, except that in “Meditation Embun Pagi/Santau”, the music is more matured structurally – highly melodical –aggressive and wrathful.
Your lyrics are quite different from other dark/black Metal bands. How do you get the source to write lyrics that’s so unique, mystique and dark?
I am basically influenced by the atmosphere – especially in the chill of the night where I witnessed the landscapic wondress brought by the occult. Also, I read a lot of Malay-ethnical sorcery texts and some references of Black Arts of Archipelago. My family heritage of Bugishianic occult knowledge and practices also helps in my lyrickal magick as I am directly instilled with such prowess…

What is your view and opinion about black Metal music? Is it all about Satanism, painted faces, etc?
It had to be evil and evil messages are expressed in different forms of black Metal styles – from chaotic to atmospheric. This however is actually a culture by its own. Well, VENOM started it all and we are continuing their tradition of spikes, leather, black suits, warfare accessories, chains, paints, etc.

Your music is not the usual black/dark stuff. Do you have any influences to make this kind of sound?
We cannot think of any particular bands ‘coz we have a wide range of playlists… When we idolized a band, we intend to create a similar music as that band… So, we never resort to that. I create music for AS SAHAR out of different moods in me – wrath, melancholy, psychic edge, romantic, freeze, wilderness, etc…
AS SAHAR… Such a great name. What does it really means?
The edge of the dark meeting the start of the bright – the peak of the occult – The Ultimatum. Such times defies categorization of day and it’s the best time to perform cruelties in magick.
Could you tell us more about BLACKWINDS PRODUCTIONS?
It’s a new record label here – a small one to cater bands within its interests. There will be a few releases of BLACKWINDS PRODUCTIONS in months to come.
How was your gig at the Hippodrome, Penang with NEBIRAS, SIL KHANNAZ and ATHOTORGH?
It was great, I think. I’ve always wanted to play in Malaysia and although we performed only 3 songs, I’m wholly satisfied. The Penang audience know what I want – no moshing so as to keep up the black Metal tradition and for that I’m grateful to them. The show was a complete one with fire-breathing holocurst, the traditional black Metal wear, corpse paint and the wrathful hymns of tahyulistic, ambience from AS SAHAR. What moved me was the fact that we managed to get to know NEBIRAS whom lots of Malaysians hate. I simply think this act is great – their new stuffs kills and they’re also aggressive on stage. The only two black Metal bands that day had managed to leave a concrete rememberance of our dark nature!
Future plans?
We have just recorded two tracks for the NEBIULA PRODUCTIONS compilation – scheduled for release in March ’96. We’ll start right away for 9 songs to be on our full-length CD. We’ve got a deal for that on a European label and it’ll only be released in February ’97, so there’s still a long way to go for our new CD, but I can assure you that it’ll be more agonizing and more atmosphere – orientated experience for all. Among the trax we’ll record for the CD are: “Fandeyian Okultika Hymnology”, “Tinggam”, “Nadayage”, “Phenomistik”, “Silumanial Dansacration”.
Well this is the end of this interview. Last ritual from AS SAHAR?
Thanks a lot Shah – great interview! Contact NEBIULA PRODUCTIONS for our merchandising… Well, that’s all, just rained your letters into our mailbox.

www.myspace.com/assaharkingdom

VORMIT "Life Is Your Enemy"

2009-04-22T10:18:00.001+08:00

VORMIT “Life Is Your Enemy” (Eastern Voice Productions)
Just one full listen is all that is needed to uncover the roots of this release: it’s NAPALM DEATH in their deathgrind era (“Mentally Murdered”, “Harmony Corruption”,et al, got it?). Though that is not surprising, VORMIT has been around for quite a while, and I’m sure there must be some demos released prior to this if my memory serves me right. As mentioned, “Life Is Your Enemy” is a nice homage to those years of NAPALM DEATH, nothing is being left out here. And as far as Sarawak’s deathgrind bands are concerned, I don’t see any other as accomplished as VORMIT at the moment. Just several hiccups though. This kind of record needs that powerful, to-the-front production for that full blown impact, a fact unfulfilled due to the production result seems to be somewhat muffled, and I’m not certain what causing this nor I can tolerate why the band agreed on it to be released. There must be something that could be done with it. And of course, some songs are being dragged a bit too long for its own good, distractions during listening are hard to avoid. Everything else is just enough methinks.
eastern_voiceprod@yahoo.com
www.myspace.com/vormit

Interview with DIMMU BORGIR in Issue#2, 1997

2009-04-21T13:48:00.006+08:00

Yez, people love to hate them these days. And I’m not going to delve further into that. To each his own. Obviously blown away by the magnificent opus “Stormblast” back then (and it’s still retaining its crown as one of the most exquisite presentation of moody, atmospheric, bombastic depressive melodic black Metal album ever, DON’T ARGUE on that), this is the interview with Silenoz in 1997. Shortly after, “Enthrone Darkness Triumphant” sweeps across the Metal scene around the globe, and the name DIMMU BORGIR are well-versed by the Metal community even in the most remote of countries. Love them, loathe them, early DIMMU BORGIR is not to be forgotten, even by the most underground dwellers in all of you.

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DIMMU BORGIR… one of Norway’s finest black Metal bands. Surely is a favourite of mine, as soon as I heard their debut, “For All Tid”. Clearly is the masters of transforming depression into a piece of art. Let’s journey into their world; and let the words of Silenoz be the guidance…

How’s the atmosphere in Norway while answering this interview…
It seems that the Spring is about to arrive within a couple of days, the sun shines, the weather is warm and brightful at this very moment… although I guess it is far much warmer where you guys live.
Straight to the point. Tell us something about “Stormblast”. Personally I think it’s a bit different from “For All Tid”.
Yeah, I think so too, I mean, the “Stormblast” album is a result of natural development musically. Even if the sound is not as good as we wanted to be, it is still a lot better than the sound on the “For All Tid” album. We have also progressed a lot both as songwriters and musicians since our first release. We are very satisfied with the “Stormblast” album and as far as the response goes, it seems that a lot of other people around are also satisfied.
You write all of your songs in Norwegian lyrics. Why don’t you write in English? Don’t you think that what you’re trying to tell in your songs will not get across to a lot of people?
I guess you’re pretty right about that, and since our albums have sold quite much, despite our Norwegian lyrics, we have changed to writing them in English instead, so that we perhaps are able to sell even more albums in the future. Our next album, “Enthrone Darkness Triumphant”, which is supposed to be released in May by NUCLEAR BLAST, has English texts only.
DIMMU BORGIR… How’s the creation became reality? What’s the meaning of it and why chose it as the band’s name?
The name got an unusual atmospheric touch and since the first time we heard it we got emotionally attached and drawn to it. DIMMU BORGIR is an Icelandic name and means in English “The Black Castle” or “The Dark Fortress”. It is also even a place on the northern part of Iceland that it is called “Dimmuborgir”. Shagrath, Tjodalv, and myself, Silenoz, formed the band during midsummer 1993. Some weeks later, Brynjard Tristan (who is half Icelandic) joined us on Bass. We also got a fifth member a month later who is very talented in playing piano and keyboards/choirs. Tristan is no longer with us, and got replaced by Nagash last summer.

“For All Tid” was released by NO COLOURS, while “Stormblast” by CACOPHONOUS. What made you changing labels? How do both of the labels treating DIMMU BORGIR?
We still have very good contact with NO COLOURS and the relationship seems to be just fine. CACOPHONOUS haven’t kept the agreements concerning the contract, so we are naturally very disappointed about that. We only signed for one album with CACOPHONOUS, first, to see how things worked out. We gave them an opportunity to show us how serious they are, and we decided that if they did a great job with the “Stormblast” album, we would eventually sign for more albums afterwards. But as their promotion have sucked compared to our ambitions and they have been pretty lazy about this important matter, they can’t expect us to be satisfied and surely not expect us to sign for more albums. They still haven’t released the vinyl-edition of “Stormblast” either, and it seems to us that they aren’t interested in doing it at all. They haven’t fulfilled our demands and what we agreed about regarding the contract and they haven’t supported us that much either and this is just the opposite of what a label is supposed to do. They have lost great bands such as CRADLE OF FILTH, DIMMU BORGIR and GEHENNA thanks to their narrow-minded and moneygrabbing way of seeing things. We are not in a fight with them or anything like that but we are very much disappointed about they have been handling things for us. We have because of this, signed to NUCLEAR BLAST for four albums, and it is with a delightful relief that we are experiencing such professionality and maturity. They really do everything what’s in their power to promote us well. This is a serious company and I can understand very well how they have been able to survive the last years. They have a lot of money, yes, but they are administrating the money in a way that it will gain both the band and the label. Our relationship with NUCLEAR BLAST is the best and we are open and honest to each other, which is the ground basis and the most important foundation if a relationship between a band and a label are going to last and be successful.
DIMMU BORGIR music is, for me; very depressive. Do you intend to sound that way? How can you achieve that very deep depression in your music?
We try to transfer our inner feelings and thoughts into the music we make and my impression is that we are able to manage this quite well, and I guess that is why our music sound depressive and dark as it does. The day we will feel happiness and joy within ourselves will be the day we quit playing this kind of music, doing this kind of extreme black art.
Norway produces many talented bands. I would like to know the definition of “Norwegian Sound”. Does such thing exist? What makes a Norwegian band sounds different from bands of other countries?
I suppose the reason why Norwegian bands sound different is because we have much more than just riffs in a song. We do things complete in an ‘orchestral’ way so to say, if you know what I mean. The secret must be that everything that Norwegian bands do is done with the subscription of a true dark feeling, and with that I do not mean the foreign bands are not capable of doing the same, but almost every Norwegian has its own actual feeling, a true spirit of cold and darkness. So I guess the definition of “Norwegian Sound” is not valid, it doesn’t exist. Not for us Norwegians anyway. Could you tell us something about Shagrath’s own label, HOT RECORDS? Why don’t you release DIMMU BORGIR’s materials on that label? What does he try to achieve by forming the label?
HOT RECORDS is something Shagrath concentrates on only when he has some spare time left over. It is a small, but a serious label. We released an MCD-single called “Devil’s Path” (also include two different cover-versions of the CELTIC FROST song “Nocturnal Fear”) on HOT RECORDS last August and it has sold a lot, if you consider the fact that it is a single (about 6,000 copies). But releasing more material on HOT RECORDS is out of the question for us, it doesn’t quite match with DIMMU BORGIR’s ambition. HOT RECORDS next release will be the full-lengths with LAMENTED SOULS, MINAS TIRITH and NOCTURNAL BREED.
As a black Metal band, what is a must have in every black Metal band, from your own opinion?
In my opinion it must be essential to any black Metal band, old and new, to have a true dark feeling, lyrics and music written on a Satanic basis and to put higher the mysteries of death more than life. A black Metal band shall represent and glorify the evil and dark forces of human being, not mission the word of happiness and light. That is what really matters, and in which way a band decides to do this must be up to themselves.
Looking at the current black Metal scene, so many bands sprouting up everyday. What do you think about this, and what differentiate good bands from the bad ones?
It is very easy to differentiate the good bands from the bad ones. If a band try as hard as they possibly can to look and sound evil without having the ‘the true formula’, or showing mature attitude towards this art, one can consider this as an attempt to be something which they are not. Also if a band uses energy talking shit about all and everyone they don’t like more than concentrating on making music one can also consider this as a truly bad one, having no serious ambitions whatsoever. This is also what keeps the trend going, people who has no understanding and knowledgement for the music and the reason behind it. So the conclusion must be that there is actually not that many great black Metal bands around, just another big heap of compost…..
What do you think about live-shows. Some band refused to do live-shows. In your live-shows, what will it be like?
It will be like Hell…, no, seriously, it will of course have the usual ingredients like torches, blood, smoke, flames and all that shit, more like some sort of theatre-act. Up until now we have only played a couple of gigs, but in late March we will do a festival-tour in Germany together with CRADLE OF FILTH, DISSECTION and IN FLAMES. In May we will play at the Dynamo Open Air Festival in Holland and in August we will be touring with amongst others SODOM(!), STEELER and RAGE. This is what is confirmed.
Do people there still believe in Odin? Do Hugin and Muninn still flying around? Do you personally believe in the Norwegian culture? What do you think about it?
Well, as a Norwegian I am of course proud of my forefathers and our history. I also like the Northern Mythtology, even though I don’t take directly inspiration from it. I think it is important knowing your inheritance, but on the other hand I think it is kinda wrong only to engulf oneself in the past without thinking one step ahead, after all, it is the future that really counts from this very moment.
What do you see your life in this world as?
Painful, with a certain conviction that I am obligated to continue what I have been set here on this earth to mission.
Reveal DIMMU BORGIR’s aim in the near future…
Our new album, “Enthrone Darkness Triumphant” will be released in May on both CD and vinyl. A new MCD will be released within late summer, entitled “Entrance”. Apart from the title-track, it will contain two re-recorded songs from the “For All Tid” album plus two new ones. It will also be released as a shape-CD, limited to 3,000ex. Otherwise we will try to play as much live as possible, maybe some gigs in the States this summer.
Spit some melancholic words before you finally end this interview.
First I would like to thank you for this interview, interest and support. It is very much appreciated! A big hello also to our Malaysian fans! Last melancholic words must be: “Things are not what they seem…”

www.dimmu-borgir.com

Interview with IMPENDING DOOM in Issue#4, 2000

2009-04-21T11:46:00.005+08:00

IMPENDING DOOM is the ‘cover star’ of RANDOM #4, and who could argue that? Listening to their materials are what causing you to scream out METALLL!!! With the full capacity of your burn out lungs. Though IMPENDING DOOM are becoming a piece of history in the underground Metal scene of today, their members are still lurking beneath the scene in several disguises, most notably the exciting HATESPAWN, so just keep a watch on their activities soon.

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IMPENDING DOOM from German is one of the very few surprises that I’ve encountered during the course of my last issue’s work, and an interview with them is inevitable, it seems. You should not miss the opportunity to check them out, for they’re one helluva great band! Andy kindly answered my interrogations, check out the outcome!

Greetings friend! How’re you there in German? How’s the latest live-shows of IMPENDING DOOM came out as?
Hell-o Shahrizwan and you, readers of the RANDOM ‘zine. How are you? Hope all is fine today! Well, al is pretty cool at this moment here. Last weekend we have played a show at the capitol of Germany, in Berlin. Well, we played with INCUBATOR and MORBUS and two local support act. One was called WOLFBREED. Yeah, we’ve given all the power for this show, but the support from the fans wasn’t the best. Believe me, these big city kids are totally spoiled. But a week before we played a show in the north of Germany in Greifswald. And this gig was really cool. People going totally crazy and want more and more songs. This year (1999) the situation for live-shows is fucking great for us. A lot of gigs are planned in the near future. Also two bigger open air shows and maybe some gigs outside of Germany. Perhaps three shows in France are planned. But we will see…
Your second album “Signum of Hate” has finally being revealed to the listeners. So tell me, does it turn out the way it’s expected to be?
Well, the “Signum of Hate” album was released in August ’98. And we’re also satisfied with this work. Of course, a lot of things will be better on the next album we’ve just working on. So, if you’re interested in aggressive and powerful Metal between black, thrash and death; don’t miss it. Hope you’ll enjoy. But I’m not a man, who like to speak about his own work. Think so, that you Shahrizwan will be much more authorized to do this!! So tell the Malaysian Metalheads the best of our album, hehe. (it fukking kills, and this is no asslicking!-ed).
I think the production is a lot better, compared to “Caedes Sacrilegae”. It seems like the drummer is hitting some empty cans on the first one…
Yeah, the sound is a lot better than on the debut. The drum sound on “Caedes Sacrilegae” was a small catastrophe! Our guitarist Patrick produced the “Signum of Hate” album. And I think he did a good job. But you can await a killer production for the next album. Beware. He does a good producer job for a lot of Metal bands now here. Albums and demos productions for SEIRIM, POLYMORPH, MOURNING ENDS, PROSATANOS, FANGORN, and a lot more…
It’s (the second album) far more aggressive too. Probably due to the departure of your keyboardist. Is he really being kicked-out off the band or what?
Well, the keyboard-player left the band to have more time with his family. I can accept this, so he’s still a good friend. But I can’t understand this. You see, me and my girlfriend, we’ll also get a child in October this year (1999). But I don’t think this should bring an end to my musical activities. Metal is like a lifestyle, not a trend to me. Ha, I’m fiend for the wildness and power of truly Metal art. But, as the keyboard-player left us, we don’t want a new member. And it was like an evolution to bring more aggression and brutality in our songs. And now, our stuff is much more faster and full of weakcrushing riffs.
And so, why you reduced those so called ‘hateful melodies’?
Well, I think that most of the bands, who use keyboards, sounds so beautiful. I don’t like this mix betweengothic and Metal for gays. Haha. There are not so much bands, who keyboards sound really evil are horrible. So I like artists like KING DIAMOND or DEATH SS. These ones bring a brilliant horror feelings in their music.
But still I could trace some melodic lines in “Signum of Hate”, but done in a much darker way.
Now our music is still full of melodies. But it’s worked on guitars and it’s great, that you say; it’s much more in a darker way. That’s our way, to create the most dark Metal ever. So we deal with a lot of oppressive and evil feelings in our songs. And always we’re interested to mix our songs with good and aggressive riffs, melodies and our own feeling. But today it’s not that simple to create your very own style.
And what about your vocals, I bet you got a certain way of singing. I heard traces of old bands’ nuances belching out from your throat…
Thanks a lot… Well, we’re all influenced by the sound of 80’s Metal. All of us prefer stuffs like IRON MAIDEN, SLAYER, BATHORY, KREATOR, MOTÖRHEAD and so on. My favourite band is CELTIC FROST, and I think somebody can recognize this in our songs. But I’m interested to support the feelings of a song with my vocals. And there are many different styles of singing in our songs… you know. It’s the same with the lyrics. If you play this kind of music, you can’t sing about nice thigns or politics. Our songs are full of dark stuff and dark lyrics. I can’t judge about those hardcore attitude. It’s not our way!!! Enjoy the lyrics and you’ll know what I mean.
Don’t you find IMPENDING DOOM as a bit ‘retro-sounding’?
We have nothing to do with bands like AURA NOIR, INFERNÖ or GUILLOTINE. Listen to their songs and you’ll understand why I call these bands thieves. It’s one way to be influenced, but it’s another thing to play the same old riffs and say it’s your own song. Hell, we’re not a ‘retro’ band. We’re still a pure fuckin’ headcrushing Metal act.

What do you think about it, seeing bands turning way back behind their time in their sound?
I think there’s also a lot of good bands, which sounds more traditional and older. I like the stuffs from band like ORDER FROM CHAOS, ANCIENT RITES, DESASTER, or NECROMANTIA. Also a lot of bands from Asia or South America. Their music sounds not so trendy in my opinion. Here in Germany most of the fans are totally in this typical Scandinavian black or melodic death Metal stuff. I like also a lot of their stuffs. But most of them are albums from the early 90’s. Too much clown bands now!
Being a German band, does it even bother you; that the German scene produced such enormous talents in the 80’s Metal scene. I mean, as a new generation kinda’ bands, what do you take this situation for? Is there any pressure for all the new bands there to produce quality rather than quantity? Do you think that the German bands today are on par with those heroes?
For us it’s very important to produce quality rather than quantity. But it’s right, that many bands come out with bad sounding rehearsal tapes after two months of founding. Fuck off. I hate all these childish suckers, who think that they’re the most evil ones and can’t handle their instruments. Go home and suck the tits of your mother. Ha. Most of them forget, that we have a big ‘heritage’ with the fantastic old German bands like ACCEPT, DESTRUCTION, LIVING DEATH… We have good bands here, who are interested to find their own way. Bands like EMINENZ, HARMONY DIES, PURGATORY, ATANATOS, DROWNED, and many more. But the scene here is also full of fakes and idiots. But I think it’s pretty much the same in other countries. We have a lot of contacts here and outside and many loyal fans and friends.
And is it good for the old bands to reform or something like that? Take into view the reforming of DESTRUCTION. I heard that their live-appearance in the Milwaukee Metalfest was a flop…
I’m not a fan of these reformation shit. Most of the bands sound a bit different now. And their old fans wanna listen to the old feelings. A good reform was MERCYFUL FATE. But the new DESTRUCTION is totally shitty. I’ve heard, that this year the original line-up of DESTRUCTION will play some festival shows. But, what’s the reason… Only the money! Also the last VENOM release was a joke, if you like their old cult stuffs.
There’s this cover-version of CELTIC FROST’s “Dethroned Emperor” and MORBID ANGEL “Chapel of Ghouls” in the LP version of “Signum of Hate”. Clearly why you did those?
Well, we play a lot of cover-versions in our rehearsals. And these two songs were produced as a bonus 12” for the limited vinyl edition of the new album. Also a cover-version of DARKTHRONE’s “Cromlech” will be out on a split 7” EP with EXMORTEM from Denmark soon. We also play covers of SLAYER, MASTER’S HAMMER, TORMENTOR or BLACK SABBATH. It’s kinda tribute to the bands we like so much and influenced us. All the stuff of MORBID ANGEL are simply brilliant. I like all their stuff and I’ve seen them some months ago on tour with the mighty VADER from Poland. The CELTIC FROST stuff from “Morbid Tales” to “Into The Pandemonium” is all time killer. The other ones like “Cold Lake” is crap.
Lots of bands are into playing covers these days. What’s the real purpose of playing covers for IMPENDING DOOM?
We play covers mostly live on stage, so the fans can listen to new interpretations of their faves, and also we can show them our own favourite stuffs. It’s a sign of tribute and honour to our musical heroes.
The picture on the first album was taken on snow-covered surroundings, whilst on the second it’s fire all-over. Coincidence, or there’s actually some hidden meaning underneath?
We want it a bit simpler for the second album. The first one was a first step. But the new one is much more like we are, you know… We’re not one of these trendy shit bands or people who play Metal for 2-3 years you know. I’m now 26 years old and I listen to this extreme music for more than 10 years. I collect a lot of albums and demos and it’s a lifestyle for all of us. Our music and lyrics are full of demonized feelings. And we have the fire of dark lusts inside!
Who did the logo? It’s very attractive and detailed, but don’t you think that the design of the ‘doom’ wording is quite similar to the semi legendary DOOM logo from the UK?
Oh no, the word ‘doom’ isn’t similar to that UK band. I know some of their stuff, but those are not my favourites. Also, since we started IMPENDING DOOM seven years ago, people think that we play a kind of doom Metal. Really nice. No, it’s really a powerful name for a band like us. And it presents our lyrical and musical way. The fantastic logo was done by René from German heavy black Metallers ATANATOS. Are you interested in “Hymns of Heathenpride”? Check ‘em out!
One question that’s not relevant to the overall discussion of this interview, but I’ll ask you anyway. There’s a credit for you in the “Bestial” album of PURGATORY for doing some backing vocals; but why you’re referred to as ‘Andy(Christ) Kaufmann?!
Ha, ha. Turn this word-creation to Anti-christ now. You know what he mean…? I don’t cooperate with Christian attitude. Not a filial Christian. We’re to retaliate the resurrection of Christ. Believe, I am the Anti-christ. Ha, ha. So it was a funny thing to do some background-vocals for the last PURGATORY album “Bestial”. It’s a good and brutal band with unbelievable stage-action. PURGATORY is still pure evilized death Metal.
Since that your releases are very Metal-sounding, what does “Metal” really means to you?
What can I say… Metal is my life. I wake up and stand up with Metal in the morning and go to sleep with Metal in the evening. Metal is Power and Rebellion. So remember “…Chains and Leather – Forever”. I’ve got some problems with long hair or my wearing of shirts, boots, etc in my job. But fuck them! Also we celebrate a real Metal shows on our gigs. Metal is devotion of 200%. Sweat, aggression and wild headbanging.
I guess I’ve bored you enough my friend, so…
So we have to say thank you for all your support my friend. My best wishes and dark blessings to you. This interview is one of the best I’ve the honour to answer. Greetings to all the Malaysian headbangers. Hope it’s possible to see you all sometimes. If you’re interested ask the mighty Shahrizwan or write us directly. We’re interested to keep a lot of contacts to cool and real bands. Keep the black flame burning. Metal Supremacy.

www.myspace.com/impendingdoomtribute

Interview with THE KUNTAUTCULT in Issue#4, 2000

2009-04-20T16:21:00.005+08:00

Fukking neck-breaking, ear-splitting exercise are to be expected listening to “From The Pits…”. Never losing its ramming impact forever, it is sad to say that it is the only album from THE KUNTAUTCULT. The band has split-up not long after its release, but at least I’m able to interrogate them when they’re still in it. Use your dagger, use your fukking dagger.

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Not that many of releases could produce such a blast that I’ve suffered after the initial listening of “From The Pits…”, the brilliant debut from Holland’s finest new band to emerge in the scene, THE KUNTAUTCULT… potent mixture of brutal death/grind that surely will damage your grandmother’s ears. This is my conversation with their ‘octopus-in-nature’ drummer, Pepijn…

The band first started as BODYBAG, so why is the name THE KUNTAUTCULT came out and eventually became the band’s new monicker? Changes of musical direction maybe? What does THE KUNTAUTCULT means anyway?
Like you said in the good ol’ days we were called BODYBAG, a typical name for a random Death band. As music evolved and got more extreme by the day, we figured “BODYBAG” was such a cliché name for the genre (I believe there are 6 bands already named like that), so we wanted to have a name no-one had yet. We wanted to have a name that was as unique as our music. During one of our flights through ancient wisdom and pop-up visions (we were high as a kite), we came on several terms, that we combined in a nifty fashion. When we woke up the next day, the name was born! It doesn’t mean anything in particular, just a weird combination of some weird thoughts.
I know that the music changes quite clearly as the band’s evolutioning. Was it not surfaced by the time “Skullcrushing Horror” was released? So why did you decide to release it anyway?
No, “Skullcrushing Horror” simply contains recordings of our material we had back in 1996. As you can hear, our musical style was much slower back then and based on the more mid-tempo death, as our interests were on that level then, and because we were still ‘training’ on our instruments. As months passed by, the music got more and more extreme, faster and heavier.
After that it’s grinding in almost all of your materials, isn’t it?
Practically yes. It’s not a matter of necessity using grindparts and blastbeats, but it sure does make it a lot more intense!
Even so it’s not hard to trace some other musical direction, like death Metal of course…
Believe it or not, but our inspirations and musical directions vary enormously, but are little inspired by death Metal bands. Our basic inspirations come from having certain needs for an outlet of the daily stress, energy and problems we experience through normal life. We just make noise every week and it has a positive effect, which wouldn’t be the case if we were playing pop music.
And also some other, like that particular song in your CD, which is an acoustic one. Tell us more about this song; like what’s the purpose of recording it? Can we call it some kind of a ‘ballad’ from THE KUNTAUTCULT?

If you will. Both guitarists like to create a certain atmosphere using acoustic parts, it gives the other tracks a boost, more energy. And besides that, it shows a different perspective to our music. Please remember that we like a lot of different styles of music, varying from CRYPTOPSY to CYPRESS HILL, from PINK FLOYD to GUNS N’ ROSES etc. On our demotape “Skullcrushing Horror” you’ll find the titletrack also performed as an acoustic version.
You also have some sampling interwoven between the songs. Does it related directly to the songs?
Most of ‘em do. The intro of “Xavier” comes from the movie “Doom Generation”, where Xavier as a title comes from, “Use Your Dagger” was a phrase used in Monty Phyton’s “Yellowbeard” that was stuck in our minds. It’s rather hard to explain the “Pop…” sample. Skip that one. Anyway as an interbellum-like intermezzo between “Galaxy Legends” and “120 Bars of Pressure Up Your Appendix” we’d chosen a random brutal sample from one of the coolest movie ever “Cannibal Holocaust”. For an outro we’d decided to use the concluding piece of “The Great Race” (the number one coolest movie of all times). It’s difficult to spot the links between the songs and samples, but as long as we see them and understand the reason why we put ‘em there, it’s fine by us.
Honestly, the song titles sound very interesting, therefore I would like to know the lyrics of, if not all; some of it…
Haha, thanks! Well, first of all, even though our song titles are somewhat ‘gory’ in an odd way, we don’t sing about religious, political or horror theme-like subjects. We’d quit doing that in the same time we changed our name. It was just the whole concept; we wanted a different name and a different type of lyrics, not something that was already done a million times. It’s mostly about our own experiences, dreams, visions and thoughts, all wrapped together into one big pile of emotional screamings of death and subterranean grunts.
The record deal with DISPLEASED RECORDS emerged after the recording of the MCD, but it’s not released yet. So how did they know about the band back then? The demo tape? I don’t think so, because that particular one was released in 1996…
We’d sent the MCD to DISPLEASED RECORDS. They contacted us after short notice and offered us a contract. Only thing is that they didn’t really like the idea of releasing a MCD. So we decided to transform it into a CD, adding up two more tracks.
And as the MCD is not being released, why only the songs “Use Your Dagger” and “Venus” were included in the album? Do you have plan to release the whole MCD later on?
Nope. The two tracks that were included, were the only two tracks that we believed were good enough to make the CD complete. Our most recent material is ‘somewhat’ different, and some tracks weren’t finished at the time of the recordings, thus the rest will appear on the next CD.
THE KUNTAUTCULT, a three-piece band, with this kind of music, playing live… Now that must be interesting…
It is really! Indeed with “only” three members performing, it’s not always easy to play, because the right tuning, volume and sound are sometimes hard to combine. Second, it’s not always pleasant, playing on someone else’s gear, which usually happens with festivals and shit. I, for instance, have to feel completely comfortable behind the drumkit, or else it’ll effect my drumming. It can really ruin your show man. But besides that, all three of us always give everything on the stage. We try to give the audience the bruteness they want and we seldomly fail to achieve that. Despite of school and work we’re not always capable to perform throughout the week, so when we play, we usually have a lot of support, and that usually takes a lot of weight of your shoulders.
Is your drummer gets any help from the technology to enhance his ‘bashing’ skills and ability? He’s a fucking maniac, if we listen to the album.
Thanks, I appreciate that. On the album I used some bass-drum boosting (for instance on “Axe Rectal Trunk Pisser”), to create an effect that was to give an edge to the edge, understand? Just to make it more aggressive. Only the bass-drums were triggered in case we wanted that ‘special’ boost (just listen to “Galaxy Legends”!!!), but for the rest I did everything exactly the same as I would do live.
If people ask wherein in the band’s music lies what we would call ‘art’, what would be your reply then?
I’d be flattered. It’s difficult to come up with this shit, it takes a lot of practicing. I consider it more of a sport to play the music and I guess ‘art’ would be a nice compliment.
Does everything in the band affects the way you’re living too? If so then it might be a dangerous one…
Nope, just like I said before, THE KUNTAUTCULT is a practical outlet of negative energy, and as long as you can put it in (any) music, or sport, we’ll all can live in peace. Heheh…
Is the band openly endorses violence or such thing?
Negative, I don’t think you should combine aggressive music with endorsing violence and being it. Mayber some people will think we are; but we’re not. “From The Pits…” is the result of finding the right type of music we’ve been working on for quite a while, stuff that evolved through the years and is being labeled as death-grind.
So, some of your new songs had been worked. You stated that the newer materials will be less technical but more aggressive and groovy than what we could get in “From The Pits…”. Why leave those technicality behind? Why more aggression and grooves are included?
We tried it with more groove, because it contains more emotion in the music, more power and more effect on whoever’s listening. Technical parts can be very powerful, but it’s usually very emotionless, without any form of recognition in it. Groovy parts (like the beginning of “Use Your Dagger”) will be the more effective ones, that people evidently recognize as such.
Do you have any warns or threats to anybody who read this?
Never send us any viruses again, weenytoad!
I really hope that the music of THE KUNTAUTCULT will not turning ‘wimpy’ or ‘gay’ in the future, can I count on you?
The music of our next album is probably gonna be heavier than “From The Pits…”, so don’t dare to call us wimpy.

www.displeasedrecords.com

Interview with NOMICON in Issue#4, 2000

2009-04-20T12:50:00.004+08:00

Bizarre. Unique. Unpredictable. After the release of “Halla”, NOMICON is in its silence once again. This interview was instigated after the release of their “Promo ‘98”.

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The bizarre nature of NOMICON’s musical progression always fascinates me, a way too unthinkable band, and beyond comparison. Hard to swallow by the masses, and they’re proud of it. I really hope that at least a number of you, the readers; will be able to identify the twisted musical genius of NOMICON!

It’s been quite a while since I last heard of NOMICON. And man, the musical direction changed much! Now tell me, how did this drastic leaps occurring?
Many things have had an affect on that. Of course there’s that big change in line-up: there’s only me left of the band that started in 1991! After that NOMICON has been more or less stable… I mean, there has been some changes in line-up after our last album “Yellow” again and of course, the people who play in the band have effect on the style of music. The current NOMICON couldn’t be the NOMICON between 1991-1993 even if I wanted to!... And NOMICON from those days couldn’t be the band as it stands today. However, as I still compose 100% of the music of my band, maybe the biggest reason for those leaps is the fact that my personal musical taste isn’t as it was 9 years ago!
Do all of NOMICON’s releases been derived in such manner? Look at “The Me” for example, it’s ultra technical, no doubt…
I guess they all have been very different from each other and I hope they will be like that in the future, too! I’ve to believe in the resources of my creativity. I want the style of NOMICON be everchanging.
And what did you up to with the ’96 promo, which entirely being just computer music with no guitars at all. And of course it differs from the “Yellow” album after that.
“Yellow” differs from “Promo ‘96” of course, because there are guitars on the album, which are not present in the tape, which I nowadays think should never have been released. But I think there was some kind of demand for “Promo ‘96” also, because it was released when I was still looking for new members of NOMICON. Many people said my band doesn’t exist anymore. That’s the reason I put out the tape: to prove they’re wrong in saying NOMICON is dead.
The “Promo ‘98” CD prove to be another unthinkable leap again. So what would you call the musical direction of this one?
I think it’s the most ‘blackmetallish’ of NOMICON-releases so far! Even if it might be so, I believe NOMICON can never be totally black Metal. Only the thing that Agathon plays drums in the band nowadays is enough to deny that. Agathon isn’t something I’d call a black-Metal drummer as he has different style of playing. Even if he’s fast, he’s at his best in slower and heavier parts. Some people have said that “Promo ‘98” CD is great horror movie Metal, but I don’t follow that description, because I like to call Agathon’s band GLOOMY GRIM to play that kind of music.
But NOMICON still retain its uniqueness…
Yes, I want it to be so even if that meant NOMICON will never become ‘big’. If my brains continue working, I can trust my creativity to develop in such a manner that no following NOMICON-releases will sound the same to each other.
Can we call it some sort of original trademarks for the band?
Yes, the style of NOMICON is that it doesn’t have a particular style.
I do find some similarities between NOMICON and your other band SOULGRIND (“Kalma” is an excellent release, by the way). Is it intentional?
I don’t find so many similarities between NOMICON and SOULGRIND. Maybe the only similarity is that SOULGRIND also makes original music, though it’s original in a different way than NOMICON! Maybe you found those similarities, because after all, I’m on vocals for both bands???
The songs on “Promo ‘98” got that very dramatic pace changes and such. Still got that ‘out of norm’ technicality?
I agree even if some older fans of NOMICON have said it has been a bit of disappointment to them. Maybe for them, the music in “Promo ‘98” is too easy to understand and accept. Don’t worry, next album will include ‘out of norm’ technicalities as did the promo CD (even if it did like that in a lesser extent than ever before)! I want NOMICON always to be technical, complicated and really: ‘out of norm’.

What are you trying to make clear upon with the music in “Promo ‘98”?
The reason of that promo was firstly to give labels a clue of my current style. In the beginning it wasn’t my intention to concentrate on selling that CD… but people wanted to buy it, so what could I do??? After all, most of the copies were sold and not given for free to labels and such. Maybe that’s the reason that I’m still unsure about the label, who’s going to release NOMICON’s next album, haha!!! I didn’t contact as many labels as I planned.
NOMICON started out as a band with stable line-up, but that is something we didn’t see after a certain period of its existence. What could have resulted that?
We had a serious trouble in getting our debut album “The Me” to be released at all! In the first place, it was recorded to be released through one English label, but that didn’t keep a single one of its promises. That’s why Mark G[r]ay and his pseudo-label TOMBSTONE RECORDS will always remain a status of cunt in my life! Anyway, during those days other members started to lose faith in NOMICON, I didn’t, because it’s my band so here I am, still fighting with all this shit… but it’s fun as hell!!! What could satisfy you more than overcoming difficulties? That’s the fruit of life. Since then, the members of ‘previous’ NOMICON have moved to different locations, so thinking of all these afterwards, it wouldn’t even be possible for the band to work with its original line-up.
Does it mainly because NOMICON is actually you, that nobody could ever fucked things up in it?
Hah, if I don’t fuck things up in NOMICON, I guess nobody else will! Anyone doesn’t have enough energy or even interest.
It must be hard for you to handle things in the band, very hard…
In situations like this it’s hard. You know, all the members including me would like to know the schedule for the next album for example. But the label I thought that would release it, hasn’t sent me the deal they promised to send something like 4 months ago! As you can understand, it’s difficult to make reservations for studio, if I don’t have a contract promising the label will pay for it… and in the beginning of our negotiations they wanted us to go to studio as fast as possible. After all, it seems there might be some other person(s) able to fuck things up in NOMICON except me, so I will correct my answer to the question before: If I don’t fuck things up in NOMICON, the label(s) will! Other things like taking full responsibility of composing and writing lyrics isn’t hard at all.
With the release of “Promo ‘98”, does it subsequently tells that the band is free from any contracts with labels again? Nothing more to be released through SHIVER RECORDS?
As I said, “Promo ‘98” was mainly released for labelhunting, but since people wanted to buy it and I was too greedy to say ‘no’ to money, most of the copies were sold… But you’re right it was released to tell you that NOMICON is free to sign with any other label since I quit SHIVER. I hope some other label will pay more attention to my band than they did. They didn’t promote “Yellow” properly, so something like 25% of the pressing has been sold by me! I guess they wouldn’t be able/interested in giving a proper studio-budget either, not to talk about budget for shirts, tours or other things like that I’d like to do.
I like the promo CD cover. It potrays you with a ‘samurai’ sword, and a Japanese (is it?) woman (bitch?) in front of you…
If you were here now and called that woman a bitch, I’d hit you straight in the face and I would do it hard and many times! Only thing that you got right is that she’s Japanese. She’s my wife and actually those photos are from our wedding picture-sessions. Half of them were taken as those conservative wedding pictures and half with me wearing mask, having sword, axes, and shit like that. I just had an image of that kind of thing in my mind, so I wanted to make it real. It turned out fine, not least from the reason that I had very much fun in seeing those surprised faces of the people working in the photo-studio!
I guess I should stop harassing you with my questions, and these would be enough, at least; to give us a clue about what we could expect from the band soon… Thanks a lot for your time, Mr. Tommi Launnonen!
I don’t know if it will happen soon, but we’re still mainly concentrating to the recording of our next album. After that we’ll do some shows in Finland if not anywhere else. I’m a bit frustrated that I’ve to cancel some shows already, because all those shitty delays from the label! Feel free to write. All letters answered will get a distribution list of my AQUARIUS PRODUCTIONS with over 200 items.

Tommi Launnonen, Anianpellontie 13 A 15, 00700 Helsinki FINLAND

VULGA "Mayhem With Mercy"

2009-04-20T09:41:00.002+08:00

VULGA “Mayhem With Mercy” (Afterlife Productions)
This is actually not a re-release of the purported ‘lost’ demo of VULGA, this is in fact a re-release of the split demo of MASSROHENDT and TEARS & PROMISE (sraet & esimorp). But don’t dismiss the relevance here, both bands are actually VULGA in disguise entirely since that both are comprised of the same line-up in VULGA as well. This makes me wonder about the validity of forming two other bands with the same line-up, why not incorporate everything into VULGA instead? Shouldn’t be bothered by it too much though, and by listening to this re-release, the logics could be guessed and are there for assumptions. The MASSROHENDT part are what to be found as crude, evil sounding death black akin to those to be known originates from the South America underground Metal; early SARCOFAGO not to be missed. Ohh, of course don't forget BLASPHEMY too. Very uncompromising, no tolerance, straight to the point. Whatever, whichever being termed as ‘bestial black death’ Metal these days, MASSROHENDT has been doing it ever since, a recording dated ‘91/’92 here confirms it. With TEARS & PROMISE we are introduced to the ‘lighter’ side of the band (VULGA); these songs are their take on underground heavy Metal, a more upbeat, rocking and traditional approach with slight hint of the Greek black Metal sound back then. While the music might be differing in approach, the vocals, though also differentiated between the two bands, have one thing in common: both are effects-heavy possessed terrifying chants sort-of. This is one important aspect of the bands, the vocals are adding up and blending in to the atmosphere of their materials well. Take this re-release as your worthy reference of what VULGA ‘is’ during those yesteryears; why they’re highly regarded by the local scene; why these expectations for the said ‘lost’ demo arose from. It is worthwhile to add here that VULGA has been revived, so keep those expectations intact please. Rough and raw sound are to be tolerated here, this re-release’s master source is a well-kept copy of the split demo tape obtained from a loyal fan (this is inevitable, apparently even the band members had lost the master tapes themselves!)
wansyamsul@yahoo.com

Interview with ORDO DRACONIS in Issue#2, 2000

2009-04-18T12:12:00.005+08:00

They’re still around, obviously, and has evolved into a post-black Metal band too. Nevertheless, “When The Cycle Ends” and “In Speculis Noctis” still are some of the finest symphonic melodic black Metal ever created from the Netherlands. The icing at the top should be “The Wing and The Burden”, before ORDO DRACONIS inevitably evolves into its further metamorphosis.

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The Dutch’s black Metal scene is probably more ‘laidback’ than, let’s say; their death/grind flourishing talents. But that doesn’t mean we couldn’t find any great black Metal bands up there, and names like FUNERAL WINDS or CIRITH GORGOR amongst others, are damn great ones. ORDO DRACONIS is one of the newer bands that shows potential, and I’m quite sure that they’ll become one of the strongest in the short period of time. I find that talking (virtually) with the guitarist Rahab interesting enough, so let’s just invulge into it straightaway…

ORDO DRACONIS… It’s pretty obvious that you named the band in honour of the dragon. Perhaps you could elaborate us the band’s fascination of the creature (dragon I mean). Is it just purely a myth? Is there any story in the Netherlands about dragon?
The dragon is a symbol for matters to which I attach a lot of value in my life, for example the cycle of creation and destruction – a cycle inherent to the concept of life and existence. And we all participate on various levels and in various phases, like cycles within cycles. Of course the dragon is also the ancient guardian of treasures and wisdom (which just might be the same in a symbolic sense). The search for wisdom is one of the main goals in life for me. Next to that, the dragon is a symbol of tragedy and this fascinates me. The dragon is destined to be slaughtered, whether that is by ‘gods’ like Jahwe or Marduk, or by ‘human heroes’ like Sigurd or Beowolf. I think it interests me because dragons are mostly depicted as ‘evil’-beings in myths and legends (not necessarily in modern fantasy literature). People tend to label things, they don’t understand ‘evil’, I think it’s interesting and important to question and if necessary to redefine values like ‘good’ and ‘evil’. So the cause for the extinction of the dragon just might lie somewhere in between ‘justice’ and ‘ignorance/intolerance’. Taking into account the importance of these values in our view on daily life and in our philosophy of life, we decided to call our band the order of the dragon – ORDO DRACONIS. As a symbol of chaos and potential (the opportunity to create) the dragon is the patron of the creative process within the band. An interesting contradiction, concerning our band name is the fact that the Romans only used the word Ordo as the opposite of ‘chaos’ (it was only later that the word Ordo was also used meaning ‘a cult’), yet the dragon is a symbol of chaos… So as you might understand, my fascination for the dragon goes a little further than myths only. As far as I know there aren’t any well known stories about dragons in the Netherlands, so I’ll have to disappoint you on that one.
How did you guys sort of got together, thus forming ORDO DRACONIS? The line-up seems to be quite stable too…
The first concrete ideas for starting a band arose during spring-time of ’96, but ORDO DRACONIS was actually founded in September ’96 by Moloch (bass/vocals), Bob (guitar), Midhir (synths), Timo (drums) and myself (guitar). In January ’97 Timo left and Arco took his place – this has been the only line-up change we had so far, fortunately. When we started out, we only played cover tracks by rather diverse bands, so I can’t say we played a particular style at the time. We started writing our own material when Arco joined in. I’m not so much into ‘labelling’ our music – I suppose symphonic black Metal will do. In our biography and on our flyers we mentioned our music was a little in the vein of DIMMU BORGIR, DISSECTION and ARCTURUS. There were a lot of reasons for starting ORDO DRACONIS; we wanted to contribute to and participate in the scene with the music we cherished most. The band also offers the perfect opportunity to fulfill our artistic aspirations and to express our emotions in music and lyrics. The synergy aspect of playing together is very important as well.
I understand that your first demo is a polished rehearsal-recording, so it makes me wonder that you guys might not have been ready to release anything proper those days, but it came out anyway?
We recorded the songs that were to be featured on our debut demo “When The Cycle Ends” for ourselves, because we wanted to capture our first three creations in a way that we could enjoy listening to them afterwards. Now we have the mentality within the band that either we do something in a professional way or we don’t do it at all. The songs for “When The Cycle Ends” have all been played in live in our rehearsing room. The instruments were mixed instantly by a friend of ours. Only the vocals were added later on. Just before the recording of this demo we had done our first gig and afterwards people kept asking if they could obtain recordings of ORDO DRACONIS. Of course, if we would have thought that the recordings were total crap we wouldn’t have released it, ever. So eventually we decided to put the recordings out, although they didn’t sound as professionally as we might have planned for our debut demo. Anyway, I’m not ashamed of this demo or anything – I think the songs are quite OK and so is the lay-out. We have been surprised by the response. “When The Cycle Ends” has spread 1200 copies so far, it’s nearly sold out by now. I remember we really felt like taking quite a risk by duplicating the first 500 copies! The general response to the demo was very good and we got a lot of good reviews – especially the remarks on the good sound quality always make me smile a little.
There were some offers from labels back then, but why didn’t the band accept them?
It’s true we felt we weren’t ready for the recording of an actual debut album at the time. You should know that most of us started to handle the instruments we play in ORDO DRACONIS when the band was formed. I must add that we all had at least some experience with playing an instrument, so making music in itself wasn’t totally new and this definitely speeded up the process of learning to play our new instruments. Anyway, when we recorded “When The Cycle Ends” we weren’t even playing together for a year! So there was so much to be learnt – there still is actually, but we have improved a lot, I think. We received our offers, not too long after the release of our debut demo and we have always wanted to make a real masterpiece out of our debut album. In order to achieve that we needed more time, to improve our musical skills and our compositions. It was after sending around the demo that we came to the conclusion we weren’t ready yet. I think we are pretty much ready by now. It’s hard to explain what the evolution we experienced. I think the most important things are we play a lot tighter these days and in the songwriting process we emphasize on not just putting together a bunch of nice sounding riffs. The song structures have become a whole lot more complex without becoming inaccessible – the parts of the various instruments differ a whole lot more and the tension in the songs is worked out better. This is an ongoing process, by the way – we are still improving! Another important thing is that we recorded our second demo in a professional studio and thereby we have gained studio experience. So, when we’ll enter the studio to record our debut album it’s not like everything is completely new and we don’t have any idea of what is possible.
And now the MCD has been released; so are you ready for a deal now?
I do believe so. We have grown mature musically and like I said, we’ve gained some studio experience. We’ve done quite a lot of song writing these last couple of months and we have about 8 new tracks finished that will appear on our debut album, which is to be recorded this summer – if everything goes as we have planned. I have the pleasant announcement to make that we have found a label that has shown their interest in releasing our debut. We are currently working out the details of the contract, but if everything goes the way it looks like right now, we will most definitely put our autograph under the conditions offered. For the moment I have to remain a little discrete, so I can’t mention any names, but it’s a young, professional and dedicated label, that believes in their bands and the music they release and we would be very proud to be on this particular label!
I think you guys are going all out for this one (the MCD); you now recorded at a highly professional studio, impressive full color booklet, and so on…
Well, first I must thank you for this big compliment! I believe it’s important to give the best you have in what you are doing. Maybe especially for a demo, I mean you have to show what you can do, you have to present yourselves to labels, magazines and fans with it. And that is what we wanted to state with “In Speculis Noctis” – this is what we are capable of by ourselves – people just have to imagine what we could do with a little help from a record label for themselves. Another important factor, for me personally even more important, is in the fact that we have made these songs and I want them ‘captured’ in a way I will be able to appreciate them for a long, long time. As I am contributing in the composing process, I have tried and capture moments and emotions that are dear to me (which doesn’t necessarily mean it were ‘happy’ ones!) – it’s only logical that I want them to be preserved in a way that honours them.
The obviously detected improvements would concern the keyboards. I think you guys have maximized its usage very well, and the parts are excellent this time, what do you think? It gives a highly orchestrated atmosphere to the music…
Well let me start by saying I think our keyboard player Midhir is an absolute genius. He touched the keys of synthesizer for the first time about two months after starting ORDO DRACONIS and he improved his skills so incredibly quickly! I think he has done a splendid job in “In Speculis Noctis”. I dare not say he has maximized the usage of the synthesizer on this recordings, because he’s capable of a whole lot more these days – just wait and listen… I fully agree that the atmosphere of the tracks on “In Speculis Noctis” is very orchestrated. I think that’s because the synths are very much up front in the mix, not as much as with the first two LIMBONIC ART releases, but still…
And there are still these female vocals parts. Why don’t the band use this even more? What’s the importance of female vocals parts on your music? I see they weren’t done by the same vocalist as on your debut demo.
The reason for not using any more female vocals in our music is simple: we don’t feel like it – it has to remain something additional. The female vocals that we do implement in the songs are rather important in the sense that it is not without purpose that these particular parts are sung by a female. The female vocals on “In Speculis Noctis” were done by Maaike Arkesteyn. Maaike is a friend of mine, who I had known for quite a while before her contribution to “In Speculis Noctis”. She has been the manager of Dutch doom Metallers ORPHANAGE. We are both involved with a Metal society in the place where I live and we had worked together organizing concerts. I knew she was a pretty good singer- she had a classical education for some years. She also has her own band called SHADES OF SILENCE. It’s a project of some THRENODY members, a little in the doom vein and she’s doing a wonderful job at it! SHADES OF SILENCE really is a name to remember. We won’t have a permanent female vocalist. On “When The Cycle Ends” we had worked with Femke, the former female vocalist of GANDILLION, on “In SPeculis Noctis” with Maaike and this way of working is pretty much ideal for us. It is quite likely we will work with Maaike again, in the future – we’re planning a project in which her contribution will be more than welcomed! She also helps us out live sometimes, but no obligations. She can join with us if shehas the opportunity and feels like it.
You brand the music as classically influenced black Metal, so where can we trace these classical parts in your music?
That our music is influenced by classical music doesn’t automatically mean that it actually contains classical parts, of course. However, if you look at a song like “Deirdre of the Sorrows” it shouldn’t be too difficult to hear some classically inspired parts especially in the clean and acoustic guitar parts. At the age of thirteen I had some classical guitar education and despite the fact I have never become really good, I still very much enjoy playing classical guitar music and I try to incorporate as much of these classical influences in the music of ORDO DRACONIS as I can. It’s my opinion that the influences from classical music are still gaining importance in our next material. In one of our new tracks we have incorporated a well known classical part that we transformed from 7 or 8 minutes into one and a half, still having a head and a tail. This was quite an interesting challenge!
So, when the band is working on a song, how’s the process? Perhaps you could tell us from the start to the finish…
Usually we start out with a main concept or a main theme. Then we start writing riffs, chord structures and parts to suit the atmosphere related to the concept. Then we merge things together and make a whole out of it. Finally we arrange the songs with the entire band and the lyrics to the song are written. Midhir, Bob and I are responsible for the major part of the composing. All three of us have our own way of composing riffs and parts. In the end everyone is responsible for his own parts. I don’t know about the others, but I compose most when I’m busy with other things and under a little tension – I don’t need a guitar to compose, I can ‘play’ with the melodies in my head. I seldom just jam around like Bob – for him, jamming is the best way to compose. What Midhir does, I really can’t tell, apart from the fact, that I’m nearly always satisfied with the result! Composing is a creative process and I can’t force it – composing usually gets me in a certain ecstatic mood, but I think it’s more an effect than a cause although it gives me a stimulating feeling. I don’t know how to describe it.

Do you write lyrics that only suit the music, or just put certain lyrics into a certain composition according to what is available at that moment?
We consider the lyrics and the music of a song to be complimentary, in a way that the sum of both is more than the separate parts. It’s pretty essential that lyrics and music have the same atmosphere to achieve the synergy. Midhir and Moloch are responsible for the lyrics. As far as Midhir’s lyrics are concerned, they deal with mythology and legends, mainly Celtic. Midhir has a lot of knowledge about (old) English due to interest and studying. His lyrics are stuffed with all hands of figures of speech and written in metre. Moloch writes his lyrics in a more direct manner and they are quite personal to him. The subjects he writes about are mainly on the occult field – themes like out of the body-experiences, invocations and other issues on the subject of magic and the supernatural, also vampirism. Especially, the angle of the human psyche shines through in his lyrics (suicide, depression, self-destructive side of man), since these theme intrigue him. There are plans to write some lyrics in our mother tongue for two particular songs; only parts of the lyrics will be in Dutch. I don’t want to say too much about it at this stage, for the lyrics still have to be written.
Right now there’s a lot of people who don’t feel comfortable if their music is called ‘black Metal’, even if their materials clearly sounds like it. What’s the reason for this, according to you? So what about ORDO DRACONIS itself?
Oh, I’ve heard several reasons. But an obvious one is that the concept of black Metal has grown so broad that it doesn’t say anything about the music anymore. Just compare DARKTHRONE to EMPEROR, ABRUPTUM to CRADLE OF FILTH and MYSTICUM to DISMAL EUPHONY. All these bands are labeled as black Metal, but everyone will agree that their music sounds completely different. Not labeling your music black Metal anymore is a way to distinguish yourself from other bands, even though just calling your music differently has no influence on the music itself. Another reason why bands step away from the ‘black Metal label’ is because black Metal has build up a bad reputation and there are people who don’t want to give the music a chance because it is labeled as black Metal – you might avoid this by calling your music differently. At this point ORDO DRACONIS see no point in calling the music any other than black Metal. Personally I’m not that much into this labeling shit, but if you want to label ORDO DRACONIS’ music, I’d prefer black Metal, because black Metal is nearly undefined in musical terms. We don’t want to feel restricted in our creativity – we aim to express certain emotions and atmospheres through our music and the means by which we do that are subordinate to the expression itself, as long as we like it ourselves. I guess it’s simply due to who we are and what we want to express that we play black Metal. We wouldn’t hesitate to incorporate reggae influences in our music if it would help expressing what we want to – it’s just not very likely we would want to express anything where a ‘nice reggae beat’ would fit in. Another reason why I prefer black Metal is that we feel and have felt related to the black Metal underground ever since we started to listen to extreme music.
Ahh, and you still wearing those warpaints. Lots of black Metal bands nowadays washed their faces with ‘water’, what’s your comment? What’s the purpose of wearing those paints anyway for ORDO DRACONIS?
Not all band members of ORDO DRACONIS use corpse paint all the time. It is and should be a personal thing. I use corpsepaint on stage as an expression of the contrast within me, which also reflects in my contribution to the music we’ve created. It’s a form of dramatic expression to emphasize on the matter – the two extremes, dualism. It has absolutely nothing to do with being cool or something and it’s not a necessity to use it when you play black Metal either. Still, I don’t understand why so many bands are disassociating themselves from it if they had any reason for doing it before, other than commercial ones – if you use it for personal reasons, how can it lose its value simply because others do it too. OK, it’s not unique anymore neither is it shocking, so what – I know why I’m using it and that’s good enough for me.
This statement: “Only black Metal bands should/can wear corpsepaint”. Your point of view on this?
I must admit I would find it quite strange if non-black Metal bands would start wearing corpsepaint. However, I think that everybody should decide for him or herself if he/she wants to wear corpsepaint. I’m not going to judge others on that, although I have my personal opinion. And like I said in the previous answer, I don’t think every black Metal band should wear corpsepaint. Corpsepaint is just an emphasis, not the essence and it’s most important to stay true to the essence (i.e. the music and its emotion/atmosphere) – if corpsepaint doesn’t feel appropriate at a certain point to a certain musician, he shouldn’t wear it I think.
What’s your personal musical interest? What are the current releases, available in the market, that you would like to recommend to anybody?
Personally I’m into what I’d call quality black Metal. Bands like EMPEROR, DISSECTION, ARCTURUS, LIMBONIC ART, OBTAINED ENSLAVEMENT, ULVER, ABIGOR, BAL SAGOTH and so on make the kind of music I like best. Hmmm let me see if I can come with something interesting here. I would like to recommend the debut album by SIRIUS (Por) (out on Nocturnal Arts Productions), the debut of OBSIDIAN GATE (Ger) (out on SKALDIC ART), the latest demos of MOONSORROW (Fin) (released through MEATHOOKED), NOCTURNAL MORTUM (Ukr) and EPHEL DUATH (It). All these releases are incredible I think!
Are you into these ‘fake’ Metal like MARILYN MANSON, KORN and the likes? What do you think about it?
Bands like KORN and MARILYN MANSON are definitely not my kind of thing! I get very nervous listening to their music and this MARILYN MANSON fellow looks pretty pathetic if you ask me… still he’s making a lot of money by looking the way he does, so I suppose a lot of other people must like it. These bands don’t bother me that much, as long as I don’t have to listen to their music and look at their appearance. I mean there are a lot of things out there I don’t like and I prefer doing something I do like over getting annoyed over things others do that I dislike. It’s not my thing, so I don’t give it too much attention. I think it’s better to give promotion to the acts I do like instead of saying how fucking bad these other particular bands are in my opinion.
So what if a band like those invites ORDO DRACONIS to play a live show together, or to do a split, or something?
Concerning things like a split or something it’s very easy – we would definitely never do such a thing with these bands. A live show would depend on the opportunity and the conditions that are offered. If for example we would be offered to play in the United States or Malaysia without making losses, we just might consider it… I mean, people are smart enough to see that we don’t (nor want to) have anything to do with these other bands and playing abroad is beneficial for us, even if it only were for the experience. But don’t worry such a thing will never happen anyway!
I think I’ve bothered you enough, so here’s your chance to say anything that’s left to be said.
Well, thank you, Shah for this nice and extensive interview!! Best of luck with RANDOM zine!!!

http://www.ordodraconis.com/

RANDOM printed issues

2009-04-17T17:45:00.006+08:00

Here are the covers of the printed issues (so far?), five issues to be exact.

RANDOM Issue#1

RANDOM Issue#2

RANDOM Issue#3

RANDOM Issue#4

RANDOM Issue#5

DYING "Born From Impurity"

2009-04-17T12:35:00.002+08:00

DYING “Born From Impurity”
“Born From Impurity” is a self-released debut of Spanish brutal death Metal band DYING. Brutal death Metal that’s clearly in the European vibe rather than that from the US. And that is what it is. I mean, what more could be said about a European brutal death Metal being done just right; adding none and leaving none? Or maybe that would be a problem for some, the fact that you couldn’t, or better still shouldn’t; ask for anything else rather than that. For those who are content with the album being what it is, let me just add that it’s decently composed, decently produced, and decently released. I’m sure there are some parts in it that will excite those of you who’s brutal death Metal at heart. Right.
www.dying.es
www.myspace.com/dyingband
dyingbrutal@gmail.com

Interview with THY SERPENT in Issue#4, 2000

2009-04-15T12:18:00.006+08:00

THY SERPENT. Interview with Sami Tenetz. Otherworldly craft. But we are all humans anyway. Read.

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THY SERPENT. Anything to do with your fascination of the creature ‘snake’ and the mysticism surrounding it?
There’s no deeper meaning behind that. First it was just meant to be “SERPENT”, but as I found out that in Sweden has already a band called SERPENT, so I just put THY front of it. I was tired of all those pure satanic and gore name, and it sounds good and original, so I chose it.
Is it true that your two earlier albums before “Christcrusher”, “Forests of Witchery” and “Lords of Twilight” are some kind of a collection of old and new materials?
No, “Christcrusher” is our second real full length album. First was in 1996, “Forests of Witchery” contains six tracks, all of new ones and the length of the CD was almost 50 minutes. “Lords of Twilight” is some kind of collection of old material, but all the material was re-recorded at TICO-TICO Studio.
The covers of “Lords of Twilight” and “Christcrusher” flourished from the same idea, it seems…
Yes, and the first one was too… you know the nature and the colour. This was our first trilogy. Next three ones will be different ones. New layout, new logo, new line-up… just wait and see.
Ever since the formation of the band, you’ve labeled the music as ‘dark Metal’. A couple of bands too, but none of them including yours sound similar with each other. So what’s ‘dark Metal’ from your own understanding…
“Dark Metal” is simply Metal music with dark lyricks. Lyricks are not a satanic ones, not gore type and not any other, just dark. Even our lyricks are very antichristianic, that’s not mean that we’re a black Metal band. You know, you can be an antichristian person without being a Satanist or satan worshipper. And you can play stereotype sounding black Metal without being a black Metal band.
There’s a remarkable progression of THY SERPENT from the demo-stages right through the present days.
Of course, that’s a very natural thing. Over five years has passed since the “Frozen Memory” demo and if THY SERPENT hasn’t progressed at all by that time… I had stopped this thing few years ago.
And what may be the different between those one-man period to this full line-up formation?
Nothing else except that Azhemin is handling better bass, vocals and synths than me, and Agathon is better chose than a cheap drum-machine. It’s better and easier to work out now…
How did you finally decided to get a full line-up for the band?
As I wrote a contract with SPINEFARM in ’95, I thought that I can get a better final result if I find some players in the band who can handle their instruments better than me… as I still was just a guitar player back in ’94 and ’95. And that subsequently explains why THY SERPENT finally agreed to play live-shows?
Because there has been so many peoples asking about it. We’ve had many chances to play tours with more or less known bands. Still I don’t like to play live, but as far it’s okay to me when I get some promotion and money from it.
Is THY SERPENT still your definite spawn or becoming a kind of communion now?
Yes, THY SERPENT is still my band as Azhemin and Agathon has their own bands. I do the major music and job for the band.
Haven’t lost your possession in the band?
As I told you in the last question, THY SERPENT is still a band lead by me, and therefore I haven’t loss any venom.
I found that there’s an enormous feelings of weird sadness enshrouding your materials. How’d you explain that?
Hard to say. Material that me and Azhemin write is coming very natural. We’re very misanthropic persons… we do not even know each others, even that we play in the same band!
The lyrics in “Christcrusher” are mostly done by T. Maensivu…
He’s just a friend of us and he wrote nice lyricks. We just liked what he has done, that’s why we took his lyricks.
From my point of view, most of the Finnish bands sound different from each other. Why does it turned out that way?
Once again, really hard to say. In my opinion the Finnish scene at the moment is a really strong one. Just wait and see… there’s a new label in Finland called SPIKEFARM, it’s a division of SPINEFARM Records. SPIKEFARM is led by me and I surely chose only good and quality bands in it, mainly Finnish ones.
Your music is quite inhumane, so do you see yourself as a human?
Yes, I’m human… Quite an eeevilllll one, aaarrghh!
And what about life after death?
I don’t believe there’s something spiritual after death. Your life just ends…
What’s the highest prospects that you would like to achieve with THY SERPENT?
I don’t have any special goals with THY SERPENT. If I could get so much money that I can get my wife and two childrens lived… that would be cool. But I think that would never happen.
What’s the band will up to next? Do you still in tape-trading nowadays?
Just a new album in the year of 2000. And no, I haven’t done that since ’95.
What happened to that beautiful girl on your second demo’s cover?
She died. So, it’s quite hard to see her anymore.

www.thyserpent.net

Interview with DOXOMEDON in Issue#4, 2000

2009-04-15T11:02:00.008+08:00

DOXOMEDON's "Evanesce" EP is still one of the best produced, best performed hidden gem of the Southeast Asian Metal scene till today. It is fast approaching 10 years in age (and it's fast approaching 10 years too that we have waited for their debut full length to emerge) ! If you can prove me wrong, do it, because here I am, armed with "Evanesce" and I'm going to force-fed it into the foul mouths of the non-believers.

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You should know that I’ll always feature great, talented bands from Malaysia and Singapore scene, and I regard both countries to be in the same scenery. And it’s not hard to guess that DOXOMEDON will have the honour to be interviewed in this issue, so here you go; a great brutal death Metal band from across the shore…

First off, the “Evanesce” EP is impressive. Most particularly the sound produced. How did you managed to get those kind of sound?
Well thanks a lot for the compliment. The whole recording process was done solely in Singapore as we find it cheaper rather than do it elsewhere and we are lucky enough to have good sound engineers who really know what we want for our album. As this is just our debut, we are satisfied with the whole production although we knew it could be done better. We will improvise the quality of the recording if we had a chance to release our debut full length in the future.
The songs presented are more than strong enough, if we are to judge whether the band is able to make a full length. So why chose to release an EP instead?
Originally we wanted to release a full length album instead of EP but since we are still an alien in the underground scene, we thought that we should release an EP first. That would be a better way to introduce us in the scene. Conclusively, the music is brutal all-around, but with penetration of some keyboards passages and emotional parts… We tried not to use too many keyboards in our music ‘cos we believe that our music doesn’t really need the keyboards stuff. We might use it if we feel it’s necessary. Of course, variety in melodies is our main priority in every song we write.
The song-titles are very vague, so what are they really all about? What about the cover?
We don’t like to write something very straightforward, as it may look too plain and basic. Most of the lyrics don’t mean anything with our life or societies we live in… just from our fucking misanthropic perversion imagination. About the cover concept… it does more or less related to our songs.
It’s released by DARK ARTZ… and do you have any kind of deal with PSYCHIC SCREAM?
DARK ARTZ may sounds new to the underground scene but its existence has been around for quite some time now (I believe it’s the continuation of INTO DARKNESS distro-ed.). I don’t know much about them either. Ha! Ha! We signed with them because no other labels want us actually. I don’t know much about PSYCHIC SCREAM too.
How’s the reaction to “Evanesce”?
So far we got positive reviews from media and those who have bought or listen to our stuff. Too bad, promotion wise is very slow and lack of publicity. Should blame to whom huh?Tell us how the band composed the songs. Does surrounding has some kind of influence?
Most of the songs been composed by our lead guitarist, Sham. We got influence not by surrounding but from our friend Man D.D. He’s our unofficial mascot and our inspiration. I’m actually in the dark about the band, including those years when the band was still called ITNOS. We were formerly from ITNOS. Our 2 original members left the band due to hamstring injuries. Then left 3 of us decided to form a new band and later 2 new members joining in and here we are now… DOXOMEDON.
So why change the name to DOXOMEDON?
We have no idea.
I think the band has shed their onwards adheration towards black Metal, be it in donning war-paints and song-titles alike… Did trends back then had some effects?
ITNOS was a black Metal band and was formed by our first guitarist, Abominathroe. He was a Satanist and he’s the main guy in ITNOS. Since he left ITNOS, we decided not to play anymore black Metal music as majority of the band members are more into death/grind Metal. We still dig up some good black Metal albums and will always support the black Metal scene. People still consider us as a black Metal band although we have told them many times that we aren’t a black Metal band. The reason I think is that we kept contacts with many black Metal bands/friends all around the globe. We are too long in the scene to be in the trendy shit.
So what’s the real difference?
As I told you earlier, ITNOS was meant to be black and DOXOMEDON is purely deathgrind.
Do you ever regret your years as ITNOS?
NEVER.
Don’t you think that the musical direction changed drastically?
It’s naturally meant to be that way for all bands or musician but not drastically.
“Christ Mary Bitch” 7” EP was released by a European label (MIDIAN CREATION I think). How did you guys (ITNOS then) obtained the deal?
That foreign label was just helping us out. They are good friends of us. It’s a good way for Asian bands like us to have a decent deal with international labels. A stepping stone for worldwide recognition.
Is there any possibilities to work with foreign labels again? Will the band accept those kind of offers?
Of course we will. We hope we could get a good deal with any foreign labels but there’s a better deal from the locals, we don’t see why we can’t take up the offer.
Is it really hard for a South East Asia band to gain recognition in the international scene?
If we (the Asian bands) play good or even better than the foreign bands, I don’t see why we couldn’t make it to gain recognition.
Do you believe there really exists some kind of skepticism?
I’m not sure.
When will the new output is going to be released? Your live-sets were very impressive, so is there any plans of live shows?
We look forward to perform in Malaysia and hope we could play in other parts of the Asian region. If there’s no offer from labels to sign us up, we may release our debut full length on our own. We’ll see how it goes.

Doxomedon@operamail.com

Interview with GARDEN OF SHADOWS in Issue#4, 2000

2009-04-14T11:28:00.007+08:00

GARDEN OF SHADOWS is one of my greatest find during the lead-up to the release of Issue#4. Much less is needed to elaborate if you listen to their massive demo "Heart of the Corona". They execute prime epic atmospheric melodic death that doesn't sound Swedish, a thing that's hard to achieve if your band is going the melodic ways back then. The band had split-up, but not before leaving us with a masterpiece of an album,"Oracle Moon" before bowing out gentleman-ly. Brian has always been a great friend too, I wish him all the best in whatever he's venturing into nowadays.

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I’ve been listening to the demo “Heart of the Corona” ever since from the day I’ve received it until now, and I guess that it’s not that hard for all of you to guess how high I regard their demo is. It’s been a while since then, so perhaps you all could just fukk off and read this nice conversation with Brian, the guitarist.

How’re you there, Brian my friend?
I am doing fine as I hope you are as well.
And what about the band?
We are all practicing hard and getting ready to record an album!
I think we should start with the MCD release on X-RATED RECORDS, shall we?
Okay, it’s actually a re-release of the demo; with an extra bonus track “Shards of the Sphere”.
What leads to the deal? What’s the purpose then, since I think that your demo sold quite a lot?
We received the deal from X-RATED unexpectedly. We sent them our demo because we hoped they would be interested in distributing it. They were interested and they offered to release it on CD. We received offers from several labels to release it on CD, but we went with X-RATED because we had heard that they were very honest and we knew that they had done a good job promoting their first release (WITCH-HUNT “Prophecies of a Great Plague”). Our demo has sold fairly well – we only have 40 left of the original 900 – but there were several reasons for releasing it on CD. First of all, we were not very happy with the presentation of the demo, and the packaging of the CD is much better. It includes an 8-page full color booklet with all the lyrics. Another reason for releasing it on CD was so that it could have better distribution. There are a lot of distros that do not distribute demos, and we felt that the music on the demo was worth getting it out there. Also, many people prefers CDs to demos because of the convenience, durability, and improved sound quality. But the main reason for releasing it on CD was the re-mastering and the inclusion of the bonus track, “Shards of the Sphere”. In my opinion, that is the best song on the CD, and it will remain exclusive to the “Heart of the Corona” CD.
Apparently there’s some problems concerning the recording of the track “Shards of the Sphere”. Could you tell us what actually the problem is? You have to do the mixing in another studio… why don’t you use Oblivion Studios again?
We didn’t use Oblivion Studios again because we wanted to get a better quality recording and we hoped we could get that at a more expensive studio. We thought that if we were just doing one song it wouldn’t take too much time (we had to pay for the recording ourselves). We were wrong! Here is what happened: We let the engineer handle everything and we wound up really regretting that. To start with, he miked the guitars poorly and we were so unhappy with the sound that we completely scrapped the first days’ guitar tracks, re-positioned the mikes ourselves, and re-recorded them on another day. This didn’t force us to go to a second studio, but it did cost us a lot of money! On the day we mixed we were even more unhappy with the final result than we were with the first guitar tracks. The entire recording sounded very muddy and we didn’t know what to do. We called several studios and one told us that it was probably the drums and that if we went to mix with them they could add compression onto all the drum tracks to make it sound better. We went there to mix and then we realized it was the drums – you could hear the entire drum kit on every drum track! There was hardly any separation of the elements of the kit. That studio couldn’t help us either, so we went to the third studio that had automation. There they were able to help the mix by raising the levels of specific drum tracks when they were supposed to be playing and lowering them when they weren’t (for example, bring up the floor tom track when it was being played and lowering it at all other times). By doing this we were able to generate a mix we could accept.
I know that the keyboardist Scott has left the band due to musical differences, right? And there’s also the inclusion of Owen as the bassist. Could you tell us more about him, and probably more insight about Scott’s departure. So who will handle the keyboards next?
Yes, there were musical differences between us and Scott. He wanted to play in a more improvisational style and we wanted everything to be structured. After a while, he had joined another band that was more improvisational and we both agreed it would be best for him to concentrate on that band, so he left. Owen joined us a little before we recorded “Shards of the Sphere”. He was a guitar player, but he offered to buy a bass to play with us and so he became our bass player. After we recorded the cong and released the CD, our old bass player Sean, who had first joined us after we recorded the demo and left (because of his job) a little before Owen joined, rejoined us on bass. Since we did not have a keyboardist, Owen agreed to play guitar synth. We have played several shows with guitar synth, but there are a lot of limitations to the guitar synth (we didn’t want to record using it), and so we are still looking for a keyboard player. Since I don’t think we will find one in time to record, I will play keys on the recording.
It’s no secret that you’ve penned a deal with WICKED WORLD, the sub-label of EARACHE Records, and the album is scheduled for release in January 2000. Probably you could inform us a bit about this debut. What’s the working title for it?
It will be titled “Oracle Moon” and it will consist of seven new songs. Some of the song titles are “Oracle Moon”, “Citadel of Dreams”, “Desert Shadows”, “Dissolution of the Forms”, and “Continuum”. Most of the material is similar in the style of the demo, but I think it is a little heavier and more involved than what we have done before. I think that anyone who liked the demo will like our new stuff at least as much.
If you could, then tell us what might be different between it and the demo?
To start with, I hope the sound quality will be better! I think the material is more mature than the demo, but it is not a huge departure from the demo material. We are happy with our style and we have no plans to make drastic changes.
Your music is in its totality death Metal alright, but you seem to add up lots of musical style into it…
I think it is just that we listen to a lot of different styles within death Metal and we draw on influences from everything we listen to. Death Metal as a genre seems limitless to me because it can incorporate elements from so many other areas (for example, ORPHANED LAND incorporates a middle eastern feel into their style of death Metal).
But what important is, the music contains lots of emotions…
I think it is important for music to evoke an emotional response, but it is not something we consciously think about when writing a song. We just make sure the song sounds good to us. We listen to music that we feel is emotional and that is an important element to us.
What might be different is the use of growling vocals in it. I mean, music like yours usually have that kind of screamy-type of vocals these days…
Other people have said the same thing, but I really don’t agree. I remember a time when the term ‘atmospheric death Metal’ referred to releases like SEPTIC FLESH “Mystic Places of Dawn”, or THE GATHERING “Always”. I would say these are examples of atmospheric death. Now there are many atmospheric black Metal bands… so many that a lot of people seem to think that if the music is Metal and melodic it must be black Metal influenced and have black Metal vocals. There are black Metal bands in this vein that I enjoy, like DIMMU BORGIR and DISMAL EUPHONY, but I think many of these bands could be considered atmospheric death Metal if they changed the vocals in pitch slightly! We enjoy the sounds of older bands that combine death vocals with atmospheric music and we plan to continue to do this ourselves.
You don’t seem to utilize Mary’s vocals that much though…
That is true. She will sing a little on our upcoming full-length, but it will not be too much. I think she has a great voice, and many people have asked if she could sing more, but we do not want to exploit her vocals to jump on a trend. We just use them when it feels appropriate and I do not think they would fit properly over much of our music. But for those who want to hear more, there are a few places where her vocals will fit quite nicely with our new material… but I guess I will leave that up to the listeners to decide.
Can you delve more into your lyrics? I’ve read them, of course; but it’s still pretty vague for me to understand it wholefully. I hope you could give a clearer vision on them.
Each song is an individual piece which is designed to be a poem in its own right. It is our hope that listeners will interpret the lyrics their own way. Of course we have an intended meaning when we write them, but I think that different people might take different things out of them. As for the song on the MCD, “Shards of the Sphere” deals with knowledge and uses a sphere to represent all possible knowledge in the universe. As we gain knowledge, we are collecting the pieces, or shards, of this sphere. Just one shard enables us to do so much…imagine what we could do with the entire sphere… “Heart of the Corona” deals with the paradoxical nature of the sun – its power to sustain life and to destroy it. “Lovely Cold” is a mythical tale of ancient civilizations who destroyed each other and all of their achievements were lost to time. “Apollonian Realm” is about the ancient cult of Apollo, and “Company in Solitude” deals with desperation and loneliness and takes place as an inner dialogue inside one person’s head.
I know that you have a band before this, FUNEREAL OPERA. Could you brief us about the band? And, if there are; any other band that you involved in before GARDEN OF SHADOWS?
There were no other bands I was involved in before GARDEN OF SHADOWS. When I first joined FUNEREAL OPERA, I was the only guitarist, and I had just picked up my first guitar, so it is probably not a surprise that we were terrible! Everyone in the band wanted to go in different directions and we had no real focus. We never did anything worthwhile in FUNEREAL OPERA, so believe me, you aren’t missing anything there!
I hope you could tell me something about the US scene. Don’t you feel a bit left out, as the US is renowned for the massive number of brutal bands?
It is true that the US scene has a large number of brutal bands, and there are several festivals here that are almost entirely brutal in focus, but I don’t feel left out. It seems like things are changing here. There are more melodic bands than ever before and the list keeps growing. Just a few of the American melodic black and death Metal bands include FORTY DAYS LONGING, IN RUINS, ASSISTING SORROW, SORROW BEQUEST, WITCH-HUNT, RAIN FELL WITHIN, DAWNBRINGER, EDENROT, DISINTERMENT, ESTUARY OF CALAMITY, THORNS OF THE CARRION, SCHOLOMANCE, EPOCH OF UNLIGHT, AGALLOCH, SCULPTURED, ABOMINANT, and more and more are appearing all the time. Things are changing and hopefully we will have entire festivals dedicated to extreme melodic Metal soon!
Give us your opinion, why there’re lots of bands like that in the US scene…
I really don’t know why there are so many bands of that style. The European sound has always been my preference, so I never wanted to play in a purely brutal band myself. Perhaps it is just that many of the great melodic death Metal bands didn’t have good distribution here in the USA and so more people into Metal here heard bands like CANNIBAL CORPSE and used that as their main influence.
People almost succumbed to the fact that US bands could only excel by just reproducing that kind of sound…
Well, I think if you listen to some of the bands I mentioned, you will be able to hear that it is not necessary to reproduce the same brutal sound to be an American Metal band!
Probably I’m running out of ideas, so maybe you could add up things that I’m supposed to question you Brian.
Well, I think you have done a pretty good job of thinking of questions! Seriously, this has certainly been one of the most complete interviews I have ever done. I hope you have enjoyed reading my answers. Thanks for this opportunity to be in the pages of RANDOM fanzine and for your support. KEEP THE METAL FIRES BURNING!!!

http://gardenofshadows.tripod.com/

NIGHTMARE "Demo(niac)"

2009-04-14T10:22:00.002+08:00

NIGHTMARE "Demo(niac)"
If the band’s own description of ‘necrowicked raw symphonic black Metal’ baffles you, here I am to help things a bit. “Demo(niac)” is actually a straight eastern blackened Metal affair. The structures, the riffs; all are pointing unashamedly towards that direction. Which brings a smile to my face since I’ve thought that after all these years, there must be some ‘shifting’ going on in the local scene in terms of musical approach. Or maybe I’m wrong, being an ignorant scene onlookers I am, heh. Something proved by an offering like “Demo(niac)”, which take me down to the mid-90’s of the local scene, when releases from the local scene will almost surely guarantee you this kind of musick-ness even before you push the ‘play’ button. But hell, eastern Metal still has its own charm. Just ask those diehard ‘exotic’ Metal freaks all over the world. NIGHTMARE here produced it the usual Malaysian way. They even took ‘catchiness’ to the hilt with “Nightmare… Perjuangan 12 Tahun” here (locals, remember DARK NIRRAJIM’s “Perjanjian Syaitan”? You got a clear, mega-pixelated view there, hehe). If you’re familiar with ‘eastern’ Metal, then expect what is to be expected.
blackend_nightmare@rocketmail.com

Interview with AETERNUS in Issue#4, 2000

2009-04-13T16:09:00.011+08:00

This interview was primarily, or perhaps solely; initiated by THAT album, "...And So The Night Became". MAGNIFICENT. PURE BRILLIANCE. I dare you to have a listen.

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Simply put one of the original Norwegian act, the band Aeternus has never compromised on bringing music with strong characteristics and distinguished charisma. After the demo “Walk My Path”, “Dark Sorcery” followed and received good response thus re-released in MCD format by VIEW BEYOND RECORDS, this one being very hard to find these days. It is later re-released again by HAMMERHEART RECORDS, and it’s also initially sold out by now. After the impressive debut “Beyond The Wandering Moon”, “…And So The Night Became” followed, and this interview was done prior to its release (and as usual your editor fukked things up, inevitable it seems). They’ve released “Shadows of Old” ever since, but surely this interview could still give you something…

AETERNUS has become the supporting act for DEICIDE on some of their European Tour shows not so long ago, so how was it?
In general, this was a great tour for AETERNUS. Good promotion and good inspiration. We had some shit-shows, but that happens. It’s not cool to play first out of fuckin’ 5 bands, you know… You start at 1900 and 40 people shows up. Anyways, this only happened a few times and like I said: In general a great tour for us.
How’s the crowd managed to get along with your sets? I’ve been thinking that most of your songs need to be listened in full-concentration of the senses before it finally shows up its true magnificence. AETERNUS is also known for their great live-sets, so it just makes me wonder a lot…
We argue some before we really know how we want our live-sets to be, always the same thing… It’s kind of hard (in ways) to pick songs for live shows. Especially when you got a lot of ‘long’ songs like we do. I believe we choose songs wisely every time, the crowd seems content (at least and at worst) so it’s cool. It’s true that it takes some ‘listen-to’ before the essence of our songs reveal on our albums. Some of our new material is much more to the point, so that’ll be good for our next tour (they’ve toured with CANNIBAL CORPSE for the latest album-ed.). Some songs will kick ass regardless if you know them or not.

Three-piece… also when you’re performing live?
No, we need 2 guitars live. So far, we’ve had Døden from OBTAINED ENSLAVEMENT helping us out on 2 tours and a festival. On the DEICIDE tour, Mr. T. Reaper of MALIGNANT ETERNAL helped us. We’re slowly working on getting a second permanent guitarist. We’re kind of fed-up with the session-thing. So future will tell if we find someone suitable for us and what we do (and they have found one ever since-ed.)
Let’s talk about the “…And So The Night Became” album. Personally I find it not that different from your earlier offerings, but it would be better to know your opinion about it instead.
In ways, it’s different, but it’s not so different in other ways, you know?! That’s how I see it. The musical progress is clear, I think. “…And So The Night Became” has more pounding sound, better arrangement and more ‘focused’ emotion than “Beyond The Wandering Moon”. Our third CD “Shadows of Old” will be strongly different compared to the differences on our earlier releases. Guaranteed. Await in October ’99.
I find the guitars sound to be much darker and evolving…
Yes, and it will keep on being dark and pounding. We’ll have it clearer too, on our third CD. I’m work a lot on the sound for this third release as it is important because our new songs require a clearer and even more pounding sound. Developing?! Most fucking definitely!!
Your songs are usually long in its duration. Is it intended to be that way?
Usually, our songs end up lasting 6-7-8 minutes. It’s just the way it is. There’s no special reason for it, it just happens. It has never been a vital thing for us or anything, to focus on having ‘long’ songs.
I understand that AETERNUS take the lyrics seriously. Mainly what would be the main theme for all of them?
Basically, to put it down shortly, our lyrical realm speaks of dark emotions. Plain and simple.
I think the band is so obsessed by the night, and things surrounding/revolving around it. What’s the night really represents to you (and the band as a whole)?
Night time is an enchanting time, nature becomes more beautiful in ways, etc. etc. I could go on and on about what the night can give me emotionally and so forth, but I see no reason for that. The night is enchanting for those who knows and feels its bare essence and power.
Dark Metal, as what you call your music as. Tell me what sets it apart from black Metal?
Musically, AETERNUS stands between black Metal and death Metal mostly. We have our own style and the term ‘dark Metal’ suits it all perfectly, if one wants to label our music.
The members of AETERNUS also involves in various other bands, is the situation still going on till these days?
Today, we don’t play in any other bands. AETERNUS is it for us.
Lots of these new bands from Norway are exploiting their nationality to gain recognition. What’s the way it should be then?
Whatever makes people content with what they do. We focus on our thing, we don’t compete, we creat dark music and we do what we do best. Our way. Others do their thing their way, we don’t care too much.
Also, most of their materials appear to be sounding almost the same with each other.
Yeah, a lot of bands sound the same. If they can ‘see’ it, they don’t care or they want it all that way.
And what about using Norge in songs?
AETERNUS has 5 songs with Norwegian lyrics. Ain’t nothing wrong with my language, man!
Since that Morrigan is a woman, why not use her voice for your forthcoming releases, just like most of the bands these days? Or, is this ‘female-vocals’ thing is not to your liking at all?
Morrigan is a bassist, not a vocalist and I don’t think we would have used her vocals at all if she could sing ‘cause (like you say) it’s not our thing at all.
What do you think would happen to the always fascinating Norwegian scene in the future?
I have no idea. All I know is that we’ll keep on doing our thing until our destiny says otherwise.
Your music comprises of three elements: originality, beauty and darkness. So tell me where these elements could be found in the music of AETERNUS.
When/if one finds originality, beauty and darkness in AETERNUS, one will know exactly what we are about.

www.myspace.com/aeternusnor

Interview in MORTAL FLAMES#4, 1998

2009-04-13T12:38:00.004+08:00

Here's an old interview being done by the late, sadly departed great friend Rohaizad of Mortal Flames 'zine back in 1998. One of the better interviews I've ever answered, to be honest. Some information about RANDOM is to be find here, the era is post-issue#2. Absolutely unedited, yet most of them are still eerily relevant till these days.

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RANDOM is another good 'zine from Pahang. Its second issue has been released in May, committed to metal genre. Below is a chat with the editor, Shahrizwan.....

Sejahtera Shah. Would you mind to give us a retrospect of the beginning of RANDOM? What's the sense for using RANDOM as the name of your 'zine?

First of all, greetings to you and the readers. The idea of unleashing a fanzine came up in my mind in the year 1994. But there's nothing done and planned until the year 1996 when things started to happen and finally, the first humble issue was revealed to the masses in July of the same year. Nobody, except me knows exactly why RANDOM was destined to be the name of the fanzine, even if I try to explain it. So, it's pretty useless to tell more about it. Besides, I think that the name is easy to be remembered and will not make your tongue twisted in order to pronounce it, right?

I would like to felicitate you for the release of your second issue. How you see the improvement compare to the first issue? How about the selling, so far?

When you're comparing the first issue with the second issue, the improvement is very vast I think. I'm not very lucky with the first, I mean lots of unreplied interviews and so on. I even had to ask friends too to type it all. In short, lots of obstacles and problems. For the second, it's vice-versa. I've stopped selling the first issue after the number is slightly over 150 copies, and right till now, the second issue have been spreaded for about 100 copies so far. I don't care so much about how many copies have been sold actually. It's the satisfaction of the readers that counts.

What are the things you emphasize on in the making of your 'zine? Do you have any inspirational 'zine? Do name some good 'zines from your point of view.

Just like what I've been said above, it's the satisfaction of the readers that counts. I try to make the readers enjoy it as much as I do. I try to show some progress with every issue released. I think any good 'zines that I have encountered inspires me in one way or so. Some good ones might be Morticianumbskull, Fear of Life, Tales of the Macabre, Skogen, Isten, Imhotep, Voices from the Darkside, etc, etc. (ed-how about the local ones?)

You have worked the 'zine all alone. Are you really please to work alone? Does the work bother your life, study?

Yezz, I'm very pleased to work alone. And I think it will forever be me, myself and I. It's better to work this way, but of course you have to do it extra hard. You do it all by yourself too, Rohaizad, so you should know. Of course it affects my life, studies whatsoever but this is what I've chose and I'm ready to face the risk. I'm not complaining. In fact I never will.

Regarding the second issue, it has only featured one interview with local band, that is PURNAMWULAN. What's the reason for the barrenness of local features?

I only interview bands that interest me and willing to co-operate easily. There's too many big-headed, uninteresting bands in the local scene these days, but I can sense this will change soon. Besides there's too many interviews with local bands that you can read in various local 'zines. Whatever, you could always find interviews with worthy local bands in future issues. It's a must for me to support my own scene.

How you provide the interview questionnaire for bands? By the way, what would be your favourite question? Which feature do you tend to, the new rising bands or big name bands?

Of all the process in the making of the fanzine interviews is the most important aspect for me. And of course it consumes a lot of my time. I try to make it as interesting as possible. I hope that I succeed to make it that way. Every questions were carefully thought of and arranged, at least that's what I try to. I can't name any favourite question, it never came across my mind. I don't care how big or small a band is, what's important is the music that they play. I'm looking for capabilities rather than popularities.

Again on your second issue... Sorry, but I must say that the cover is not attractive enough, so does the logo. The artwork is not very convincing, people might think it's not an interesting 'zine although the contents are rather good. What do you want to say about that?

Many people told me that, and what can I say. It's their own opinion. As for the logo, I've decided to use the original one instead of the second issue's, so what do you think about it? Do check out my third issue cover soon, it might be more interesting. As for those who think that they can draw better than the guy who made that cover artwork, why don't you try to send your artwork to me? It's more than welcome. By the way, 'don't judge the book by its cover', ha!ha!

How goes with your third issue? Tell me something about its possible features.

I'm sorry. I can't reveal anything yet. It might be more interesting than the second. Just keep on waiting. Good things take time.

I'm interested to study your musical taste. What are your favourites to date?

Mostly it would be Metal, although I could say that I listen to everything that's decent enough to my distorted ears. There's too many favourites to mention, but Sweden's death and black Metal bands rarely dissapoints me.

How's your view on our local scene in general? I conclude that the people here are mostly adhered to black Metal. Don't you realised that the scene lacks of doom Metal bands? What's your opinion towards u/g commercializing?

I'm more or less agree with you. But I think it's getting better day by day. More power to the local scene. Commercializing the underground? The word 'underground' itself shows clearly that it's out of the concept. What's been 'commercialized' is not 'underground' anymore... Think about it.

I've recently been informed about the establishment of a black Metal circle in Johor. Have you noticed about that? What do you think of such movement?

Hmm... I think it's called Black Pentagram, right?(ed.-Black Penthagram Johore Club). I don't know much, so I couldn't comment more. But if it's just for fun and image... FUCK! Another example of worthless scheme. (ed.-I've read the interview in UPANISHAD #2. They are totally stupid kids who were mindlessly shocked by black Metal. I'm wondering how evil they are. Again, honest from me... FUCK!!!)

Give your personal view on IMPIETY's boycott.

Again, I don't know much about it. But, as long as it doesn't involve me, who am I to interfere and shout about it? Tell me more about it, Rohaizad. IMPIETY is one of the strongest band in the regional scene, musicwise. (ed.- The boycott was evolved by their former circlemate, AS SAHAR's One Barchiel. He declared Syaithan a great hypocrite. Syaithan egoistically condemned Malaysian scene back then but when Ultra Hingax Prod. released Impiety's first album, "Asateerul Awaleen", he pretended to be kind to draw sympathy from Malaysian metallers to buy the album. Furthermore, he started to answer interviews from Malaysian 'zines. That's what I quote from the flyer. Hey, haven't you got the flyer?)

The number of the scene follower is increasing day by day. Do you see this as a positive progress? Do you really support new entries?

It has its negative and positive. I don't know whether I really support new entries or not. But it really makes me laugh when I'm reading some of their letters. Maybe we should give them more time huh?

Well Shah, we have to part now. Do leave some parting words.

Thanks to you, Rohaizad for granting me this interview. It is very much appreciated. Nothing much to say, just believe in everything that you do.