DEMO REVIEW: Käptör - Thräshättäkk (2024)

Käptör – Thräshättäkk

Estonia

Gatekeeper Records

 

There’s no denying the quality of the Estonian underground scene, with killer bands like Goatsmegma, Lein, Skullfukk SS, Koffin, Thunraz, etc. Käptör is another band worthy of adding to the list, having just released their bone-crushing debut demo, aptly titled “Thräshättäkk”. I haven’t heard any thrash bands from Estonia prior to reviewing this demo, so it’s always cool to hear new and upcoming bands, particularly from Northern Europe.
 
The demo consists of three tracks and has a playing time of about twelve minutes, and in that short time you get to hear a healthy dose of methamphetamine-induced street thrash reminiscent of bands like Slayer, Dark Angel and Overkill. For a first demo, the band shows a lot of promise, though I have a feeling they will explore their arsenal a bit more on future releases in terms of finding their identity. I like the raw approach and fast riffing, along with the totally analog sound of this recording, which almost sounds like a rehearsal.
 

The vocals have a crossover feel to them and are effectively executed, while the drums are energetic and non-stop. The riffs are pretty deadly and one of the band’s strong points. There’s definitely something special about these guys: I mean, just look at the artwork – it’s cool as hell and screams ‘80s thrash worship, while the song titles like “Speed & Pöwer” and “Förce öf the Käptör” are simply badass and say a lot about the band’s attitude. All in all, Käptör’s first demo is a solid entry into the world of thrash and shows a band with a lot of potential, so let’s hope they stick around for a few more releases so we can follow their progress. Solid effort.

ALBUM REVIEW: Reverence to Paroxysm - Lux Morte (2023)

Reverence to Paroxysm – Lux Morte

Mexico

Dark Descent Records / Vomit Records / Me Saco Un Ojo Records

 

2023 continues to churn out endless ever-amazing ‘finds’, even though we are just past the first quarter of 2024. Reverence to Paroxysm comprises dudes also serving time in other Mexican extreme metal bands like Blood Reaping, Castleumbra, Hacavitz, Apocalipsis etc., and I am limiting the listing to bands that are still in! These days, I would hesitate to use the term ‘supergroup’ or ‘project’; RTP should be regarded instead as yet another facet of their musical identities. 

I admit I was immediately drawn to this album by way of, yes, the super cool band name and album cover (and without having heard a note). Like my friend Alden also noted, the artwork/design has a pretty black metal or DSBM feel and look about it. The music/performances therein could not be further from DSBM. This is monstrous, hulking yet exquisite death metal rooted in OSDM but with a very pronounced incorporation of doom and frosty black metal aesthetics. One review I read quite correctly referred to Lux Morte as “atmospheric death metal”. The atmosphere however, does not refer to anything misty mountainous and Cascadian; more a cold, dark, murky swamp or forest wetland with dense choking fog. From which, Swamp Thing-style beasts emerge to drag you under the waterlogged soil, decaying leaves and branches etc.,……….WWWUUUUUURRRRRRGGGGGHHHHHHH!!!!!!!

The drumming here really stands out; fluid almost-jazzy but metal through and through, just like how Bill Ward’s swing served as foil to the heavy-thick guitars on the first six Black Sabbath albums. And finally, the part that nails it for me is the sampled monologue (from a film or documentary) at the start of the sixth and final track, “Care Data Vermibus”:

“…...my mind is going; I can feel it………...
I can feel it……………There is no question about it.”

Hence, my friends, surrender yourselves unto the dark night of the wwwuuuuurrrrggghhh!!! (Unkle Superion) 

DEMO REVIEW: Lein - The Call of Grief (2024)

Lein - The Call of Grief

Estonia 

Gatekeeper Records   

 

“The Call of Grief” is the debut demo by Estonian black metal quartet Lein (Estonian for “Grief”) and was released by Gatekeeper Records on cassette format limited to 100 copies.
 

The band hails from the city of Tallinn, which is one of the snowiest cities in Europe and known for its beautiful medieval architecture, so it makes sense that such a setting would produce a band whose music conjures up images of forests and snow-capped mountains.
 
The demo opens with a somber intro that perfectly sets the tone for this release, followed by “Light”, a mid-tempo track with majestic riffs and hateful vocals that are rather mid-ranged and bestial, as opposed to the higher-pitched shrieking that you often hear in black metal, though I feel like this sets them apart a bit and actually fits the music very well.
 
Production-wise, the album has a rather simple approach and feels organic, especially the drums, which are on point and eminently well-executed. The third track “Öö Langeb” goes into darker territory and features a series of deadly riffs reminiscent of Dark Fury, which are perfectly layered over the vicious screams, while “Parasite” shows their knack for more bestial rhythms, including some epic guitar solos to boot.
 
"The Call of Grief” is packed with icy riffs and a melancholic atmosphere, but also has a verily gritty edge, including some excellent leads on the last track called “Last Winter” (no pun intended). Truly, this is a thoroughly excellent demo through and through and since it’s just starting to get colder in my country, it’s a rather fitting listen.
 
Fans of bands like Dark Fury, Hate Forest and Graveland should not miss out on this release, as everything on this demo is extremely well done and shows a band with a lot of potential and a penchant for excellent craftsmanship.
 
“The Call of Grief” consists of five compositions with a playing time of 26:26 minutes and is black metal at its finest. Highly recommended.

ALBUM REVIEW: Skrying Mirror - Omnimalevolence (2023)

Skrying Mirror - Omnimalevolence

USA

I, Voidhanger

When it comes to industrial metal, I can’t say that my knowledge extends beyond the more well-known acts like Godflesh, (early) Pitchshifter, The Amenta and (early) Fear Factory – all of whom have released some decidedly enjoyable works in the past. Skrying Mirror, on the other hand, take a much darker route, combining the haunting soundscapes of industrial with the viciousness of death metal to create something truly unique and terrifying.

The trio is made up of seasoned musicians, most notably Matron Thorn, who you may recognize from Ævangelist and Benighted in Sodom – and indeed you can hear his trademark touch in Skrying Mirror, as the project is steeped in darkness and a haunting atmosphere that suffocates you from start to finish.

The album was released by I, Voidhanger, a label known for putting out mainly avant-garde black and death metal releases that are usually of superior artistic quality. Skrying Mirror is no exception, as the nine compositions on “Omnimalevolence” are dynamic and exude an otherworldly and occult atmosphere that takes the listener on a nightmarish journey. The music is quite multi-layered, but also flows very coherently.

The vocals of Vardlokker (Nexwomb, Witchbones) are absolutely inhuman and pairs well with the backdrop of uncanny guitar rhythms and distorted bass riffs. The thick wall of noise creates a verily dense ambiance, which is further bolstered by visions of murder and a world in ruins, as the music begins to subliminally affect you like some kind of dark epiphany. Furthermore, the drumming by Manuel Garcia (Blattaria, Hex Arcana) is really well executed and adds an element of discordance to the mix.

The pitch-black and harrowing soundscapes may not be everyone's cup of tea, but if you have an affinity for bands like Autokrator, Ævangelist and Blut Aus Nord, then there’s no doubt in my mind that Skrying Mirror is right up your alley, as “Omnimalevolence” is nothing short of outstanding. Highlights include: “Fractals” “Yearn” “Lux” 

EP REVIEW: Abortofacient - In the Crypt of Gore (2022)

 

Abortofacient - In the Crypt of Gore

Belgium

Nuclear War Now!

 

Why am I reviewing a death metal EP that was recorded in February 2021 and released in July 2022 (according to Discogs)?  

Firstly, it is really that darned good (to me, obviously).  Secondly, I find it quite shocking that despite being released by the prestigious NWN! label there is no ‘proper’ online review or feature of this band or the EP (save for two Instagram posts and a YouTube unboxing video haha). Not even in Encyclopaedia Metallum……Unless there is something wrong with my google search engine or word search skills. If not, this would be a right ‘exclusive' for Death by Hammer zine; you read it here first, folks! 

This band is a trio (Bone Consumer, Puking Guts and Rotten Putrid) from Belgium and the EP follows from their 2020 demo Corpus Rotting. The CD version is a must to own as it includes the 3-track demo that was only released on tape. This is some seriously primal and primeval death metal from the depths (of the crypts, duh); everything moves at slow to midtempo pace with no groove, no churn, no speedy blastbeats (very few, and at not more than a canter), etc. 

The music, vocals and atmosphere are just so thick, filthy, and musty, and the whole affair suffocates with marvelous finesse. This is the soundtrack to the crypt residents clambering out of their resting places to hunt down the team of archaeologists for a hearty wwwwuuuurrrghhhhhhhh meal. 

Since getting this, I have played the shuck out of it (I may need a second sealed copy soon, maybe the vinyl as well ahaha). I cannot recommend this enough to anyone who likes a slow n’ steady sewage fest for their death metal. (Unkle Superion) 

Album review: Thunraz - Borderline (2023)

Thunraz - Borderline

Self-released

Estonia

Thunraz is a death metal project from Estonia (Northern Europe), consisting of Madis Jalakas, and “Borderline” is the third album (and the fifth release overall) under the project’s name.

It’s worth noting that Thunraz released two albums in 2023: “Revelation” and “Borderline” So how does “Borderline” compare to “Revelation”, you might ask? Well, “Borderline” hits every bit as hard as its predecessor. If anything, the album sounds heavier and more chaotic, with nine tracks of devastating and soul-crushing death metal that also incorporates influences from hardcore and doom.

The recording has a murky quality to it, yet everything sounds comparatively audible. On the previous album, Jared Moran (Acausal Intrusion, Psionic Madness, etc.) played drums, but on this recording Madis pretty much handled everything himself, from bass to guitars to vocals to drums, and did an excellent job.

The guitar rhythms are tighter than Rambo’s headband, with exceedingly heavy riffs that maul you like a spiked whip, coupled with flexible bass riffs and pugnacious vocals that range from martial growls to hellish screams. The inclusion of clean vocals makes the songs more interesting and even reminded me of Dax Riggs from Acid Bath. The sludge influence is obvious due to the slow-to-mid tempos, although it’s interesting how the songs manage to sound so discordant even during the slower segments.

The atmosphere on this release is exceptionally dark and melancholic, often bordering on black metal, although it’s not impossible to assume that there’s some black metal influence given the hopeless and negative texture of the music. If anything, I'd say Thunraz is in a class of their own as they combine an array of influences and yet miraculously make it work with relative ease as each composition is cohesive, succinct and straight-to-the-point.

Some bands that come to mind while listening to Thunraz include Immolation, Acid Bath, Soilent Green and Godflesh. These reference points should more or less give you an idea of what to expect. Every track on this album is killer, but some highlights include “Monument”, “Weight of Time” and “You and Me” (unarguably the apex of the album).

Thunraz is an underground extreme metal project that categorically puts out great releases for the style they play. This being said, “Borderline” is a solid offering from beginning to end, with 30 minutes of deranged Death Metal madness that will make all pretenders leave the hall, as the music on this release comes from a sincere and dark place.

Interview: VM-Underground Fanzine

VM-Underground has come a long way since the editor's humble beginnings as "Vampiria magazine" in the 90s, and still operates strongly with the assistance of contributors. I also submit some of my reviews to VM-Underground since they have a larger following and more exposure for underground bands is always a good thing. After all, it’s all about supporting the underground, isn’t it? Here is a conversation between myself, Jim (editor of Death by Hammer), and Ricardo, a wise veteran from the scene you who I am sure you can learn a thing or two from.

1. What’s up, Ricardo? Can you tell us about the humble beginnings of VM-Underground Fanzine and what inspired you to start this venture? How would you describe the development?

Well, let me tell you something brother! It all started out of the blue in the summer of 1997. A couple of young guys with a huge passion for (extreme) metal started a fanzine… While discussing about bands we were going to interview, the Moonspell album “Wolfheart” was playing in the background. We all liked the song “Vampiria” a lot because of the dark atmosphere of that track. Why not using the track title as moniker for our fanzine? And there you go… Vampire Magazine was born. And yes, cheesy as hell and it would be a total different name if Bal Sagoth’s ‘Starfire Burning upon the Ice-Veiled Throne of Ultima Thule’ would be playing at that time.

After two Xeroxed issues we, obviously, began writing articles for our third issue. But we got so many reviews and interviews that made us switch from a Xeroxed fanzine to a webzine in 1999. Many, many… many reviews, interviews and all kind of other articles later (like 15.000 to be more precise!), I stepped down as chief-editor and owner because it got too big to handle and couldn’t combine it anymore in 2008. They have changed the name into Archaic Magazine, took the level of quantity publishing articles down and kept on going for 3 more years.

Within 2008 and 2012 I just went back to just listening to music. But blood is thicker than water and I didn’t enjoy what other online zines were doing. Most of them their focus wasn’t on underground acts, but what the bigger labels were sending. And I totally understand that, I was in that same situation as well, but I wanted to do something else. I thought many bands didn’t get the attention they deserve because of the many releases by many labels that are being send to zines with all kind of deadlines.  Also I didn’t like zines demanding for physical releases only to write a review about. I’m not in it for the free stuff, so I welcomed streams and mp3 downloads, was more than happy to review those. And I was more enjoying exploring the musical platforms for new music than it got sent to me. 

I contacted some former crewmembers to resurrect VM again, only with a DIY-attitude. After some discussions, a bunch of them started writing again at the end of 2012 and this time VM-Underground was born! I have chosen to adopt the VM thing again, because many people are still positive about the work we did with Vampire Magazine in the past.

The first 4 years the VM-crew and I published 4 downloadable PDF-zines with a cut & paste lay-out. That was certainly fun to do and the advantage was that it didn’t matter if you had a busy week and couldn’t work on the zine. But readers, bands and labels are used to the online frequency of publishing so I received more and more questions if we were still alive between publishing the PDF-zines. So I decided to continue VM-Underground as an online fanzine again. Nothing flashy or fancy, just reviews and interviews on the website with an no-nonsense lay-out. Fast forward to 2024; we have almost 6500 articles and much more to come. Also almost 1000 old articles are on the shelf ready to be re-published.

Still have some goals; I really want to release a printed version and publish historical articles as well. The whole story behind a band or an album. I’ve done it for Evocation and Gorement and really did enjoy the research for those articles. But I admit, those demand a lot of time.

2. How much dedication does it take to do a fanzine? Does it consume much of your time? What are the pros and cons?

In my opinion, it takes a lot of dedication and a long-term spirit. You must not be of the quitting or easy gaining-kind. Or do it for social media fame. I think I spent at least 20 hours a week on my zine.

It is easy to start a blog, a Facebook page or an Instagram account and just yapping about albums, but I see most quit after 2 months because “I only got 2 likes” or “the band doesn’t share my review”. And the review is of “I like the vocals, they are brutal. I also like the artwork, it is great. This album is great. You must buy it”-level. If you’re not in it for the music and like to promote bands of which you think they deserve some extra exposure, just don’t start. Do you want likes? Post a photo of a woman the masses consider as good looking wearing a bandshirt and showing some skin, do it 4 days in a row and there you have it; the likes you desperately want. Whatever some people want to believe, it is 2024 and sex still sells…massively.

Writing is not for everybody and I have always considered it as an experience kind of thing, you will grow the more you write. Sure, some are natural born talents concerning the beauty of language but that’s not all. In my opinion, it is not only the writing as historical knowledge and passion are elements which are just as important. It is like an unholy trinity. For example; I’ve read a review of the last Necromantia album and the writer started with “I’ve never heard of Necromantia before…”. I immediately stopped reading. You’re free to give your opinion, but I consider it has no value for me at that point. Elitist behaviour? Be it as it may, label it as you please, for me it is common sense. As a fan of the tactical game and movements, I don’t discuss football with someone who only watches a game or 3 in a pub during a World Cup which occur once in 4 years. The person is free to have his or her opinion, but I rather like to discuss it with friends who share the same interest I have.

But back to the writing thing itself. Don’t get me wrong, I consider myself as a mediocre writer, I have healthy jealousy when I read articles from my crew or other writers from other zines. As English isn’t my first language I always have a certain barrier when it comes to vocabulary. If I write 3 reviews in row, I’m tending to re-use certain words and I get quite irritated with myself, therefore I choose to write shorter reviews mostly. Unfortunately, some connect the unlimited space of a webpage with the must of a lengthy article. Once sent the link of a review, which contained +350 words, to a band and they replied “Thanks, but a bit short isn’t it? Maybe next time a bit more effort”. +350 words…it would be a full A4 page in a printed zine…more effort. Times changed and expectations have changed.

The pros, well…I enjoy it. I think that is the biggest one. Getting in contact with other afficionados is another one. The cons, well…sometimes you forget to revisit good albums of the last couple of years, because you’re always working with new releases or grabbing a classic to listen to. That is something I have to change, forcing myself to listen to good albums which are released 2 or 3 years ago. And of course, when a good article doesn’t receive a reaction from the audience, band or label can be let-down sometimes, but no reaction doesn’t mean it people don’t read it.

3. a lot of people love to run their mouths on social media, lecturing others on the underground, yet many of them have never even sent handwritten letter to a band or had their stamps returned. What do you have to say about these cocksuckers who willingly throw around terms like “funderground” without ever having been a part of it? Don’t they piss you off?

To be honest, I’m judging by behaviour. Even old school experienced underground fanatics can be total wankers. Or begging for free physical releases on social media because they think they deserve it. I can still respect them for what they have done for the scene in the past, but I keep a distance, in person or digitally. That having said, if someone has respect for and knowledge of the history and aesthetics of the genre, scene etc, I’m open for every discussion…I don’t care about the age of the person on the other side of the table. If I’m in the pub with friends and a 19 year old enters the discussion and asks for recommendations because he or she just discovered Judas Iscariot on Spotify the other day, I’m more than happy to share the things I know. And hopefully I receive some feedback on it which of the recommendations were enjoyable and which not. But yeah, integrity is something I find quite important. I saw an old school cut ‘n paste fanzine made by a 16 or 17 years old Death Metal enthusiast. Total support! Doesn’t mind me at all if he hasn’t been around in the days when the classics were made.

As a metaphor. I see it like I (and many citizens) enjoy and I’m proud of my city, Breda in The Netherlands. Lots of historical buildings and beautiful old architecture, roads etc. But when something new is going to be build, it has to fit in the city view, it is has to be in a certain old vibe. If I’m correct, it is even a rule. So no crazy architect can come up with some hideous building that doesn’t fit in. It doesn’t matter if the building is only a year old, when it is has that old style ideas, it is just fits in between the older buildings next to it. You know what I’m getting at…?

And I don’t consider myself as someone who knows all, oh hell no, but when you’re listening to Extreme Metal for almost 34 years now, always been curious about history, listened to a shitload on releases and have read tons of fanzines, books and articles…you just remember a thing or 2. I’m certainly not the only one who sponge up information just by reading or hearing it.

But certainly, there is a new and young digital driven music enthusiasts and most of them have a whole different attitude. And clearly, that group and me…we are not on the same page. But as long as they don’t bother with me or making my life difficult, it is fine with me. Life is too short and I rather deal with people who I enjoy.

The way I experience them, mostly via social media or when I have a talk with them; most of them see themselves as incredibly open-minded on every aspect in life, an example for the rest of the world and expect, some even demanding, others to be the same. They don’t like to receive critics or do be confronted by historical facts most of the time. Because “feelings” are more important or “things are different now”. Side issues are more important than the music itself. Some even just enjoy the music because all the side issues are right for them. Not that the music is great, but receive total support solely because all the boxes of the side issues are checked.

Also the desperation of scoring points and receiving digital approval and high fives after “exposing” something or someone according to one’s moral compass etc. And it is sad they don’t see the hypocrisy in it all and how difficult they make themselves and each other with all those social media actions. They hate to hear when someone questioning their opinion, receiving not-asked suggestions or get criticized because of a band or album…but they do 100% exactly the same when they see or hear something they don’t enjoy, despise or hate. They hate behaviour that they themselves engage in.

When they sympathise with a certain artist and he or she made a mistake or said something stupid…they will say “come on, he/she said sorry, get over it, everybody deserves a second chance. You are all haters!”. But when the situation occur with someone they don’t sympathise with…he/she should be hanged on the highest tree, should be fired, should never receive payment for his/hers (artistic) work again, no matter if it is 25 years ago or if there is an apology. They don’t buy it, the arguments, not even if the same arguments are used as with the person they sympathise with. It is mostly double standard. There is no room for discussion anymore, and if there is room, well…call someone a nazi, a boomer, a commie, a liberal, a gatekeeper and more of those terms and the discussion is dead. Live and let live they say…but that only applies if you are the same as them.

And it is not strange, it is pure human behaviour, a behaviour that has been around us for ever. If this generation can only acknowledge that…

And don’t forget the power of social media. Recently there was some nitwit posting the “safe” rules of Black Metal, how to recognize red flags (oh fuck mate, those expressions) and it was pure shite! Questioning and disprove the history and fundament of the genre. But people are encouraging it, absorbing it while the bloke literally just start listening to bands/style that is up for debate for if it is Black Metal or not. Unbelievable.

And I tend to believe that is the main difference between old and new school. One has the urge to laugh or don’t care about it, the other has to digitally manifest themselves. One just posts their collection, the other are creating guides for enjoying their kind of Black Metal who doesn’t sing in their native language because that is a “red flag”. Yeah, the Arckanum albums would be much better when they were in English…   

Do they piss me off? Well, the power of social media does piss me off. I think I can wreck the lives of 7 out 10 people within a couple of days of online research, you just have to know how and where to drop the info. And let the minions and time do the rest. When there is doubt, you’re already screwed cause the doubt doesn’t leave, even if you are cleared. Difference is, why should I? Just because someone is listening to or possesses a Burzum album? Those people just don’t understand they are next.

What I don’t understand is the fact a new group of people try to claim Black Metal as their own and try to change it for a reason I haven’t found out yet. The real reason that is. Despising the aesthetics and fundament of the genre, having the delusional idea to put in their own (political) behaviour and thoughts in to it and claiming it is now “their time” to conquer the throne. Just create your own fuckin’ genre with like-minded enthusiasts. Don’t have the desperate wish to try to change history or aesthetics of a genre, just create something else like they have done with deathcore for example. Those fans aren’t claiming their position within Death Metal either, are they? And if that makes me a “gatekeeper”…fine, call me gatekeeper.

But I also think history repeats, I bet there were some 80s underground Thrash and Speed fans who weren’t so happy with the kids and their Death Metal.

But still, total support to all the youngsters out there embracing Extreme Metal and listening to old and new releases, reading and learning about the 80s, 90s and so on.

4. I asked you a while ago how many views your reviews get on average seeing as I am always curious to check the stats. Do the statistics mean anything to you, even if only 10 people read the review? Ultimately it’s about supporting the bands and doing your part, is not it? Are people too lazy to read reviews these days?

I’m not checking the stats anymore. Times have changed. With my first zine, I had 6000-7000 unique visitors every day (around 2006), but in those days they had to visit a webzine every day to keep up with the latest news and the visitors couldn’t check out songs or whole albums themselves in those days. There was no YouTube, Spotify, Facebook or Bandcamp…Myspace was just making their entrance sort of speak.

Now there is more easy access to get the music in your hands. News is available through the Social Media channels of bands and labels, while the music platforms deliver the music itself. I think some people rather check out the “Release Radar” on Spotify based on their taste than they read a review of an upcoming album.

And indeed, people became lazy. Most people no longer visit a website on their own, but need to be made aware of it. They need to be alerted, everything is by a push-message on the phone or something like that. Or an app…everything is an app with accompanying alerts when something new pops up. People are used to that.

So no, I’m not checking stats anymore. Especially as they are not comparable with the stats of almost 20 years ago. The reactions the crewmembers or I receive on the reviews is far more important to me. People are checking out and even buying the releases after reading a review or interview. Now that’s something I care about. And the fact I receive a lot of review-requests, be it from bands or labels, means they probably think we are doing something good.

I rather write for 100 enthusiasts than 1000 readers who don’t have a connection with it. It is not about the numbers. If 3 out of 100 are buying the album or demo after reading the review and checking it out on a music platform, it is so far more better than 1000 views and nobody buys it.

5. What’s on your playlist lately? Are there any highlights for you from 2023?

Fortunately I’m in a position I can listen to a lot of music throughout the day. Today I had Morbid Cruelty – Holodomor, Satyricon – The Shadowthrone, Limobnic Art – Moon in the Scorpio, Asphyx – On the Wings of Inferno, Minenwerfer – Feuerwalze, Ancient Rites – Blasfemia Eternal, Burial Remains – Trinity of Deception and the new Darkestrah for a spin. Tomorrow there will be lots of others.

Highlights of 2023? Definitely the latest Sammath. Aphelium Aeternum pleased me with a nice new album. But also Azaghal, Blood Oath, Cemetery Urn, Conjureth, Grafvitnir, Funeral Winds, Helleruin, The Kryptik, Oerheks, Salacious Gods, Vargrav and Vomitory had some good releases. And I’m positive I’m just forgetting a couple of them. Frozen Blood, Heinous Rite, Miserable Creature, Nachzehrer, Stenched had some nice demos released as well.

What I listen to and what I want to promote with my fanzine aren’t 100% the same. Sure, 85% of what I listen to is Death, Black, Doom and Thrash Metal (including old Metallica and Megadeth) and the hybrids between those genres, mostly the “pure” kind, so no hybrid with post or avant-garde kind of stuff. The other 15% is filled with Iron Maiden (for me; the best band in the world), old Helloween, Pantera’s “Power Metal”, Iced Earth with Matthew Barlow, W.A.S.P., Savage Grace and so on.

I’m also a sucker for 80s music. Put on Michael Sembello’s “Maniac” and witness my huge smile…Ah, throw in some 70s and 90s (although I’m quite picky about this era) as well. And when I hear “I put a spell on you”, it better be Screamin’ Jay Hawkins.

6. How’s life in the Netherlands for metalheads? Are there many concerts of good bands to go to and what was the last great concert you attended?

In general life is good I think. Although we are the kings of complaining. About everything.

Once again, times have changed. I think there are a couple of reasons for that, but this is just my thoughts and not facts.

We, the Dutch, are difficult knobheads. A bunch of bellends if you will. We are not easy to please audience. We enjoy hyping a band and when a band is getting on that certain level, we are talking it down or just don’t have interest anymore. Most of the Dutch crowd go to live music to socialize or see the band with a “convince me” attitude. That is just how we are in general. But it does result in the fact that Dutch bands are far more popular outside our borders, hell, Asphyx even did their 30 year-anniversary 2 day gig in Germany. And I understand why they did that…Alright, these were facts, now my thoughts.

The small venues are almost gone and the bigger venues are mostly interested in fests or bigger tours. For example a 3 underground Death Metal bands gig doesn’t occur as much as it used to, maybe not even at all anymore. It is all about money, the smaller venues for alternative music genres just couldn’t cope anymore. Everything is getting more expensive (staff, beer purchasing, energy costs) and the income doesn’t match anymore. Also the regulations aren’t helping to (quickly) book something in a pub with a stage or something like that.

Bands on the other hand are asking more than years ago, on average that is. Before YouTube, Bandcamp etc. a band needs to make an effort to get their music to the masses, so they play for a crate of beer, expenses or a small fee. And they could sell their demo, EP or album at the gig. This weekend in this city, next weekend 100 kilometres further. Nowadays a band’s music can be accessed easily and the urge or need to perform every weekend on a stage isn’t as high as it used to be. Bands can pick what they please. And I get it on one hand, their expenses have risen as well, but still…the live-culture and attitude is not the same anymore.

And last but not least, the younger generation is different. As said, more open-minded and therefore mostly only scratching the surface of a certain style or interested in the flavour of the month. Weren’t we open-minded in the 80s or 90s? Sure, but there's more new releases and genres nowadays. And playlists are more important than listening to a whole album.

I think if there will be something special with underground cult acts, you will see the same old faces and a couple of young enthusiasts, but not a lot of the latter ones. Because with only scratching the surface, such news will not reach them nor are they interested in. That having said, the older generation have different lives now, have a family, other things etc. I also think that’s venues, bookers and labels try to make quite a diversity concerning genres in their line-ups, trying to attract a wider audience. I see combination of bands of which I think “who the hell is interested in that?”, personally I won’t go to a gig with 3 bands while I’m only interested in 1 genre that is playing that evening. But hey…when it is sold out, I’m the fool. All in all I think there is a certain void the younger generation doesn’t fully fill up for a continuation how it once was.

7. What are some of your favorite bands of all time? In addition, what are your favorite Dutch bands?

Definitely on no. 1, without any doubt and said before, Iron Maiden. Concerning Dutch bands; Asphyx, Dead Head, old Sinister, old Pestilence, old Gorefest, old Soulburn, Inquisitor, Pentacle, Thanatos, God Dethroned, Sammath, Sempiternal Deathreign, Callenish Circle’s demo and the list goes on. We had and have a great scene concerning extreme metal. New acts like Deadspeak, Hellehond, Perfide, Schavot, Helleruin and Nagel, to name a few, are definitely worth checking out.

8. What’s your views regarding the current political climate of the world? Are greedy politicians and governments becoming more oppressive or do you see a light at the end of the tunnel?

No. No light at the end of the tunnel. Call me a pessimist or whatever, I consider myself as realistic. I don’t believe World Peace will ever be realised, as I consider power, money and religion as the 3 most evil elements of the world. And those 3 will always prevail. The people are protesting (be it on the street, online or else) and think they have achieved something when a corporate change something or within politics something is changed. Most of the time it is spare change. They give something on that subject and take it on other subjects. It is always tactical. And sure, in the previous century it really helped to demonstrate in a couple of cases, but times have changed, we all are more depending on the services and products they are all providing nowadays. Only a few can decide not to depend on it, “getting off the grid”, but it is a lot harder than in 50s, 70s…90s...almost impossible nowadays. So I live by “making the best of it”, for myself, for my close and beloved ones. Selfish? Maybe, but it gives me peace of mind and I don’t like to start any “fights” I know I cannot win. I choose my battles. But that is each to their own.

9. It seems that international shipping costs have gone through the roof recently. Do you agree? Do you still order albums and what’s the last album you bought?

Oh absolutely! It is not fun anymore just to order 1 or 2 items, because shipping is almost as expensive. Labels or publishing companies are working together to cover certain areas to keep the shipping costs beneath a critical point, and I understand it, otherwise people decide not to order something. It is indeed crazy.

I already had a large CD collection and tapes as well. I stopped buying CDs a while ago for several reasons, one of them living smaller. I didn’t sell any of it, I didn’t add something as well. And I always kept vinyl outside the door, because I know I get the collectors urge once I would start. Last year I received a record player as a gift from a friend as quite some VM crewmembers as well as friends were collecting for years. And so should I in their opinion…well, hell broke loose. At first I thought I would only buy albums I consider as classics, and certainly not albums I already have on CD. And definitely not EPs or 7”…but I failed on all cases. Within a year I bought almost 200 LPs, EPs and 7” and started buying tapes and CDs again as well. I kept the collector’s urge quite under control for years, but the barrier has broken. What I’ve ordered and bought the last couple of weeks:

From Hammerheart Records

Ancient – Svartalvheim

Asphyx – On the Wings of Inferno

Bewitched – Pentagram Prayer

Dead Head – Dream Deceiver

Interment – Scent of the Buried

Kreator – Pleasure to Kill

Limbonic Art – Moon in the Scorpio

Limbonic Art – Epitome of Illusions

Severe Torture – Feasting on Blood

Rotting Christ – Thy Mighty Contract

Paradise Lost – Gothic

Paradise Lost – Lost Paradise

Lord Belial – Kiss the Goat

Darkthrone – Soulside Journey

Autopsy – Severed Survival

Dead Head - Shadow Soul (pre-order)

Tristitia – One With Darkness (pre-order)

From Century Media

Dark Tranquillity – The Gallery

Necrophobic – Satanic Blasphemies

From Metal Blade

Amon Amarth – Once Sent from the Golden Hall

The Crown – Hell is Here

The Crown – Deathrace King

Lik – Mass Funeral Evocation

Lik – Carnage

Vomitory - Redemption

From The Sinister Flame

Nocturnal Vomit - Arts of Tenebrous Superstition (7”)

Black Beast - Arctic Darkness

Procreation - Enter the Land of the Dark Forgotten Souls of Eternity (7”)

Vermisst - Zmierzch Stalowej Ciemności

Werwolf - Devil Crisis

Erupted Evil - Ghoul (CD)

Inquisitor - Walpurgis - Sabbath of Lust (CD)

Nergal - The Wizard of Nerath (CD)

The Black - Priest of Satan (CD)

Precambrian - Tectonics

From De Pankraker

Samael – Blood Ritual

Cult of Eibon / Ceremonial Torture – Necronomical Mirror Divination

Excoriate – On Pestilent Winds…

Evilfeast / Uuntar – Odes to the lands of past traditions

Morbid Saint – Spectrum of Death

And while we speak I’m looking at the Odium - The Sad Realm of the Stars and Mörk Gryning - Tusen år har gått... vinyl releases.

10. Are there any other hobbies you enjoy outside of music, such as sports, hiking, exercises, beer, reading, etc.?

Oh sure! At 45 year of age I still play football. Last year I said farewell to competition so I only play for fun on a Monday evening with other 30+ and 40+ blokes. Watching football is another hobby; supporting the local team NAC Breda since 1989 and my brother and myself are shareholders of AFC Wimbledon (England, Coca Cola League Two (4th division)) and try to visit them once a year. Besides that playing a game sometimes (Football Manager, GTA IV) and I’m involved with a local craft brewery called Brouwerij Bliksem (which means lightning in Dutch). A brewery which combines beer with Metal, Rock, Hardcore and Punk. We had a Double IPA called Hammer Smashed Mango with a wink towards Cannibal Corpse and a Sour called Abigail with a King Diamond connection and so on. Visiting a pub with friends or my brother…always lovely. 

11. Please list 10 albums you can’t live without.

Oh, still a difficult question. I think 25 would be difficult even. But let’s give it a try

1.         Iron Maiden – Live After Death

2.         Christ Agony – Moonlight Act III

3.         Suicidal Tendencies – How Will I laugh Tomorrow

4.         Dissection – Storm’s of the Light Bane

5.         Necrophobic - Darkside

6.         Emperor- In the Nightside Eclipse

7.         Brutality – Screams of Anguish

8.         Bathory – Under the Sign of the Black Mark

9.         Obituary – Cause of Death

10.       Dismember – Like An Everflowing Stream

Fuck it, also honourable mentions for Covenant – In Times before the Light, Paradise Lost – Draconian Times, Sear Bliss – Phantoms, Setherial – Nord. I definitely need space for 50 albums…

12. Thanks for your time and all the best to you and VM-Underground. Hails!

Thanks for having me, mate! My apologies you have to wait a couple of weeks for my answers, but hopefully there are some interesting bits for the readers.

https://www.vm-underground.com/

Interview: Mvltifission & Huangquan Records

 

The following is a joint interview between two Chinese endeavours: Mvltifission and Huangquan Records. Mvltifission is a death metal band that have garnered much praise from fans both in China and abroad since the release of their excellent debut album “Decomposition in the Painful Metamorphosis,” while Huangquan Records is a reputable record label with many quality releases to its credit.

Special thanks to Jianqi (JQ) for the submission.

1. Hello there! Please introduce yourselves and tell us what you do in the band? 

Gut: Lead vocalist

Tormentor: Hello, I'm Tormentor, the guitarist of the band. I'm thrilled to be part of this interview.

Purulentreek: Hi, I'm Purulentreek, the guitarist of the band. I'm also responsible for drum programming editing and mixing production of the albums.

Gorewhore: Hey, I'm Gorewhore, the drummer of Mvltifission.
 
2. How did you come up with the name Mvltifission and who designed your logo?
 
Gut: The name was coined by guitarist Tormentor, and I designed the logo.

Tormentor: It was a fun idea; it's actually a compound word of "Multi-" and "Fission," which we thought sounded pretty cool at the time.

Gorewhore: The guitarist came up with it, and the vocalist designed the logo.
 
3. The band members come from various extreme metal bands in China, such as the well-known Dugu and Globularcyst. How did you all come together and decide to form Mvltifission?
 
Gut: We simply love pure old-school death metal, so we decided to form a death metal band.

Tormentor: We all enjoy the same type of music, we were open to trying something new musically, and hence Mvltifission was born.

 
Purulentreek: We came together because of our shared passion for classic extreme metal music, and we also get along well, so we had the plan and idea to play in Mvltifission.
 
Gorewhore: I was impressed by a demo from the guitarist, and I felt confident in my abilities, so I chose to join
 

4. Your debut album "Decomposition in the Painful Metamorphosis" from 2021 is an outstanding effort. How long did it take you to write and record these songs? Are you satisfied with the final result? How was the general feedback from the metal underground? (Both in China and abroad)
 
Gorewhore: I’m personally is very satisfied with the final result, and the feedback are beyond well, both in China and abroad, fans were surprised that there is one old school Death Metal band from China.

Gut: The feedback is relatively good, many foreign listeners cannot believe that this is a Chinese death metal album, do not know where the members are from, mysterious band, but we made the effect we wanted.

Purulentreek: Purulentreek: It took about a year, from 2020 to 2021. At that time, we were not all in the same location, so we had to communicate ideas online. The creative process mainly involved Tormentor and me writing the music, recording guitars, GUT doing vocals, and me handling drum programming and mixing. The special aspect of this process was that Tormentor and I constantly exchanged ideas and riffs. It felt great every time a new idea emerged.

Tormentor: Initially, we planned to release an EP, but we had a lot of creative inspiration, so we ended up writing many songs. We discussed and explored numerous ideas together, making it a joyful process. Personally, I'd rate it 75/100. There are some details in the arrangements that need further refinement. We're honoured to have a solid fan base of death metal enthusiasts both domestically and internationally.

 
5. After listening to your full-length album, I was reminded of bands like Immolation and Demilich, and the album's description also mentions being dedicated to the aforementioned bands, including Demigod, Cenotaph, and Purtenance. How has these bands influenced your creative process?

Gut: Absolutely, I often listen to the bands you mentioned. I really like them. Subconsciously, they bring us closer to old-school death metal.

Tormentor: Personally, I'm deeply influenced by Demilich, Demigod, and Purtenance, which shape the overall framework of my songwriting and arrangement.

Purulentreek: These bands have been favorites of ours since we first encountered death metal music, so naturally, our creative process is heavily influenced by them. Daniel, the main creator of Cenotaph and The Chasm, is a musician I deeply admire, and his riffs have had a significant impact on me.

Gorewhore: Indeed, Demigod and Demilich have had a profound influence. If you don't believe it, give our songs a listen
 
6. The production on "Decomposition in the Painful Metamorphosis" sounds organic and has a raw edge to it, which I think gives your music more personality. Do you agree with this? Also, how do you feel about death metal bands with an overly polished production?
 
Gorewhore: Me as a death metal fan, I don't like the over-produced/polished music, which sound plastic for me. So we are also choose what we were influenced, both music and production.
 
Purulentreek: Yes. Frankly, we are trying to fuse many twisted and bizarre riffs into a dark gloomy atmosphere, definitely with the raw and organic sounds production. Over polished sounds are maybe more suitable for melodic riffs.
 

7. What is the atmosphere like at your shows? Is the frequency of performances high? Do you have a large audience?

Gut: The frequency of performances is not high.

Tormentor: The frequency is not high, but the response is usually good.

Purulentreek: We don't perform frequently in China, but the atmosphere at each show is usually good.

Gorewhore: We had four performances in China this year (three shows, I missed one due to injury). The frequency isn't high, and we don't plan for it to be too high. The audience is decent, not too small.

8. Your connection with the Dugu band seems quite close. While reading the lyrics, I sensed elements reminiscent of Shaw Brothers horror films, but more prominently, themes of youth facing the confusion and helplessness of contemporary society, even a sense of nihilism. Did you intentionally incorporate elements from horror films in Mvltifission's creation? And did you have any special thoughts while writing the lyrics?
 
Gut: We didn't intentionally incorporate elements from horror films because Mvltifission's themes are more on the spiritual level, exploring abstract combinations of various concepts.
 
Tormentor: Dugu was initially a project between me and lead vocalist GUT. His vocal style in Dugu is very fitting with the atmosphere of Shaw Brothers horror films, and the lyrical themes revolve around Shaw Brothers CULT horror films. The themes of Mvltifission's album mainly delve into the realm of spiritual nihilism and the distortion of human nature. We didn't deliberately incorporate elements from horror films into it. The direction of Dugu's next album will not be limited to Shaw Brothers; we're currently working on it.
 
Purulentreek：The association between horror movies and our creation has always been significant. Many passages in Mvltifission can evoke scenes from horror movies. When I write lyrics, it's also based on the visual sensations experienced in music, attempting to outline and depict these scenes in textual form
 
Gorewhore: The lyrics are also handled by the guitarist and vocalist.

9. How did you decide to collaborate with Funeral Vomit for a split release?
 
Gut: Funeral Vomit were friends of mine at the time, and coincidentally, we were looking for a South American death metal band to release a split with, aiming for a contrasting style. They play a more crude style of death metal. The collaboration was very pleasant, and the result was that the physical tapes sold out quickly.
 
Purulentreek: It was the lead vocalist Gut arranged the collaboration with Funeral Vomit through the label. We released a tape version of the split together, and the process was very enjoyable.
 
Gorewhore: It was the vocalist's decision, haha.
 
10. Which albums define death metal in your opinion?
 
GUT: I don't think I'm qualified to define that term. I can mention some albums I like.
 
Deicide - Deicide
Cancer - Death Shall Rise
Demilich - Nespithe
Purtenance - Member Of Immortal Damnation
Convulse - World without God
…and there are many more.
 
Tormentor:
 
Death - Leprosy
Demilich - Nespithe
Demigod - Slumber of Sullen Eyes
Entombed - Left Hand Path
Monstrosity - Imperial Doom
 
Purulentreek:
 
Demigod - Slumber of Sullen Eyes
Gorement - The Ending Quest
Crematory - Denial
Demilich - Nespithe
The Chasm - Farseeing the Paranormal Abysm
 
Gorewhore:
 
Deicide - Deicide
Entombed - Left Hand Path
Death - Human
Suffocation - Effigy of the Forgotten
Morbid Angel - Altar of Madness

11. What music do you guys mostly listen to?
 
Gut: I listen to death metal for two hours every day.

Tormentor: Thrash metal, death metal, movie/game soundtracks, southern rock.
Purulentreek: Besides extreme metal, I also love listening to classical music, post-rock, and jazz.

Gorewhore: I listen to a variety of old-school genres, including traditional, heavy, speed, thrash, and death metal.

12. How would you describe the metal scene in China and which bands from there would you recommend to our readers?
 
Tormentor: Explosicum, Ancestor, Globularcyst, The Metaphor

Purulentreek: China's metal scene is constantly evolving, and the developed network makes it easy for everything to spread among the crowd. I would recommend Dinkumoil, Strike Back, and PPT.
 

13. To wrap things up, can you please tell us what the future holds for Mvltifission? Thank you very much for your time!

Gut: We plan to release our second full-length studio album in 2024. This year, Mvltifission will perform alongside several foreign death metal bands in China. Stay tuned!

Tormentor: We hope the new album will be out soon. Thank you for the interview. Cheers!

Purulentreek: We're currently recording our second work. The instrumental part is almost complete, and if all goes well, we should have everything finished by mid-year.

Gorewhore: We're in the midst of creating our new album and gearing up for upcoming performances. Keep it true, keep it underground!

HUANGQUAN RECORDS INTERVIEW:

1. How was the name "Huangquan Records" decided upon? And how was the logo designed?
 
GUT: The name "Huangquan" refers to the Chinese term for "hell." The logo combines the characters for "Huang" and "Quan" in ancient Chinese script, with hand-drawn modifications to form the final logo
 
2. My impression of Huangquan Records includes tags like old-school death metal, 80s and 90s styles, grindcore, and so on. Does this align with the releases from Huangquan Records? Are there any factors that influence your choice of releases?
 
GUT: Yes, it aligns with Huangquan Records' release style. Huangquan has always been committed to unearthing albums and demos from old-school death metal, traditional thrash metal, grindcore, and many forgotten but excellent bands from history. Of course, Huangquans' new sub-project, the "Death List" series, focuses on releasing albums from relatively new and promising death metal bands. This year, we'll mainly be releasing many excellent 90s death metal albums on vinyl.

3. You seem to have a fondness for the 80s and 90s. What do these two decades mean to you?
 
GUT: The late 80s and early 90s were the "golden age" of death metal. Many excellent bands emerged worldwide during this time. Our goal is to unearth more unknown death metal treasures from that era.
 
 
4. Huangquan Records currently focuses on releasing albums and organizing performances. Will you be signing contracts with bands and musicians in the future?
 
GUT: Yes, Huangquan Records solely focuses on album releases and organizing performances. We do not engage in signing contracts with musicians. However, we have had a few Brazilian thrash metal bands express interest in signing with us, but we declined because we felt it didn't hold much practical significance. Our main goal is still to bring music and performances to our audience.
 
5. Thanks for your time! Any last words before we formally close this interview?
 
GUT: We only produce pure death metal albums, make pure death metal music, and hope everyone gets to hear more pure death metal!