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.

Interview: Wrok

Black metal terror cult WROK formed in the Netherlands in the 90s. So far, they have put out some excellent releases of supreme black metal filth that will appeal to devotees of Barathrum, Bestial Summoning, Funeral Winds, etc. To gain some insight into this fraternity of evil, we reached out to vocalist/guitarist Azaghus.
 
1. Hails! For those unfamiliar with your band, can you please tell us what WROK is all about and which bands influenced your unholy sound?
 
Azaghus: The band was founded late 1995. We listened to bands like Bestial Summoning, Funeral winds, Countess, Apator, Bhaobhan Sidhe, and we felt the urge to make some real filth ourselves. Primitive, sloppy, raw and straight from the heart. To celebrate the vile rotten darkness that lives inside you. To wrench out all those things a psychologist would contact the authorities for. And for all to see.
 
2. The band was inactive for years, then you resurrected it and recorded a full-length album in 2017 called "De onheilsbode" - what prompted the decision to record new material under the banner of WROK?
 

Azaghus: We quit the band around 2001 when I felt there was not enough darkness in me any more to make honest new songs. A decade and a half later Heidens Hart records had been banging at our door to release the ´Ontgravenis´ demo on vinyl. At first I was not interested at all but after some time due to some personal rather shit circumstances I realised the darkness had returned. Mictian the drummer and I had always stayed in touch and we thought it would be a better idea to release some of the later and less wide spread songs and that simply pressing some demo and rehearsal material on vinyl with such varying levels of quality would be a cheap mess, so we decided to record most songs made after the first demo anew. We met at a rehearsal studio in Amsterdam and it was as if we never quit. We rehearsed every song once or twice and then recorded it to keep it spontaneous and in style with our 90ties vibe. One microphone on the drums, one on the guitar. And I added the bass after at home. And we knew that Wrok was awakened from its coma.
 
3. The sound of WROK is rather primitive and raw. Would a clean sounding production go against the idea of what Wrok represents musically? What do you think of black metal bands with a super polished production as if they're doing a commercial for Pepsi?
 
Azaghus: I think the INTENTION is the most important part of black metal. Sure, a filthy sound does help to make your point, but it is not really important as long as you manage to capture the right message and emotion. There are many bands who pollute the genre with a vegan, social or environmental message that may sound a little like black metal but are NOT black metal.
 

4. You are a pretty prolific musician with a history of playing in other Dutch bands like Chainsaw and Swampcult - do you consider music and recording as an artistic outlet and what inspires you to be so musically productive?
 
Azaghus: It is a way to stay sane I suppose. I immerse myself in musical projects to keep my mind occupied. When I create a base for a new song or album I listen to it all week or month on headphones and it drowns all other thoughts. I never look forward to playing live, but it does make me focus on something in a rather intensive way.
 
5. The first demo by WROK was released in 1996 - how was it perceived at the time and do you have any anecdotes to share regarding the early phase of the band?
 
Azaghus: Well back then if someone ordered your demo tape and hated it, they usually would not take the trouble to write you a letter to tell you so. I did however see a flyer that we photocopied in vast quantities and taped to the walls of every venue we went to that said: ´Wrok is the end of the human race, changed into ´Wrok is the end of the human hearing system´ It was after an infamous show we did in the nineties where the venue cut the power on stage while we were at it for about 15 minutes because of our unwholesome slide-show presentation with a variety of victims of violence. Deathcamps, Gulfwar deaths, soccer hooligan deaths and so on. And that in combination with blood, needles, dead rodents and untuned instruments was too much for them. We kept playing of course.

 
6. Whatever happened to your first vocalist Hakeldama?
 
Azaghus: Funny story. Where I stopped temporarily because I had a lack of darkness, Wrok got him really confused. He became a Buddhist and disappeared from the radar.
 
7. Is there particular reason why you sing in Dutch as opposed to English? Does it enable you to express yourself better?
 
Azaghus: Not necessarily. But Dutch is a much harsher language than English so better suited for black metal. 
  
8. How has the response been so far for your albums? I really like your last album "De Dood Roept".
 
Azaghus: People either love it or hate it it seems, and that is great because black metal is supposed to be extreme metal. When people who call Dimmu Borgir or other pop acts black metal enjoy your work you have done something terribly wrong. 

9. What's 10 albums you can't live without?
 
Azaghus: Nastrond - Toteslaut
Mutiilation - Vampires of black imperial blood
Cultes des Ghoules - Haxan
Impaled Nazarene - Ugra karma
Beherit - Engram
Bhaobhan Sidhe - Gas chamber music
Funeral winds - Screaming for grace
 
Those would be the essentials.
 
10. You are also a painter. Can you tell us how long you've been doing artwork and which bands you've worked with? Do you ever get any requests or get paid?
 
Azaghus: Nah, I do put paint on canvas, but do not see myself as a painter. I once said to a friend that his album covers looked like shit and he said: Well why don´t you paint the next one then? That was the only time I did a cover for another band haha. I got a case of beer and a bottle of whiskey. So it was definitely worth my time. The other efforts are for my own bands. And generally I just use painting much like the music to channel thoughts or to silence them.
 
11. What can you tell us about the lyrics of WROK? Do you feel like anti-Christian lyrics have become a cliché in Black Metal?
 
Azaghus: Wrok has always been about suicide and the darkness inside. The things you think about doing to the person sitting next to you on the bus but restrain from doing. But about Christianity... I think anti-Christian lyrics are an easy score yes. Sure there are people who will have a personal experience that will justify the anti-Christianity theme. And we also do have one or two songs about it, but at least where I live they do not force you to submit to their religion at gun or knife point, or even force you socially. That is a thing of the past. But I can tell you who are doing just that. And you may say: hey but YOU are preaching about death and killing and genocide yourselves and THEY are doing just that!  But think about it, they are procreating like flies on shit and for every person they kill they spawn 3 new mongrels to spread THEIR dogma. So if you really want to stand up to religious tyranny aim your arrows at Islam, if you are not a pussy that is. It is as simple as that. Christianity is not a threat like Islam is.

12. Lastly, what's next for WROK, including your other bands?
 
Azaghus: Well Chainsaw has been in a coma for many years now and will not likely recover. For Swampcult I have recorded the drums for a new album but it may take some time for the rest to be finished. With my band SPITZ, a doom band that focusses on a doctor who experimented on babies to see if they could live without affection (they could not) we are currently recording a new thing.
 
Wrok is most active at the moment. After ´De dood roept´ we recorded three songs for a compilation LP that has yet to be announced and I am working on new material. Also we have our annual two Wrok live performances planned. Both in the Netherlands in the coming months. So the future will be bloody and bleak.
 
Bedankt voor je tijd!
 
Geen probleem maat

Album review: Sammath - Grebbeberg (2023)

Sammath - Grebbeberg

The Netherlands

Hammerheart Records

Dutch barbarians Sammath are back with their seventh album, aptly titled “Grebbeberg”, released in June 2023 via Hammerheart Records.

The sound on “Grebbeberg” is no less ferocious than their outstanding previous album “Across the Rhine Is Only Death” from 2019. It's taken the band four years to record a new album, and it's obviously been worth the wait. From the very first note, the music categorically annihilates everything in its path with a barrage of heavy-hitting, warlike black metal that overlaps between ‘90s Scandinavian black metal and bestial war metal.

One noticeable change on the new recording is that the sound seems heavier and denser this time around, while at the same time sounding clear but not too polished. The guitar work is great as always, interweaving classic black metal riffs with high-octane thrash. As punishing as the music is, the band isn’t afraid to incorporate epic leads and melodies, adding a great deal of depth to their assault. Jan Kruitwagen’s vocals are suitably belligerent, as each vocal line is delivered with maximum hatred.

Drummer Wim van der Valk is an absolute beast behind the kit, with experience in prominent Dutch acts like Inquisitor and Centurian; he shows a knack for both simplicity and technical prowess with relative ease. Definitely an underrated drummer. The lower registers, while not super audible, add a layer of megaton heaviness to the chaos courtesy of Ruud Nillesen, who has been with the band since 2002.

Tracks like “Murderous Artillery” show the band at their most chaotic, which brings to mind bands like Sadistik Exekution, but with more melody added. Another highlight is “Crushed, Shattered and Destroyed” featuring some pretty incredible dynamics. In spite of its brutality, there’s never a lack of atmosphere, as Jan mete’s out a salvo of punishing riffs that’s both melodic and hypnotic. A high note is reached with closer “Stahl Und Feuer” which captures all the qualities of the band summed up in one single track.

Overall, “Grebbeberg” is just as great and relentless as everything else the band has done and shows their diehard conviction to extreme metal, even at their age. I can honestly say that this is one of the best albums of 2023, so if you haven't heard it yet, make sure you do so soon. 

Album review: Infernal Execrator - Diabolatry (2023)

Infernal Execrator - Diabolatry 

Singapore

Pulverised Records

 

The black metal tyrants from Singapore Infernal Execrator are back with their third album “Diabolatry”, which was released on CD and vinyl by Pulverised Records in December 2023.

From start to finish, “Diabolatry” hits harder than a spiked ballista bullet fired at you from a trebuchet straight out of hell. Every track on this album is ruthlessly executed, precise and showcases the band's superb craftsmanship. I was definitely impressed by the level of ferocity and high-octane aggression that this album exhibits.

Frenzied tremolo riffs are executed with relentless precision while the band maintains the pace and intensity as each drum beat mercilessly pummels the listener to dust like a hellish hammer causing multiple broken bones. The music runs you over like a tank, while Ashir’s martial vocals are spat into the mic like a demonic entity denouncing everything that is holy.

Tracks like “Infernal Storm of Oblivion” show a more mid-paced side to their sound, introducing various dynamics and haunting melodies, while “Marauders Prayers of Profanation” opens with a terrifying scream and simply obliterates everything in its path with all-out viciousness. The riffs are both catchy and blistering, but ultimately very well crafted, which also happens to be one of the focal points of this album. The music strikes a seamless balance between brutality and melody, the way it was always meant to sound, while the album’s excellent production brings out the best of the performance.

After several listens, I can confirm with absolute certainty that “Diabolatry” is the heaviest and best album the band has released to date and another excellent addition to their epic discography. The whole record is packed with incendiary songs that once again show why countries like Singapore, in spite of its small size, are no underdogs when it comes to producing quality extreme metal. Highly recommended. 

Album review: Blood Serpent - Bestial Extermination (2023)

Blood Serpent - Bestial Extermination

Vietnam

House of Ygra

 
 
Vietnamese warlords Blood Serpent have released their excellent debut album “Bestial Extermination,” which is a decidedly vicious assault on all fronts, delivering nine tracks of blackened war metal that strikes harder than the iron fist of Satan.

I can’t say I’ve heard many bands from Vietnam, so I was pleasantly surprised when I got to hear this nasty slab of caustic metal madness. The sound seems focused, with hateful vocals laid atop a wall of annihilating riffs and skull-hammering drums, making you feel like you’re being stabbed repeatedly by some malevolent, otherworldly force.

Musically, the songs are kept quite simple, but executed with rapid conviction as each track pummels the listener with homicidal intent. Those with a penchant for ruthless war metal like Diocletian, Revenge and Black Witchery will absolutely love this release. They even do a cover version of “Unholy Vengeance of War” that closes the album on a high note.

This whole album is masterfully performed, with the band delivering a no-holds-barred assault of hellish extreme metal dead set on making a statement. The production and sound are well mixed and add power to the entire performance, not to mention that each member handles their instrument incredibly well, even the bass can be heard.

Every track is deadly, but some paradigmatic examples include “Blood Defilement” with the transition to a more sinister doom passage later on, adequately mixing the faster parts with more mid-paced sections, while “Infernal Rites” features some emphatically sick guitar solo that make you go “AAAARRRRRRGGGHHHH!”

The vocals are absolutely visceral and one of the highlights of this release. It ranges from demented growls to hellish, paint-stripping shrieks that echo like a cannon in your skull.

Overall, it’s an absolute bomb of a release, and one of my personal favorites from 2023. Do yourself a favor and check these guys out, especially if you're a fan of the bands mentioned earlier.

Split review: Satanic Warmaster/Archgoat - Lux Satanae (Thirteen Hymns of Finnish Devil Worship) (2015)

Satanic Warmaster/Archgoat - Lux Satanae (Thirteen Hymns of Finnish Devil Worship)

Finland

Hells Headbangers Records

“Lux Satanae (Thirteen hymns of Finnish Devil Worship)” is an excellent split alliance between two legendary Finnish bands – both playing black metal. The artwork that adorns this release is undoubtedly one of the coolest artworks I’ve seen for a split, with Satanic Warmaster representing the wolf and Archgoat representing the goat. The tracks on this split are familiar songs from previous recordings, but appear to be re-recorded versions. Both bands deliver a colossal assault of monumental darkness as each hymn is vomited from the abyss. Obviously these bands aren’t as obscure as they once were, though the presentation of this work is utterly crude and unpolished – and a massive middle finger to the mainstream. All in all, "Lux Satanae" is an archetypal representation of Finnish black metal (and perhaps black metal as a whole) with some great artwork to boot. 

Album review: Blood Chalice - The Blasphemous Psalms of Cannibalism (2022)

 

Blood Chalice - The Blasphemous Psalms of Cannibalism

Finland

Werewolf Records  

 

“The Blasphemous Psalms of Cannibalism” is the second opus by Finnish maniacs Blood Chalice. It is essentially a continuation of their vicious black/death, although on this recording they seem to have honed their craft to a considerable degree, with the music sounding fiercer and sicker than before. The production is less polished this time around. There’s some good numbers on here, including a good deal of grind influence. In its essence, the album is utterly extreme, feral, and downright murderous. They also mix it up in terms of speed, ranging from blisteringly fast to robust mid-tempos, which adds a great deal of depth to their attack. In summary, “The Blasphemous Psalms of Cannibalism” is one of my favourite black/death albums from the last few years and radiates pure unhinged violence from beginning to end. Recommended to fans of bands like Black Witchery, Conqueror, and Anima Damnata. Stand-out tracks: “The Last Supper of Insects” “Celestial Destroyer” “Blood Worship”

Album review: Wrok - De Dood Roept (2022)

Wrok - De Dood Roept

Netherlands

Heidens Hart Records

Dutch purveyors of filth Wrok are back with another full-length of decadent black metal that will push you over the edge once more. “De Dood Roept” (Dutch for “Death calls”) offers 45 minutes of raw, to the core, nightmarish black metal that takes cues from ancient hordes like Bestial Summoning, Samael and Barathrum and transforms those influences into their own brand of twisted, cult black metal. The nine tracks are characterized by primitive tempos and buzzlike riffs so disgusting that it will make your local priest possessed and barf black. Azaghus’ sinister howls complement the evil riffs and ritualistic drumming, creating an atmosphere that effectively conveys a mood of hopelessness. The drums have a nice and crisp sound that gives the music a rehearsal-like quality. Furthermore, the bass contributes to the unholy sound, and blends in seamlessly with everything else. This bears similarities to early Barathrum, where the bass is very noticeable and gives the music a menacing edge. Wrok probably won't appeal to those who favour more accessible metal, but if you like pure black metal that perfectly encapsulates the genre, check it out.

Interview: Aeon Void

AEON VOID from Turkey play deadly, possessed death/black metal that evokes a sinister atmosphere reminiscent of the ominous black metal sound associated with labels like Norma Evangelium Diaboli. The music on their debut EP “Fragments of Illusion” is incredibly well-honed, and one of the best releases of 2023. I had the opportunity to speak with the main maniac behind this terror incursion. Read on as we unveil some dark insights.

Hails. Can you tell us how Aeon Void was conceived and what bands inspired your unholy craft?
 
Infernal Hails!
 
We started our activities in Istanbul with Horrida Vultum. The compositions of the songs actually took shape spontaneously after we decided to get together to practice regularly with the instruments. In fact, we created it by restoring the ideas which emerged during the jam sessions. Rather than the idea of "let's do it like the way this or that band does", we wanted to reflect our own RABID approach and aesthetic ideas in a chaotic context. We thought about this together and these 5 songs emerged. I can mention a few of the main bands whose philosophy we have absorbed as sources of inspiration: Katharsis, Deathspell Omega, Thunderbolt, VI, Teitanblood, Azarath, Dead Congregation, Mayhem, Marduk...
 
Are there certain environmental factors that contribute to the darkness of your sound?
 
Everything, especially the human being and its population, becomes more intolerable with every passing day, so life continually fills us up with more hatred.
 
I really enjoyed your debut EP, “Fragments of Illusion.” How long were you working on the songs and are you satisfied with the outcome? I think you nailed the production and that it compliments your sound very well, so congratulations.
 
The writing and recording phase of the guitars was completed from 2018 to 2019. Drums have been recorded in 2020. We took the process slowly so that some things could become stable and mature. At the same time, we tried many new things during the recording sessions. Reamping of the guitars; also bass & vocals recordings were done in 2022. Let me summarize the messy process as follows:
 
We were looking for members to play the other instruments, and we had some auditions related to this. After not being able to pick the right person to get the result we wanted, I took over the vocal and bass parts, and this required a preparation phase on its own. I don't see it as something negative because it was an opportunity to improve myself in every aspect. We are also happy with the result because our goal was to release this EP the way we wanted it to sound. Now we are striving for better. Thank you.
 
The artwork of your debut EP is so sick! I love it. Who is the evil genius responsible for this profane image and what exactly does it depict?

It's done by the Russian artist Alex Shadrin. The cover design of the EP directly reflects the chemistry of the EP: DEATH.

Starting from this point; we wanted it to be drawn in accordance with the image in our minds. A dead baby on the cover indicates what should have happened at the beginning of all humanity, but unfortunately it was not like that and it came to this situation. The dead baby figure actually expresses the feelings we desire, such as the extinction of humanity and the end of everything without any differentiation. So the baby in the middle reflects the only "remedy" of the sinful humanity.

Have you had any other musical experience prior to Aeon Void or is this your first band?
 
Yes we had. For me it was nothing more than rehearsing processes. But Horrida Vultum had played in Godslaying Hellblast and is now playing in Nex Carnis, also he has another project which is about see the light of the day soon and I am dying to listen to it.
 
What are some of your current favorite bands? Are there any releases from this year that have grabbed you?
 
I want to mention my favourites from this year:
1-The Devouring Void & Atrate split
2-Somniate- We Have Proved Death
3-Spirit Possession- Of the Sign...
4-RUIM- Black Royal Spiritism -I- O Sino de Igraja
5-Necrovation- Storm the Void
6-Ascended Dead- Even Fall Apocalypse
7-Blut Aus Nord- Disharmonium- Nahab
8-Horda- Form
9-Marduk- Memento Mori
10-Tetragrammacide- Typo Tantric Aphorisms from the Aracheophidian Quran
11-CH'AHOM - Ts'ono'ot
12-Acausal Intrusion- Panpsychism
13-Voidescent- Dust and Embers
 
I understand Aeon Void is currently a duo. Do you plan to recruit more members in the future or do you prefer the line-up as it is? How many instruments are you playing?
 
Actually we have new members currently, and we've already started working together. As you will appreciate, it is very difficult for two people to hit the stage. I played the guitar and the bass and on top of that I recorded the vocals for this EP. I prefer to shift my focus more on the guitars and the vocals.
 
Thank you for your time! I hope to hear more sick tunes from your band in the future, especially a full-length. Any last words before we close this interview?
 
You're welcome! I am always working on for the better.

EP review: Aeon Void - Fragments of Illusion (2023)

Aeon Void - Fragments of Illusion

 

Turkey

 

Zazen Sounds

Aeon Void is a duo hailing from Istanbul, and “Fragments of Illusion” is their debut EP released under Zazen Sounds. The EP features five tracks of possessed death/black metal that’s about as relentless as it gets. This otherworldly atmosphere is accentuated by the malicious vocal attack as every utterance is spewed forth with absolute malice. Every track offer a rush of pure darkness and volatile aggression replete with uncompromising riffs and blasting drums. Their music has some unmistakable Turkish characteristics, injecting their own trademark violence into it. As far as references go, I can hear trace elements from bands like Abigor, Marduk, Infernal War, et cetera. One of the highlights of this release is without a doubt the ungodly riffs, which are ruthlessly executed and sharp as obsidian blades. There's something nuanced and sinister about the atmosphere that reminds me of French and Swedish bands, particularly the ominous black metal sound associated with labels like Norma Evangelium Diaboli. All in all, this is a near flawless release from a very promising band.

Album review: Negative Plane - The Pact (2022)

Negative Plane - The Pact

 

USA

 

Invictus Productions / The Ajna Offensive

Negative Plane can do no wrong. Their latest album entitled "The Pact" is nothing short of a masterpiece. The band has always had a unique approach to writing riffs and kept the music simple, although enriched with great songwriting. Their ability to weave idiosyncratic elements with black metal is absolutely captivating. These days it's difficult to reinvent the wheel of black metal, and bands that offer something unique are few and far between, though I feel like Negative Plane has succeeded in that department. The music exudes a profoundly sinister atmosphere that feels like demon claws scratching at your soul. Musically, the entire performance is excellent, including the vocals. The production is also perfect. "The Pact" will surely go down in history as a classic. Recommended for fans of church burnings, black magic rituals and serial killers. Stand-out tracks: "A Work to Stand a 1000 Years" "Poison and the Crucifix"

Album review: Complot! - Victimes Innocentes (d'une furie meurtrière) (2022)

Complot! - Victimes Innocentes (d'une furie meurtrière) 

Canada

Anti-human Productions

At first glance, one might dismiss Complot! as just another war metal act, although it quickly becomes clear that these Quebecers mean serious business. "Victimes Innocentes (d'une furie meurtrière)" is their debut album and is as much a black metal album as it is a war metal album. A repugnant atmosphere permeates this recording, giving it a ritualistic feel. The production is also seemingly raw, but not so much that you can't discern individual parts, but more in the sense that they knew what they were doing. The performance is very consistent as each instrument is played with razor sharp precision. One particularly pleasing feature is the mix of pulverizing bass riffs that give the whole thing a rather menacing quality. The vocals are downright evil, while the riffs give the impression of being whipped with chains over and over again. Certainly one of the best albums of the year as far as this style is concerned. Recommended for fans of Naked Whipper, Black Witchery and Blasphemy.

Interview: Azazel (2022)

 

AZAZEL are among my top Finnish black metal bands. They started in 1992, and so far they have put out a demo, EP, split, and three full-lengths. Their sound can be best summed up as straight-forward black metal in its purest form, though characterized by strict underground ethos. I had an opportunity to interview the drummer, Idimmu, who also played in SLUGATHOR (Death Metal) and EVOKED CURSE (Black/Heavy Metal) among others. 

Hails! First of all, congratulations on your killer music with AZAZEL! I consider AZAZEL to be the embodiment of all that is sacred and pure about black metal. In terms of your musical approach and ideas, what is the core philosophy behind AZAZEL?

Azazel is about Satan.

You’ve been pretty consistent with your last three albums. All quality releases! What’s the key behind staying consistent and inspired?
 
Thanks for your words. Azazel have had at least 4-5 completely different line-ups. Of course stuff varies a bit, but the main thing was to not to follow any current trends, just do our own thing. For Azazel it works to publish new music quite rarely. It’s not about the quantity (hmm... Darkthrone, Horna… anyone?), but quality. The receipt is quite simple. Primitive riffs, simple melodies, if any. Mavrofos is now our main-composer, and his skills are getting better and better. He has told us that although he is the main-musical mastermind of Rienaus-band, he write completely different kind of stuff for Azazel. He is able to think what suits to Azazel, and what is for Rienaus.

What was the recording process like for your last album, "Aegrum Satanas Tecum"? And how did you manage to create such a harsh and evil sound? The production is perfect!

We recorded the album during fall 2021-early 2022. We used Ilari Ilmonen as recorder/mixer. The instruments were recorded at Rock Bear-venue in Vantaa, Finland and the vocal-parts were executed at our vocalist, Satanachia’s place in Mänttä, Finland. We told Ilari not to make it to clean and stuff. I don’t recall exactly what we had in mind, but it was supposed to have that mid ‘90s vibe to it. Like Judas Iscariot, Darkthrone-Total Death, and so on.

Based on what I've observed, you are influenced by bands such as SODOM, BATHORY, MORTUARY DRAPE and DARKTHRONE. However, I can also hear the trademark Finnish elements in the riffs. Is my evaluation correct? The sound is undeniably old-school in the true sense! What bands inspire you the most?
 
Good question. I think you should ask Mavrofos, as he listens a lot music outside of metal too (like industrial, dark electronics, gothic-stuff and even techno…), but if you ask me, I’m just an old school metal-guy who loves even such old bands as Angel Witch, Venom and Iron Maiden! The names you dropped are really important for sure, just that to me Darkthrone was really the 90’s thing, so I don’t have a lot of their newer stuffs. In Year 2008 friends and me brought Mortuary Drape to Finland for the first time, so…
 
About Finnish bands. PERSONALLY I am into bands like Beherit, old Black Crucifixion, Archgoat, The Lord Diabolus, and so on. Not really keen to the “Finnish”-sound, but I’m sure our song-writer has some influence from that side of music as well. Outside of Finland I’d add Grand Belial’s Key and Burzum as more or less influences too.

Bathory is Satanachia’s favorite band, but mostly first 4 albums. He said that he got into black metal in year 1988!! He was already back then into Slayer, Bathory, Venom and Celtic Frost… so there’s some TRUE old school for you!!! XD P.S. Satanachia confessed that “Blood on Ice” rules too…!

How would you describe your drumming style? Do you have any favorite drummers or inspirations?  

I am actually not very technical drummer. My style is quite clumsy and primitive and the way I perform live is more like energetic and very powerful. Of course I have some favourite drummers anyway… I can tell: Nicko McBrain, Proscriptor of Absu, Chris Reifert (Autopsy), Away of Voivod, Fenriz during Soulside Journey-death metal -era, etc.

Your extensive music experience includes playing in SLUGATHOR and many other bands. Would you mind telling us a bit more about your other projects?

There is now only 1 active band for me, it’s called SATANIC TORMENT. Its bass-driven black/death metal, like Necromantia, Barathrum, Beherit. So far Satanic Torment only released 1 full-length and some demos and eps. The full-length is called “Submit to the Lord of Darkness”. The ST-guys including me also had a side-project called HOSTIS HUMANI GENERIS, who plays old school death metal like Nunslaughter and Asphyx, but that band is on ice right now. I also had some different projects with the same guys, like Witchtiger and Evoked Curse, who are both dead, and then I played drums for all recordings of NECROSTUPRUM with Tomasz of Throneum. Death Metal-band Slugathor released a new album this year (2022). It’s called “Crypt of the Ancient Fire” with pretty much the all old line-up (Tommi, Axu, Antti, Jarno, Immu). This album was originally recorded in 2010, and now only finished and released last and this year. There is also one doom band, but things are working slowly, and I have nothing to tell yet….

After releasing a new album, SLUGATHOR broke up again. (At least according to metal archives.) Why? How is the reaction to your new album so far?  

Slugathor never reformed. This is misunderstanding. We just dug up our unreleased 2010 studio-recording, that was supposed to be released already back then. We listened to the stuff and thought that it's actually really strong material, so of course we wanted to release it. I am sure most of our old fans were into the album. We received at least nice words from Bill of Disma and Make of Eternal Darkness…

What did you think of the Lords of Chaos movie and what’s your opinion about nowadays Mayhem?

I have seen that movie, but I’d rather not comment too much, except to me it was silly and childish version of the events in Norway. The reality was much darker and not so “Hollywood”. About Mayhem. I have seen the new documentary-series called Helvete - Historien om norsk black metal, and there was some pretty interesting things on it (except the last episode: “Let’s make Norwegian black metal commercial”). My opinion of Mayhem? I am only into them until “Wolf’s lair Abyss”, but those cover tracks on “Daemon”-album are really nice too actually (Death Strike/Death/Morbid). So… to me the true Mayhem is the 80’s and early 90’s stuff. It was always hard for me to get passed with the idea about Mayhem without Euronumous…

Thank you for your time! Lastly, what’s next for AZAZEL? 

We are planning a split recording with one band that we maybe shouldn’t announce at this point. We are still on Primitive Reaction Records, and plan to release besides that split at least one more album with Azazel (who knows when, last time there was 6 years gap with 2^nd and 3^rd album…). We are going to record some old track also for that split-release, most probably it will be “Azazel” from 1993 demo, but we are not 100% sure yet. Of course new songs as well. We aim to be even more old school than on “Aegrum Satanas Tecum” of course. Azazel won’t play live anymore. Or maybe 1-2 times, but not really. That stuff is really too complicated for us because of various reasons…