Album review: Loup Noir – Requiem (2021)

Loup Noir – Requiem

France

Death To Peace Productions

Loup Noir ("black wolf") from France is the project of sole musician Alrinack. He seems to be behind a dozen other projects as well, although this is the first of them that I have heard.

"Requiem" consists of six songs of pure black metal with minimalist arrangements and an underproduced sound that suits the music they play.

You can expect nothing less than an auspicious slab of raw black metal done right, as the whole album is replete with compositional depth and an atmosphere that is both melancholic and rich in texture.

Loup Noir has that characteristic French sound, which is always apparent in their music. While I wouldn't claim this to be the next best thing, Loup Noir's music is certainly moving enough to leave an impression on the ears of anyone with a proclivity for true underground black metal.

The interplay between the drums and guitars differs in interesting ways as the music incorporates intriguing passages filled with spooky, yet decidedly melancholic riffs, which in addition is complemented with an array of haunting howls and screams.

The songs range from mid-tempo to slower, more brooding passages, but one thing that is certain is that the flow always feels right, including the fact that each composition flows together seamlessly.

Overall, "Requiem" has a very strong feeling of decadence, in addition to its minimalistic approach giving it an emphatically nostalgic tone. Furthermore, the music has a lot of replay value, with the music hardly wearing off after the first couple of spins. This is simply excellent black metal. (HT)

Death To Peace Productions · Loup Noir - Hymne Guerrier

Interview: Kaeck (2021)

Dutch Black Metal act KAECK differs from most other bands in the sense that it blends various musical ideas into a sound that is truly their own while keeping it raw and dark. They also have members in common with SAMMATH. Guitarist Jan Kruitwagen provided insight into the band’s music and what they stand for.

Infernal hails. I was wondering if you could tell us about the name KAECK, what it means, and why you chose it? 

Hails Jim! Thanks for your interest and killer review.

Kaeck is old dutch for jaw. It stand for a godlike being destroying all souls in its path. The lyrics deal with Kaeck reaching out from worlds beyond to bring darkness and terror to man. Grinding bones and souls in his mill. Our vocalist writes all the lyrics. Then i write the music to fit these insane words. It just sounds filthy in Dutch. Pronounced ka ek in English.

How would you describe the characteristics of your sound, including the type of atmosphere you convey?

We always wanted to blend the best of war metal to black metal and even some death doom.

The dark haunting keys make sure the atmosphere is always dark and black metal related. Always creating a certain vibe. Keys can sound really happy really quick, like on some parts on the first album, this time its hatred all the way. Relentless drums and maniac vocals never let you relax. The guitars sounds low and full. The bass is felt and heard like on a Autopsy record. The sound is death metal, the music is war black doom.

I see it as spitting in the face of todays scene. We really sound mad and filthy. So many of todays bands sounds so nice.

Is your preferred black metal the cold and frosty kind, or the hellish, militant kind that's far from the Scandinavian sounds?

Both really. Depends on the mood. I love bal sagoth and nid div 187. Dawn or Blasphemy. That's probably why the music i write is never strictly black metal or war or death metal. I grew up with all the different styles. But even the more melodic bands from the early 90s sound darker and more menacing compared to the post depressing stuff these days.

What are your main influences and what kind of bands are you into?

Sadistik Exekution is still a fave. The KAOS album is since day of release the perfect album for me. I don't think a week has gone by since release that i haven't listened to it. My first albums where Endless pain, master of puppets, early Slayer, Mortal Sin, Slaughter Lord, I grew up in Sydney Australia so the old aussie metal scene formed me and the music I make now. Many many good bands released albums around 86 tot 88. Once I heard Sadus chemical exposure with that pounding bass sound finding my way to death metal like Autopsy was made quickly. The early 90s black metal appeared and the Gehenna demo Black seared heart really drove me into black metal. I still have this demo.

Could you please tell us more about the recording process of your latest album “Het Zwarte Dictaat”, and whether it involved recording in a cave with demonic goats raping angels in the background? How does it differ from your previous album, “Stormkult”?

All the angels are dead on this one.

We had a lucky line up change. I wont get into details, simply a matter of a different approach. I really cant stand typical music and vocal lines that fit perfectly. I love filth and dynamics in music. So last minute we changed a lot. The bass and drums are done by Mr Nillesen from Sammath who was meant to join Kaeck back in 2014 and he makes sure all sounds darker. I was able to do keys again after 25 years or so which was great. I wrote all the music the same as the previous album. In 4 to 5 weeks write the tracks in long sessions, and for 90% its done. Then add the key parts, breaks and create the chorus or repeat riffs where needed. The biggest difference is that on this album its much heavier and darker. We really wanted to let it sound rough and heavy as fuck.

We wanted a heavy bass sound and got exactly what we wanted. The producer really helped us well. We as a small underground band had a tight budget. But Peter Neuber, who also worked with Sodom, wouldn't let go until he had it exactly as we wanted. He went way over the time we paid him for. Great man to work with.

How much attention do you pay to feedback? Are all the reviews out there as accurate as they are being portrayed?

Depends on who it is.

If its some hipster shit I couldn't care less. Bit plenty of ezines are run by highly dedicated people with good knowledge of music. But on the other hand these days lots of the youtube channels, Especially bmp, are run by self pronounced gate keeper idiots who claim to promote black metal but only promote the safe version. Anything not strictly within the boundaries of standard black metal or bands bashing islam for example are left out. Thus these pages, even if very big, are destroying the core of black metal. So many other channels provide good bands though.

Look at some facebook groups run by dudes who haven't a metal shirt in the house. Most of them trying to water down black metal to fit into the normal world they live in. Some of those dudes with pages called black darkness or whatever looks like shoe salesman and if you check out their personal pages not anything metal to be seen. That's just strange. Maybe these days some people are only metal online, really fucking strange.

How would you react if someone wrote you off as cheap Darkthrone worship? (I'm guessing that's what some brain-dead asshole with a severe case of auditory dyslexia would say.)

We sound totally different to Darkthrone. Except for people who listen to Abba. They think we all sound the same.

How do you feel about people who feel that bands playing black metal who don’t wear corpsepaint aren’t true? Or if the members do ‘normal’ things, they’re considered posers?

'normal'

I have met so many people of the years in the scene, mostly cool people with passion for extreme music, some with extreme lifestyles. But also lots of people who act tough and look the part but have never had a fistfight in their life. Fuck im glad i grew up in Aussie in the 80s. We couldn't even be posers even if we tried.

I wore corpsepaint 93 to 94. Im a happy man. I have great looking smart as children and a beautiful wife. A good paid job, I'm my own I have 5 months of vacation a year every winter. I'm self employed, nobody tells me what to do. That is black metal to me and has always been so. Must be normal to some people. I proudly wear my Kaos or fallen angel of doom shirts to work. Strength, ego, following my own path in life and being able to do what I want, to me that is what black metal is about. Weakness and self pity has no place in my world.

Is performing the vocals in Dutch an integral part of your music?

Not always. For Kaeck the Oovenmeester writes it all in Dutch and his vocals sound mad as hell in Dutch. Dutch always sounds as if your dying and very very pissed of. His lyrics are very good and its more like he is telling a dark story.

So what are 10 albums you can’t live without? And what would you do if someone tried to steal these albums from your collection and you caught him?

1. Bolt Thrower - Realm of chaos

2. Bal Sagoth - First and last albums

3. Autopsy - Severed survival. Mental funeral.

4. Sadistik Exekution - KAOS

5. Enslaved - Eld

6. Gehenna - Black seared heart

7. Mysticum - In the streams of inferno

8. Bestial Warlust - Both albums

9. Incubus - Beyond the unknown

10. Morbid Angel – Altars of madness

Shit dude. I could go on for hours. Human Agony, Caveman Cult. Nocturnus. Blasphemy, old Kreator, Deathrow, Thornium, Dawn, Nid div187, Slaughter. Dawn. and countless others.

If I caught him id make him listen to deathcore 24.7.

Please share your thoughts on the following:

Asphyx

Killer Dutch death metal veterans.

Cut Your Flesh and Worship Satan

Bloody good listen. Killer riffs and vocals. Remember listening to this pissed as fuck on holidays in France that year of release.

Physical format Vs. Mp3

You cant enjoy a album on mp3 like sitting down with a vinyl, no contest.

Nuclear Blast

Huge label. Far away from the underground.

Morbid Angel

Altars is perfect. Formulas is perfect. And in between still grand.

Lastly, what’s next for KAECK?

A new album. Our vocalist should come up with some crazy lyrics soon and then we record the 3rd album. First time for the new Sammath album. 

EP review: Goatskullt - Tevras (2021)

Goatskullt - Tevras

Finland

Independent

Goatskullt from Finland has released a new EP entitled, “Tevras”. Musically, the band unleashes a furious barrage of pummeling, aggressive black metal that will rip your face off. The music is relatively straightforward and reminiscent of Impaled Nazarene at times, especially since they show some punk tendencies. It’s a pity the band isn’t more well-known because their music totally kills.

There’s enough grit and punishing riffs to make this release worth your time, including the fact that the vocals are completely manic. The bulk of the music consists of rapid drumming, maniacal vocals, and hellish riffs. However, the band also has some slower numbers like “Tyhjyydestä” which is a pretty cool hymn. Vocals are sung in Finnish, which is something I appreciate, as the passion behind the music is more pronounced when bands sing in their native tongue (hardly an “original” opinion, but it’s true).

Goatskullt’s take on black metal is uncompromising and brutal, with an inclination towards hardcore punk. I’ve heard some bands blend the two genres before, but few do it as proficiently as Goatskullt. Overall, a pretty cool band and killer EP that’s worth checking out by anyone into bona fide metal. (HT)

 

Album review: Hunters Moon – The Great Pandemonium (2021)

Hunters Moon – The Great Pandemonium

Australia

Hells Headbangers

Australia’s Hunters Moon will release their debut album, "The Great Pandemonium", through Hells Headbangers on 11th November 2021. It contains eight tracks and 39 minutes of hellish, traditional black metal that slays on all fronts. Although the band has been around since 2006, they have only released a demo, EP, and now this, their debut LP.

“The Great Pandemonium” offers an array of blasphemous black metal reminiscent of Dissection, which is infused with a lethal dose of black/thrash goodness typical of the Aussies. You may also hear some elements that are "familiar." If you know bands like Destroyer 666 and Denouncement Pyre, imagine a deadly mix of Dissection and those bands, and you get an idea of what Hunters Moon sounds like. In contrast to war metal, this is overly-endowed darkness worshipping black metal that favours well-written riffs and clever craftsmanship over chaotic tropes.

Each song is characterized by varied yet outstanding drumming, merciless riffs, and venomous vocal barks that will chew you up and spit you out in fucking chunks. In my opinion, Hunters Moon has released one of the finest albums of the year with "The Great Pandemonium." Another thing that makes the band great is that while the band essentially plays black metal, there is no shortage of traditional metal elements in their sound.

From the war anthem “Storm of Hail And Fire” to the blustery cacophony of “Rebellion” there isn’t one bad track, just track after track of triumphant black metal fury. As a whole, this album is ridiculously enjoyable (and heavy!) and has a lot of replay value, including the fact that it’s packed with absurdly sick riffs and powerful, yet utterly aggressive vocals. It would be an understatement to say that it comes highly recommended. (HT)

Interview: Krieg (2021)

USBM legends KRIEG have always had their own unique sound and are one of the pioneering bands of American black metal. This includes the fact that they have released some truly outstanding albums! The following interview was conducted with Neil Jameson aka Lord Imperial. 

Greetings, Neil. You are a busy man, working on various projects from journalism to recording music. Do you feel like music is the ultimate escape and outlet for this shitty reality? Do you see your art as therapeutic? What goes on in your head when you write and record music? 

I think at this point it’s really just another extension of myself, rather than any kind of escape. I’ve been doing Krieg longer than I haven’t, if that makes any sense, and because of that I don’t really see it as anything but a different limb that I use. These days how I approach writing music is vastly different than even our last album seven years ago. I’m at a very comfortable place where I’m back to not having expectations placed on me artificially by whatever the “fans” would want me to do, sort of like when I originally began this trip.

I remember enjoying albums like Destruction Ritual and The Black House (I still do!) and picking out trace elements from bands like Maniac Butcher and Blasphemy, as your earlier output was quite primal and chaotic. How would you personally describe the evolution of your earlier work compared to later records? Have some of your influences changed over time?

As I’ve gotten older I’ve become less concerned with the idea of extremity and more interested in restraint, especially vocally. I’m much more interested in the actual music than having to be up front and confrontational vocally or having to constantly have a wall of noise behind me. It’s not to say I’m not still going to dip into that well occasionally, I think that I’m just a lot more comfortable with what I write and my ability to express things sonically better than I could have in my twenties.

I get the impression that you keep changing your sound slightly from album to album, but always stay within the bounds of your extreme sound. How important is it that you do not completely repeat yourself with each release? Is it a challenge to come up with new ideas?

After 2014, where we recorded “Transient”, and the splits with Wolvhammer and Integrity I encountered both a slight burnout and possibly the worst writers block I’ve ever had as a musician, which is why you haven’t heard much from us since. Once we had left Candlelight and signed with Profound Lore I felt a pressure on myself to somehow write this (in my head) “great work” and because of this I began to really detest black metal, especially the newer bands, probably because I had envy that they were doing whatever they wanted and I felt like I’d trapped myself in some kind of box. It was very important to shift the sound but I couldn’t figure out how. So the years went on and I concentrated more on my personal life and my various writing gigs until this year and could finally start working on Krieg again because I’d somehow shed the idea that everything needed to be “different” or “unique” but rather I just wanted to work on what I was passionate about. So at this point, it’s not very important but it will happen naturally. We’re not The Ramones, there’s some variation inevitably.

Albums like Destruction Ritual are one of the cornerstones of raw, violent USBM. The energy and urgency of said album is unmatched by today's standards. In many ways, I can compare it to albums like Cut Your Flesh and Worship Satan or My Hearse, My Redemption in terms of its visceral, all-out aggression. How do you reflect on that era and what can you tell us about the circumstances surrounding the recording of that album? What do you think makes it different?

It was the first time I had done a record without any kind of writing partner as both “Rise…” and “Sono..” had others in the periphery albeit in a pretty useless manner, so this was entirely guided as my vision alone. I began to record it the week after I got back from playing with Judas Iscariot at the Sacrifice of the Nazarene Child Fest in 1999 so I was greatly inspired by taking part in that plus being around so many other like-minded people. The recording was put on hold after the guitars were tracked because I didn’t have a label and had already done one unreleased record nobody wanted to touch (“Sono..”) so in 2000 I concentrated on other things and that autumn my mother unexpectedly died so it wasn’t much of a priority until Andrew Harris offered to help finish the record. The DAT I brought with me somehow got corrupted so we only had a few tracks that were salvageable, which became “The Church” ep. Finally in the summer of 2001 the record was finished in Wisconsin. I don’t see it as different, I just see it as my own expression of black metal as something physically painful to experience.

Your masterpiece Blue Miasma was remastered in 2013, yet the remastering did not affect the overall quality of the music, which is a rarity, as I feel that most "remastered" records are detrimental in the sense that it takes away much of the feel of the original recording. Your opinion?

It’s not really a “remaster” as it was the original mix/master of the record before I fucked around with it during the tip of a few year long nervous breakdown, with maybe some minor changes. I’m especially curious to hear how it’s going to translate to vinyl next year.

Who do you consider as some of the most important bands within the spectrum of USBM? And what do you think of the recent USBM book that came out? Some people have said that the book seemed too apologetic and that it advocated political correctness.

Those people are free to write their own fucking books, then. I don’t have much to add to the USBM conversation that hasn’t been said a million times over. Crucifixion Bell is the best current USBM band.

Do you think nihilism is a lost art in black metal these days? Are there any albums from recent years that have made you feel like "ok, this is the real deal"?

I think there’s just better ways to express it than people tend to use. That being said, overall I think black metal has been better and more interesting the last few years than the previous fifteen. Looking at some of the new USBM bands like the aforementioned Crucifixion Bell, Cathedrals in the Night, Dai Ichi etc or the Danish Korpsand Circle bands, or (and especially) Kommodus I see more sincerity and excellence than I have in years. Really there’s so many excellent projects happening now that I haven’t had a moment where I stop and question if it’s still worth it or not.

I have come to the conclusion that some people utterly dislike your music, while there are others (like myself) who have enjoyed your work from day one. What do you think it is about Krieg that makes your music so divisive? And what do you think people tend to overlook when they hear your music?

There’s a few things, I think. I’ve changed styles over the years, I’ve managed to somehow get myself into good situations for myself that a lot of other (probably more talented) bands couldn’t even suck a dick to get into, but probably the biggest factor is myself as a person. I’m not very easy to be around and am very opinionated. There’s also those who hate me for things I’ve said in the past and those who hate me for owning up to and trying to grow away from those things. People hate me for the things I’ve written or for the things I didn’t write about. All of these people are entitled to their opinion about me, my writing and my music. All of these people are fucking boring.

I know you are a fan of old school hardcore. What are some of your favourite hardcore records? I personally enjoy bands like Amebix, Discharge, Totalitar, Tragedy, The Hope Conspiracy, etc.

All Pigs Must Die, Integrity, (The Infamous) Gehenna, Rot in Hell, Vegas, Withdrawal, Kickback etc for hardcore. I’m big into a lot of the old crust bands as well, Rudimentary Peni, Antisect, Amebix etc. We’ve covered Amebix and Doom in the past and planned a Peni covers 7” back in 2009 that continues to float up as an idea. Really enjoy Tragedy as well.

How did you manage to do a split with Integrity? I mean, it's not like most people in hardcore listen to this kind of music. Are the guys from Integrity fans of Krieg or black metal?

Dwid released the Krieg split with Leviathan on his Holy Terror imprint in 2014 so we already had a good working relationship. The idea came up somehow and eventually manifested itself into reality. It’s one of the proudest moments I have out of the nearly thirty years I’ve been doing this and almost was the epitaph of the band as a whole as it would have been a good ending point.

Do you think a destructive lifestyle and black metal go hand in hand? I personally don't, but I'd like to know your opinion on the matter. Do you still consider Krieg as a black metal band seeing as your influences and ideas have changed over time?

Not really. I think it just happens that the two cross paths because a lot of people involved in this music are tragic fuckups and it’s just coincidental that they mingle. But I don’t see it as a “black metal” thing to be self destructive and the “Never Stop The Madness” logo has lost its original meaning. Besides, you have all these fucking workout camps popping up in backyards all across the country that are connected to bands. Maybe it was linked to black metal years ago but we’re in different waters now.

You are a man of good taste. Therefore, I feel obligated to inquire what records you have been listening to lately? Any personal highlights of the year so far?

I do my yearly list for No Clean Singing and this year might be the largest I’ve ever done, there’s just been a flood of great recordings released this year. Currently I’ve been listening to the Kommodus/Pan-Native Amerikan Front split and the K÷ record.

So what's next for Krieg? I sincerely thank you for your time. Death by Hammer salutes you!

We’ve just finished our side of a split with Crucifixion Bell that will be out through Goatowar Rex on vinyl with a tape and cd version being planned as well. The Devil’s Elixir Records will be doing a vinyl reissue of “The Church” and “Destruction Ritual” next year. “Blue Miasma” will be released on vinyl in its proper form through Death Hymns in the summer and our split with Morte Incandescante will finally have a vinyl release as well. In 2022 we’ll be recording for a split with Dai Ichi and most likely for our next full length, which should still be coming out through Profound Lore. 

Album review: Dearthe – Dispirited Obscurity (2020)

Dearthe – Dispirited Obscurity

Australia

Third Eye Temple

Dearthe from New South Wales, Australia, released their debut album last year entitled, "Dispirited Obscurity" which is a bleak and harrowing assault of abyssic black/death.

It seems that "Dispirited Obscurity" went somewhat under the radar, as the music on said album is nothing short of excellent, including the fact that the band features members from well-known bands like Temple Nightside, Ill-omen and Vesicant. There's even a killer cover of Demoncy's "Hypocrisy of the Accursed Heavens" which should tell you a lot about where the band stands in terms of sound and influences.

The music conjures a sinister atmosphere that is both profound and hypnotic, as it overtakes the listener with a series of apocalyptic riffs and eerie howls that sound like they emanate from some torture chamber in hell.

The bass is quite notable in the mix and pairs well with the riffs and drums. There are some melodic segments scattered throughout, although they are essentially morbid sounding.

If opaque and murky black/death is your thing, then "Dispirited Obscurity" should be right up your alley, as it is the perfect embodiment of this style. (HT)

Album review: Svartsyn – Requiem (2020)

Svartsyn – Requiem

Sweden

Carnal Records

Sweden's Svartsyn is one of those bands you cannot possibly get tired of listening to due to the unequivocal quality of their output. They embody everything that black metal is about: ideologically, musically, artistically – and they have never conformed to any insipid trends or given a damn about impressing the audience with "pretty" tunes to get groupies or anything like that. They are also one of the few bands that can change their sound from album to album and still sound coherent and worthwhile without repeating themselves. Each album presents a new identity while still staying within the confines of the genre. Last year's “Requiem” is a prime example of this. 

The band once again shows their knack for finely crafted morbid metal that exudes an inherent and universal hatred for everything and everyone. That's the feeling you get when you listen to this album. It doesn't get any blacker than that. On "Requiem", the band emits a very oppressive and crushing atmosphere that is almost a little doomy to some degree, but that's mainly due to the immensely dense production. It just goes to show how proficient the band is at crafting a really eerie and unholy atmosphere which pairs well with the ominous mid-tempo of the music.

 

It's very intense and peppered with excellent riffs and interesting counterpoints. The drumming on this album is pretty tight, with lots of inventive fills and fast pounding that sounds pretty damn menacing when combined with the bass and the soul-piercing riffs. The vocals are somewhere between a rasp and an acute scream, yet hateful and full of emotion. In short, they are effective and fitting to the music. The atmosphere of this album can be described as gloomy, but also apocalyptic and sinister. The bass is also well-executed and can be heard throughout the mix; it definitely adds depth and gives it a very devilish sound. 

Each song on "Requiem" is outstanding and can be enjoyed on its own, although the album is best experienced as a whole and is most impressive that way. This was one of my personal favourite albums from 2020, and I recommend it to anyone with good taste, or if you like other great black metal bands like Antaeus, Katharsis, and A.M.S.G. (HT)

Split review: Thornspawn / Maledictvs – Guided by Vengeance & Bloodlust (2021)

Thornspawn / Maledictvs – Guided by Vengeance & Bloodlust

USA / Mexico

Inhuman Assault Productions

The split in question is the first release to feature new Thornspawn material since their last split with Singapore's Istidraj in 2013. The two new Thornspawn tracks 'Under The Illustrious Eminence of Satan's Doctrine' and 'Clairvoyance with the Dead' are both killer slabs of raw and vicious black metal, boasting a powerful production while maintaining that malicious and bestial edge they are known for. Blackthorn's vocals are visceral as ever with a fair amount of distortion, giving the music a menacing effect paired with the vicious buzzsaw guitars and thumping drums. The atmosphere is evil enough to draw me in, and has that apocalyptic ambience that is typical of their sound, although one thing missing from these tracks are guitar solos. They have always had them in the past; nevertheless, I am quite impressed with the new songs and hope to hear more of the same on their next recording. (Although it’s like I said, they need to throw some solos in the mix to give the music that extra oomph.) Interestingly, Blackthorn is the only remaining member from the original line-up and that really says a lot about his dedication to black metal, as the band has been around since 1993.

Maledictvs from Juarez, Mexico, is the manifestation of Hella, the mistress of Blackthorn, which consequently features Blackthorn on drums. The Malevicvs portion of the split is quite well crafted, with an an array of chaotic riffs and hellish, high-pitched vocals that sound like they come from the depths of Hella's black soul. This music is above the standard pedestal and exudes pure devotion to the dark arts, as this is raw, underproduced black metal at its finest. All in all, a solid split all around and recommended for aficionados of blasphemous underground black metal. (HT)

Album review: Black Winged Goat Messiah - Satanic Morbid Lust (2021)

Black Winged Goat Messiah - Satanic Morbid Lust

Cuba

Mara Productions

Black Winged Goat Messiah is an evil manifestation from the blackest depths of Cuba, playing bestial Satanic Black Metal. There's some great bands coming out of Cuba and Black Winged Goat Messiah are part of that phenomenon. From the get-go, the music continually assaults the listener with sadistic riffs, profane vocals and hard-hitting drums, conjuring up an atmosphere that is utterly unholy – this is 100% pure Satanic Black Metal with absolutely no reprieve. There are notable references to bands like Archgoat, Urgehal and Von. They also cover "Watain" by Von, and I have to say, it's pretty damn good. There's also a good bit of traditional metal influence, especially with the guitar solos throughout. Everything was recorded by Conspirator, who is also behind other great bands like Shrine ov Absurd and Skjult. Everything that Conspirator touches turns to gold, and Black Winged Goat Messiah is no exception. Fans of the aforementioned bands should definitely give Black Winged Goat Messiah from Cuba a listen – you will not be disappointed. The album is due for release on CD by Mara Productions from Poland. (HT)

Album review: Adventum Diaboli - Ο Λόγος Του Σκότους: Chapter I (2021)

 

Adventum Diaboli - Ο Λόγος Του Σκότους: Chapter I

Greece

Independent

Aventum Diaboli from Greece plays atmospheric black metal with occult themes. The music emphasises atmosphere and sometimes borders on post-black metal with its ambient guitar sensibilities. The vocals are heavily distorted and sound kind of cool. The music is not particularly captivating, as I have heard dozens of similar sounding bands before, but it's not bad either. What I like about it is that the atmosphere gives off this ancient feel reminiscent of second wave black metal. The songs are pretty simplistic in structure, but still well put together and easy to get into. There's definitely a good bit of Norse black metal influences in their sound despite the fact they're from Greece. If the lyrics were not in Greek, I would probably have thought the band was from Norway. I had the patience to sit through the record in its entirety, so that itself should attest to the fact that the music isn't terribly offensive, although I've definitely heard better sounding black metal bands from Greece. (HT)

EP review: Orv – A Crowning of Misery (2021)

Orv – A Crowning of Misery

Hungary

Independent

Orv from Budapest plays an interesting style of black metal that sounds more or less modern thanks to a rather clear production, although the production does not sound plastic in any sense. This release is their debut EP and contains 4 tracks that last 20 minutes in total. The band's sound is quite fresh, but also retains that fundamental essence idiomatic to black metal. The band manages to evoke a rather compelling atmosphere that draws the listener in. The riffing is par excellent and you can hear that the band is still finding their feet, although there are clear signs of innovation. The vocals are typically raspy, but perfectly balanced in the mix. There is a certain morbid aura to "A Crowning of Misery" and it does not come across as superficial either. The music is full of emotion and exudes an apocalyptic atmosphere drenched in blackness. Admittedly, the music on this EP is pretty excessive, and while that can be a bad thing in some cases, it does not detract from the quality of the music. According to the band, the lyrics are about the self-indulgent tyrannical nature of man and his journey from ascension to self-sufficiency to the inevitable decline. All in all, If you're on the lookout for some good underground black metal with melodic sensibilities, then Orv from Hungary is the right band for you. (HT)

Album review: Kaeck – Het Zwarte Dictaat (2021)

Kaeck – Het Zwarte Dictaat

The Netherlands

Folter Records (CD) / Hessian Firm (Cassette)

The Dutch trio Kaeck strikes again with their second album "Het Zwarte Dictaat" featuring two members from the mighty Sammath. Those with a penchant for second wave black metal will undoubtedly find solace in the hellish overtones of "Het Zwarte Dictaat" as the band churns out a series of hefty riffs and scornful vocals. The atmosphere conjured on this album brings to mind something profane and utterly malevolent, coupled with a simplicity that is true to black metal. There is nothing overly technical on this album, though everything is executed exceptionally well as the band shows their knack as songwriters. Keyboards are used sporadically throughout the album to add an extra layer of ambiance, giving it a rather sinister twang. At its best, "Het Zwarte Dictaat" is primarily a black metal album, somewhat reminiscent of war metal with its volatile and crushing atmosphere. The music manages to incorporate a variety of dynamic tempos while maintaining a good balance. The bass is prominent and adds to the heaviness of the album, while the drums are mostly mid-tempo but well executed. I have always been of the opinion that music sounds better (and more expressive) when performed in one's native tongue, and that's exactly the case here, as the vocals are performed in Dutch. If you are a fan of good black metal, then you should listen to Kaeck! (HT)

Interview: Kruor Noctis (2021)

 

New Zealand duo KRUOR NOCTIS play harrowing and raw black metal and have already released an excellent EP entitled "Craven Whispers" and two splits. As I was very impressed by the material on their latest EP I decided to contact the band for an interview.

Hails! Can you tell us a little bit about the formation of KRUOR NOCTIS and from which portal this malevolent entity spawned from?

Vaari: Vaark and I probably haven't seen each other for about 7 years, we used to jam a bit but never got a project off the ground together. When he asked out of the blue if I wanted to do some vocals for his project, I said yes.. I had been fairly inactive for a few years, and had not attempted putting anything vocal wise together for over a decade, so it seemed like a good challenge.

Vaark: I formed Kruor Noctis in 2006, it started as a one man entity. I always wrote black metal since around 2003 whenever I had spare time but I wanted to manifest something specific to put a far darker focus into the material I produced. I didn't want to wait to find the right people with a similar goal because I lived in a quite remote part of New Zealand and nothing would have come of it. Vaari and I had worked together in the past so when I started on new material he came to mind immediately.

What does KRUOR NOCTIS mean and what inspired the name?

Vaark: At the time of the bands inception I had a keen interest in Kaosgnosticism. I wanted a name that, in some way, represented the transformation from this world to the next. Blood Night came to mind with Blood representing the life force, and Night representing the void we all came from, and return to.

Which bands influenced your songwriting and how would you describe your sound to those who haven’t heard it before?

Vaari: There are some risks with answering that question, let's just say I was 14 in the early 90's. If anyone asks what we sound like, I usually answer dense and bleak, it’s uncomfortable music for uncomfortable people.

Vaark: Dissection was and is a big influence on me, but I wouldn't say our sound has any similarities. Kruor Noctis is an aural wall of chaotic asphyxiation.

What kind of images do you wish to instil in the listener’s mind when he/she is listening to your music?

Vaari: If you are familiar with Thomas Ligotti, I want people to have that very real yet unknowable horror creep up on them. Little glimpses of the dark behind the dark.

Vaark: I never try to consider the listener when I write this music. The emotions I feel whilst writing it have an entirely menacing and hostile intent.

I’d like to know a little bit about the recording circumstances of “Craven Whispers” and what inspired its bleak atmosphere.

Vaari: Remote, very remote. Trying to snatch moments to get anything done, with no sleep and a newborn. Thankfully Vaark and I don't have a problem with honest criticism, so if it makes to the cut, then it is not too shit by our reckoning.

Vaark: I was studying philosophy and felt inspired. I wrote and recorded a bunch of material and forwarded it all to Maldorer and Vaari to have their input. It all fell into place on its own.

I feel like your ambient parts are actually quite interesting and truly dark, as opposed to how other bands use ambience to make their music sound “nice” – care to comment?

Vaari: Visions of Ulnahar is pretty fucking great. Even in the moments of prettiness, there is something building there on the horizon. Check him out. Do it.

Vaark: I wanted a meditative element to contrast our music. A space of inflection before the storm.

I’ve been interested in the NZ scene for a while now, and know quite a few bands from there (Ulcerate, Verberis, Sinistrous Diabolus, etc.) Do you think your country has a healthy scene considering how small it is? What’s the pros and cons in your opinion?

Vaari: The scene is not something that I have engaged with really, even if I have been tangentially present for an age. The pool of good, accessible drummers is a major con, but I am sure that is true of every scene.

Vaark: The talent pool is quite limited, you will find a lot of the same people in any of the bands that are any good. There is a lot of bullshit here like anywhere else. I think New Zealand being a more isolated and bleak Norway has something to do with the great sound we have here. People are recognising it more which is good.

What’s some of the best albums you’ve heard this year? Do you make an effort to check out new bands?

Vaari: I don't think I am in touch with what black metal is up to this year. Naxzul's "Irkalla" is pretty great. The newest albums that have remained getting some play are Delirant's self titled, amazing Spanish band, Vitriol "Chrysalis" and Cultus Profano's "Accursed Possession"

Vaark: The Warmoon Lord and Chamber of Unlight albums are superb, very much looking forward to the new Pestilential Shadows album also.

What’s your opinion on your neighbours’ Australia and their metal scene? Surely the greatness of bands such as Destroyer 666, Bestial Warlust, Portal, etc., cannot be denied!

Vaari: They can do them, we can do us.

Vaark: We don't have a lot to do with them. Nazxul and Drowning the Light are great.

Now I’d like you to share your opinion on the following tracks and give each a rating out of 10:

Vaari: This going to suck, nothing personal other bands, wholeheartedly believe that music is about doing what is right for you and fuck everyone else.

Vaari: Dimmu with added grit. Would probably give another spin. 6/10

Vaark: Love Seance Records and what they do, this isn't bad for what it is. 7/10

Vaark: I enjoyed this, for me it sounded as though Angelcorpse and Blasphemophagher had some grotesque offspring, enjoy the beherit worship in the middle too. 8/10

Vaari: Apparently I am going to be that prick that compares everyone to old bands. Kinda Entombed hooks with early Mayhem aggression. Not sure if for me. 6.5/10

Vaari: Ok. Just the soundtrack to my 1999/2000. This was the song that turned me on to the madness that is Steve Austin. This song is perfect example of communicating what you want heard. 11/10.

Vaark: Don't know enough about this genre, not what I'd listen to. 0/10

Vaari: No thanks. 2/10

Vaark: Again, not my thing. 0/10

Vaari: A touch more polished than I usually like, but I got distracted and started to listening to the rest of the songs on the album. They have that "something" interesting that is them. 8/10

Vaark: This is pretty unusual, I enjoyed it for the most part. 7/10

How is the whole covid bullshit over in New Zealand and how has it affected you? Do you think it’s mandatory to do exactly as the government tells us? Is humanity free or enslaved?

Vaari: The lockdown was pretty surreal at first but having to still work kinda normalised pretty quick. Cogs still have to turn, the machine just changed it's messaging. Humans choose their masters, that is what option B is for.

Vaark: New Zealand handled it pretty well. Isolation helps. I tend to turn to experts on matters I know nothing about, if our government is heeding the advice of experts then that is probably the best advice I could take.

What’s some of your favourite films of all time and what is your opinion on New Zealand cinema? I’ve seen some entertaining films from your country such as The Ugly (underrated!), Black Sheep, Brain Dead, What We Do In The Shadows, Bad Taste, etc.

Vaari: Love a good slowburn. The Wailing (2016), A Dark Song (2016) and Hereditary (2018) are my recent go to recommendations. And anything Kubrick, Jodorowsky or Lynch. NZ cinema can be fun, but it seems a little scared to move beyond the clown mask and into something real. I guess that's why Once Were Warriors (1994) was such a stand out, it peeled back that "she'll be right mate" veneer that people like to hide behind.

Vaark: Once Were Warriors shows a side of New Zealand many probably have no idea about. I am a big Lord of the Rings fan also, but I am mostly a sci-fi fan. Arrival, Bladerunner, Pandorum and Event Horizon are some of my favourites.

If your music was a weapon & could kill people, how would they die?

Vaari: Isolation tank dropped into the Mariana Trench. Enjoy.

Vaark: Pull the air from your body. So if there's air left in your lungs, they will rupture. Oxygen in the rest of your body will also expand. You'll balloon up to twice your normal size, but you won't explode.

Finally, what does the future hold for KRUOR NOCTIS? Thanks for your time!

Vaari: A full release once we navigate the current roster of riffs for the cull.

Vaark: Our split with three other groups of New Zealand Black metal acolytes has just been released. Four very strong tracks from a few long standing New Zealand black metal acts along with two newer ones. This is available through Maelstrom Brink Records both digitally and on Cassette through their bandcamp

https://maelstrombrinkrecords.bandcamp.com/releases