Interview: Nekrosity (2023)

Join us as we plunge deep into the morbid psyche of D.J, the putrid growler of Swedish grave-robbers, Nekrosity!  

Hails from the southern hemisphere! Nekrosity has been around since 2009 – what led to its rotten formation and how would you describe your sound and influences?

Hails! As you mentioned, we started NEKROSITY somewhere around 2009 - 2010, before the line-up was set into stone in 2011. The original idea came from me (D.J) and the bass player R.E, where wanted to breathe new life into another old project we had around 2000. The first demo we did ("Return from the Crypt") is basically built out of scraps from old rehearsal tapes, completed with new riffs and arrangements. The intention has always been to capture and express the dark and sinister elements within the genre. Even if we have refined our craftsmanship as a band, we still share the same vision and determination in what we want to achieve. Our influences has mainly been old bands such as MORBID ANGEL, AUTOPSY, GOBLIN, old ENTOMBED, NECROPHAGIA, SADISTIC INTENT, DEATH STRIKE, INCANTATION, old SLAYER etc. But as time have passed creativity have had its natural course. This have driven us further beyond but the initial idea is kept intact and keeps playing a vital part in our abomination.       

It is my opinion that Nekrosity’s sound is more akin to bands such as Repugnant and Nominon than bands like Dismember and Entombed, though the sound is unmistakably Swedish! Thoughts?

I agree that our expressions are more similar to both NOMINON and REPUGNANT to an extent. When we recorded and released "Void Gazer" it took the band to a new level. It was a conscious decision to step away from the HM2-pedals and expand our sound, as our old demos were more or less nothing but a hymn to the old Swedish sound in the vein of both ENTOMBED and DISMEMBER. But everything that doesn't evolve is cursed to dissolve.   

That debut album, “Voidgazer,” is amazing! Can you tell us about the whole recording process and what your vision was while writing this masterpiece?

Thank you, glad to hear you enjoy it! As we turned everything inside out, reversed it and dissected every piece of the album with open eyes, this is where it ended up. It worked as intended. Some of us have been playing in different bands together since 1997 so our chemistry is well established. The essential plan with the record was to offer the world a carefully prepared Death Metal album with a diverse, dynamic sound. A mixture of brutality, speed and heaviness entwined with darkness.    

What can you tell us about your lyrics? I think they’re exceptionally well-written and the song titles are genius! What are songs like Lazarus Curse and Malignant Observer about?

Our lyrics are as much of importance as the rest of the album. It is critical that all the elements are aligned to create the perfect atmosphere on every level. The foundation is built on Death and horror, with all its branches and thorns. Those two songs that you mention are two different shapes crafted upon the same foundation. Shortly described, "Lazarus Curse" is an Lovecraftian inspired nightmare about the end times, presented through an infestation of undeath.  "Malignant Observer" takes another route. Here we tell the tale of a spirit that is shackled between the physical world and afterlife, where the threads of fate repeats itself in a never-ending cycle.

The horror nuances are evident in the atmosphere! That being said, I gather horror films are a big inspiration for you? What are some of your favorite films and what’s the last good horror movie you saw?  

Absolutely, it's one of cornerstones when it comes to inspirations that have been there since the beginning of the band. Pretty much all of us are much into old 70's and 80's flicks. Most of my favourites are old classics like Day of the Dead, La Noche Del Terror Ciego, Beyond, Suspiria, Return of the Living dead, Hellraiser, City of the Living Dead etc. It's quite rare that modern movies ignite that same feeling, but once in a while it happens. One new film that comes to mind which left a really positive impression on me was Hereditary. They managed to capture a tormenting, eerie atmosphere that collided with grief and loss in this one. Highly recommended.  

How would you describe the evolution of Nekrosity from the first demo to your last album? What aspects do you think you’ve improved on?

As I mentioned previously, a big proportion of the first demo comes from scraps and songs from old rehearsal tapes dated 20+ years back, from a previous project. This gives some of the songs a more impatient and juvenile touch, even if we managed to include some new ideas and arrangements at the time in the same vein. In comparishment to "Void Gazer", where we had a different approach and mindset, I think the improvement is huge.    

The black and white artwork on Voidgazer is really neat! What inspired this approach and who is the artist?

The artist who is responsible for the artwork Göran Nilsson from HYDRA Grafisk Design, a friend of the band. He was actually the vocalist on our second demo "Rot to Survive", when I only wanted to handle the guitar. He later on left and relocated in Norway and is now working as a graphic designer and artist over there. We sent him the working title and some material, to get an idea and create an artwork out from his own perspective. The result was, as expected, very successful.   

Do you have any inspirations as a vocalist? How would you describe your vocal style?

I started to handle the vocals for real back in 2000, with my previous band SADISTIC GRIMNESS. Before that, in the 90s, I was only handling the string instruments in various projects. The inspiration mainly came from Quorthon (BATHORY) and Killjoy (Necrophagia) I suppose. But when it comes to NEKROSITY, other than Killjoy, are David Vincent (MORBID ANGEL), Chris Reifert (AUTOPSY), Bay Cortez (SADISTIC INTENT) and Craig Pillard (INCANTATION) honorable mentions.  

How do you view your country’s metal scene? I think Sweden has one of the best scenes in the world! 

We're really spoiled here when it comes to good metal bands, but with the usual ebb and flow over the years of course. I am sorry to say it, but I am not as involved with the underground as I used to be when I was younger, so my knowledge about the current state of the scene is rather limited compared to how it used to be. There will always be exceptions though, that will reach the turntable in the end of the day. Even at my place.

Which of the Northern European countries do you think produces the best black and death metal bands?

This usually depends on the timeline to be honest. But in general I would say Sweden and Norway for Black Metal. When it comes to Death Metal my vote goes to Finland and Sweden, but this is a personal opinion from an overall perspective. Finland for an example, seem to have been climbing on the ladder the last 10-15 years when it comes to Black Metal, if we look at the numbers of good bands. Sure, they gave us classics like Beherit, Impaled Nazarene, Barathrum and Archgoat back in the day, but but it seems like they have becoming a stronghold lately when it comes to new quality bands.

What can you tell us about your previous band Sadistic Grimness? Also, you were signed to a Russian label and even went to play a show there if I’m not mistaken? How was that whole experience?

SADISTIC GRIMNESS was active between 2000 to 2010, a band that started out as a Black/Death metal band inspired by old BATHORY, NIFELHEIM, BESTIAL WARLUST and the likes. This changed over the years and transformed into something completely else in the end. At the time, when we were a full band, the cocktail of members was nothing but a wandering disaster. We signed a Russian label called DAEMON WORSHIP PRODUCTIONS and released an album called "Asteni" in 2009. A year after we did a small tour together with the french maniacs VORKREIST, in Finland and Russia. We did two gigs in Russia, in Saint Petersburg and Moscow to be specific. The climate and mentality over there differs very much compared to Sweden and surrounding countries. It would take too long to describe the whole experience but I can tell you this: It happened more during that short period of time than it does in a whole year in Sweden. Another thing worth to mention is that it's something special about being hold in custody at the Russian border for 7 hours, when you've slept 2 hours the night before... and then enter the stage again in the evening.   

Is metal a way of life for you?

In many ways yes, but I listen to many different genres beyond metal. Each style I engage in offers something different and worthwhile my attention that fuels my own fire. This the only thing that matters in the end of the day. There are no room for limitations.          

Your thoughts on the following bands:

*Amon Amarth

A band I've never been interested in or understood why people praise so much. Probably works best as a gateway band for younger people, before entering more extreme territories, I can imagine. 

*At the Gates

Great band with a very solid discography which continues to have a very high standard, when it comes to creating music. Just check out their latest album, it's terrific. 

*Iron Maiden

One of my all-time favourite bands. I have a hard time to choose my top 3 albums, but if you would ask me today I would go for "Killers", "Powerslave" and "Somewhere in Time". Might change tomorrow though.

*Sadistic Intent

One of the jewels in US Death Metal scene, which finally is starting to get the recognition they truly deserve. A very important one for me and NEKROSITY. I am still waiting and hoping for the "Second Coming" album they were supposed to release 25 years or so. They say hope is the last thing that leaves you, feels like we're dying with this one. 

*Dissection

An extremely important band for me. They managed to combine both melodies with sinister, aggressive riffs very early on in a smooth way. It's easy to fall into the cut and paste trap there, but they crafted very well written songs and had potent, dynamic structures. Still up to this day they remain as one of the best extreme metal bands from Sweden. Hail the Metal of Death!

Thank you very much for your time! What’s next for Nekrosity?

We're in the middle of writing and arranging new material for another album. This is done according to the same traditions on the previous record, but a new chapter. Death is certain, yet the execution might end up a bit differently than people expect.

Thank you so much for the interview! TÄNK PÅ DÖDEN! 

Interview: Nominon (2022)

NOMINON is one of those solid Swedish Death Metal bands that have kept their sound extreme and underground ever since their inception without ever succumbing to trends. This includes a string of mandatory releases under their belt worth checking out. Elements of Thrash and Black Metal can also be heard in their sound. The following interview was done with guitarist Juha Sulasalmi.

Hails! How did the recent compilation release “Yesterdeath” come about? Will NOMINON release any new material in the near future? What have you been up to over the years?

In 2015 we did a couple of mini-tours and a German festival, then the band went on hiatus.  I guess the main reason was different views on the band’s overall commitments. We just didn’t find the energy needed at the time. Then the spark was lit again 2018 and since then we’ve been regrouping with a really strong line-up and started writing some new material.

We don’t want to rush things since we are older now (and wiser hopefully) and we all have various life situations to take into account. We thought it would be cool to release something quite hidden and obscure, just to give people out there a sign of life and to get some buzz going. “Yesterdeath” is a compilation of stuff from the many 7” splits we have done through the years. I think it’s a convenient way to get hold of material from releases that have been sold-out for a long time.

Do you think the fact that you’ve had so many line-up changes has helped to maintain a degree of variety throughout the band’s career? What are the factors behind such a consistent discography?

Variety is important to keep the music interesting, both for the fans as well as for the band. There’s no point in writing songs that sound alike, unless you’re AC/DC. Of course each individual brings his unique influence into the band. Also the different formats such as 7” splits, albums etcetera do contribute to the sense of variety, since they often are recorded in different sessions under different conditions.

We like to put out releases every now and then just to give a sign of life, even when we’re in a period of less activity. Another aspect is that we don’t like to rush things. This is a lifetime commitment and we’re in no hurry. The consistency and unhurried approach could also be regarded as one of the reasons for the many line-up changes. Some are restless and eager to move forward, looking for their true purpose within other genres. NOMINON isn’t about achieving success. This is about satisfying our own musical hunger.

To the reader, how would you best summarize your sound and what NOMINON is all about?

Basically its death metal rooted in the thrash metal heritage, occasionally with some black metal elements. We often integrate ideas we like regardless of genre or subgenre. All of us have personal influences and they all mix together within the framework of our sound. Musical dynamics are important to us. We don’t want to make albums that sound like one long tune. Nor are we interested in following any trends. Honest death metal with no gimmicks, that’s what it’s all about. Lyrically it’s about hatred, death, pain and suffering.

Looking back, what were your main determinants for starting a band, and what have you learned over the years playing with NOMINON? Are you happy with everything the band has achieved?

In my first band we played thrash metal and when I started NOMINON in 1993 my aim was to create and play death metal. My mission has always been to entertain myself. It’s great when people understand and appreciate your music and prove to be on the same wavelength. However, my first priority isn't to be seen or heard, this is just out of plain egoism. Other bands and individuals seem to be on a mission and they try to convey their beliefs or whatever. I’m not into that at all.

Yeah, looking back I’m very proud of what we’ve done. Some of the early recordings were very DIY and could have deserved a better sound production. But at the end of the day - this is death metal. What I regard as the perfect sound, somebody else may think is crap and vice versa.

Your last album “The Cleansing” shreds pretty hard. In retrospect, what were the main elements that determined the style and sound of that album?

Yeah, we’re really proud of that album. We got a lot of new energy in the writing process and I think a big reason for that was Alex Lyrbo, a great lead guitarist and riff maker who was our newest member at the time. He wrote a lot of stuff which had that extra spark in it. Alex left NOMINON shortly after the album and joined the Swedish hard rock institution BULLET (which also he left recently).

Today we have a killer line-up and I sense that the same energy can be found in the songs we’re putting together right now. You learn what’s really good and refine things along the road and that’s just awesome. “The Cleansing” did indeed bring that extra power to our songwriting onward.

What do you personally regard as the ultimate NOMINON album and why?

It’s impossible for me to select just one album. It depends on the mood and what aspect I’m into at the time. It might be the lyrics, riffing or song structures, maybe drum sound, intensity vs heaviness and so on. I really treasure both “The Cleansing” and our debut “Diabolical Bloodshed” but there’s one album I keep coming back to and it’s “Terra Necrosis''. It has got a lot of heaviness but also speed and I’m very fond of the drum sound on that album. It has some of my favorite songs in terms of riffing and also our vocalist Daniel wrote some very cool lyrics on that album.

Could you please tell us a little about your split with Peter Nilsson's black metal project FAFNER back in 2004? In your opinion, should black and death metal do more splits together?

When Peter and I parted ways in 1994 Peter started his one man project FAFNER to which he brought some of the material we’d been writing together in NOMINON. NOMINON had a lot of black metal tunes in the early days. The FAFNER songs sounded much like the songs on the second NOMINON demo “Daemons II”. This was also the last demo we did together before Peter went on with FAFNER.

So the FAFNER/NOMINON split had a natural origin in that both bands had the same songwriters and a common history. I'm not sure black and death metal bands should do more splits in general. I can't see why there should, if it isn’t obvious the bands have something in common.

In terms of your sound, did you ever feel the need to have an original sound? How do you feel when ignorant fools compare you to bands like DISMEMBER and ENTOMBED?

You can easily tell when someone has really listened to a NOMINON album. They will pick up the unique things going on and sense the variety of influences in the music. On the other hand, when someone compares us to bands like DISMEMBER and ENTOMBED, you know they either haven’t listened or it’s just out of plain ignorance.

When you get that response from someone who has really understood, then it’s just like: Yeah, he saw it! He’s one of us!

We knew from the start that we had an original sound, it was nothing we planned for. But sometimes a particular production can make it hard for our sound to fully come through. Maybe that’s why we sometimes are being compared to those Swedish old-school acts.

Who are some of your favorite bands, as well as your biggest influences? Also, what bands influenced NOMINON's sound?

IRON MAIDEN has been my godz since the age of ten. Other important bands are WHIPLASH, CANDLEMASS, early EDGE OF SANITY, IMPALED NAZARENE, DEMIGOD, MYTHOS, ADRAMELECH and SHAARIMOTH to name a few. Since my family has Finnish roots it was natural for me to follow the early Finnish death metal scene and it has influenced me a lot personally.

In NOMINON we all are big fans of American death metal. Bands like MALEVOLENT CREATION, INCANTATION, MORBID ANGEL, IMMOLATION, SOLSTICE, DEMOLITION HAMMER among others. Naturally also the Swedish scene has been an influence to us, and not just death metal but also in a much broader sense. We’re all big fans of the eighties Swedish heavy metal scene with bands like TORCH, EUROPE, UNIVERSE, 220VOLT and PROUD to name a few.

What do you think of the trend of new bands trying to sound old-school to the point where the music sounds dull and utterly devoid of passion?

It seems some bands decide to sound old-school because there might be a trend going on. Judging by what I hear they could just as well have chosen to play melodic death metal or metalcore. I guess its part of the scene as its evolving and as the underground is becoming mainstream to some extent.

To my relief there are a lot of young bands that sound really great. Bands whose stuff sounds like it was recorded thirty years ago and whose members weren't even born in the beginning of the 90s. I like to support bands with the right attitude and sound. After all it’s better with a vital scene with a lot of bands, out of which some are really good, than a small metal scene with just a few uninteresting bands.

How do you stay inspired as a musician? Also, in terms of quality, how critical is it not to stagnate musically?

There’s a lot of bands out there still inspiring me and my fellow band members. When you discover great bands it makes you want to pick up your guitar and outmatch your latest riffs and improve your own songwriting. The creative process is really fascinating in so many ways. One could easily believe that the more you pour out from the well of ideas the less there is left and in the end you run out of creativity and stagnate as a riff maker. It’s quite the opposite. The more you let yourself be inspired by your favorite bands and the more you are in a state of flow when riffing and composing, the clearer it becomes that the ideas will never end. Of course the inspiration also gets a boost every time someone shows appreciation to your music, e.g. on social media or an interview in a webzine like yours.

Stagnation is always a factor to take into consideration, especially as we’re not youngsters anymore. But I don’t think it’s a big issue as long as you’ve got the passion, inspiration and creativity.

You've been with the band since the beginning, although I am quite curious as to why you didn't participate in 2016's live album, "Chaos in The Flesh...Live!"?

We’ve used live musicians from time to time. Actually the band did a couple of tours without me some years ago. Looking back it seems somewhat odd that the only original member did not play on those live shows. The only thing I can say is that back then when I had to choose between going on tour for three weeks or being with my family and kids and keeping the income coming from my job, I chose the latter. We used to have different views on the importance and desire for playing live. Looking at it now it seems a bit strange I admit. Nowadays we have agreed on a more common approach to things.

When it comes to the live recording of “Chaos in the Flesh…Live!” I was going to play that show but got sick the day prior to the gig, that’s why we ended up using a stand-in on that gig.

How important is the compatibility of the artwork and music? Do you think a good metal album can be overlooked due to a shitty artwork?

I think the artwork plays an important part of the whole package, at least when it comes to extreme music. The artwork should tell something about the music. The first albums that got my interest as a ten year old kid was IRON MAIDEN - KILLERS and THE RODS - WILD DOGS. As a kid I used to sit on the floor, knees crossed with the album cover in my hands, being sucked into the artwork. And through the speakers came this fierce and powerful music. Of course it was a lethal combo. The cover art is a world of its own.

On the other hand, if the music is really good, you might be able to overlook crappy artwork. You just don’t pay attention to the cover, and as a result your overall impression of the band’s work won't be as strong as it would otherwise have been.

Are there any Swedish bands you recommend we check out? Do you support the music scene in your country?

I would recommend checking out these bands from Sweden: KVAEN, ENVIG, THE MALICE, REINCARNAGE and ARMAGEDDA. Also the bands DESULTOR and PAGANDOM have put out some cool stuff.

I like a lot of the younger underground death metal bands but we don’t have many of them here in Sweden. I think nowadays there’s a lot more cool death metal coming from Finland, Denmark and also the States. There’s a great underground scene both in Europe and in the U.S. Right now thrash metal is getting bigger here in Sweden.

Whenever there’s a gig in my area I go and support the scene and buy merch and CDs.

What's next for you and the band? Thanks for agreeing to do this interview and all the best to you!

We’ll be focusing on getting our new songs ready for an upcoming release, most likely a full length album. Would be awesome to get it out before the end of this year. We’ll see what happens. Thank you so much Jim for your support and best of luck with all your endeavors!

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)

EP review: Evocator - Chronicles of Pestilence (2021)

Evocator – Chronicles of Pestilence

Sweden

Self-released / Independent

Formed in 2007, Sweden's Evocator release their latest EP and follow-up to 2010's "Untitled" demo, which is a pretty big gap of inactivity. Nevertheless, they have decided to come back and present the world with three emphatically crushing tracks of gloomy death/doom clocking in at 30 minutes long.

There is a hefty bass presence in the tracks that adds to the heaviness of the music, along with a guitar rhythm that is nothing short of soul-crushing. Evocator are masters of mid-tempo death/doom and mostly stay within that range while repeatedly subjecting the listener to an overwhelming sonic assault reminiscent of vicious hammer blows to the face from start to finish. The vocals alternate from vicious growls to psychotic high-pitched screams and are perfectly executed. This is one of those death/doom bands that puts more emphasis on bludgeoning the listener's mind with pure aggression than impressing girls with sweet melodies, not to mention the atmosphere surrounding this album is purely dark and from another realm.

You might assume this is an atmospheric black metal band based on the greenish colour and forest on the cover, but that could be your biggest mistake – or did you not see the hooded figure staring at you from the mist? That hooded figure is Evocator and they have come to bring us death. All in all, a strong and devastating EP recommended to fans of quality death/doom. (HT)

Album review: Those Who Bring The Torture - Dark Chapters (2020)

 

Those Who Bring The Torture - Dark Chapters - Full Length (2020)

Sweden

Iron Blood and Death Corp.

Rogga Johnsson is one of the more prolific musicians in Death Metal, and Those Who Bring The Torture is one of the numerous projects to involve his input. “Dark Chapters” is their 7^th studio album and the first release I've heard from them. The music reveals a band with a natural capacity for skull-thumping, dark, and catchy Death Metal. The production is quite strong and was mixed and mastered by Jonny Pettersson at Studio Unbound, UK. The band employs melody in a clever way, which isn't all that overbearing, and blends it well with heavier segments. The riffs are fairly catchy and go together well with the bass and drums. They also throw in a few incendiary solos, including some doom-tinged passages that add an extra layer of depth to the music. “Dark Chapters” isn't particularly ground-breaking per se, but those looking for something familiar, yet also enjoyable, should check this out, including fans of some of Rogga's other projects, such as Fondlecorpse, Paganizer, Revolting, et alia. The latest album was released by Mexican-based label Iron Blood And Death Corporation. (HT)

https://ironbloodanddeath.bandcamp.com/album/dark-chapters

Album review: Carnosus - Dogma of The Deceased (2020)

 

Carnosus - Dogma of The Deceased (2020)

Sweden

Satanath Records

Hailing from Örebro, Sweden, Carnosus presents their debut album, “Dogma of the Deceased,” released by Russia's Satanath records. Melodic death metal does not draw me in easily, but Carnosus is an exception: their high-quality music is a seamless balance of melody, technique, and heaviness. Each song is packed to the brim with excellent riffs, incorporating some neoclassical influence. This genre benefits from proper production to stand out, and that's exactly what the band has opted for by teaming up with Fredrik Nordström (At The Gates, Dark Tranquility, Lord Belial, etc.) and Robert Kukla to record “Dogma of the Deceased.” Musically, they share some idiomatic traits with bands like Sacramentum, At The Gates, The Crown, etc., mixed with their own unique sound that also borrows from progressive metal and thrash. The overall result is something to behold, with songs that bleed passion and superb songwriting and musicianship, favouring substance and atmosphere over superfluous technicality. “Dogma of the Deceased” boasts an excellent production, a full sound that really brings out the best in the band and its individual members. The music also doesn't border on sounding plastic, retaining a certain rawness and pugnacious edge that gives the music just the right amount of punch to make them stand out. Check them out if you enjoy good melodic death metal. For fans of Anata, Sarcasm, and Arsis. (HT)

https://carnosus.bandcamp.com/album/dogma-of-the-deceased