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)

Split review: Infesticide / In Obscurity Revealed (2021)

Infesticide / In Obscurity Revealed – Split

Mexico

Blood Harvest

I haven't heard a good split in a while and this release here is just what the doctor ordered. Both bands hail from Mexico and play menacing death metal with an evil intonation. A lot of death metal bands these days tend to suck due to the fact that they are too content to regurgitate old styles without adding more emotion to the compositions, and then label it "old school", leaving little to be desired. That's not the case with Infesticide and In Obscurity revealed. These guys are completely obsessed with their craft and let the devil emanate from their music. One listen to the material on this split is enough to convince you of the quality of these bands. Infesticide seems to be one of those bands that gets better and better with each release, as they kick it up a notch with the two tracks presented here: fast, vicious and filthy death metal at its best, with definite echoes of early Morbid Angel (Altars era). In Obscurity Revealed is no less impressive, melting brains with their relentless onslaught of bestial riffs, harsh vocals and hard-hitting drums. All in all, the split is a thoroughly enjoyable release and once again shows just how passionate those maniacs are about metal from Latin countries. 16 minutes of pure underground Death Metal insanity! Highly recommended. (HT)

EP review: Aempyrean - Fireborn (2018)

 

Aempyrean - Fireborn

India

Cyclopean Eye Productions

Aempyrean joins the ranks as one of India's better extreme metal acts with this pretty solid debut EP titled "Fireborn". Four tracks packed to the brim with odes to hell and old-school black/death/thrash can be heard on this release. The band unleashes a barrage of throat-cutting riffs, frantic solos, feral vocals and pounding thrash beats. The atmosphere is permeated with a rather rancid stench, with a sound reminiscent of early Morbid Angel, Possessed, Destroyer 666 and the like. There's no doubt as to the prominence of the musicians, as the music bombards the listener with a series of pungent riffs and solos that drill right through your fucking skull. In other words, riffs are in abundance. The production is suitably raw, giving this EP a profoundly menacing feel. The cover version of Morbid Angel’s "Chapel of Ghouls" is a nice surprise and quite well done, doing justice to the original. "Fireborn" is a must for fans of killer Black/Death. Especially if you're one of those maniacs with a penchant for discovering obscure bands from the hellish depths of the underground. Aempyrean delivers. For fans of: Weapon, Bestial Mockery, Communion. (HT)

Interview: Skulmagot (2021)

Skulmagot hail from Finland and are true purveyors of old school, rotten death metal. Their latest album "Kill And Die" is a murderous offering of pure, maggot-infested decay and will please fans of bands like (old) Cannibal Corpse, Morgue, (old) Incantation, etc. The following interview with the band was conducted by death metal maniac Catacombs Walker.

Hails maniacs! A little over a month ago you released your second album, “Kill And Die,” and the influences are clear. From your perspective, what bands influenced you to carry out this project?

Hails and thanks for reaching out!! And sorry for being super late with this interview! Let’s be honest here, Cannibal Corpse IS the holy grail! None heavier.. We share common love and respect towards all early 90’s Florida- and US-Styled death metal. But yeah, early Cannibal Corpse is a huge influence and impulsion for Skulmagot and for its sound. You can ofcourse hear other titans there as well, Immolation, Monstrosity, etc. Skulmagot was spawned in 2014 to play old school US style death metal.

Is there a specific reason that led you to move away from your Finnish influences in favour of a sound more in the American vein?

For me and Spider it was all clear from the get go to play US style death metal. We had no intention to play "Finnish Death Metal" and such, more likely the aim was to create our own unique sound and take the influences from the US style death metal because we're both huge fans of this sound and genre, and it still dominates and rules our playlists! The Finnish DM sound is more known abroad than here in Finland actually.

The production sounds raw, yet totally dark and brutal. What can you tell us about this album and how does it stand compared to the previous one? Did you get the sound you wanted?

We didn't change anything this time around either.. Our ways of recording are pretty primitive and lo-fi.. Spider plays all the instruments and we record the vocals in 2-3 sessions. Spider also does the mixing and mastering and the trademark sound is really bass-laden murky and evil. We try to keep it that way, as the overproduced digital crap is overrated anyway. The only upgrade in the latest session was a different mic for the vocals. It turned out really good.. We have created this kinda unique way of recording these albums and we don't want to change anything. Of Course it's bad for your health and liver but it has worked out just fine so far, hah!

I understand that Spider takes care of all the instruments, while Ulti-Make handles the vocals. What plans do you have regarding the future of the band? Will you remain as a duo or will you incorporate other members in order to perform live?

There's been a lot of pressure to do live shows and we get a lot of requests for shows etc... However we like to keep things simple and Skulmagot will stay as a two man operation for now. We've had active bands in the past (Spider still has plenty: Ratface, Goatburner, Bloodlands, Pikakassa) and Skulmagot is more laidback without any rehearsal pressure or other mandatory stuff related to that. If the pressure for the live setup gets unbearable, we will of course do some moves...maybe :D

You come from Helsinki – the capital and largest city in Finland. How do you see Finnish death metal today and what do you think were the factors that contributed to the emergence of a completely unique scene back in the ‘90s?

The Finnish sound Is very well known globally, and it also receives a lot of worship/attention again. Finland is a cold, dark and distant place where it really is dark almost 8 months per year! So maybe the dark and depressive sound comes from there.

We have also the highest suicide-rates in the world so go figure, ha! Local scene is active and there are new bands surfacing who keep things real with their sinister OSDM sound. A lot of gigs and smaller festivals are ongoing also throughout the year but now the Covid-19 has put everything on halt. Local scenes with smaller events, gigs and festivals are resurrecting again, but nobody knows what is going to happen with this COVID-plague. I think the unique 90's scene was more across the whole country actually and it grew from there. Tape trading, small shows and zines & letters kept it going..

How did you initially come up with the band name and what’s the idea behind it?

The first name for the “band” was actually Toilet Skul, but this one ended up as a song for our first EP. The name “Skulmagot” does not actually have anything to do with Cannibal Corpse’s A Skull Full Of Maggots, although there’s a reference to it.

The spelling (missing letters) was just a thing with the typography of the logo, and it has a Scandinavian vibe to it. We get a lot of questions about this, but it actually works out really well. So, there you have it!

How was the experience of working with a label like Headsplit Records?

Without these small labels Skulmagot wouldn't have gained so much attention globally, that what we have now. And we are truly thankful for all the attention we have gained globally..it’s amazing! Working with these small tape-labels is really rewarding for both sides, as the cost stays rather small and the product is also reasonably priced. Headsplit Records is run by Reverend Laviolette who really knows his shit. He has released alot of old and newer Finnish bands on his label. Working with Headsplit is smooth and straight forward! And the end product is really good in quality.

The world is immersed in a state of chaos. That being said, how is the whole pandemic situation in Finland, and what do you think of everything that has happened lately?

I think that Finland got the least worst parts of this Pandemic.. we're isolated anyway and dont want to be with other people so this was nothing new to anybody! We didn't have any strict lockdowns here as in other parts of Europe, no curfews or anything like that. We've all been working or living the hermit life in the woods remotely for 18 months now, so it is really getting boring... maybe the virus will stay with us forever and we just learn to live with it. For the music writing part this pandemic was actually really good, we managed to create a dark and obscure record and in no hurry.

Because of the internet, everything has become immediate and disposable. Do you think this has had a pernicious effect on the essence of metal or do you view it as something favourable?

There's alot of everything available online and people's concentration is on the state of a fruit fly! This feeds the urge to collect more records and paraphernalia.. in the metal scene i think most of the people are into merch, records and other stuff you can touch and feel. Cover-art and like plays still a big role in records and collecting them. There's still these old school cats who order their records with a letter from the distros... so we're not doomed yet!

What does the term underground mean to you?

It's revealing to know that "it's there" no matter what ever happens globally. It's something that it is a bit challenging to explain.. you have to feel and breath that shit. Underground is doing good, always has.

Share with us some albums that have surprised you this year, and also tell us what you regard as the great classics of Death Metal?

The latest Witch Vomit is really good.. and be sure to check out also SNĚŤ. Alot of good and mediocre stuff has been released.. I find myself getting more and more back to the older stuff all the time.. One great classic is Deicide's Legion from 1992. Never get's old!

To end the interview, tell us about your future plans for the band and leave a battle-cry for our readers! Bestial greetings!

You will hear Skulmagot in the future as well! We have one EP underway and some shit cooking all the time. I miss live shows and meeting with other dorks who share common interests! Got to keep healthy and avoid stupid shit to stay away from the COVID-plague! Stay strong people! Buy records. Go to shows. Drink (good) beers and keep in touch with your friends. Support the bands, zines, labels and the distros for what they do, as the flame is burning strong. Support the true underground always!! Cheers & beers from Finland!!

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: Maze of Terror - Offer To The Fucking Beasts (2021)

Maze of Terror – Offer To The Fucking Beasts

Peru

Xtreem Music

Peruvian death thrash maniacs Maze of Terror release their second album and follow up to 2016's ripper "Ready To Kill". The latest work is a convincing and ferocious display of skull-shredding thrash infused with sheer aggression as well as some new dynamics at work. 

It seems the band have evolved their sound a little and added more atmosphere this time around, although the vocals are still as hostile-sounding as ever. Each track is packed with pounding riffs, hard-hitting drums and heavy bass lines, while hateful vocals are belched over the explosion of noise.

There are also plenty of lethal guitar solos scattered throughout the album, lightning fast and full of morbid emotion. I really like the way the drums are played and sound on this album. It does not sound overproduced or too dry, but has just the right amount of bite for a thrash album. Also, the main tempo of the music is a little faster than mid-paced and pairs well with the ferocity of the music. 

There is an abundance of head-banging riffs, indicating the band's propensity for violent, old-school metal. The band cites bands like Massacra, Sarcofago, and Protector as influences, so that alone can attest to the fact that this is no pussy thrash. 

Overall, “Offer To The Fucking Beasts” is a deadly album on all fronts and comes highly recommended to fans of gritty and uncompromising Death/Thrash. (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: Chainsaw (2021)

 

Hailing from The Netherlands and formed in 1996, the tyrants known as CHAINSAW has since been scything and slicing posers with their very own brand of malodorous Thrash Metal and spreading the message of ‘Blood, Meat, and Metal’! The following interview was answered by founding maniacs Don and Aike.

Alcohol-drenched hails! As far as I know, Chainsaw formed back in 1996. What have been some of the highlights regarding this whole journey and how do you reflect on your achievements as an underground Speed/Thrash Metal band?

Don - Oh dear. I’m way too sober to answer this question. Let’s drink some of those hails. Yes. Yes. Better now. Let’s reflect. 1996. That’s 25 years. That’s a lot of highlights. And lowlights. Well some of the weirder gigs I remember as being highlights, like the musical high tea party where we played our full bloodsoaked show in front of an audience of people with an average age of 75. Some ran, well strolled out of the venue, but then other oldies cheered us and at the end of the gig an 80 year old lady came up to us to share that she enjoyed it thoroughly. Playing at a party in Bonaire where the theme was ‘The independence of Surinam’ and most people were in original Surinam attire was quite the highlight too. First everybody ran again, then they came back and starting dancing to our crazy thrash metal. We like to take metal where it originally shouldn’t go. We feel like we are missionaries in that way. We also played quite a few vegan parties and the more we explained that all of our songs are basically about meat, the more they loved it.

Aike - One time we played in a somewhat religious neighbourhood Where we replaced another band the last minute for an afternoon show. We were surprised there was no backstage beer and no alcohol at the bar in the venue, but luckily we brought some ourselves. So we do our show, and so I was preaching to the audience about fucking your pets, fucking minced meat, killing people and things like that.. and then after the show there were some very angry people and it turned out it was a special heavy metal afternoon for children. Well we did notice there was an above average amount of kids but what the hell, if you BOOK Chainsaw you GET Chainsaw. And later we got a message from the city council that due to our ‘tasteless and amoral act’ had banned Chainsaw for life haha. Many years later someone in that same city wanted to book us for a festival but the city council had not forgotten about us and we were not allowed to play. I think that is our greatest achievement!

According to the metal archives, there are 11 bands bearing the moniker Chainsaw. Did you ever consider opting for a different name or were you never that fazed about a name that’s shared by others?

Don - We are generally not easily fazed. Dazed, crazed, yes, but fazed, no. Our music just fit the style of a Chainsaw and we so aptly named the band as such.

Actually at one time we wanted to organize a festival or a small tour with other Chainsaws, we almost got there with the Polish Chainsaw, but it didn’t work out.

Aike - The Polish Chainsaw even changed their name the ‘THE Chainsaw’ and suddenly stopped communication while we tried to plan a tour for the combined Chainsaw’s

Can you elaborate a bit on the philosophy behind Chainsaw?

Don - Yes indeed, we are great philosophers. The philosophy behind Chainsaw is that thrash should be raw and bloody, like a steak still on the cow.

Aike - Straightforward violence without any moral nonsense. And for the stage part we use all kinds of theatrics to enhance the metal experience and when you wake up the day after you went to a Chainsaw show even though you are hungover you still remember.

Who and what is the meat locker?

Don - YOU are the meat locker, but so am I.

What’s some of your favourite albums in the eternal relics of metal?

Don - Judas Priest – Painkiller, Swampcult – The Festival, Spinal Tap – Smell the Glove

Aike - Necro Schizma – Live in Zwolle, Manowar – Black wind fire and steel, Celtic frost- Morbid tales, Bathory- Blood fire death to name a few

Which bands influenced the sound of Chainsaw and what can you tell us about your themes?

Don - In the early days bands like Venom, Kreator influenced us. Later on we made songs and decided if it sounded like Chainsaw, haha, then it was a Chainsaw song, but that is what happens when you’re in a band for 25 years.

Aike - The songs are mostly about meat but also about necrophilia, traffic jams, bestiality, killing bugs. I just let my mind wander without restraint about some normal day to day stuff and it gets automatically drenched in some crazy sauce.

What can you tell us about your blood-soaked photos and live performances? Is it part of your aesthetic? And can you share with us any crazy anecdotes about shows you’ve played?

Don – Yes, but it just gradually happened. We didn’t use any blood in the beginning. Then 1 time at easter, we thought it was a good idea to slaugher an easter bunny. It was a stuffed toy with some blood inside, but it was fun. Then we expanded the idea to do the same, but to a stuffed pig toy during ‘The Butcher of Bagdad’. One of our fans, an ancient guy in a wheelchair told us afterwards that he really enjoyed that, but the pig was way too small. We decided that he was very right. Aike then created a bigger than life size pig and since that time when we play ‘The Butcher of Bagdad’, the pig comes out and gets slaughtered. It is a great bloody mess. When we first started doing it, people stepped back, but later on, people got real close and wanted to get splattered. If people are not already in a fantastic mood during our shows, they become ecstatic when the pig comes out.

Aike - We usually start the show with me rushing through the venue with a running chainsaw, so there was this time I decided to run out into the crowded street and chase some people shopping. Besides the chainsaw I also had this huge dagger strapped to my leg for later during the show were we drag a plastic wrapped body onstage, hoist it up on a pole and cut it open and blood and entrails come out. There was an elderly lady who came after me who called out to me: ‘excuse me mister, but you have dropped your knife.’ and returned it to me. haha that was awesome.

How would you respond to someone attending one of your shows that complained afterwards about getting blood on them?

Don - It hasn’t happened very often, but sometimes we do hear afterwards that some people ran out. One unfortunate girl started crying when some blood was spilled on her neat white blouse. I don’t think she was paying a lot of attention to us, even though she was close enough.

Aike - Some years ago when we opened for Goddess of desire, they prepared their fireworks for their show before the doors opened so they could start playing without delay when we would have finished our set. Only to discover that our blood had ruined most of it. However they remained calm any said: ‘well, we should have known better than to play after Chainsaw.’

How has the overall response been towards Chainsaw and how is your following in the Netherlands?

Don – Some people got quite fanatic and followed us around, we often saw a lot of familiar faces. Especially in Germany people got absolutely nuts. We’ve got a nice following in the Netherlands, but we haven’t had many gigs lately, so when we do perform again, we will have to wake them up with a bang.

What’s the current status of the members and what do you keep yourself busy with nowadays?

Don - We’re all still alive sort off. I mainly keep myself busy with another thrash band called PPTA.

Aike - I am active in several other bands, amongst them are a doom band: Swampcult that turns the short stories of H.P. Lovecraft into an audio experience, together with Don who does the guitar and bass, I play the drum and do the vocals. We’re working on the 3rd album now but we take our sweet time. And SPITZ vile doom rock where I play bass and vocals.

And our bass player Leon plays guitar in a death metal band Cacatory and also in PPTA

Are there any bands from recent years that you’ve taken a liking to, or are you mostly jamming old classics? What’s on your playlist lately?

Don - I have been listening to a lot of Shining and Gama Bomb lately. But also classics such as Darkthrone – A Blaze in the Northern Sky and random songs of Decapitated.

Aike - I usually play a few albums on over and over for months. at the moment that is ‘A baneful choir’ by Teitanblood and ‘Latexcult’ by Impaled Nazarene, Not a lot of thrash or speed as someone might expect from someone in a band like this.

What are some of your biggest pet peeves with people in the metal scene?

Don - I used to have A LOT of pet peeves, but I think I’m getting too old for that shit, haha.

Aike - Bands promoting themselves as female fronted. Nothing wrong with women in bands, but if you promote your band like that, especially when there is no clean singing, you basically say: ‘Hee, come look at the tits of our front woman!’ And another thing is bands that have names that do not fit the music. Take Annihilator for instance, brutal name, but they don’t sound like they are annihilating anything. very, very annoying.

You haven’t put out a new album since 2013. Will there be any new material in the future, and will you resurrect the chainsaw to slay the posers once more?

Don - Yes there will be! We basically have enough songs for another album and we will definitely resurrect the chainsaw when the time comes to release those upon an unsuspecting world.

Thanks a lot for your time!!! Long live the Chainsaw!!!

Don - Thanks for the interview!! Long live Death by Hammer!

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