Interview: Wrok

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

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

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

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

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

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

Album review: Sammath - Grebbeberg (2023)

Sammath - Grebbeberg

The Netherlands

Hammerheart Records

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

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

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

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

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

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

Album review: Infernal Execrator - Diabolatry (2023)

Infernal Execrator - Diabolatry 

Singapore

Pulverised Records

 

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

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

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

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

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

Interview: Vastum

Having been active for over 15 years now, San Francisco’s VASTUM have never failed to captivate audiences with their devastating brand of sonically-twisted Death Metal. Their latest opus “Inward to Gethsemane” was hands down one of the best albums of 2023 and has only further cemented the quality of their output. Unkle Superion (Singapore) and I worked together to prepare the following questions, which were answered by founding member Leila Abdul-Rauf (vocalist, guitarist, lyricist) who was more than happy to share her insights.
 
1. What has the band been up to since the release of your excellent album “Inward to Gethsemane”? In hindsight, are you happy with the end result?

L: We’ve been busy working on our other projects (Mortuous, Necrot, my solo project) both touring and working on mew releases. I’ve also been auditioning new guitarists for Vastum since Shelby left the band right after recording Inward to Gethsemane. Overall I’m happy with how the album came out but I would do some things differently if given the chance. The track sequence was a compromise for all of us and I think the album would have benefited from a different sequence as well as the inclusion and exclusion of different songs we had available. But it’s all something to learn from.
 
2. Which bands influenced the sound of Vastum and where do you draw inspiration from on a musical level?

L: Too many to list all of them, but Dan and Kyle were a big influence when we started Vastum and got me into the Finnish bands like Convulse, Slugathor, Rippikoulou as well as a lot of death doom like Anathema, Paradise Lost (but Candlemass will always by favorite doom band).  But  musically I always draw from a wide array of artists from many genres, artists like Diamanda Galas and Lori Bravo (especially lyrically), Igor Stravinsky, Death, Morbid Angel, Chris Barnes-era Cannibal Corpse for riffs.

 
3. Have you ever received ‘feedback' that your style of death metal (musically and aesthetically) is too artsy and literate for the actual old-school crowd?

L: Not really. Quite the opposite actually, at least musically speaking. But some people struggle with the lyrics. Seems musically we’re more criticized for keeping within our formula and that we’re not “forward thinking” enough which I kind of agree with and kind of don’t, especially since we want to take the band in a more innovative direction on the next album and this was hinted at with Inward. OveralI, I think we appeal to more of the traditional death metal crowd who just want to be pummelled by the music and not fuse their death metal with other genres.
 
4. What are the main non-musical sources or influences (visual art, literature, philosophy, etc.) that inform the songs and music of Vastum?

L: Religion (Christianity for Dan; I was raised Muslim), psychoanalysis, philosophy. Lyrically for this album Dan drew from philosophers like George Bataille and Lev Shestov, anti-theologian Thomas Altizer and bands like Dystopia. My lyrical inspiration mostly comes from personal experience, dreams, psychedelics and my own depraved imagination.

5. Can you tell us about the audience demographic at your shows, and if you know about the kind of people who buy your records? In Southeast Asia where I’m from (Singapore, specifically), a death or extreme metal show is still largely a male affair and they want their metal anthems to chant/growl along to.

L: It’s more diverse here for sure, but still overall male-dominant, mostly in the 25-40 age range, but that’s most metal bands I guess. More racially diverse in California where we live than other parts of the U.S. and Europe.
 
6. Obviously there’s more to death metal than just gore lyrics and blast beats, which seems to be a common misconception among some people – do you think death metal is also an ideal outlet to express deeper philosophies/spiritual thoughts? Do you consider yourself spiritual in any sense?

L: Absolutely. If you’re creative enough, you can express a full range of emotions in just about any genre, especially death metal. When people say they’re “spiritual” it’s usually spoken about in vague terms, but for me, spiritually is always something to reflect on, question, battle with, expand and redefine as necessary. That said, I do believe in the powers of magic and ritual.
 
7. Does Vastum have a ‘career path’ mapped out?  Do you work towards a bigger breakthrough or breakout record that would elavate the band to the ‘next level’ i.e. bigger venues and festivals?

L: We’ve been a band for almost 15 years with many member changes. Most of us are not young and are we’re not concerned with being the next big thing in metal. We’ve already played several bigger venues and many festivals. For me, it’s more important that we realize an authentic creative vision, to create something evocative and compelling. If that results in a bigger breakthrough for us, that’s great, but it’s never the driving force for me in doing a band.

 
8. Do you have a personal favourite Vastum record? (One that you personally enjoyed making the most or playing the songs live.)

L: I do love all of our albums in different ways. They’re all very different to me. We always play at least one or two songs from every record live. As far as which record was most enjoyable to make, our debut Carnal Law was a lot of fun to record because it all felt very fresh and unpredictable starting with a new project and not knowing how it would be received so there weren’t any expectations loaded on us. It’s also the album with my favorite artwork by Dan. I also enjoyed recording Hole Below and Orificial Purge; those albums almost seemed to write themselves.
 
9. Can you share with us any anecdotes of some crazy/surreal experiences you’ve had playing live shows or from touring?

L: Not too many of these to talk about. Dan has a reputation of being a very active front person and knows how to work up a crowd, so there is never a dull moment. Dan has injured himself in all sorts of ways stage diving when we play live. I know someone in the crowd broke their collar bone at a fest we played, which is unfortunate, but they seemed unfazed. Some woman took her top off before jumping on stage. I also lost my voice on a European tour and Dan had to cover my vocals for a show, which was strange.
 
10. What have you been listening to lately? Do you have any personal favourite albums from the last year or 2024 so far?

L: Cruciamentum’s Obsidian Refractions, Excarnated Entity’s Mass Grave Horizon; and more recently discovered but which came out a few years ago, Staurophagia’s The Longest Dark has been an engrossing late night listen.

 
11. Can you tell us a bit about some of your other bands and how they differ musically and thematically from Vastum?

L: The other members of Vastum have Acephalix, Necrot, Mortuous who are all different varieties of death metal. I can’t speak to their themes, but since Dan also sings and writes all of the lyrics for Acephalix, thematically I’d say it’s within a similar vein to Vastum but they’re musically different enough that the two bands have distinct identities. I think I’m the only in Vastum whose other projects are not metal. My solo work, although I’d say it’s metal-adjacent in some ways, has historically appealed more to dark ambient fans, experimentalists and goths, even though the music is quite composed and musical, with lots of vocals. Ionophore is another long-time project of mine, an electronic, darkwave trio with 4 full-length releases, its members spread across California, New York and London. My contributions to both my solo work and Ionophore are mostly vocal-, trumpet- and synth-based. These elements have also worked their way into the last three Vastum albums and probably will continue to be.
 
12. Finally, what’s next for yourself and Vastum? Infernal thanks for your time!

L: Thank you! Vastum’s new lineup will likely be ready to go live by the spring. While doing some guest spots on a couple of releases, I’m also working on my fifth solo album which will have a bigger, more active and rhythmic sound than my previous work. I’ve also been playing special fly-out solo shows, with more to come later in the year as well.

Interview: Misanthropy Apotheosis

Greek death dealers Misanthropy Apotheosis recently released their superb second album “Crush the Mask of Virtue” on Repulsive Echo and have received some recognition from the underground for their crushing sound. Check them out if you enjoy murderous, hellish death metal! I got in touch with their vocalist Kydoimos to talk about their musical influences, themes, and even dogs.

1. Hails! You released your second album "Crush the Mask of Virtue" last year - how has it been perceived so far and are you satisfied with the feedback?

Hails man and thanks for your interest in Misanthropy Apotheosis. "Crush the Mask of Virtue" is our second album and has been perceived really well so far. The feedback is great and I believe it shocked those who enjoyed "Black Death Euphoria".

2. Can you tell us what the name Misanthropy Apotheosis stands for and how the connotations match your world view?

The name "Misanthropy Apotheosis" has a double meaning. It shows the way we, as individuals, feel about humanity as a whole. We don't like people. We don't like the human nature as it is today. We despise everything humanity stands for. Human race is a scum race. On the other hand, the band's name shows the true nature of humans. Just look around you. War, hate, crime, hypocrisy, cruelty, deceit, exploitation... You name it.

3. Can you elaborate a bit on the title and themes behind your last album? What is the Mask of Virtue?

The new album is about genocide, systematic elimination of the human kind through nuclear warfare, our views on how to exterminate child molesters, revenge, Chinese execution methods such as "death by a thousand cuts", the way war changes someone into an animal with primal instincts, hypocrisy of the Church/those who have power in their hands, ancient Greek war demons etc. The Mask of Virtue is the mask of hypocrisy, the mask of virtue signalling...humanity itself.

4. I liked your rendition of Bolt Thrower's The IVth Crusade from your debut album "Black Death Euphoria". How much of an impact did they have on your sound and which other bands influenced you?

We really like Bolt Thrower. They have this unique atmosphere. They are heavy, brutal yet melodic in an epic way. Warmaster & IVth Crusade are personal favourites because they are so heavy and dark. Our rendition of The IVth Crusade war a humble tribute to them. As a band we are influenced by the old Death & Thrash Metal gods, you know, Slayer, Autopsy, Protector, Morbid Angel, Sodom, Mortician etc.

5. What are some notable differences between “Black Death Euphoria” and “Crush the Mask of Virtue”? Compared to the former, the latter seems to have a more vibrant production, including a neoclassical influence in the guitar solos.

I think "Black Death Euphoria" is more atmospheric, with a muddy production and more obscure lyrics. On the other hand, "Crush the Mask of Virtue" is way more hateful and brutal, faster and with an "in your face" live aesthetic with very unique guitar solos. We don't like to repeat ourselves. We like to catch the listener by surprise.

6. What makes Greek death metal so unique? Do you think it has something to do with your dialect or your environment? Do most bands there use the same recording studios?

It's the classic Greek sound I believe. The old Rotting Christ/Varathron sound. Most bands try to reproduce or even copy that sound. Especially the black metal bands. Well, we don't. Don't get me wrong, we totally respect those bands and that's why we don't try to copy them sound-wise. We need to do our own thing. We have more of an "Autopsy" way of thinking on that matter, I mean, back in the 90's when all the death metal bands were trying to play ultra-fast and have a polished production, Autopsy were doing their own unique thing and I respect them so much for that.

7. Can you tell us how you approach songwriting and if you consider yourselves perfectionists in any way?

I can't say much on that matter. We write music/lyrics only when we have something to say. Nothing is premeditated. We don't have that "let's be darker or faster or more brutal on this one" mindset. We are the Devils in our personal hell, so when our inner devil commands...then we know it's time. And yes, we are perfectionists. We always find something we think we could do differently hahah.

8. Has your country's historical significance influenced you or shaped your identity in any way? What do you think about Greek mythology?

Yes, of course. Greek history and mythology is full of life lessons. We are very proud of our heritage and history. It's in the blood, you know.

9. What kind of movies, art and books are you into? Any recommendations?

Old horror movies, especially Italian and Spanish, from the 60's, 70's, 80's. We also love horror literature. I recommend "Exquisite Corpse" by Poppy Z. Brite or "The Eyes" by Jesus Ignacio Aldapuerta. Not for everyone.

10. What do you think about the current situation in Europe, with the ongoing war? Do people sometimes take what they have for granted?

People always take what they have for granted. Good times create arrogant and weak men, you know? On the matter of the ongoing war in Europe I'll just say this: as an old Greek politician once said "if Balkans are the power keg of Europe, then Europe is the power keg of the whole world"

11. Mandatory question: what are 10 albums you can’t live without?

That's a really tough one, man... Slayer: First 4 albums, Mortician: Hacked up for BBQ, Autopsy: Acts of the unspeakable, Morbid Angel: Altars of madness, Suffocation: Effigy of the forgotten, Archgoat: The light devouring darkness, Iron Maiden: Live after death.

12. I know you are a big dog person. What is it about dogs that makes you so fond of them? Should people who mistreat animals be killed?

Yeah, I am a dog trainer. I really love and respect dogs so much. Once you understand them, you see just how amazing creatures they are. They are extremely smart, loving, loyal, and protective and they ask nothing in return. I own a German shepherd. Best breed ever!!! Extremely clever and loyal. And brutally strong yet well mannered. Won't hesitate to put his life in danger for those he loves. Why the hell someone would harm an animal for no reason? I mean, If I ever catch someone mistreat an animal...he better get used living in a wheelchair.

13. What’s next for Misanthropy Apotheosis? Thanks for your time!

Our label, Repulsive Echo, is planning to re-release our debut album "Black Death Euphoria". Also, we are working on a new EP with five new songs. Stay alert and thank you for this unique interview!

Album review: Blood Serpent - Bestial Extermination (2023)

Blood Serpent - Bestial Extermination

Vietnam

House of Ygra

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

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

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

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

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

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

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

EP review: Lux Sine Lumine - Lux Sine Lumine II (2024)

Lux Sine Lumine - Lux Sine Lumine II

UK

The Centipede Abyss

 

As someone who mostly listens to extreme metal, I have to admit that it can be quite refreshing to hear something a little different from what I usually listen to, like Lux Sine Lumine.

 
Admittedly, I’m a bit uncertain how to accurately describe the music on this release, but I will try my best. Basically, it's a kind of harrowing ambient music with lots of psychedelic and doom elements. The tracks are lengthy and spacey, sounding like an acid trip into the realms of some otherworldly dimension. The music is quite expansive, eerie and nightmarish, but also very immersive.

Lux Sine Lumine sounds like the artistic expression of a warped mind and like psychedelics had been involved in the creation of this work; ritualistic soundscapes shrouded in darkness, like rays of alien radiation pervading the mind, leaving you vulnerable and dazed.

The experimental nature of the music shows as Lux Sine Lumine incorporates an array of sounds and textures ranging from low distorted bass to piano segments to create a soundtrack of absolute darkness and dread. The piano is particularly useful in that regard, as it really accentuates the overall mood of negativity. Those with suicidal thoughts should stay away from this, as the music will make you want to impale yourself.

It may not be all that metallic, but fans of bands like Gnaw Their Tongues, Abrubtum and Khanate will find plenty to appreciate with this release. This release totally fucked me up and I love it.
 

Interview: Trenchant

 

Trenchant hail from Texas and play blasphemous blackened death that bows to none and embodies the eternal spirit of extreme metal. Their "Commandoccult" album from 2022 was a masterpiece and characterized by its soul-crushing melodies, dark atmosphere and no-hold-barred savagery. I got in touch with bassist TND (Averse Sefira, Birth A.D., Imprecation) to get some insight into the dark psyche of Trenchant and what makes them tick.

1. Hails! Can you tell us about the recording process of “Commandoccult” and what kind of formula you were going for?

TND: The process was actually arduous as it was in the thick of the pre-vaccine pandemic, and a lot of the mixing and editing had to be done over the phone and by email. I had a very fixed idea of a sound that was lean and muscular, one that would properly capture the martial tone of our themes, and I think we managed to achieve it after a lot of pulling and pounding.

2. Which bands influenced the sound of Trenchant and how would you describe your style?

TND: The genesis of Trenchant was the shared admiration for the band Molested, which remains a critical touchstone. We also claim influences from Angelcorpse, Immortal, and Immolation. As for a description, Trenchant is World War Metal, or blackened death metal if that's not specific enough for you.

3. Could you elaborate a bit on the artwork and theme pertaining to “Commandoccult”?

TND: The art was a pre-existing piece by the talented Vladimir Chebakov, but we thought it captured the otherworldly nature of our content. It captures battle, death, and a vision of the other side in one ideal presentation, so it was the perfect choice.  We don't write about war or conflict in a literal way, everything is figurative, metaphysical, and tied to occult workings, hence the reference in the title.

4. Can you give us some background on how the band was conceived, including some info about your other/past bands?

TND: NRS and I had been friends for years, and his primary band was Morgengrau at the time. As that was winding down, he came to me with some demo material he had created on his own, already dubbed Trenchant. It started out a Molested worship, and right away I told him I wanted in. We started writing in earnest and building out the concept, and off we went. It was funny, because we decided right away that GRA was the only drummer for the job. He has been in a myriad of bands, including Sacrocurse, Morbosidad, Mortuary, and Abyss of Perdition, and he has a really specific style that we knew would fit our sound perfectly. We created all our drum patterns based on his sound, and then hoped like hell he would agree to join when we showed him the material. Fortunately, he agreed, and the core of the band was complete.

My main band from 1995 to 2010 was Averse Sefira, then I also had Birth AD for about a decade, and I also joined Imprecation in 2016. NRS is also a permanent member of Imprecation now, so we are making the most of our collaborations.

5. Do you pay attention to criticism relating to your music?

TND: I used to, but it has been a very long time since I cared. I'm on year 35 of being a metal musician, and you are right, the social sphere is clogged with endless uninformed opinions from people who may not be here a year from now. I know who I am and what I'm doing, and I'm pretty unshakable in that regard. I'm always glad to receive feedback or insight from a peer whose opinion I respect, however. This release has made it easy, because for the most part everyone has had a lot of positive things to say.

6. I think some of the more well-known labels are sometimes too eager to sign a band, which as a result spawns a plethora of mediocre releases. Your thoughts?
 
TND: Is that really the case? My impression is that well-known labels make no effort to take on an unknown band and develop them. They sit back and let the small labels do the work, then snap up whatever seems to be catching on. Usually, these are the bands that happen to be mediocre enough to have wider appeal, which is why we end up with all those bland releases. I suppose it doesn't help that a lot of the smaller labels tend to be less discerning with the bands they sign, along with the fact that there is now an endless supply of bands, most of which are middling at best.

7. What’s your opinion on the current state of metal from the US? Has it been a good year for metal in your opinion?
 
TND: Hipsters found their way into the US underground in a big way over the last decade, and we are seeing the damaging results. “OSDM” is now its own cottage industry full of sound-alike style hoax bands that the kids are eating up with a spoon. With a few exceptions, the bands are musically generic and have no themes, concepts, or presentation that isn't a complete lift from a superior band of yore. The whole situation is very much for the funderground, where you can enjoy death metal ironically in your “battle vest” and pink trucker hat while batting around beach balls at the show.

The silver lining is that elder statesmen like Immolation and Incantation are getting the attention they deserve right now, though the fact that so many newcomers hold 5-year old bands in equivalency with them is insulting and absurd.

In general, I'd say it has been a good year for metal, in that there are at least a dozen releases I've heard that are worthy. Back in the 90s, a dozen releases worth hearing was a big deal, so not much has changed aside from the level of background noise when seeking them out.
 
8. Will you be playing any shows in the near future or go on tour? Hypothetically-speaking, if some mainstream band invited you to tour with them, would you do it?
 
TND: Our first show back since 2020 will be at Mass Destruction Festival in Atlanta this November. That promises to be a good one, as the lineup is stacked. We won't ever really tour, at most I can see us playing a few dates in a region, but we'll mostly stick to special appearances. As for your second question, how would you define “mainstream”? Like King Diamond mainstream? Ozzy mainstream? Iron Maiden mainstream? I'd be up for it, because I really do enjoy touring, and if were actually getting paid to do it that would be win/win. There are bands that I detest that I'd never be caught dead with on a bill, so that would be the deciding factor.

9. 10 Albums you can’t live without.

Deicide S/T
Deicide - Legion
Morbid Angel – Altars of Madness
Slayer – South of Heaven
Pestilence – Consvming Impvlse
SOD – Speak English or Die
Immolation – Dawn of Possession
Immortal – Pure Holocaust
Voivod – Killing Technology
Cromags – The Age of Quarrel
 
10. Something I find funny is how some veterans aren’t into metal anymore, despite having played on classic albums, yet are still in metal bands. Do you find that somewhat contradictory, or is it more a matter of not really knowing how to play other forms of music?
 
TND: I think it is very much a product of having your passion become your job. I don't usually see musicians who don't make a living on their band start to lose touch with it. Nothing kills passion like money. Like I don't believe Mille from Kreator has wanted to do it since about 1995, for example. But there he is, still cranking them out in a cheerless fashion, because Kreator is a brand that sells and pays his rent. It's not really contradictory as much as it is insincere. I can think of a lot of veterans who remain very connected to metal, and I am proud to be counted among them. Sure, not everyone is listening to every new band that pops up, but the excitement about the music itself and the old classics remains, and that's more than enough.
 
11. Your thoughts on the following:

*Gatekeeping – Anyone who refers to maintaining standards as “gatekeeping” is exactly the kind of person who needs to be kept the fuck out. The fundamental problem is that music can be art and a product at the same time, and most people identify it as the latter. Thus, they don't see any importance in maintaining the art form, because “it's just music, bro”. Let's look at it this way – in painting, we have known styles and techniques that are widely accepted and agreed upon. There is realism, abstract, surrealism, and so on. One does not get to be counted as the other, any more than cubism is allowed to be pointillism. No curator or art museum would ever agree to that, nor would the fine art community in general. Why should music, particularly a specialized and well-established genre like metal, be any different? No, we did not establish death metal with My Little Pony shirts in mind. We did not create this movement for professional victims and social engineers. Metal was created out of a desire to get AWAY from the status quo, not reinforce it! If you want in, be prepared to truly embrace the underground and all of its violence, ugliness, and antisocial facets. You don't have to love it all, but you do have to accept it. And if you try to change it, expect resistance and abuse.
 
*Six Feet Under – And here's the other side of the gatekeeping coin with a legacy band that should be pruned posthaste. This band must make some kind of money, because there's no way they'd be tolerated by a label if they didn't. I think they are kept afloat by a core audience of absolute cretins with drug problems worse than Chris Barnes'. Way to corner that market, dude. You'll never run out of idiots to give you a buck! The one good thing about Six Feet Under is that it is a handy barometer. Their fans are easy to dismiss and ignore.
 
*Hedonism – I'm not an excessive person myself. I've never smoked or done drugs, and I drink very rarely, usually at the behest of others. I think we all need to cut loose and indulge (or even go overboard) now and again, but hedonism as a way of life gets disgusting pretty quickly, and I generally don't abide people who define themselves that way.
 
*Authoritarianism – As an overarching standard I think it's a bad model, though it's coming to a nation near you, get ready. Look at the policing of thought and language in the West. The hilarious part is this is the agenda of leftists, but they fail to appreciate that this was one of the first steps in establishing the Third Reich. Oh, but that would never happen under their watch because they're the “good guys”, right?
 
*Dissection – a notable band that squandered their true potential and met an unfortunate end.
 
12. Lastly, what does the future hold for Trenchant? And what would happen if the false ever entered your domain?
 
TND: We are starting to write material for our second album, so look forward to that in a year or two. Other than that, we plan to make more select live appearances in 2023. The false rarely enter our domain, but when they do, they are sent packing and then scream from the hilltops that I am a gatekeeping asshole and a terrible person. The joke's on them, because nobody cares!