Album review: Exhumation - Eleventh Formulae (2020)

Exhumation - Eleventh Formulae

Indonesia

Pulverised Records

Upon first hearing this monster of an album, I am met with a wondrously ominous harsh noise intro that transitions into very old-school vein dissonant death metal. “Eleventh Formulae” is the band’s third full length and 5^th release overall. Formed in 2008, Indonesia’s Exhumation have their sound locked in. This full-length has a lot going on, from pummeling blast sections, galloping segments and old-school death thrash worship. There is even some old-school black metal sprinkled into the mix which is almost always a recipe for making extreme music sound 100 times better.

The sound of “Eleventh Formulae” as a whole if I could sum it up in two words would be primitive and chaotic. The production is absolutely perfect for the style. Not too raw, but not too over produced. That perfect middle ground where I can hear all the instruments fine, but it maintains a lo-fi bestial atmosphere.

The three “Formulae” tracks that are present mid album and at the end add to the band’s disgusting and vile atmosphere as well as creating a dynamic full album listening experience. Definitely some thought was put into this album to keep things captivating, which can be a difficult task when writing black or death metal full-length albums. The vocals have dynamic in them going from full harsh vocals to an almost ritualistic shouting sort of vocals.

Clocking in at a minute shy of 40 minutes, there is not a single mediocre track on Exhumation’s latest offering. The chaotic, frantic style of lead playing with divebombs almost shows influence from the first three Morbid Angel records. This is a death metal full-length that in my opinion verges on being black/ death and death/thrash at the same time. The final “Formulae” track comes in, surprising me after 2 minutes of dark ambient to mid-paced instrumental riffing, almost sounding similar to Sweden’s Craft or Carpathian Forest, ending the album on a strong note.

This is very refreshing death metal to listen to and the only complaint I have is not hearing it sooner, noting that it was released back in February of 2020. Though every track is consistent, the strongest songs here would be “Inferno Dwellers”, “Arcane Dance”, and “Blood Trails”. For fans of Necrovore, “Morbid Visions” era Sepultura, Sarcofago, Morbid Angel and Venenum. (AR)

EP review: Laracna - Nec Spe Nec Metu (2021)

 

Laracna - Nec Spe Nec Metu (2021)

Brazil

Independent 

Laracna are a one-person black metal project from Cascavel, Brazil, unleashing their first release in nearly a decade. Formed in 2009, and having released their last demo in 2012, “Nec Spe Nec Metu” is the project’s third release, and definitely a monster of an EP.

The first thing I’d like to note here that the drums are programmed on this album, they're somewhat noticeable, but sound decent enough for the genre. Production is clear, without taking away from the necessary genre-defining atmosphere that must be present in black metal. The lower ranged black metal vocals most definitely remind me of Deathspell Omega or Behexen. I definitely cannot say the same for the riffing and over all sound writing. “Nec Spe Nec Metu” clocking in at around 16 minutes, definitely has a unique and ever changing sound throughout. The writer here appears to have a diverse set of musical influences in which they have blended together to create this disgustingly unique release. You will find riffs that reminice of early Craft, Burzum and even doomy segments like the beginning of “Deo Tacita”, which almost sound like early Katatonia. There is even a riff around 30 seconds into “Guillotine” that reminds me of Bathory’s “Return” album.

Overall, Nec Spe Nec Metu shows that Laracna have a lot of promise as a musical project. A lot in terms of songwriting and diveristy of song writing is brought to the table. The guitar tone is nice and bright, and compliments the dissonance of the riffs. An EP absolutely worth checking out. (AR)

Interview: Goathammer (2016)

 

Lengthy interview with Canada's Goathammer conjured back in 2016. A band worth checking out if you're into bands like Black Witchery, Katharsis, and Blasphemy.

Hails Cryptfucking Demonizers! To begin this interview, can you please give us an introduction of the band, including details about the line-up & what you've released so far?

Sadowulf: Well, we are Goathammer. A black metal band that was formed in 2011 by myself and Daemonomancer. We don't refer to our style as anything other than "black metal", although we find inspiration in certain death metal, punk and thrash. We don't agree with the term "war metal" being applied to us. We write music that reflects us and our outlook on existence. We are inspired/influenced by topics such as Satanism, various occult books/philosophies, darkness, war, drugs, death and hatred among other things. We seek to invoke nothing but negativity and inspire evil, hatred and violence in the beings that listen to our music.

We have recorded so far a split with Druidus entitled "Cryptfucking Demonizers of Holocaustic Wrath" and a demo entitled "XIX Pentacles, XCII Legions" both self released on cassette in 2014. Our most recent release was simply entitled "Goathammer" and was released in March of 2016 through Behold Barbarity, also only on cassette format for now.

All releases thus far have been recorded with the following lineup:

Sadowulf: Vocals, guitars, bass

Daemonomancer: Drums

Depravore: Guitars and backing vocals

We have also recruited a bass player recently. Rasca Cara of the Alberta horde Noxius Nex. He has played 1 live assault with us so far and will probably end up contributing bass to the upcoming full length album.

At what age did you start listening to metal? What are your main influences?

Sadowulf: I was more interested in punk when I was younger. Discharge, Black Flag, Void and of course the usual stuff like early Metallica, Slayer. I would say I got into more extreme stuff like Bathory, Morbid Angel, Mayhem, Terrorizer, Blasphemy, Sarcofago, Amebix etc at about age 16. Then, I gradually fell into the abyss of extreme underground music and never looked back.

In regards to bands that directly influence our sound... That's kind of tough because I don't think we are directly trying to sound like a particular band or era. We aren't a "worship" band at all.... We use different atmospheres from a range of stylistically different bands and attempt to make it cohesive. Bands with atmosphere/attitude/aesthetics that have influenced our band would be all the previously mentioned bands. Beherit, Blasphemy, early Mayhem, Tol Cormpt Norz Norz Norz, Slaughter, Black Witchery, early Darkthrone, Bestial Warlust, VON, Absu, Archgoat, Razor etc... Essentially anything that invokes the feeling of morbid desecration.

Depravore: I was around the same age as Sadowulf when the plague that is 'extreme music' entered my life. Before that, Black Sabbath was all that mattered.

Daemonomancer: My journey into the abyss began at age 13/14. I remember finding an old zine and seeing all the pictures of these fuckin' morbid looking characters and was instantly enthralled to find out more. I soon after came across acts like Slayer, Slaughter, Razor, Voor, and Bathory - all of which led to a massive addiction and hunt to find more evil fucking metal!

You are from Saskatoon, the largest city in Saskatchewan - correct? What can you tell us about the scene there? Any bands from there you can recommend to our readers?

Sadowulf: None of us are actually from Saskatoon originally. Myself and Depravore are from a town north of Saskatoon called Prince Albert. Population of about 35,000... Extremely infested with total junkies, quite a bleak little town.. Subhuman scum everywhere... Growing up in a shit hole like that probably influenced Depravore and I to be quite hateful and misanthropic.

Saskatoon is indeed the largest city in the province of Saskatchewan. Population of roughly 250,000 people I believe. Our rehearsal space/ritual chamber is located nearly an hour outside of the city on my acreage though... Feels like the middle of nowhere. Think of the original Texas Chainsaw Massacre movie. Away from the city and its disgusting humans! This is where we ingest copious amounts of alcohol and other illicit substances and work on all Goathammer material.

We don't really associate with the "scene" here these days. None of us really go to local shows or have much knowledge of what is going on within the Saskatoon music scene. So we really wouldn't be the right people to speak about it. We only really keep up with one or two local bands. For fans of true doom metal (stuff like Cathedral, Candlemass etc) I could recommend Lavagoat but that's about it.

Depravore: The term 'scene' in this regard is laughable. There's a reason we flew out to Toronto to play with quality black/death metal bands, or have to travel at least 5+ hours for a gig.

Daemonomancer: As for myself I grew up about 3 hours east of Saskatoon in a town called Preeceville - a small town of about 2,000 or so people. I lived and grew up on a farm about 11 kilometers out of town. I quite enjoyed the isolation and freedom. In hindsight - I fucking hate the city and since moving to Saskatomb I have been more than inspired to channel levels of insurmountable hate into the incantations of Goathammer. As for my opinions of any "scene", maniacs are few and far between - as in if there are other ones in this province, we have yet to meet them. Lavagoat, as Tony mentioned have their shit dialed in and have been around for a long time. Everything else is pretty fresh. There used to be a heinous grind "scene" back in the day in which played host to some vicious and violent displays. But those days have long since passed.

There seems to be another Goathammer from Finland that is now defunct. Have you ever listened to them? How would you feel if they decided to reunite (as this seems to be a growing trend in metal nowadays) and you had to share a name with them?

Sadowulf: I think I have listened to them but honestly, I don't remember their sound at this point... I wouldn't feel anything if they decided to reunite since I don't know anything about them.

Depravore: I haven't listened, and probably won't. A reunion on their part would be inconsequential to us.

What are your thoughts on censorship and politically correct ideals in metal, especially with the internet nowadays?

Sadowulf: Censorship and politically correct ideals have nothing to do with the spirit of extreme metal. People that seek out the most extreme music on Earth only to take issue with certain elements being TOO extreme or TOO offensive need to be lined up and shot for their stupidity.

Depravore: P.C. ideals and the scum that spew such nonsense have no place in extreme metal. They will fall on their own sword soon enough.

Daemonomancer: FUCK POLITICAL CORRECTNESS!! ESPECIALLY IN EXTREME FUCKING MUSIC!! I'll NEVER understand anyone who doesn't seek to strengthen their self and mind. Develop a fucking backbone and stand your ground!

What can you tell us about Druidus, which seemed to feature half of Goathammer’s line-up? The material on the demo and split with Goathammer is absolutely murderous. Why was the project buried?

Sadowulf: Depravore and I started Druidus when we were still in high school. We just wanted to create vicious and evil metal like the stuff we were listening to. We met our drummer and immediately began "rehearsing". It was a real mess of influences/sounds. By the time we had found our sound, we recorded our demo, the split with Goathammer and then inspiration ceased to continue... It became tiresome to write songs for both Druidus and Goathammer and I ended up having a difficult time differentiating between what riffs should be used for Druidus or Goathammer.

We all agreed that we did not want to take part in multiple bands that sound similar to our ears. So we laid the band to rest. 3 of us from Druidus have formed a new band in the past year though. Extremely bleak and cold black metal under the name Hexensabbat. Influences being Vlad Tepes, early Ulver, Arckanum, Mutiilation etc.

Depravore: Druidus was, at the time, a way to express our misplaced hatred for everything in the only way we knew how; Sadowulf and I had been riffing and jamming for years at this point. As Sadowulf said, lack of inspiration and a dedicated path were the poisons of Druidus' existence.

Hexensabbat will release a cassette tape of five bleak tracks at the end of October 2016.

Can you tell us something about the overall experience regarding the Druidus/Goathammer tour which took place throughout Western Canada? Was this your first tour?

Sadowulf: The Goathammer/Druidus tour was total fucking mayhem! Extreme drinking every night. A lot of hiking through the wilderness in British Columbia... The first show of that tour was in Edmonton, AB, and it was actually the very first live performance from Goathammer so it was indeed the first tour for us. Druidus had toured before but we didn't even have our demo recorded at the time. It was kind of pointless.

Depravore: The 'Infernal Proclamators of Western Filth' tour was my first musical endeavor abroad, as I was in Greece when Druidus first toured out west. It was filthy, to say the least. We shared the stage with some decent bands, and drank ourselves FUCKING stupid. It was a savage time, with savage people.

Back to Goathammer. I understand your drummer (Dæmonomancer) played on Necromantic Worship's second demo, "The Calling..." How did the collaboration come about?

Sadowulf: I heard a track from the "Spirit of the Entrance Unto Death" tape on bandcamp and immediately loved their sound, but I was really broke and couldn't afford to order tapes from the good ol' U.S. of A. So I decided to send them a message. Ghûllzaraën got back to me and enjoyed the Goathammer "XIX Pentacles..." tape and we agreed to trade a few copies. I remember him being impressed by the drumming so I told him to contact Daemonomancer to discuss music etc. Next thing I know, he is playing drums for the newest Necromantic Worship material.

Daemonomancer: As Sadowulf stated, so it came to fruition after Ghûllzaraën contacted me and he began talking about his interest in me working with him on a project. Before it was to be that I would be working under the spell of Necromantic Worship, Ghûllzaraën first had another unreleased project in which he had asked me to record drums for. Not long after me displaying my interest in Necromantic Worship, he rather decided to put the intial project offer on the backburner and asked if I would contribute to the newest material for Necromantic Worship. After rehearsing the tracks, and taking them to a local studio to record drums over top, the tracks were then sent to Ghûllzaraën and of that arose "The Calling".

What can you tell us about your most recent work released by Behold Barbarity? The compositions seem lengthier compared to previous recordings - was this intentional or a natural progression?

Sadowulf: I believe that our most recent work, the self-titled cassette on Behold Barbarity is easily our most violent and occult release so far. A lot of work went into it.

The longer songs were definitely a natural progression. I've always enjoyed writing/playing long songs. It makes it easier to express a wide range of images and thoughts. We would never compose long songs/albums just for the sake of it. There is always a method to our madness.

What have you been listening to lately? Any new and upcoming bands that might have caught your attention? What about literature and movies, much of a fan?

Sadowulf: Lately I've been listening to Black Feast "Larenuf Jubileum", Root "Zjeveni", Necromantia "Crossing the Fiery Path", Disorder "Mental Disorder", Xibalba "Ah Dzam Poop Ek", Katharsis "Fourth Reich" and "666", the list goes on... As for "new" bands I've been enjoying the Occult Burial album "Hideous Obscure", Ithaqua, Hexenslaught and Crurifragium.

Depravore: I've had Motorhead's Bomber album on repeat for the past two months, I've literally listened to MAYBE three other albums all the way through (Iron Fist and Bathory's Blood Fire Death being two out of the three). The CD I bought has a bunch of extra live tracks so it's fucking KILLER. There isn't much for new music lately that has caught my ear; I'm usually listening to what ever Sadowulf or Daemonomancer are spinning.

Daemonomancer: I am always all over the place when it comes to music. I have an endless hunger to seek out more of what I enjoy. Being that my personal list could grow longer than this interview so far, I would like to suggest our sibling demonic horde and their projects which continue to devastate! I highly recommend Wrath Bestial, Sorguinazia, Brulvahnatu, Noxius Nex, and Tsalal.

If any maniacs out there have an interest in reaching you, how should they achieve this? Also, can you give us an update regarding any future plans or new material in the works?

Sadowulf: We can be contacted at the following email: goathammersk@gmail.com

And in regards to future plans we will be releasing our 2016 self-titled demo on vinyl in 2017 and we have nearly completed writing our upcoming debut full length. It will be in LP and CD format and will be made available through a certain metal label from the U.S. that we have a great deal of respect for. Unfortunately that's about all I can unveil as far as that goes. There will likely be a few live rituals when it is released.

Thanks for your time! I wish each and everyone of you all the best regarding your future activities, and I'm looking forward to buying the new album when its out. Hails!

Sadowulf: Bestial hails from SK, Canada!! Mutilate the god of cowards with the cursed blade of Sathanas!

Album review: Glorification - Against All Adversity - A Hymn of Demonic Victory (2017)

 

Glorification - Against All Adversity - A Hymn of Demonic Victory

Asunción / Paraguay

Deathrash Armageddon

2012 was the year that gave birth to a band that will never be forgotten (At least on this side of the hemisphere.) Glorification from Paraguay began its fight against Christianity in that year and up until now have done nothing but release high calibre, blasphemous black/death metal! Squashing our eardrums with heavy artillery! Spitting its truths against all fronts!

As soon as the album begins, one might think that the band is about to use a clip from some ‘80s movie, but in reality, it is a mind-boggling composition that kicks off the impure ceremony.

Sharpen your ritual daggers because it's time to summon the Glorification beast...

Melody is incinerated by the atrocious shock of fury that bears the title, "Poder ancestral descendiente de los abismos" (In English: Ancestral power descended from the abyss). A short but forceful assault (with a more than fitting name) gives rise to the beast himself! The following song "Spreading the Vomit of Misery and Scorn" features keyboards that will give you goosebumps. It is an indescribable feeling. While this particular style doesn't quite resemble it, it reminds me a bit of how the keyboards are used on Entombed's Left Hand Path. Maybe because of the type of sound used, I don't know. I will say this though, you will not get tired of listening to this album. As is common in this type of extreme music, the atmosphere is uncompromising – like a great avalanche! The third song is a bit more black than death, and the truth is that I’m amazed at the talent these guys display at crafting sick riffs. They are not only witty and catchy, but also sharp and direct to the jugular. They also manage to incorporate some keyboard parts, with harmonies that remind me of Immortal. The singer is a true beast that switch from growls to deafening screams. We must also recognize the amazing drum performance. I was fascinated by the overall sound, especially the cymbals, which sounds like swords clashing. This is true black/death dedicated to the war against Christianity and the cause they stand for! (Catacombs Walker)

EP review: Ordo Caper - Haspu (2012)

 

Ordo Caper – Haspu

Costa Rica

Nyarlathotep Records / Nightfall Distro / Hell Productions / Viceral Vomit Records

Initially, I wrote a review for this EP some years ago, but somehow the 'zine I submitted the review to never got published. Well, better later than never as they say, so here I am about to write some words about Ordo Caper’s 2012 release, entitled “Haspu.”

Speaking of the band, Ordo Caper is an outfit hailing from Costa Rica (Central America) playing a style of blasphemous black/death that is totally obscure and underground. The 7 tracks that comprise this release run at a total of 35 minutes, which is quite lengthy for an “EP.” The band’s sound evokes the filthy spirit of bands such as Blasphemy, Goatpenis, and Sadistik Exekution. It’s not outright fast all the time, and I think that’s what sets them apart from most war metal acts. There’s a lot of mid-pace and slower parts in their sound, and somehow it still retains a thoroughly chaotic element structurally due to heavy dissonance of the guitars. The songs exude a profoundly dense and nightmarish atmosphere so thick, you can feel the evil hanging in the air. Profane and otherworldly vocals are spewed all over the mic, which really contribute to the sinister ambience and chaotic sound overall. The production has a natural essence to it, which makes the music all the more authentic. There's even a killer cover of Goatpenis' "Eht Tsrow Sdrow" (RIP Sabboath). 

All in all, “Haspu” is an absolutely crude and vile release from beginning to end, and will open the portals to hell once you play it. (HT)

Demo review: Asgard - Pagan Sacrifice (2021)

Asgard – Pagan Sacrifice

Peru

Unholy War Productions

Asgard is a one-man band from Peru, and the release in question, “Pagan Sacrifice,” is the band’s third demo, featuring 5 songs of raw pagan/black metal with a rusty production fitting for a demo limited to 150 copies. The individual behind this project is also a former member of bands such as Lord Sanguinary, Nahual, and Penetrator Hammer.

The song structures are similar to punk in the sense that the music is quite straight-forward and simplistic, although the overall metallic elements prevail. Stylistically, their sound gives nods to bands such as Absurd and Burzum. The music is definitely very riff-laden, and songs like “Hall Of The Fallen (Valhalla)” perfectly exemplify this. There’s even clean vocals, which are quite dominant in the mix, backed by more aggressive vocals and some lower grunts. There’s some pretty cool riffs interspersed throughout, which are infused with folk melodies. It’s quite interesting to hear a band like this coming from Peru, especially considering the band’s lyrical themes, which deals with nationalism, paganism, etc. It’s a style of black metal I can enjoy and appreciate if I’m in the mood for something riffy and primitive; however, the themes might not be for everyone. 

If you like poorly produced and sloppily played black metal with punk tendencies, then you will enjoy this, particularly fans of the aforementioned acts. (HT)

Album review: Othuyeg – The Doom Walker (2020)

Othuyeg – The Doom Walker

Argentina

Despreciable Realidad Fanzine

Othuyeg from Argentina have been composing material since 2017, and have recently released their debut album independently, and on CD/cassette format through Despreciable Realidad Fanzine (the same label that brought us quality releases from the scenes in Argentina and Chile [among others] for which we still appreciate physical formats such as magazines, tapes and CDs.)

The invocation of The Doom Walker begins...

The band boasts a great sound and exhibit a knack for excellent songwriting, regurgitating their frenzied death metal that is not only aggressive, but also lament and decayed! The band is not afraid to include moments of true agonizing calmness where they destroy our brains with complex and well-arranged structures aiming at a death/doom sound in the best style of Incantation. The drums are dense and seem to sound like drums of war, accompanied by an excellent bass sound that is present to enhance the evil aura that emerges, in addition to the great work of the voice. You can really perceive the desire and conviction to express an art completely committed to Lovecraft's literature and the riffs speak for themselves. (The theme "Atramentum" is a perfect example of this.) It’s a devastating explosion of dark energy. Songs like "Night Gaunts" remind me a lot of Bolt Thrower with their brutal way of composing.

The whole album is a journey through the darkest tunnels and passageways of the writer's mind, with a strong presence of meandering guitars that makes one go into a trance like only ancient death metal and its melodies can achieve. There's 12 songs that are just over 40 minutes long, without respite or rest!

Recommended for lovers of sound deformities that invaded the world in the past with their characteristic style of emanating death. (Catacombs Walker)

line-up: 

Leonardoom / Vocals
John Long / Guitar
Syd XöXö / Guitar
Facha / Bass
George Corpsefucker / Drums

Album review: Hexorcist - Evil Reaping Death (2021)

Hexorcist - Evil Reaping Death

Florida / USA

Memento Mori

“Evil Reaping Death,” the debut album by Hexorcist, features 10 tracks of unholy death metal madness, boasting a sound that is both fresh and redolent of the ‘80s. The opus will be released through Memento Mori on July, 26th.

This whole album is permeated with a sulphurous aura of doom, and a sound rooted in occult black/death/thrash. Trace elements can be heard from bands such as Slayer, Morbid Angel, and Possessed, but also some similarities can be drawn with more contemporary acts like Necros Christos and Ares Kingdom. It’s a pretty hard-hitting affair of stomping death metal with strong thrashing tendencies. A blackened atmosphere pervade this record, as each song is filled to the brim with sharp, caustic riffs, and a stripped down brutality that goes hand in hand with the production, which is clear and powerful without losing any of that raw edge that gives the music its charm. Throw in some savage, evil vocals, along with a plethora of filthy riffs, bone-cracking bass, and well-executed drums, and we have a classic in the making. Every second of this album is geared towards the glorification of hell and darkness. The eerie glare subdues you once you put this on.

All in all, “Evil Reaping Death” is a decidedly excellent burst of well-composed, sepulchral death metal with a penchant for atmosphere and thrashing violence. I believe with this release, the band will surely establish themselves as a household name in the underground and a force to be reckoned with. Do not miss it! (HT)

Interview: Embrace of Thorns (2021)

The following interview was conjured with Archfiend Devilpig of Hellenic Black/Death squadron, EMBRACE OF THORNS.

Hails Archfiend! What drives the passion to create such uncompromising black/death art? Has the band's ethos changed much (if at all) over the years?

Hails James Hexetomb. Thanks for having us! Black/death metal and honestly all forms of metallic and old-school rock music has been a lifestyle for us, for more than 20 years as of 2021. I myself have been a fan of extreme music since 92-93 and I could never imagine a life without it. So, it's safe to say that it's been a lifestyle for us without any possibility of ever morphing into something else. The band and the scene has been my family for decades and I/we are now in a position where we just do it for the thrill and the benefit of writing/performing/releasing killer music and getting to play with/for like-minded people. Adoration for the dark, self-expression, self-release, self-betterment have also been crucial in carrying on with the band.

I still think our ethos is the same as it was 20 years ago, so are the things we value for important in both life and in the scene.

What were some of the most challenging aspects in regards to the creation/recording of “Scorn Aesthetics” and how does it compare to your previous releases?

Scorn was definitely one of the most challenging albums to create, since it signaled the twilight of the old line-up and initiated a new chapter. Nuctemeron (drums) had to part ways in 2015, so Maelstrom came to the fold and we started shaping the album, working with material that introduced some innovations, at least when it comes to EoT. Most challenging was to acknowledge that we were not kids dabbling with metal any more and to channel that creativity in a more structured way. Some things worked as planned some didn't. Maelstrom and I rehearsed as a two-piece for an extended period of time because the rest of the line-up was in a transitional period to put it mildly. I think the end result was surprising for a lot of people, but not for us, since we were simply out for blood. We have effectively learned to channel all of our bile through music and I think Scorn was both a landmark and a sign for future things to come.

Can you please give some details about the artwork that adorns the cover of “Scorn Aesthetics” and the theme surrounding it?

It was heavily inspired by the work of German modernist painter Erwin Hahs and his painting "groβes Requiem" in particular. It is a Promethean figure struggling to tear his shackles apart. We wanted a cover that would stand out from the pile and Matthias Frisk who made it, delivered the Goods!

What is the current status of Embrace of Thorns and what can you tell us about the member(s) involvement in other bands? (Past and current.)

The current status is that of intense rehearsals. We are preparing material for a sixth full length. Covid-19 and lock-down set some hurdles up our way but we slowly but surely are overcoming them one after another. A European tour with REVENGE has already been announced for the entire March 2022, fingers crossed that it will happen. Members have been quite active in other bands like: Necrovorous, Serpent Noir, War Possession, Impure Worship, Triumpher, Profane Deed, Stygian Darkness, Shadowmass, Caedes Cruenta, Yoth Iria, Necromantia. Our Drummer Maelstrom is hands down one of the best players in the scene and his work ethic is second to none, so he's kept himself pretty busy all these years. As for myself I've been focusing on EoT primarily during the last five years with some odd exceptions.

What is it about simplicity in metal that appeals to you? Also what do you think of tech-death and bands that try to cramp as many riffs into one song as possible?

I believe that I come from a song-based, riff-driven school of thought. Don't get me wrong, I can appreciate technical players and I love some really technical metal bands. I also love seventies prog/psych/acid/hard rock that gave birth to some really technical and well-rounded musicians. That being said, I still believe in the power of the riff and at least in metal it seems that often times a very intricate structure dilutes the aforementioned power inherent in that sound. Modern tech-death doesn't appeal to me, not because it sounds technical, but because it kinda sounds neutered and clinical.

What are some truly underrated bands in the pantheon of black and death metal in your opinion?

There are tons of bands that qualify for a place in a list like that, still I believe that each and every obscure band of the past seems to be unearthed these days. I believe that Bloodspill from Texas, Abyssals (FR), Salem(Isr), Deteriorate (US), Masochist(US), Graf Spee (Uru) and bands like Holy Terror, Sentinel Beast,Original Sin,Exorcist, Deathrow, Sabbat (UK) are more or less under-appreciated.

Eastern European metal like: Aria, Pokolgep, Root, Torr, Kat has also stayed relatively obscure, mostly because of the language barrier. But this is a really hard question to answer.

Thoughts on the current surge of political correctness plaguing metal today?

I don't think anything of it. The worldwide climate and undercurrent has been that of a very divisive nature. I think that the world has been spiraling out of control for at least a decade and it won't get better any time soon. I personally feel really uncomfortable regarding lots of issues that plague the modern world, but this fact mostly derives from my philosophical views. My view of the human being modern and what not, is perfectly summarized by the Words of H.P. Lovecraft:

“I expect nothing of man, and disown the race. The only folly is expecting what is never attained; man is most contemptible when compared with his own pretensions. It is better to laugh at man from outside the universe, than to weep for him within.”

What do you personally think about progression in black/death? Can it be pushed beyond the seemingly set boundaries of the genre or do you think it should remain as is?

I personally would be really reluctant to try to mix it with influences from other, often times irrelevant scenes. The parameters have been set, as you said, long ago.

However there are always things from the past to re-interpret and personal flavor or idiosyncrasies to add. The genre has a vast range and an endless list of possibilities to offer. There is still room for self expression. One just needs to be smart and bring relevant things into the fold.

What's happening with your label Kill Yourself Production nowadays? What's the pros and cons of running a small underground label?

Κill Yourself ceased activities in the summer of 2020.It was great while it lasted and was firing on all cylinders. During the last years the market for CDs shrunk considerably so I decided to call it a day while it was still well respected rather than see it fall into irrelevance. Fans wrote and said that the label made a considerable dent, when it comes to quality underground releases. I think we always were fans first and then businessmen, and I wouldn't have it any other way. The pros include getting to release and to distribute the best of the underground metal from all around the globe, selling music at various live events, getting to know bands, supporters and generally being a vital part of the scene. The cons are that it is basically a very slow business, one gets stuck with stock that doesn't sell, and seeing quality metal staying in stock forever kills a big part of the creative drive behind it.

The Greek scene has many maniacs and bands with respect for underground ethos. What do you think is in the soil there that brings about this kind of attitude and give birth to so many killer bands?

The metal scene in Greece has had quite a history already, it's been going on for more than 30 years. Truth is that there are lots of people here that love their metal and rock n' roll, but it was always a niche thing. I don't know why there are top-shelf acts in Greece, because this really goes against the odds. The infrastructure has until recently been sub-par and the fans love the big names but don't really care about the underground. The only plausible explanation I can give is that the bands who are active now, were inspired as fans by the early bands, at least this is the case with us.

I understand you have a penchant for classic rock. What’s some of your favourite records and what is your opinion on vinyl format?

I was introduced to "classic" rock at a very young age via older cousins and whatnot. So this genre is by and large a huge part of my musical vocabulary. I rediscovered that sound around 10 years ago and have been incorporating it gradually more day by day in my listening habits. Favourite bands vary from: Blue Oyster Cult, Grand Funk Railroad, Βloodrock, Frank Zappa, Captain Beefheart, Hawkwind, Uriah Heep, Rush, Thin Lizzy, Wishbone Ash, Alice Cooper band, King Crimson, Camel, Gentle Giant and the rest of the classic heavy/prog canon to more obscure stuff like: Jane, Birth Control, Novalis, Eloy, Mythos, T.I.M.E, Sir Lord Baltimore, The Third Power, Bang, Dust, Litter, Aorta, Patto, Bubble Puppy, Stark Naked, Frost, Help, Ultimate Spinach, Eden's Children, Amon Duul II, Fever Tree, Frijid Pink, and the list can go on forever. It's a whole different world, that's very near and dear to me as metal also is.

How integral is playing live for your band and what can you tell us about the recent DVD that came out called “Revelation of All Sins”? What’s some of your most memorable shows that you can recall?

As you might know the band has pretty much turned 20 years old back in 2019. So we thought we should somehow celebrate that fact. Regarding the recordings per se, we know that the market for live albums has not been prosperous for a while, but we had friends behind the soundboard for the 2015 show, who pretty much offered us the recording for free and the same story pretty much applies to the Lithuanian gig. We were lucky because we ended up with two professional sounding recordings and it was simply an opportunity we couldn’t let go down the drain. As said we had been sitting on those recordings forever and there had been plans for earlier releases that simply fell apart until Saturnal recs/Rex Korkmanen came in the picture.

We enjoy both playing live and being in the studio/rehearsal. There is no comparison between the two. Totally different dynamics. When a band is killing it live ,then the experience can be life altering. Memorable Shows include: Killtown death fest 2012, Barcelona, Istanbul, playing with Archgoat and Mortuary Drape in Athens, everything we did in the US for several reasons and Finland, because we had the best stage mix ever.

Your thoughts on the following:

Stoicism:

I think that it is a good quality in man. I'm not in favor of instant gratification. Life will always throw curve balls to one's direction, and one should be prepared to tackle the hardships that life brings.

‘Zines:

The flesh and blood of the scene, too bad that the printed ones is a forgotten craft. I've been collecting them for ages.

Demo tapes:

As above, it's too bad that lots of bands tend to skip the demo phase all together and don't master their craft through demo recordings. Some of my fave recordings ever are demo tapes.

Ross Bay Cult:

The original grave desecrators, still inspiring, still awesome after all those years. There is more substance to Blasphemy and tons of old school metal spirit than meets the eye. It's way more riffy and dynamic that run-of-the-mill goats 'n' gasmasks metal.

Lastly, what’s next for Embrace of Thorns and where can maniacs get hold of your merchandise? Thanks for your time!

It was cool man.

We are on Bandcamp: https://embracethorns.bandcamp.com/

You can find what is available over there.

New album coming in early 2022.