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Vananidr Interview

lundi 25 mars 2019 à 04:38
1.For those that have never heard of you before, can you tell us a little bit about the musical project?

Well, Vananidr is continuation of a band i was a member of that was called Hydra. Hydra was active between -99 to -06 and played a pretty melodic type of black metal. When members started to quit i continued writing the same kind of music and took over the vocal duties and eventually changed the name to Synodus Horrenda. In 2010 i released an album i had been working on for 5 years under that name but i never really pushed it and then the years went by.
Then in 2016 i started to write lyrics again and recorded vocals on 6 songs i had written in 2007 and had started to record with Thunder on drums in 2010. This record was finished in 2017 and released on Bandcamp in 2018 under a new name that i think fits me better, Vananidr.



2.So far you have released a full length and single with this musical project, can you tell us a little bit more about the musical style you have went for on these recordings?

Well, the debut album is a reaction against the very busy, riff-packed and semi-technical album with Synodus Horrenda, with fewer riffs, less tempo changes, less rhythm changes and less death metal inspiration. I wrote all the songs in quite of short period in 2007 and early 2008, a time when i was very much into Transylvanian hunger by Darkthrone, stripped back and mid-paced. I don’t think the album sounds anything like Transylvanian hunger but i think if you compare the debut of Vananidr with Synodus the difference is quite clear.
After i wrote the songs for the debut a new reaction came along, which can be heard on the last song on the debut, Enter Eternity, i grew tired of putting blast beats on every song, so i made a bunch of songs without blast beats. Some slower and some just with other beats. One of these slower songs is Beneath the glimmering surface from the Bleak and desolate single.
Then came a musical break, this is in maybe 2012 or sometime near, i had kids and i didn’t feel motivated to write music. The lack of an audience made me stop writing i guess.
In 2016 i suffered from mental illness which in the end made me start writing lyrics again and i began to at least try to write music again although it took some time before anything worth saving come out of me. I think the first song i wrote was Bleak and desolate, the blast beats were back and it felt almost like a summary of all my music, plus a Bathory tribute guitar solo at the end.

3.What are some of the lyrical topics and subjects you have explored with this musical project so far?

Most of the songs paints a picture of pain, despair and thoughts of death and suicide, with a touch of Armageddon too. These lyrics is very much what i had to endure and go through when i was ill back in 2016. Abomination of evil is the one song that has nothing to do with myself, i heard of a new movie the other year that was about a monastery in ww2 Germany that the red army paid a visit. They mass raped all the nuns and several of the nuns gave birth to children gained from the raping's. It’s kind of a philosophical thought of how to be the child of a nun raped by the enemy, an abomination.
On the single there is more death/suicide thoughts in Beneath the glimmering surface and in Bleak and desolate i can’t actually remember exactly what it’s about. I picture a hell at least, whether it’s in my head or a future Armageddon i can’t remember.

4.Originally the musical project was called 'Synodus Horrenda' what was the cause of the name change and also the meaning and inspiration behind the name 'Vananidr'?

I never really felt comfortable with Synodus and i didn’t feel that it had anything to do with me. It sounded more like Spanish or Italian, which is fine if you’re Spanish, but i’m not so that’s why i wanted something more nordic sounding and meaning. Vananidr has a connection to me and my ancestors and says something of where i’m from.



It’s a figure in nordic mythology, also called Njord. He was one of three Vanir that came to live in Asgard after the warring gods laid down their arms.


5.Can you tell us a little bit more about the artwork that is presented on the full length cover?

It’s a photograph i took when hiking in the north of Sweden, at a place called Helags. It’s the most southern glacier in Sweden, though i can’t remember if this is Helags or a mountain next to it. I really enjoy hiking in the mountains of Sweden, it gives me peace of mind and a lot of energy and feelings.

6.With this musical project you record everything by yourself but also have experience working with other musicians how would you compare the two?

Well when your alone you can record whenever you want so that’s nice, but i miss the energy that a group generates. You also have to manage everything by yourself which can be tough but at least you can’t blame someone else for not contributing enough. I think my goal is to hook up with a talented drummer, i can manage the rest by myself and possibly in the future get one or two guitar players to do gigs.

7.You also have a history playing in bands dating back to the 90's, what are some of the changes you have seen in black and extreme metal over the last 2 decades?

That’s hard to answer, i guess the level of musicianship has raised a lot especially in black metal. In death metal there’s always been technical musicians but black metal was very much a reaction against that in the beginning. There was also a bigger gap between death and black metal in the 90s, Dissection were one of few that people had trouble labeling. Nowadays you have dozens of sub-genres and cross-genres, which i think is a bit tedious, but i guess people need to put a label on everything.
Production has also changed, nowadays everyone can get a decent sound with just a computer, and the big bands often sound like machines when the drums are supertriggered and edited and everything is polished to insanity. I’m not a defender of the raw necro sound that Darkthrone and Burzum developed but i like the organic and acoustic side of it. My biggest influence when it comes to production and my favourite sound is the semi-early Mastodon albums like Blood mountain and Crack the Skye.

8.Purity Through Fire is re-issuing the full length on physical format in April, how did you get in contact with this label?

I emailed a bunch of labels and PTF got  back to me and was interested in releasing the debut and the upcoming album as well, and so far they’ve done a god job! Looking forward to see the release of the debut on vinyl, which will have a slightly different mix with a more organic drum sound. What i’ve heard is that the upcoming album will be released i june.


9.On a worldwide level how has the reaction been to your music by fans of black metal/

It’s been really good! That is also why i could find the energy and persistence it takes to search for a record label and be active on social media promoting Vananidr and just push forward. I was quite surprised after releasing the album on Bandcamp that it got such a good response and people wanting to pay money for my music. That made me even more committed!

10.Where do you see yourself heading into as a musician in the future?

It’s hard to say, it depends on Vananidrs success, if people like it i would love to do some gigs abroad if i can find some decent musicians. As a musician i don’t think i will change that much, i’m not young anymore so i make the kind of music i’m familiar with, melancholic blackish metal. Hopefully i can release a bunch of albums, it’s such a nice feeling to write, record and finally release the music that’s in me.

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Well i guess it’s not hard to hear that i’ve been influenced by the early norwegian black metal scene, with bands like Satyricon, Emperor, Ulver etc. I also think that in some way my early heroes Iron Maiden and Slayer has left some marks in how i want my music to sound like even though i don’t make that kind of music.
Nowadays my favourite band is Mastodon and has been the last 15 years. Kyuss is a band i’ve listened to a lot as well. Other music is often the same records i listened to back in the 80s and 90s, like Slayer, Sabbath, Ozzy, Emperor, Satyricon etc. And if any of those ”old” bands release something new i’m interested, Mayhems Chimera is really good and Satyricons Satyricon as well. I think one of the few new black metal records i’ve discovered and really listened to a lot is Wolf father by Nidingr, a real masterpiece!

12.Before we wrap up this interview, do you have any final words or thoughts?

Just keep your eyes open for the upcoming album Road north!! Super proud of that one! Release is set approx to june.

Cheers /Anders

Source : http://occultblackmetalzine.blogspot.com/2019/03/vananidr-interview.html


Zatemno/In The Noose/Aesthetic Death/2019 CD Review

dimanche 24 mars 2019 à 22:22

  Zatemno  are  a  solo  project  from  Russia  that  plays  an  experimental  and  avant  garde  form  of  black  metal  and  this  is  a  review  of  his  2019  album  "In  The  Noose"  which  was  released  by  Aesthetic  Death.

 Night  orientated  soundscapes  start  off  the  album  along  with  some  clean  guitars  being  added  onto  the  recording  a  few  seconds  later.  Spoken  word  parts  can  also  be  heard  briefly  while  all  of  the  tracks  are  very  long  and  epic  in  length  and  the  music  also  brings  in  a  good  amount  of  accordions

  All  of  the  musical instruments  on  the  recording  have  a  very  powerful  sound  to  them  and  when  the  music  speeds  up  a  decent  amount  of  tremolo  picking  and  blast  beats  can  also  be  heard  which  also  gives  the  songs  more  of  a  raw  feeling.  When  clean  vocals  are  utilized  they  also  give  the  music  more  of  an  avant  garde  vibe.

  High  pitched  black  metal  screams  are  also  a  very  huge  part  of  the  recording  while  the  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts.  At  times  the  music  also  gets  very  experimental  sounding  along  with  one  track  also  introducing  acoustic  guitars  onto  the  recording  and  as  the  album  progresses  a  brief  use  of  guitar  leads  can  also  be  heard.  The  production  sounds  very  professional  while  the  lyrics  cover  the  despair  and  alienation  of  the  human  mind  through  the  prism  of  natural  forces  and  suicidal  deeds.

  In  my  opinion  Zatemno  are  a  very  great  sounding  experimental  and  avant  garde  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "On  The  Wind"  and  "From  The  Ashes  Of  The  Sun".  8  out  of  10.


Source : http://occultblackmetalzine.blogspot.com/2019/03/zatemnoin-nooseaesthetic-death2019-cd.html


Waldseelen/Hislerin Ozune/2019 EP Review

dimanche 24 mars 2019 à 04:26

  Waldseelen  are  a  solo  project  from  Turkey  that  plays  an  instrumental  mixture  of  atmospheric  black  metal  and  depressive  rock  and  this  is  a  review  of  his  self  released  2019  ep  "Hislerin  Ozune".

 Rain  and  thunder  sounds  along  with  some  acoustic  guitars  start  off  the  ep  while  the  synths  also  enhance  the  more  ambient  side  of  the  music.  Once  the  music  goes  into  a  heavier  direction  it  brings  in  more  of  an  atmospheric  style  of  black  metal  and  all  of  the  music  is  instrumental  with  no  vocals  ever  utilized.

  Elements  of  depressive  rock  are  also  added  into  some  parts  of  the  music  while  acoustic  guitars  and  clean  playing  are  also  brought  onto  the  later  tracks.  At  times  the  music  also  adds  in  touches  of  shoegaze  and  post  rock.  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  melodic  style  and  when  the  music  speeds  up  a  small  amount  of  tremolo  picking  and  blast  beats  can  also  be  heard  and  also  gives  the  recording  more  of  a  raw  edge

  Waldenseelen  takes  atmospheric  black  metal  and  depressive  rock  and  adds  in  touches  of  shoegaze  and  post  rock  as  well  as  keeping  everything  instrumental  to  create  a  sound  of  this  own  and  the  production  has  more  of  a  dark  sound.

  In  my  opinion  Waldseelen  are  a  very  great  sounding  mixture  of  atmospheric  black  metal  and  depressive  rock  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Her  Unrequited  Smile"  and  "Azra".  8  out  of  10.

https://waldseelen.bandcamp.com/releases

Source : http://occultblackmetalzine.blogspot.com/2019/03/waldseelenhislerin-ozune2019-ep-review.html


Malokarpatan Interview

dimanche 24 mars 2019 à 02:59
1.Can you give us an update on what has been going on with the band since the recording of the new ep?
1,  Even though as a physical release the EP is brand new, the material has been recorded in summer 2017 already, so a lot has happened since. Mostly playing different gigs and festivals and a small tour of the east coast parts of North America (hails to mr. Vinny Bochicchio for making this crazy thing happen). Also finishing material for the third full-length and finally releasing the delayed split EP with our friends Demon's Gate from Finland. Right now my mind is mostly occupied with our next album, but more about that later!


2.In April you have a new ep coming out, musically how does it differ from the stuff you have released in the past?
2, I like to use these smaller EP releases for more experimental or unusual songs that wouldn't fit so well on proper full-lengths. The "Cesta podzemnými sálami Kovovlada“ material is pretty different from what we usually do. Our basic stylistic scope is simply black metal the way it used to be before the Norwegian sound got standardized and bands all over the globe started sounding the same in attempts to mimick this specific sound. Before this point in time, black metal was all over the place stylistically, you could hardly find two bands that sounded the same. This is an immense source of inspiration for us and there are elements of many of these different styles scattered over our releases. This time around, the inspiration was that short, obscure period of time between the late 80s and the explosion of the Norwegian second wave – stuff like old Samael, Alastis, Barathrum demos, Mortuary Drape, Baxaxaxa, Mystifier, Master's Hammer... The Wine of Satan compilation is a good summary of that era. That goes for the second, metal part of the composition. The first part is a mix of keyboards, percussion instruments, field recordings of caves and excerpts from old Slovakian folktale movies. Metal fans like to call this "filler", but for me it's equally as important as the metal part, as it serves to illustrate the atmosphere of wandering in the underworld which the lyrics speak of.

3.The lyrics on the ep also have a concept to them, can you tell us a little bit more about the story you explore with the newer music?
3, Lyrics are based on an old Slovakian folktale, which clearly has even more ancient mythological roots. It tells the story of Kovovlad (his name could be translated as Ruler of Metals), who in our mythological world is the ruler of the underworld and all of its hidden treasures. He abducts a maiden from the world above to become his bride in the realm of eternal night below. She is only allowed to leave her imprisonment once a year "when the earth opens". I think this describes the same vegetation myth which is present in ancient Greece in the story of Hades and Persephone.

4. A lot of your lyrics on past releases go very deep into Slavic Paganism, can you tell us a little bit more about your interest in the paganism of your home land and how does the paganism of your home country differ from the other Slavic countries while having a lot of the same deities but having a different different approach's to worshiping the gods and goddesses?
4, I am a little bit reluctant to use the term Paganism as it is commonly associated with Right hand path beliefs and is a very unfortunate choice for lyrical concepts within black metal if used this way. Black metal is the music of the adversary, the spiritual rebel. You can't achieve that if singing about deities that represent order. Our lyrics are simply just little stories presenting various characters and practices from the darker sides of the spiritual world of our ancestors. The scene is overflown with bands that try way too hard to sound like demonology professors, my view is that simple lyrics in the vein of 70s & 80s can be more effective. I think there aren't any radical differences in here compared to other Slavic countries, there is generally a lack of sources so most group tend to worship the same deities in similar fashions, some countries just have specific gods and spirits unique to a certain place. Lately, the false constructed belief of Ynglism is a popular trend due to its spread over the internet, but I think anyone with a working brain can see through its obvious absurdities and nonsensical falsifications.

5.In a past interview you also mentioned writing about Paganism from more of a Left Hand Path approach, can you also tell us a little bit more about your interest in the darker side of paganism and occultism?
5, Yes, because that is the only way it should be used in black metal for it to make sense conceptually. I must say I don't really like to talk about my spiritual beliefs as it's a very personal matter to me and even if it influences everything I do with Malokarpatan, it's hidden in the background rather than me pushing it down people's throats. I've never had a materialistic outlook on life, already as a small kid I felt the world can't just work as a system of coincidences and there must be forces beyond our comprehension that set the course of events. I've been interested in pretty much anything you can imagine being a fan of metal music – from Egyptian myths to 19th century occultists, Traditionalist School and people like Jacques Vallée. It's been a very crooked path with
many detours and I still think I haven't reached the end of that personal quest. The point I am at these days is basically gnostic – seeing the order of creation as a prison for spirit, which is destined to become something greater. That's the path of spiritual rebellion and the desire to tear down the world as we know it, so we can reach our true potential. In Slavic mythology, I find this to be best represented in the deity Veles – lord of the wild forests and the underworld, who in a serpent-like form crawls to the top of the World Tree to challenge the order of the universe. It's no surprise his attributes were used for the Devil after Christianity took over. He can be compared to other figures of pre-Christian Europe like Pan, Loki or Cernunnos. During medieval times, these ancient archetypes became the Horned God of the witches. This nebulous point, where Paganism, old folk superstitions and Satanism meet together is where our lyrical concept draws from. So as you can see it's a little bit complicated and I wouldn't want people to misinterpret us as some sort of pagan metal band. We just use the traditions of our forefathers to describe the same energies which more traditionally satanic bands sing about.

6.On the metal archives page they also list national pride as another themes that you cover with your lyrics, can you tell us what you see is national pride?
6, Those lyrical themes on Metal Archives were just lazily copied by some random user from the description written for our debut album. On it, there is one song having sort of a patriotic theme (although used metaphorically as a part of a traditional folktale) and also one song being a celebration of wine (hence the "drunkenness" part). I didn't really care for a long time, but after misunderstandings have been more often, I reported this to Metal Archives some time ago. Problem is that the website administrators think they know better than you as the actual band, so they didn't bother at all to correct it. So they can all FOAD as far as I'm concerned. In this era of hysterical witch-hunts, anything "national" is automatically seen as equal to "Nazi" and there is no middle ground anymore, all is just black and white without thinking deeper. In our music and lyrics, we present our traditional culture from where we come from and that's pretty much it – you can read the easily available English translations to see what the songs speak of. We are not ashamed of who we are and I think bands from all corners of the world should take inspiration from their respective cultures. It was after all one of the elements that contributed to the uniqueness of early black metal bands – South America had its own sound, Australia had its own sound, so did Japan and different areas of Europe, etc. So that is the meaning of pride for us – stand for what you are and don't become a part of the shapeless consumerist modernity that swallows any uniqueness. I've sensed lately that many bands started taking inspiration from the Pre-Columbian cultures for example, I see that as a very positive trend, unlike the 90s and 2000s when everyone wanted to be vikings regardless of any cultural connection.


7.What is the meaning and inspiration behind the name 'Malokarpatan'?
7, We come from a region with local mountains called Malé Karpaty = Little Carpathians, so Malokarpatan means an inhabitant of this region, simple as that. It's near impossible for any other band to use the same name, so I'm very happy with this decision also for the future.

8.Can you tell us a little bit more about the artwork that is presented on the new ep cover?
8, It's an old folktale illustration processed through the hands of the very talented graphics guy working for Sun & Moon Records. He added the colors, folklore ornaments on the sides and other small but important details like that. I'm highly satisfied with his job and I think it breathed a new life into the whole thing. As for the drawing itself, it shows the bride of Kovovlad being abducted in a horse carriage into his underworld kingdom.

9.What are some of the best shows that the band has played over the years and also how would you describe your stage performance?
9, We've had quite an evolution in this, our earlier shows were definitely lacking a bit in energy. The thing is, some of us weren't really used much to play live from our former bands. Our previous singer also generally didn't enjoy performing live much and it was a situation he was kind of thrown in without warning – during the early stages of the band, we didn't even plan to play live, but then we started getting offers. After three years of playing live, this has improved in a major way and currently our live shows are very energetic. We don't use any altars, bones chalices and whatnot, just the power of Heavy Metal and some traditional gear like studded wristbands, big sunglasses and cloaks. When we travel in a van we sometimes also use some traditional folk masks and sticks
(it's more difficult to bring those on planes and have any place for merch left). We want people to bang their heads in a frenzy, not stand in "ritualistic" stillness. I think our best gigs have been in Brooklyn, New York, Old Grave Fest in Romania, Lodz, Poland earlier this year and also the last gig so far which we had at Revolver club in Norway. But if oftens depends on the event and city in question, some local gigs in Slovakia and Czech Republic have also turned out great (some less).

10.Do you have any touring or show plans for 2019?
10, So far this year we've played in Spain, Austria, Poland, Sweden, Germany & Norway. Most of the gigs turned out great, although we've also had some unexpected technical problems. What lies before us currently is: Roadburn in the Netherlands, Fire's Burning in Slovakia, Party San in Germany, Til Dovre Faller in Norway and Eindhoven Metal Meeting again in the Netherlands. There about two more festivals and one club gig to be added, just can't mention them yet as they haven't been announced by the organizers.

11.The new ep is coming out on 'Sun & Moon Records', how did you get in contact with this label?
11, They contacted me through a message I think, since they were interested in releasing a physical form of the EP. Shortly after we also met personally at the Old Grave Fest in Romania. They are very fine gentlemen and I can say only positive things so far about the co-operation with them, even though it's just a one-off thing for this release, as we remain under the wings of Invictus Productions and The Ajna Offensive.

12.You have also been a part of a couple of splits over the years, can you tell us a little bit more about the bands you have shared these recordings with?
12, I would say only the split with Demon's Gate was a proper split release, the other one was more like a compilation of different bands that took part in the Samhain Celebration mini-festival in Gotha, Germany. It's a tradition they do for each year of the event, curated by Martin from Mosaic. The reason to do a split with Demon's Gate was simply that they are good friends of ours and they also play black metal in the pre-1993 way. I guess their sound is the closest to Master's Hammer, but they are from Finland so they have that specific weirdness one would naturally expect from the region. I strongly recommend people to check out also their other band Chevalier (epic/medieval speed metal) – their debut album is coming soon and it's already a modern classic to me after having the chance to listen to it. There  is one more split planned for 2020 with another band from the Slavic area playing a very archaic form of black metal.

13.On a worldwide level how has the reaction been to your music by fans of black and pagan metal?
13, Not sure about pagan metal since that is really not our world, but from black metal and generally metal fans around the world, the response has been truly great. We are just on an underground level so it's all down to earth, but I'm really proud to see how far can music from an obscure eastern country reach nowadays, of course internet helps that a lot too. Most people write us from the USA, Germany, Poland, lately also Scandinavia. At home it's also good, even though metal doesn't exactly have its golden days here for the last two decades. But I also got mails  & messages from exotic places like Algeria, Dominican Republic or China. Our mission is to keep the flame of early Iron Curtain black metal style alive and spread it further.

14.What is going on with some of the other bands or musical projects these days that the band members are a part of?
14, Algor (band of our drummer and guitarist) have a new split material coming this year, they are also involved in some new side project which I can't tell much details about as it's still  in the works. Krolok is working on new material in its own slow tempo, they will also have a few select live shows this year, the nearest one coming here in Bratislava, Slovakia in May at Fire's Burning festival. I also have some material not fitting for Malokarpatan which I'd like to record some day, but my main problem is not having a place to rehearse and record drums with the drummer I'd like to work with. Temnohor, band of our former singer seems to be inactive for a long time now but as a fan of his music I hope he will make some new stuff in the more distant future.

15.When can we expect another full length and also where do you see the band heading into musically during the future?
15, The third album is already written, both music and lyrics, but I'm currently waiting for our drummer to rehearse and arrange his parts and only then we can enter the studio. I would like to record this summer, but everything is always delayed these days so realistically it might be a 2020 release even if I want it to come out this year already. It will be a concept album about witchcraft
trials that happened here in the 17th century – I've used historical sources directly for the album and it will contain parts taken straight from the confessions of the witches. It will be a more epic and atmospheric album this time around, with lengthy songs that have a lot of different riffs and sections. My inspirations were long, epic black metal compositions from the past, stuff like Mercyful Fate – Satan's Fall & Burning the Cross, Venom – At War with Satan, Sabbat – The Dwelling, viking era Bathory and also Root & Amon from Czech Republic. It will also have a bit of influence from 70s progressive rock which is one of my favorite genres of music. With all that included, it will still have a lot of primal metal energy so don't expect an album for Tool nerds ;-) But I wouldn't say this will be the overall direction for the band into the future. I just like making each album different and want to avoid repeating myself, so the fourth album will again be something else. I already have some riffs and ideas for it and it will be a completely different thing again.

16.What are some of the bands or musical styles that have had an influence on your newer music and also what are you listening to nowadays?
16, I listen to a lot of classic old Czechoslovakian era metal these days. Just because when listening to other music and having been travelling around the world a bit the last few years, I realize how unique it was. When you live in a bubble and can't see much further from your territory, certain things get lost on you. Some of these bands have been with me since the beginning as they were among my gateways to metal music as a small kid, some of them I've learned to appreciate in a more mature age. Among them are: Titanic, Torr, Necrotos, Citron, Tudor, Metalinda, Toxic Trash, Dai, Moriorr, Svatý Vincent, Fata Morgana, Necrocock demo 92, Kryptor, Vitacit and many more. Other than that, I generally listen to a lot of classic metal and rock as it's timeless music that will live forever – Ozzy Osbourne, Kiss, Twisted Sister, Venom, early Helloween, Van Halen, Saxon, Budgie, Winterhawk, Scorpions, Rush... As well as more obscure & underground bands like Paul Chain, Black Hole, The Hand of Doom, Heavy Metal Army, Dark Quarterer, Kat, Saracen, Brocas Helm, Hels, Kimmo Kuusniemi Band, Exorcist, Deliverance... I also like various genres beyond rock – early EBM in the vein of D.A.F., baroque music, atmospheric music from the 60s like exotica or bossa nova... whatever that has soul in it and isn't plastic crap like a large part of modern music is.

17.Before we wrap up this interview, do you have any final words or thoughts?
17, I guess just thanks for your interest and to our fans everywhere for being so supportive, it gives us extra energy to move on! See you at gigs and festivals this year and have some patience before we unleash the third album, it will be worth the wait!



Source : http://occultblackmetalzine.blogspot.com/2019/03/malokarpatan-interview.html


From The Bogs Of Aughiska/Mineral Bearing Veins/Apocalyptic Witchcraft/2019 Full Length Review

samedi 23 mars 2019 à 03:05

  From  The  Bogs  Of  Aughiska  are  a  band  from  Ireland  that  plays  a  mixture  of  black  metal  and  dark  ambient  and  this  is  a  review  of  their  2019  album  "Mineral  Bearing  Veins"  which  will be  released  on  March  29th  by  Apocalyptic  Witchcraft.

  Classical  guitars  start  off  the  album  along  with  a  brief  use  of  water  and  avant  garde  sounds  before  going  into  more  of  a  heavier  musical  direction.  Ambient  style  synths  are  also  used  quite  a  bit  throughout  the  recording  and  when  the  music  speeds  up  blast  beats  and  tremolo  picking  can  also  be  heard  which  also  gives  the  music  more  of  a  raw  feeling.

  Vocals  are  mostly  grim  yet  high  pitched  black  metal  screams  while  the  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts.  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  distorted  yet  chaotic  style  and  they  also  mix  the  nature  and  ambient  elements  in  with  the  heavier  sections  of  the  music  at  times.

  Spoken  word  parts  can  also  be  heard quite  a  bit  throughout  the  recording   while  some  of  the  tracks  are  very  long  and  epic  in  length  and  as  the  album  progresses  a  brief  use  of  acoustic  guitars  and  clean  vocals  can  be  heard  as  well  as  the  music  also  getting  more  experimental.  The  production  sounds  very  dark  and  raw  while  the  lyrics  cover  cursed  fairy  trees,  dark  underground  cave  systems  in  the  Burren,  isolation  and  Irish  superstition  themes.

  In  my  opinion  From  The  Bogs  Of  Aughiska  are  a  very  great  sounding  mixture  of  black  metal  and  dark  ambient  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "Poll  An  Eidheain"  "The  One  Whitehorn  Bush"  and  "An  Spealadir".  8  out  of  10. 

https://youtu.be/10A6d9UhmVU  

Source : http://occultblackmetalzine.blogspot.com/2019/03/from-bogs-of-aughiskamineral-bearing.html