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Les Chants De Nihil Interview

samedi 2 janvier 2021 à 19:27


1.Can you give us an update on what has been going on with the band since the recording of the new album?

Hi Occult Black Metal Zine, since the recording of “Le tyran & l’esthète”, nothing has been happening, like almost everywhere else around the world. All of the musicians of Les Chants de Nihil are dealing with their own lives, locked down sometimes, at work the day after. No serious musical activity for myself.

2.You have a new album coming out in 2021, musically how does it differ from the stuff you have released in the past?

It’s close to our 2011 album “Propagande Erogène” in atmosphere. And lyrically it’s the followup. Musically I worked to propose something more complex, epic and furious. I always wanted to play melodic or symphonic black metal, but didn’t like the childish sound given by keyboards or big orchestral introduction. So I recorded real choirs everywhere I needed to reinforce the dramatic side of the music. This album contains more death metal parts and the sound mixing is really aggressive… I usually had a “foggy”, diluted and quite soft and cold sound. Here it’s burning passion and sharp drama.

3.This is also the first album to be released since 2017, can you tell us a little bit more about what has been going on during this time frame?

Well, I would say it’s just life. It was at this moment that some big projects arrived, like buying a house, getting a new job… But to stay present on the black metal scene, we decided to record the 10-year anniversary compilation, with the main tracks of our first tape release “Les six leçons”, and some other 2007/08 tracks. It’s also our last production released on our old label Dernier Bastion.

4.What are some of the lyrical topics and subjects the band explores with the newer music and also how would you describe your progress as songwriters over the years?

The new album “Le tyran et l’esthète” is telling the story of an old leader (“the dreamer”) fighting against an enemy corrupting the masses. It’s written like an opera, with dialogues between the different characters, even if most of the songs are played by the main character : “the dreamer”. As I said, this story is the followup to the album “Propagande Erogène”, where you can follow the one-day ascension to power of this leader and relatives.

5.What is the meaning and inspiration behind the name 'Les Chants De Nihil'?

This name was chosen without any real meaning. At the beginning of this band, I had my serious project called “Legion Mortifere”, with which I already played live. But my friend Mist and I recorded some black metal tracks for our distraction and the use of our new recording material. Les Chants de Nihil was the name to gather these tracks. We weren’t necessarily trying to release music at the time. But when we recorded “Les six leçons” in 2007, I made a bunch of CD-R copies for my friends and some internet downloads. Then it came to the ears of Dernier Bastion who offered to release it on tape. Concerning the name, “Nihil” is the latin for “nothing”, so you can understand “Les chants de Nihil” as “songs from nowhere” or “songs of nothing”. It’s more a reference to nothing or nowhere in terms of reality, in the oniric sense.

6.Can you tell us a little bit more about the artwork that is presented on the new album cover?

I painted the cover in oil, 1x1 meter in July 2020. It presents the leader with the flag, his friends and army, charging after a night of war to a cliff. This scene takes place at the end of the story, the “final” track. The lady on the tiger is a deity giving power and advice to the leader, the guy at his left is holding the enemy, blindfolded. This henchman can be any of the characters previously mentioned in “Propagande Erogene”.

7.Originally the band started out as a duo, what was the decision behind bringing in other members?

You’re right, I started it with my friend Mist, still playing the guitar in the band. The first guy we enrolled in the band was Marc, for the recording of the drum parts on “La Liberté guidant le fer” album in 2009. Because we were already 3 people, we recruited a bassist the year after for live sessions.

8.I have read that one of the band members chooses not to use modern technology as much as possible, do you also use the more old school approach when it comes to discovering new bands?

I guess you’re referring to Pierre-Louis who is now recording synth wave ? I don’t really care about the way to produce a sound if the result fits the expectations. For the latest LCDN album, a raw and old-school sound would have ruined the atmosphere I wanted to create. I needed a spectacular sound to carry all the emotion and the fantasy of my new story. Discovering new bands is not an activity. I’m not searching on the internet for new releases. Sometimes I go to concerts, essentially to see friends playing, and I discover bands on stage in the evening. But I don’t listen to metal anymore so most of the time I just go to congratulate the artists I appreciated and that’s all.

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?

I can say we were always welcomed in Paris and our first show there was a real surprise to me. In 2011 at the Klub, Paris, I realized that LCDN was not only an insignificant project but something followed by many people in the scene. Our 2020 live in Rennes was also a really great moment. First, it’s in the region where we live : Brittany, France. So we were surrounded by friends, recent or old. And I shared the scene with our last stable line-up : Mist, Sistre, Oberkommander. After many years of having session members, live-members, travelling ones… I finally found a new team, with which I recorded the new album, and played lives in a perfect symbiosis. 

10.The new album is coming out on 'Les Acteurs De L'Ombre Productions', how would you compare working with this label to your older label 'Dernier Bastion'?

There is just no possible comparison. I left DB because I had to send five emails to get a response six months later. Sometimes, LCDN merch people bought wasn’t even delivered... I also needed better promotion to complete the proselyte purpose of the new album. With LADLO productions, I receive messages every day, to work on details, on planning for everything, graphics for the goodies, etc. They are a really hard-working team with efficient and devoted women and men.

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

I sent a bunch of CDs around the world, sometimes I read comments under videos on the internet. It’s hard to realise how LCDN’s music is received abroad. Logically, I get some feedback from Quebec, the French-speaking part of Canada. Their black metal scene appreciates the French singing and songwriting.

12.What is going on with some of the other bands or musical projects these days that some of the band members are a part of?

Mist recently released his first CD album with his solo-project “Answer from Cygnus”. Sistre, our drummer, plays with Oberkommander, our bassist, in other projects : Bestial Nihilism and Gotholocaust. Both of them are involved in many other metal projects. About me, I use to record some various covers by myself, to take part in friends’ projects. Because I’m in charge of everything in LCDN : composition, songwriting, artworks… I like to be in the service of other projects. It’s like a challenge to me. Recently I recorded vocals on the folk project of my friend Sven from Tan Kozh. I also created some doom/ritual/black metal tracks. I wanted to experiment with new vocal styles. Maybe it will become a serious band to play on stage ?

13.Where do you see the band heading into musically during the future?

I think the next LCDN releases won’t be concept-albums like “Le tyran et l’esthète” is. Maybe a collection of poems like “Armor”. I guess I want our sound to evolve into something more pure and raw, fresh, natural.

14.What are you currently listening to nowadays?

Dimitri Shostakovich’s symphonies from the 4th to the 12th ; Aram Khachaturian’s ballets, Sisters of Mercy’s “Floodland”, Queen Adreena’s “Drink me”, Mike Patton’s various projects, old Russian folk music, movies scores, etc.

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

Thanks for spreading my music around !

Source :

Nordicwinter/Desolation/Hypnotic Dirge Records/2021 CD Review

jeudi 31 décembre 2020 à 04:55


  Nordicwinter  are  a  solo  project  from  Quebec,  Canada  that  plays  a  very  atmospheric  and  depressive  black  metal  and  this  is  a  review  of  his  album  "Desolation"  which  will  be  released  in  2021  by  Hypnotic  Dirge  Records.

  Tragic  sounding  keyboards  start  off  the  album  while  also  using  a  variety  of  many  different  sounding  keys  which  also  mix  in  with  the  heavier  sections  of  the  music  at  times.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  and  the  vocals  are  mostly  high  pitched  black  metal s creams.

  Some  of  the  tracks  are  also  very  long  and  epic  in  length  while  the  music  also  has  its  atmospheric  moments.  The  riffs  also  bring  in  a  decent  amount  of  melody  along  with  one  of  the  tracks  also  introducing  spoken  word  parts  onto  the  recording   as  well  as  some  songs  also  adding  in  a  small  amount  of  clean  playing,  when  tremolo  picking  is  utilized  it  also  gives  the  songs  more  of  a  raw  feeling  and  all  of  the  music  sticks  to  either  a  slow  or  mid  tempo  style.

  Nordicwinter  plays  a  style  of  black  metal  that  is  very  atmospheric  and  depressive  sounding.  The  production  sounds  very  dark  and  raw  while  the  lyrics  cover  despair,  death,  agony  and  agony  themes.

  In  my  opinion  Nordicwinter  are  a  very  great  sounding  atmospheric  and  depressive  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Forest  Of  Despair"  and  "Tomb  Of  Silence".  8  out  of  10.

Album teaser - Youtube
Stream - Bandcamp

Source :

Sertaline/The Streetlight Was All We Needed/Hypnotic Dirge Records/2021 Compilation Album Review

jeudi 31 décembre 2020 à 03:39


  Sertaline  has  returned  with  a  compilation  which  consists  of  their  ep's  "Shade"  "From  Both  our  hands"  and  "These  Mills  Are  Oceans"  the  last  2  which  where  reviewed  in  this  zine  and  this  is  a  review  of  their  compilation  album  "The  Streetlight  Was  All  We  Needed"  which  will  be  released  in  2021  by  Hypnotic  Dirge  Records.

 Shoegaze  influenced  guitar  solos  and  leads  start  off  the  compilation  before  adding  in  some  heavy  post  metal  style  riffing.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  while  the  vocals  are  mostly  grim  yet  high  pitched  black  metal  screams  and  the  riffs  also  add  in  a  decent  amount  of  melody.

  Atmospheric  elements  can  also  be  heard  quite  a  bit  throughout  the  compilation  while  a  couple  of  tracks  are  also  instrumental.  When  the  music  speeds  up  a  decent  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the  music  more  of  a  raw  feeling  along  with  a  great  portion  of  the  tracks  also  being  very  long  and  epic  in  length.

  Throughout  the  compilation  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  along  with  some  tracks  also  utilizing  clean  playing  as  well  as  some  songs  also  adding  in  synths,  acoustic  guitars  and  spoken  word  parts  can  also  be  heard  on  a  couple  of  tracks.  The  production  sounds  very  professional  while  the  lyrics  cover  guilt,  regret,  addiction,  anxiety,  depression,  love  and  hope  themes.

  In  my  opinion  this  is  a  very  great  sounding  collection  from  Sertaline  and  if  you  are  a  fan  of  atmospheric  post  black  metal,  you  should  check  out  this  compilation.  RECOMMENDED  TRACKS  INCLUDE  "Shade"  "The  Knowledge  Of  Trees"  and  "Their  Cities".  8  out  of  10.

    Album teaser - Youtube

Stream - Bandcamp    

Source :

Spectral Dance/Standing Bloodied And Victorious/Wolfmond Production/2020 CD Review

jeudi 31 décembre 2020 à 00:23


  Spectral  Dance  are  a  solo  project  from  Canada  that  has  bene  featured  before  in  this  zine  and  on  this  recording  plays  a  very  atmospheric,  depressive  and  raw  form  of  black  metal  and  this  is  a  review  of  his  2020  album  "Standing  Bloodied  And  Victorious"  which  was  released  by  Wolfmond  Production.

  Synths  start  off  the  album  before  going  into  more  of  a  heavier  and  melodic  musical  direction  while  all  of  the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them.  Vocals  are  mostly  high  pitched  yet  depressive  black  metal  screams  and  at  times  the  music  also  gets  very  atmospheric  sounding.

  Most  of  the  music  sticks  to  either  a  slow  or  mid  tempo  direction  while  the  tremolo  picking  also  gives  the  songs  more  of  a  raw  feeling  when  it  is  utilized.  When  guitar  leads  are  utilized  briefly  they  are  also  done  in  a  very  melodic  style  along  with  the  vocals  also  bringing  in  more  of  a  grim  and  semi  melodic  tone  on  one  of  the  tracks  and  as  the  album  progresses  a  brief  use  of  spoken  word  parts  can  also  be  heard  and  some of  the  songs  are  also  very  long  and  epic  in  length,  clear  chants  are  also  utilized  briefly  on  the  closing  song.

  On  this  recording  Spectral  Dance  goes  for  more  of  a  slow  and  mid  tempo  style  of  depressive  black  metal  as  well  as  having  its  raw  and  atmospheric   moments.  The  production  sounds  very  dark  and  raw  while  the  lyrics  cover  darkness  and  depression  themes. 

  In  my  opinion  this  is  another  great  sounding  recording  from  Spectral  Dance  and  if  you  are  a  fan  of  atmospheric,  depressive  and  raw  black  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Standing  Bloodied  And  Victorious"  and  "Cries  From  The  Dungeon".  8  out  of  10. 


Source :

Growth Interview

mercredi 30 décembre 2020 à 21:05


1.For those that have never heard of you before, can you tell us a little bit about he musical project?

Growth was created in 2007, in France, as a one-person band. It blends extreme metal with electronic elements, and influences such as synthpop or gothic rock. To put it short, I label the music as industrial black metal, but to some people it sounds more like death metal, or even grindcore.

The band was restarted in the end of 2019, and has since released 4 EPs (2 tracks each) and a cover of a Carnival in Coal song.

2.Recently you have released a new ep, musically how does it differ from the stuff you have released in the past?

I like to try different things with every new release. This time, because of the theme, I wanted to create a christmassy atmosphere for the track Santa’s Claws. There are still black metal riffs and blasting electronic drums, but also a chorus in major scale, and choirs and bells rather than synths. The second track, Blood under the Christmas tree, is more in line with the usual style, using more electronic elements.

3.Can you tell us a little bit more about the anti Christmas themes, that you cover with the newer release?

Christmas seemed to be a fun way to make a political commentary. In France (and elsewhere), kids are told that Santa brings presents to everyone who deserves it. This poorly hides the fact that you actually get what your parents can afford, and equality is bullshit. But kids are not stupid. Santa’s Claws is about one of them discovering that the game is rigged.

Blood under the Christmas tree deals with the elves, exploited to provide us with cheap goods. They are pictured working in many factories all over the world, until they realize that they can unite against this oppression. There is a bit of hope in both songs.

Antichristmas seemed to be an obvious title to gather those two track. The pun with « antichrist » is totally black metal.

4.On your previous release you also covered some political themes, can you tell us a little bit more about your interest in this topic?

I do cover political themes, but to me, all art is political, wether it is intentional or not. To sum up, I’d say that Growth’s lyrics satirize the narratives used to justify power structures in rich western societies. Christmas tales are one example. The previous release mocked the worshipping of billionnaires, often presented as benevolent job creators while they exploit workers to the point of driving them to suicide. There’s also a song about landlords, who can rightfully own your home and siphon your incomes, which seems normal to many people because that’s the way it is.

Because of these themes, I use the RABM (red & anarchist black metal) tag to describe my work, although the music might not fit precisely under the « black metal » label. It is also a way to contribute in making leftist ideas visible within the genre.

5.What is the meaning and inspiration behind the name 'Growth'?

At the very beginning, the lyrics were focused on the fact that the richest countries keep seeking economic growth at all cost, even if it fucks up the climate. I had turned this concept into a whole album, starting with a merry ode to growth, supposedly the solution to every problem. It ended with an agonizing humanity on a barren planet. Growth can also refer to a tumour, so it was the perfect name for this project.

In hindsight, it was maybe not the best choice for a french person, because I probably pronounce it very badly.

6.Can you tell us a little bit more about the artwork that is presented on the new ep cover?

So far, I made all the artwork myself. Each time, I try to create a picture related with the lyrical themes of the EP. Antichristmas was probably the easiest to come up with: an evil santa with bringing blood-stained presents. It connects to the lyrics of both songs. The corpsepaint and misty forest in the back add some black-metalness.

7.From 2008 to 2019 there was no music being released, can you tell us a little bit more about what has been going on during that time frame?

At the beginning, the music was only made with cheap midi sounds crushed with distortion and very low-fi voice recordings. I released a bunch of songs under the Myspace supremacy, but back then I didn’t have the gear or the know-how to record properly. I had gathered some more skillfull friends to help, but that went nowhere. I think I got fed up, ended the project and moved on. All the tracks released during this first period can still be heard on the Growth and decay of mankind EP.

I only began releasing music again in 2017, with my other bands Astre Noir and Playgirl Killer. Both involve other people, so I wanted to have my own project on the side, to write and record black metal by myself, more spontaneously. While reading old lyrics from Growth, I thought that there was material that I could still use. So, in 2019, instead of creating something new from scratch, I decided to revive this project. But this time, using real instruments as well as electronics.

8.Since 2019 you also have released a good amount of music, do you spend a great amount of your time writing and creating music?

Yes, especially since we spent a lot of time locked down in 2020. I have not been able to rehearse and play live with Playgirl Killer, Astre Noir is moving very slowly, and I had plenty of motivation and time for Growth.

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

Today, everyone can craft and release their own music. If you do so, even in a niche genre, you are drowned in the neverending flow of new music. If you’re not good at promoting yourself (which is my case), you can’t expect much reaction. But the feedbacks I had so far have been mostly positive. The Antichristmas EP seems to have drawn a little more attention than the previous ones, probably because of the seasonal theme. There was even one song broadcasted on a british radio show, which was a very pleasant surprise.

10.When can we expect a full length and also where do you see yourself heading into as a musician during the future?

All the tracks released in 2020 will be gathered into an album, along with a few new ones. I will remaster everything to the best of my ability, to make it sound even. Then I’ll start a new cycle of writing and releasing songs, hopefully on a regular basis.

I will probably stick to the 2-tracks format: it is short enough not to get swamped into the recording and mixing process, yet you can showcase different sides of your music, and work on a common theme for both songs. New music should also be released in 2021 with my other bands.

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?

I think I should mention Rammstein, which was one of my first metal shocks. It rooted my taste for the blend of electronics and heavy guitars. A couple of years later, I got into Carnival in Coal, a french band that used to mix genres such as disco and death metal. It must have have shaped the way I blend genres in my music. I should add black metal in general, post-punk, gothic rock, new wave… Devo or Frank Zappa could also be mentioned.

Nowadays, I find it more difficult to get hooked by something new. I mostly listen to stuff that I already know. But the current band that I listen to the most these days is probably Tribulation.

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

Thank you for your interest! If someone wants to keep an ear on Growth’s music, check the Facebook or bandcamp page.

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