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Temple Of Decay/Last Manifestation Of Life/Black Death Production/2020 EP Review

samedi 10 octobre 2020 à 04:36

 


  Temple  Of  Decay  are  a  band  from  Poland  that  plays  a  mixture  of  black  and  death  metal  and  this  is  a  review  of  their  2020  ep  "Last  Manifestation  Of  Life"  which  was  released  by  Black  Death  Production.


  A  very  fast  and  brutal  sound  starts  off  the  ep  along  with  a  great  amount  of  blast  beats  while  the  riffs  also  add  in  a  decent  amount  of  melody.  Vocals  are  mostly  high  pitched  black  metal  screams  along  with  the  songs  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts  and  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.


  The  music  also  mixes  in  a  great  amount  of  death  metal  elements  while  the  solos  and  leads  also  add  in  more  of  a  chaotic,  melodic  and  old  school  style.  Clean  vocals  can  also  be  heard  briefly  on  a  couple  of  tracks  along  with  the  tremolo  picking  also  giving  the  songs  more  of  a  raw  feeling  when  it  is  utilized  as  well  as  some  songs  also  adding  in  a  small  amount  of  shouting  vocals,  the  sounds  of  wolves  are  also  added  on  one  of  the  tracks


  Temple  Of  Decay  plays  a  musical  style  that takes  black  and  death  metal  and  mixes  them  together  to  create  a  sound  of  their  own.  The  production  sounds  very  professional  while  the  lyrics  are  written  in  a  mixture  of  Polish  and  English  and  cover  dark  themes. 


   In  my  opinion  Temple  Of  Decay  are  a  very  great  sounding  mixture  of  black  and  death  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "Lat  Manifestation  In  Life"  and  "Enlightenment  In  Pain".  8 out  of  10.


https://blackdeathprod.bandcamp.com/album/last-manifestation-of-life   

Source : http://occultblackmetalzine.blogspot.com/2020/10/temple-of-decaylast-manifestation-of.html


Crepuscule d' Hiver/Par-dela noireglaces et brumes-sinistres/Les Acteurs de L' Ombre Productions/2020 FUll Length Review

samedi 10 octobre 2020 à 01:50

 


  Crepuscule  d'  Hiver  are  a  solo  project  from  France  that  plays  a  medieval  form  of  black  metal  and  this  is  a  review  of  his  2020  album  "Par-dela  noireglaces  et  brumes-sinistres"  which  was  released  by  Les  Acteurs  de  L'  Ombre  Productions.


  Dungeon  synth  style  synths  start  off  the  album  and  also  gives  the  music  the  atmosphere  of  a  fantasy  movie  soundtrack  while  also  mixing  in  with  the  heavier  section  of  the  music  at  times.  A  great  portion  of  the  tracks  are  also  very  long  and  epic  in  length  and  when  tremolo  picking  is  utilized  it  also  gives  the  music  more  of  a  raw  feeling.


  Blast  beats  can  also  be  heard  during  the  faster  sections  of  the  songs  while  the  tracks  also  add  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts.  When   guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  along  with  the  music  also  adding  in  a  decent  amount  of  90's  influences.


  All  of the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them  along  with  some  tracks  also  adding  in  some  female  vocals.  The  riffs  also  add  in  a  decent  amount  of  melody  as  well  as  the  music  also  having  its  atmospheric  moments,  a  couple  of tracks  also  introduces  clean  male  vocals  onto  the  recording  and  as  the  album  progresses  a  brief  instrumental  can  also  be  heard.  The  production  sounds  very  professional  while  the lyrics  are  written  in  French  and  cover  medieval  themes.


  In  my  opinion  Crepuscule  d'  Hiver  are  a  very  great  sounding  medieval  black  metal  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "La  sang  sur  ma  lame"  and  "Par-dela  noireglaces  et  brumes-sinistres.  8/5  out  of  10.


 Facebook // Bandcamp


    

Source : http://occultblackmetalzine.blogspot.com/2020/10/crepuscule-d-hiverpar-dela-noireglaces.html


DeathEpoch Interview

samedi 10 octobre 2020 à 00:26

 

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




yes of course. so the plan of action was as follows. after refreshing the tactics of playing the drums after twenty years I wanted to get really hard and fast on them. I recorded maybe six or seven so-called nuclear percussion songs. then I started recording some single riffs. about my friend morgul.on is my publisher, we have been friends for a long time. I think we are even more like blood brothers. He plays guitar and bass, but he also lost playing instruments because of his label. I asked him if he would like to do this material with me. he caught fire with hellish fire and we have the final effect we have.






2.In October you have your first album coming out, can you tell us a little bit more about the musical style you went for on the recording?




Yes, the album is already available on the market, but I never really plan what kind of music it should be. I let my ideas flow like water. of course I have some assumptions but I think 60 percent. the rest is an adventure of chaos and the life of the beast sitting in us.






3.Can you tell us a little bit more about the lyrical topics and subjects you have explored with the new album?




the album is simply devoted to the annihilation of humanity. humans as the stupidest kind of animals are bankrupt. as humans we cannot sustain a so-called planet for all species. sooner or later it is all really fucking like a balloon. people as gray matter cannot understand that we are weak organisms and guests on this planet. and yet we want to be kings in its territory at all costs. It will not succeed. unfortunately 99 percent of people do not know a place in this world. and the CD is dedicated to the only known thing in our doggy life. death








4.What is the meaning and inspiration behind the name 'DeathEpoch'?




the era of death. see what has been going on around us for hundreds of years. humans as a species is a terrible invention. I think the worst. And nature suffers the most. I am also a worm crawling on her shell, but I really try to live with her in symbiosis. Do not disturb and do not harm






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




the cover presents my worldview. Holy prayers for something that is absolutely missing and all this human slime is lost to the ears in it. this is total shit for me






6.Currently there are only 2 members in the band, are you open to expanding the line up or do you prefer to remain a duo/




as of today, such a team composition is sufficient. as of today we have absolutely no plans to play live. if that happens I have a lot of devoted black souls who share the scene with us




7  .You also have some session musicians on the new album, can you tell us a little bit more about who they are and also their contributions to the recording?




maybe I'll say from the beginning all the instruments were recorded by me and morgul. I recorded drums and vocals as well as all idindustrial techno ambient songs. morgul recorded all the guitar tracks and bass. As for our guests, we just asked them to lend us their throats. acheron, diocletian, sinister diabolous and cultes des gholules are great bands for me, so I wanted to do something with them, I'm lucky that they liked our material so we have them on record. that is the whole philosophy








8.On the album you also did some 'Sodom' and 'Acheron' covers, what was the decision behind doing your own versions of their songs?




I am already 40 years old. You know, all my youth were old bands from 1990,2000. I have great respect for them and therefore my decision. and besides, I love to record covers. I like to face them. if I am able to cope with the task






9.One of the members is also involved with other bands, what is it that you bring into the music of 'DeathEpoch' that you are not able to do with your other groups?




you're probably talking about me. yes it's true I have a lot of music projects. I am not a lazy person and full of flies in my nose. I have to act. how i love metal i breathe it day and night for 30 years when i met it. I am a free man and deathvasstator goathrone ... I think It's all but I'm not sure until the end. I am also very active in the covers for bands and the whole layout all this stuff.






10.Another members also runs 'Putrid Cult', what are some of the albums you plan on releasing through the label in the upcoming future?




everything that suits my dark soul and what I can identify with






11.On a worldwide level how has the reaction been to your music by fans of underground metal that have heard it so far?




probably too early to talk about it. it's been too little time since the premiere, however, the first reviews and the response are very loud




12.Where do you see the project heading into musically during the future?




I do not care about it. the time will show




13.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?


oh fuck. there are a million groups that i love. watain blasphemy beherit I think boss you will run out of space if I start replacing it all.






14.How would you describe your views on Occultism?




I'm not going to share this. my path is my path and no one has anything to do with it






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




Amsg.



https://youtu.be/OmY0-Idnf4Y

Source : http://occultblackmetalzine.blogspot.com/2020/10/deathepoch-interview.html


Entropy Created Consciousness Interview

vendredi 9 octobre 2020 à 19:30
1.Can you give us an update on what is going on with the musical project since the recording of the new album?



Antica Memoria di Dis was recorded the same year as the first album and EP, 2017. It was the Darvaza gas crater, constantly lit, its ash falling to make the soil fertile. The material could easily have all come out the same year, or at least sooner than now, but as I searched for avenues to release the first album, I continuously reflected on this fresh material and how it sounded, the directions it took – and did not take. Despite some alterations in the way the costume was sewn, it continued to look the same. Yes, it decorates the same corpse, but releasing a body of work that relies on the same sound, tropes, approaches, genres, and influences is for other artists, not this. Entropy Created Consciousness continues forward up the river despite towing the heavy anchors of the past along. So, having reconsidered Antica multiple times since it was written over the course of a few months in 2017, it felt like too much of the same silt covered the riverbed, and its identity was too caught up in the ancient. Appealing to a sound as it already existed made it still, one-dimensional, unbreathing, unrealized; the river had to be dredged. Because the release order is important, Innocence and Experience had to come out first, essentially unchanged from its original inception despite my ongoing reassessment of the other new soil being tilled – it relied too heavily on the initial work by using more Blake lyrics and similar production. Antica finally finished its metamorphosis earlier this year.





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



First, the EP is the antecedent: riffs changed musculature, The Archivist made his first contribution of Moog, and the maelstrom churned toward new paths. Vocally, it acts as an addendum to Impressions of the Morning Star, yet the sonicscape yearns to devour new tastes: it is unified, masculine ligatures covering harmonious contours of feminine forms. Once it was written, the new shapes that formed were leaner, less frenzied, with different influences coming to the fore: Pale Folklore crawled from the forest, Blood Fire Death from the river, Engram from the moon (through the Moonlight Gate), Boris from the smoke. The Archivist contributed noise atop dense clouds I had already painted on the grey. Later, as this double EP evolved, new atmospheres became required to illustrate and elaborate on the story of the Inferno: industrial sturm und drang aided the drums by QD to emphasize with truss abrasions and broken glass; sections that had been black metal became gothic silhouettes reaching across cathedral spires. Every corner has something new attempted. It does not stay still.





3.The lyrics on the new album are based upon the writings of Dane, can you tell us a little bit more about his interest in his work?



Dante is, of course, nothing new for the genre, just as Blake was not either. The setting created by the music was no longer Blakian, though; where elegance and decorum once stood, a fierce brute had merely left shreds. There are some elegant glimpses that break up the scrapes of teeth against bone, but overall, Antica is relentless, churning a cauldron of knives. It seemed appropriate to descend toward the frozen lake with Dante and Virgil in turn. There is a particularly human viciousness in the Inferno hitherto unexplored by the Blake works I used: punishment, sin, regret, politics, the methodology by which history masticates philosophy and intention. And so the study of Paradise Lost and Heart of Darkness also ensued in the swirling mass – after all, who are Marlow and Kurtz but Dante and Satan? For that matter, is Dante’s journey really just experiencing, then transcending, sin and his own nature toward the heavenly divine? This is the end of the same river, smelling of slow death, malaria, nightmares.





4.The lyrics on the new album where based upon the writings of William Blake, can you tell us a little bit more about your interest in his work and are there any other authors that you plan on exploring on future releases?



Impressions of the Morning Star (and Innocence and Experience) is an examination of a variety of Blake’s writings focusing on a single through-line in his work: his many allusions to, and stand-ins for, Satan. Are the dark Satanic mills really just the industrial revolution in Albion, the pleasant pastures just the Felpham countryside, building Jerusalem just bringing Christianity to the great unwashed whose backs are turned, as the hymns would have you understand? Who is Urizen really, and why did Blake create his own mythology when all deities reside in the human breast? Is it holy Biblical principles that stand when the doors of perception are cleansed? The album and EP use his work to present a statement underlying everything he has left us, clearing away the soil to reveal the coffin replete with ash beneath. As for the future, the next release again examines a specific work, but not by Dante or Blake. All will be revealed in time.





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



An elaborate art package was idealized by me and materialized by QD, who also played drums on this release before I mangled and contorted them. He has a gift in both respects, and his design sense is essential to this presentation. Because Antica Memoria di Dis is two separate but related EPs, they are presented separately, yet aesthetically have a clear, singular identity; two halves. Thus, all physical packages will proffer them together, wrapped in a slipcase with the identity of one per side. The booklet included with all releases (including digital) has its own cover optimized for each, but these are not the total visual identity of the work. A vinyl package would be its own elaboration unique to the format, should interest to release that be asserted in the future – it remains embodied in cassette and digital at the moment. This aesthetic explores Dante’s journey from the forest dark to the aperture of the stars and all of the challenges between in a fever dream of forms ghastly and alluring; that is, of course, if Dante ever left the forest at all.





6.You are listed as being from an unknown location,are you planing on revealing where the project is based in the future?



Identity is the work. That people so strongly desire a face or a name for artists, though created by the human condition, is (nevertheless) detrimental to art. Consider how much art exists purely as a pernicious inflation and exacerbation of ego; how required it is for the artist to say “I say” and “you do” so that the listener can take on the shape of a piece of art, or feel it describes them, or think it encases their experience as endowed by another. Enough of this exists already, which is why the populace continues discovering and espousing ancient works from entirely differing contexts just as often as they do contemporary objects reflecting their identity and convictions. Do Blake and Dante consider, even explore this human abstract? I would not disagree if your answer were affirmative. But are they bound by it?





7.The new album is going to be self released but you have worked with a label in the past, are you open to working with a new label again in the future?



Label architecture is a thing of wonder and also horror. Some are run in earnest, of course: the honest attraction to endeavors and conjuring of objets d’art. But it is also a business, and in the small corner on this map where Entropy Created Consciousness resides, economics are void. Two contrary states existing in a single moment, like a desperate Keats poem. I remain open to this aged, creaking architecture because I must be, and am thankful people like Folkvangr and Throne Records have been interested at all – they are excellent at what they do.





8.You record most of the music by yourself, are you open to working with other musicians or do you prefer to work solo?



Several other people have contributed to Antica Memoria di Dis as mentioned: beyond The Archivist and QD, Juiblex lends his throat-ripping howls in choice moments that needed emphasis. They all have something unique to offer in a voice that complements my own. Others that meet this criteria will be involved in the future.





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



I do not concern myself with these things. Others can count numbers, appeal to algorithms, and rummage through the rubbish bins of opinion where reason, taste, and comprehension are exterminated like pests. The statement remains – regardless of responses to it.





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



The next release hones in on drone and noise to demonstrate its wretched work, though black and doom metal still have their place in choice moments of depravity. It is also more collaborative than the discography so far. Future works remain in the primordial liquid state, waiting with an infinite patience to assemble themselves and present me the mold into which they wish to be poured. The mills grind slowly but never halt.





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?



Influence is carried on winds of myriad origins. Beyond the acts aforementioned and the obvious classics, Antica Memoria di Dis is fed by much of the current crop in black metal: Almyrkvi, Blaze of Perdition, Zhrine, Schammasch, Au-Dessus, Venenum, Wode, Sinmara, The Ruins of Beverast, Lluvia, Aosoth, Jordablod, Fen, Dynfari, Battle Dagorath, Abkehr, Auðn. We live in a renaissance of the genre. Perhaps the most obvious influence in that sphere, however, is Blut Aus Nord; the relentlessness, the ever-changing palette, the total lack of limitation. Only Ulver rivals their sheer commitment to the true spirit of black metal: fearless vision. So many acts hide behind and attempt to use political and ideological divides to cry for attention, as if peddling their sketchbook t-shirts to bootlickers is evidence of commitment to a vocation. Meanwhile, at the eye of the black metal storm, there is no ideology, no politics, no devotion: just all possibilities simultaneously reaching out in every direction as branches from a single trunk. It is not for one group of people posing in KISS costumes to play their Darkthrone covers. The mark of the mind untrained is considering its own processes valid for all, its own judgements for absolute truth.






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


Black metal is an empty stream, a great silence, an impenetrable forest. There is no joy in the brilliance of sunshine. The long stretches of the waterway run on, deserted, into the gloom of overshadowed distances; you lose your way here as you would in a desert, until you think yourself bewitched and cut off forever from everything you had known once – somewhere – far away in another existence. There are moments when one's past is conjured within, but it ventures forth in the shape of an unrestful and noisy dream, remembered with wonder amongst the overwhelming realities of this aberrant void of water and silence. And this stillness of life does not resemble peace: it is the stillness of an implacable force brooding over an inscrutable intention. It both is and is not the same river upon every step. It regards you with a vengeful aspect.





 ENTROPY CREATED CONSCIOUSNESS


Source : http://occultblackmetalzine.blogspot.com/2020/10/entropy-created-consciousness-interview.html


Griffon/o Theos o Basileus/Les Acteurs de L' Ombre Productions/2020 Full Length Review

vendredi 9 octobre 2020 à 05:08

 


  Griffon  are  a  band  from  France  that  has  had  music  reviewed  before  in  this  zine  and  plays  a  medieval  form  of  black  metal  and  this  is  a  review  of  their  2020  album  "o  Theos  o  Bastileus"  which  will  be  released  on  October  23rd  by  Les  Acteurs  de  L'  Ombre  Productions.


  Dark  soundscapes  and  spoken  word  parts  start  off  the  album  while  the  acoustic  guitars  also  give  the  music  more  of  a  medieval  atmosphere.  The  heavy  riffs  also  add  in  a  great  amount  of  melody  along  with  the  faster  sections  of  the  songs  also  adding  in  a  decent  amount  of  blast  beats  and  tremolo  picking  which  also  gives  the  music  more  of  a  raw  feeling.    


  Vocals  are  mostly  high  pitched  black  metal  screams  while  the  songs  also  add  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  along  with  some  folk  elements  also  being  used  briefly  as  well  as  all  of  the  musical  instruments  on  the  recording  also  having  a  very  powerful  sound  to  them. 


  When  keyboards  are  utilized  they  also  give  the  music  more  of  an  epic  atmosphere  along  with  some  pagan  chants  also  being  utilized  briefly  as  well  as  the songs  also  showing  an  influence  of  classical  music  at  times,  some  of  the  tracks  are  also  long  and  epic  in  length  and  one  track  also  adds  in  a  brief  use  of  death  metal  growls  and  as  the  album  progresses  a  brief  use  of  clean  vocals  and  throat  singing  can  also  be  heard.  The  production  sounds  very  professional  while  the  lyrics  are  written  in  a  mixture  of  French  and  English  and  cover  the  relationship  between  temporal  and  spiritual  powers.


  In  my  opinion  this  is  another  great  sounding  album  from  Griffon  and  if  you  are  a  fan  of  melodic  medieval  black  metal,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "L'Ost  Capetien"  "Abomination"  and  "Apotheosis".8out  of  10.


 Facebook // Instagram // Bandcamp 

Source : http://occultblackmetalzine.blogspot.com/2020/10/griffono-theos-o-basileusles-acteurs-de.html