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Yaldabaoth Interview

mercredi 5 décembre 2018 à 06:19
1.For those that have never heard of you before, can you tell us a little bit about the band? 

XII.XIX.XII: The Yaldabaoth project started between June and July, 2017. I was appreciating the opus “Ophis Christos” from the Brazilian entity Ain Sof Aur, seeing the booklet, looking at those illustrations that awaken myself curiosity and anxiety to get my knowledge deeper. Decided join with XXIII.IV.IV to talk about it, such that he has an extreme facility to interpretations based in the theme topics. Then we had the idea to create a project about the Gnosticism and the occult knowledge.

Yaldabaoth is: XII.XIX.XII – All Instruments and Vocals XXIII.IV.IV – Lyrics 

2.In January you had released a demo, can you tell us a little bit more about the musical style you wnt for on the recording?

XII.XIX.XII: We decided to show our reinterprets through the infernal and dark atmosphere of black metal. I believe this is an art that adorns perfectly with the theme we are writing.

3.Both the lyrics and bands name comes from 'Nag Hammadi' and Gnosticism, can you tell us a little bit more about your interest in those topics?

XXIII.IV.IV: The interest by Gnosticism came from the perception by how the christianity always set the debate about their own deviant heresies and ducts. It was the christians who created all the narratives and iconographies about the evil, about hell, about witchcraft, about Lucifer and his demons over the centuries, in its trajectory of domination of the culture and suppression of other religions and social relationships. Many hosts adopt that christian iconography and narrative (that defines this group of oppositions) to position deliberately to the dark side strengths. The Yaldabaoth project wanted to go beyond the affirmation of evil by evil in the inner of the christian cosmovision. 
We decided to take the initiative to guide a narrative of the christianity, inverting the polarity. The good is bad, the bad is good. We intend to redeem Lucifer as a
humanity benefactor, that desires his freedom from an oppressive system, controlled by an absolutist and insane monarch, that is god of Israel. A promethean that brought the fire to the men, and that was punished by Olympus for want the creatures become creators. In this sense, we used the Gnosticism as a tool to inquire the christian narrative and rip the veil of their cosmologic conventions. As the goal is to redeem Satan, it becomes in using of the Left Hand Path.
In this sense, we’ll step forward to transform the releases in chapters of am epic narrative, about the creation of the world and a demiurge that goes crazy and tries to imprison its creatures, and about the fight of Lucifer to free these creatures of slavery. The Gnosticism give us the narrative and the tools to confront christianity and creativity to reorganize the history.

4.A lot of the 'Gnostic' scriptures contain a lot of material that was suppressed by the Biblical scholars, do you feel that if the truth was actually exposed in those days the Roman Empire and other piliticians would never of been able to make Christianity the main religion like it has been since the 4th century?

XXIII.IV.IV: The basis of what was to be the christianity emerged in the growing fertile region (Egypt, Mesopotamia, Assyria, Palestine, north of Turkey, Baluchistan, Crete) in the cooper age [1300 – 700 B.C.].
The skin colors were of kaleidoscopic multiplicity, although their cultural, linguistic and social expressions communed by a common ground. In this sense, the old testament books (taken from the Jews) is a mix of Sumerian traditions (the resemblance of genesis with Enuma Elish is impressive), Egyptian (many psalms are so similar with the contents of book of the dead) and people of the palestinian region (many of the ecclesiastical books are linked with the Hamurabic legislation). Some episodes of the Exodus imply that the hebrews were deeply divided about the cult to Yahweh, and they adopted female deities, as the iconic Golden Calf. Only resume in the contemporary bible the book of judges and prophets to witness the vainly and endless effort of specifics political authorities to separate Hebrews of Philistines, Canaanites, Sadducees and others. It was during the Israelite kingdoms that Torá emerged from a temptation of organize the oral and written tradition of many people subdued by David’s dynasty (+/- 1000 B.C), eliminating many scripts and forging others, all in the name of a coherence that would give the impression of predestination and theology. The political purpose is perceived by this effort, that is absolutist and centralizer. Something that we saw in Akanaton’s Egypt, in the Achaemenids dynasties of Persia. 
The successive Babylonian, Persian and Roman achievements from the Jewish Palestine region only cooperated with the cultural syncretism which was the appropriate field to the emergence of uncountable philosophical and religious
chains, by where was born the primitive christianity. In its origin was a chaotic swirl of Neoplatonism, Pythagorean exoterism, Jewish Kabbalah and many mythologies with Mesopotamian and Egyptian basis.
Add this to the salvationist and ecumenical purpose of the Persian Zoroastrianism and the human history while a Manicheism’s opposite game, then you have a popular religion that was spread as wild fire in the periphery of the roman empire, mainly through the slaves of many backgrounds, culturally uprooted and physically and psychologically weakened.
To the extent that the roman status quo realized the gregarious potential of the new religion, effective in take conquered people belonging to a community which has a broad sense than concept of roman citizenship (at the time not extendable to slaves), tried to equip this region and empties it of its revolutionary potential. We shouldn’t forget that while christianity was only a jewish heresy, it was relentlessly followed by Roman State, and only was officially adopted when the barbarian invasions threated the integrity of the empire. So ecclesiastic christianity comes as we know it, that seeks to organize the official cannon of its hierarchical religion taking some books and scripts that would be convenient, and throwing away some others, all generated by this cultural mix of the medium orient, in a successive series of councils, the most relevant than all in Nicea (325 A.C.)
In short, the church discarded many books that were contradictories with the political purpose of association. The Bible is a group of books that not always has relationship by itself, just put together to purposes of power upon the assembly. 

5.You also add a Luciferian and Left Hand Path approach to the story, can you tell us a little bit more about your interest in the dark arts?

XXIII.IV.IV: Our interest came by subversion of the political, cultural and religious power’s hierarchy, that limits every associative possibilities of the human being. The history of Lucifer, formed by a very broad set of narratives that extrapolate the bible is of the archetype of the rebel, present in so many mythologies like the one who opposes to the dominat order and encourages riots.

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

XXIII.IV.IV: The cover artwork is about a geometric representation of Pleroma, about an image of a matron in formation/decomposition state that represent the Aeon Sophia leaving the ideal world and falling in the transitory world of matter, represented by the roman ruins in the region of Palmira (current Syria).
7.On the demo you work as a duo, are you open to using a full line upin the studio or do you prefer to remain a duo?

XII.XIX.XII: Yaldabaoth project was formed as a duo and it will be a duo. About some shows, i could get together some people who will give some support in the stage, but i don’t have any marked date yet.

8.What are some of the best shows that the band has played so far and also how would you describe your stage performance?

XII.XIX.XII: we never played live yet. It’s still a future plan.

9.Do you have any touring or show plans for the future?

XII.XIX.XII: I cannot say it yet, probably not.

10.The demo was released on 'Balrogh Records', can you tell us a little bit more about this label?

XII.XIX.XII: This label is the first support we had. Cajado, the owner, gave us all the support to release our first episode “A Queda de Sophia” in cassette format, limited to 

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

XII.XIX.XII: Our priority always was do it by ourselves to the world, for those who want to know about our reinterpret of the gnostic themes. Although we had positive critics and support from a lot of very important people in the Brazilian black metal scene, including our influences.

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

XII.XIX.XII: Parallel to Yaldabaoth, i have an atmospheric depressive music project called Allonair. It’s an escape valve that i used to compose songs about personal problems, not necessarily of mine. Allonair has three records released: “Your Life Ends Here” (Full Length), “Hopeless” (EP) and “Alone With My Thoughts” (Full Length). I’m working at a new release at moment, maybe another full, maybe a split album, I don’t know.
I have also an old school black metal band called Helliancy. It has two demos released: Alliance From Hell and Decay Of Our Mind. In the beginning of 2019, I’ll release the third demo “Kill The God In You”. This project is holding on, i’m think about to split up with it.
Then I have more two projects in the paper: Occult Knowledge and Etéreo. News will be announced soon. 

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

XXIII.IV.IV: In the past, we defined a Gnostic Topography of the metaphysic universe (Pleroma) and Physic (the world created by Yaldabaoth) and the mediation between the plans done by the Tree of Life, created from the initiative of the Aeon Sophia (in our interpretation). Indeed, it’s something analogue that Dante has done in Divine Comedy, when describing the geography of hell, purgatory and heaven, but our goal is not apology to the christianity, but rather a incisive critic. Now we’ll make a similar itinerary to John Milton in Lost Paradise, but our Lucifer will be more noble and will have help of many other instances of power. 

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

XII.XIX.XII: My influences are Brazilian bands that I show my total respect, like Vobiscum Inferni, Ain Sof Aur, Black Achemoth, Vulturine and Spell Forest. Today I’m listening to some Funeral Doom metal bands like HellLight and Clouds.

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

XXIII.IV.IV: The religions of the world are stagnant in their interpretations to a premodern hermeneutic, which is unable to meet challenges of a technological and constantly transformation reality. It becomes the shelter of a dangerous reactionary that threats to provoke a conflict which can become nuclear, leading
to the human extinction. It supports productive practices and forms of association between the human being that are leading to a mass extinction of species, to the global warming, and the collapse of the marine life and the other ecosystems. No more anesthetics are given to the existence’s pain, only of conviction to where should exist doubts. The multitude of desperate believers put their religious leaders in power position in the State whose dilemmas, long time ago, exceed those from Cooper  Age. In this case, Yaldabaoth only says: FLY OR DIE!  

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Lucifer's Child/The Order/Agonia Records/2018 CD Review

mercredi 5 décembre 2018 à 06:00

  Lucifer's  Child  are  a  band  from  Greece  that  plays  a  very  atmospheric  and  progressive  form of  occult  black  metal  and  this  is  a  review  of  their  2018  album  "The  Order"  which  was  released  by  Agonia  Records.

  A  very  distorted  sound  starts  off  the  album  along  with  some  grim  black  metal  screams  a  few  seconds  later  while  the  faster  sections  of  the  songs  also  use  a  great  amount  of  tremolo  picking  and  blast  beats  which  also  gives  the  music  more  of  a  raw  feeling  as  well  as  the  solos  and  leads  being  done  in  a  very  melodic  style.

  Ritualistic  chants  can  also  be  heard  in  certain  sections  of  the  recording  while  the  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts  along  with  the  music  also  having  its  progressive  and  atmospheric  moments  as  well  as  the  riffs  also  adding  in  a  great  amount  of  melody,  acoustic  guitars  can  also  be  heard  briefly  and  as  the  album  progresses  a  brief  use  of  spoken  word  parts  are  also  added  into  the  music.

  Lucifer's  Child  plays  a  style  of  occult  black  metal  that  is  very  progressive  and  atmospheric  sounding  while  also  having  its  raw  and  aggressive  moments,  the  production  sounds  very  professional  while t he  lyrics  cover  Occultism  and  Luciferian  themes.

  In  my  opinion  Lucifer's  Child  are  a  very  great  sounding  atmospheric  and  progressive  occult  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Viva  Morte"  "Through  Fire  We  Burn"  and  "Siste  Farvel".  8/5  out  of  10.

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Omgeving Interview

mercredi 5 décembre 2018 à 02:35
1.For those that have never heard of you before, can you tell us a little bit about the musical project?
“Omgeving” is an experimental musical project from Dutch musician Franck Johanson (DISTILLATOR) where the listener is meant to interpret the sound as auditory landscapes, every texture part of a broader perception that has been created. The first Omgeving album crosses the boundaries of black metal, space rock, ambient, and doom. It is an entirely instrumental work based on conjuring imagery through soundscapes, through tones and frequencies that transport you through inner and outer space.

2.You have your first album coming out in December, can you tell us a little bit more about the musical style you went for on the recording?
I love the big sound of Opera, the coldness in Black Metal, the slow drone of Doom and the dreamy sounds of Space Rock. I was wondering how this would sound when I combined these elements into one big epic soundtrack. When I wrote the first song I wanted to force myself to let go of typical metal boundaries, two guitars, bass and a drummer. I just wanted to create really big epic pieces, so sometimes I used 6 guitars all playing different lines. This ended up in sounds that I really liked and got me new inspiration. From there the whole project started to come together.

3.Most of the music is instrumental, are there any plans to add vocals or lyrics on future releases?
The whole album “Wijde Wijdte” was written to be an instrumental album. It’s not an album like any other regular album. This album is to help the listener unfold a better setting to let their own imagination flow. Most of the time singers are a big distraction from the music in my opinion. Singing is also like talking to someone, and that’s exactly what I was not intending to do. I want people to listen and to help them create an environment to explore their own mind.

4.What is the meaning and inspiration behind the name 'Omgeving'?
Omgeving is a Dutch word. It has a pretty vague definition. It’s not something you can touch, it’s not something that can be described specifically. That is exactly the definition of the music. Translation can be different for everyone.

5.Can you tell us a little bit more about the artwork that is presented on the album cover?
What you see is an imaginary world. This represents the auditory landscapes that have been recorded on the album. I’m very much in love with the colors (not really Black Metal is it).
The artwork on the frontcover is done by Kuba Kujawa. He is a Polish artist currently living in Denmark. He is a fantastic artist and has got a really great Instagram feed.

6.With this project you record everything by yourself but also have experience playing with a full line up, how would you compare the two?
This whole album is written, recorded and mixed by me. It was the first time for me to do something like this. For my band Distillator I work together with two other people to write an album. Within my band we have a very solid songwriting team. We complement each other and get the best performance out of each other. This time was a little different. It was a really good experience to be fully responsible for every detail on the album. I had 100% freedom to do whatever I wanted to do, to experiment as much as I wanted and to go as far away from the Metal genre as I could. This allowed me to write music that I never thought about.

7.The album is coming out on 'Hypnotic Dirge Records', how did you get in contact with this label?
I was looking for a label to release this album and got to know Hypnotic Dirge Records via social media channels. I really love the philosophy of the label and the way Nic is working. They did some great releases in the past. There were other labels interested too, but they did not gave me the same feeling as Nic did. So for me it was easy to go with HDR and release the album. 

8,.On a worldwide level how has the reaction been to your music by fans of black and underground metal?
The response is very good so far. I was a little bit worried that it might be too abstract/alternative for the Black Metal community at some points in the album. But people seem to like it very much.

9.What is going on with 'Distillator' these days?
We are very busy touring, playing shows and writing new material for the third album which is the last concept album in our trilogy. We all have improved our instrument skills since the start of the band and we really starting pushing boundaries of what is Thrash Metal on this album. I’m super excited to let people hear some music, but we’re still in demo phase haha. It probably might take another year or so. We just want to release a killer album.

10.Where do you see yourself heading into as a musician in the future?
Currently I’m writing a lot of music in my studio. I’m working on a follow up for “Wijde Wijdte”, I’m working on a third album for Distillator and I’m in finishing phase with another small experimental project I do with a rapper. Next to that I’m recording music under my name: Franck Johanson, which I released a track on Spotify this year.

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?
Since the birth of global internet I listened to so many music. It’s great to have access to all kinds of genres, artists, bands, labels, etc.. I love Black Metal, Thrash Metal, Doom Metal, Ambient, GOA, Techno, Avant Garde, Classical, Jazz, Hip Hop. So this allows me to constantly get new inspiration to write music. I think people should embrace modern technology and start making use of it. It’s such a shame that people think within boxes in the metal community. There is so much great music in all genres to be found online. Once you open your mind, magic will happen.

12.What are some of your non musical interests?
I got a big interest for Graphical design, Art and culture.

13.Before we wrap up this interview, do you have any final words or thoughts?
Thank you for letting me talk about my new album. Check out Hypnotic Dirge Records and stay open minded.

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Fallen Tyrant Interview

mercredi 5 décembre 2018 à 02:21
1. For those that have never heard of you before, can you tell us a little bit about the band?

Fallen Tyrant is a black metal trio from Darmstadt, that’s a bit south of Frankfurt in Germany. We’ve been around for quite a while, and we have just released our second album, “Children of a Nuclear Dawn” via Bleeding Heart Nihilist Productions from Berlin. This is Mithras answering your questions, I’m the guitarist and vocalist in Fallen Tyrant.

2. Recently you have released a new album, what are some of the things the band has done different musically with this recording that you where not able to do on previous releases?

Nothing that was planned. I think the songs and the production turned out better this time. Overall, it’s a bit faster and more aggressive than “No World To Win, A Life To Lose” I guess. There’s a lyrical concept throughout the album, but we didn’t really sit down and said hey, let’s make a concept album. It just happened. So we didn’t really do anything different, but it ended up with a very different result.
One thing that may have had an impact is that we have a different bass player than on the previous releases, and the guy is quite good… so we could go for more elaborate bass lines in some tracks.

3. This is your first release in 5 years, can you tell us a little bit more about what has been going on during that time span?

The album had been written and recorded by early 2016. Up to that point it was songwriting, rehearsals, arrangement. From that point on, we were delayed by a multitude of different personal and organisational issues I’d rather not elaborate on. Let’s just say, we all had a bit of a rough time.

4. The lyrics on the new album cover a lot of war topics, can you tell us a little bit more about your interest in this subject?

That’s actually not even true. The album revolves around dystopia and societal collapse, and the different forces at play there. Of course, once something has seriously gone wrong inside a society, war is the outcome in most cases. I think it may be pointless to explain too much, as the listener’s own interpretation can be more interesting than the artist’s intention in some cases… but generally, the thread running through all things Fallen Tyrant is the question of individuality, creativity and destruction, and the balance of these, in society as well as in oneself.

I think everyone is born with curiosity and creativity, but also malice. They’re different sides of the same coin. In one of the songs I took the – admittedly slightly corny – analogy of the black flame burning inside of us. If let loose completely, destruction reigns. It needs to be harnessed, controlled and used wisely, but not suppressed – because then the outcome is inevitably complete madness as well. I think this main theme is essentially what makes Fallen Tyrant “black metal” instead of just pissed-off rock music with weird facepaint.

Get the connection to the dystopia/war theme yet? If not, pay more attention to what’s going on around you. You’re in for a rude awakening.

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

That guy up on the pedestal? Yeah, fuck him.

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

That was painted by Luciana Nedelea based on the lyrical concept of the album… or better, it is a continuation of the lyrical concept. We point out the issues, what you can see on the cover artwork is the final result. To be fair, it did end up looking more like a Morbid Angel record than a black metal album, but we found it to be a good fit anyway.

7. Originally the band started out as a solo project, what was the decision behind expanding into a full line up?

Couldn’t pull it off alone, it’s that simple. Find my solo demos somewhere on the internet and listen to them, you’ll find out why I needed a band.

8. What are some of the best shows that the band has played so far and also how would you describe your stage performance?

I tend to remember the shit ones much more lively than the good ones. But one that I remember especially fondly was Leipzig in 2012 – not because it was all that great, but it was the first gig where I had the feeling “hey, this is working, we may be onto something here.” I think recent highlights were Metaldays 2017, which should be on both the best and worst list for a number of reasons, and our release concert here at home a few days back.

Performance wise, well, we try to get that type of dark, somewhat destructive energy over to the people that can be so uplifting at the same time… remember the black flame thing? The only way we can do that is by putting our hearts and souls into it. The facepaint, candles and military gear of course look flashy on stage, but that’s not the main purpose of all that stuff. It’s part of the transformation into a bunch of raging maniacs, which is what we need to be to deliver what we want to deliver. I can’t really describe the stage performance from the outside, although I have of course seen pictures and footage. It’s aggressive, fast, loud, energetic and hopefully well executed, that much I can say.

9. Do you have any touring or show plans for the new album?

We’ll see. Touring maybe not so much, but a number of good gigs would be nice. But we already see some interest from promoters, even though album promotion has just started. So you’ll see us around, I’m sure.

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

Not sure, the album has only been out for a few days. But the little feedback we received so far has been very favorable.

11. 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?

So I, Mithras, am part of Wight, a progressive rock band, where I play bass. We’ve released three albums so far, but took a break in 2018 and are just kick-starting the band back to life at the moment. I also play bass in Glanville, an old school heavy metal band. We have released a first EP in 2018 and did a small tour. Great fun.

Our bass player Nihlathak plays guitar and is one of the songwriters in Angur. That’s basically a (pagan) black metal band as well, but with a much different approach. Slightly more modern, proper heavy stuff with some skill and passion. Check it out.

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

Good question. I see ourselves doing what we do and getting better at it. Riffs and ideas flow out of us without much control, so it comes down to what we make of them. That’s also where the band comes in… I think we’re making progress by becoming a better unit. We have some interesting new songs already written, and they’re all quite different. Maybe the challenge will be making a coherent album this time – but we’ll do it, rest assured.

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?

That’s quite a general question. I myself am also active in other musical genres and also listen to a lot of other things besides metal – jazz, funk, world music, prog, you name it. You will not see any directly traceable influence from that in Fallen Tyrant, we have chosen to play black metal, and that it will remain. No need for “hey, let’s go for a weird funky guitar here and some technical death metal break there.” What happens is that I come across melodic or rhythmic patterns from other types of music and find a way to make a good black metal riff out of that without anyone noticing that that was ripped off blind from let’s say some funk song. Taking all that influence and cramming it into this limited style of black metal, relying on tried and true formulas while still saying something new and different – that’s the challenge, that’s what keeps it interesting to me. And I see that in my bandmates as well, everyone in the band contributes, but of course everyone has their own approach to it.

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

German black metal is pedestrian… in the truest sense of the word.

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(The True)Veiled/In Blinding Presence/Into Chaos Records/2019 CD Review

mardi 4 décembre 2018 à 03:14

  (The  True)  Veiled  are  a  band  from Germany  that  plays  a  very  psychotic  form  of  black  metal  and  this  is  a  review  of  their  album  "In  Binding  Presence"  which  will  be  released  in  2019  by  Into  Chaos  Records.

  A  very  dark  sounding  intro  starts  off  the album  before  going  into  a  very  fast  and  raw  musical  direction  which  also  uses  a  great  amount  of  tremolo  picking  and  blast  beats  while  the  vocals  are  mostly  high  pitched  black  metal  screams  along  with  a  couple  of  the  tracks  being  very  long  and  epic  in  length.

  Throughout  the  recording  you  can  also  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  the  riffs  also  add  in  a  decent  amount  of  melody  along  with  the  solos  and  leads  also  giving  the  music  more  of  a  psychotic  edge  as  well  as  all  of  the  musical  instruments  having  a  very  powerful  sound  to  them  and  clean  playing  can  also  be  heard  in  certain  sections  of  the  recording  and  the  music  also  adds  in a  great  amount  of  monochromatic  structures  and  female  vocals  can  also  be  heard  briefly  towards  the  end.

  (The  True  Veiled)  plays  a  style  of  black  metal  that  is  very  raw,  original  and  psychotic  sounding,  the  production  sounds  very  dark  and  raw  while  the  lyrics  cover  dark and  psychotic  themes.

  In  my  opinion  (The  True)Veiled  are  a  very  great  sounding  psychotic  black  metal  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Triunity"  "Saintly  Aisles"  and  "Bringer  Of  Lambency".  8  out  of  10.


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