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Cefaris/Ritual Of Vampyric Blood/Humanity's Plague Producitons/2021 CD Re-Issue Review

mercredi 27 octobre 2021 à 04:12


  Cefaris  are  a  solo  project  form  Canada  that  plays  a  mixture  of  vampyric  black  metal,  dungeon  synth  and  dark  ambient  and  this  is  a  review  of  his  2019  album  "Ritual  Of  Vampyric  blood"  which  was  re-issued  in  2021  by  Humanity's  Plague  Productions.

  Dungeon  synth  style  synths  start  off  the  album  while  also  adding  in  a  variety  of  many  different  sounding  keys.  Elements  of  dark  ambient  are  also  utilized  quite  a  bit  throughout  the  recording  along  with  a  couple  of  the  tracks  also  being  very  long  and  epic  in  length  and  some  of  the  tracks  are  also  instrumental.

  When  percussion  is  utilized  it  also  gives  the  music  more  of  a  shamanistic,  tribal  and  ritualistic  feeling.  Vocals  are  mostly  tortured  sounding  black  metal  screams  along  with  all  of  the  tracks  also  sounding  very  different  from  each  other  as  well  as  the  music  also  capturing  the  atmosphere  of  a  very  dark  underground  horror  movie  or  nightmare,  programmed  beats  are  also  added  on  some  of  the  songs.

  Cefaris  plays  a  musical  style  that  takes  vampyric  black  metal,  dungeon  synth  and  dark  ambient  and  mixes  them  together  to  create  a  sound  of  his  own.  The  production  sounds  very  dark  while  the  lyrics  cover  vampirism,  occultism,  sorcery,  death  and  darkness  themes.

  In  my  opinion  Cefaris  are  a  very  great  sounding  mixture  of  vampyric  black  metal,  dark  ambient  and  dungeon  synth  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Death  To  The  False  King"  "Unholy  Sorcery  Under  The  Sanguine  Moon"  and  "Into  The  Spirit  keeper's  Tomb".  8  out  of  10.  

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Sapientia ov Atlantis/The Lips Of Wisdom On Ears Of Understanding/2021 EP Review

mercredi 27 octobre 2021 à 03:06


  Sapientia  ov  Atlantis  are  a  solo  project  from  Sri  Lanka  that  plays  raw  and  symphonic  mixture  of  occult  black  and  death  metal  and  this  is  a  review  of  his  self  released  2021  ep  "The  Lips  Of  Wisdom  On  Ears  Of  Understanding".

  A  very  dark  yet  heavy  death  medal  influenced  sound  starts  off  the  ep  along  with  some  grim  black  metal  screams  a  few  seconds  later.  A  lot  of  the  music  also  brings  back  the  classic  90's  underground  demo  style  and  symphonic  elements  are  also  mixed  in  with  the  heavier  sections  of  the  songs.

  A  small  amount  of  melody  can  also  be  heard  in  the  guitar  riffing  at  times  while  the  faster  sections  of  the  songs  also  add  in  a  decent  amount  of  tremolo  picking  and  blast  beats  which  also  gives  the  music  more  of  a  raw  feeling.  Clean  vocals  can  also  be  heard  in  certain  sections  of  the  recording  along  with  the  tracks  also  adding  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts,  one  song  also  added  in  a  brief  use  of  whispered  vocals.

  Sapientia  ov  Atlantis  takes  the  90's  era  of  raw  and  symphonic  black  metal  and  mixes  it  with  death  metal  to  create  a  sound  of  his  own.  The  production  sounds  very  dark  and  raw  while  the  lyrics  cover  Occultism,  Atlantean,  Egyptian,  Sumerian  and  Demonology  themes.

  In  my  opinion  Sapientia  ov  Atlantis  are  a  very  great  sounding  raw  and  symphonic  mixture  of  occult  black  and  death  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Awakened  Cosmic  Harmony"  and  "Demonic  Alliance  in  Amenti".  8  out  of  10.


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Cogas Interview

mercredi 27 octobre 2021 à 02:28


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

Hello! Thank you so much for this interview!

 After releasing the album we are finally playing live, which for us is vital and I am happy to tell you that we are already starting to write new music!

2.Recently you have released a new album, musically how does it differ from your previous ep's?

Yes, "Unconscious Sons Of The Reptile God" is the closure of a circle that started three years ago, the differences between this album and our first Ep "At the Gates of Pazuzu"are obviously many,starting from the quality of the sound,going through the music, however the Ep and the full lenght are linked by the same narrative,we could say that "At the Gates of Pazuzu" is the birth of our Coga and "Unconscious Sons of The Reptile God" represent her short life through black magic which will lead her to an inevitable death .

We tried to create a mixture between classic Black Metal atmospheres and the violent punch in the face of Death Metal, plus a mix of our personal influences, if we succeeded or not it is only up to the listener to say, anyway we are absolutely satisfied with the final result!

3.A lot of your lyrics cover occult, necromancy and mythological themes, can you tell us a little bit more about your interest in those topics?

Those topics have been part of my life since I was a child,I had an imprint from a young age on spirituality and horror movies,for me it is very natural to write about these things.

Most of the people who came across Cogas thinks that we are one of those band who strictly talk about the folklore of their land, part of this is true but the thing that i really love of our band is the freedom that this "Coga" figure gives to me, not much is been written about this character so it allow me to reinvent it in the ways that I prefer.

The whole concept behind the band is to represent the "carnality through death",the back artwork of our album gives a perfect example of this.

4.On a previous ep you also have a track called 'Fuck Your Black Metal Scene', can you tell us a little bit more about your dislike for the trendier aspects of the genre?

FYBMS is a pure provocation towards this  "philosophical" Black Metal wave that we are all living in those years.

For us it is like this genre is losing the wild spirit that made Black Metal  the most violent music on this planet, nowadays the scene is too composed, too polite, too afraid to offend.

We are living a very boring time in the extreme music were everyone wants to be taken seriously everyone feels like if their opinion matters. .guess what?!,none gives a fucking fuck about you or your fake knowledge of dark arts. I always said that if you really wanna meet Satan you have just to walk at 3am in Seven Sisters,Brixton,Stockwell..places like those.

So... fuck your black metal scene...ugh

5.I know that the bands name means "Witches' in Sardinian, how does this name fit in with the musical style that you play?

It fits because our witch is a very violent one, and so the music that we play.

It fits because you can tell when you listen to the album that we don't follow any scheme or pure Sardinian underground music, always free, always anarchic, always dangerous!

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

The artwork was done by the great "Coito Negato ''.

He captured exactly the atmosphere that we were seeking, something connected with Sardinian folklore but not in an orthodox way, the back cover especially expresses at his best the whole concept behind the band.

We came across his art through another artwork that he made years ago for the Italian band Hate&Merda  and we immediately said "that's our man! "His style is really something else and he is an amazing person with a great patience and excellent manners.. which is a very rare thing to find in those days.  

7.Hs the band had any opportunities to do any live shows or open to the idea?

Yes of course! Last September the 24th we finally played on the stage of the Dev (our favorite pub in Camden by our friend if you are a metalhead and you are in London you can't miss a beer there!)

Presenting in full the new album, a really great evening! Then we played again October 22nd at New Cross Together with our friends Tableau Mort.

 Full venue, engaged audience and fresh beer! 

We look forward to playing in January 2022 for the "Sadistic Offering" in Bristol now!

8.Currently the band is unsigned, are you looking for a label or have received any interest?

well yes, we are still without a label unfortunately, we were hoping to find one able to help us grow our name or at least by promoting the album, but that's okay, luckily we have many friends who helped us to spread our music all over the world!

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

From what we have seen, quite well, we have received a lot of positive feedback from various parts of the world such as Canada, Australia, US, and of course Europe!We really thank you all, it was unexpected! Knowing that our musical idea is appreciated so much makes us very proud.

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

We will continue to think about it day by day, but we are starting to write what will be the continuation of Unco, and I can assure you that the new album will be even more violent, faster death and black than Unconscious but always keeping our Cogas style!

11.What are you listening to nowadays?

I am a fan of death metal, black, thrash etc ... so I always try to listen to new stuff, even if I never give up on the various Cannibal, Suffocation, Marduk, Dying Fetus, Immortal and so on! But above all I tend to listen to a lot of underground music whether it's Italian or not .. like Deathcrush,Mgla, Atvm, Skullfucked, Blasphemer UK & Ita, Worstenemy, Deicide, Feed Them Death and so on ..lots of good music!

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

First of all thank you guys from all the members of Cogas for this interview! Then a dutiful greeting goes to all those who follow us, listen and support our band, friends, family etc .. thank you very much!

See you around soon! Stay Black, Stay Dead.



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Eysenbrey Interview

mercredi 27 octobre 2021 à 02:17


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

There will be no information about the Eysenbrey line-up, we should only focus on the music.Eysenbrey has been around since 2010 and we come from Germany. In some reviews of the first CD it was assumed that we use a drum machine. I can rule that out for sure, we don't use a drum computer, that Drum was not programmed on the PC either. Everything on the CD was recorded by a human. Even with the Voices have no effects, except for a short reverb on the main voice. Eysenbrey make Black Metal that is deeply rooted in the underground.

2.So far you have released a couple of albums, musically how do they both differ from each other?

Eysenbrey naturally try to develop further. Musically we want to be varied. It should not only be blast parts, it can also be quieter, build up tension and then get faster again. The listener shouldn't get bored listening to the entire CD. It also gives you the opportunity to work much more dynamically and surprise people. The first album was a bit more straightforward than the second. It wasn't on purpose, it just happened while writing the songs. We recorded both albums ourselves, mixed and mastered. No people outside of Eysenbrey were involved in anything. That should continue in the future stay like that.

3.The band has been around since 2010 but so far has only released a couple of albums, can you tell us a little bit more about the long wait in between releases?

Eysenbrey do everything themselves, so it probably takes longer than other bands that rely on mixers, producers or otherwise what people resort to. But we can live with that, we have full control over everything. Nobody says us how many songs we have to make, or what the cover should look like. This way of working is the best for us. Even we don't compromise when we write the songs. Every song is worked on until we like it 100%. If it is only 99%, then it will be worked on again. We don't want to write songs just to get the album full. There is a lot of work in every song.

4.What are some of the lyrical topics and subjects the band has explored so far with the music?

It's easy, there is only one subject at Eysenbrey. That's why the songs on our two CDs are numbered. The album "Die Schlacht Part II" starts with song number 9. Our story is about aliens who live on earth arrive. At first they are not hostile, but over time they start to use and kill people. the But the story is not yet fully told. War broke out on album two, but the end has not yet been reached. Let's see if the story ends with the third album, or if there is still enough material for the fourth album.

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

It's not that easy to explain. Eysenbrey sounds like iron pulp when pronounced in German. It sounds very good in German. Iron that is ground. That explains it best.

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

The CD covers have nothing to do with the lyrics. We were looking for covers that fit Eysenbrey's music. Beautiful winter landscapes go best with it. In addition, they don't distract from our music, it fits So very good for the Eysenbrey concept.

7.According to the website the band does not play live shows, can you tell us a little bit more about this decision?

It was planned that way from the start. There will be no concerts as people should only concentrate on the music. Because of this there is also no information about the cast. The videos on Youtube are also very reduced. There are no people to be seen. That Eysenbrey will be kept that way. There are far too many bands in this day and age who look over her or her Stage show try to sell. Then there's Schmincke, some kind of stage costumes, etc. We don't feel like them either Music should be in the foreground. People should sit down at home and watch the album from start to finish Listening to a piece without doing something else on the side.

8.Currently the band is unsigned, are you looking for a label or have received any interest?

No, we are not looking for a label and have not received any inquiries so far. We don't advertise that much. There is a homepage, a Facebook page and we have a YouTube channel. But we're not particularly active there. We also think it doesn't make sense for us to come to a label because we won't play concerts and we will don't want to sell CDs either. Anyone who wants to hear our music can do so for free on YouTube. If someone would like to have the albums as a wav file for free, he can send us an email and he will receive a download link.

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

The reactions to the first album were half and half. Some thought it was very good, others couldn't do anything with it.That changed a bit with the second album. The first reviews were very good, the fans got better reactions. Perhaps our "message" has arrived that we don't care who we are or where we come from. Only the music counts, none Access numbers to the homepage, Facebook likes and all the other nonsense.

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

We hope that it won't be 8 years before the third album. There are already a few ideas. Otherwise there is nothing further planned. Just do good black metal and have a good time.

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?

The styles we call Thrash, Death and Black Metal. Bands that influenced Eysenbrey? It's hard to say. We count just listen to bands that we have been listening to for about 30 years: Venom, Slayer, Morbid Angel, Obituary, Unleashed, Massacre, Massacra, Master, Possessed, Exodus, Dark Angel, Cannibal Corpse, Death, Razor, Autopsy ...

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

Thanks for the interview, greetings to all Black Metal fans worldwide. Take a little time and listen to the Eysenbrey albums from first to last song.

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Неясыть Interview

mercredi 27 octobre 2021 à 02:07


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

Biography of Неясыть began in 2013 in the little grim russian town Syzran (on one of the dead turkic languages it’s name means “swamp”). The beginners were two guys – bass-guitar player Nikita Alestet (don’t ask me what means his nick – it’s some mysterious creation of his brain cockroaches) and Dima Ashen, who was supposed to play guitar. I was supposed to play drums. But on first rehearsal we found out, that Ashen’s words “I play guitar bad” were the shameless boasting. He could not play guitar at all. Than I had to take up the guitar, and we had to use programmed drums. We changed two concert line-ups, made two recordings. We managed to attract some attention in Russia, although we were criticized for “bad” sound. After splitting-up of the second line-up, I stopped trying's of gathering another musicians and decided to work as a one-man band.

2.Recently you have released a new album, musically how does it differ from your previous demo and ep?

The first demo «Навьи чары» (Necro Magic) was the experimental mix of black / proto-black, thrash, melodic power and ambient, with atmospheric keys and clean female vocals and with very grim and ruthless lyrics about bloody rituals, pestilence, death, black magic. When we recorded EP «Солнце Мёртвых» (Sun Of The Dead) – it was the second line-up. We felt great influence of epic pagan metal, traditional heavy / power and old school doom – Alkonost, Candlemass, Manowar, Scald, Gods Tower. Music on this EP is more slow, melodic, lyrics are more epic. There were also atmospheric keys and clean female vocals.

Actual album, «Круг безвременья» is primitive and aggressive raw black metal. I did everything to make sound as ugly, as I could. There are no female vocals, no atmospheric keys. Lyrics were written in the borderline state of consciousness (but no drugs were used). Words describe visions, which came from the chthonic spaces: forests, swamps, graves, ruins, from the worlds of spirits. By the way: album soon will be released on the Moscow label SlowSnow Records  on cassettes.

3.You refer to your music as being 'chthonic pagan metal', can you tell us a little bit more about this term?

For me metal music is not only style of arrangement. Heavy sound, especially in black metal, IMHO, is a kind of dark chthonic shamanism, act of magic. The term “Chthonic Metal” is approximately equal to “Black Metal”, but it means more deep understanding of the nature of this music. 

4.Your lyrics are heavily rooted in Slavonic Paganism and Folklore, can you tell us a little bit more about your interest in the pagan culture of your homeland and also do you have any interest in the paganism of other cultures or countries?

My interest to paganism began in early childhood. Mother read to me myths of ancient Egypt and Greece, russian and ukrainian fairy-tales. She read very well and for me the gods and other magic beings became alive creatures. Later trying's of mother and grandma to instill Christianity in me failed with a loud crash. I was getting angry when someone began to assure me that there is one and only god. I thought: Fuck you all! I loved this fairy magic/mythic reality too much to refuse from it.

More later I found out that there is slavonic paganism too and I decided that if I am Russian, I must pray to slavonic gods. I called myself pagan in 16 years old, but indeed I was pagan from my birth.

I belive in all gods, which the humanity ever prayed, but I pray only some slavonic gods. Mainly – Veles, master of forests, lord of the dead, patron of artists, scientists, keeper of wisdom; and Mokosh – mother of everything alive, spinner, who spin the threads of human fates, mistress of water and ground-fertility, patroness of witches and magicians. Her another incarnation (or daughter – it’s not known exactly) is Mara or Morena – goddess of night, winter, death and horror. Veles and Mokosh are not very kind, they are harsh and fair. And sometimes cruel. They demand a lot from the one, who venerate them.

Except them, I venerate spirits of forests, water, fields, swamps, home-spirits (like English brownies), dead ancestors, imps.

About paganism of other countries – I often read about it. Voodoo, shamanism of different Siberian turkic and finno-ugric folks, Scandinavian, Greek-roman, celtic paganism, paganism of north-american Indians, Hinduism (someone will say that it’s not paganism, but I don’t give a fuck) – everything is very interesting.

5.I know that the bands name means 'strix' in English, how does this name fit in with the musical style that you play?

There are many sinister beliefs, associated with owls. In Slavonic mythology. And not only in Slavonic. Almost everywhere owl associates with magic, darkness, death. It’s the bird, connected with the Other Side, with the world of spirits. After Christianization people began to associate owls with devil, unholy forces. And strix (tawny owl) has the especially sinister voice. One moment I thought that Неясыть is very good name for metal band. Tawny Owl became my totem, that’s why I call myself Sergius Strix.

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

It’s my photo in the mask, folk clothes and with an owl’s paw on my neck. The tradition of such masks is too long story to tell it here. I must say that here this mask is the symbol, that means, that I separate myself from the society of people and reveal myself as the part of the chthonic spiritual magic / mythic world. And also it means, that this music is not from the world of living. 

7.Has the band done any live shows or open to the idea?

As I said earlier, we began as a concert group and we played about 10 live shows through 2016-2018 years. But now it’s a studio project and I don’t see the reasons for returning to the stage. The music I play now is not for stage, not for crowd. Maybe something will change in the future, but now I don’t think so.

8.The band has been around since 2013 but waited until 2017 to release any music, can you tell us a little bit more about the earlier years?

From 2013 to 2017 we composed songs and tried to play with the first line-up (which we gathered only in 2015). It was very hard time. We began to record demo in the beginning of 2016, but could finish it only in 2017, because our girl-singer lost her voice. In 2017 we found another vocalist – she helped to finish the first demo, and till the end of 2018 was our constant frontwoman. There are not many people in our town, who are interested in metal music, so searching of the musicians every time became very big problem.

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

I can’t complain. There was only one negative comment in I can’t say that “the world pissed into the sky with the boiling water from the great delight”, but still, I see mostly good reaction. It’s good, I think =)))

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

I see the main aim in developing the shamanic effect of music. So I shall work with rhythm, I will make experiment with the folk scales, with noise and ambient elements and everything, which will help me to make the magical music. But the one thing will stay the same. Неясыть will have raw dirty sound. I won’t follow the trend of clean polished commercial recording, I hate it with all my soul.

11.What are you listening to nowadays?

Mainly – underground metal and different ambient, root ethnic music of different folks, dungeon synth, early industrial, krautrock, academic music. My favorites last month: Wilczyca, Striborg, Arckanum, Bastard, Black Wood, Старуха Мха, Kirpiklass, Creation VI, Steve Roach, Mrako-Su, early Ain Soph, early Allerseelen, Hybryds, Ah Cama-Sotz, Sleep Chamber, Phurpa, Mrtvesvit. 

The eternal favorites: Burzum, Darkthrone, Ildjarn, Torgeist, Навь, Lustmord, Dead Can Dance, Robert Rich, Velehentor, Vidna Obmana, Atomine Electrine, Moon Far Away, Piorun, Perunwit, early Mortiis, Brainticket, Amon Duul II. And also recordings of folklore expeditions – raw unarranged songs and instrumentals, performed by the people, living in the villages. From academic music – Stravinskiy, Schostakovich, Grieg, Holst, Dvorak, Borodin, Prokofiev, Lyadov, Musorgskiy, some works of Mozart, Arvo Part, Schtockhausen, Shoenberg, Schnietke, 

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

Underground bands of the past opened for me the gates to the magical / mythic world. And now I identify myself as a one of the keepers. Of the gates, which I open for other people. For those, who choke in the atmosphere of total rationalism. For those, who doesn’t feel the sense in the world without magic. For those, who believe that ancient gods and spirits are still alive. And I shall make music while I can hold instruments in my hands. And I shall do my best not to lose magic.  


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