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Der Rote Milan/Moritat/Unholy Conspiracy Deathwork/2019 Full Length Review

vendredi 7 décembre 2018 à 03:29

  Der  Rote  Milan  are  a  band  from  Germany  that  has  had  music  reviewed  before  in  this  zine  and  on  this  recording  plays  a  very  raw  and  melodic  form  of  black  metal  and  this  is  a  review  of  his  album  "Moritat"  which  will  be  released  in  2019  by  Unholy  Conspiracy  Deathwork.

  Acoustic  guitar  playing  and  atmospheric  sounding  synths  start  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  grim  yet  high  pitched  black  metal  screams  along  with  a  few  growls.

  Throughout  the  recording  you  can  also  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  the  solos  and  leads  are  done  in  a  very  melodic  style  along  with  some  whispered  vocals  also  being  used  briefly  as  well  as  a  great  portion  of  the  tracks  being  very  long  and  epic  in  length,  a  great  amount  of  melody  can  also  be  heard  in  the  guitar  riffing  and  acoustic  guitars  also  make  a  return  in  certain  sections  of  the  recording  and  as  the  album  progresses  a  brief  use  of  chanting  can  also  be  heard.

  On  this  recording  Der  Rote  Milan  goes  into  more  of  a  raw  and  melodic  black  metal  direction,  the  production  sounds  very  professional  while  the  lyrics  are  written  in  German  and  cover  real  life  stories  that  took  place  back  in  the  30  year  war  of  the  17th  century.

  In  my  opinion  this  is  another  great  sounding  recording  from  Der  Rote  Milan  and  if  you  are  a  fan  of r aw  and  melodic  black  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Die  Habsucht"  and  "Moritat".  8  out of 10.

Source :

Joys Of Life Interview

vendredi 7 décembre 2018 à 02:25
1.Can you give us an update on what has been going on with the musical project since the recording and release of the new album?

1. Since the release of ,,Ausweg/Existenzfeind”, and also some time before the actual release, I’ve been working on new material. Musically I’ve been experimenting a lot, and implementing some changes I’ve deemed according to the further development, direction where the Joys of Life is heading. It is something I am constantly working on, since I am no longer active in any other musical project. On another notice, since a few months, I’ve been rehearsing with session musicians in order to realize some live appearances.

 2.In April you had released a new album, what are some of the things you feel you have done different musically with this recording that you have not done with previous releases?

2. Not just musically, but all-round I feel that this album is far more well thought out than the first one. Dem Tod sei Dank is more straightforward, everything is overfilling from beginning to end, while the release in question is more paced, not only in the song construction but as a whole. I’ve re-recorded the whole album several times until I was satisfied with the result, also with Maledictor, the person responsible for the mixing and mastering, we took our time so that we get the most out of the music, without loosing anything of the essential spirit and everything else around it. I’ve been using more or less the same equipment, which I just lately updated, and also programmed drums the same way, yet creatively it came out much different in my opinion.

3.You refer to your as 'life poisoning black metal', can you tell us a little bit more about this term?

3. I’ve never been keen on putting labels of any kind unto this project. Since I try to evade the term DSBM out of multiple reasons, 'life poisoning black metal' seemed very appropriate. The lyrics are hermetic in a literary sense. There are many symbols scattered around in my work and the listener is the one who is to make himself a picture of them. One could say they are open to interpretation in a sense that they give the listener a chance to think about them, while being also guided by the music that has been inspired by thoughts, insights and experiences. All this the listener takes in in a way, like smoke or air that is inhaled. The term itself comes from Necheshetrion and Demoness of Zly Demiurg. I feel that both of them understood all this, and why I believe it is fitting.

4.This is your first release in 3 years, can you tell us a little bit more about what was going on during that time frame?

4. Yes, except the writing itself of the new material, I was active in two other bands during the time. The first one was an experimental noize/drone/blackened band under the name of ЖЕГОР . Danilo, the frontman an I were composing the songs, although later on Danilo took over for the most part. We were having live gigs performing own songs with some major bands, we were planning to record an album but eventually the project disbanded, mainly because of the mental and psychological problems Danilo was facing at the time, which still is one big shame, because he deleted and probably burned all that had to do with or reminded him of ЖЕГОР. The other band is Kobb and is still active, doing their thing. I left mainly because of my lack of time to truly give my part as a bassist, and because of the creative differences we have had. Also, as I mentioned, the recording of Ausweg/Existenzfeind took way much more time than intended, as the songs were written and ready by the first half of 2017. I learned by experience at this time what things to try and people to evade when trying to make my work the best possible.

5.What is the meaning and inspiration behind the name 'Joys of Life'?

5. Joys of Life is a name that sounds just sarcastic to some, others asked me if it has to do with the Crowlean term of ,,Joy” and yet others found a correlation with the band ,,Happy Days”. Truth is that it is none of the above. To me, it is the progress of overcoming oneself, station by station tearing down and amputating parts of oneself that slow one down in a process of elevation, becoming something greater that anything material can ever be or become. I do not write music to leave something behind, nor do I do it to speak to anybody. I just let manifest the things that go through myself, and tear away bit by bit, things which I believe life itself doesn’t compare to. This endless well of manifestations is what gave birth to the name also.

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

6. The artwork was envisioned during the finishing phase of the album, it is composed in a symbolic manner. As in the true art itself I believe, if it is sincere, one gives a part of himself into the work. In the cover this culminates in the figure cutting off its own head and offering it up while becoming part of a godly figure himself. Each item presented has a connection to one of the songs, which themselves represent stations in giving up oneself for something greater and more meaningful than life and being itself. I would sincerely like the listener or the one who is looking at the picture at this point, to unveil and decipher himself the further meanings and symbolism's therein. On a personal level, it has spiritual meaning, which is accompanied by its other part, the music, and the listener which takes it in, and makes it complete.

7.With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?

7. During the three years, while working on the album, I also tried working with other musicians on this project. The aim was to improve musically and also do live drums on the recordings. There also were a few rehearsals with different lineups but it never really worked as intended. Perhaps the time was not right, or the Ideas weren’t ripe enough. There was a lack of commitment of the musicians, but also some creative and ideological differences was always present so eventually I put an end to it, and continued to work alone to preserve the essence and spirit of Joys of Life. So yes, I’d rather work alone than lose an essential part of my work for a slightly better ,,sound” or some live performances. Since recently, me and a drummer, as well as an old friend, JK, started to work together. Time will tell if the fruits of this cooperation will be fit to release to the public or not.

 8.The new album was released on cassette through 'Zly Demiurg' and the cd through 'Jesboligakurac Records', can you tell us a little bit more about these labels?

8. Both labels put very much spirit into releasing ,,Ausweg / Existenzfeind”. Jesboligakurac records is an underground diy label located in the village of Brus in Serbia. Packe, the owner is a very enthusiastic person working with all kind of genres he sees fit, from grindcore to black metal to some noise projects. Our cooperation was quick and efficient as the cd release itself took only about a month.
 Zly Demiurg is from Poland, Necheshetrion and Demoness do only casette releases, old-school style in limited quantities. I was acquainted with their work from before and actually own some releases of them. They focus their work on black metal with many polish but also other, international bands on their rooster, with quality and spirit over quantity in mind when it comes to their work. Both are worth checking out if one is interested in sincere diy style releases and values idea and spirit over production. Hails to P., N., and D.!!!

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

9. As far as I see, positive. I wouldn’t go as far as considering myself someone who is having a ,,fanbase”, but what I see is that people value the music if they sense that there has been put effort into it, and so do I as well. The first album has been sold out since spring 2016 at Depressive Illusions and is since available only online. I’m considering a re-release in the near future. Ausweg / Existenzfeind is also getting decent to good reviews for now, although the most important thing for me  of course is and will be, that I myself am satisfied with what I have conjured, and that it is the best I could possibly do, for this kind of work deserves nothing less.

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

10. Since the release of ,,Dem Tod sei Dank”, creatively and intellectually a lot has changed. The material I work on in the present is different on many levels, so all I can say at the moment is, that certain changes, from the roots on will happen. I will of course continue the project in the same vein, but since the release of ,,Ausweg/Existenzfeind”, I got the opportunity to improve on many things, and this will reflect upon the musical work accordingly.

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

11. The two bands that have had the most influence on Joys of Life recently are Obsequiae and Chaos Echoes. Both bands are unique in their own way, and this is what one should strive for in my opinion. Also, Kalmankantaja and Antimateria were very important and defining in a way. Nowadays, on another notice I listen to some more recently released albums.  Svartidauði and Acherontas are two of the black metal bands whose 2018 releases I’m constantly coming back to. Also, Gnosis Kardias from Inferno and all releases of Cult of Fire. I also listen to a lot of dungeon synth and (dark) ambient nowadays, here I’d mention Dark Tower (old – school DS) Spectral Lore and Coph Nia.

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

12. Thank you for the interview! Ausweg / Existenzfeind is available at:

Source :

Barshasketh/Self Titled/W.T.C Productions/2019 Full Length Review

jeudi 6 décembre 2018 à 02:13

  New  Zealand/United  Kingdom's  Barshasketh  have  returned  with  a  new  recording  with  the  music  going  into  more  of  a  raw,  melodic  and  atmospheric  occult  black  metal  direction  and  this  is  a  review  of  their  self  titled  album  which  will  be  released  in  2019  by  W.T.C  Productions.

  A  very  dark,  heavy  and  melodic  sound  starts  off  the  album  along  with  all  of  the  musical  instruments  have  a  very  powerful  sound  to  them  while  the  faster  sections  of  the songs  also  use  a  great  amount  of  tremolo  picking  and  blast  beats  which  also  gives  the  songs  more  of  a  raw  feeling.

  Vocals  are  mostly  grim yet  high  pitched  black  metal  screams  while  the  music  also  brings  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts  along  with  the  solos  and  leads  being  done  in  a  very  melodic  style  as  well  as  some  of  the  tracks  being  very  long  and  epic  in  length  and  the  music  also  brings  in  a  great  mixture  of  both  old  school  and  modern  influences.

  At  times  the  album  also  has  its  atmospheric  moments  and  as  the  recording  progresses  clean  playing  can  also  be  heard  on  some  of  the  tracks while  the  vocals  also  mix  in  a  semi  melodic  tone  in  some  parts  of  the  music  along  with  some  synths  and  clean  playing  also  being  brought  into  the  music  briefly. 

  On  this  recording  Barshasketh  plays  a  style  of  black  metal  that  is  very  raw,  melodic,  atmospheric  and  modern  sounding,  the  production  sounds  very  professional  while  the  lyrics  are  a  concept  album  based  upon  the  self  existing  in  the  cyclical  process  that  goes  through  the  phases  of  destruction,  purification  and  the  ultimate  adversarial  rebirth.

  In  my  opinion  this  is  another  great  sounding  recording  from  Barshasketh  and  if  you  are  a  fan  of  occult  black  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Vacillation"  "Consciousness  II"  and  "Recrudescene".  8/5  out  of  10.    

Source :

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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