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Thy Primordial/Where Only Seasons Mark The Path Of Times/Dissonance/2018 CD Re-Issue Review

samedi 5 mai 2018 à 03:36

  Thy  Primordial  are  a  band  from  Sweden  that  has  had  an  album  reviewed  before  in  this  zine  and  plays  a  very  raw  and  melodic  form  of  black  metal  and  this  is  a  review  of  their  1997  album  "Where  Only  Seasons  Mark  The  Path  of  Times"  which  will  be  re-issued  in  June  by  Dissonance  as  a  part  of  a  box  cd  set  called  "The  Blackend  Years".

  A  very  heavy  yet  melodic  sound  starts  off  the  album  while  the  faster  sections  of  the  songs  also  use  a  great  amount  of  tremolo  picking  and  blast  beats  which  also  gives  the  songs  a  more  raw  feeling  along  with  all  of  the  musical  instruments  sounding  very  powerful  and  the  vocals  are  also  high  pitched  black  metal  screams.

  A  great  amount  of  melody  can  be  heard  in  the  guitar  riffing  while  the  songs  also  bring  in  a  great  mixture  of  slow,  mid  paced  and  fast  parts  along  with  the  solos  and  leads  being  done  in  a  very  melodic  style  and  as  the  album  progresses  rain  and  thunder  sounds  as  well  as  some  acoustic  guitars  and  clean  vocals  are  also used  briefly on a  couple  of  tracks  but also  focusing  mostly  on  a heavier  sound.

  On  this  recording  Ty  Primordial  played  a  style  of  black  metal  that  was  very  fast,  raw  and  melodic  in  the  true  Swedish  tradition,  the  production  sounds  very  raw  and  heavy  while  the  lyrics  are  written  in  a  mixture  of  Swedish  and  English  and  cover  evil,  darkness,  death,  apocalypse  and  misanthropy  themes. 

  In  my  opinion  this  was  a  very  great  sounding  recording  and  if  you  are  a  fan  of  fast  Swedish  black  metal,  you  should  check  out  this  re-issue.  RECOMMENDED  TRACKS  INCLUDE  "The  Conquest"  "Forthcoming  Centuries" "Hail  Unto  Thee...Who  Travles  over  Heavens"  and  "Dodskuggan".  8  out  of  10.  

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Crurifragium/Black Seed Of Bestiality/Larval Productions/2018 Compilation Album Review

samedi 5 mai 2018 à 01:11

  Crurifragium  are  a  band  from  Seattle,  Washington  that  plays  a  bestial  mixture  of  war,  black  and  death  metal  and  this  is  a  review  of  their  2018  compilation  album  "Black  Seed  Of  Bestiality"  which  will  be  released  in  June  by  Larval  Productions  and  consists  of  their  2015  demo  and  2017  full length  "Beasts  Of  The  Temple  Of  Satan".

  Ritualistic  sounding  keyboards  start  off  the  compilation along  with  some  demonic  voices  a  few  seconds  later  which  also  leads  to  a  heavier  direction  and  when  the  music  speeds  up  it  goes  into  a  very  fast  and  raw  war  metal  direction  which also  uses  a  great  amount  of  blast  beats  as  well  as  some  bestial  growls.

  Throughout  the  compilation  you  can  also  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  while  grim  black  metal  screams  are  also  used  at  times  along  with  the  solos  and  leads  being  done  in  a  very  chaotic  fashion  as  well  as  the  music  being  very  heavily  rooted  in  the  90's  and  all  of  the  musical  instruments  have  a  very  powerful  sound  to  them  and  the  music  always  remains  very  heavy  and  raw.

  Crurifragium  plays  a  musical  style  that  takes  the  rawest  forms  of  war,  black  and  death  metal  and  mixes  them  together  to  create  a  sound  of  their  own,  the  production  sounds  very  dark  and  raw  along  with  some  songs  being  recorded  live  while  the  lyrics  cover  Satanism  and  Blasphemy  themes.

  In  my  opinion  Crucifragium  are  a  very  great  sounding  raw  and  bestial  mixture  of  war,  black  and  death  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "The  Horns  Of  Power"  "Deformed  Lamb"  and  "Slaughterers  of  The  Flock".  8  out  of  10.


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Asche der Welten Interview

vendredi 4 mai 2018 à 23:44
1.For those that have never heard of you before, can you tell us a little bit more about the musical project?
First of all, I want to thank OccultBlackMetalZine for realizing the first official Asche der Welten interview! Well, I’ve founded this solo project sometime in 2008. It has taken a while to find suitable melodies and develop a riffing that is characteristic for AdW. My aim was not to create the 1.000,001st copy of one of the well-known bands out there. Do I’ve achieved my goal? I really don’t know. There is too much diversity within Black Metal so that I’m not able to assess. Anyway! A few words about my releases: The first AdW song “Auf leergefegten Straßen” (Engl. somewhat like “On totally empty streets”) was released on the “Tollwut Sampler I” in 2010. One year later, the first demo tape “Ascheregen” (Engl. “Rain of ashes”) was released. In 2013, the second tape “Brennende Atmosphäre” (Engl. “Burning atmosphere”) has followed. For the “Apocalyptic Art – Label Compilation II”, which was released in 2014, I’ve exclusively recorded the Bathory cover song “Armageddon”. And, finally, after 10 years of existence, the third and last chapter of my demo trilogy “Chaos bricht aus” (Engl. “Chaos breaks loose”) is out now.

2.How would you describe the musical sound that has been presented on the 3 demos and also how do they differ from each other?
That is not so easy to describe. Black Metal is definitely the base, with lots of atmospheric, melodic and ambient parts. The “B” side of each tape additionally contains a Dark Ambient song without any vocals and Metal elements. A short while ago, someone said that he also could hear Doom influences in my riffing. On the flyers, the style simply is described as “Ambient Black Metal” and I would say this applies only for “Ascheregen”. By gaining more experience on my instruments, my songwriting has become more and more complex, melodic and aggressive. The song tempos, for example, have speed up from 100/120 bpm (“Ascheregen”) to 150 bpm (“Brennende Atmosphäre”) and finally to 160 bpm (“Chaos bricht aus”). On Encyclopedia Metallum, the style now would maybe be described as “Atmospheric/Melodic Black Metal, Dark Ambient” – but that’s pretty complicated if you ask me. Not only the songwriting has changed, but also the sound has become a denser and more intense atmosphere over the years. There are so many details I could write an entire book on this subject. When you listen to all three demos successively, you’ll get a good overview on AdW’s development.

3.There is a concept among the 3 recordings that deal with the apocalypse and nuclear war, can you tell us a little bit more about the lyrics?
The concept behind the so-called “ABC” trilogy is the apocalypse in form of a nuclear war split into the 3 chapters “pre-apocalypse”, “apocalypse” and “post-apocalypse” – just chronologically inverted. In other words: “Ascheregen” dealt with the post-apocalypse and, therefore, with the destroyed landscapes as well as the fallout. The subject of “Brennende Atmosphäre” was the apocalypse with the deathly nuclear strike. And the last chapter “Chaos bricht aus” completes this trilogy with the pre-apocalypse and the hysteria as well as the helplessness before the end. All lyrics can be understood as accusation against and critique on humanity. Why do I’ve chosen the atomic issue? Because it perfectly exemplifies how the power of a few maniacs can lead the end of the world. It is social criticism and nihilism all through.

4.This is your first release with this project in 5 years, can you tell us a little bit more about what has been going on during that time frame?
Oh, there are some reasons why it took so long. Actually, “Chaos bricht aus” should be released in 2015. But already during the recordings of “Brennende Atmosphäre”, I’ve hardly had free time. Then I’ve changed my job and moved back from Munich to the place of my birth where it first was impossible to find a new rehearsal room. Searching for a suitable room took roughly two fucking years! Within this time, it was not possible to practice drums. So it was really hard for me to become familiar with this instrument again. During the recordings of “Chaos bricht aus”, I’ve struggled with demotivation and procrastination, too. In addition, songwriting is a slow progress ... But now, I’m really happy that the demo is finished and released. It’s just a little bit disappointing that there is no “special edition” with slipcase due to the fact that the bookbinder, which was responsible for the other versions, didn’t respond to my emails and all other companies I asked were incredibly expensive. No one would buy a special edition cassette for 30 euros. However, I hope that there will be a vinyl compilation called “ABC-Alarm” someday.

5.What is the meaning and inspiration behind the name 'Asche der Welten'?
“Asche der Welten” simply means “ashes of the worlds”. Back in 2008, I’ve tried to find a name that fits the concept and stands for the result of the (nuclear) apocalypse. A few years later, I’ve realized that there was a book with almost the same name (“Die Asche der Welten”, just with an article in front of “ashes”). But I don’t care.

6.With this project you record everything by yourself, is this project more personal to you?
Yes, it is. AdW is my way to put my feelings and weltschmerz/world-weariness into a musical form. Consequently, I’ve done everything by myself – except the logo and the “band photos”. And I’m not willing to change that in future.

7.In 2014 you had also done a 'Bathory' cover for a compilation, what was the decision behind doing your own version of one of his songs?
For me, Bathory is the epitome of Black Metal. Especially, “Under The Sign Of Black Mark” is my all-time favorite. The sound, the guitars, the vocals – everything causes goose bumps. Although “Armageddon” can be found on the first album, it was the Bathory song that fits best to the concept of AdW – along with “Total Destruction” and “Destroyer of Worlds”. My version of “Armageddon” comes with a sort of a solo guitar, keyboards and German lyrics. Maybe there will be another Bathory cover song sometime.

8.The demo was released on 'Apocalyptic Art', can you tell us a little bit more about this label?
In fact, Apocalyptic Art has released all my demo tapes. It is a small but nice underground label from Germany with a few very interesting Black Metal bands. Not only because of the name “Apocalyptic Art” it was the perfect label for the trilogy: It doesn’t pursue commercial aims. Ineluki, the mastermind of Apocalyptic Art, is a great guy and I enjoy the collaboration with him. After my request for a tape release of “Ascheregen” he was so enthusiastic that we have made a verbal agreement for the entire trilogy to be released on Apocalyptic Art. I really have to thank him for his patience and understanding regarding the heavy delays of my recordings.

9.On a worldwide level how has the feedback been to your music by fans of black metal and dark ambient?
AdW is still an unknown band – even in the underground – and I’ve had not very often contact with fans. The few times I’ve written with followers or spoken to friends, the feedback was mixed. Some liked it totally others didn’t like my melodies but the sound in general. A few people said that the music is not easily accessible. To be honest: It was my intention to make inaccessible music without being progressive. Actually, not a single guitar riff is repeated on “Chaos bricht aus” – and if it seems so I’ve always played slight variations. Even the first two-thirds of “Brennende Atmosphäre” are done accordingly. You can perceive my songwriting style as a sort of “anti-trend” or protest against the fact that Black Metal has become more and more accessible to non-BM listeners, especially in the matter of sound. Several Black Metal albums of the past years have almost the same sound as metalcore or even alternative rock releases. What happened to the sound varieties that were stylistic elements of Black Metal? I don’t say that the sound has to be as poor as possible or extremely noisy. But how can these bands be happy with their maximum clean, ordinary and trendy sound? Sorry, but I can’t understand this. My music is definitely not written for “easy listening”, e.g. while driving a car and having a conversation. This is also a reason why I prefer analog recordings: Normally, when you listen to a tape or vinyl you automatically pay more attention to the music. Of course, Bandcamp has its advantages, but I just use this platform to give interested persons the possibility to check out my music. However, an own Youtube channel is no option for me. I also totally refuse social media – even for private purposes. Nowadays it seems to be almost impossible to get in touch with an artist or to follow a band when there is no Facebook profile ...

10.Are you currently involved with any other bands or musical projects these days?
Yes, I’m involved in five bands in total – three of them without any releases yet. Currently, I play in several Black Metal projects and in a Doom Metal band called “Osteon”. The next releases in which I’m involved will be the first demo of my second solo project and another album for which I’ve done session drums. It is also planned to realize a split with Asche der Welten and Unryht next year.

11.Where do you see yourself heading into as a musician in the future?
That’s a really good question. Spontaneously, I just want to remain true to my principles. Everything else is irrelevant.

12.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?
Even though Bathory is my favorite band I can’t say that the music have had a relevant influence on AdW. When I’ve developed the riffing for this project, I’ve intensively listened to quite different bands: Nagelfar, Nocternity, Schattenvald, Obscure Anachronism, Paysage d’Hiver, early Emperor, the first two albums of Dornenreich, “Rain Upon The Impure” from The Ruins Of Beverast (still one of the absolute best albums ever) and even Pink Floyd. Nowadays, I listen to a lot of (non-stoner) Doom, too. The five most heavy rotating albums of the last months are “Spectral Lore – III”, “Arthemesia – Deus-Iratus”, “Dodsengel – Interequinox”, “Kvist – For Kunsten Maa Vi Evig Vike” and, yes, “Candlemass – Epicus Doomicus Metallicus”. It doesn’t always have to be the latest releases.

13.What are some of your non-musical interests?
In addition to making and engineering music, I love hiking in the mountains very much. The Alps in the Berchtesgadener Land, my home region, are incredibly beautiful with their high alpine terrain, crystal clear lakes and (unfortunately mostly heavy managed) woods. But not only here, especially the Alps in Austria offer countless great hiking possibilities. I’ve a variety of other interest, too. However, it is not very easy to reconcile my full-time job with all these hobbies.

14.Before we wrap up this interview, do you have any final words or thoughts?
Thank you very much for your interest in Asche der Welten. Be prepared!

If you are interested in listening my music, just visit my Bandcamp page:
... or the Apocalyptic Art label page:

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Goliard Interview

vendredi 4 mai 2018 à 03:53
1. For those that have never heard of you before, can you tell us a little bit about the band?

Goliard begins in 2010 as a Black Metal project with a structured work in guitars making a difference with the traditional Black Metal bands from our city - Medellin (COL) -, which have a classical sound inspired in the Raw Black Metal. We decided to build a sound with harmonies, riffs loaded of dark melodies and fast drums.

2. How would you describe the musical sound that has been presented on the recordings that you have released so far?

Goliard condenses the work of the sharp guitars, full of dense and dynamic, melancholic and melodic passages, where each riff evokes a song of rebellion united by a creative and independent bass; all of the above marching under the ferule of a prodigious, devastating percussion and submerged in the atmosphere of a heartbreaking voice.

3. Some of your lyrics cover science, philosophy and literature, can you tell us a little bit more about your interest in these topics?

Our affinity by these topics is based in personal predilections by who compose the lyrics. There many topics that have seen touched by the literature and the philosophy and many of these subjects are in the same wave with the critical sight of the Black Metal. Maybe we tell the same things but in other way.

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

The goliards were medieval monks with a licentious life and using the clerical figure to do satiric text against the clergy and the political establishment of the epoch.

The name of the band tries to encompass an intention: the individual's reflection of the intellectual heritage of humanity based on the lofty, a-dogmatic and rebellious existence, allegorizing such reflection and rebellion in the archetype of the goliard, through music. Goliard is deeply a project with a profoundly artistic, not ideological or dogmatic intention.

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

Goliard's live shows are characterized by a musical performance that is in accordance with what we have composed and recorded, loaded with all the power and energy, trying to give a presentation that focuses more on the musical than on any other aspect.

Goliard's gigs have been usually in small spaces; we highlight the memorable release concert of our album.

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

Touring is difficult for us right now, only local gigs are possible. Actually we are composing new material and beginning pre-production of a new album.

7. The new album was released on 'The Ritual Productions', can you tell us a little bit more about this label?

The Ritual Productions is a label with 28 years old supporting underground scene. The owner label is in charge of the distribution to other labels, zines and specialized shops of the genre. Thanks to this work, our album are in places that we didn’t thought to get in, mainly in European scene.

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

As we have said above, thanks to the label work our art have get in in places we have not thought we would arrive. We have received interviews and reviews of Zines from Netherlands, Germany, Italia, Poland, France and Latin America. In general, we have a good feedback of our full-length, with comparisons with the European sound and specifically with Scandinavian’s bands.

9. Are any of the band members currently involved with any other bands or musical projects these days?

Yes. The drummer plays with other bands from our city. Can be mentioned Blestema (ex-member), GOC, Carnifice, Narkotik Devotion, some of them preparing to release recording material. Our lead guitar works in the moment in a Death Metal project.

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

We see ourselves creating the metal that characterizes us as a band, recording and improving production to reach more the underground scene around the world. Sharing our sound to those who follow us with appreciate.

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?

We have a marked influence in the late 90’s Black Metal. Bands like Dissection, Old Man’s Child, Dimmu Borgir (old!!), Windir, Emperor, et al., have made dent in our musical work.
Also we take some elements from classical and Raw Black Metal; a little of Heavy and old Power Metal.

12. What are some of your non musical interests?

The non-musical activities and interests of the members are varied, which further nurtures the band of camaraderie and allows for new discussion topics and perspectives beyond music. Among us are an electrical engineer, a physicist, a veterinarian and a markets analyst.

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

Thanks in advance to OccultBlackMetalZine for giving us the space and taking the time to read our perspectives. To those who read these lines, we hope to be able to break into their heads with the heartbreaking notes of our art, and if we did, we appreciate your support. We look forward to bringing you new material in the near future.

More info about Goliard at
Brutal greetings! 


Web site:

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Caveman Cult/Supremacia Primordial/Larval Productions/2018 10 Inch Review

vendredi 4 mai 2018 à 02:40

  Miami,  Florida's  Caveman  Cult  have  returned  with  a  new  recording  which  continues  their  bestial  mixture  of  war,  black  and  death  metal  and  this  is  a  review  of  their  2018  ep  "Supremacia  Primordial"  which  was  released  by  Larval  Productions.

  A  very  fast,  raw  and  brutal  war  metal  sound  starts  off  the  album  along  with  some  black  metal  screams  a  few  seconds  later  while  the  riffs  also  use  a  great  amount  of  tremolo  picking  along  with  the  vocals  also  bringing  in  bestial  growls  at  times  which  also  adds  in  a  touch  of  death  metal.

  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  raw  and  chaotic  fashion  while  the  music  is  also  very  heavily  rooted  in  the  90;'s  but  modern  at  the  same  time  as  well  as  the  music  also  slowing  down  briefly  at  times  before  returning  back  to  a  faster direction  and  the  music  always  remains  heavy.

  Caveman  Cult  creates  another  recording  that  remains  true  to  their  bestial  mixture  of  war,  black  and  death  metal,  the  production  sounds  very  dark  and  raw  while  the lyrics  cover  savagery,  barbarity  and  warfare  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Caveman  Cult  and  if  you  are  a  fan  of  bestial  black/death  and  war  metal,  you  should  check  out  this  ep.  RECOMMENDED  TRACKS  INCLUDE  "Impaled  Humanity  Ablaze"  and  "Legions  Of  The  Black  Vomit".  8  out  of  10.    

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