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The Deviant Interview

jeudi 22 octobre 2020 à 05:32


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

Like with most other bands and musicians the global pandemic has forced us to cancel any plans of playing shows. Fortunately (if that is the correct way to look at it), we only had one show booked before the outbreak, but we probably won’t be able to have a proper release party either. We recorded “Rotting dreams…” as a trio, but we are looking to get a new second guitarist, so some of the time has been spent trying to sort that. Also, we recorded the album before signing to a label, so we spent time negotiating a deal. And of course, we have started thinking about the next album. At this point there is very little written, but because there will not be any shows to play for some time, I think writing is the obvious thing to do as a band now. 

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

I think the new album is a bit more diverse than the previous two albums, as we have some doomy elements on this one, and a touch of industrial as well. I also think there is more old school Death Metal on this one than on the previous album. But I still think it sounds like a natural follow-up to “Lightning Bolts”, and all the elements from the last two albums are still there, and plentiful. It is relentless. 

3.From 2005 to 2018 there was no new music being released, can you tell us a little bit more about what was going on during that time frame?

After “Ravenous …” was released we did the usual thing, played some shows and started writing new material. Sadly though, it soon became evident that our drummer Blod had to stand down, and the band eventually ended up being just me and Violator. On top of that, our label at the time (Tabu) lost its steam and eventually went out of business, so our contract was obviously not renewed. The band just faded away, as I was also busy with Gehenna for a few years after that. The Deviant was basically on hiatus for most of those years. We restarted the band in 2014 or thereabout, with a new drummer called Bomber (whom had also played with Violator in 122 Stabwounds) and a new guitarist called Ruiner. We set about writing for “Lightning Bolts”, end ended up using most of the material we had worked on prior to the hiatus. 

4.What are some of the lyrical topics and subjects the band explores with the newer music and also how would you describe your progress as songwriters over the years/

To sum it up short, the lyrics are about the darker sides of existence, the darker sides of humanity. Some of the lyrics have occult themes, and some have themes of war, and some are just about being who we are.  I think as we progress, we try to expand both the musical and lyrical expression, and I personally feel there are more themes I am comfortable writing about today, than there was when I first started in music.  Looking back at all these years (including pre- The Deviant), it is also fairly evident that we have incorporated more elements in the music and that our writing evolves and gets more complex as we get better and learn more just as instrumentalists and writers. I think today we have reached the point where we are comfortable writing both very simple and more complex material, so long as the feel is right. 

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

The name is inspired by the song “Circle of Beliefs” by Slayer. It just had the right feel to it. We know it is not the most original name in the world, and when we first signed with Tabu for “Ravenous…” we did for a very short time consider changing the name to avoid any confusion. In the end, though, we just said Fuck it, and went with our gut feeling. 

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

The theme of the vulture and of carrion is from some of the lyrics on the album. The vulture can be many things, and although I am very in favor of letting people have the pleasure of interpreting art themselves (not just from album covers, but art in general), I think one possible way to interpret the vulture is as a symbol of the opportunist, feeding on the sick and the weak. But there are other possibilities! In the lyrics the vulture is also linked to the warmachine, and inside the album artwork you will also find a link to a more traditional rock/metal use of the vulture. We also wanted it to have a visual link to the previous two albums, in tone and presentation. I do not think we can ever have colors on an album cover, hehe….  We had great help from the designer REH, who also did the artwork on “Lightning Bolts”, in getting our visions and ideas for the artwork to look right. 

7.What are some of the best shows that the band has played over the years and also how would you describe your stage performance?

So far, our shows have been clubs and small festivals, and The Deviant have never played outside of Norway yet. In general, a great show is one where there is a lot of energy both from the band and the crowd. The Inferno festival in 2006, and one of the local shows (Tribute, Sandnes) shortly after the release of “Lightning Bolts” are both fond memories, but most shows have been energetic and good. We do not, at this point at least, have any pyro or effects. It is just us, lights and sound. Stripped to the bone, I guess you could say. Energy and music. 

8.The new album is coming out on 'Soulseller Records', how would you compare working with this label to your previous label 'Tabu Recordings'?

The business has changed quite a lot in the 15 years between us being signed to Tabu and Soulseller. I think to a certain extent the business was still struggling a bit with the aftermath of the filesharing/nappster-thing in 2005, whereas now labels and the business have at least found some ways of using the new technologies and come to grips with the changes. Back in 2005 it was still mostly about trying to sell cds, whereas now we have several digital solutions, as well as physical (cd and lp).  So, we see that Soulseller have a very different way of working with promotion and digital distribution, stuff that was not necessarily possible or available in 2005. It might be a bit difficult to compare the two because of this, but I will say that I feel Soulseller is A LOT more involved than I think Tabu were. Tabu spent a bit of money making a video and trying to promote the band that way, but it felt a bit like they gave up after that. In the end they gave up the entire label though, so that probably explains quite a bit, hehe…  Tabu gave us a shot, and they tried to make things work for a while, so I will salute them for that. My main thorn in that side now is that Tabu sold their catalog, and today we do not have any control over the “Ravenous…” album or any contact with the label who owns it. 

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

Mostly it has been good. Some will of course compare it to bands and music we have been involved in prior to The Deviant, which is understandable: But I am pleased to say that for the most part people judge it as its own thing. I also get the impression that we appeal to people from both the Black Metal and the Death Metal parts of the audience. There will always be a few who do not like it, for whatever reason, but that is fine. We all have different tastes and preferences in music. We do not have a very mainstream appeal of course, most nobody in this genre does, and we do not aim to be rock stars, haha, so as long as we can reach out to as many as possible within the limitations of the genre, we are very pleased. 

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

I do not think there will be a major leap from this album to the next. Just enough of a development to make it stand on its own, and not be a “part II” of any of our previous releases. As of writing we are very early in the process, so I cant really say anything for sure, but we are very pleased with where we are at musically, and I do not think we want to stray to far off the path. That being said, we are not afraid of experimenting a bit, so long as the core identity of our music is still there. 

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?

Right now I am listening to the new Isengard album, “Vårjevndøgn”. A bit of a mixed bag I think, but mostly enjoyable. Anyway, I tend to listen to the same bands I listened to years ago, and I confess I am not very good at checking out new bands and artists (although it does happen). I think you can hear on “Rotting Dreams….” that we have been listening to a bit of late 8os and early 90s Death Metal lately. As well as Bathory, which have been a major influence always. I am also very into regular/classic (whatever you want to call it) heavy metal, and bands like W.A.S.P., Judas Priest, Kiss and many more have been a part of my musical diet since I was a kid really. And early thrash bands like Slayer, Megadeth, first few Metallica. And Possessed was also a big thing early on. 

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

Yeah, I feel like I am promoting two albums at the same time, both “Rotting Dreams of Carrion” and “Lightning Bolts”. We released “Lightning…” ourselves, and did a very poor job at promoting it, so it mostly went under the radar. “Rotting Dreams… is still a few weeks away from release, so people interested in the band should check out “Lightning Bolts” while waiting for the new album. Thanks for the support and interest, keep it burning!!! Dolgar

Source :

Eternal Majesty/Black Metal Excommunion/Those Opposed Records/Mallevs Records/2020 CD Review

jeudi 22 octobre 2020 à 05:14


  Eternal  Majesty  are  a  band  from  France  that  plays  a  very  depressive  and  melodic  form  of  black  metal  and  this  is  a  review  of  their  2020  album  "Black  Metal  Excommunion"  which  will  be  released  in  November  as  a  joint  effort  between  Those  Opposed  and  Mallevs  Records.

  Atmospheric  sounding  synths  which  also  mixes  in  with  the  heavier  sections  of  the  music  start  off  the  album  while  clean  playing  and  Gregorian  chants  can  also  be  heard  briefly.  When  spoken  word  parts  are  utilized  they  also  give  the  music  more  of  a  ritualistic  feeling  and  all  of  the  musical instruments  also  have  a  very  powerful  sound  to  them.

  When  guitar  solos  and  leads  are  utilized  they  are  done  in  a  very  melodic  style  while  the  vocals  are  mostly  high  pitched  black  metal  screams.  The  riffs  also  add  in  a  decent  amount  of  melody  along  some  of  the  tracks  being  very  long  and  epic  in  length  as  well  as  the  music  also  having  its  depressive  moments.

  Shouting  style  vocals  are  also  added  on  a  couple of  songs  along  with  the  faster  sections  of  the  tracks  also  adding  in  a  decent  amount  of  blast  beats.  Throughout  the  recording  you  can  also  hear  a  decent  mixture  of  slow,  mid  paced  and  fast  parts  as  well  as  the  music  also  adding  in  some  90's  influences  at  times  and  the  album  also  closes  with  a  symphonic  soundign  instrumental.  The  production  sounds  very  professional  while  the  lyrics  are  written  in  French  and  cover  War,  Anti  Christianity,  Hate  and  Darkness  themes.

  In  my  opinion  Eternal  Majesty  are  a  very  great  sounding  atmospheric,  depressive  and  melodic  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Excommunion"  and  "Aux  Portes  du  Temple  Noir    

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Flora Interview

jeudi 22 octobre 2020 à 04:35


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

Greetings Occult Black Metal! I’m glad for this opportunity to have a few words with you. Flora was started during the seasonal rainstorms of May 2015. We had to wait almost two years to see the rain once more. During those times I left behind a couple of extreme musical projects that now are in the past. Flora was the decisive step between mediocrity and musicianship. For me, this project is the quintessence of my persona. If you listen to Flora you can hear me somewhere near.

2.In September you had released a new album, musically how does it differ from your previous release?

It has a totally different approach, at the same time, it follows the same pattern. The thing that differed from one album to the other was the amount of time and composition done. The process of composition of “II” was monumental in a way. Lots of evenings riffing and writing, I deleted what now I think were good tracks for the album. At the end it was difficult for me to find the suitable body and form of this album.

3.This is also your first release with this project since 2016, can you tell us a little bit more about what has been going on during that time frame?

A lot happened during the process of recording Flora’s second full length. Firstly, during 2015 I started an English pedagogy career which ended in 2019. Then was the whole family issues thing and other complex situations that made me stronger and of course, more introspective. Of course, at university you learn more about social standards, behaviour and human nature more than academic stuff at any time of your life. Practical knowledge is limitless and during those days I learned and practiced every day according to my main goals. That was the background of the times where Flora became real. 

4.What are some of the lyrical topics and subjects you have explored so far with this project?

Most of the lyrics are about pollution, environmental terrorism, ecocide, the strength and force of nature and the insignificance of material existence. 

5.You also mentioned writing some esoteric articles for a fanzine, can you tell us a little bit more about your interest in this topic?

Yes, of course! Since 2017 I have been recompiling some articles and manuscripts I wrote. Some of them are about Resurrection, Non-dual meditation, Alchemy interpretation, Kundalini & Pranayama and more. The fanzine is called Altar del Bosque (Forest Altar). A promise I made during the hardest semester of my life was that when I finished my course of study I would start studying the occult side of life and it’s veiled secrets, thus, immersing myself in the realms of energies and beyond.

My main goal is to promote US/EU bands to the Hispanicamerican community which is starting to grow a lot, even though, most bands sound pretty copycat and mediocre there are some (not so hidden) jewels around. The Metal scene, even though, is a greater character in this story. I bet all my coins to the noise/punk scene here. These beautiful persons know who they are, the city wouldn’t be this funny without them.

6.What is the meaning and inspiration behind the name 'Flora'?

Flora is the conjunction of nature opposites. The fragile unmerciful and its delicate composition, which at the end is just One Energy of One Source. A mathematical enigma, the coexisting balance between beings and it’s environment.  Flora is the essential part of human existence, without it’s collaboration, life couldn’t exist. I’m just a post-silent warning to a dying world.

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

That tree is from a very special place I was allowed to see. His story is obscure, people used to “hang around” sometimes. In order to seek him, you had to step downwards in an eucalyptus forest, perfect for some introspection, with a great friend Matías whose presence did nothing but improve things around. Never enough thankful for his brotherly support. Together we made Solemnis, sessions of musical experiences with music ranging between electroacoustical music, harsh noise, drone, to other forms of musical experimentation like ritual death, dark ambient along with other aural evileness with almost 19 editions. Best experiences of my life, sharing with so many wonderful people in the community which I met thanks for the music. Pretty hard rockers and tough fuckers! UGH! 

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

Yes, and the main goal is to start rehearsing stronger and in the near future news will be announced. 

9.You also run the fanzine 'Altar de Bosque', can you tell us a little bit more about it?

The idea I had for this zine was to be affordable in Spanish and English. Both editions are different, at least in interviews and articles, at the end will be interchangeable. We should find ourselves time to acquire a second or even third language. As an English Teacher, my duty is to inspire and help others to learn something, and what better to experience some interesting learning than by reading about artists such as Iasos (Greek Angelic New Age,), Invunche (Chilean/Dutch Shamanic Black Punk), Sidereal Fortress/Il Generale Inverno (Italian Dungeon Synth), Silencio Permanente (Argentinian Dungeon Synth/Black Metal), Wrought Records (Illinois Finest’ DS), Billy Moonworshipper, Whispering Mirrors (US), Arthuros (Greek Dungeon New Era!) and more. Along with some articles on questioning the modern system, some interpretations on alchemy and the Splendor Solis, the journey of Jacques de Mahieu, french-argentinian archaeologist and other things. 80 pages both,  

10.The new album was also released on 'Soleminis Records', can you tell us a littlebit more about this label?

Solemnis started as a live session. Solemnis means ritual en latin. People commented to me about the great experience they had in between the sets or days after one. Since 2014, the idea was to create a DIY label and distro of experimental music in the small town of Quintero, Valparaíso. Solemnis was developed among the strong portuary suburbia and beyond of the cold chilean streets. From booking bands for the bill to soundwork and other necessities of doing a live show. Nowadays we released the first three tapes (Attached to this email) which contains the very essence of what we want to promote for music, a wide range of music and emotions. Although, curating as best as possible the participants supporting the musical and conceptual communion and the importance of a good label behind it.  

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

It was decent I must say. It was good to find your review. I had never received a public review. A lot of good feedback from my friends and their relatives. Making a new album requires big responsibilities, no doubt about that, sometimes I failed categorically, but that is the essence of living of what you love. Love is the best teacher. I think that it’s atmospheric.  

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

Due to the pandemic, everything went frozen. Nevertheless, there’s a lot going on in the different cultures. Mostly releasing things, cassette is having a major role in this new wave of DIY tapetakes. It’s very interesting how this format provides the best quality, the dirtier one. A lot happening, of course we are just waiting, things are now stable in our country. Lot of injustice happening, a lot of montages and of course, a polarization of society sometimes deserves more attention than music. Thus, music is a network of cooperation, for useful means. Wanted to shoutout Diavol Strain, Sidosis, Pancho Carcinomatoide, Calaka Records, Phantom, Kalkü, 886vg, Thanatoloop, Lux Nigrum, NOLUX Records, Charlie Vásquez/Orquesta Pandroginia, NUEVA BARBARIE, to Afro, Óscar and Bizarro, Ignacio Ihä Fluxa, Capgras and Total Death Propaganda.  A whole lot is missing. But you know that those real special for me reading over there, I salute you.  

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

I’m just going forwards. Projecting in my head the image of success. Never surrender. Solemnis Records is already happening. The zine will be announced with a release date. Musically, I’m preparing a lot of things. Experimenting with melody, trance, and other states of mind. Ambient music that can be used for medicinal purposes. And some collaborations with other labels, awaiting as same as everyone I guess to go back to shows.

14.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?

This is a hard question. Flora is inspired mainly by Tacoma’s based Atmospheric Black Metal band Alda. At least during the first album composition process, Alda was in the framework. Some other bands that inspired this sound were Panopticon, Addaura and the split between Ash Borer and Fell Voices (trascendental experience). For future compositions I want to bring more Neofolk, Dark Ambient into small interludes or something that connects, the melodious icestorm with the breaking sound of the branches in the march into the unknown. Listening a lot of Arcana, Ildfrost, Cold Meat Industry rooster, as well as some swedish Ancient Records rooster from the almighty Swartadauþuz like Bekëth Nexëhmü and Gnipahålan. Subsequently, I was experiencing some new stuff like Këkht Aräkh, Fallen Forest, Lament In Winter’s Night and Wampyric Rites. Finally, I cannot recommend enough to some chilean acts like: Lux Nigrum, Phantom, Kalkü, Ecologist, Eltun, Athanatos, Thanatos and Henosis. 

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

I just want to promote to all readers to trust themselves and never surrender upon anything. We need to keep the zines alive, the DIY aspect of music and art and of course, we need more people to organize shows, gigs and not let those instances to be transformed into dazing and confusing nonsense. We need music to be something important again. If not you, who, If not now, when? Thanks for this opportunity and all my blessings to ye, the contributors and of course to your beloved readers.


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Wyrmwoods/Gamma/Inverse Records/2020 Full Length Review

jeudi 22 octobre 2020 à 02:39


  Wyrmwoods  are  a  solo  project from  Finland  that  has  been  featured  before  in  this  zine  and  on  this  recording  plays  an  experimental  form  of  black  metal  and  this  is  a  review  of  their  2020  album  "Gamma"  which  will  be  released  on  October  23rd  by  Inverse  Records.

  Clean  playing  starts  off  the  album  along  with  some  dark  yet  heavy  riffing  a  few  seconds  later  while  synths  are  also  utilized  at  times.  The  vocals  are  mostly  grim  sounding  black  metal s creams  along  with  some  death  metal  growls  also  being  added  into  some  parts  of  the  music  and  the  riffs  also  add  in  a  decent  amount  of  melody. 

  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  dark  and  melodic  style  while  avant  garde  style  structures  are  also  added  into  some  of  the  riffing.  When  the  music  speeds  up  a  decent  amount  of  blast  beats  can  also  be  heard  along  with  some  synths  also  adding  in  synths.

  The  music  also  has  its  experimental  moments  along  with  the  tremolo  picking  also  giving  the  songs  more  of  a  raw  feeling  when  they  are  utilized.  A  great  portion  of  the  tracks  are  also  very  long  and  epic  in  length  as  well  as  the  songs  also  adding  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts,  one  track  also  adds  in  a  brief  use  of  saxophones  and  as  the  album  progresses  an  instrumental  can  also  be  heard  and  the  music  also  adds  in  a  great  amount  of  progressive  elements.  The  production  sounds  very  professional  while  the  lyrics  are  written  in  Finnish  and  cover  dark  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Wyrmwoods  and  if  you  are  a  fan  of  experimental  black  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Astralanum"  "Subterrane"  and  "Solanus".  8  out  of  10. 


Source :

Serpents Interview

jeudi 22 octobre 2020 à 01:43


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


H: Serpents started as a one man band by O in 2017. 

In the beginning of 2018 I was asked to do vocals on a demo and from there it morphed into what became Serpents.



In November you have your new release coming out, musically how does it differ from your previous ep?


H: The first ep was written by O. All music was done when I got in the picture, so I just laid down the vocals for it. The new material, allthough written by O, was arranged by the whole band. The difference is huge.


O: On our first demo I was not really sure in which direction I wanted to take the music. First I thought of having no blastbeats at all, and ”A world of Stillborns” was the first song to be written. Had I written it today, it would probably have sounded a little different. It's still a cool song though! 


Another difference is the production. Heavier sound, and we tuned the guitars/bass down a whole step this time, compared to the demo.



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


H: We play black metal, so the lyrics are about embracing darkness and the war against christianity. 



What is the meaning and inspiration behind the name 'Serpents'?


H: The serpent is known through history as a deceptive and venemous creature. I think it suits us perfectly. 



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


H: I came up with the title for the ep ”The Brimstone Clergy” first. Then me and O talked alot about what kind of artwork would go with that. At first it was only one dead priest in our drafts, but seeing as there are 3 of us in the band we changed it to 3 priests. O made a really good sketch of it and Mr D did the final artwork. We are very pleased with it. 



Can you tell us a little bit more about the masks you wear in the pictures?


H: Our identities should not matter to anyone. We’ve all played in bands since the early 90’s but feel that Serpents can stand on it’s on legs, so to speak, regardless of who we are.


O: No masks, only faceless darkness!



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


H: No.



The new album is coming out on 'War Anthem Records', how would you compare working with them to your older label 'Folkvangr Records'>


O: Folkvangr released the cassette. They did a great job with that. And Mysticism did an awesome job with the vinyl! Moving on to war-anthem felt like a natural next step. 

Jarne is a great guy with solid connections who I’m sure will make a good job on this release.



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


H: I dont keep myself updated on that very much, but generally positive comments.



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


H: We will continue along the same lines where we are now. A brutal assault on the senses.



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?


H: As individuals our taste in music differs alot. I can only speak for myself when I say that both musically and lyrically none compares to Funeral Mist.


O: Arckanum! And the forest. We sound nothing like him, but he was the inspiration for me to start this band. Besides that it differs alot like H says. But no one worth mentioning in this context.


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


O: Embrace the fiery gospel of ”The Brimstone Clergy” and be sure to pick up a copy of the vinyl version with a sick as fuck gatefold. 


”With pestilence and with blood I will enter into judgment with him; and I will rain on him [...]

a torrential rain, with hailstones, fire and brimstone.”

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