Alex Bruder Des Lichts

Today I spoke with up and coming Pennsylvanian Black Metal trio Dumal. We spoke about the metal scene in Philly, why Polish people create so much great Black Metal and the ignorance of organized religions – read on!

* Your first album came out January of this year – how’s the reaction been so far?
Hail! Thanks for the interview. Though The Lesser God was released independently on our home label and we did very little to promote it, the reaction has been surprisingly strong. The album was put out quietly, with only a few blogs mentioning its release at first. We were shocked to see it being reviewed so positively and at how quickly the first limited pressing sold out. We were caught off-guard by the attention it has been receiving and are glad that the people are receptive to our sound.

* If I am not mistaken it’s been 4 years since you guys formed – what do you think it’s taken you so long to release your first album?
A lot of that time was spent writing and recording the EP’s and splits that were released before the album. We wanted to get a few releases under our belt before we ventured off to make a full-length album, just to get our name out there and to get people familiar with what we’re trying to do. I don’t think we would have been ready to put out a full-length right away, as it took us some trial and error to find which direction we wanted the band to move in. At first we tried sounding a little more “raw”, but after a few months we realized it wasn’t what felt right to us. This can be heard on our self-released and live-recorded 2013 EP. Writing for the album began in 2014, alongside writing material for the EP’s and splits. The album’s main writing had been completed by late 2015, but we let the material gestate with us for a while. If we had recorded the album immediately after writing, it would sound much different than what you hear today. Those few months of tweaking the material made it what it is, I expect to do that for all our releases.

* The artwork is great on The Lesser God. Was that an old Medieval woodcarving or a new design done up to look old?
It’s an original drawing by Joshua Bowens, and that’s exactly what he was going for: a medieval wood carving. We found Josh through our friends in Helcaraxë when he did the layout for our “Raise the Hammer” split. He is a former member of Helcaraxë and several other bands, and has done fantastic artwork for numerous metal bands. I sent Josh the lyrics for the album and the title, and using just that as reference, he created what you see. I feel that it represents the album so well, and sums up a recurring theme on the album – the smothering of religion and the drowning of the world. I’m still blown away by how great his work is, and am thrilled to say that he will be designing a shirt for us.

* How deep into Pennsylvania are you guys? Close to Philly or out in the woods? I think Philly has a great music scene, it’s still affordable to live (Unlike say NYC or the Bay Area)
We live right outside of Philly in a town called Ambler. Philly has been on an upswing in the past few years as far as the metal scene goes. For a while it seemed to be slowing down, with a lot of big tours skipping Philly and just a general malaise in the scene. I’ve noticed a renewal in passion from the metalheads in the city, and we’ve been fortunate to play at many of the venues in town and will be playing Philly every chance we get.

“Philly crowds seem to take pride in being nasty to people they don’t particularly like and aren’t afraid to let them know how they feel”

* Have you played any shows in NYC yet? If so how do NYC crowds compare to Philly crowds? (I saw a band from Sacramento open for Deicide in Philly once, the singer said “We are With Passion from Sacramento California and one of the crowd shouted back “why don’t you fuck off back there!”)
That sounds like a typical Philly audience! Philly crowds seem to take pride in being nasty to people they don’t particularly like and aren’t afraid to let them know how they feel. We have played NYC a few times: at Saint Vitus, Lucky 13, and Tobacco Road. NYC shows generally have bigger turn outs and you get play with bands that are from all around the country, whereas in Philly it’s more likely that you’ll be playing with Philly/Jersey area bands. There’s nothing wrong with that, but NYC is just more on the metal radar when it comes to bands from New England and out West.

“It’s hard to say what exactly makes a show good, but it’s more than just quality bands playing well.”

* What’s been the best gig you guys have played so far and why?
The show we played at “The Fire” in Philly in 2016 I thought was a particularly good one. Skulsyr, Ominous Resurrection and Abazagorath performed as well, and the show just had a unique energy. There was a great turnout thanks to the solid lineup of bands. It’s hard to say what exactly makes a show good, but it’s more than just quality bands playing well. Some shows just have a special feel to them that make them more memorable than others, and this one certainly had it.

* Have you guys done any national touring yet? I always say National touring is either going to make you or break you? It definitely separates the men from the boys
I’m sure it does. National touring is something we will be considering in the future, but it hasn’t happened yet. Until we can sort out the logistics of a large-scale tour, we plan on doing 3-4 day stints in New England and the Mid-Atlantic region later this year and early 2018.

* You guys are heavy and aggressive yet there is a real melodic sense about the band..is that deliberate or did it just come naturally?
Everything we do and play comes naturally. We don’t force melodies into songs where they don’t belong, and likewise we don’t make songs heavy and aggressive just for the sake of being aggressive. We craft our songs one riff at a time with what feels right for the mood of the song. Most of our songs are collaborative efforts. Each of us has his own style and method of writing, and I think that’s what helps Dumal sound a bit different than a typical Black Metal band.

“The Polish Black Metal scene is great these days”

* Your last name is Siatkowski correct? If I am not mistaken that is Polish…why do you think so many great Black Metal bands are coming out of Poland these days? (Batushka, Mgla, Behemoth etc)
My last name is Polish indeed. Philly has a sizable Polish population and my grandparents lived in the very Polish “Port Richmond” section of the city when they immigrated here. The Polish Black Metal scene is great these days, but I’d argue that it has been good for a long time. Unfortunately, some of the better bands have NSBM leanings, and have been making great music despite their idiotic political ideologies for 25 years. My personal favorite Polish Black Metal band at the moment is Wędrujący Wiatr. Why exactly does Poland seem to be an epicenter for great Black Metal? I wish I knew!

* Where does the name Dumal come from? I know there is a castle in India of the same name..it also sounds like a French name too (perhaps one of the 3 musketeers type of thing)
You’re correct, the word Dumal has both Indian and French meanings. It has an English meaning as well. It is the name of a caste of people in India where it means “a coil of rope”. It also means a thorny pathway, and is the name of a book of poetry by French poet Charles Baudelaire, “Les Fleurs du Mal”. It is mostly from the book that we take the name (which translates to “The Flowers of Evil”). The fact that it works on three levels is something that made us like the name right away when it was suggested by our drummer Evan. We take inspiration from cultures and music from all over the world, so it fits our style perfectly.

“It always makes me laugh a little inside when I see all the anti-Islam rhetoric coming from the Christian right “

* From what I can tell a lot of your songs are pretty anti-religious – are any of the band pagans? if so what faith do you follow?
To me, for one religion to have power, they all would have to have power. Judaism begat Christianity, and both begat Islam. All three of the big monotheisms worship the same god, and are all equally false. Since I do not believe in any form of god, I cannot believe any real form of Satan, or any other deity period. That’s not to say that Satan doesn’t have great power as a metaphor and symbol for the opposite of god, it works great for me on that level. Every religious myth, from Greek and Nordic to Christian and Muslim, must have its nemesis – an opposite of the good benevolent gods for people to believe in order to scare them into being good, easily controlled people. No members of the band are pagan for this reason, though I would bear the title of heathen, blasphemer or infidel proudly. I personally am not only atheist, but strongly antitheist. What that means to me is that I not only do not believe in any god, I also believe that they are actively harmful and must be extinguished in all their instances. It always makes me laugh a little inside when I see all the anti-Islam rhetoric coming from the Christian right in America, how they have somehow tricked themselves into thinking they do not believe in the same exact god that Muslims do. That is just one easy example of the willful ignorance that the religious people of the world partake in every day.

* What plans do Dumal have for 2017?
We were just featured as one of the bands on a compilation for ViaOmega magazine. We live-recorded to tape a new song (one that will appear on our second album), and are proud to be part of a great compilation for a very cool magazine. Since then we have been busy writing more songs for a second album. Our plan is to take the first half of the year off from shows to focus on writing, and spend the second half of the year playing shows to promote The Lesser God and preparing to record the second album. This may seem like a backwards way of doing things, but we wanted to hit the ground running and keep the momentum we gained from the release of the first album and foray that into writing. It’s not easy for us to both write and prepare for shows at the same time, so we typically separate the two actions. We are tentatively planning to have the second album out sometime in 2018.

* Any final words?
Thanks for the opportunity to be interviewed, and thanks to everyone who has checked out the album. Look for a cassette version of The Lesser God being released via Underground Soundscapes in summer 2017. Cheers!

Today I spoke to one of the best Stoner Doom bands from Poland ..Dopelord. We talked about the risks of getting weed in Poland, touring Europe and why a West Coast US tour has to be done! read on…

* Poland is known worldwide for its great Black metal bands but not so much its Doom bands – how did you guys get into playing doom music? What were your influences?

Piotrek: Well black metal as a genre is far more popular than doom, maybe that’s the case. I think if you’re interested in stoner/doom you should know at least few pretty good Polish bands. We started our band because we were listening to this kind of music and didn’t know any stoner-doom bands in Poland at that time. Our main influences at that time were Black Sabbath, Electric Wizard and Sleep to name the most obvious, but I remember that was the time of releasing Cough’s „Ritual Abuse” and Windhand’s demo both of which were in heavy rotation.

* Have any of you played in bands outside of doom music before Dopelord?
Piotrek: I played in one band, it was not doomy at all, more to the psychedelic side of rock (at least we wanted it to be). It was called Klingonian Beauty. That’s how I met Paweł (guit., voc.), he was looking for a band he could sing in. KB’s drummer, Arek, became Dopelord’s first drummer.

Grzesiek: Me and Paweł were in a band called Solarbabes at that time, and apart of the singer, we also shared rehearsal space with Klingonian Beauty. Also, Arek owned a pub (where we all worked at some point) which I guess was the sort of place where you could come and talk to people with similar taste in music, share ideas. I can’t really remember when and where it was that we came up with the idea for Dopelord, but my best guess is it was that place.

* The band has been going for over 7 years now – what keeps you guys going for so long?
Piotrek: Actually, band came to life in the end of 2010, so we’re six years old now hahaha, not that old, right? Anyway, what keeps us going is music. We just really enjoy every new riff, every next album, every next gig. Simple as that.

Grzesiek: We came to know each other really well over the years – there’s not really much more to it than this. We know what to expect from each other, and how not to piss each other off too often.

* The artwork on the new album is amazing? How did you get to work with Pighands? And did you have to give him an idea of what you wanted? or? how did it work?
Piotrek: We collaborated with PigHands earlier, he designed one of out shirts. He did tremendous job and I was quite certain he’s the right man for the cover art job. I just pointed Antonio some rather loose ideas, the atmosphere of the album, and he did the rest. I think that the songs and cover art work great together. It was a perfect fit.

“We try as hard as possible to make our every show the best we can, that I can promise.”

* I know you guys have done some touring of Europe before – what’s been the best show so far? and why?
Piotrek: It’s hard to point out a single show and say it was the best. How could you measure it? The biggest crowd? The best organisation? The best venue? The best performance? We try as hard as possible to make our every show the best we can, that I can promise.

* Have the band played Amsterdam before? If so any crazy stories?
Piotrek: Nope, not yet.

* I know the band play the Uk in May? Have you played the UK before? I would imagine people would love you there
Piotrek: It will be our first time in the UK. So I hope you’re right, man. We’ll be playing there with great company of Poland’s finest: Major Kong, Weedpecker and Belzebong so I think it will be quite ok.

* Has the band played any concerts in the USA before? Are you guys aware come 2018 recreational weed will be legal down the entire West Coast of the USA?
Piotrek: No, we’ve never been to the U.S. To be honest, there are enough reasons already to come and visit with a tour hahaha.

“We like both our booze and our buds”

* I think of Polish being a land more for vodka and beers than weed..do any of the band smoke and if so what is their favorite types of weed?
Grzesiek: we’re not that picky, man. We like both our booze and our buds, however, when it comes to the latter there isn’t really much of a choice.

* Is weed easy to get there? I lived in England for 10 years – when I first moved there good weed was very hard to find by the time I left the country it was much easier due to hydroponics? is if the same in Poland – or does it come from places like Spain and Portugal?
Grzesiek: Well first of all it’s illegal and unlike in the UK, where the worst case scenario is being told off by the cop, here you can actually go to jail for possession. It’s still possible to get decent weed, but as I said – not much of a choice there, and most of the times you won’t even know where it came from.

“Our spiritual needs are fulfilled by playing music”

* Poland is well known as being a Catholic country. Do any of the band practice any form of paganism? If so what path?
Piotrek: No, we don’t practice any form of any religion. Our spiritual needs are fulfilled by playing music, I guess.

* I know old movies are big influence on you guys – tell me some of your favorite movies
Piotrek: One of my all time favourite Polish movie, that you might know is „Saragossa Manuscript” by Wojciech Jerzy Has. It’s brilliant on so many levels. Funny (and sad at the same time), that the first DVD version was curated by Martin Scorsese and released abroad, not in Poland. If you have not seen it – please do, it’s a great story with great acting.

* What can we expect from Dopelord in 2017?
Piotrek: We try to focus on playing as much gigs as possible. Worth mentioning is that we will re-release all of our albums on vinyl. Hopefully this year.

* Any final words?
Piotrek: Now is not the time, though „The time is now” would make great final words hahaha.

Today I spoke with The Watcher, front man for English Atmospheric Black Metal band Fen. We spoke about coming from the marshlands of Eastern England, the loyalty of metal fans and touring with Taake

“There is a unique, understated bleakness to the fens – it’s an area few visitors to the UK travel to”

* You got your band name from the Marshlands in Eastern England correct? Do you think stylistically you would sound the same say coming from the West Country, London or Newcastle?
It is hard to say – given that we all currently live in London and some of us have moved around a fair bit in the last ten years, it is likely that the surface-level core of the band would still sonically sound more or less the same. Nevertheless, the essence of the band is derived from both myself and Grungyn growing up in the fens of Eastern England and in this, I believe this has a profound effect on the music just beyond the ‘sound’. The whole basis of Fen is to channel this ambience through our music and concepts – with that in mind, whilst it is still likely that we would be playing an atmospheric form of black metal, the fundament of the material would likely be different.

The source of our inspiration and the basis of our driving motivation is absolutely key to the ambiences we are attempting to invoke and so in that, I think there would be a palpable difference to our music if we were to have grown up in another part of the country. There is a unique, understated bleakness to the fens – it’s an area few visitors to the UK travel to, it does not boast rolling ‘English’ greenery, moorland, hills or lush forests and is therefore, very much an area untraveled by most apart from those who live and work there. It has a distinctive, spacious emptiness, fields of dark soils that speak of ennui and woe, hints of mysteries dwelling within the dark corners that loiter under the endless grey skies.

This in turn is the atmosphere we attempt to channel through the music of Fen and therefore, whilst stylistically we would very likely still be playing atmospheric black metal regardless of where we originated, I think it would lack the distinctive mournful bleakness it currently carries.

* Since the band started as a studio project are any of you in other bands?

* Are there plans for live shows this year?
Plenty. Being able to deliver this material in the live environment is absolutely key to us. All three of us put our absolute maximum into every gig we play – it is the most direct and honest form of communication we can participate in to involve our listeners in our music. Gigs can be pretty lacking in atmosphere sometimes – sterile or sub-standard venues, poor sound, drunken oafs spoiling it for people – however our goal is always to transcend this and do our utmost to being the audience into our journey, to deliver the atmosphere of the fens to each show regardless of the circumstances.

As for plans for shows this year, we have a support slot with Primordial at the end of March and then are touring the UK with Taake in April which should be good. We are also heading to Norway for the Nordvis Hostfest in September which will be an excellent event run by our good friends at Nordvis.

“There’s a loyalty to artists that is palpable within extreme metal”

* How well do your vinyl and cds sell? Are you surprised that people still by physical product?
Erm… I guess they sell OK. I’m not really sure what is considered to be ‘good’ sales in this day and age I’m afraid! I’m always pleased when people opt to buy a physical release of our music, though I suspect we’re nowhere NEAR the sales of bands like Amon Amarth or Behemoth. What I will say is that I am not massively surprised that people still buy physical releases – and indeed, that vinyl sales are increasing – certainly within the metal scene. There’s a loyalty to artists that is palpable within extreme metal and I think it is becoming increasingly well-known that endless streaming sites and illegal downloads are harming the very bands fans profess to love.

Not only this, but a full physical release really is the optimum way to appreciate the record of an artist with whom you feel you have a genuine connection with. So many bands – and I certainly include Fen in this – put an enormous amount of thought and consideration into the aesthetics of their releases. Therefore, the ultimate way to experience the record is in its entirety with artwork, lyrics and aesthetics being absorbed in conjunction with the sonics. Indeed, for a genre such as ours which is so rooted in atmosphere and ambience, it is even more important I feel.

Thankfully, I think a lot of metal listeners ‘get’ this – not only does the music of Fen lend itself to dovetailing with extensive, relevant imagery but also the metal genre has a tradition of fans devoting themselves to investing in the bands they support. Call it that ‘collector’ mentality if you will (some of the Maiden collections out there for example represent an unbelievable level of commitment) but I do think it is something that is quite prevalent in this scene of ours. Coupled with our label’s commitment to producing exciting, well-produced and thought-through limited-editions of our albums, it’s something we certainly support and encourage. Quality vinyls and box-sets are a refreshing antidote to the disposable, ‘easy access’ throwaway distraction culture being increasingly foisted upon us these days and therefore, long may their success continue!

* Your latest release Winter comes out march 2017? I really like what I heard on your bandcamp – how would you explain the differences in your latest release compared to your past catalog to new listeners?
This latest record is without a doubt our most ambitious and indulgent full-length thus far. It of course retains the essence of Fen inasmuch that at its heart, it is an account of a striving, personal journey refracted through the bleak and sorrowful imagery of the fens, yet here we have pushed the compositional process even further. The progressive elements that we have dabbed with in the past are exemplified on ‘Winter’ and indeed, we set ourselves the goal of writing these songs from an almost ‘classical composition’ perspective – rather than songs essentially being segmented structures of riffs (riff A, riff B, riff C, riff A again e.t.c.) we pushed ourselves extremely hard to work with evolving themes and motifs, avoiding straightforward repetition and instead creating songs that are structured almost as a continuous ‘flow’ of music.

Indeed, this approach runs across the record as a whole and the entire album can be considered to be one long song, divided into several chapters.

* What was the one band that really got you into Black metal?
That’s a hard question to answer really! I sank into the mire of extreme metal in around 1995 which is really when black metal had started to explode in the underground I guess. As a brit, I suppose I have to hold my hand up and confess that Cradle of Filth were in important band in the very early days and indeed, the ‘Vempire’ EP captivated me considerably when it came out. It was quickly supplanted by Emperor’s ‘In the Nightside Eclipse’ and Dark Funeral’s ‘Secrets of the Black Arts’ albums however – these were cornerstone releases for me in the early days, demonstrating a different level of composition, adopting an almost ‘widescreen’ wave-of-sound approach as opposed to the more traditional, riffy, ‘Iron Maiden’-esque guitar work that Cradle utilised.

Certainly the early Dark Funeral material made an impression, clichéd as that band have now become – to hear guitars being used to effectively deliver a quasi-orchestral wall of reverbed distortion was something I had never heard before at that time and really lit the fires of inspiration for me. Of course, in the intervening two decades plus, I have long since appreciated that there are plenty of bands who adopt this approach, many of whom deliver it with a real sense of skill and nuance. However, ‘back in the day’, in the middle of nowhere with internet and very few like-minded listeners, these early records made a huge impression.

“For me, originality derives from a sense of uniqueness in terms of atmosphere and sonic presentation”

* What modern day Black Metal do you still rate as doing something new?
Well, the idea of ‘something new’ can mean different things to different people – indeed, it’s possible to argue that ‘true’ originality within the sphere of extreme metal is virtually impossible, given that virtually every variation of guitars/bass/drums/voice has been explored in some way. For me, originality derives from a sense of uniqueness in terms of atmosphere and sonic presentation – essentially a band truly discovering their own voice and being moved by the sincerity of their expression to deliver something that has a sound all of its own.

In this, I do not count the kind of desperate genre ‘mash-ups’ that some listeners (and the artists doing it no doubt) believe screams ‘originality’ – melding black metal with electronica ‘for the sake’ of it for example, pointless noodly diversions and other surface-level pseudo-experimentations that really don’t add anything to integrity of music.

So, artists for me that have defined their own voice, pushed (and continue to push) boundaries would include Blut Aus Nord – Vindsval is a powerful creative force, continually inspired and reinventing yet always retaining his own distinctive voice. Leviathan/Lurker of Chalice too, I think Wrest is another true creative and I’d also add Ruins of Beverast to this list as well. These are all effectively solo artists so perhaps this points to solitary expression as being a way of truly unshackling oneself from notions of creative restraint – after all, in a band, you have two, three, four, maybe more people contributing and in this, compromise could be factor perhaps? Who knows.

Having said that, there are bands that can blindside you still – the latest Inferno for example is very surprising and very different sounding. The UK’s own Lychgate are stepping into incredibly advanced, leftfield realms of composition – though how much of a link their material will have to black metal remains to be seen! Ultimately, black metal will always have those at the speartip who will continue to push, seek and redefine the parameters of the genre.

* Outside of Black Metal do you look at any other types of music for inspiration and if so which bands?
Of course – by virtue of the style of black metal we play, which encompasses a variety of other textures and soundscapes, non-metal music plays a huge part of our listening palette. I draw an enormous amount of inspiration from shoegaze bands such as Slowdive, Ride, early The Verve and My Bloody Valentine as well as a number of post-rock artists also – Mogwai, Godspeed You! Black Emperor, Explosions in the Sky and Mono being key candidates from this scene. These are all outfits that pushed (or continue to push) at the boundaries of producing enveloping, absorbing

I also spend a lot of time listening to a number of classic records from the 70s prog scene – Yes, Genesis, Rush and several others – as, clichéd as this scene has been regarded in certain circles, the musical adventurousness of these bands cannot be denied. The more ‘gentle’ side of electronic music is an influence in some ways as well – at least from a position of ambience and generating a mood. Artists such as Black Dog, Global Communication and Boards of Canada play a definite part in helping shape some of the atmospheres we attempt to convey.

* How do you guys go crafting your songs? I know many bands start with a guitar lick and build but I imagine you guys work out a lot of your songs in the rehearsal studio?
The songwriting process is quite varied – sometimes it will originate from one or two quite simple ideas that myself or Grungyn have come up with and as you rightly say, we then go on to develop in the rehearsal studio. Whilst I am fully aware of the potential pitfalls of a ‘jamming’ approach to songwriting (that is, such noble intentions can frequently collapse in on themselves into a noodling, self-referential and disappointingly unadventurous soup), if deployed with discipline and control, it can sometimes lead to inspired results. Indeed, the second part of our most recent album originated from one or two central themes which we then developed around through experimentation within the rehearsal studio.

Other songs are composed and structured more comprehensively in isolation before being presented to the rest of the band. This can also be a good way to work, particularly if someone has a very defined vision as to how they perceive a song to be represented. I do find this quite a satisfying way to work on occasion – if I am feeling particularly solitary and inspired, it’s a bit of a tonic to really chip away at a song, sculpt it and see it grow into something (hopefully) coherent and arresting! Of course, once an idea written in this way is presented to the rest of the band, it can be subject to change again – different interpretations of rhythms, suggestions on rearrangement e.t.c. so again, there is a fluidity even to this more controlled approach to writing.

“If you were hoping for us to be some form of nature worshipping troupe giving thanks to the Gods of the land in ancient druidic rituals taking place under moonlight in stone circles, I am sorry to have to disappoint you!”

* Are any of the band practicing pagans? If so what faith?
I am afraid not and I’m not really sure what a ‘practicing pagan’ represents in this day and age if I am honest. None of us really subscribes to any traditional notions of theism in the conventional sense – we all have our personal beliefs and views in respect of the self, spirituality and considerations beyond the limitations of the material realm but it isn’t something I am really at liberty to go into at any great detail here. Suffice to say, if you were hoping for us to be some form of nature worshipping troupe giving thanks to the Gods of the land in ancient druidic rituals taking place under moonlight in stone circles, I am sorry to have to disappoint you!

* What do you hope this latest release “Winter” will accomplish for you guys?
Stepping back now and trying to assess the latest album as objectively as possible, I really think that it is a testament to how far we have come as a band in the last ten years. I appreciate it is very long, however we just felt a compulsion to create as much as we could with this record – to push every element of it as far as possible. At one stage, we were considering making a double album! Nevertheless, the goal was to distil the ‘essence’ of what it is that makes Fen, to produce something in which every aspect is redolent with our vision. I do believe Winter accomplishes this.

I know that it is often said that hope is a denial of the reality of expectation, however if I were to allow myself to hope, it would be that Winter is a release that really cements our individuality as a band, that underlines that which defines us apart from the labels we have carried in the past. Whilst it is flattering to receive constant comparisons to Agalloch and Alcest, for me, this album really does not sound like those two bands at all – it has many signifiers from the ‘post black’ and ‘shoegaze’ metal subgenres but in my opinion, it weaves them into a coherent whole that simply sounds like Fen at the end of the day.

So yes, for me, in an ideal world, Winter would represent a landmark release for us – a defining album which symbolises everything the band stands for and provides us with a springboard for another ten years of creativity.

“We have been confirmed for the Nordvis Hostfest in Norway in September”

* What else can we expect from Fen in 2017?
From a release perspective, the newest record should be landing any day now. We are also hoping to release a mini LP of our side of the ‘Stone and Sea’ split CD we released last year – this will be a MLP produced courtesy of Eisenwald Productions. We are also hopefully going to see our third album ‘Dustwalker’ released on vinyl as well – so it looks to be a vinyl-heavy year which is absolutely fine by me!

Other than that, we are looking towards playing live shows to spread the word of Winter – we have a number of interesting gigs in the UK this Spring including a mini-tour with Taake and a support slot with Primordial in London. Discussions are underway regarding a number of overseas shows also – we have been confirmed for the Nordvis Hostfest in Norway in September which promises to be an excellent event and several other gigs are in the pipeline. Many of these look to be very exciting so as soon as they become confirmed, we will of course update our fans via the usual mediums.

* Any final words?
I think we’ve more or less covered everything – thanks for the interview!

“We practice old and archaic customs in our private life’s, yes.”

Joel and I have been trying to get this interview happen for some time now and we finally got it locked down. Read on, to hear Joel tell you the correct way to say the band name, what it was like to work with David from Woods of Ypres, Siegfried Meier and the meaning of Metachthonia.

* I’ve always been a fan of your guitar playing – how long have you been playing guitar and how did you get into metal?
Thanks for the kind words! I’ve been playing guitar since I was fourteen-ish. Had listened to all the 80’s Metallica at this point, but really well and truly got into metal when I downloaded the guitar pro tab for Lake Bodom.

* What are your thoughts on Black Metal in 2017?
Alive and strong. Some great atmospheric stuff coming from all corners of the globe. Definitely different from its origins in the 90’s. Now it seems less political and less extreme than it did at first—I think we’re just accustomed to it and its harshness. Those seeking harshness find it and are at home there. I feel like today it’s less of a medium for political expression and rebellion than it once was, and more a canvas. Black metal allows one to express a multitude of dark wondrous sonic atmospheres, the sort of wide and spacious atmospheres that heavy and complex lyric matter can float through endlessly. It seems a great medium for that at the moment.

* Canada has produced some great black metal bands over the years (Sortilegia, A.M.S.G, etc) – what do you think the uniquely Canadian “spin” on black metal is say compared to Scandinavian, French or American black metal?
I really couldn’t pin down a specific Canadian sound. I think that Canada, because it’s so geographically vast and demographically sparse in relation, has many, many pockets of sound, a state of affairs which makes it really difficult for a genre or spin to emerge. The result of this, however, is that I think Canada has something which no other place has, and that’s this ability to house many, many genres — all of which done with authenticity — under one national umbrella. A lot of the Prairie and West Coast bands like Manitoba’s Wilt, for example, have a Cascadian black metal flavour, a very dense atmospheric take on it, but the lyric matter of which is uniquely Canadian. Quebec’s Catuvolcus had this ferocity and unwavering Gaulish richness to their music and lyrics, which is a sound evocative of Europe’s alpine countries. Quebec’s Forteresse have qualities of the harsher French sound. But it all manages to feel Canadian.

The first thing about black metal is that for it to be listenable it must of course be genuine. I think the Canadian sound is unique in that, as a country with so many tremendous threads of heritage, it can credibly ally with so many different flavours of black metal.

* Didn’t David Gold come up with your band name? How do you pronounce in and what does it mean? I know people today who have problems pronouncing Ypres (EE PRAY)
Now that you mention it, I think there is something alluring about the unpronounceable. Some mystery to it. Maybe it’s just new words, which is the realm of the unpronounceables, I suppose, but it allows the listener to apply their own intuition and taste to it. I’ve heard Thrawsunbl-AT, Thrawsunbl-AHT, Thraw-SUN-blaht. To each their own. I’ve heard Ensif-EAR-um and EnSIFerum, and the half the fun is the mystery. The origin of the Thrawsunblat name, however, is that when David and I were coming up with it, he suggested a word like this huge Germanic dude laughing, slamming a stein of beer on the table and shouting, “Thraws und blaaaaat ah hah hahhh!” which was perfectly pertinent to us, a pair of Canadians with our thrash and blast, who no matter what our output were necessarily and inherently making a sort of bastardized version of northern European metal.

* Can you help me figure out the timeline – where you already doing Thrawsunblat before you played in Woods of Ypres? And if so how did you come to join WOP?
Sure. I bought Pursuit of the Sun from Dave via his mail order business in 2005. After that we kept in contact via mail and I mailed him two or three demos over the years. In 2009 I sent him one he particularly liked (Black Sky) and he said “Hey Joel! Want me to drum on an album for you?!” Which was a jaw-dropping moment for young me, of course. We recorded an album that year, which became Canada 2010. Then the next year in 2010, Woods was touring and needed a lead guitar player. Dave asked me to join. It was sort of like Dave Grohl asking me to join the Foo Fighters, so I jumped on board. Thrawsunblat went on hold for a bit, though I would write Thrawsunblat lyrics on the road with Woods. It wasn’t until after David and I wrote and recorded Woods 5 in 2011, that I was able to give Thrawsunblat attention and energy, at which point I went straight into writing mode for Thrawsunblat II: Wanderer on the Continent of Saplings.

* You worked with Siegfried Meier on Woods of Ypres “Grey Skies and Electric Light” it must have been a weird experience to work with him again or?
Not even remotely weird. Metachthonia was our second time working together since Woods 5. We’d chatted a lot after David’s passing and really were sources of healing and restoration for one another during that time. Working together after on Thrawsunblat’s second album, Wanderer on the Continent of Saplings was a seamless process. Then for Metachthonia—by now we’ve gotten to know quite well how the other works, and Sig is just so damned good at what he does and is such a kind, quick to laugh gent that it really is a pleasure through and through working with him.

* How do you feel the production of this album differs from your previous releases?
Metachthonia is intentionally different from the others — it’s a revisiting of the black metal landscape of the first album, Canada 2010, but in a different headspace. If the albums were spectrums of colour, Metachthonia would feature less of Canada 2010’s greens, and more rich blues, browns, and blacks. With the cellos and the overarching lyric themes, Metachthonia is darker, more refined, and more specific in its production. I think with the longer, more immersive songs, it’s more somber and reflective in some points, and louder and harsher in others, all with a wider array of atmospheres. Metachthonia is of course quite organic – the colour and texture of a bonfire.

* Your album that came out this year, Metachthonia – most of the songs seem very “get back to nature” is this a theme that you are focusing on for this album or is it something that you are aiming to do as a lifestyle? (example the Wolves in the Throne room guys all live on a rural compound together)
An album of course – at least for me – is a compendium of all the things a person ponders and wonders and explores and tries to solve throughout the course of a year or two. The things I found most dissatisfying were the ones involving what felt like the slow dissolution of my connection to the outdoors. While the lyrics may seem a rally cry for others, of course the album is almost necessarily a rally call even more for myself.

* How do you craft your songs? start with a riff ? a drum pattern? a mood you want to convey? please explain
It is always different for me. Maritime Shores and Goose River started off as lyrics, as did Once Fireveined. Most of the Canada 2010 album started out as music. If it starts with music, then music itself usually originates from me exploring a certain mode, mood, or atmosphere – then I just stay there and write. A riff will happen and, if I’m lucky, then sometimes the rest of the song is just a sort of “well it obviously has to go like this”, and then rest of the song almost becomes more of data entry than of creation. That’s when it’s easy. When it’s not easy, it usually involves sitting in a room and playing a riff, then changing it here and there and playing it until it’s no longer boring. Then finding another non-boring riff for the next section. After that comes bouncing the demo to mp3 and walking around outdoors listening. It’s an exercise in hearing a song fresh and in listening to the momentum of a song, noting when the demo goes in a different direction from how it could or should. Then adding the edits to a new demo. Sometimes I entirely forget about songs, dig them up two years later and put them on an album.

Which actually brings me to the drum pattern you mentioned. This six-song album was, after five songs, in a state I considered complete. But after listening to it for a little while, I wasn’t happy with the first section of Hypochthonic Remnants—which was one of these songs I’d dug up after about five years and put on an album. So I scrapped the first section and using the same drum pattern rewrote it, which then of course didn’t meld with the second section. So I wrote a new second section, which of course didn’t mesh with the final part, so I rewrote that too. So there I was with ten new minutes of music, only having intended to rework the first minute of an old tune. But that’s the how Dead of Winter was written—completely from scratch when I was unhappy with the first section of Hypochthonic Remnants. I of course then re-rewrote the first third of that, and this time it fit.

* My understanding is the title Metachthonia means like the end of this world? This civilization? Is that right? If not what do you see it standing as?
Not the end of the world, at all. It’s this modern age. It’s us, here. Now. It’s a time unique and entirely different to any other age. To discuss a thing, it helps to name it.

And Metachthonia is my way of discussing us, here, now as an entity – what problems exist now that once didn’t, what our daily routines say about us as a culture, how we navigate all this new electronic noise, its effect on us in our endeavour to find happiness and meaning in this wild new world we’re all thrust into.

* Have you done much touring as Thrawsunblat? and if not why not? Any plans to bring the band on full tours? or just one off type events and festivals?
We still haven’t played a live show! Though I play Black Sky, Maritime Shores, and Goose River all the time with the acoustic band I started in town called Oak, Ash, and Thorn. Would love to do some events and festivals with Thrawsunblat, but it’s difficult being in North America, what with the huge distances between cities. We’re working on it though.

* I just ordered your vinyl from Broken Limb Recordings today – how did that deal come about? (the vinyl looks amazing BTW)
Thanks! Glad you dig! The vinyl came about because Rae was working with Broken Limbs Recordings for her own project, Immortal Bird. Pete from BLR, who liked the album, wondered if we’d be interested in putting it out on vinyl, which took very little deliberating on our part.

* What future plans do you have for the band?
More albums! Got the rough idea for the next two albums planned out. With Metachthonia, we’ve just done our long-song album, so for Thrawsunblat 4 we’ll probably go back to something more or less a cross between Canada 2010 and Wanderer in terms of song length and riff style. I had a lot of ideas for Metachthonia which weren’t somber or atmospheric enough, but which will have a warm home on the next record.

* Any final words or shout outs?
Big thanks to everyone for their support, for listening and spreading the word! Thrawsunhats will be available soon! Going to pick them up today, actually!

Today I spoke with the guys in Totenwelt – an up and coming Black metal band from Sweden, we talked about life in small town Sweden, bitterness against society, The raw beauty of the German language and much more. Read on.

* So you guys are from Gothenburg? How’s the black metal scene there these days?
That’s not entirely true. One of us resides in Malmö in the southern part of Sweden but since two of us live in here and we all spent our formative years in a small town just outside Gothenburg it felt convenient enough. I am not the right person to ask since I close to never attend any live events anymore, due to lack of time and perhaps commitment. Jocke would be the one to ask since he is more active in the music scene although mostly in Malmö. I must however mention a band called Walk through fire which In my opinion, although perhaps not black metal, create the most beautiful misery and darkness and did a great show last year I think it was.

* Did you all grow up in Gothenberg? If so you must have seen some great metal shows back in the day. Which ones were most memorable?
As previously mentioned we all grew up outside Gothenburg in a picturesque little shithole of a town called Alingsås. But we tried our best to catch shows whenever our limited funds allowed us. We had the pleasure of seeing a lot of inspiring (and the opposite) foreign and Swedish acts such as Dissection, At the Gates, Morbid Angel, Dismember and Dark Funeral to mention a few. Those shows played a significant part of our own ambition to create music. The impact that these shows had on us, at the time, was truly significant.

* How did you get into Black metal growing up? Who were the first bands that really made you sit up and say “God damn”?
The first time I heard “In league with Satan” by Venom my pubertal senses peaked over the charts. It felt almost overwhelming and you just wanted tear shit apart. Same experience when I first heard Chemical Warfare by Slayer or Arayanism by Napalm Death. A few years later, this repeated Itself when records with bands such as Mayhem, Dödheimsgard, Emperor, Enslaved, Burzum, Dissection, Darkthrone and Dark Funeral, to mention a few, started to present themselves to me. The grimness, raw aggression and mysticism appealed to me and one just wanted more, and faster and uglier…

* Totenwelt means world of the dead – correct? How did you come up with the name? is it more in the Zombie / Walking Dead type of thing or does it have a different meaning for you guys?
In our interpretation it is more something in the line of a dead world, lifeless and it reflects the overall concept of Totenwelt which revolves around more hands-on matters then the stereotypical themes of the genre. Topics such as is pessimism, general resentment and bitterness against society, humans and to an extent life itself. Together with cynicism, general discontent and strong antireligious values. Life sucks and then you die and it’s never too early to quit.

* I really like the work on your ep. Människohataren is a nice change from the break neck speed of many black metal artists – almost has an industrial feel to it – how did that song come about?
Actually, it was first considered, more or less, an introduction to the song, Äta skita sova dö and it revolves around the same Chords as the verse riff of that song. The ambition was to create something that felt slow, monotone and hopeless. And, as we messed around with it, the result we ended up with became lengthier and disgusting enough to deserve an own title and spot on the recording. We do enjoy a lot of different genres of music and industrial music has a lot to offer in the way of creating darker moods in my opinion.

* Were you pleased with the response your EP got you guys?
So far, we haven’t received that much response but the response we have got has been overwhelming and we are truly grateful that people find it appealing. And as we haven’t actively spread our music that much either we are all quite busy individuals with our respective careers, families and commitments that consume a lot of our time it is great to see.

* It sounds like the spoken word is German and not Swedish – is this correct?
It is indeed German which is a language we tend to use in our lyrics because it carries a certain rawness and an overall classic tone which we find suiting to this concept. Our first lyrics were all in German but over time we have moved more towards our native language. But who knows maybe our next stuff will be all in English.

* What does Människohataren mean in English? is there a direct translation?
It means the nihilist or the person who hates people and derives from the fact that we used the German dubbed monologue from the movie “Seul contre tous” which is something of the lead inspiration and concept for this Ep. If you haven’t seen it yet you must. It is a fantastic portrait of human downfall.

* How old were you when you first started playing guitar? Did you take lessons at all – or were you self-taught?
I am indeed self-taught and started quite late playing the guitar since all other guitarists and musicians surrounding me did a far better job and put a lot more effort into becoming good at their instruments. I did a few efforts at playing the guitar in bands back in the nineties but never felt I was up to the task and lacked the motivation and needed to evolve into a real guitar player and never really aspired to be one either. The guitar was more of a tool for creating music for me and I ended up singing or playing the base instead. Over the years, I have grown a bit more accustomed to playing it but it is still mostly a mean for composing although I have reached some level of skill and taking some enjoyment in playing it.

Robert on the other hand started playing about the same time as me and evolved to a whole other level of skill then me and is overall a far greater musician than me.

* Has the band played many live shows yet?
None so far. Totenwelt began as an outlet for my personal need to write this kind of music whilst either playing other genres of music or not playing at all, at times. Over the years, it evolved into a band containing three people preoccupied with a lot of other engagements in life. It is only in the last few years we have become more productive and even touching the topic of performing live. The other hand of the matter is that I have never really felt the need to perform live and never really enjoyed it all that much especially without numbing myself which sometimes took a toll on the performance.

With all that said I wouldn’t want to exclude the possibility of a debut show in a near future but it would require us to involve more people that share the same attitude towards the music which can sometimes prove to be a delicate process.

* When you guys are not making music what do you like to do in your free time?
Family commitments, sex with oneself and others and self-medicating to numb the sometimes-overwhelming boredom of existence.

* What can we expect from Totenwelt in 2017?
We are just starting to rehearse for an upcoming full length recording which we hope to record late this summer if all goes as planned and who knows, perhaps an on-stage appearance.

* Any final words for your friends and fans?
Att leva är att lida så bit ihop och lid! And thank you for the support and listening to our music.

Go listen to their EP here:

Today I spoke to Raw from Nightgrave – Experimental Black metal from New Delhi India. We spoke about the Black metal scene in New Delhi, Musical Equipment in India and much more – check it out

* Can you tell me a little bit about life in New Delhi?
Life’s hard. It would be a huge surprise if it wasn’t. Living, at least, in the capital of a country gone awry would seem to have a few perks. And they are there, it’s just that the prevalent shitty stuff far outweighs the handful of pleasures out here. Ludicrous traditions, arrogance in ignorance is sadly the norm. Mainstream art is guaranteed to be utter shit. Clubs, pubs only serve the purpose of dishing out exorbitant prices and cringeworthy bollywood hip hop at all times. Live performances mostly revolve around some douchebag pressing play on his laptop and sadly, the hapless, helpless youth eat that up because they have hardly ever known or understood the crushing depth of originality or maybe the mainstream media has them ever so successfully blinded. And the rate at which dumb cunts in the country reproduce is just off the charts. There’s a good chance of getting stuck in a jam whenever you plan to drive. The tube is always a better option but that too is massively crowded more often than not. People aren’t all that bad though or so I would like to think. Nature is within reach. Food’s good too.

* Is there much of a black metal scene in New Delhi?
If there is one, I haven’t seen it. Although I did catch a few black-ish acts about a year ago. It was in a small pub in Vasant Vihar. I can’t seem to place their names but a couple of those bands were good. I don’t think any of them were from Delhi though.

* Are there Indian brand guitars and musical instruments available to play Black metal or do you have all the brand names we use in the USA?
I haven’t been able to invest much time into trying out Indian guitar brands. I don’t think there are any good ones but I could be wrong about this. For now, what I’ve got is a Schecter Demon-7, an Ibanez Rg and a Takamine acoustic.

* How about recording studios? Many bands record at home using their laptop but some people prefer hiring a recording studio – what do you guys use?
As of now, it’s a home studio set up with a fairly decent effects processor running through an equally decent DAW.

* How did you find out about Black Metal?
The introductory phase was initiated by the legendary Emperor. Thank human for the interwebs.

* Which bands are your influences?
Plenty – Emperor, Drudkh, Katatonia, Neurosis – to name some

* Have you seen any European Black metal bands live?
Satyricon and Enslaved about a decade ago. Outside Black, seen Meshuggah, Megadeth in recent times.

* What are your favorite Indian Metal Bands?
I’m sure there are some good ones but nothing springs to mind.

* Can you recommend some Indian black metal bands for our readers to check out?
‘Kouros’, my erstwhile project. It’s not specifically black metal but it somewhat stems from it. ‘Fragarak’, blackened death.

* Do you play live at all? If so do you have any plans to tour India?
Since it’s a solo project, a gig is something that would require a live line-up. I’m looking forward to working towards that and making touring possible as and when the upcoming album is completed.

* How did your record deal with Transcending Obscurity come about?
The usual process, I sent them the links and hoped they liked the tunes which, as it turns out, they did. Mr Choksi got in touch promptly.

* What can we expect from Nightgrave in 2017?
A couple of full lengths and a couple of EPs.

* Any final words to your friends and fans?
Thank you very much for the support.

https://nightgrave.bandcamp.com/
https://www.facebook.com/nightgraveofficial