FIRTAN lineup 2018:
Phillip Thienger – guitars & vocals
Oliver König – bass
David Kempf – drums
C.S. – guitar
Today, extreme metal mavericks Firtan premiere the new track “Tag Verweil”. The track hails from the band’s highly anticipated second album, Okeanos, set for international release on July 13th via AOP Records. Hear Firtan’s “Tag Verweil” in its entirety exclusively HERE.
Firtan are one of Germany’s most uprising extreme metal acts, delivering their very own mixture of styles to fans all over Europe since 2010. Having supported Rotting Christ, Imperium Dekadenz, and Der Weg einer Freiheit and played festivals like Summer Breeze and Metaldays, their sound originates from black metal involving atmospheric and progressive elements alongside intense vocal performances and accentuating ambient sounds. Firtan known for their intensive live shows, which, to date, they have delivered to ten European countries.
Now, after two EPs and one full-length, Firtan hereby present their strongest work, Okeanos. Inspired by avant-garde intellectuals like Nietzsche and Lovecraft, Okeanos is a dazzling display of epic black metal grandeur, suffused with autumnal atmosphere and winding-yet-captivating compositions. But, although deeply rooted in black metal, the overt muscle Firtan display here – not to mention the panoramic approach to songwriting, daring and boundless – helps Okeanos elude easy categorization. It’s an immediately captivating experience, expanding the listener’s consciousness whilst whisking the listener away to worlds yet unexplored. And its soundfield is as robust as it is majestic, which is no surprise considering it was recorded at the esteemed studio Klangschmiede E with Markus Stock of The Vision Bleak/Empyrium. At six songs in 40 breathtaking minutes, Okeanos is the album by which Firtan enter into the elite.
Hear for yourself with the new track “Tag Verweil” exclusively HERE,
In the leadup to the album’s release, Firtan will be playing a number of shows/festivals over the coming months (dates after the jump). Cover art, by Denis Forkas (Behemoth, etc.) and tracklisting are as follows:
Tracklisting for Firtan’s Okeanos
1. Seegang
2. Tag Verweil
3. Nacht Verweil
4. Purpur
5. Uferlos
6. Siebente, Letzte Einsamkeit
upcoming FIRTAN live appearances
15.06. Aaargh Festival (Uttenhofen/Allgäu)
07.07. Eresia Metalfest (Résia, IT)
22.07. Metaldays Slowenien (Tolmin, SLO)
24.08. Wolfszeit Festival (Crispendorf
IMPERIUM DEKADENZ have been the victim of Mexican plagiarizers ISON (not to be confused with the Swedish ISON). Not only did the band perform official tracks from IMPERIUM DEKADENZ under their own flag, they also planned to release IMPERIUM DEKADENZ’s entire full length “Meadows of Nostalgia” under the false name of “The Outsiders”. The Mexican exploiters did not even bother to re-record their theft, but were under the impression that a simple song name-change would do the trick.
The band comments:
“Hello everyone,
During our conquest with IMPERIUM DEKADENZ, we have seen and witnessed about everything that is imaginable – but what we have encountered now sinks brazenness to a new low.The lame plagiarizers of the Mexican band ISON are obviously trying to desperately built their ‘career’ by using OUR songs! This beggars believe, but this ‘band’ does not only try to play IMPERIUM DEKADENZ songs under false flag live, but they even released an album called ‘The Outsiders’, which features our original recordings! They now deleted their Facebook-Page and most of the YouTube videos, but they will not stop performing live. They are cheating on you and the whole metal-scene!
A warning to those shameless exploiters of of our creativity and liars, ISON: Don’t mess around with IMPERIUM DEKADENZ! Our label and lawyers are informed. Your time is up! We will make sure, your fraud will be exposed. To our supporters and everyone who believes in art: Please let them know your thoughts on theft of intellectual property! Spread the word!”
Thank you for your attention!
Horaz & Vespasian
IMPERIUM DEKADENZ
On previous news, critically acclaimed open world RPG, Kingdom Come: Deliverance has picked the title track of IMPERIUM DEKADENZ’ second album, ‘Dämmerung der Szenarien’ (2007) for its soundcheck under the new name “Thru the Fog of Time”.
IMPERIUM DEKADENZ drummer Vespasian comments: “We are extremely stoked to be part of the soundtrack of Kingdom Come: Deliverance, which was developed by Warhorse Studios. It has given us a chance to have our music heard around the globe and we are thankful for all the kind praise that we have received for ‘Thru the Fog of Time’ that was written and recorded in 2007. Exciting times.”
IMPERIUM DEKADENZ live
26 Oct 18 Wien (AT) Escape
27 Oct 18 Klagenfurt (AT) Follow the Goat
17 Nov 18 Radolfzell (DE) s’Bockle
01 Dec 18 Tübingen (DE) Epplehaus
IMPERIUM DEKADENZ are playing live in support of their latest full-length, ‘Dis Manibvs’. The artwork of the band’s fifth album has been created by Francesco De Luca and can be viewed below.
Track-list
01. In Todesbanden
02. Only Fragments Of Light
03. Still I Rise
04. Dis Manibvs
05. Pantheon Spells
06. Vae Victis
07. Volcano
08. Somnia
09. Pure Nocturnal Rome
10. Seikilos
Vae victis! Woe to the vanquished! IMPERIUM DEKADENZ hail from Germany’s Black Forest, where the Roman Empire clashed, conquered, and finally fell against first Celtic and later Germanic tribes. Its impenetrable, murky, and mysterious fog ridden woods and harsh landscapes have given rise to a dark romanticism that even imbues the works of this band with deep roots in Nordic black metal.
IMPERIUM DEKADENZ have cultivated and advanced an atmospheric style of their own with their highly acclaimed third and fourth studio albums ‘Procella Vadens’ (2010) and ‘Meadows of Nostalgia’ (2013). The dark chasms and steep rises of the Black Forest mountains are echoed within the German duos’ majestic melodies, which are contrasted by interludes of often fragile acoustic parts.
With their new full-length ‘Dis Manibvs’ – a title derived from antique Roman grave markers translating from Latin as “To the Spirits of the Dead” and basically meaning “In Remembrance” – IMPERIUM DEKADENZ take a surprising step in their evolution by adding an expression that is probably best compared to DEAFHEAVEN and DER WEG EINER FREIHEIT. Probably even more astonishing is how well and organically the German veterans integrate this sound with seeming ease into their already existing style, which has also been likened to WINTERFYLLETH and AGALLOCH in its more epic moments and MGŁA or WOLVES IN THE THRONE ROOM during harsher parts – to drop but a few suitable names.
Founded in the year 2004, IMPERIUM DEKADENZ quickly gained a dedicated following with their debut ‘…und die Welt ward kalt und leer’ (2006) as well as its follow-up ‘Dämmerung der Szenarien’ (2007). Lyrically, IMPERIUM DEKADENZ clad metaphors of human transience, ashes, and shadows into an antique attire with a penchant for the Roman Empire, while declining to deal with genre typical political, religious or misanthropic themes.
IMPERIUM DEKADENZ break new ground with their forthcoming masterpiece ‘Dis Manibvs’, an album that has the potential to unite traditional as well as progressive black metal adherents together in well-deserved praise – which would mark an astonishing achievement in itself. Judge for yourself!
We spoke to Christy and Laurie of Ails back in Feb 0f 2017 for our women in Black Metal round table. It was high time we caught up with the band to talk about their killer new album “The Unraveling” read on!
* Congrats on the new album I feel you guys are yet again pushing the boundaries of Black metal and that’s a good thing – what was the songwriting process like on “the Unraveling” ?0
Sam- Christy had Bitter Past & Mare Weighs Down written when I joined Colby, Christy, & Laurie in the band. Since then it has been a back and forth between myself and Christy on song writing. For example I wrote Dead Metaphors, then Christy wrote The Echoes Waned, then I wrote Any Spark of Life, then Christy wrote The Ruin. Once we bring the riffs and arrangement ideas to practice, it becomes a full collaboration between everyone. Parts and arrangement such as riff order and length of parts will get tweaked according to any ideas anyone has. Really it’s the same with drums and Vocals. Colby puts drums to it and sometimes a suggestion to tweak a thing here or there will be made and we try it. Laurie writes all her lyrics and lays down the cadence. Christy does the same on any vocals she might be doing closely working with Laurie. Christy and I will write our solos and add our harmonies if there are any, and the inner rhythms and pulse of it all just fall into place over time through good old-fashioned feel.
* Where did you record the album? I love the production, it is raw but still has a great sense of song structure and melody something too many BM bands forgo in trying to be “grim and frostbitten”
Sam- Brad did a great job with that! I’ve heard other people referring to the production as raw. I agree its not a slick production but I don’t really consider it to be all that raw. One thing though is it’s pretty real. Meaning we didn’t use a lot of the standard studio tricks predominantly heard in modern metal, the main one being fully triggered drums. It’s amazing how much more organic it sounds with the lack of the “perfection” that a drum trigger forward mix brings. Colby plays a lot with different hits depending on the feeling of it all. He ebbs and flows with volume and intensity and I would hate to lose that. I think the album is a deeper experience over all because of that choice. To be clear I have nothing against albums with a ton of drum trigger or studio perfection. I like it on a lot of what I listen to, but I don’t think it was right for us on this one. We wanted it to sound like us as much as possible, and we got fairly close I think.
* Congrats on the new album I feel you guys are yet again pushing the boundaries of Black metal and that’s a good thing – what was the songwriting process like on “the Unraveling” ?
Laurie-Thank you so much, we are thrilled that you love it!! It was a slow but steady process. Christy and Colby started out mostly practicing a few songs that Christy wrote, then I joined and then when we got a 2nd guitarist (Sam) and bass player (originally Eli) to join, Sam wrote songs too, we started practicing more regularly and things became more cohesive and together. For me, after each song is mostly composed, I usually figure out the placement of where to put in the vocal parts and then complete the lyrics, because it works better for me that way and I want it all to fit in the song as dynamically and as uniquely as possible.
* Did you find that you and the rest of the band going through a period of heavily listening to a certain artist or genre before the writing of the album? if so who? I gotta think you guys have a pretty eclectic taste in music and I don’t just mean BM (I know some bands when they are in “writing mode” will not listen to anybody as they do not want to subconsciously pick up influences).
Laurie- For myself, I’m always listening to music daily and have my headphones on whenever I leave my front door, so every day involves some form of influence or inspiration, but over these more recent years I’ve mostly been rediscovering music I loved from when I was younger..I felt influenced and inspired from metal bands like Bethlehem and Ved Buens Ende, doom like Cathedral, Swedish doom like Runemagick, to revisiting my favorites from when I was still in youth, like Peter Gabriel-era Genesis, Deep Purple, Bowie, MC5, Neil Young, Patty Smith, Roxy Music, Nico, , Lee Hazlewood, Nina Simone, Bauhaus, Laughing Hyeanas. I’ve been currently obsessed with Uncle Acid and the Deadbeats, Algiers and Dirtmusic for weeks now…but I’m sure it will fluctuate again soon. Not very metal of me but I’m 48 now so I kinda don’t give a hoot. ha! And we all have very broad and diverse tastes in music. The list is never-ending for all of us I think!
Like the late great Martin Eric Ain of Celtic Frost once said – “There are more feelings to express than just aggression and destruction.”
* Where did you record the album? I love the production, it is raw but still has a great sense of song structure and melody something too many BM bands forgo in trying to be “grim and frostbitten”
Laurie- It was recorded by Brad Kobylczak at New Improved Studio and Moon Dog Studio. Mixed by brad at Condemned Studio and mastered by Dan Randall at Mammoth Studio.
I do agree with you overall and also like the production. There are a few things about the recording process I hope to try differently next time but yes it was a great experience. I don’t think that we are a traditional necro/atmospheric-sounding bm band with 100’s of layers, and I believe we are more comparable to a heavy metal/rock band sound, which is why it’s important to have all instruments, vocals included, equally heard, rather than a low-fi/pushed back deep and far away in the cave sound or as you say “grim and frostbitten” I think that type of production and mix wouldn’t work very well with our material. Much of the song-writing and guitars do have a great melodic almost organic quality that I too love a lot, I’ve always been a huge fan of how Christy writes guitar melodies. Like the late great Martin Eric Ain of Celtic Frost once said – “There are more feelings to express than just aggression and destruction.” There you go..
* Did you try anything new in the studio that you had not done before as Ludicra?
Laurie- For me personally, I wanted to to do more clean singing harmonies as I feel it adds a whole other layer of lush heaviness and somber sadness and dynamics, although this is basically the same thing I’ve been doing for many years in Ludicra so I’m not sure much has changed for me during the recording process.
The thing she misses the most is being able to see a mind-blowing bill of bands every other week here
* You and Christy are pretty much “veterans” of the Bay Area Black metal scene – how would you say the scene has changed for the best in the last 10 years?
Laurie- I think maybe there are just a lot more bands, most of which are incredible. There is a sense of pride here because there are truly so many really good local bands. A friend in Portland recently told me that the thing she misses the most is being able to see a mind-blowing bill of bands every other week here. And there are so many great musicians here, young and old! There is a great sense of community and support towards one another, it’s one of the reasons to try to stick it out and stay despite the insufferable rents and lack of affordable and fair housing for all.
* And in what ways has it gotten worse?
Laurie-Well we could go the opposite I suppose and say that since there are so many bands here, we have become spoiled in a way which could also lead to more “jaded” interpretations of the Bay Area metal scene.” I suppose music can sometimes also be a tricky thing here in our Bay Area and you can’t always satisfy or connect with everyone.
Tech, realtors, greed, speculation etc have definitely affected the live music scene in SF
* Speaking of getting worse – I love how an amazing music scene has flourished in the Bay Area for the last at least, 50 years but with all of the Tech money coming into town has that been much of a detrimental effect on the live music scene?
Laurie- As much as I try my best to support local shows in SF(I’m one of the few left living here), yes tech, realtors, greed, speculation etc have definitely affected the live music scene in SF. Some venues no longer exist and the ones that still do, often struggle to have well-attended shows. So many artists have had to vacate the city, it’s become a rather square and aloof “ignore thy neighbor” environment. There are still a few gems left in SF and even a few new ones despite the mass gentrification but it’s not the same and sadly never will be the city of freaks that I once loved so dearly. Oakland carries the torch for music, especially metal, I’m glad to be able to bart over and see all the good folks, good shows and of course my bandmates!
* We all know unless you are Dimmu Borgir or Cradle of Filth Black metal is more of a labor of love than a career option – what does everyone in the band do to keep themselves alive? (day jobs)
Laurie- I’m working as a Supportive Housing Case Manager/Money Manager for formerly homeless folks in SF. It’s a labor of love as well. I’ve recently come to accept that I take on a higher level of vicarious trauma-related stress than I wanted to believe, so I’m working on better self-care and better health in order to continue doing the other things I love, mostly being in Ails. I try my best to stay afloat despite the frustrations of the “most expensive city now in America” and all the very complex social and political disparities that exist here. Hey at least I’m in still here, rather than somewhere like Alabama, it could be a lot worse!!
* Have you played the new songs live much yet? If so what song(s) have gone over live the best to date?
Laurie- Ha! We’ve been playing the same 6 songs for almost 3 years now! We hope to have new ones very soon.
* Have any of audience reactions surprised you?
Laurie- I may not be best one to know or answer but it seems that most of our songs seem to go over live pretty well, we’ve learned over the years that some don’t seem to have the same effect as some others though.
* Are we going to see you guys on the East Coast this year?
Laurie- At this point,it’s not very likely, but I’m sure we will get to NY and hopefully surrounding area for a short tour in 2019 at least.
We would love to play more festivals as well
* Any touring plans in place yet?
Laurie – We can’t do long tours due to life,work schedules, and sometimes for me personally, getting older.. but we will do a few short mini-tours up and down West Coast and hope to get over to East Coast and Europe properly and eventually. We would love to play more festivals as well! We just played the incredibly well-run fest – Northwest Terror Fest in Seattle and it was such a wonderful experience for all. We all try our best to juggle our schedules but it’s more challenging to do so for longer touring.
* Any final words?
Laurie – Getting to perform again and be in a band again, especially with people I love and respect as friends…it has been the most uplifting and enjoyable thing for me in many years, just grateful to keep doing it for as long as it can go. Thank you so much!
British death metal band Ravens Creed have completed their fourth album, entitled Get Killed or Try Dying, which is going to be released through Xtreem Music on August 2nd.
On this new album, Ravens Creed stick to their habitual style which blends death metal with crust hints and a nasty sound inspired in bands like Death Strike, Master, Venom, and Hellhammer, delivering 13 new tunes of sleazy bizarrism!
In the meantime, hear the new track “Hymn & Hearse” HERE
Cover and tracklisting are as follows:
Tracklisting for Ravens Creed’s Get Killed or Try Dying
1. Intro – Unrelenting Supremacy
2. Dead Bird on Winchester Street
3. Death on a Rival
4. Get Killed or Try Dying
5. Hymn & Hearse
6. Off with their Legs
7. Treacherous Rector
8. Rats Beneath Our Feet
9. Remember the Hammer
10. Sound of Sirens
11. When a Deaf Man Goes Blind
12. The Trauma of Being Hunted
13. Outro
Today, upstart death metal cult Deathwards stream the entirety of their debut demo, Towards Death. Set for international release on June 8th via Invictus Productions, hear Deathwards’ Towards Death in its entirety exclusively HERE.
Deathwards formed in 2017, comprising veterans of the metal underground, and within five months had recorded their very first demo, Towards Death. As aptly titled as their moniker, Deathwards’ Towards Death is a timeless, trend-bucking slab of thrashing Metal of Death. Across the five furious-yet-finessed songs here, the band conjoin the primal essence of ’80s Slayer, Slaughter Lord, Van Drunen-era Pestilence, and Voivod’s early work, but tweak it with a more technical aspect ala Sindrome, Sadus, and Obliveon, etc. It’s a classic-yet-fresh blend between influences and authentic ideas, instead of mere copycat-ism or rote rehashing of older, better ideas. Altogether, including a reverential cover of Infernal Majesty’s “Overlord,” Deathwards’ opening salvo is as furious as it is catchy, iron-clad in its approach yet bespeaking more development to come.
And Towards Death is but the start: already, Deathwards are preparing new material for their imminent debut album, also to be released by Invictus. Prepare to go Towards Death! Embark upon the full march exclusively HERE.
Cover and tracklisting are as follows:
Tracklisting for Deathwards’ Towards Death
1. In Death I Become
2. The Hierarchist
3. Epitaph from the Underworld
4. Impending Prophecies
5. Overlord (Infernal Majesty cover)
DEATHWARDS lineup 2018
Hellavenger – vocals
Extravasation – lead guitar
The Usurper – rhythm guitar
The Magus – bass
The Penance – drums
Today, Hells Headbangers sets July 27th as the international release date for Invocation Spells’ highly anticipated fourth album, Spread Cruelty in the Abyss, on CD, vinyl LP, and cassette tape formats.
There’s simply no stopping Invocation Spells. One of the hottest bands in the shit-hot Chilean black/death scene, this diabolical duo continues to unleash one punishing slab of filth ‘n’ fury after another, each one more concise and crushing than the next. Spread Cruelty in the Abyss follows hot on the heels of the critically acclaimed The Flame of Hate, released internationally last year by Hells Headbangers. Like that predecessor, Spread Cruelty in the Abyss wastes absolutely no time in igniting a sulfurous conflagration from the first few notes…except this time, it’s more quickly apparent how daresay catchy Invocation Spells have become.
Lest anyone accuse the band of softening or selling out, be aware that Spread Cruelty in the Abyssis simply and 100% Invocation Spells through and through: no compromise, and no quarter. Like The Flame of Hate before it and Descendent the Black Throne before that, Spreads Cruelty in the Abyss possesses a special magick that eludes easy “blackthrash” categorization – namely, through an acute balance between the bestial and more classically speed metal tropes – but the molten, even martial pulse the duo develop further here turns these more deliberately hypnotic spells of possession into veritable anthems of minimalism, spilling poison and black blood in equal measure, and even more endlessly headbanging than before. And with this unselfconscious, even-more-pronounced emphasis on “catchiness” comes an even swifter and stricter sense of economy: Spread Cruelty in the Abyss clangs ‘n’ bangs with absolute authority in a mere 26 minutes. Get in, get out, get fucked.
And just like they have with their songwriting nous, Invocation Spells have all about perfected their production style, once again locating that ever-so-sweet middle-ground between fuck-off raw and clear/cutting, with each incensed-yet-impassioned note ringing out through the humid haze before mangling the mind with quintessentially Chilean diabolism. And now, North America will be able to witness that diabolism in the flesh, as Invocation Spells will be heading out on an 11-date tour alongside fellow Hells Headbangers speed metallers Outline; the CD and tape versions of Spread Cruelty in the Abyss will be available for early sale during the tour (dates after the jump). This summer’s gonna be a hot one, then, so no better time to Spread Cruelty in the Abyss!
Hear for yourself with the album’s opening track, “Ruins of Cemetery,” HERE
Cover and tracklisting are as follows:
Tracklisting for Invocation Spells’ Spread Cruelty in the Abyss
1. Ruins Of Cemetery
2. Rotting Sacrifice
3. Victims Of Doom
4. Torment Of Obssessor
5. Old Rites
6. Spread Cruelty
7. Obscure And Evil
8. From The Graves
June 22 – San Diego, CA
June 23 – Los Angeles, CA – L.A. StrikeFest @ Regent Theatre
June 24 – San Francisco, CA
June 25 – Reno, NV @ Shea’s Tavern
June 28 – Cleveland, OH @ Now That’s Class
June 29 – Baltimore, MD @ Wheaton Lounge
June 30 – Spartanburg, SC @ Ground Zero
July 4 – New York, NY @ Pista Bandas Unidas
July 6 – Houston, TX @ The Concert Pub North
July 7 – San Antonio, TX
July 8 – New Orleans, LA @ Santos Bar
Continuing its longstanding mission to propagate the most unrelenting manifestations of bestial black metal, on June 14th, Nuclear War Now! Productions presents Black Metal Warfare, the highly-anticipated first tactical strike from Blasphamagoatachrist.
Consisting of members from the revered cults of Blasphemy, Goatpenis, and Canada’s Antichrist, Blasphamagoatachrist boasts several decades of collective experience in aural combat, which it brings to bear in this inaugural demo. However, unlike many so-called “supergroups,” who often suffer from a lack of cohesive vision and execution in their ranks, this unit has instead harnessed the individual strengths of each constituent and has combined them into a singularly focused entity that transcends the sum of its parts.
As implied by the choice of moniker, Blasphamagoatachrist has chosen the most direct path in its nihilistic mission, thus forsaking any false adornments that might dilute its potency. There is no curtain of indiscernible noise behind which the instruments are obscured, as is sometimes the case in this style of black metal. Led by the lethal riffs and occasional solos of Virrigus Apocalli, which deliver the pinpoint ballistic strikes from above, the devastating bass of Sabbaoth and battery of T. Antichrist simultaneously decimate the battlefield below. Immersed in the fray, the war commands are performed by none other than Nocturnal Grave Desecrater and Black Winds, whose delivery remains as powerful as ever.
These seven tracks of nuclear assault metal represent the best in the tradition of bestial black metal and portend ominous things to come in the future from these mercenaries, who appear to have now only skimmed the surface of their unquenchable bloodlust. Hear for yourself the first two opening strikes, “Ze Blasphamagoatachrist Machine” and “Tyrannic Empire,” HERE .
Cover and tracklisting are as follows:
Tracklisting for Blasphamagoatachrist’s Black Metal Warfare
1. Ze Blasphamagoatachrist Machine
2. Tyrannic Empire
3. Blasphamagoatachrist
4. Black Metal Warfare
5. Fire Demons of Blokula
6. The Final Blood Orgy
7. Ravens Soaring Over Ross Bay
CRAFT are unleashing the third crushing track taken from their forthcoming new album, ‘White Noise and Black Metal’, which will hit stores on June 22nd, 2018.
The Swedish black metal underground veterans are now streaming “Again”
Guitarist Joakim comments: “‘Again’ will serve as the third and final preview before ‘White Noise and Black Metal’ lands in a few weeks. With some distance put between us and the creative process, I experience in this track some kind of musical continuation of the ‘Fuck the Universe’ spirit. The groove is strong in this one. Here’s one of my personal favorite tracks of the album!”
CRAFT have previously released the amazing cover of ”White Noise and Black Metal”, which has been created by renowned Polish artist Zbigniew Bielak and can be viewed together with the album details below.
Track-list
1. The Cosmic Sphere Falls (4:56)
2. Again (4:15)
3. Undone (6:39)
4. Tragedy of Pointless Games (6:27)
5. Darkness Falls (4:50)
6. Crimson (4:49)
7. Shadow (5:40)
8. White Noise (4:42)
Total: 42:18
By dry definition, white noise denotes a random signal having equal intensity at different frequencies, giving it a constant power spectral density. It has been commonly employed in electronic music and denotes for instance the sound of a non-existent radio station, while searching through the spectrum for a signal. For black metal it denotes the yin to the yang of the will to shape forms and patterns of melodies and rhythms and as such has a constant presence.
CRAFT have chosen their title as a perfect description of this symbiotic relationship into which the seeming contrast and contradiction of black and white enters. With ‘White Noise and Black Metal’, the Swedes return to strength after a long hiatus following the release of previous full-length, ‘Void’ (2011). The forthcoming album combines the vitriolic virtues of ‘Terror Propaganda’ (2002) with an updated songwriting that is as mature and intelligent as it is razor-sharp. The fast and furious of extreme metal contrasts with dark and depressive passages with added undertones of black ‘n’ roll.
CRAFT embodies the black metal virtue of raw spiritual energy expressed through violent, ripping guitar-work and unholy rhythms enhanced by demonic vocals. The Swedes have long enjoyed a massive cult status within underground circles, yet also gained strong acclaim and recognition by mainstream metal media and critics.
CRAFT were spawned by guitarist Joakim, who was joined by a friend on drums in late 1994. Lead guitarist John was added to the roster in 1996 but left in 1998 only to return about a year later. A demo entitled ‘Total Eclipse’ hit the world in 1999, which led to a first record deal. During the recording of their crushing debut ‘Total Soul Rape’ (2000), the Swedes were reinforced by vocalist Nox. This misanthropic album captured the ear of SHINING’s Niklas Kvarforth, who released sophomore opus ‘Terror Propaganda’ in 2002 on his own label. With their extremely dark music the group gained much acclaim by critics and fans alike. CRAFT continued to build and expand their typical hateful and destructive style by adding ‘Fuck the Universe’ (2005) and ‘Void’ (2011) to the list of their albums. Meanwhile bass player Alex had joined and with their completed line-up the band finally became a live entity in September 2014.
Now CRAFT are ready to take a giant step in their career with the extremely strong, ‘White Noise and Black Metal’. This is misanthropic Swedish black metal honed to perfection.
Current line-up
Joakim: guitars, electronics
Nox: vocals
John Doe: guitars
Alex: bass
Recording line-up
Joakim: guitars, electronics
Nox: vocals
John Doe: guitars
Alex: bass
Daniel Moilanen: session drums
Recording: Studio Gröndahl, Stockholm, Sweden and self-recording
Producer: Karl Daniel Lidén for drums and Joakim for everything else
Mix & mastering: Karl Daniel Lidén at Tri-Lamb Studios
Cover art: Zbigniew M. Bielak
Ghastly is one of the best death metal bands to come about in the last 10 years today I caught up with Ian from the band to chat about The Tampere Music Scene, How you can’t street drink in California and much more.
Hi Ian, congratulations on your 2nd album ‘Death Velour”, loving the sound of it
* How did you guys approach the song writing of this album compared to your first album?
After the first album I only had one song ready and it took me few years to start developing new songs, but after that hiatus the songs started flowing easily. There weren’t any different kind of approach compared to the first album, it was made similar way as “Carrion of Time” was songwriting-wise, but this time I had more knowledge of recording an album and I had quite clear idea how I want it to sound.
I should have learned not to record an album by myself again
* What mistakes did you learn from recording your first album that helped you this time around?
I should have learned not to record an album by myself again, but then I wouldn’t had achieved this kind of sound and control over it. Recording guitars worked so much easier this time and the sound is also better compared to the first album.
* How did you hook up with the 20 Buck Spin guys? (seems like a good fit for you) and are you happy with the job they have done so far?
I sent a promo to 20 Buck Spin, Dave liked it and wanted to hear more. After hearing the whole album, he offered us a deal. Been familiar with 20 Buck Spin’s releases for years and seeing how great quality stuff they put out, it was easy to say yes to that offer. We have been very happy with everything that 20BS has done for us. Really dedicated label and it is great to be part of their roster.
There are really great Finnish death metal bands around, new and old
* How is this death metal scene in Finland these days – its seems to me as an American we hear much more about the Finnish BM scene than the Death metal scene.. is that a fair assessment or no?
Can’t really say much about black metal, I’m not that interested in that particular genre even though there can be found some black metal kinda things in Ghastly’s music too. I like some black metal and go to few shows now and then but the people and overall atmosphere at the gigs is something that I don’t go crazy about. Don’t have any clue if Finnish black metal is a big thing in the US.
There are really great Finnish death metal bands around, new and old and it is great to be part of that scene. It’s cool that there are more unique sounding bands rather than some worship bands who take everything from influential groups, but maybe there is a place for those bands too.
* What about the Tampere metal scene? Is it very strong now?
Not huge but a good one. Not really heavy metal bars anymore but that’s a good thing because they would play some mainstream metal and rock in those bars, which usually is terrible. We have few great DJ nights around the town at least, Gassy Sam’s Pacto De Sangre for instance.
Only thing that counts is if the band is good
* Back in the early 80s Tampere had some great punk rock bands.. do you think there is a Tampere “attitude” compared to other major cities in Finland?
We have a strong punk scene here and also many metalheads are digging punk, I don’t but it doesn’t bother me that much. I haven’t paid any attention if there is an attitude going on in Tampere and I don’t really care that much. Only thing that counts is if the band is good, no matter where are they from.
Early Amorphis started showing me northern European death metal scene and I was hooked.
* Growing up how did you get into Death metal – for me bands like Morbid Angel and Death were eye openers. Whispers Through the Aether definitely has that old school Morbid Angel feel to my ears.
That’s pretty cool if you can get Morbid Angel feelings out of that song. Wasn’t any intention but “Altars of Madness” is one of my favourite DM record, so it has been a huge influence through the years. When I was in elementary school, my classmate had Cannibal Corpse and Morbid Angel albums and those were the first death metal bands I heard. Then later on Entombed’s “Left Hand Path”, early Amorphis started showing me northern European death metal scene and I was hooked.
* Has any of the band ever visited the USA before? if so what were your impressions? Many visiting Norwegians are surprised that everyone doesn’t live in like an episode of Seinfeld or Friends (ha ha)
Gassy Sam visited the States when he was a kid, so probably he doesn’t have any wild memories. I visited USA in 2016 for Frost and Fire II, Cirith Ungol’s first gig in decades. It was a cool trip and I only spent time in California. Really cool place and great scene, awesome crazy metalheads there. Good food, beers and weather, so I liked it a lot. Only things that were fucked up was that it was expensive as hell there and public drinking was extremely forbidden.
I would totally want to do tours and see the world
* I know you guys play live but it is not an important factor for your band. Is there a reason for this? Would you like to be a band that does a couple of big tours every year?
It’s hard to maintain a live band when I’m playing almost everything on the record. We are rehearsing at the moment and focusing on starting to do shows. I would totally want to do tours and see the world at the same time, rather than doing jobs but there’s bills to pay. Hopefully we can do touring as soon as possible.
* Speaking of playing live – what has been your best show so far as a band and why?
There has only been two shows till this day and I wouldn’t say any out of those were the best. Those gigs happened in 2013 and we played as a trio. Now we have added a second guitarist and our songs will definitely sound better than in 2013.
* What can we expect from the band for the rest of 2018
Hopefully few gigs, at least one is booked for September with Anatomia, Cryptic Brood, Solothus and God Disease.
* Any final words?
Thanks for this interview. Be sure to check out news and other info from our fb site and also visit 20 Buck Spins website for physical copies of the album and shirts too.
Today, Invictus Productions, in conspiracy with Dark Descent Records, sets September 7th as the international release date for Malthusian’s highly anticipated debut album, Across Deaths. Dark Descent will handle the album’s North American release, while Invictus will handle the rest of the world.
Since their fateful first demo, MMXIII, in 2013, Ireland’s Malthusian have been a study in strident refinement and maverick poise. No move is ever out of place, nor any possibility unexplored; chaos may be waiting in the wings, but it is resisted and never fully/remotely sought. The hydra-headed quartet started on enviably firm footing from the very beginning – trace elements of bestial black metal, morbid death metal, and languorous doom, all mangled and minced with poetic ease – but what sprouted from that first demo and especially the subsequent Below the Hengiform EP two years later was something extraordinary indeed. This was black/death/doom ART taken to hallucinatory extremes…and Malthusian were only just beginning.
True, Across Deaths will be a “beginning” for many listeners otherwise new to Malthusian, but for those already well versed in the band’s vortextural musings, the album-length format opens their world even wider. Peer inside and the visions of bottomless doom are writ large; obscene forms writhe and resist, each psychological tendril twisting to ever-beckoning infinity. That Malthusian can harness these sensations should be no surprise – both short-length predecessors seemed massive at the time (and still are) – but the sheer fact (not to mention the sheer audacity) that a band can so effortlessly take angular, largely atonal DEATH METAL and make it a seemingly cinematic experience should compel naysayers to finally investigate this malodorous of artforms. Naturally, for however adventurous their visions continue to be, Malthusian above all believe in the alternately damning/redemptive powers of heavy metal: diversity of expression comes from within, not without.
Further verbiage is simply wasted – the experience is all. No time like the present, then, to travel Across Deaths with Malthusian. Begin the perilous journey with the new track “Remnant Fauna” HERE
Cover and tracklisting are as follows:
Tracklisting for Malthusian’s Across Deaths
1. Remnant Fauna
2. Across the Expanse of Nothing
3. Sublunar Hex
4. Primal Attunement – The Gloom Epoch
5. Telluric Tongues (Roaring Into the Earth)
