Today, Chilean blackthrash magickians Invocation Spells stream the entirety of their highly anticipated third album, The Flame of Hate. Set for international release on July 7th via Hells Headbangers, hear Invocation Spells’ The Flame of Hate in its entirety.
Ever aptly titled, The Flame of Hate bursts into being immediately, igniting a sulfurous conflagration from the first few notes. Indeed, this is very much the Invocation Spells the metal underground quickly came to worship with Hells Headbangers’ international release of the band’s second album, Descendent the Black Throne: harsh, hammering blackthrash imbued with that ancient filth ‘n’ fury that can only come from South America, and specifically the duo’s cult homeland of Chile. But as the album evolves, often at a breakneck pace, it becomes poignantly apparent that Invocation Spells have advanced as songwriters.
Granted, much of Descendent the Black Throne had a special magick that helped it elude easy “blackthrash” categorization – namely, through an acute balance between the bestial and more classically speed metal tropes – but the molten, even martial pulse the band employ here turns these more deliberately hypnotic spells of possession into veritable anthems of minimalism, spilling poison and black blood in equal measure, and giving new rise to the term “headbanging.” And just like its predecessor, the recording across The Flame of Hate locates that elusive 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. At eight compact songs, The Flame of Hate wastes no time and demands repeat ignition, each glowing/glowering ember lighting the way to absolute possession. The Flame of Hate burns to the touch, and Invocation Spells dare you to take this torch!
Tracklisting for Invocation Spells’ The Flame of Hate
1. Darkness Prevails
2. The Flame of Hate
3. Nocturnal Silence
4. Messiah
5. Ride the Fire
6. Evil Mountains
7. The Invocation
8. Renegade of the Light
Northern trees sometimes bear strange fruit. Arising from the shadow of mental institutions and personal secret corners comes the Norwegian Urarv (“Ancient Heritage”), the new project spearheaded by avant-metal stalwart Björn Aldrahn Dencker of DHG and The Deathtrip and Thorns fame. “The ideas and visions for Urarv started actually back in 2003 during a stay that I had at the local mental institution where I live,” comments Aldrahn. “It began dawning on me one evening as I was locked out on to the perimeter of the facilities to have a stroll.”
At first, Urarv was going to be a folkish song-oriented solo-project exclusively, but as time went by, those thoughts proved themselves to be much too dysfunctional, and in the end, it would take several years until it all began taking shape properly. It wasn’t until the summer of 2013, however, when enough material for a full-length album was ready. From thereon, Aldrahn sought out for fellow musicians to join his escapade of sonar expedition and relinquishment of artistic restraints. He was lucky enough to find two excellent creatures to do the drums and bass. Patricia and Sturt joined in with great enthusiasm and conviction when rehearsals began taking place later that year.
While Urarv recognizes the ancient heritage of Norwegian black metal, it also tramples across limitations. At the core of the project lies the idea of experimentation with various unorthodox tunings and curious sounds. “We want to tap into uncharted territories to see what lies hidden under the rocks and dead horses and beneath the cold vastness of uncertainty,” says Aldrahn. “We’re traveling to remote regions of metal music and mental space with this music. Although our message is one of emotional putrefaction, we want to help listeners find a way through the black hole.”
Aurum is set for international release on September 22nd via Svart Records on CD, LP, and digital formats.
Tracklisting for Urarv’s Aurum
1. Forvitringstid
2. Ancient DNA
3. The Retortion
4. Broken Wand
5. Guru
6. Valens Tempel
7. Fancy Daggers
8. Red Circle
Today, Shadow Kingdom Records announces September 29th as the international release date for the highly anticipated third album of the UK’s Horrified, Allure of the Fallen. A work of towering, melodic death metal majesty, Allure of the Fallen is the record by which Horrified continue their ascent and truly stake their claim as the genre’s elite – and render a new modern classic to the canon.
Hailing from Newcastle upon Tyne, Horrified was born in 2012 with humble beginnings. An acolyte worshiping the altar of old-school death metal, founder and creator Dan Alderson would later transform the project into a full band. Like so many of their predecessors, Horrified took a sidestep and evolved into melodic and grandiose territory, adding twin-guitar harmonies and increasing its scope into epic territory without sacrificing their original vision of savage OSDM. After releasing two full-length albums on various labels, assaulting UK underground audiences with tight, energetic live performances and taking their aural onslaught to European audiences, Horrified took steps up from the underground with wide, positive acclaim for the second full-length album Of Despair.
But now, with the impending release of third album Allure of the Fallen, Horrified has been reborn into something far more vast than ever originally imagined. Comprising six expansive tracks in an epic 46 minutes, Allure of the Fallen finds the band in an enviable state of maturity, exuding class and power in equal measure, their ever-winding but never-extraneous compositions truly taking the listener on a journey into what real – and really melodic – death metal can encompass. Thus, Horrified’s signing to Shadow Kingdom for the album’s release is a logical alliance to bolster the band’s ever-growing evolution and constant broadening of vision, scope, and horizons.
Patient but never slumbering, Horrified arises from the ashes of a barren landscape, shrouded in majesty, resurrected in ancient art. This is the Allure of the Fallen: pay witness to the dawn of majesty.
“This band just keeps getting better with each album. On Allure of the Fallen, they shed much of their ‘Sunlight’ influences sound- and music-wise, and incorporate a lot more black metal and doom. It’s melodic, heavy, and catchy as hell. It brings to mind fond memories when I first discovered bands like Unanimated, Sacramentum, etc, and that’s an awesome thing. This will definitely be a highlight for a lot of folks in 2017!” – Damain Herring (Horrendous)
First track and preorder info to be announced shortly. Cover art, by Adam Burke, and tracklisting are as follows:
Tracklisting for Horrified (UK)’s Allure of the Fallen
1. Allure of the Fallen
2. Light’s Dissolution
3. The Perceiver
4. Unanswered
5. Shorn
6. The Promise of Solace
Today, KVLT sets September 29th as the international release date for Asagraum’s highly anticipated debut album, Potestas Magicum Diaboli. A magickal work of nighsky majesty, simmering celestial aggression, and the most potent tenets of ’90s Scandinavian black metal, Potestas Magicum Diaboli breathes and billows a blast-from-the-past classicism that nevertheless manages to sound fresh among the modern BM landscape, outstripping the prevailing trends and the pretenders who enable them. Perhaps more importantly, it is the work of two women – a rarity in black metal, both past and especially present – who hereby render gender an irrelevant argument. Simply, Potestas Magicum Diaboli stands on its own, towering and terrifying.
A cross-continental entity, Asagraum was founded in the autumn of 2015 by vocalist/guitarist Obscura and drummer T. Kolsvart. The original intent was to play pure, Satanic black metal, in all its aspects, with the old-school feeling of the eternal ’90s greats but also with dark psychedelic influences. A three-track promo recording was released earlier this year, laying bare Asagraum’s aims and accordingly special sound. Wasting no time, Potestas Magicum Diaboli was then recorded, fleshing out further those aims into an eight-song, 44-minute work which maintains a fuller, more windswept totality. It heaves and weaves to both aggression and atmosphere, walking a delicate balance but always boldly. It is both unapologetically modern and authentically ’90s.
With anticipation high for the release of Potestas Magicum Diaboli, Asagraum will be touring Europe later this year, utilizing a bass-player – either Mortifero or Makashanah – for live performances. Onstage, the band is equally deadly, proving their left-hand-path black art knows no boundaries. Until then, let Potestas Magicum Diaboli revive the old cult of the witches, radiating forever the black flame of Lilith. “Black Sun Prayer,” the first track to be revealed from the album.
Cover and tracklisting are as follows:
Tracklisting for Asagraum’s Potestas Magicum Diaboli
1. Transformation
2. Black Triangle Temple
3. Leviathan
4. Gospel of Ignition
5. Daar Waar Ik Sterf
6. Black Sun Prayer
7. Carried by Lucifer’s Wings
8. I Burn within the Devil
To coincide with a full tour of the United States this August, on July 21st internationally, Hells Headbangers will release a new 7″ EP from Italy’s Barbarian. Simply self-titled, this new two-song banger presents Barbarian at their roughest, rowdiest, and arguably heaviest yet. Riding high on the critical acclaim afforded their first album for Hells Headbangers (and third overall), Cult of the Empty Grave, Barbarian go from strength to strength, taking the blackened traditional metal of that album and here firing it full of a dangerous octane. Both tracks – “Simulacra of the Ageless Need” and the telltale “Stench of God” – are both brand-new and exclusive to this release, featuring the band’s new lineup, so get ready for summer slaughter with the Barbarian 7″!
A statement from the band reads: “Barbarian are ready to hit US soil for the first time and defile stages all over the country! Our axes are already honed and our bone knives sharpened, so if you want it ugly and obtuse, join us for the absolute Regressive Metal desecration!”
The updated list of full dates & venues for Barbarian’s summer American tour are as follows :
August 4 – Chicago, IL @ LiveWire Lounge
August 5 – Milwaukee, WI @ Frank’s Power Plant
August 6 – Minneapolis, MN @ Hexagon Bar
August 7 – Rapid City, SD @ West Dakota Improv
August 9 – Seattle, WA @ Highline Bar
August 10 – Portland, OR @ Twilight Cafe
August 11 – San Francisco, CA @ RS94109
August 12 – Los Angeles, CA @ Five Star Bar
August 13 – Las Vegas, NV
August 14 – Lost Lake, Denver, CO
August 15 – Kansas City, MO
August 16 – St. Louis, MO @ Fubar
August 17 – Cincinnati, OH @ Rake’s End
August 18 – New York, NY @ Metal Kingdom
August 19 – New Carrollton, MD @ El Gran Chaparral
August 20 – Worcester, MA
August 21 – Rochester, NY @ Bug Jar
August 22 – Pittsburgh, PA @ Rock Room
August 23 – Nashville, TN – The East Room
August 24 – Richmond, VA @ Strange Matter
August 25 – Philadelphia, PA
Further updates to follow shortly. Currently, the track “Simulacra of the Ageless Need” is streaming at Hells Headbangers’ Bandcamp HERE, where the Barbarian 7″ EP can be preordered. Cover and tracklisting are as follows:
Tracklisting for Barbarian (Italy)’s Barbarian EP
1. Simulacra of the Ageless Need
2. Stench of God
Today, Portuguese black metal cult Ordem Satânica stream the entirety of their highly anticipated debut album, Monte da Lua. Set for international release today via Signal Rex, hear Ordem Satânica’s Monte da Lua in its entirety here
Hailing from the rawest core of the thriving Portuguese black metal scene, Ordem Satânica are possessed by a hideous grimness that’s utterly hypnotizing. Despite not belonging to Portugal’s Black Circle (Mons Veneris, Vetala, Irae), Ordem Satânica’s sound is comparably chaotic and necrotic, bleary and blown-out. And yet, the trio possess a deceptive sense of melody, malformed and miasmic, dissonant and distressed, that favorably reminds of France’s immortal Black Legions from the dark days of the 1990s. For verily, this BLACK METAL from an ancient time – AGAINST the modern world, and against the modern “black metal” scene.
To date, Ordem Satânica have built a coveted canon of thoroughly underground works, each more challenging and cantankerous than the last. Just earlier this year, this enviable escalation of aesthetic antagonization reached its apotheosis with Signal Rex’s release of the In Aeterna Crudelitate cassette – like the old ways/days, limited to only 66 copies and selling out almost immediately. But alas, Ordem Satânica transcend all prior with Monte da Lua, the most mesmerizing distillation of their crude-yet-cultivated art. Stripped completely bare and blown out in an almost brittle manner, Monte da Lua is a windswept travail across desolation and disgust, ever inwards and maybe even backwards. Modernity doesn’t exist here; there is only the past, which passed before it began. Time stands still here, and the listener is powerless against Ordem Satânica’s evocations of a better/worse world.
When there are still revisionist reveries for the early ’90s boom of black metal, which inevitably died a slow death, there are bands in this millennium who harness that very real, very primordial power, and the raw Portuguese scene is currently at the forefront
Tracklisting for Ordem Satânica’s Monte da Lua
-LADO A-
1. Belial os Bosques e o Pentagrama
2. Monte da Lua
3. Lagoa da Serpente Eterna
4. Pelo Misticismo…
-LADO B-
5. Negras aparições
6. Tempestades Nocturnas e Invocações Satânicas sob os céus de Sintra
7. Solstício de Inverno
8. Entre Árvores Sombrias
Canadian black metallers Kafirun premier a new song “Eschaton” off their highly anticipated debut album, of the same name, Eschaton. Set for international release on June 26th via Seance Records.
A deeply occultic work, Eschaton explores the end of the manifested world – an apocalypse that brings the end of all life and begets the opening of a new beginning through death – and opens this portal through thoroughly dizzying, manically majestic black metal. Finding that elusive balance between the resolutely raw ‘n’ primitive and the dynamically complex, Kafirun create a constantly shapeshifting maelstrom of macrocosm-crushing chaos and (dis)order. Across seven tracks within a concise ‘n’ cutting 42 minutes, the quartet portray a bold vision, and one whose maturity belies the band’s brief existence so far.
Hailing from Vancouver, British Columbia, Kafirun sprung to deathly life in in 2014. The band’s first release was an EP titled Death Worship – a title which has served to guide Kafirun’s prevailing principles – and was released on cassette format that same year, garnering a strong and positive response across the worldwide metal underground. A year later, another EP followed, titled Glorification of Holy Death – again, another telltale title – which released by the band digitally and as a very limited CD. This release brought the band further in their sinister journey towards total cosmic death. Alas, just last year, both EPs were jointly reissued as The Worship and Glorification of Holy Death compilation, which was quickly followed by a split 7″ with Austria’s Transilvania.
Now, with that swift ‘n’ decisive experience behind them, Kafirun are set to unleash their first full-length work, Eschaton, under the auspices of Seance Records. Sonically painting the eternal void of death, Eschaton perversely brims with an illuminating light, devouring the cosmic light of life and everything within, scurrying through the sort of black metal whose radiance is so obsidian as to consume energy as austerely as it expends it; verily, it is death of the self and all reason. In this moment which is eternal yet transitory, a new and pure energy grows within the womb of chaos, and which ignites the source of a new aeon, a flame needless of air to exist. A new true god that breeds its new self, purified and sanctified in chaos without an end nor a beginning: here stands Kafirun.
Although the moniker Kafirun stems from Islam – meaning disbelievers or infidels and is mentioned over a hundred times in the religious text and verses – the band state that “in our lyrics, we do not have anything about Islam at all. Our concept is about death and nothingness. We try to not use generic occult notions. Surely, we are influenced by the old beliefs, the occult, myths, esoteric ideas, and the Luciferian path, but we try to create our own concepts. Death is the only true god, and it is the only god that reveals itself to living things. So we explore death, nothingness, and what lies beyond the boundaries of the flesh. Some things are incomprehensible to a man and can only be experienced through death. So Kafirun is against the monotheistic dogmas and submission to their teachings on a philosophical level. It is a flame, an idea for a total chaotic new beginning on the individual level.”
Cover and tracklisting are as follows:
Tracklisting for Kafirun’s Eschaton
1. Lord of Blessed Murder
2. Eschaton
3. Omega Serpent
4. Divine Providence
5. Prophetic Death Trance
6. Ephemerality of the Flesh
7. Omnipresence
CARACH ANGREN are premiering a stunning new video for the track “Charles Francis Coghlan” taken from their new album, ‘Dance and Laugh amongst the Rotten’, which is hitting the stores today, 16th of June.
CARACH ANGREN comment: “After months of incredible hard work, we are extremely proud to present our official horror video for ‘Charles Francis Coghlan’. Together with director Rick Jacops, we have relentlessly pushed all creative limits to transport the viewer into another terrifying dimension. Everything you see is real and produced as well as co-directed by us. Prepare to be obsessed and possessed!”
Video Credits
Produced by Carach Angren & Backstage Film Productions
Directed by Rick Jacops & Carach Angren
Actress: Amber Delahaye
Sound Design by Clemens Wijers Music Productions & Backstage Film Productions
Team: Brendan Gijzen, Stefan Wijers, Julien Wijers
Special thanks: Paul Kops, Ria Hendriks, Transportbedrijf Chris Wijers, Het Leukermeer, Merith Rooden
The cover art by Costin Chioreanu and track-list of ‘Dance and Laugh amongst the Rotten’ can both be viewed below
1. Opening (2:17)
2. Charlie (4:10)
3. Blood Queen (4:55)
4. Charles Francis Coghlan (6:07)
5. Song for the Dead (4:16)
6. In De Naam Van De Duivel (6:29)
7. Pitch Black Box (3:17)
8. The Possession Process (4:27)
9. Three Times Thunder Strikes (5:19)
Total playing time: 41:16
The Dutch masters of horror are back with their most flamboyant album so far. On ‘Dance and Laugh amongst the Rotten’, CARACH ANGREN are painting musical pictures that easily combine the grandiose depth of a Rembrandt with Van Gogh’s maelstrom of whirling colours and the utter madness of Bosch. This lusciously seductive danse macabre will drag you in and never let go.
CARACH ANGREN have employed all the sonic colours on their palette to dazzling effect. Their trademark whipping guitars are weaving harsh melodies and sinister soundscapes, which are beautifully contrasted by opulent keyboards and majestic orchestrations. That Till Lindemann (RAMMSTEIN) and Peter Tägtgren (PAIN) have called upon the composition talent of Clemens “Ardek” Wijers is a telling sign of his outstanding mastery of the craft. Another signatory counterpoint is provided by Seregor’s fierce rasping and shrieking vocals. Adding to the impact, Namtar has become a relentless driving force with his hard hitting yet intricate drumming. Each track on this album is a highlight on its own, while combined ‘Dance and Laugh amongst the Rotten’ simply shines.
CARACH ANGREN set out to tell ghost-stories with a set of paranormal cases recorded on the demo ‘The Chase Vault Tragedy’ (2004). This was soon followed by the official release of the ‘Ethereal Veiled Existence’ EP (2005) as a prelude to the haunting ‘Lammendam’ (2008). The Dutch had a clear vision of combining a dark baroque style of metal with horror based lyrical concepts. Their sophomore full-length ‘Death Came through a Phantom Ship’ (2010) witnessed the band setting sail to bring their eccentric and capturing live performances to audiences and festivals all over Europe. In the wake of third album ‘Where the Corpses Sink Forever’ (2012), the haunting had reached the Americas and started to spread rapidly. This recorded added a serious side to the lyrics of CARACH ANGREN. While firmly remaining in the horror genre, their tales revolve around the evils of war. This mature streak was taken a step further with the fourth full-length ‘This Is No Fairytale’, which is on the surface a darker variation of the “Hansel and Gretel” story from the Brothers Grimm collection, but also deals with the too real topic of child abuse in a dysfunctional family.
With ‘Dance and Laugh amongst the Rotten’, CARACH ANGREN are returning to “pure” storytelling with episodes that are centered on a girl playing a little too long with her Ouija board. The Dutch have pushed their unashamedly theatric style to a new intense height. You do not believe us yet? Press play and unleash these radiant ghosts into your home…
This week I spoke with A Pregnant Light mastermind Damian. In case you have been living under a rock for the last 8 years Damian has been writing, recording and producing some of the most forward thinking Black metal here in the USA – read on and find out what drives him.
* You have been doing A Pregnant Light since what? 2009 ? right? so what drives you to be so prolific after so long?
Yeah, the project started around that time, but it’s been going on in my mind for a few years previous to that. I was doing other musical projects, and when those ceased, I realized that the only way to not be let down was to just be solo. As far as being prolific, that’s an interesting term. I don’t think I’m prolific. There are a lot of bands and musicians who just record and release whatever comes to their mind. I don’t do that. I like to have concept and execution pulled together cohesively, at least in my estimation of what that is. I don’t really want to postulate on why someone does or doesn’t do something, I can only speak for myself. I write music. I think about music. It’s what I do. It’s second nature to me. It is just who I am. I write songs. For me, it’s just my lifestyle.
I view this whole thing as a marathon, and to get to the finish line you have to put in the work. You have to work hard and create. For all the projects and music I have released, there is so much more inside of me. There are only so many hours in a day, and doing it alone is a challenge. Every day I feel like I’m running out of time. I know tomorrow isn’t guaranteed. I just want to leave behind a legacy of quality music that means something and can survive beyond my life. Making music is a gift, but it isn’t something to be taken for granted. You have to work at it. Make it better. So, I think the best way to honor this gift is to keep at it, and continue to stretch yourself and challenge yourself. I don’t want to reach the end of my life and stand before God and have him say that I didn’t give it my everything. I want to use every bit of this small seed that was planted in me.
* So what does the name “A Pregnant Light” actually mean?
I have always shied away from answering this question in the past. I think too many things are explained and there needs to be a sense of mystery. I don’t think I’ll ever go into detail describing that my lyrics actually mean, because it is important that the people who care enough to ask dig into them and pull their own meaning. Whatever that may be, if you come to that meaning, then it is valid. I don’t want my interpretation to change what it means to you. But, I suppose I can explain the name of the project, since I did recently in a private conversation when I was contacted with this same question.
It has to do with the music, which is very masculine, and strong and brave being mixed with the sacred feminine. I am fascinated with the idea of pregnancy, and what it means to women, especially as a man- since it’s something I cannot do (carry a child). Pregnancy is almost universally regarded as miraculous and beautiful, so I wanted to pair that with the music that I make out of loss, pain and my expression as a man, a strong man, to have that other side represented. It has to do with the occult in the truest sense of the word: mystery. The mystery of sex, God, creation and life.
I have zero audio training and no prior experience, I am totally self-taught, through much pain and struggle.
* My understanding is that most of your albums are self produced – are you self taught ? or did you go to audio engineering school? What advice if any can you give kids who want to get into recording and producing their own music?
Yes, all my music is self-produced. I did use a studio and studio musicians on my full-length LP, and I imagine I will continue on in that vein for the future, but for everything else, I am the the artist and engineer. I have zero audio training and no prior experience, I am totally self-taught, through much pain and struggle. I love the process of writing and building the song, but I really loathe recording as a process. I enjoy playing, but to make it sound the way I want, I hate that part. I’m never happy with my work. I think I’ve gotten a bit better over the last twenty or so releases with APL, and it should be noted that I have the exact same recording equipment as the day I started. So, any increase in sonic fidelity or production technique isn’t due to new gear, it’s just learning to better use what I have.
I think that is a very important point. So many people, especially musicians like guitarists, think that if they chase this mythical tone by getting a different guitar, or amp, or pedal, that they’ll be closer to their ideal. For the most part, that’s totally false. I have a very nice, but very simple guitar rig. No effects, just guitar a cable and an amp. So, with those few tools, you have nothing to hide behind. Any sort of effect on the recording is all done in post-production. It’s not necessary to the song, but of course, I use it sparingly to add to the atmosphere. If you strip it all away, you won’t find that it’s much different. I believe strongly in taking a simple thing as far as you can take it.
I don’t think I will ever reach a point where the guitar won’t fascinate, intrigue and thrill me. I don’t want to muddy it or get caught up in distractions. Simplicity is truly the essence of all that I do, from a gear perspective. Musically of course, things get very complicated, but it is important to have that firm foundation. I really don’t feel qualified or anything to give advice on recording or producing your own music. As I mentioned, it’s my least favorite part of the process, but I can’t rely on anyone else and no one wants to work as hard and as much as I do on my vision. It’s understandable. If I could afford it, I would just pay for studio time and an engineer to have at my beck and call, so I could just focus on the music, and not the capturing of the music.
My advice to anyone is simply: do it. Just get involved and do it. Don’t make excuses, and embrace your limitations. Creativity will find a way if you work at it. Use whatever you have. The hardest part is starting. Start today.
* After all these years what would you say is still your biggest hurdle in creating new music?
That’s a great question – certainly I am my own worst enemy. I don’t have bandmates or creative partners to blame. This is my own, and mine alone. It is challenging to reign in on creativity. It is not a faucet that can be turned on and off at will. Creativity comes in rushes and may not come for a while after that. It is important to have a situation in which where those creative moments can be captured without distraction. It’s a manic state, almost. Sometimes, it means going all day, or all night, without rest. No food or water, no communication with the outside world, just pure working on the task at hand. Once you’ve gotten the song, or the product, it’s important to look at it objectively and try and edit any extraneous ideas, or build on the skeletal ones. Of course, I love the music I make. I make the music that I want to hear, so when I make a song, it has to strike me deeply. It has to resonate with me, otherwise it’s a waste.
How can I expect people to be passionate about something unless I am passionate about it? It is almost a competition with myself, to out-do or out-preform my last song. When I think about the songs, I don’t think about my peers or people doing things along the lines of what I do, although I am pretty unique in what I do. That uniqueness wasn’t intended. I didn’t set out to be different. I happened organically by processing all my influences. But, when I look at what I do, I view it as shooting for the stars. I want it to be considered classic and timeless. I want it to be legendary, not just an expression of a passing moment. Already from the time I’ve started this project to now, many people who made music have come and gone. It’s about continuing to fight. Continuing to build. Every day is important. Every song tells the story of my life up to that point.
* How do you approach your songwriting – does it start with a guitar riff that you build on? or more of a mood or feel you want to get across? Enlighten us!
I am at my heart, a guitar player. That is where I feel like I am best able to express myself. I hope that if anyone takes anything away from APL, it is the guitar playing and the feelings that I express through playing that instrument. For songwriting, it always starts on the guitar. Sometimes a mood or a feeling will spur a certain sound, but I am truly in love with the guitar. It just starts at one riff, and then I add, and I hear the whole thing in my head and I just try go get across the emotion in my playing.
Purple is power, and pride and strength, but it is also soft and warm
* The color purple comes up a lot in your work, its definitely a recurring theme for you – considering in spirituality purple and violet represent the future, the imagination and dreams, They inspire and enhance psychic ability and spiritual enlightenment, while, at the same time, keeping us grounded. Do you think that is relevant for you – or is there a different meaning for you?
I would say you are dead-on in your observation. I agree with all the things you said. There is another meaning I would add – Growing up in Manhattan, Kansas, the biggest thing was the Kansas State University. Everyone in town wore the school colors, which are purple and grey. Some of my earliest memories are people wearing purple, and wearing the color as a sense of pride and identity, like my dad. He graduated from Kansas State, and always wore school colors with pride. Everyone in the whole town did. It wasn’t until later in life, when I moved away, and grew up that I realized that purple is often considered a “feminine” color, or at the least, a non-masculine color that boys don’t really wear. But growing up, everyone wore purple. So it is a part of who I am, not for love of the college, but for the meaning and symbolism. Later still in life, especially when you get involved in punk rock, hardcore, and metal, things are really stark, Often visually represented with black and white. It was unappealing to me to just emulate even though I find that keeping traditions alive is crucial.
For all the reasons you mentioned, and in the music that I was making, purple just seemed to make sense. It’s not black metal, it is informed by black metal, but it’s not adhering to those guidelines of non-music i.e.; satanism, etc. I don’t worship Satan. So, to call it black, that would be disingenuous. Even though I believe in God, I am a flawed and desperate human being, so to say it’s white, that would be misrepresenting myself as well. Life and expression is more complicated than that. Purple Metal just makes sense. At first, yeah, a lot of people snickered at it – but then when they dig into the songs and the lyrics and the presentation, they see that it makes sense. Purple is power, and pride and strength, but it is also soft and warm. It is inviting and rich, but can also be intimidating and fearsome. It just fits perfectly.
* You were a punk rocker before you got into Black metal right? What punk bands did you rate back then?
Well, first of all, I still consider myself a punk rocker first and foremost. It is and will always be my first love. As my taste grew I was always sure never to forsake the things that originally made me excited for music. APL is really the culmination of all my years of obsessive music listening. You know, I could list out all the bands that were formative to me, but I would drive myself crazy thinking of bands and not wanting to leave any band out of the list! I’ll say that initially what drew me to punk rock and hardcore was Nirvana, and from there I discovered things like Black Flag, Sonic Youth, Fugazi, etc. After Nirvana, the bands that really changed my life were mostly the skate punk bands from Southern California in the early to mid 90s.
I was also really into the melodic hardcore bands from that era like Good Riddance, but quickly drifted into more aggressive hardcore. I have a tremendous love for straight edge Youth Crew hardcore as well as classic more “tough” hardcore. I still love and follow punk rock and hardcore to this day. I am really proud of my hardcore band Prison Suicide (also on CSR) and we have a second LP coming out this year. Prison Suicide are my best friends in the world and it’s great to play that kind of music with them, even though we have all played in other bands in the past together. It’s a great group of guys and I’m proud of what we are doing. I think our sound is kind of akin to a more angry, and less positive Youth of Today.
I also really think it’s important to note that so many of the “classic” bands didn’t just repeat themselves.
* What was the Black metal band that you finally heard and went “oh wow now I get it”
Bathory. Without a doubt. The greatest to ever do it. They have everything you could ever want or need. Their first six LPs are of course classic and blueprints for the genre, but I even love some of the later stuff. Requiem is a bizarre, weird thrash record. Totally worth listening too. Metal tends to be a genre where people fixate and get really stagnant. For example, I think Ozzy was the third best singer Black Sabbath ever had. I would much rather listen to any of the Dio records than the Ozzy records. The guitar playing on Mob Rules and Heaven and Hell is outstanding. I also am totally fascinated by Born Again, the record they did with Ian Gillan. I was turned onto it by the producer to recorded Aksumite’s Prideless Lions LP. I could talk forever about it. Even if you look at a band like Mayhem, they are really advancing sonically from album to album. Same with Celtic Frost, Mercyful Fate, etc. I enjoy staunch and stark black metal that adheres to the old traditions, but I also really think it’s important to note that so many of the “classic” bands didn’t just repeat themselves.
Funeral Mist, who push the boundaries in every way
* Are you pleased with the way Black Metal has progressed sonically since the days of Venom and Hellhammer? (to me artists like Ulver and Burzum really pushed what was “acceptable” and still called BM, especially Ulver)
Yes, and no. I think there is such beauty and power in those early Venom and Hellhammer records. Bathory, too. I sort of touched on this in the previous question, but it’s important to note that I am really a contrarian at heart. I really hate progressive rock, I always say I like regressive rock. Stuff that maintains and holds onto that raw spirit. Yet, I love when bands incorporate exciting elements, which is often labeled as “progressive” but I think it’s just influences manifesting in different ways. Voivod is one of my all time favorite bands, but I wouldn’t say they’re progressive… they’re Voivod. They create their own world. So, maybe in a sense, they have progressed from beyond the constraints of what we apply to the world of metal.
Black Metal will always be a hot button and a subject of debate as to what it is, and what it isn’t. I love it, but I have no interest in having that conversation. I get that many of the people integral to it’s creation are around and will say what it is, or isn’t – however, I think when you create as an artist, once you release it into the world, you no longer own it. I don’t mean it in a literal sense where you have no control over its sale and distribution, but I mean that it enters the collective consciousness and takes on a life of its own in the ears and hearts of those who take it in. Like, if you were to ask me who my favorite active black metal band is… I’d probably say Nifelheim. I love how steadfast and true they are, but I also might say Funeral Mist, who push the boundaries in every way. People who debate what something is or isn’t, are missing the point. The only thing that matters is if it is good, or bad.
People love to get on the internet and claim that APL isn’t black metal, or it isn’t post-metal, or it is, or it’s post-hardcore, or it’s whatever. It’s meaningless. APL is very obviously a metal band. Of course there are other influences that are apparent, but I like to think that I have unintentionally pushed the sonic palate of what is and isn’t metal. APL is metal. You can go on with descriptors from there, but it’s a pissing contest. APL belongs to the metal family tree, and from that tree many branches and vines grow. If you want something that is immovable and static, invest in a concrete block, don’t claim to be a part of a culture that is a living thing- to continue with the metal as a tree analogy. If you don’t like what you see growing, just stay on your little branch and shut up. Count yourself lucky to be a part of this amazing artistic expression that is music. You could be living in some third-world country, fighting for food to survive, clean water, and safety from war and the unforgiving force of mother nature. Instead, if you are reading this – just be happy and grateful you get to life a blessed existence and shut the fuck up about what does or doesn’t belong.
* Were you surprised by the fans reactions to your brilliant cover of Madonna’s “Live to tell?”
I was totally caught off guard. I didn’t know what to expect. The last thing I wanted was for it to seem like a gimmick. It came from a real place. I truly love Madonna. I grew up listening to The Immaculate Collection in the car with my mom for years. I am a huge Madonna fan. I was also really lucky to have Sigrid from Hammers of Misfortune play organ on that song. She and I were talking online about how metal bands only ever want to cover metal songs. Songs belong to the world. A good song can be re-interpreted in almost any style. Somehow, it came up that I wanted to do a Madonna song, and she was excited about it. It was a bit of a struggle to find a song that would fit well in the context of APL, but when I was listening though the Madonna catalog, I knew “Live to Tell” would be the one. I wanted to pick a song that was recognizable to people, a radio single. It would have been easy to pick an obscure album ballad that no one had context for and to re-work it.
As an extra bonus, Sigrid asked if her friend (and bandmate in Amber Asylum) Kris Force could sing on it. I was absolutely shocked. I am a huge fan of her work. She even played cello on Neurosis records! Neurosis is a top 5 band for me for sure. But her own work is amazing and totally genius. I felt like I was so early in my career to have two such amazing ladies jump on and take part in this fledgeling project at the time. It was an amazing cosign from those ladies, and people really liked the track. I feel like it comes across as sincere, and not some plea for attention or press. People recognize that. I am grateful to have really smart supporters. The people who listen to APL are from all walks of life and musical taste. It’s really great to have such a diverse and interesting supporter base. I am grateful for all of them.
* How did your partnership with Colloquial Sounds come about?
I started the label to release an Aksumite cassette and six years and 75 releases later, here we are. If I would have known this was going to happen, I would have picked a way better name. I hate the name! At least it abbreviates well. CSR sounds good.
* Its pretty much accepted practice now that the majority of people favor streaming as the most popular way to “consume” music, however in metal fields vinyl is still extremely popular and in Black Metal and Punk circles cassettes are thriving to. What is you preferred format for people to listen to APL on? What about you, yourself on music you rate? Lps?
So, this is also a great question. I make APL available on all formats for the reason that I don’t believe in being a format elitist. Of course, I have my own preferences for formats, and they change! Some stuff I love on CD only, some stuff on vinyl, some on cassette, etc. My goal is that no matter what your preference, physical or streaming/download – you can have access to APL’s music. My preferred format for people to listen to APL is whatever will give them the most comfort and insight to take in the music. I am of course a believer in paying for the music you love and enjoy, and I’m well aware that illegal downloading is a big part of the story and probably a big part of why many people know APL. If you pay for a streaming service, or buy a CD, cassette, or LP, that’s totally fine with me. You have access to APL. There is a larger conversation to be had about the “fairness” of how streaming services pay artists, but I find it’s best to just be grateful and make my stuff available in every outlet possible. APL isn’t exclusionary. It’s for anyone with the ears to hear, and the heart to listen.
All that moving and changing surroundings was really formative to me. I had to look inward for happiness.
* I am a great believer in certain locations (towns cities countries even) having an influence on artists? Where you born and raised in Grand Rapids Michigan? Can you tell us a bit about life there?
I am not from here, I am from Manhattan, Kansas. However, I think a massive part of who I am and how I see the world and operate comes from the fact that I moved around so much as a kid, because of my dad’s job. I lived in 6 or 7 states before hitting high school age. All that moving and changing surroundings was really formative to me. I had to look inward for happiness. As a result, I say that I’m from Kansas, but really I’m just as much a stranger there as anywhere. Life is fine here, it’s really the same as anywhere else. I don’t know if I’ll be here forever, but I can assure you that being here has no affect on my music. Everything for APL comes from within.
* What we can expect next from A Pregnant Light?
I never reveal my plans.
*Any final words?
I want to thank you and your readers. Join the Lilajugend.
Today, The Ajna Offensive sets August 18th as the international release date for Reverorum ib Malacht’s highly anticipated third album, Ter Agios Numini.
Reverorum ib Malacht’s newest offering, however, isn’t all that new, having been composed and compiled and reworked and redesigned over the past 10+ years, kept lingering in a haunted and purgatorial state until just a few months ago. Therefore, those who came to understand and marvel at the likes of Ur-kaos and De Mysteriis Dom Christi will find Ter Agios Numini to be equally as dense and vast and inspired. And yet, Ter Agios Numini reveals another complex dimension of the band, all the while being unapologetically Reverorum ib Malachtian: cryptically, murkily terrifying and simultaneously cathartic with moments of sublime remoteness.
In the meantime, hear one of Ter Agios Numimi’s most epic tracks – the nearly 22-minute “Long into the Time Beyond
Tracklisting for Reverorum ib Malacht’s Ter Agios Numini
1. Synestesi
2. Long into the Time Beyond
3. Reverorum ib Malachtum
4. Dwellings are His that Die
