Category Archives: Uncategorized

Tir – Exploring the Mists of Time

The world of dungeon synth is filled with remarkable individuals. One of those is Oytun Bektas, a musician with origins in Turkey, but currently residing ‘down under’. His music has been well-received in the world of synth lovers as being of remarkable, singular quality. Performing under the moniker Tir, Bektas has redone several of his albums in a quest for more perfection, exploring the ancient past, myths and the Cosmos.

Bektas was willing to tell more about his remarkable project, his journey to where he is right now and his vision of the sound he strives for. There’s a depth to his approach to music, but also a well-condensed form to his answers and explanations I found most enjoyable.

The dungeon synth experience of Tir

How are you doing? 

Thanks. I’m pretty busy, but I’m fine.

How did you as a musician arrive at Dungeon Synth? What musical projects have you been in, who are your inspirations?

Actually, it wasn’t a special choice for me to meet DS music style. I think that the fact that I have been dealing with classical music since I was very young maybe the first factor in this situation. I believe that along with the education I have received, I have developed myself in the field of polyphonic music production. Of course, the bands and musicians I have listened to for the past 20 years have been the second-biggest influence in capturing this music. Wongraven, early Mortiis and Burzum to name a few. Of course, I also got inspiration from some neofolk, dark folk and ambient artists because I didn’t directly produce DS. By the way, I’ve never been involved in any projects before Tir.

For anyone not familiar with Tir, how would you introduce yourself?

A one-man project based on Dark Folk / Dungeon Synth, whose main theme since 2016 is the depiction of Cosmos, myths, history and nature. I think that’s the ideal definition.

How did you get to the name Tir? I was drawn to it as it has a meaning in Tolkien’s languages, but also refers to the Norse god of the sword. I read for you it has to do with the Turkish meaning, which is closer to solitude, can you tell more about that and what that means to you?

I know a lot of people were confused by that name when they first heard it. Tir is a word of Central Asian origin. It’s an old name of Turkish origin. So it has no relationship with Tyr.
Secondly, On my U.S.V. album, there were people who thought I was doing the Tyr song for my band name. But that song was only about the album’s depiction of Nordic mythology. In its clearest sense, Tir (not TIR) means alone and deserted. But I think it’s a very impressive detail that the language we use has taken on different meanings in itself.

When I found out about your music, at first I was under the impression Tir was a Scandinavian project. Only then I understood you’re located ‘down under’, but you are originally from Turkey. Can you tell me a bit how you ended up there and is there something of your travels that has seeped into your music? 

This was a decision I made about the direction of the world I live in. Sometimes when you think you cannot solve something, you have to create a new path. Otherwise, you will start to rot. You can think of it in every sense. I have the same instinct in the art I have produced. While in Turkey, Tir’s adventure bore the traces of European folk, and on the other hand, the different effects of the dark geography. Now I feel like I am on a different planet here. I think this will improve Tir’s needs and orientations a little more.

When you moved you did a funding campaign for equipment. How come you didn’t have the gear anymore?

Yes, we were only able to bring a limited number of personal items of goods when we travelled to Australia. That’s why I created a charity campaign on this issue. Some followers, whom I’d like to thank again, helped me buy a midi keyboard. Later, I ended the campaign in order not to force more people on this issue. I continued to see my works with an old laptop 🙂 But now, those who want to help can reach me through PayPal.

You released an album titled Mountains, which you later gave a Redux version. As someone who loves mountains, I wanted to ask you what you find inspiring about them? What do they mean to you? 

For me, mountains album was the artistic expression of my musical experience for so many years. It was a reflection of the books I had read until then, my communication with nature and perhaps more. Mountains were actually an image. I can say that the journey of man and nature was in a way the intersection of the universe. I tried to present this as minimally as possible. Redux was a move to further enrich this simplicity.

What do you mean when you talk about simplicity, which you describe as key to what Tir is and does
not mean simple? Or in other words: what is your vision on the sound of Tir?

By simplicity, I mean, I have a completely dissimilar understanding of music. As I mentioned earlier, it is a wealth for me to produce a very vocal harmony. In other words, since I did not produce music in a narrow and routine pattern, Tir’s position in this genre is a little different. I would say, little intensifying the effect of dark art. Also, Tir basically intensifies its music without leaving the DS patterns. Even this detail keeps it away from its understanding of standard and simple composing.

Your recent album brings the theme of your music much closer to your region of origin. What prompted to switch from the Nordic darkness on ‘Nigritude’ to the mysteries of ‘Persepolis’? And can you say something about what you are telling on this album, what stories etc.?

In fact, there was no deviation in the depiction of dark art. Nigritude had a more edgy number of songs than just being an EP album. But the fact that the cover art was gifted to me by Markus Stock and the design was made by Peter Bursky (who also owns Brilliant Emperor Records) brought a lot of interest to this EP. Persepolis, on the other hand, was a rich serving of DS and Dark Folk art. During my visit to Iran many years ago, Persepolis left a very deep impression in my mind. In that red-painted land, I felt war, art and more with excess. I mean, in the middle of the desert, there was a source of life. I even felt the emotions of that period. I wanted to create a sound from ancient times on this album today. I’m happy to talk about the brutality of the old and bring history to life. Some places are ignored only for political reasons, but we have a detailed history that offers tons of importance.

For me, ancient history and the middle-east is a topic that is filled with mysteries. I believe you could build a whole body of art around this, expressing stories and ideas. Do you plan to continue with this? 

In fact, not only men (I had made a type in my question, hence this reference, ed.), but for many women in the Middle East and Anatolia there are many heroism stories. The female warriors and the female hierarchy was much stronger than now. With religion, a regression and patriarchy began to emerge in this process. On the other hand, the most important bend of civilization’s crossing arms is in that land. Actually, I have the idea of continuing this depiction not through Tir but through my side project Ruins of Xibalba. My primary target is old Anatolia and Central Asia.

What is your process of writing and recording music like, particularly for your last album?

My musical composition processes are all about my visual experiences. I start to experience the subject I depict visually and start to read these details. Then comes the technical part of the job. Which is not a process that runs without any blockages. So I can say that it sometimes happens that I can finish a few songs on the same day.

So, what is the scope of topics for Tir and since you also have a side project, how do you decide what fits the Tir concept and what needs a different moniker? Also, can you tell me something about Ruins of Xibalba?

When I founded Tir, I decided to depict history, nature and war, as well as loneliness in nature. I think I’ve brought out these concepts through the music in a way I’m happy with, but of course, these depictions are also influenced by the dark face of Black metal. It is of course more symphonic, but it’s pure. When I founded Ruins of Xibalba, I wanted to shape the dark ambient elements in my musical understanding more. In other words, it is a circled state that imprisons the listener in it, and I wanted to draw the audience into the dark world of Xibalba. At this point, I’m trying to bring it back to the universe we live in a little bit. So, R.O.X.’s first album describes the Mayans. They are a unique civilization that is very difficult to describe. I still think the Mayans are World Masters. Without being changed by this truth, my side project will continue to process both the mysticism in history and the role of past civilizations in the universe. Maybe this project can connect cosmically outside this world? Cosmic Ambient, sounds good, doesn’t it? 🙂

You are one of the artists in this genre who have decided to perform live. What does it mean for you to perform live and what sort of vibe do you go for?

I’m not the kind of person who looks warmly at live performances. But after my concerts at festivals such as Peru and the Northeast Dungeon Siege, the positive feedback made me very happy. As I said before, listeners and viewers can feel many different effects due to my not performing standard and simple music. I think that makes Tir’s influence different. Sometimes the listener is comforted by melancholy, while on the other hand, they can imagine themselves in a different universe with a mythological breeze. I think the biggest thing about such activities is that they lead people to more collective unity, especially during the pandemic period. The texture of underground music brings together many different elements. If I can contribute to it as a Tir, it’s flattering for me.

Dungeon synth has become a genre dense with meanings and offshoots. Sub-styles (or genres) like comfy synth, winter synth and so forth are disrupting the definition of the genre. How do you feel about this?

It's certainly possible for music to diversify in itself. Each production and composition can have its own form of narrative. The most important point here is how much it retains the main theme. For example, how stupid and unnecessary it would be for a Black Metal band to give you pop tunes and images, wouldn’t it? Seeing Dungeon Synth only in the form of game fiction reduces its great
strength. I’ve always defended this. DS Black Metal’s backyard; symphonic face. There will always be differences, but basically avoiding anathema can be the biggest mistake.

Which artists are you currently listening to and do you think should receive more attention?

Although I listen to Black Metal with intensity, I devote time to other genres from time to time. If I have to recommend it, I think the She Past Away is very strong. Again, from the same musical genre
Oul is a very successful band. On the other hand, I am looking forward to the new Tenhi and Summoning albums with great curiosity!

What are your future plans with Tir?

Persepolis is the last album before we see a shift in direction for Tir. For my next album, I want to produce slightly different content with the main difference from the current style being that more live instruments will accompany it. I guess there is no need to give more details, let’s wait and see together.

If you had to describe Tir as a dish, what would it be and why that one?

It’s a point I never thought about. But I’d definitely say water. I think it’s the right match. It points to the plain and clear simplicity of Tir.

Sounds of Elsewhere: Facthedral’s Hall

As a label, Facthedral’s Hall has been around for more than 20 years, releasing bold music, adventurous and innovative. That is a long time of unleashing limited batches of music into the world.

The beauty of this label is, apart from it being independent, it’s wonderfull open-mindedness. Music that is dark seems to be the only binding factor, apart from mesmerizing quality and a sense of enchantment. From pummeling death metal to otherworldly ambient, industrial and electronics, it’s all there.

That makes Facthedrall’s Hall, also a mailorder and event organizer, a label for listeners who are bold. Listeners who like sounds that are different, transformative and exotic. That’s why I decided to explore a number of releases from the label here.

Ingodeme – Endless

Ingodeme

Meandering beats, laser sounds and a seemingly incongruent arsenal of sonic collage elements assault you. The odd whistle suddenly grips with intent, a repetition that creates an anchor point in the swamps of sound as the whole of the music starts throbbing forward. Slowly, but surely, this drags you into the sound as it becomes more and more hypnotic and part of your own bio-rhythm. I love how all the layers of sound come together. It’s endlessness captured in a good 18 minutes with two tracks, titled ‘Endless’ and ‘Endless 2’. I know nothing about the artist. I don’t know if I need to. But I know that this is an experience.

Archenterum – “​.​.​.​ainsi fut Abîme”

Archentarum
Archentarum

And maybe this switch is slightly too absurd, but I jump into the technical sound of Archenterum. A black metal act from Avignon. Or death metal. You can pick which you find most fitting, but I hear the cold industrial sounds of Woest in this band. Yet, Archeterum likes to stick to a steady pace, a bone dry rhythm without much deviation and fierce intensity that never really relents. There’s, at times, a little ritualistic aspect to the thundering riffage, which I do enjoy. For example, ‘No Light’. A catchy song in my book. What this record does most of the time though is blast you with repetition. It overwhelmingly drags you along in its surging sound full of foreboding tones. Noteworthy in that, and its somber melodies is ‘Vortex of Death’, which is a high-paced slide into the abyss, where disparaging synth sounds bewilder the listener even further. Archeterum is an entity of its own, creating a claustrophobic unnerving sound. It’s highly recommended.

Chalung-Gra – Mostaferi

The term deep industrial ambient may not immediately summon a clear sound to mind, but it does actually deliver quite some upheaval. I can’t help it, but to me, it’s like I hear the roaring dinosaur toys of my childhood as nightmarish screams throughout the soundscape ‘Somes Pieces for Destruction’. This may sound funny, but actually provides a sound that is frighteningly apocalyptic. Distant thunder, collapsing buildings, these are the end-times. Is Chalung-Gra providing a wildly dystopian soundtrack? I think so indeed, but it is wholly captivating and deeply immersive. The dark drones on ‘Trminal’ make it seem like there’s nothing left on this planet and after some time I have to retreat, just to recuperate for a while after this excellent record.

Facthedral’s Hall – 20 Years Of Improbable Music

This sampler might be a collection of music, but it listens like a mixtape. Opening with the hooky electronics from SomniaK on ‘Tears of Fish’, you instantly get into the groove of the recording. You’re taken on a journey of samples, tribal beats, crackling electronics and unholy ambient with Sizzle, Pi Cab Alter and Anti. From heartbeat throbbing baselines to wonky, warbled effects with some dungeon synthy explorations in between, the music is highly engaging. Particularly I enjoy the industrial soundscapes of Minitel, though the strange, doomy synths of deathrow77 stick in your ear for a while too I must say. But then again, Silent Tower will pound it out of you with their harsh electronics.

Strange closer though, by Death Power, who deliver some miaowing followed by some raw as fuck thrash metal. I mean, everything is just pure fury. It would appear that this is contrasting with the electronics-heavy music mostly released by Facthedral’s Hall, yet it is not so. The label focuses on a certain vibe, a feeling, that is hard to really put your finger on. They do it quite well.

Underground Sounds: Kriegsmaschine – Apocalypticists

Label: No Solace
Band: Kriegsmaschine
Origin: Poland

Kriegsmaschine is the other side of the coin that we know as Mgła. Also known as KSM, the project has originally been the focus of this group of musicians from Poland. Yet, in recent years slowly this has started to shift towards the other band with big shows and a lot of attention from metal fans in the wake of the black metal resurgence.

So Kriegsmaschine had been silent since 2014 and it was with a blast they’ve returned with a new record.  ‘Apocalypticists’ is an excellent slab of hypnotic black metal of their unique blend. Highly tribal and surprising, it contains an unsurpassed willingness to evolve, to mutate and transcend boundary terms. That’s what makes this record such fun.

We jump right into it with ‘Residual Blight’, which is a surprisingly rich groovy track from the get-go. The music is highly engaging in its tribal dynamics. When the vocals come in it becomes an exertion of sweltering fury. This is a persistent element in the music, also on ‘The Pallid Scourge’, which is still seething with a harrowing threat. The rolling drums and agonized guitars, it’s like a machine that grinds and squeaks as it spits outs vitriol. In other words, it’s brilliant.

All the tunes from Kriegsmaschine have that same, churning heaviness. A solid slab of rhythm with those rolling drums and a dense network of guitars is ever present on tracks like ‘Lost in Liminal’ and even on the title track. I love how each song just rolls on like that, full of tension, complexities, but also yielding itself directly tot he listener with all its slithering darkness. The vocals are barked in a commanding tone, as the instruments coil around it in a vast, complex carpet of sound.

The record finishes with ‘On the essence of transformation’, another dark and foreboding track with vocals akin to a spoken word delivery. It’s not really a tune to bang your head to, but to just wait. Wait like a rabbit gazing into the approaching headlights…. And let the darkness embrace you.

Underground Sounds: Insect Ark – Marrow Hymns

Label: Profound Lore
Band: Insect Ark
Origin: USA

Insect Ark is Dana Schechter (bass, lap steel guitar, synthesizers) and Ashley Spungin (drums, synthesizers). These two ladies have a knack for perfectly executed doom/drone with heavy atmospheric overtones. Their latest effort is called ‘Marrow Hymns’.

The duo has been working their musical magic since 2012 when they dropped their debut ‘Collapsar/Piledriver’. Dana Schechter has played with Gnaw, Arabrot, Locrian, Bee and Flower and also does film scores. Ashley Spungin worked with Taurus, Negative Queen, and Normus. Together, that means a pile of experience in creating tunes that truly hit home… and hit hard.

The word cinematic has often been used in conjunction with this band, but there is a very good reason for it. The droning, meandering sound is never meant to just pummel you, but slithers around, enveloping you in the atmosphere that the duo desires to unleash. The whining guitar on ‘Arp 9’ instantly works as a brush on a canvas, painting the illuminated visions of Dana Schlechter on bass. The unity in the sound is so particular, it creates a harmony that unnoticed, submerges the listener.

Dreamy is indeed a captivating term for the music of the duo, but at times those drums hit you in the head with unrelenting force. On ‘Skin Walker’, walls of sound hit like a tidal wave with a massive force. It’s eerie, how they so easily switch from post-rocky soundscapes to pulverizing doom. You hardly notice the switch even. One of my favorites is the track ‘Sea Harps’, with embraces grandeur and that feeling of nautical doom metal. The scratchy strings and foreboding drumming evoke the surging tide of the waves, holding the tension up and then let it all flow out. Perfectly.

At times drones and distortion create peculiar sonic tapestries, warm sounds, and cold electronics. It all culminates in the harrowing outro ‘Daath’. A track that just eats you alive in all its industrial buzzing and droning. What an exceptional piece of music here, by these doomsters.

Underground Sounds: Svalbard – It’s Hard to Have Hope

Label: Holy Roar
Artist: Svalbard
Origin: United Kingdom

The fourpiece Svalbard has been around for a bit. Named after the frozen, Norwegian island far up north, the band plays what can be best described as post-metal or post-hardcore, yet their whole concept seems to resonate with the wavering spirit of the punk and hardcore community as they brazenly touch upon the topics of this time and age on ‘It’s Hard to Have Hope’.

This is the second full length by the English group, who originate from Bristol. Their sound is a rich tapestry of black metal, hardcore and some crust and post influences, which creates something that is full of vitality, but also complex and layered in its own right.

Have you ever worked as an ‘Unpaid Intern’? Because Svalbard has you anthem now. Furious screams and ascending melodies with a deep-rooted frustration behind them launch at you with ferocity. Pretty much sticking to that, the song ‘Revenge Porn’ is as visceral and essential as the opener, with lyrics that are as straightforward and direct as you can get. The beauty is that there is no accusation, no closed statement, but open questions and ideas conveyed in the song. In that lies its very power.

Let’s not forget that hardcore traditionally is hardline opinions and Svalbard in that sense makes you think. You don’t need to be idealistically aligned with the band to gain some wisdom from their songs. On ‘Feminazi’ the position is slightly more forceful, while the music takes on a more melodic an driven sound. Yet, there’s so much explanation and context given, this is a musical dialogue with any opponent. It puts the record in a very different light for me, which demands respect.  The feel of their sound is much like More Than Life and Touché Amoré to me. Full of feeling and excitingly melodic, a great piece of music to really get your heart beating a bit faster and gain some purpose.

The energy is infectious, while the passion is almost tangible on this record. It defines the relevance of hardcore, even today in a world that doesn’t seem to hold its breath for 2 seconds, whatever comes their way. Svalbard nails it.

 

Underground Sounds: NYIÞ/Old Burial Temple – Caput Mortem

Label: Signal Rex
Band: NYIÞ/Old Burial Temple
Origin: Iceland/Australia

Of all the Icelandic bands that work the dark arts, NYIÞ is probably the most elusive and mysterious. Sure, the members are traceable through the not so thick ranks of Icelandic artists, but their sound is a ritualistic, dark ambient music filled with gloom and foreboding. This split will be their fourth release in 7 years.

Australian formation Old Burial Temple is a one man project from the prolific musician, named ‘Old’. He’s also active in Drohtnung and Snorri, but various other projects are listed under his name too.

Eerie drones welcome the listener to NYIÞ. A sparkling sound falling through, creating a bright sound in the middle of the gloomy darkness of an eternal night. The music features strings and minimal effects from various instruments on the first track by the Icelanders, titled ‘Rót’. Harrowing screams emerge from far away in the deep void of behind minimal guitar play and the sound of the wind. ‘Iða’ follows, with somber and sonorous tones, with ragged flares of string instruments floating around, which generates the experience of an empty chapel or tomb. Ever crack or sound becomes a frightening disturbance, any shift a landslide. That is the power of minimalism and ritual music.

Old Burial Temple takes us below ground on ‘Movement XIII’, with frightening murmurings and samples, merging into a deep and disturbing drone. Clanging is audible in the distance, as an uncanny chanting picks up through the hazy fogs. The drums kick-off, but dwindle down instantly. The rhythm is slow, ominous, and feels less like a progression, but more like a prelude to doom. The intense banging and rattle work to unnerve with a continuous procession of harrowing sounds. Exceptionally effective, this side of the split.

Underground Sounds: Garhelenth – About Pessimistic Elements & Rebirth Of Tragedy

Label: Satanath Records/The Eastern Front
Band: Garhelenth
Origin: originally Iran, now Armenia

Garhelenth must have a story to tell, since the band is on its third run, currently residing in Armenia after a spell in Georgia. The band now comes on with their latest record ‘About Pessimistic Elements & Rebirth of Tragedy’, which is quite the charismatic release if I may say so.

This is only the second full length for the band, which has been active since 2010. The duo is dedicated to creating true black metal, devoid of any trends or cool sounding niches like DSBM or blackgaze, yet they’ve been lumped in the depressive corner fairly regularly with their dark lyrics concerned with themes of morals and mental states.

An ominous, dark ambient intro with mad, cackling laughter welcomes the listener to the strange realm of this band. After that reception, we launch into it with the song ‘Destruction of the Will’, which sounds quite mellow in a sense. The music forms a continuous flow of ripping riffs that fit together as a fish’s bones in rapid succession. The peculiar chanting is a noteworthy feature, but almost every song has some oddity happening. It’s exactly that, which makes the band stand out a lot.

The barked vocals work well with the particularly melodic and emotive songs and the harrowing riffs on tracks like ‘To Impersonal Mankind’ really do their job. The almost whiny noise, sustains the negative that permeates the sound completely. I particularly enjoyed the slow, threatening pace of ‘Perspective of Exorbitant’, which is strong, powerful, but also on a steady pace full of lumbering drums and grand movements. Even some operatic singing is added to the mix in granting the duo an even more strong sound. An exceptionally strong record, with strong emotional overtones in a classic jacket.

Underground Sounds: Sequestered Keep – Wandering Far

Label: Out of Season
Band: Sequestered Keep
Origin: United States

Magical sounds, lost keeps

Like most dungeon synth artists, the man or woman behind Sequestered Keep remains a mystery. What I managed to find out, is that he/she is a metal music as well. This Barbarian Skull interview is probably the most information available. Check it out, they do great stuff. Anyways, the moniker Wanderer is used for the genius behind the project.

The logo of ‘Wandering Far’, designed by Dan Capp from Wolcensmen, and all previous records since ‘Might of an Ancient Tale’ looks very fitting. Sequestered Keep hails from Salt Lake City in Utah, so that much is clear. Remarkable, since the music reminds me of lush forests in ancient England more so. The artwork as well, though that is in Germany… A rocky ruin, called Drachenfells, painted by Caspar Scheuren in 1852. A fitting cover.

The sound of Sequestered Keep is clean and regal. Calm tones, that are more used like a paintbrush, than the angry sketching of a pencil. Everything smoothly flows into one another, from ‘Once a Warrior of Forestcloaked Mountains’onwards. This one feels like an indoor song, near a fire in ancient stone chambers of old castles. The gentle picking of a harp resounds, as the wavery synths come in. By the time you get to the title track, the sounds resonate in sonorous harmony and connect smoothly to display the outdoors, the wide-open world.

In a similar manner, the booming effect on ‘Firelight Swordshadows’, feels as if the darkness obscures the sound, hies it from a clear perception in shadows. We get more light-footed on ‘Elvenwoods’, where light pierces through the leafy, natural roof. One imagines as if here the gentle flutes are playing, in a bright mood. The next dish serves melancholy on ‘Battles in Falling Mist’, a slow and gentle tune with a certain calm grandeur to it, while never really expressing fierce clashes. Now we come to the special part, with a dungeon synth Bathory cover. ‘Hammerheart’ achieved a special place in many metal-fan hearts, therefore this version brings it to the very essence.

Loose yourself in the woods with this record.

Batushka, Schammasch, Trepaneringsritualen @013

On a rainy wednesday night I headed to 013 in Tilburg. Originally I scheduled  an interview singer and composer Chris S.R. from Schammasch for a chat about their music. Thee insanity of modern day touring made an interview simply too much for the Swiss artist. Still, I went to check it out, because Batushka is always a charm and I’ve never seen Trepaneringsritualen before.

Trepaneringsritualen

Opener is that act from Göteborg, which uses beat driven industrial to bark defiance at the gods over. It’s a strange act in this line-up, but thanks to the dark, gloomy atmosphere it just works. The sole member on stage generates a sense of magic with a performance that is as much a ritualistic experience as a commander barking words at you. Yeah, that works together actually.

Schammasch

Then we await the mighty Swiss band, who have just released their latest record ‘The Maldoror Chants: Hermaphrodite’. The EP format puzzles me since it seems to simply be a value judgment these days, more than a length indication. Regardless, a great listening experience after the opus magnus that is ‘Triangle’, with its 100 minutes of music over three records.

Schammasch starts of with drumming, setting the atmosphere of bombastic, grand music that combines black and doom elements with ambient and simple spoken word. Frontman Chris is adorned in a ritual garb and has his face painted black with gold. Call it an act if you will, it is more part of the message of spiritualism and art the band offers. Within the void of doom driven, rhythmic frames, the singer proclaims the words of Maldoror, with wide open eyes. The music stimulates your imagination, engages your body with the poetry of the Comte de Leautremont. The music simply immerses the listener, like a warm bath. As a frontman, the presence of Chris S.R. radiates conviction and strength, but also a remarkable absence of ego.

The set leaves you with an altered state of mind.

Batushka

Then we head for the traditional orthodox mass, but turned onto its head. Batushka seems to struggle with some parts of the set-up but almost on time the band gets on the stage. Unfortunately, a draft blows out candles on one side of the stage, which the nameless priest tries to light anew a couple of times with no success. A guitarist gets stuck in the banner but once the band is settled, all that evaporates like snow in the burning fires of hell.

The sound of Batushka seems to have become more harmonious through the constant touring and the chanting has merged more and more with the black metal. That is good news because it makes the show even more captivating and removes the feeling that some moments are mere gimmicks. As a listener you simply allow the flow of the mass to carry you, with the bulky frontman as your impressive and confident guide.

In a haze of torrentous, though melodic black metal, Gregorian chanting and the smell of incense, one can truly experience the music of this Polish group of mystery man. The experience is good and complete, even with half the candles out.

Underground Sounds: Blencathra – These Bones Became The Roots of the Forest…

Label: Unsigned
Band: Blencathra
Origin: United Kingdom

Blencathra is a hill in the north of England. A beautiful part of the country that immediately makes you think of the rich past the nation has. It’s also a band, that plays black metal with sole member Nicholas Fry in the lead. This is the first album, titled ‘These Bones Became The Roots of the Forest…’.

As an artist Fry, and therefore the sound of Blencathra is inspired by British bands like Fen, Winterfylleth, and Saor, which makes sense. The pictures he shares on Facebook show the landscapes that inspire a particular sound. Densely atmospheric black metal, with a slight sense of melancholy from the British Isles. You have to love that (and this awesome cover).

With a pleasant acoustic tune opening the album, we’re soon moving into a dense blanket of blackish metal. There’s a particular element of distortion in the sound that may not be to everyone’s appeal. It’s almost annoying how woolly the album sounds at times. That doesn’t take away the absolute beauty of a tune like ‘As the Shadows Rise’. Big blistering walls of guitar, but also the melancholic twangy intermissions that reverberate.

The meandering folk tunes now and then offer respite, like the haunting ‘Drifting Through Autumn Trees’. With only a distant cry of guitars, the song seems to give a little intermezzo, until a tide of distortion floods everything once more. For me, the biggest downside of this record is exactly that. The brisk nature sounds, samples, and acoustic parts are hauntingly beautiful but often drown in the reverb and distortion. It’s possibly a choice, but I’d like to hear a more crisp production Blencathra personally, so the riffs shine even brighter.