Another series of reads Some good books this time, with authors like Gordie Howe, Kinky Friedman, Dayal Patterson and Henk van Straten.
Gordie Howe – Mr. Hockey: My Story
Gordie Howe has been a source of inspiration to me. The guy played hockey till in his fifties on the top level, still racking up the points. In this book he tells his story, which remarkably enough is actually the story of hockey itself. Mr. Hockey is not just a fancy nickname, it makes sense to call a guy exactly that, because he lived through it. Then he came back one more time in at almost seventy for the Detroit Vipers for just one game. He talks in his book about home, his youth, injuries and his own special frontier justice in hockey.
There’s a sense of humility to his words. Gordie Howe might be the greatest, he is even more so because of his personality and that down to earth mentality. I truly wish he was in better health these days, but at 87 the man is still going as strong as that beaten and battered body can. Amazing to hear his story and the things he’s seen and done. Ofcourse it’s only hockey, but hockey means a lot to me and any mans dedication to one goal is something to learn from. I salute you, Mr. Howe. Truly a hero to me.
Dayal Patterson – Black Metal: Evolution of the Cult
It’s no secret that I’m a massive fan of black metal. I love the feel of the music, the music and it’s culture, but nothing I love more than approaching it from an academic point of view, trying to create the bigger picture of a genre that is fundamentelistic in origin, but pushing boundaries for more than 20 years now. The work of Patterson is for that purpose a well written analogy of the scene through the most vital years, analysing and chronicling the bands that people keep forgetting. Sure, Mayhem has three chapters, but that’s not all there is in this book.
Patterson is not trying to say everything, nor trying to create some vision. He is trying to show what is there and where the nucleus of the scene was, but also the far edges. The whole Euronymous thing is in there, but cut short, sticking more to it as an event that shook and shaped the scene. This is vital information in understanding what and how things went down. I love how this book gets you such a much bigger picture. Did you ever read about bands like Fleurety, Sigh and Tormentor in a way that actually gave you new info? I didn’t, but now I’m checking all those out. Black metal is so much more than Varg Vikernes.
Kinky Friedman – Elvis, Jesus & Coca-Cola
Kinky Friedman is a country making, cigar smoking Jew from Texas. He switched to writing detectives at some point in his career, for reasons that I won’t even try to understand. One of the results is this book, that was put in my hands by a friend, mainly because he might get a visit from Kinky at some point in the future. It all seems a bit surreal, but you know what… I gave it a go. If you are familiar with the work of Irvine Welsh or Belgian writer Herman Brusselmans, there’s a writer to add to your favorites.
The protagonist Kinky finds out the girl he’s been sleeping with has gone missing. He goes on a hunt for answers in a surreal setting that mainly features internal monologues, cigar smoking and whiskey chugging with his mates in New York. Actually the protagonist, being Kinky Friedman, doesn’t do much more apart from talking on the phone, making his friends do stuff and dealing with his cat There’s this film noir atmosphere to the story thaough, which is weird in the sense that everything happens outside of the story. After 200 pages you just feel a bit confused. The story comes to life and gets resolved in the final pages only. That is however after a weird bumpy ride.
Henk van Straten – Superlul
Yeah, that requires some translation. Let me first tell you the story. Superlul is the nickname of the main character. It means super dick/cock/whatever and it refers to his huge schlong. After years of insecurity, hiding in his room with fantasy books and trying to prevent the rise of his enormous member, he finds his talent in the hospital with a horny nurse. From there on Superlul becomes a celebrity, all the while porking whatever he can. He ends up in the Dutch celebrity circuit, which is plastic fantastic.
It all turns into an overblown, surreal story where his girlfriend is Carice van Houten (Game of Thrones, yes the one with the lord of light thingy where a lot of boobies need to be shown). The style in which Van Straten tells the story is high paced, witty and direct. He gets his message across, without having to explain it. Van Straten is not being literary in the way it’s always perceived to be, by using difficult structures, complicated concepts and just shoving in a dictionairy. No, Superlul is literature for anyone who understands the irony of it all. That is definitely something this book has plenty of.
Disclaimer; any link to a webshop is just because I needed the picture, not that they are paying me (but they should)
The two song EP of Vanad Varjud from Estonia is a grim first encounter with the band. The songs last well over the 10 minute border and envelop you in depressive darkness. The slow starting ‘Tumm Rongkäik’ (Silent Procession) features silence and the occasional drum sound in the first ten minutes. Some eerie sounds can be distinguished, but are barely audible.
When the music starts playing, first there’s the cascading guitar riff, played in such speeds to create a static wave pattern. Slow drums are being played, as in a ritual setting. Slowly the sound becomes more menacing, more grim and full of cold hate. Like a torrent, the music drags you in, slowly nodding along, one barely notices the change where a melody is sounding through the layers of guitar, untill it gently comes to a close.
‘Absurdiinimene’ (Absurd Human) is the second track, which starts with the sound of an icy gale blowing. The sounds that seep through are ominious. Clean guitar tones are being played in the same minor setting as Metallica’s ‘One’. A thunderous drum sound reverberates though the air and in a flash the riffing starts. A furious roar and samples start playing in Estonian. `
The Estonian extreme metal scene is very hidden and mostly known through a few bands that have somehow captured the interest of the media, like their folk-metal outfit Metsatöll or the sludge duo Talbot. I talked to Sorts Aposta and Thon from Vanad Varjud about the underground in this far-off corner of Europe, where winters are long and cold and where faith is minimal.
Who are Vanad Varjud and in what other bands did you play?
(Sorts) Vanad Varjud is me, Sorts Apostata is the so called ‘main man’ of the band. The band was born in 2000. I was already far into other things, but this became the main project. Thon played the drums and did vocals, so the ‘main man’ started to become a bit blurrier. So far it’s my thing, but Thon is responsible for all the drumwork. We both have been around in the Estonian ‘scene’ for years, though it’s hard to still call it a scene. It might be just me, there are some new winds blowing.
(Thon) I have been in several metal bands over the years. For a list of all my bands and projects, you can check my bandcamp page (there is a lot to check out. ed). Most of the music can also be listened to there. There is a complete list of bands I was in or connected to.
(Sorts) I’ve been involved with Ignorabimus in the past. Also with the band Nihilistikrypt. The band Mass In Comatose is my brainchild, though we will have to see if it ever rises again. When it comes to the scene in Estonia, the best source to check is estonianmetal.ee, though it has moved more to facebook. What is happening and where the action is can usually be found there.
What does Vanad Varjud mean? What is the idea behind the band?
(Sorts) Vanad Varjud means in English ‘Shadows of the past’ (though there are multiple interpretations, literally Old Shadows, meaning that the night is a calm time). This is, as far as what I did goes, the crown jewel and my most important project. It is mostly mine, where I create atmosphere like I’ve never done before. It feels very natural to me to do this the way I feel like. Being free of dogmas is a theme, as in can we even do that? We move to live grabbing hold of these dogmas to give us meaning and answers. They prevent us from thinking and we obey them quite unquestioning instead of looking at ourselves and others as human beings.
The music needs to be slow. Watch a snowflake fall, watch how it rains and feel the beauty and eerie atmosphere, the timelessness… Think of the smell of old trees, the foggy moon and sunrise (don’t take this as sounding too much like hippie stuff). Whatever you believe is your way and yours alone. It is good to have some travellers with you though, maybe even to the end?
What is the general idea/thought you are trying to convey to your listeners?
(Sorts) I dont try to convey anything really. I give something and you can take from it what you want, like I take things from other artists in the same way. It’s a matter of sharing, growing and learning and always moving forward. This is not as easy as it sounds ofcourse, trying to be original and following your own parth. We all wear certain chains, though we link up and find connections, but that is not always easy. It can even be a painful proces, but through pain we might achieve even greater things and more happiness.
We obey others, we are mastering others, we enslave others and enslave ourselves. Who are these others though, what others are there and why don’t we try to master our own self first? I think that’s the hardest thing, to find meaning in all this. It’s not the most original dilemma, very Nietzschean…Take your pick: Socrates, Gailit, Tammsaare…
Where do you draw inspiration from?
(Thon) Inspiration is everywhere, in books, music, film and nature or wherever you look.
(Sorts) I can’t add much to that. Maybe what is inspirational to me is that feeling of pure loneliness that we humans feel. You are born alone and you die alone and in some way you always are alone. Growing is a solitary process, but we can try to share this maybe.
What is it like to be an Estonian black metal band. Does being Estonian have any influence on your music do you think?
(Sorts) There are bands here and some projects, but no tight knit scene in the way people would imagine. We meet, greeta nd have a drink now and then, but not too often I guess. Metal in Estonia, specially black metal, is quite underground. Everyone is doing their own thing in their little corner and I think that’s fine the way it is.
If you consider where and how Estonians have lived historically and geographically and what th weather is like, then the usic dfefinitely is influenced by being Estonian. Then again, it might be my thing, we are very closed off people.
I’ve listened to your 2 song EP. What can you tell about the writing and recording?
(Thon) The idea of VV has been growing in Sorts for years and it first came to life after we finished recording with a metal band. Me and Sorts had the studio to ourselves and started to record the dripping water from some pipe near the door. We messed around with effects and created this eeriesound that just needed some drums. We recorded those as well in some takes, then sorts did the guitars. We did the vocals in a second session, but the rest of it… It just happened.
(Sorts) In a basement in Põlva we built a studio. There were pipes all over the place, it was underground and you could hear people flush their toilets. For recording we had to predict when people were going to do their business… You never knew what you’d find in that place before you had opened the door. There was also a radiostation operating from there. It was a legendary and strange place with ice cold winters. When it started leaking one day we put a metal tub underneath it and started recording the dripping.
Thon was doing the editing for some other band and I was freezing, reading the book ‘Maagide Kool’ by Vladimir Weidemann (translation: School of Mages: Estonian Occult Underground 1970-1980 ). When ‘Talv’ for the band Sõjaruun was done, the drumkit was still there, so we did this basic stuff. It was spontaneous and pure joy to make and I wish every album could be done this way. The writing was done in my head and we had the basic recording. After that I spend some time to adjust things and do the vocals.
Is there a theme to it, do you chose specific messages for a release you make?
(Sorts) Its not like a story of any kind is integral to our music, there are themes that just follow and we pick up on what happens around us. The future material is planned to involve dark themes. It seriously will be very dark.
What are the samples from that are in the songs? Why did you chose them?
(Sorts) The ambient elements there are mostly recorded and modified by us. We chose those to creat a kind of eerie atmosphere, like a church/monastary atmosphere. These are things we just did, you know? It was very inspiring stuff to use and create. It was a cold november when this came from my mind, before I turned it into flesh.
The EP is out on Hexenreich records. How did you get on this label and why did you chose for tape as a carrier?
(Thon) I have known Volly (boss of Hexenreich) for many years. I talk to him almost every week, so it was quite a natural thing to happen.
(Sorts) Yeah, Thon did the talking on that one. I’ve known the same person for many years, but Thon was more on a business level with this I suppose. Hexenreich has been functioning as a label dealing with this music for a long time now and it’s not like there are that many places for our kind of music. He’s a good person to work with.
Actually we released a sort of split with Hexenreich and Eerie Moonlit Trees, which is a label I started to create an undergroundlabel. I have to see if that’s going to work out. Chosing the casette format is partly because it is simply very cheap. I would like to release material on cd, LP and MCD, but as long as we don’t have that kind of deal, we will work with what we have. Anyone who is interested in helping us forward is most welcome.
Can you tell us a bit about metal in Estonia and mainly extreme metal?
(Sorts) I don’t know that much of the new Estonian metal scene. There is stuff going on and if someone is interested in it, the best news source is estioniametal.com, though it doesn’t offer the most recent news right now. We’re simply outside of it I guess.
Some fresh things that are going on as far as I know, Ingmar Aasoja from Thou Shell Of Death has some interesting things going on. The bands Urt and Aghor are active and interesting, Tharaphita has some nice progress and Süngehel has new stuff going on that are worth checkin gout. Goresoerd you can look up on facebook, is definitely a cool band.
I’ve got a list of records that are, in my opinion worth checking out, which offer a good impression of the Estonian scene. My opinion also varies ofcourse, it depends on what I feel like.
Sõjaruun – Talv (2010) Mortified – Wilderness (1993) Tharaphita – All pool Lund Ja Jääd (1997) Aggressor – Legal Requirement (1993) Nihilistikrypt – I hate everything (2006) Skydancer – The Dawnhunter (1996)
Why do you think Estonia is the most atheistic country in Europe?
(Thon) I think it’s a good thing, it seems a natural fact to me really. Studies have indeed shown it’s the most non-religious country in the world and it feels like a good thing.
(Sorts) There are all sorts of studies, so I dont agree with Thon on this. Right, in reality we may not be on level with the classic religious countries, but we’ve been fucked by religion enough as a small nation. Religion in my opinion is like a slavery in the classic way. We are officially a Lutheran country in so far, but there is no official religion in our country. There are big churches and such, with big budgets, but where does that money come from? We live and believe in a more protestant way I think, more sober. I dont believe a God that promises good things for those that serve is a good thing, its a mental slavery, being fooled by these promises who tell us we are blessed if we obey. What bothers me most is why we behave like believers still, even when we claim not to believe.
Fun fact, the Lutheran church wishes to build a skycraper in Tallinn, which will be the biggest building in the city. What should we think of that?
Anything else you’d like to share?
(Sorts) Bottle of cheap whiskey and two dark beers? Thanks for this oppertunity and everyone, support bands that you enjoy and perhaps we’ll meet some day.
During answering these questions, I was listening to some old material and some weird stuff came to my ears. It feels like a great journey to answer this and get back into listening to old material.
Again, some tunes to bop your head to in Sounds of the Underground! This time A Forest Of Stars, Woods Of Desolation, Shylmagoghnar and Promethean Horde.
A Forest Of Stars – A Shadowplay for Yesterdays
Yes, I know this is not the latest album of these Brittish troubadours. I listened to them before, but due to a friends enthousiasm I did so again yesterday. I was amazed. The band brings together sounds of despair, string sections in minor, gritty black metal and the carnavalesque in a blend that is wonderfully powerful. A track like ‘A Prophet For A Pound Of Flesh’ embodies that blend of epic doom, laced with twinkling folk passages and playful prog elements. The wailing ‘The Blight Of God’s Acre’ is another example of organic black metal embracing the play with elements.
Listening to this record brings memories of neofolk groups like Current 03, but also of doomers My Dying Bride. That has a lot to do with the Victorian charm of this league of gentlemen, as they describe themselves on their website. They don’t draw their inspiration from pagan Gods and nature, but from a time where romanticism and beauty was still something of importance. ‘Gatherer of the Pure’ is one of those unrelentingly beautiful tracks that display all elements in a blistering torrent of sound that has a warm, golden gleam to it. ‘Left Behind As Static’ lets you hear polished English and the ghost stories associated with electricity seem to be the inspiration for another magic song with static in the air. The haunting ‘Dead Love’ is the great closer of this magic album.
I can’t wait to check out the new one.
Woods of Desolation – As The Stars
The sound of Woods of Desolation is like the cold autumn sun, that caresses your face while your fingers feel frozen. The pain and beauty intermingle in a warm bath of nostalgia on this fantastic album full of post-blackmetal with static riffs and soaring elements in major, tremolo guitar picking and that unwavering cascade of atmospheric layers… I just want to rant about it, till I run out of breath. The song ‘Unfold’ is one of my favorites on this record.
I guess its the layers of ambient that make this record so alluring and filled with atmosphere that one can relate to. It has a simple beauty that still transcends the regular, the harmonies are just right. ‘An Autumn Light’ is another great track that seems to captivate exactly wht I said before. The vocals blend in with the rest of the music to create a unity. In a way they are the only dissonant sound in the music you can hear. These Australians did a wonderfull job in making this beautiful album, that still captivates the grim and cold of black metal. I could go on and on about it, but I feel that words fail to describe what my gut tells me while listening to this.
Shylmagoghnar – Emergence
I just happened to stumble across these Dutch prog-BM’ers on bandcamp. Clean sounding, technical and catchy are some keywords. Atmosphere does not need to be dense tapestry of tremolo guitar obviously. It can also be the clean, hard walls of riffs that these guys unleash on their 2014 album. The long opener ‘Abyss’ immediately lets you hear some classical influences as well, this is not easy metal. An approach that hits the listener in the gut can also be taken, like on ‘This World Shall Fall’ and ‘Squandered Paradise’.
‘The Cosmic Tide’ is a track that stands out due to its soaring sound, full of aventure and bravery. The music is on that Cosmic level, always maintaining a feeling of tension and intensity. ‘A New Dawn’ delivers another blistering track with classic elements and full of epic grandeur. The band is not afraid of implementing anything in their dense and straight forward sound. The magic is in the exectution this great collection of songs. I’m well impressed with the variation and the openness of their sound. Recommended material!
Promethean Horde – Ashes of the Empyrean
What an awesome find, these blackening death tyrants from the United States. I love the frantic sound of the riffs and dense walls of guitars. The vocals remind me of the cleanish sounding black metal, like that of Keep of Kalessin on this album filled with pagan black metal. I’m not sure how deep that pagan aspect runs, but just bear with me for a bit more, while these boys roll on. The epic riffs are quite impressive, though not too original. This band is definitely energetic and filled with rage, creating an impressive rolling sound.
The vocals are a hoarse bark, a bit like Abbath, but lacking the deep cutting gritty qualities. Many people are fussed about some clean parts on the album, but I find those very easy to ignore and forget. The coiling sound and sheer intensity makes up for whatever flaws it may have, like some out of place tremolo playing on ‘Ördögszereto’. I will admit that during the listening to this album, my enthousiasm startst to go down a bit. It’s not the most original release and might not really have that forwards move in its sound, which is so typical for USBM. Still, I enjoy this record.
“We might be the most sympathetic black metal band from the Netherlands”
It’s a chilly autumn evening and we are sitting down in Café het Rozenknopje in Eindhoven with half of satanic sleaze rockers Heretic. The band has had a busy year behind them and its time to talk to the gents about their new records, shows, Ván Records and what it is like to be the most sympathetic black metal band of the Netherlands.
Slight shocker, Heretic has been around for 18 years already. Sure, there have been some breaks, but Thomas Goat has been playing dirty black metal under this name for 18 years. Fun fact also, is that this band only played their home town only once. That was in a support of the mighty Danzig in 2011 (in the Effenaar). That is one of the future goals for the band, according to drummer Tom Auf Der Axe: play an awesome show in Eindhoven. The drummer is keen to talk about the turbulent year Heretic experienced in 2014.
For Tom, it’s all still very new, even with all the events of last year: “I really was lucky to join Heretic at this time. I got talking to Thomas at a metal record fair. He needed a drummer for Heretic and asked if I was interested. I decided to say yes and three weeks later we did our first show together. Not a show in some bar, it was immediately a show on Roadburn!”. Tom learned enough songs for the show in a couple of weeks, where the band with a full line up had their big test. It turned out to be just the start.
“And then there was Hellfest on the agenda in France, which was another incredible experience. We went into the studio to record or new album and we have an agenda that is filled with cool stuff. As if that was not enough, we signed with Ván Records and booking agency District 19 (known as the organizers of the Eindhoven Metal Meeting). It’s been a great year this far!” tells Tom full of energy and enthusiasm. Its just as if everything the band touches turns to gold this year. Singer Thomas adds to Toms story, that is is definitely not just their drummer that was lucky, but the whole band. He chooses his words carefully, as if he only just started realizing that it all really happened: “Things started rolling for real this year for Heretic. We have a band, where all members want to go in the same direction. Adding Jimmy Blitzer (bass, also known from Urfaust) completed the picture. He thought it was cool to play second bass, which sounds odd, but really creates the sound we want. He also happens to be an excellent showman.”
Before we start looking at the successes from 2014, we should have a look at the past of Heretic. Founder Thomas always had an artistic drive with the band to express himself: “I wanted to satisfy an inner urge to create something, something new. The black metal scene was doing something that I wanted to go against, which is how Heretic started out, playing a different form of black metal.” That is the way the proces goes for Heretic, rebel against the image people create of them, but also against themselves according to Thomas: “Every record is a response to its predecessor for me. Everyone thinks they can label you and say what you are as a band based on your record, so the next one has to be completely different. Apart from that, I’m the biggest fan of Heretic and listen to the records time and time again. I then hear what I would like to have changed, what could be better. It’s a drive to develop. Every record is just a moment from what you do as a band, when one is released I’m already working on the next one. ‘Alive Under Satan’ is almost out now and I know how I want the next record to sound.”
The result of all those years of development yields its very own sound. “The black metal of Venom, sex drive like the Dwarves, punk vibe of Zeke and the sleaze of Mötley Crüe, that is the Heretic sound!” says Tom. “Thomas writes the songs, sings and plays guitar. Tony Hellfire does the bass loops over that, like our very own Steve Harris. Jimmy does another layer of dough on top of that and I can fill the gaps with my drums and make it into a whole. Because of the success and energy this year we’re all facing the same direction. Everyone has ideas, which keep on rolling and make nice things happening. It’s almost going automatically.”
A good example of these amazing things that happened to Heretic is their signing with German Ván Records, a label that also released music by The Devil’s Blood, Urfaust and Dread Soverign. The label is known for beautiful releases and special attention for the fans. “I knew Sven (owner Ván Records red.) from shows and of course Jimmy has been working with him through Urfaust for longer.”, Thomas chips in. “Sven thinks about releasing records, like a fan and an enthusiast, who wants to make it into something special. If we would want to release our record in a leather sleeve, he would basically be open to it. As soon as we would make a record that sounded like we do live, he would be interested. With ‘Alive Under Satan’, we have that record so the deal was soon made. Selim (Lemouchi, THe Devils Blood red.) told me a lot of good things about the label.” Live is of course still where it really happens for Heretic. This is obviously the place where Heretic is at its best, when the fans are right opposite the band.
The big similarity between Ván Records and Heretic is the love and respect for the fans. “We may be the most sympathetic black metal band from the Netherlands. We get so much respons from our fans, so we love giving them something in return.” Specially at the shows the band plays in Germany, the band has amazing experiences according to Thomas: “It’s amazing to play a show and see that the first rows of people sing along with every song, but it does happen to us. On the stage it’s all a big show, but after the show we are at the merch stand as soon as we can for a chat a beer or anything with the fans. I’m still a huge fanboy about the bands I love, so I know how important it is.” Tom agrees fully on that: “I’ve been touring with many bands, where I stood next to the stage, like Peter Pan Speedrock and Reverend Horton Heat. We get those same kind of responses, which is an amazing feeling. Sometimes its almost real!”
“Metal fans are, in my opinion, enormously dedicated. When I was nine years old I heard Iron Maiden for the first time. I still get chills when I hear that music. It sticks with you, that is what makes metal fans different, “ concludes TOm. “We played a show in Montbéliard in France a while ago. The support act was a band named Spermafrost. Before the show they came to see us, shake hands and tell us how cool it was for them to play with us. If you receive such dedication and responses, you have to give that back and we do that with all love.” This is part of the reason for the first uncommon release on Ván Records: a red flexi-disc with the song ‘It’s On!’. “That was one of those things, we made that single as a nice object. Then the Deaf Forever Magazine wanted a couple of thousand copies to send to their subscribers. A month later the release was totally sold out!”
The new album by Heretic, ‘Alive Under Satan’, is now out on Ván Records. The recordings were done in Eindhoven in three days and Thomas is looking forward to the next session: “It was a lot of fun in the studio and it turns out we have a great team with this little gang. I’m looking forward to making a full-length. Our previous record, ‘Angelcunts & Devilcocks’, was recorded at home with a drum computer. That is hard to compare with the raw, energetic sound that can be heard on the new record. You can hear that these are real, organic recordings. “Without changing the songs too much, there is much more dynamic in this new Heretic,’ says Tom. “We find a balance between the elements, which makes this a representation of the Heretic you can hear play live. If you manage to pull that off in the studio, then you’re doing the right thing.”
So the gang looks forward to the next record, for which Thomas has plenty of ideas already. The attention of all band members is with Heretic, playing live and enjoying the chemistry within the band. The new video is also out for you to enjoy.
The year 2015 might be the year of Heretic, including that long awaited show in Eindhoven.
Another taste of the Underground with some new music, some unreleased stuff that promises a lot and so on, this time Urfaust, King Woman, Crowbar and Kjeld.
Urfaust – Apparations/Die Erste Levitation
I love Urfaust, it’s one of the strangest and most whimsical black metal bands around. Everything about them feels hardcore, unless when you look a bit closer and it becomes a big mockery of black metal traditions. Booze and half arsed German seem to be the overlying themes of their work. Because the album ‘Apparations’ is not out yet, I’d like to look at their latest 7″ and the just released track, titled after the album. ‘Die Erste Levitation’ is a haunting record, that seems to have some oriëntal influences in it (a bit like the mighty OM). The screams are the typical dolorous screams of their singer, while the sounds seem to rattle all around them.
The new track continues that feel of a strange ambient atmosphere, even making me think about the famous ‘Sylvester Anfang’ as used by Mayhem. Wavering rhythms and harrowing vocals are always present, while the song slowly builds up to its crescendo. Is this still black metal? I wonder if it should be called that. There’s a classical or folky atmosphere to it, that moves the duo away from what it originally sounded like. I’m quite excited about hearing the full album, can’t wait for that one.
King Woman – Doubt/’Dove / Fond Affections’
The most particular thing about King Woman are the vocals, which remind you of either Rabia Shaheen Qazi (as on Earth’s ‘From The Zodiacal Light’) or, as commonly used in reviews, PJ Harvey. Kristina Esfandiari truly carries the sound of this band, formed by languid vocal, doomy drones and spun out riffs. Add to that a dark, gloomy atmosphere that reeks of neo-folk, and you have something quite special brewing here.
Though I’d love to make this all about the forthcoming EP ‘Doubt’, I can’t because it’s not out yet. So luckily one can check some of the previous songs. Only then it becomes clear what a leap the band made in between, they really seem to have found their sound. The poppy, clean sound of their earlier songs definitely doesn’t live up to the shattering, gloomy impression of this new work. I’m eager to hear the whole thing to be honest.
Crowbar – Symmetry in Black
Crowbar has been around forever with their New Orleans sludge, but I’ve never given them much thought. Truth be told, I never gave any band from over there much thought until I started getting into EyeHateGod. The heavy, monolithic sound of the band around Kirk Windstein is quite awesome. Being so heavy, yet so calculated and intelligent is a gift not every band seems to have. Since 1989 the band has been blundering through the musical landscape with their peculiar sound. The pummeling sounds of songs like ‘Walk with Knowledge Wisely’ are impressive and still as convincing as all that time ago.
Clean guitar wailing pierces the sludgy rhythm section for some respite. The sheer brutality of a song like ‘Ageless Decay’ provides a whole other side to the balanced songs you hear. It’s for those that worship the riffs this album provides the tasty bits you need. It always seems to hang near bombastic, but stays earthy and organic. The roaring thunder of Windsteins vocals gives every song the effect of a wrecking ball, if not for the sheer impact of the heavy riffs that is. This album is thoroughly enjoyable and a steady homage to the southern sludge sound. Filled with elements of doom, punk and depressed violence, its one for the road.
Kjeld – Skym
While yesterday I struggled to put words to paper (screen..whatever) about the sludgers of Crowbar, today comes brimming with inspiration from my own country with black-metallers Kjeld from the north. They hail from De Wâlden, Fryslân, and their debut sounds like the finest majestic stuff from the north with grim battle-readiness. The sheer brutality of the blastbeats is overwhelming, but the band continually maintains a melodic structure in their songs. Filled with great passages and captivating sections of intensity, this is one hell of a record.
Songs like ‘Brek En Bran’ are hectic and wild, hardly easy to follow for a casual listener. ‘Stoarm’ feels like an actual storm, raging around you but following patterns, slowly descending to a short calm before launching once more to the heavens. On closer ‘Bern Fan Freya’ we can hear an outro that adds to the mythical elements in their music, the attention to atmosphere and feeling for the listener. A few times the band shows this side, the capacity to maximize on the minimal, like the break in ‘Gerlofs Donia’. This band is the kind that keeps proving to me that black metal is alive and kicking.
Romuvos is the kind of band you will find only when you start looking for it. Pagan metal, inspired by the ancient Baltic tribes that roamed the lands we now know on our maps as Lithuania and Latvia. One could include the Russian enclave of Kaliningrad, though the Prussian Balts are long extinct.
Behind the band is one person who goes by the name Velnias, which is Lithuanian for Devil. Most pagan entities seem to have been taken over by devils, which is shown in the Žmuidzinavičius museum in Kaunas by a large collection of statues. If we look a bit further the name Velnias is taken from the Baltic god of the dead, similar to Odin in Norse mythology. A trickster of sorts, one could say.
I got in touch with Velnias and he was keen to tell us more about his music. Like the trickster he took his name from, there’s more to him than you would think. He doesn’t actually live in the Baltic region, but lives in Israel. He moved there as a child with his family and once in a while he returns to his beloved Lithuania. Because his father is Latvian, he has decided to represent in his music the Baltic tribes as a whole in their pre-Christian form. It’s only fitting then, that I write down these words in the heart of Samogitia, the last pagans to be conquered in Europe back in 1413.
Though Lithuania seems strongly Christian now, not surprising due to their long lasting union with devout Poland in the Polish-Lithuanian commonwealth, there are still plenty of traditions and customs here that remind you of a pagan past and the deep roots they have in both the people and the land. Velnias longs to move back to his beloved country, but feels like the viking warriors who got stranded in far of lands. But one day perhaps, he will return.
Who is Romuvos and how did you get started with this act?
Romuvos is my one man band, the operation is entirely in my hands. I started playing folk music after being part of various black metal projects. I started digging deeper for my roots and the folklore that I hold so dear and decided to dedicate a musical project to it.
Romuvos is music dedicated to the Baltic pagan traditions and way of life. It has always been in my heart, but only now I’ve come to the point where I express it in song. Thus Romuvos was created, a name that refers to reviving the religious practices and pagan traditions of the Lithuanians and Baltic people before their Christianization.
Did you play in other bands before Romuvos?
Yep, though its nothing worth mentioning. Nothing that got into thte studio or anything. Every band I played in had many rehearsals, worked on songs for a long time until it was time to record and then split up. Most of those were black metal bands with folk influences.
I’m not sure if this is interesting to mention, but I fought in the Israeli army. I fought wars and most of this music I wrote under threat of missiles and bombs. I’m not saying I’m a warrior of old or some brave knight, but I experienced war. Those were not my battles to fight though, not my wars. That however is a different story altogether.
Romuvos is clearly a reference to the pagan religion of Lithuania. Can you tell a bit more about what it entails and also the Durwi spin-off?
Well, Romuva is a way of life, tradition and belief. It’s rooted in every Lithuanian heart and deep in the history of the Lithuanian people. Romuva is the name of the most important sanctuary of the Prussians, which was destroyed by crusaders in the 13th century.
One of the most important aspects in the Romuva faith is respect for nature. There are many gods, rituals and festivals that take place and form a part of the yearly calender in the tradition. Many old folksongs teach us about the ways of the Romuva and pagan people fromt he past. Those are the Dainos (folk songs), which play an important role in the religion. They are ancient songs and hymns. There’s so much to tell you about this, fortunately the internet offers much resources for the audience to find out more about this. Im very proud to let people know about our Romuva traditions in my music.
Durwi in old Prussian means faith, its also a revival of the Baltic ancient religions. You can csee how the Lithauanians and other Baltic tribes are untill this very day connected to their traditions and pagan beliefs from before their christianization. I hope the movement will grow and get stronger.
Can you tell a bit more about these traditions, what would these be like?
The Baltic people have preserved their traditions through the ages and Romuva is a direct expression of these unique traditions. It gives a name to the folklore and beliefs that have existed for a long time in the region. I will give you some examples
This refers to the rituals surrounding birth. Before a child was born, the ancient Lithuanians believed in spirits that would influence the unborn child in a bad way. One never directly referred to someone being pregnant to safeguard the mother and the future child. Expressions are still being used in Lithuania, like “The oven fell apart at Petras” or “It’s joyfull at Antanas”.
Once the child was born, it would be inducted into the community. The christening was bound up with various ancient rituals, which tie the new-born to the world, his family and community. These would be performed either at home or in nature when it is the time of the full moon. The room would be decorated with plants and greenery, birds made of straw would be hung from the ceiling and in the middle of the room the hearth would be lit at all time during the ritual. Other materials were prepaired, a bowl of water, clean cloth and scissors. The room would be well lit with candles. In the ritual the mother, father, child, name-givers, relatives and other childern would be present, together with the priestess – Pribuveja (midwife), who would guide the event and take care of the child
The child is dressed in a festive linen shirt. A sash woven with folk decorations is used as a waist-band.
The feast is a cake, brought by the name-givers. The food upon the table traditionally includes eggs, scrambled eggs, bread, cheese, beer and such. Gifts are brought to the new-born and the mother. It’s all part of this important moment.
Vestuves is the word for a wedding, which was not just the concern for the young lovers. The entire community had an interest in the marriage and joining in the celebration. Weddings are so important in the ancient taditions, that there were over 100.000 dainos (songs) for Lithuanian weddings. There’s an extensive set of dances that represent the wedding – starting with the match maker introducing the young couple to each other, the parents agreeing, the young bride weaving her trousseau, and then the wedding ceremony.
There’s a myth of Perkūnas and the Heavenly Wedding: On his way to the wedding, Perkūnas strikes a gold oak – an exorcism to repel evil spirits (Velnias frequently hides under the roots of an oak). When a young bridal couple comes into their new home, before they enter it, the lintel is struck, leaving a “cross” – to ward off evil.
Funeral/Burial – the traditions surrounding funerals are fairly standard the world over. It is a time of mourning, and of friends gathering in support of the grieving family. But, there are some differences. In villages the coffin would lie in “state” for approximately 6 days, and in cities about 2 days. Every evening there would be the singing of laments, and prayers for the dead members of the family for three generations – each one mentioned by name. Every evening after the prayers a funeral meal is served, prepared by the best cook in the community. If the family has a pig, it is slaughtered for the occasion.
In villages the dead are usually buried in the morning, with final kisses being bestowed upon the loved one.
Velnias has given much more info on the pagan traditions in ancient Lithuania. For the sake of readability, you will find these at the bottom of this article. He mentions the yearly calendar, essential in the pagan rites, and the deities that the ancient Balts worshipped. One deity he goes into very elaborately, which I’m glad he did: Velnias.
In Lithuanian folklore Velnias is the character you will find most often, he originates from the god Velnias or Velinas. He has a relation to the animals, underworld, the dead, economy and magical things. In later Christian times Velnias became the devil.
The folkloric devil in the ethnic legends creates the world together, either alone or with God or only God (there are different versions). God is in some traditions his brother. They both have the same goals in creating the world, but also some opposingones, mainly all the bad things are explained by interference of Velnias. The God creates useful animals and the devil creates ones that harm people and are useless. Velnias is also connected with horses, oxen and cows, of which he would keep herds. In the legends he often harnasses and rides the horses. From the wild life, the wolf, rabbit and bear are closest to him and he assumes their forms.
Velnias is associated with low and wet locations, like moors and lakes, or he may appear in the forest. His dwelling is under the earth, inside the mountain, behind the water. He also may appear in the sky, flying or seen in a storm. The relation between Velnias and treesis also emphasized, he might be found sitting on tree stumps (the reference to the chtonic world, the lower part of the Tree of the World) or hiding in trees (like he hid from Perkunas). The fir tree and birch tree are his trees.
Velnias, also in later times as the devil, would often appears amongst women (at the village parties devils dance with the village girls or the devil would celebrate a wedding with a hanged woman and dances with her) and, in general, he is interested in the weddings and funerals. He often appears when a person dies to take his soul. The devil under the influence of christianity becomes the ruler of the hell (in lith. “pekla”) and there he rules the dead mostly in shape of the animals.
Generally Velnias is close to humans, it is not difficult to find him or call him he also comes without any invitation, let’s say if people decide to play ripka or other games. He often offers his services in farming, to clear the field and such. The manifestations of the devil have a sense of music, often they contract a violinist, play musical instruments themselves and dance. Both life and death are under the jurisdiction of the devil. He is an intermediary or guide for the living, but also was involved with the fertility of people and the land. The harvest was also his. He is inbetween the world of the living and the dead, between earth and the underworld. Therefor he received the patronage of the people who are connected to the both parts of this worlds (i.e. priests, magicians etc). Also, musicians, poets and artists, who are inspired by both worlds fall under this patronage, as they are set in an old Indo-European tradition that associates them with magic and the devil.
What are your personal beliefs when it comes to these traditions?
I can say that my beliefs are very similar to the beliefs of my ancient forefathers. It relies mostly on the pagan past, but I have to say that I walk my own path in this and I walk that alone. I am much influenced by the Romuva. The paganism is a big part of my life, but I follow the path I feel is right to take. I don’t want to impose chains on my life, that are in the hands of another. I will find the truth that is out there for me, which will bring me closer to enlightenment.
I appreciate nature and the pagan religion embraces those elements with deities that are the key to harmony or chaos in what surrounds us as humans. I tyr to represent that in my music, though in a smaller scale. When I use the word pagan in relation to my beliefs, my view is very much connected to those ideas that are part of the pagan traditions. I participated in rituals in the past, spending nights outdoors, camping and having a fire, getting inspired by the sound of the fauna and earth that I feel when I’m out there alone or with my wife. I try to put those experiences in my music, those are they keys or muses for the atmosphere I try to invoke.
I have mentioned my interest in the Baltic history and that is a big part of my music. It’s something I grew up with, the tales told by my grandmother, the sculptures and paintings in my childhoods home. Those inspired me since the day I was born. When I put this to song, the subject is a bit more general and I try to make it larger than life.
Lithuania is now one of the most devout Christian countries in Europe, though the pagan traditions can still be seen in a slightly mutated form. How do you feel about that?
Well, I think we can all agree that Christianity and other missionary religions have utterly destroyed native cultures around the world. I don’t hold any hatred towards them, but I draw strenght from this, deep emotions I can put in my music. Each religion seems to face the same stages and now the Islam has come to a point where people commit atrocities in its name. It led me to believing that one should shy away from crowds and mobs of people. I’m not a misanthrophist, but it gets close to becoming one. I like to be outdoors more nowadays, groups of people make me claustrofobic.
Many bands that pay homage to culture or country get lumped into the NSBM category rather easily. How do you feel about that and is there any political side to Romuvos?
I have no political views, nor do I think people are entitled to express such extreme political ideas as metal heads tend to do these days. Yes, everyone is born and living in a ‘country’, which we consider to be ours. That we think will stand by us and have our back when we need something. That country has been formed by past rulers and is governed by whatever government it currently has. They also have taught us to be proud of it and stand by its laws and order. Well, that is not for me. I can understand and respect other opinions about this topic, to each their own, but that crosses a border when people try to hurt or offend another.
The way I see it, I have no country. I don’t look at it that way atleast, which might be because I left my ‘homeland’ or maybe because I dont hold a vision like the common herd. Therefor I won’t see a country as a value to stand for. Countrys are owned by their governments, which might even be corrupt, and filled with people I can’t call my brothers, yet I would be expected to stand by it in war. The same people that will curse, violate, interfere with and disrespect you while living next to you, while sharing the land you should call ‘ours’ with them.
Yes, I will seek peace in my lasnd and I have the right as a human being to live on such a piece of land that I call home. I will raise a family and will seek friends, but also defend it from foes, but not as an act related to an old ideology and herd mentality that is alient o mine. I would do it as a person who wishes to be left alone by the brainwashing of society that surrounds him. I try to be free in my own space and accept no shackles from others forced on me. So NSBM? No, thats not for me. I would also not like to live in the old days under a man with a crown who can decide my fate, whitout me having any say in it. I dislike the ‘nazi’ ideas and steer clear of them. If others go there, its their choice.
Why did you chose to make music on your own?
I can’t say that I consciously made a choice to make music on my own. Because most bands I was part of ended up splitting up or just fading away, this was the easiest wat to go about things for me. I create music on my own terms, with my visions and no distractions.
Do you plan to play live? How would you go about forming a band?
Yes, I think that in the future I will gather few session musicians that I will play live shows with. Musically I will keep things in my own hands though.
What is the general idea you try to get across to your listeners? What story are you trying to tell?
In some of the songs I tell stories from the Lithuanian folklore, in others I make up a story myself based on my ideas. Sometimes I will use old folk songs from the old days, other times I will write songs that represent Baltic faith and traditions. With Romuvos I wish to represent Baltic history and the pagan beliefs of the people in close relation to the nature.
Your record has a very clear sound that is not typical. What inspired you to make this style of music? To mind comes a band like Glittertind, does that sound like a fair comparison?
Well, Glittertind is a great band and thanks for the comparison though they are not my main inspiration. I can say that Falkenbach is a big influence and one of my favorite artists for sure, Summoning, early Vintersorg, Storm, Hades, viking era of Bathory and few more…
Even today I mainly listen to black metal, it still is my favorite style of music. Obviously, it is not the sound I create in Romuvos, but that was never my goal.
How did you go about recording this record? How did your writing proces go? All in all, how did you make ‘Romuvan Dainas’?
I have my own studio at home, so I just go and write the music first. Then I take a classic guitar and start playing, sometimes it can start with keboards or electric guitar as well as for the harmonica. Either way, after writing the main theme, i start working around it and build up the entire song. The next step is writing the lyrics and few more adjustments for the song. Ivecord all on my own and when the recording part is done, I mix it and finally do the mastering as well.
What is the general idea behind the record, its story and message?
The idea behind Romuvan Dainas is to make a Baltic folk metal album. In some of the songs you can find old stories from the Baltic folklore and on others tales of heroic battles and myth that I mostly invented. I dont get to see these days many folk bands representing this great area that surrounds the baltic sea and I am happy to take that subject into my music.
You say you invented some stories. Do you feel you put a lot into this record emotionally?
I think I put a lot of emotion and care into my music, it’s as if it erupts out of me and when it does I cannot stop it. I invest a lot of time and effort in it, because I have no other way of doing it. I enjoy every moment of making music, it is a very fulfilling thing to do. When I finish one thing, my mind is already on the next creation.
You released the record through No Colours Records. What kind of label are they and how did you get in touch?
No Colours Records are a label that mainly releases underground Black Metal music, They have some releases that made it to the big pantheon. I just sent a youtube link with a song to Steffen, the AR of the label, and after few weeks he came back to me, expressing a great desire to put out my album.
What are, in your opinion, the best metal bands from Lithuania and are you in any way in touch with either the scene in Lithuania or Israel?
There’s a few great bands from Lithuania, like Obtest, Ha Lela, Peorth and Žalvarinis (though they are not that metal). There are also some great folk bands, like Rasa Serra, Gyvata and Ugniavijas. I’m not connected to any scene at the moment though.
A few people from the Baltics did buy the album and asked me some questions about it. It’s important to me that they feel connected to my music, but that goes for anyone who listens to my songs. I’m not trying to reach a specific audience or region with my music, but it is a confirmation for me when people from the region and cultural background appreciate the music though. It shows that my message of longing for the Baltic area and its nature and history is clear.
What future plans do you have?
I am planning to get session musicians for recording in a a big and high quality studio for my upcoming albums and live shows. Hope mainly to just make great albums!
Disclaimer: I share no views with No Colours Records or any of the artists. Pictures (except header) by Justina Lukosiute
A bit more than a year ago I did an interview with Latvian black metal band Eschatos. It was published on Alternative.lv and can be found here.
I loved the sound of this band and their genuinely intellectual approach to the genre. This is the unedited version that I received, giving you the raw insights into this band, which I hope to see in action some day. Reading this interview again also gives me some insigths into my own journey. I really was not sure about the stance I was supposed to take, so rather than being inquisitive I might have seemed boastful to the band. Lessons to be learned I suppose.
What remains is my admiration for this band, who make amazing music and have received raving reviews from pretty much anywhere
What can you tell more about how you guys got together and formedup a black metal band by the name of Eschatos? What have you guysplayed in before apart from Grondh and Ocularis Infernum?
Jānis: The formation of Eschatos was a natural outcome of things. We all knew each other, we knew what we wanted to achieve and what to expect from one another.
If we talk about other bands, Edvards is playing in a prog/death metal band „Opifex”, I – Jānis, Edgars and Edvards played together in another black metal band, called „Velna Krusti”, back in the days.
Did you have other names in mind as well? What does the word Eschatos mean for you guys?
J: The name symbolizes many things for us. It’s the end of something and life after death. It is also the highest point. It came to us pretty naturally. Before that we did briefly pass some other names, but when „Eschatos” rose up, it cleared all the doubts.
What do you guys do in daily life?
J: I earn my daily hunk of bread by working as a graphic designer. It’s one of the things I don’t dislike a great deal amongst the rest useless shit.
Kristiāna: There are a very few things I do not.
I am studding theory of art, designing, taking pictures, painting, making movies, organizing exhibitions, etc.
Edgars is studying Theory of Culture.
Edvards: Most of my time is occupied with Social Anthropology studies, but I somehow always find myself to be immersed in a vast variety of things, ranging from playing music to doing graphic design, video or audio editing, building something, and learning every new thing that I come across.
I find it interesting that you call black metal music Art, can you elaborate on that? Do you approach it as making art in the sense of creating something with beauty? (I’m asking this, because early black metal musicians and many purists still heavily oppose the term art)
J: Art is not necessarily associated with beauty. Although that which is ugly and rotten to one, is beautiful to another. Art is a product of creativity and imagination that triggers an experience. We use the term to describe the passionate and majestic work of our creation.
For me black metal has always been a really deep form of art. I can understand, that some people don’t understand, how destruction can be labeled as creation, but you do create it, right?
K: Considering the fact that the essence of art is still in discussion among art critics and theoreticians, especially due to the strong conceptual tendencies in visual art emerged on the other half of 20th century, I will not argue the nature of it. There is one thing I can say for sure, in “Eschatos’s” case music as art presents itself as combined spiritual experience resulting in a birth of entity of autonomous existence – music.
Is Art something outside of the personal, a product or expression if you will, or is it a part of life as you lead it?
J: Art is always personal. It’s the expression and reflection of the artist. A little piece of the artist’s soul, if I may say so.
K: I would supplement that the true art always involves personal perspective whether it is a painting, sculpture, symphony or a black metal composition for that matter. Art is the only way to travel to whatever layers of consciousness you can endure.
What are your main inspirations, musically and otherwise?
J: It is hard to emphasize specific things, because there are so many things that inspire me. Mostly it is not music that lights something in me that I strive to manifest in our creations. These are experiences from meditations, visions and vivid emotional bursts I’ve had.
Musically, there is a broad variety of genres, that I listen to, starting from black metal, to experimental, progressive, classical, ambient and even some indie music, to name a few. What I do search for in music is strong atmosphere and artistic and ideological background, because without that the music is empty. I really admire the Swedish and French black metal scenes of nowadays. They kind of have these profoundly dedicated scenes with so many good bands, but, as I said before, many things inspire me, and this is just the tip of the iceberg.
It’s probably a lame question, but how’s having a female vocalist working out in a scene that is pretty much from its start been devoid of women?
K: I believe this question was not meant for me, but I will answer it anyway. At first, I think that women in black metal are not something entirely new. There are bands like “Darkestrah”, “Astarte”, and “Darkened Nocturn Slaughtercult”, etc., but unfortunately none of these bands are amongst my favorites.
Secondly, I cannot start to explain the insignificance of gender when it comes to musical abilities, talent, if you will.
So, about the Latvian black metal scene. How is that, are there many bands that play black metal and does it have some typical sound or own identity to it?
J: There is no Latvian black metal scene. You can count the active bands on the fingers of one hand, if you skip all the bedroom projects. There have been many bands that come and go without leaving much legacy.
Skyforger is a great band, but they haven’t got much black in their metal anymore. Dark Domination are the sole survivors of Latvian black metal, as they are the only band that has lasted so long. Urskumug is a notable act, also I want to believe, that Ocularis Infernum and Grondh have left a mark of influence on the scene. The rest, for me at least, are just dust in the wind.
If you try to find parallels in the sound, I guess you can stumble upon few bands, that had something in common, but not enough to talk about typical local sound.
Can you give me an overview of how black metal came to Latvia and what developed there?
J: I think, that black metal is still „coming in”. Of course, we have our history that started in mid 90’s but I don’t feel that black metal in Latvia has strong foundation and dedicated scene.
Is the Latvian metal scene tight knit or divided into the different genres?
J: I would say, that it is pretty divided, with emphasis on some genres like death metal and alternative metal, where the last one is like a completely different scene. I’m glad that the last years have brought more tolerance and appreciation for more experimental and unorthodox music in the metal scene.
Edvards: I would like to add that the whole scene thing, while being much divided, maintains certain interaction, due to the fact that almost every metalhead plays some kind of an instrument and is usually involved in a number of different projects. There is a saying in Latvia that “where there are two guys – there are three bands”, or something like that. Everyone seems to know everyone. And in concerts, the genres are usually very inadequately mixed together, which results in the mixing up of the sub-scene representatives attending those concerts.
Black metal has been associated with Satanism, white supremacy but also paganism ideals. I’ve noticed that Grondh for example also mentions Satanist philosophy as one of their ideals. Do you feel confined by the overall black metal culture and the strict anti-attitude towards what is conventional and what do you consider to be the views that Eschatos represents?
K: As unconventional as it may seem there are no such boundaries to our art as traditional black metal ideals – Satanism, racism, paganism or any other “ism” for that matter.
At this point I believe black metal has grown to be more of a unifying phenomenon than restrictive bridle.
It is not our purpose to express absolute ideas. Our art is quite autotelic, but surely – one who is willing to listen, will find one’s own truths as well as ours.
Edvards: In a way, the black metal culture with its ideals can also be seen as the conventional black metal culture, which seems to be in contradiction with the anti-attitude towards the conventional. I do not believe it is wise to present our attitude through some already given instructions/manuals, like the above mentioned “-isms”, because it is often the case that those ideals become in themselves the main point, and not what they represent or were used for in the first place.
Where from do you get lyrical inspiration?
K: I have always believed that in art only pain, suffering and loss can awaken the true genius. For me to write, a strong trigger is required, and the last year has been just that. Of course, amongst the sources of my inspiration there are literature, philosophy, visual art, music and after all – a human being, concealing such a great variety of different self-destructive passions.
What is a show of Eschatos live, what do you try to give people and let them take home from a live performance? Do you prefer to record or to play live?
K: I can say for sure that those are both completely different experiences and both – vital. Record gives the advantage of perfectionism when one is needed. Live performance appeals to all the other senses. For me it is hard to comment on the last one due to the fact that during performance the bound with reality is quite loose.
Edvards: I do not prefer any one thing over the other. When we play music it is almost as a spiritual experience, and during live shows we provide the opportunity for others to immerse in it. That is a difficult thing to capture in a recording, but nevertheless it is an inspiring and a very creative activity, which provides many new insights and ideas.
What do you hope to achieve in the next few years as a band?
K: We have already achieved the only thing that truly matters – we create.
Some new sounds from the underground, worthy a checkout: Cairo Pythian, Bigelf, Árstíðir lífsins and Toundra.
Cairo Pythian – Touched LP
The cold sound of Cairo Pythian is touching upon a more melodic interpretation of Joy Division-despair. An element of Soft Cell and the more swirling sounds of the proto-Goth sounds one could hear in the early eighties is added to that. The group from Olympia, WA has surrounded itself with mystery, which ofcourse adds to their image and credibility.
Musically there’s a combination of that coldwave sound, sampling and industrial. On tracks like ‘Down For The Crown’ there’s a shoegaze-like buzzsaw riff pushing the song forward. ‘A-Sexual Cake’ is much more droning industrial again, which shows the range between which Cairo Pythian is doing their thing. There’s an avant-
gardist streak to their sound, remniscent of the progressive postpunk bands that started implementing industrial elements, like The Residents and Devo. They may be 30 years to late, but their album is a testimony of the lasting fun that post-punk offers.
Árstíðir lífsins – Aldaföðr ok munka dróttinn
An Icelandic/German band that derives inspiration for their blend of folk and black metal from medieval literature from the land of fire and ice. They distance themselves strongly from the NSBM movement, which fills me with joy. Their music is peculiar, hauntingly natural at times and moments later a barrage of fierce riffing. I guess in a way this project sounds a bit like its inspiration. Deep vocals tell stories over fingerpicking guitarwork, violins seem to play and set down a haunting atmosphere.
The songs are long and more focussed on atmosphere then on brutality. Slow, cascading riffs move forwards, while traditional singing creates a powerful feeling combined with tremolo guitarpicking, soaring high above. Tradition and extreme metal meet eachother half way and that feels like the right matchup. The release itself looks amazing as well, this is definitely one of the records you wish to return to. The feeling of ancient wisdowm, the haunting folk music and blistering black metal segments (which are lesser than you think) are right up my alley.
Bigelf – Into The Maelstrom
I’ve started to get into the whole prog thing a while ago, after watching a documentary from the BBC. It’s not a big leap to start listening to a band like Bigelf after that, who incorporate the brilliance of their predecessors like Pink Floyd, Caravan and whatnot with that Cambridge sound. Just add a little swagger to it and some heavy fundamentals and you’ve got a metallized version. Listening to this Bigelf album I must express doubts concerning how metal they are. They’re not heavier than, say, King Crimson in my humble opinion.
Bigelf is the brainchild of Damon Fox, who carries vocal and keyboard duties. ‘Alien Frequency’ is a good example of how the group Americanized the sound, making it more accesible and down to earth then their progenitors. The sound is warm and technical, grand and like a great story the songs unfold with the necessary effects and structured elemens. ‘Control Freak’ is another repetitive and captivating track. I’m amazed at how enjoyable listening to this record is. Though complex, it feels as if it’s open and accesible. Probably a good one to listen to in bed with headphones on, for the ‘Alien Frequency’.
Toundra – IV
This Spanish band has just released their number four. I have no idea why its on the lists of new metal releases, but I’m glad it was. Gentle postrock with a folky feel to it, enriched with strings, right up my alley in many ways. Add to that some horns and you have an amazing trip, which might be the reference of the song ‘Strelka’, which was a Russian dog send to space. Also ‘Belenos’, which is a Celtic deity. The music is calm, languid and wavering on at its own pace. Musically there’s no point where anyone drops the ball and the continuity of this record is definitely one of its main strengths.
Think postrock with extra’s and perhaps thats what it should be labled as; postrock+? ‘Kitsune’, which means Fox and that is how fleeting the music sounds at times, like a fox running through the high grass. It almost escapes you as a listener but keeps circling you. It’s a record to immerse yourself in, to feel elated to, while listening to it on a long walk in nature. The track picks up a roaring sound, that swells up towards the end. I’ve totally fallen for Toundra, I hope you will too.
From the Green Island comes Raum Kingdom. They make bleak blackened doom that has little to do with any of the further stereo types that might pop up when you hear Ireland. The band released a refreshing album of material, that feels like a new wind breathing through what we know in this style. Inspired by the likes of Amenra and Neurosis, the band promises to be an interesting new act on the horizon. Time to check in with the guys from Dublin. Guitar player Andrew Colohan is keen to tell us more about Raum Kingdom.
Hello, yes we are all in good spirits, form and health and delighted to be doing this for the Sleeping Shaman.
Who are in the band and how did you get together, did you guys play in other bands before?
There are four of us in the band, Me (Andrew) -Demons Bow, Dave – Chant, Mark – Rattle and Ronan – Devils Bow. We have been close friends for a long time and big lovers of music and over the years have been in different projects with each other. The time came when we could eventually play together and this happened. We hope that real life can be kept at bay so we can continue with this for as long as we can.
As far as I can gather your bandname might be derived from the petty kingdoms of Norway, of which one was called Raumerike. Is that correct?
We have never heard of that place before, So sorry to say, but no. Sounds nice tho. Norway seems like a nice place. We were settled on just Raum but the name was taken so we added kingdom. It doesn’t really come from anywhere as such it was just trial and error.
What inspired you to that name?
We had ideas and a concept from the get go and even as we where progressing through creating the songs we didnt have a name. But the more we tried to find something the more it eluded us. The name eventually was found through trial and error and as everything else was taken. Raum Kingdom is supposed to stimulate the imagination of a place or earth with different values , principles and laws.
What can you tell us about your record, how did the recording and writing process go?
We had a blast writing this music and still are enjoying writing. The process is we basically say ” That’s to many notes.” Strip what we can back to the core, do a little shuffling and testers. When it fits the theme of what we want and are about, we take it from there. Recording is when we polish off everything, as we don’t know what it will truly sound like until then.
What is the general theme of the record?
We didn’t intentionality set out to have a theme for the EP but if we had to say there was one it would be Pain with a pinch of hope.
When I listen to it and also follow the lyrics, it feels like a story or like a stream of consciousnous from one person. Do you feel that would be in there?
Yeah for sure each song has it’s own story to tell.
What is in your opinion the best song on the record and why?
We all have different opinions about that and it changes with each of us as time passes. But it might be good to say that ” This Sullen Hope ” Could be generally considered one that we all go Yea thats what we want and are about as it has everyting in it.
The record seems to be generally well received, what makes Raum Kingdom stand out in your opinion?
We’re still a bit blown away at how good the response has been none of us really expected it. I don’t think there’s a lot of bands out there trying to do what we are doing.
What is the sludge/doom scene in Ireland like? What hidden gems does Ireland have to offer?
Being such a small nation and an Island. The scene is rather small, That’s not too say the ideals are small. It can get reptitive very quickly here. There are few gems we know of. Fuckhammer, Okus and Weedpriest. Just to name three. Some vile stuff happening there.
Are you going to tour for this release?
We would love too gig and tour and we will as much as humanly possible with the hopes that the numbers and tempo will increase in time. We are having our EP launch on the 05th Sep 14, Fibber McGee’s in Dublin Ireland, With a few other shows and surprises happening.
What future plans do you guys have?
As a unit we have many hopes and aspirations. But we gotta keep all that in check and be real. We are loving what we have at the moment and we are enjoying every moment of it. We are currently writing, gigging and hopefully playing in other countries soon. But we just gotta wait and see. There’ll be an album within a year called Raum Kingdom II.
Anything you would like to share?
In the absence of will power the most complete collection of virtues and talents is wholly worthless.
Raum Kingdom’s self titled debut is available through their Bandcamp profile http://raumkingdom.bandcamp.com/releases
This is the second sound of the Underground of 2015, with bands like Inquisitor, Odota, An Autumn For Crippled Children and Baptists. So much good stuff left over from last year.
Inquisitor – Clinamen | Episteme
The Lithuanian scene is a truly hidden gem and the band Inquisitor was recommended to me for listening. The band has been around for 12 years already and makes a dense combination of hard riffing and passionate melodies in what can be perceived as an organic whole. Funky, hectic grooves lace the song ‘Hearken, Memmius!’ that opens their new record. Soaring guitars. That playful weird sound is apparently their schtick, also the semi-clean vocals offer a new persective. ‘Hence The Mouthful of Time’ is full of progressive piano elements and peculiar elements.
Though progressive and embracing avant-garde, there is nothing tame about the groups sound. The album shows much variation, but also sheer brutality and grim atmospheres to the listener. The strenght however, is the detailed extremes the band seems to play with in their music, going from typical black metal to a form of jazz or funk and back again. The sound is always bleak and all you would expect from a band that labels as black metal. The intelligent sound of these guys is definitely worth the attention of the avid metal fan though and I cannot wait to hear more from them.
An Autumn For Crippled Children – try not to love everything you destroy EP
With probably the must fucked-up bandname in a long time of fucked-up bandnames, this group does make an extremely beautiful sort of post-black metal. Soaring film score elements accompany a layered, atmospheric barrage of guitar and sonic effects on the titletrack. There’s a warmth in the sound of this mysterious group from the Netherlands that has no equal. It’s the warmth of embracing a certain fatalism. Fun fact is the reference of the title to previous full lenght ‘Try Not to Destroy Everything You Love’.
The second song is ‘post war’, which has fierce guitar structures that even with their smooth effects sound like typical black metal riffing. The sound is rich and reminds the listener of obvious names like Deafheaven and Liturgy, but with a weird twist of their own. This is a band that has done amazing work this far and is worth recommending to anyone who is into this music, but also those outside of it.
Baptists – Bloodmines
Luckily, there are still good hardcore records coming out now and then and this new one by Vancouver residents Baptists is a true blistering masterpiece of what hardcore should be. A lot of squeeking guitar work and gritty rhythm combinations makes the sound of the Canadians agressive and controlled. Their aesthetic is something with man versus nature, which is displayed in the beautiful cover that expresses a dark perspective on this struggle. That darkness is taken into the sound of songs like ‘Vistas’ and ‘Harm Introduction’.
Grinding guitars and hectic breaks form the base of the raging songs the band keeps chugging out. The furious vocals are spat out at break-neck speed, furious at the world and followed by pounding drums. The sound is coherent and organic though, there is little artfical about this band and I guess that is one of their main charms. Hopefully they cross the ocean soon, so we can admire their live antics as well.
Odota – Fever Marshall
Jarmo Nuutre is a peculiar dude, who does fantastic tattoo’s and used to make mammoth-stomping sludge with Talbot. This is his new project and it is filled with a lot of awesome. Slow creeping sound, filled with strange atmospheric effects accompany the searing guitarwork. Black metal inspired, industrial tinged noise on a slow, doomy pace is what best captures the sound on this first release. The heavy distorted vocals and rest of the sound offer a sound that envelopes the listener. Tracks like ‘Bad Medicine’ stand out due to their dark and frightening atmosphere.
Strangely, a song like ‘Half Eagle’ feels more like a video game soundtrack mixed with an evil EBM song that you have to dance to in the intro. The sound samples Nuutre choses, betray an eclectic sound and a creative mind that is free of boundaries. Closer ‘Rattlesnakes Unfold’ is a tidal wave that keeps pushing you under in a dense rattling, drumming sound, waves of distorted guitar wafting over you, while vocals seem to just scream at the sky. This debut of Odota is an unholy experience of awesome and for those who like a little bit of experiment and doom in their blackened noise metal. Did I capture it there?