Label: Independent Band: Realm of Wolves Origin: Hungary
‘Oblivion’ is the first full-length of this Hungarian trio, Realm of Wolves. Formed in 2018, the band has moved fast in their trajectory to create a debut after a demo and EP. The album comes in at the right point in between black metal and post-rock, so probably not suitable for hardliners.
It takes little effort to connect the band Realm of Wolves to what I should call, by now, my favorite Hungarian metal artist Ferenc Kapiller. You may be familiar with his work in VVilderness and Release The Long Ships. His participation definitely is partly responsible for the meandering, warm vibe of the sound and hallucinatory effect it has on the listener om this excellent post-black metal record. Members Stvannyr and Ghöul also play in BlackHill, SilentIsland, and Ephilexia.
As the melodic tunes open up on ‘Cascadia’, the title already tells us something of what to expect. Acoustic tremolo picking accompanies the swooning sound, which sounds warm and comforting. As we launch into ‘Ignifer’, we launch into something larger than life. The lyrics deal with the natural realm and clearly the Cascadian aspect runs deeper than aesthetics as the sonorous tune runs on. ‘Old Roots’ adds a bit more power to that whole sound, with some stomping rhythm and forceful delivery, but overall the listener can easily flow through this record as it just moves along.
‘Translucent Stones’ offers a beautiful little intermezzo of folkish music, with that melancholic yearning that permeates the music of Realm of Wolves. It’s all melody and storytelling, with here and there some gritty, gnarly vocals, as we hear on ‘Twelve Miles To Live’. All in all, this album is a pretty fantastic one, though there is the risk of just flowing away on the tunes. This is that ambient/post-rocky vibe in their music, which I love very much. An impressive debut for certain.
Band: Guðveiki Label: Fallen Empire Records Origin: USA/Iceland
A lot of stuff that comes out from Iceland is cool, but this band is partly American and that probably puts a little twist to the sound of Guðveiki. I’ve been trying to puzzle together how this group got together for their debut album ‘Vængför’, but I have to guess at that.
One of the few communal factors among the mountain of bands these gents have been involved in is Martröð, as this connects guitar player A.P. and Wormlust’s H.V. on vocals it seems. ChaosMoon then connects drummer J.B. and guitar player S.B., who both played in AccursedMoon. Other names on the resumés include Krieg, Skàphe, Vital Remains and much more. Oh, now I forgot Þ.I.from Endalok on guitar and atmosphere.
But really, nothing can quite prepare you for ‘Fóstureyðing stjarna’. The onslaught of death metal battery, unholy howling and barking are unlike anything. Solid death metal with a tinge of black and that creepy intro, it absolutely crushes! Vocally, you already know to expect utter madness with H.V. as he does with his own project. During ‘Blóðhunang’ it is almost as if his voice curls around the guitar riffs and binds them into a soggy swamp of sonic despair.
‘Hin endalausa’ continues the surge and I can’t really add anything to what I said before. The drum assault takes on a more cavernous and at times even industrial vibe as we progress into the title track. The singing almost feels like Attila Csihar’s ritualistic murmurings in some of his stranger projects. That is even more so the case on ‘Gullveigar sverðsins’, which has these claustrophobic melodies and ever encroaching riffs that make you feel trapped. We finally come to full release on the more traditionally laid out ‘Undan stormi eiturtára’, though that mad shrieking, the coiling sound is still there and, honestly, I’m almost happy to escape this utter madness. What a piece of sonic violence!
It seems that the creation of ‘Shrine of the Ancient Gods’ has been a process of multiple years for the Georgian band Iahsari. The first songs were released back in 2016 and without a labels backing the band steadfastly worked on the creation of their masterpiece. And what a grand piece of work it has become.
‘Shrine of the Ancient Gods’ takes a page out of the books of melodic death metal, folk, operatic metal and what not, to create an epic work of great proportions. Taking a number of musicians, guests and the old stories of their native land, they’ve created a piece of storytelling that can’t be denied. An album that captures, rocks and tells the story.
String instruments set an urgent intro to the record, connecting the vibe to the ancient lands they hail from with flutes and all. There’s a cinematic quality to the music of Iahsari, because after these three minutes you’re deep into the story already when the blaring horns welcome you to ‘Unbowed (Blood of Colchis)’, referring to an ancient Georgian kingdom from Hellenic times. It helps that the track stays in the flow of the intro for a while, before one tasty guitar lick and the synths take up the story. Operatic vocals are the surprising first singing entrance, with traditional drums following in the outro. By this point, I have to state that this record is something special.
As the journey continues with ‘Sirenum Scopuli’ and ‘Shatilis Asulo (Maiden Of Shatili)’an experience follows that most closely resembles the big, operatic performance of Therion on their Gothic Kabballah. Big vocal parts, choirs chanting and guitars that hark back to the traditional heavy metal days of IronMaiden and Saxon. The vocals of Marian Chakvetadze and the male backings do most of that, but the intricate melodies and complex musical structure add a layer of grandeur to that. Moving onwards, we go into more tempered waters with ‘Gelino’ up to ‘The Dream’. The music is simply soothing, the voice angelic and never is it really getting rowdy or more intense.
That greater flow of the record helps in the story, which climaxes with ‘Old Man’s Grief’. A gentle tune, that swells in intensity to operatic proportions and riffs that claw at the sky. The synths really do the atmospheric work here to get one final swing at eternity before it fades away.
Illuntze is a Basque black metal band, densely atmospheric and enriched with folky textures. ‘Antzinako Oihartzunak’ is the second demo by the band, released with a medieval-referring cover, featuring 6 haunting songs.
Sole member Synder is a member of the mysterious Ignis Fatuus Collective, which connects Illuntze to bands like Sepulchral, Arvalastra and Aehrebelsethe. Synder is currently staying in Vilnius, Lithuania. One of my favorite places in the world.
Iluntze immediately grabs the imagination on ‘Itziarren Semea’, with the odd folky texture, that at times, musically, resembles the work Peste Noire delivered in recent times. The traditional sounds and ramshackle black metal combine into a peculiar, migratory experience to the Basque origins int he music. Listen to the passionate intro of ‘Suaren Garrasia’ for example, to hear something very different than the rustic, static Scandinavian sound.
The jangling sound is unnerving and rather peculiar but also carries a power. The songs like ‘Goiztiri’ hit hard with that high-pitched tremolo riffing and edgy delivery. Razor-sharp to the point of painful. From the lo-fi quality to the ragged riffs, the whole record sticks to you with its mysterious uniqueness, much like the language used for the lyrics that simply eludes me at any turn. A great second outlet by Iluntze and I can’t wait for a full-length!
Label: Self-released Band: Himelvaruwe Origin: The Netherlands
Himelvaruwe is a Dutch band that has been around, releasing surprising material, over the past few years. ‘Hemelpoort’ follows in the wake of numerous EP’s and demo’s, shaping the sound to this piece of work, that captures what the project is all about.
The mastermind of the band is Tjalling Jansen, who under various monikers releases music as AncientMorass, Kaffaljidhma, Mirre, Olxane and, thus, as Himelvaruwe. It’s a particular project with a distinctly noisy/ambient sound, setting it apart. As the title translates as a gate of heaven, the keys depicted on the cover are a quite obvious reference.
Droning, doomy church bells open up the record with ‘Aanvang’. The sound captures some horrendous, abysmal voice, but never quite clarifies its reality as we roll into ‘Morgenster’. Crushing static is crackling in the speakers as a slow, mournful dirge unfolds. In a strange way, the sound distorts and muddles so much that the origin is impossible to determine and an aura of sheer mysticism is evoked.
By the point of ‘Onderwerping’, you’ve entered a state of mind, that is completely immersed in the music. The crackle of distortion and slow melodies become a warm bath. You submerge in a cloudy realm, very different to the one we normally inhabit. Ethereal chanting emerges from that fog, as the rhythm continues like a demented train with metallic clanging and hammering. It is there, you reached the ‘Hemelpoort’ as the album slowly falls apart into an exit tune after this long ascend.
Himelvaruwe does something exceptional on this album, both with the sound and the whole of the listening experience. I recommend putting it on, turning it up and submerging in it.
Label: Metal Blade Band; Downfall of Gaia Origin: Germany
Rarely does a band blow you away so much as Downfall of Gaia does. The Germans have just released ‘Ethic of Radical Finitude’ and its a towering piece of powerful black metal. Atmospheric doesn’t do it justice, because this record rocks with accessible, grand guitar play and convincing showmanship throughout its 6 songs.
As a band, this is their fifth full length since their inception in 2008. Though the base structure is very much lying on the foundation of black metal of the atmospheric type, the band leans outward to the post-metal and crust scene in their stylistic wanderings. In that sense, they’ll probably never really leave their roots behind. The result is a colorful piece of extreme metal, full of consciousness and meaning.
Lyrically, it’s abundantly clear that Downfall of Gaia focuses on more abstract and complex topics. It explains their wordy titles I suppose. The looming darkness descends as we start with the intro ‘Seduced by…’, setting the scene. But then the veil is lifted on ‘The Grotesque Illusion of Being’, with ascending black metal, that ever pulls you up higher onto your toes. The crusted, grimy vocals really add to the feeling of unworthy beckoning of the heavens, as crisp clear sound contrasts heavily with that hoarse bark. But the track to really fall in love with is ‘We Pursue The Serpent of Time’, with that tribal drumming intro, that just keeps going as the song slowly builds up. It turns violent and the guitars move faster all the time, but always it follows a wavering pattern, like that of mountain peaks in its brilliance.
‘Guiding Through A Starless Night’ is a whole different beast. Unleashing a torrent of tremolo guitars, it just rages on and on, till al lull in the sound comes on. Spoken word passages follow with dark, melancholic words. Spoken by a woman in clear tones, with a slight tremble. But it also has these uplifting waves, those sonic enhancers of your mood and state of mind. But there’s also definitely a romantic side to Downfall of Gaia. ‘As our Bones Break to the Dance’ captures that in lyrics, but also in its melancholic vibe. yet this is one hell of a track for the rhythm section, as the blast beats just reign supreme here with a pounding, pavement cracking intensity. Hell yeah! It even falls into some horrendous barking and shouting, like barren, blazing black metal for a bit there. Good stuff!
By the time you get to ‘Of Withering Violet Leaves’, you’ve been beaten up enough. You’d think, right? Sonorous singing and wavering guitar work, an ocean of sound to dwell in, to float away in as the music is gentle and swooping, slowly fading out. A beautiful record for sure.
Armenia is mostly known for things like the Kardashians and Dan Bilzerian. Yet it has a long and rich history to explore. Unfortunately, this is hardly known but if it’s up to bands like Ildaruni, that is about to change.
Situated near the cradle of civilization, at the crossroads of east and west, Armenia has a wealth of stories to tell. Bonding their talents into a force to be reckoned with, Ildaruni is here to illuminate the world.
I got in touch with Robert Melksetyan, Garbis Vizoian and Arthur Poghosyan II about their band, the history, and myths of Armenia, and playing black metal.
Ildaruni: into the depths of time
Can you tell me about Ildaruni and how you guys got together?
Robert: I have always wanted to have a band oriented towards a mix of both black and pagan music since I have always felt closest to these two genres. I had come to know that Arthur (drummer) and Garbis (bassist) were also interested in said genres; I also knew that Arthur had played before in some folk bands. We met and decided to form the foundation of our band. By that point, I had already known Arthur in person, but we have never had any experience playing together in a band.
Garbis: I met Robert back in early 2016 through a mutual friend of ours when I heard that he was looking for a whistle player for this very same project. We first met on that basis, but when upon discussing the nature of the band in more detail, we figured it was much more fitting if I joined in as a bass player and writer. At the time, I was searching for a band with folk and mythological influences in order to utilize and further develop my writing skills. Robert’s timing of this project was simply too good not to join in since the project thematically complemented my writing direction at the time. As such, I took the project as an opportunity to delve deeper into the more forgotten aspects of our ancient pagan culture, such as some of the lesser-known ritualistic and mystical sides of our culture, while also unearthing some of the very specific but generally forgotten events from our history. All the while, helping Robert lyrically and to some extent also compositionally, produce and play the songs that we have written so far.
Alright, so you did play in previous bands? Can you tell me which these were and what you played?
Arthur: I used to play in a couple of other bands before Ildaruni. It was ArborMortis(black metal project) and Araspel(folk/heavy metal). I also have another active band called The Windrose. There we play just pure Armenian and Celtic folk music
Can you tell me something more about the name of the band and what sort of music you make? What bands inspired you to go in this direction?
Garbis: Regarding the name of the band. Ildaruni is the ancient pagan name of the second largest river that flows through Armenia, currently known as Hrazdan River. As to why we chose Ildaruni as the band’s name, well more so than anything, it is a veneration of life and legacy. Hrazdan River or Ildaruni, has been flowing through our highlands since time immemorial. It has provided life to our people for millennia ever since civilization existed in these lands and as such, we wanted to extend our gratitude and potentially bestow Ildaruni the glorification it deserves. Also, one of the few ancient inscriptions that survived to this day, is a chronicling of the massive efforts spent by king Rusa II of the Van Kingdom (the time period our first length album is based on) in building canals along the Ildaruni River and all the perks that the river has bestowed upon his people. Taking into consideration the thematic focus of our songs around the Van Kingdom, it is only fitting that the name of our band is one of the most venerated and blessed sources of life during those pagan times. I guess Robert can talk more regarding the sort of music we make, since he composes the music.
Robert: In the genre that we play, the inspiration to compose has primarily been from bands like Enslaved, Rotting Christ, Nokturnal Mortum, Dissection and Drudkh. Those are all bands that were able to carve new paths and steer black metal in an unprecedented direction. Musically, they were able to reach new heights and retain compositional prominence. The compositions of said bands are so rich, both as a result of their unique atmosphere and their functionality as compositions, that I can listen to them constantly and still discover new aspects and details within their songs. I’m awestruck every time I think about the way these bands have created masterpieces so frequently and within such short amounts of time, that have such high values for the overall metal world.
Regarding the sort of music that we play, we generally compose within the Black metal genre, but naturally, just as with any metal band, we occasionally make use of compositional structure from other genres as well. For example, in our music you may notice the occasional influence from Thrash metal, just as in any other Black metal band. The core of our music also has folk music as one of our main influencers. The composing process of which has proved very difficult and lengthy endeavor, since it requires a lot of concentration and maximum attention to the composition at hand. But overall, the genre that we compose in when putting the music and lyrics together, could be classified as Pagan Black, which in reality is a much better genre than most people come to realize.
You mentioned that the inspiration for your pagan metal is the very much forgotten ancient pagan past of the Armenian highlands and the myths. As most people are probably unaware of those, would it be possible to tell more about this time and history? And how do you work them into your music?
Robert: Our paganism had a massive, undeniable presence within the daily lives of our ancient ancestors. Needless to say, as is the case in the ancient chronicles of most countries, Christianity took over with violence, killing en masse, the oppression of pagans. Setting aflame all the knowledge, temples, artifacts and every scroll, book and manuscript regarding our pagan past, which could have helped us massively to study and reveal more about our mythos and ancestors. Armenian paganism had a large number of gods and goddesses. It shares many similarities with the ancient Greek pantheon of gods, in terms of how deep and rich it goes.
Through the texts that we write, we touch on various periods of pagan Armenia. On subjects that revolve around not just historical events but also some of the hidden pagan cults who functioned during those times. Our songs mostly echo Van Kingdom’s struggles against the Assyrian Empire, retellings of warfare and also some unsung victories and struggles of certain kings. It is possible to find a lot of information through our songs, regarding some cults and certain hubs of pagan worship, which demands a lot of research, source gathering and textual refining to write about.
Garbis: Regarding how we incorporate the myths and history into our songs; it has all become quite systematic now to be honest, i.e. taking the concept from point A to point Z, regardless though, the process itself is where the art lies. It usually starts with a single event, concept, geographical location, a historical character, a pagan ritual that would pop up in our conversations. Usually, things that are quite vague and unheard of, quite the revelations even for us. Then comes the long and arduous section of research and source-hunting. Considering the unknown nature of these specific events and concepts, this step is usually one of the longer ones in terms of how long it takes to achieve, albeit one of and if not the most important step.
Afterwards, it goes either two ways, usually I take on the historical subjects, i.e. specific historical events or characters, study whatever sources we have gathered and by that point, I would already have the music composed and prepared by Robert. I repeatedly listen to the very early versions of whatever composition we are working on, while I write down the lyrics as I gather all the events and sources into a compositional retelling of sorts of said events. In a way that all the sources and facts connect and make sense. For the concepts and subjects that have to do specifically with the paganism and spiritual aspects of our culture, Robert lays down the overall groundwork after a thorough study and research of the subjects at hand then passes them down to me. I proceed by translating and writing them down in a lyrical format in order to keep a persistent lingual theme in between the rest of our compositions. Finally, it’s only a matter of working together in finalizing the editing in order to have the final lyrics fit the vocal range of our vocalist, alongside any necessary changes in order to have our lyrics and music complement each other, to best represent the specific concepts or events that we’re aiming to bring forward into public eye.
Am I correct in assuming you are talking about the kingdom now called Urartu? What time period are you talking about more precisely and can you maybe share a brief explanation about the pagan tradition, what its believes where and myths? What do these traditions mean to you and why did you chose to go this direction? Is it simply storytelling, identity or a source of pride?
Robert: Yes, that is correct. Urartu goes by different names; most historians call it Araratian or Van Kingdom. If you also check out some of the old Behistun inscriptions, you’ll notice that different nations at the time also called Urartu various other names. In our lyrics you can read specific events that occurred throughout different periods of the Van Kingdom, it’s derived from the entire historical timeline of Van Kingdom’s rule. There is no singular specific year or date that the demo album or the subsequent, potential full-length is based on but rather various specific events, dotted throughout the entirety of Van Kingdom’s history. Also, as mentioned before the lyrics don’t revolve solely around historical events but also conceptual ideas and representations of ancient pagan cults and rituals.
If I were to single out a single one, I find the myth regarding “Mher’s Door” or “Raven’s Rock” as it’s called, very attractive and interesting. It’s a sacred cave near the fortress of Van, where according to myth Little Mher, the final hero in the epos of “Daredevils of Sassoun”. He shut himself inside the cave as a furious retaliation against the world’s injustices. According to the sagas, Mher comes out of the cave atop his horse, traverses the earth but convinced that the earth could not possibly handle his weight and seeing the still prevailing injustices, he returns to Raven’s Rock. It is prophesized that one-day Mher will ride out one last time; to punish the enemies of his people and establish the justice he has long desired, thus will beckon the Day of Wrath. Speaking of Raven’s Rock, the artwork of our demo album, done by our own guitarist Mark Erskine, is a depiction of the legendary “Mher’s Door”.
Thank you, I would like to ask you then, as said above, what these traditions mean to you and why did you chose to go this direction? Is it simply storytelling, identity or a source of pride? In other words, I’m interested in your personal relation to this topic. Maybe to elaborate even further on this, very often any sort of ancestral themes or historic topics can be regarded as political. Perhaps that is something you’d like to respond to?
Robert: Our pagan history and traditions are a source of pride for us. Armenian’s rich ancient past tells of such glorious stories of our ancestral heritage, rich myths and important historical events that impacted greatly on the foundation of our country and defined Armenia and its people as we are today.
We do not consider our lyrics to be politically motivated and they have no reference to modern day or historical political events.
We want to showcase all aspects of ancient Armenia, especially the hidden and lesser-known aspects of our history to our Armenian audience as well as to people in other countries.
We have an interest in the Van Kingdom period which is often forgotten about as there is little information on the era. Writing and playing about our ancestors’ pagan beliefs, traditions, mythology and history is another way of preserving it and we aim to keep the period alive by mixing our ancestral roots with Black metal.
Garbis: I would say it’s all three in conjunction with one another, our identity is our source of pride and what better way to retain our identity and pride than with a little bit of good storytelling. We have taken this direction because there is a dire need of preservation, regarding these topics; especially the specific events that are generally overlooked and aren’t covered in your average school history book. In an increasingly digital world, historical texts are more and more left on the wayside. If our songs manage to instill interest and drives as many as a handful of people to conduct further research in extension to what our lyrics pertains, then I’d personally consider our project a success. Naturally, our ambitious scope is much larger than that.
No, I would consider our output to be completely apolitical. Certainly in this day and age, the political nature of any subject at hand has become a personal matter. Any subject may be wrapped with a political mantle, if the consumer of said subject wishes it to be so. Having said that, as artists we wouldn’t want that fact to hinder us from producing and achieving the primary objectives of our work, which is to unearth and preserve the lesser known parts of our rich and very ancient history. As such, as composers we steer away from tailoring our work to per consumer’s political standing or beliefs, just as well, we do not let our own personal beliefs or political ideologies tarnish the primary objective of presenting our history as accurately as possible.
I would like to continue to your music. Do you use any of the historic or traditional music or instruments in Ildaruni? And if so, what are these? If not, are you intending to do so?
Robert: I compose the majority of our music and we collectively add or remove certain parts of the composition during our rehearsal sessions. In our songs we use whistle and dap, which is a type of traditional Armenian drum. The whistle gives an eerie tone to the music to create an atmospheric ambience to our songs. In future recordings we are going to use a type of Armenian bagpipe called a parkapzuk, which differentiates from other instruments with its uniquely attractive sound. The sound transports you back to ancient life in the Armenian highlands.
Before writing the folk elements of our songs we invest time researching the traditional sound, trying to find ancient melodies to help us reconstruct the historical Armenian sound and to replicate the sound of the instruments we use in as close a way as possible to the music played by our ancestors. When it comes to the creative process of composing the music, we make the sound our own while using the influence of Armenian folk music.
Alright, so what can you tell me about the debut release ‘Towards Subterranean Realms’?
Robert: Towards subterranean realms had been set for release at an earlier date but due to some band issues, like a change of line-up, the release date had to be moved forward.
Our demo is a small taste of what to expect in our full-length album, we already have some great material written.
As we mentioned, the general goal of our music is to present lesser-known excerpts from ancient Armenian paganism and mythology, which are often overlooked or forgotten.
We have had a positive response following the release of our demo which makes us progress to reach new goals.
I wonder how your music, with its themes, is received in your country. Do you face any detractors like bands in Western Europe would have (often accused of nationalism or worse)?
Also how are those sentiments, since I learned that many Armenians live across borders (from my contact with the band Avarayr)?
Robert:Our music was met with positive feedback in both Armenia and abroad. Before we formed Ildaruni, there were other Armenian bands that played pagan black metal, so this genre was already known about and popular in the Armenian metal scene.
We haven’t received any problems as a result of our music. We try to deviate from politics or any kind of movements. Instead, our musical themes revolve around our culture, our pagan history, our ancestor’s beliefs, mythology and the historical representation of some aspects of pagan occultism.
Would you say that metal music is freely played? Or is there still a form of it being frowned upon. For example, metal has always clashed with religion.
Robert: Playing metal or presenting it to our audience etc. doesn’t cause any problems per say; but the scene in general is still considered deep underground. In Armenia, it is still I in the early stages of development. There are some good bands around who really deserve to receive some exposure abroad but there’s no real development or investment in the scene nor the existence of a big metal scene. I would say the reasons for all of that is, there is in general very little interest in metal from the general public and the overall belated introduction of the genre as a whole in the country. We don’t have any problems preparing and organizing concerts but the problem comes from the lack of valid places, venues or organizers in generals. Those are the core issues that present the real difficulties and barriers rather than any societal conflicts.
Alright, so I want to ask you also about the Armenian people abroad, as I mentioned before the interview I did with Avarayr. Does this impact the scene in any way, is it because of that more international (due to the cross-boundary population) or do you think it generally creates an open-mindedness?
Robert: Many Armenians living abroad bring the musical taste and influence of the metal scenes from other countries back to Armenia with them. Some of the bands living abroad making the most impact on the metal scene are Ambehr, Hexen, Highland and Avarayr.
Many people from diaspora returned to Armenia in the past 10 years and they bring new ideas and changes to multiple areas of our country including the music scene. It’s great to see new life and direction being brought into our country.
Armenians from the diaspora are helping to shape and develop the metal scene in Armenia by participating in concerts and adding a new taste and quality to their music. In general, the Armenian people in the metal scene are open-minded and we hope that the metal scene can progress by the organization of more gigs and influencing younger generations to take an interest in the scene.
So, tell me about the scene in Armenia. How did metal come to your country and which bands are the progenitors? What’s happening now and where is the scene happening? In the capital or are there local scenes worth mentioning?
Robert: The popularity of metal in Armenia has been fluctuating over the last 20 years or so. Some members of the local metal scene put in effort to develop metal bars and gigs but usually for little or no financial gain so there are also periods of stagnation in the scene.
During the Soviet Union, in the middle and late 80s, there were bands that impacted on the development of the metal scene and were known for their quality music. Two bands worthy of noting are Ayas and Asparez.
After the collapse of the Soviet Union, the people had more freedom and many started listening to metal and formed bands. Today, conditions have changed immensely compared with the past. Organising metal nights used to be a long and frustrating process but now many bands have clubs where they can host self-organized gigs and have studios where they can rehearse to improve their musical skills. Many bands were formed by our diaspora abroad which also impacted on the Armenian metal scene.
We have bands which are having regular gigs and it’s a good thing to see in Armenia. Unfortunately, there is no major interest in metal in Armenia compared to the scene in the US or Europe and that is the main reason why we don’t have so many bands, there is no demand or interest. I hope that over time this problem will be solved. Almost all metal events are happening in Yerevan because most metal bands and fans are centralized in the capital.
What future plans do you have for the band?
Garbis: Regarding the future plans of the band, we are hard at work to fulfill our most immediate plans for the time being, but we always have a one eye open towards the bigger picture in the future. Since we pretty much have all the material written and rehearsed for our first full-length album release (barring some minor additions and changes here and there), we are trying to figure out the best approach regarding the production of our album that would best represent the true vision that we have for the release.
Having said that, our plans further into the future is definitely to expand the range of our live performances. It is always a great pleasure and a collective challenge to provide an energetic and memorable live performance to our local audience. But we are definitely aiming at playing more shows throughout the year, so in order to do that we are hoping to take our performances to the neighboring country of Georgia to start with and then expanding into greater horizons, playing in some well-regarded pagan festivals. All in due time as we take one step after another.
Robert: There are some distinctive metal bands that have stood out in the past and present metal scene in Armenia, each with a unique sound and approach to their music.
I recommend that people check out atmospheric black metal band, Sworn. Unfortunately, they split up some years ago but they made a big impact on the local metal scene. For fans of raw blackened death metal, I recommend they check out Merial, their music is both aggressive and catchy. Lovers of folk or pagan metal should listen to Araspell or Vahagn, both are a mix of Armenian folk with heavy and unique riffs.
If you had to compare your band to a dish, what would it be and why?
Robert: Many different dishes come to mind considering the richness and uniqueness of Armenian cuisine, but if I had to choose, I would say traditional Armenian barbeque. Our music is like a well cooked meat with hidden spices and flavours which represent the folk elements in our music.
Thanks for the interview.
WitteWieven refers to ghostly apparitions of wise women, their lamenting ghosts. They are incorporeal, but overwhelming when in presence and so is the music from Sarban and C. on this split. The duo has released one EP before, but ‘Vlucht’ is the first majorly grasped release by the band and it is a truly strong debut.
‘Met beide benen in het niets’ is a good match with the cover, of a classical attempt at flight. The music is silky, tender at times, in particular when the vocals of C. are clean and in harmony with the tremolo riffing. Densely atmospheric, as falling into a warm bath, the music just flows on beautifully. Never rushing, never forceful, but always sounding natural and pleasant even at its most harsh and violent.
Not to be confused with a different band named Reiziger, this band hails from the Netherlands and its name translates as ‘traveler’. It’s a project by N. from Laster and a much more liberal, freespun project, though also rather unknown till this point. Hopefully, the split changes this, because the contribution on this record is excellent in my humble opinion.
Though the fundament of drums is heavy and dense, the melodies are free-soaring and tender. There is a sense of sophistication int he music. Yet, it also sounds cavernous and dark, shy of light and air. Never really bombastic, though there are some signs of grandeur in the underground realm. The nothingness here is bottomless and deep, cold and unforgiving, but even more so uncaring. Abyssal howls chase you through the darkness on a song that does not relent.
Label: Ván Records Band: Slidhr Origin: Ireland/Iceland
Slidhr is on the rise and in its second incarnation it releases a destroyer of an album, titled ‘The Futile Fires of Man’. The band was founded by Joseph Deegan in Ireland but has come to fruition now through the land of fire and ice, where joined by fellow musicians, Slidhr is finding the form of the beast.
Though Deegan still resides in Ireland, his cooperation with Bjarni Einarsson (Wormlust) and Garðar S. Jónsson, both active in Sinmara and Almyrkvi, the sound has become a complete expression. Mixing some death influences with the black gives the sound a meaty, heavy effect. The glossy cover of the vinyl also catches the attention and quite frankly, it’s a great record.
So when we kick off with the title track, it instantly gets heated with high-pace drumming and rolling, rough sound of drum battery and ferocious vocals. It just barrels onward as well, never stopping, never a little lull or intermission, but furious black metal with commanding vocals that never tire. But that is probably what makes Slidhr so good to me, it’s a continuous flow in the most classical sense of black metal. I mean, listen to an old one by Emperor, Mayhem or Watain and that’s what you’ll get. In your face, unrelenting, but a bit more groove and fat on the bones, like Secrets of the Moon or even Mgła.
‘To Celestial Depths’ has these big, lurching guitar riffs, that seem to drag at your very soul. When you really listen to the sweeping tempest that follows, you can sense the rise and fall of the riffing, as it seems to build up to a mighty crescendo. But then the sea calms and sinks back, but there’s never a moment of ease in Slidhr’s music. It can be a boiling, explosive madness at times, like the fury-driven war drums of ‘Rise to the Dying’, with that harrowing intermezzo that only fans the flames further.
‘Through the Mouth of the Beast’ brings the whole run to a close with majestic grandeur and a sincere sense of falling deep into the abbyss. The music is slick, effective, yet also filled with brimming intensity and malice. A mighty finish to an album that’s hard to nail down, but easy to succumb to.
Label: Apocalyptic Witchcraft Band: The Antichrist Imperium Origin: United Kingdom
Here they are again, the all-star prog black metallers from The Antichrist Imperium, who made waves with their saucy album cover on the self-titled 2015 debut. With ‘Volume II: Every Tongue Shall Praise Satan’, they return to strength and deliver a brimming ball of dark, extreme metal to the forefront that will probably rock many socks of and so forth, because yes… it’s as good as you’d hope.
Featuring members who play or have played in entities like Akercocke, My Dying Bride, TheBerzerker, Voices and much, much more, you know that there’s some talent in there. It would appear this is also the whole pile of influences that shape the sound of this project, which really feels hard to pin down with anything but the word extreme. So, let’s get into it then.
Opening with thick, punching drums that reek of death metal, the band also picks up a melodic grandeur you’ll find in the more epic melo-death and black metal bands. Ominous intermezzo’s fall in the gaps, before guttural barks unleash again on the listener. From ‘The Dreadfull Hosanna’ onwards, the band never shies away from pure, unadulterated force and complexity with guitars that cut like knives and flutter like butterflies… with wings made out of … knives? I mean, it’s proggy, yet brutal.
On ‘Liturgy of the Iconoclast / Blood Sacrifice’ we actually go in all directions. From dramatic prog passages to bludgeoning death metal destruction, with vigorous riffing. The cool, smooth complex parts show an aptitude for the bigger narrative, to really paint images with the music, which the band does very well. The playful use of the vocals is definitely also an added quality of Sam Bean and Sam Loyens, who bounce of each other like two voice actors at times.