The Nurturing Soil – An Interview With Beorn’s Hall

There’s a lot to be said for the old adage “Don’t judge a book by its cover”, and the same holds true for an album. When you first lay eyes on ‘Estuary’, the second full-length offering from US folk black metal warriors Beorn’s Hall, you may be forgiven for initially and inadvertedly being a little over-presumptuous: With the glorious painted cover art and weapons-laden logo vaguely reminiscent of Caladan Brood plus a Tolkien inspired project name to boot, thinking you were going to be in for a typically grandiose and bombastic slab of epic black metal is not an entirely outlandish conclusion to have arrived at.

Until, that is, you push play and the duo of Vulcan and Rognvaldr draw you into their richly textured world. Friends for life but formed as Beorn’s Hall in 2016 to create music inspired by their home of New Hampshire, the pair do paint with an “epic” base but utilise a palette and techniques that encompass much more. Irresistible shades of Bathory and stirring traditional metal/rock strains are prevalent throughout a great album that you’ll increasingly find packed with enjoyable surprises, and that’s also one of its major strengths: it is a great album. Each track serves as another unique step on the journey, a veritable cornucopia of styles and tones all tied together with consummate skill as a coherent whole, a melting pot of everything from Candlemass worship to the introspective Americana of ‘I Know You, Rider’.

Eschewing an overly polished production for a more authentic sound, there’s a raw, immediate life to proceedings. This thing sounds amazing, visceral yet austere all at once. The sound distorts at times but that only makes it better and comes across as the offspring of your favourite ’70s recordings and the kvltest of delicious lo-fi ’90s black and death atmospheres. I couldn’t get enough of it, so when the opportunity arose to ask a few questions of the gentlemen behind it all I had no real option but to jump at the chance.

Releasing this very day through the excellent Fólkvangr Records and Naturmacht Productions, there are no gilded thrones or fantastic beasts to be found here. This is real pagan life: spirit and survival, revelry and battle, blood and soil. So, check out the official clip for the title track ‘Estuary’, filmed in the misty marshes of New Hampshire and hands down my favourite track on the album with its irrepressible earworm riff and incredible energy; then read on as we speak to Vulcan and Rognvaldr about all things Beorn’s Hall. Hails.


Greetings Vulcan and Rognvaldr, sincerest thanks for speaking with us! I hope you are both well. Your excellent second album ‘Estuary’ is coming soon through Naturmacht Productions and Fólkvangr Records. Are you happy with it overall, and in your words, what can people expect to hear from it?

VULCAN: Hello! Thanks for taking the time to interview us. We are very happy with this album, we feel it’s an improvement from ‘Mountain Hymns’ in every way.

ROGNVALDR: We went for a bit of a different production as you can tell. On ‘Mountain Hymns’ we did things very naturally, the drums and rhythm guitar were recorded live and we used a totally flat EQ on the whole album. I’m very pleased with how things came out this time. I was listening to a lot of
viking-era Bathory while writing the riffs, so people can expect a bigger more epic sound. We just wanted to create something more dynamic.

The album is heavily inspired by where you hail from: “The True Vinland” (the area of coastal North America explored by Norse Vikings), New Hampshire. For those of us who have never had the pleasure of visiting, what is it like over there and why is it such a source of inspiration to you?

V: I’ve always loved living in New Hampshire. We grew up in an area where the mountains and the ocean are about an hour drive from one another so it’s easy to find so much inspiration for this style of music, it is pretty natural.

R: Cheap booze and smokes, low taxes. What’s not to love?

The project was only formed in 2016, relatively recently considering you have your second full-length ready to go. How did you guys first meet and why did you decide to start Beorn’s Hall?

R: We actually met at age 3 in play school. We started playing death metal and grindcore together in 2003 but always talked about starting a black metal band. We both became very busy musically after high school so it wasn’t in the cards until 2016.

The album is gloriously adorned with a stunning Albert Bierstadt painting, whereas I believe the debut album’s cover art was painted by one of you. Both covers are spectacular, but why the decision to go with this particular piece of art this time?

V: That particular piece is something we discussed using as an album cover for years and we felt like we created something that would be fitting for it.

R: This painting just rules all around! It is just too awesome not to use. It is true I do oil paintings of this nature as well and painted the ‘Hymns’ cover. However, I am nowhere near this level. Maybe in a few more years I will be. It’s pretty funny that a lot of people think these paintings take eons to create but they only take a little less than an hour. If you watch Bill Alexander paint, he does the whole thing in about half an hour.

I love the sound overall, but especially the absolutely killer drums. Apparently you use a rather special kit, can you tell us a little about that? Were any other noteworthy instruments or recording techniques used on the album?

V: Yes! I have a 1970’s chrome over wood Slingerland kit that we used on this album. Nothing records quite like it. We figured an old school drum set should be used to record something so heavily influenced by the old school.

R: The bass was run clean which we believe sits better in the mix for the style. The guitar rhythms were dual tracked with a 57 offset on the speaker cone and a condenser about 6ft away at ear level for the atmosphere. The D’Angelico 12 string was run direct in with condenser off the sound hole. Keys were done on an early 90s shit Casio that runs on D batteries. Actually the same set of batteries from ‘Mountain Hymns’ last year haha.

Like your debut album ‘Mountain Hymns’, the whole thing could have been created in and ripped straight from the ’90s. Where was the album produced, did you guys take care of it all yourselves?

R: The album was recorded here at our studio “The Hall”. Vulcan and I have been in the recording game for 15 years now. Ever since we started making music together we have shared the same mindset which is, “Why pay someone else? We can do a great job by ourselves.” We know exactly what it should sound like. It would be a huge pain in the ass and waste of time to have someone else try to do it. We’ve spent the past 2 years building The Hall into a professional recording space. We’ve actually recorded a bunch of other bands too and offer our services to anyone. Just no shitty deathcore.

What was the writing process like this time around? Do you find each other easy to work with?

R: We’ve known each other for a long time and get along like brothers. 99% of the time we get along great and once in a while we want to strangle each other, just a little bit haha. Musically speaking, we are both on the same page and we both have the same idea for Beorn’s Hall. There is actually little communication about the music, Vulcan just knows what kind of drums would work over the riffs. Sometimes Vulcan will tell me “Get drunker, you need to channel your inner Fenriz for this vocal!” So I will. Sometimes I tell him “play this part a bit slower, like an evil Phil Rudd” and he will.

V: Typically we start with a base song that Rognvaldr has crafted,we’ll demo out the guitars and drums and then just go from there. Years of playing together has made for an extremely streamlined and easy writing process.

This will be your second release on Naturmacht Productions, and the first where Fólkvangr Records is involved. What are your thoughts on both labels, are you happy with the support?

V: Both labels have been absolute pleasures to work with. We owe a great deal of gratitude to Robert from Naturmacht as he was and still is a crucial element for this band and its beginnings. Folkvangr is great as well, I’m blown away by what Mark has accomplished in just a year. Needless to say we plan on sticking with these guys for the foreseeable future.

R: Robert from Naturmacht is the coolest guy. We seem to understand each other very well! He does an amazing job with the label and will even help us with designs when we become frustrated with things like artwork and layouts. Folkvanger has treated us very well too! Mark seems like a super cool guy and someone we would hang out and spin records with. It’s really nice to have someone who is committed to releasing cassettes only. I love cassettes and am looking forward to holding a copy of Estuary!

Listening through the myriad of different styles on the album, you guys clearly don’t listen to just black metal. Which audial delights have tickled your eardrums of late, and was there anything in particular that influenced you during the writing of ‘Estuary’?

R: Well metal music did come from hard rock so it’s only natural for us to pick up things from bands like Deep Purple, Rainbow, maybe even some NWOBHM and early speed metal. I like a lot of Allman Brothers and Dead too, so sometimes those mixolydian and major key modes come out which isn’t a bad thing. However, it must be done correctly or else you get this really weak Disneyland sounding black metal which I can’t get into. I think we achieved a really unique jam style segment on the end of “Dark Wood-Black Marsh”; it’s powerful yet a bit uplifting thanks to some Mixo modes. Hail Tony Iommi, Hail Dickey Betts!

V: Between the two us we have a large range of stuff we listen to but we tend to be a bit selective as to what to draw from for Beorn’s Hall. I feel when a band tries to represent every influence of every member it tends to become unfocused. We take our ‘extra’ influences from neo-folk, traditional metal, 70’s hard/progressive rock and blues.

The title track is such a stormer I almost threw myself out of the car when I heard it for the first time. From the incredibly physical riff that grips you full force, to the switch up into blistering black metal and that perfectly timed sword unsheathing… Magic. During the creative process, did you feel that magic and think “we’re on to something here”?

V: Thanks for the kind words. It’s my personal favorite song on the album. When I first heard Rognvaldr play that main riff I knew it was a choice slab of Candlemass-y goodness (we both fucking love Candlemass).

R: I am glad you like this song but please do not throw yourself from a moving vehicle! We would prefer you throw an enemy from the vehicle instead. Anyway, that main riff is a tribute to all my favorite riffs. Think of the riffs from Autopsy – Torn from the Womb, Candlemass – Well of Souls, Isengard – Naglfar etc… I thought “Beorn needs a riff like these” These are the best types of riffs, mid-paced fist bangers that are evil as hell. The end of the song is inspired by bands like Blasphemy or Swallowed from Finland, maybe some old Beherit and things like that.

The final album track ‘Roads Go On Forever’ begins perfectly with a recitation of a great poem by Robert Frost, “The Road Not Taken“. An interesting inclusion, are either of you big poetry buffs?

R: We just thought it was cool as Robert Frost is a New Hampshire native. His poetry is incredible and heavily inspired by New Hampshire so it works perfectly.

V: It was kind of a last minute idea that worked very well.

Over the years, themes of history and heritage have been a great wellspring of inspiration for Black Metal. What are your thoughts on why they suit the style so well?

V: Black Metal has always evoked a certain old and dreary feeling to me as with many other lovers of the genre. History itself is for the most part very dark and depressing, so the two just go hand in hand.

I’ve seen you use the NHBM tag: New Hampshire Black Metal. What is the black metal scene like in New Hampshire? Any other great NHBM bands we should pay attention to?

R: The NHBM scene is great and the reason we use this label is because we are all friends that support each others bands and projects. The scene is strong and we have so many great bands. Its a small state with a lot of talented people. Here’s some bands we recommend from our great state: Malacath, Ancestral Shadows, Hraesvelgr, Northern. Actually Northern just wrapped up their new recording with us at The Hall Studios. “Desolate Ways to Ultima Thule” is set for release by Moribund Records sometime in March!

V: Kind of off topic but there are also some great death metal bands around here as well such as: Solium Fatalis, Excrecor, Angel Morgue and more!

Have you ever played any live shows with this project, and if not, is it something you’d ever be interested in?

R: We get asked this a lot. Sorry, Beorn’s Hall will never play live unless we get $10,000 haha.

V: And a trip to Europe! 🙂

And finally: What does the future hold for Beorn’s Hall? Have you started writing for the third album yet?

V: We plan on releasing one full album a year and to do some splits and other small releases in between those as well.

R: The future holds one solid pagan BM release per year. We have a blast doing Beorn’s Hall! As far as writing goes, I am always writing. I am always inspired and I am glad to have a drummer and vocalist who works as efficiently as I do. People think I am rushing but I’m not. I just like to work fast.

Thanks again for your time! Looking forward to the full release. Anything else you’d like to add?

R and V: Thanks for the interview! Cheers!


Purchase ‘Estuary’ on CD and vinyl from Naturmacht Productions here, and on cassette from Fólkvangr Records here.

Support Beorn’s Hall:


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The Sacred and the Profane – An Interview With Graveir

Graveir‘s black star is on the rise. Fresh off the back of contributing to one of the greatest splits of 2017, the Australian horde of Gloom, Alone, Emaciated, XI and Pandora have announced a new EP about to seep out and spread its insidious influence across the earth: the mighty ‘Cenotaph’.

It’s available for pre-order as we speak and I’ll be taking a more in-depth look into its wretched majesty when the time arises, but for now we can feast our ears upon the stellar teaser track ‘New Gods (Drowning the Sun)’. The horrifyingly dissonant guitars and depraved multi-pronged vocal assault contained within head up what I believe to be their strongest recorded work to date; and I’m extremely pleased to say I was fortunate enough to sit down with throatsman Gloom to discuss the track, the EP itself and all things Graveir. So have a listen at the link below, and read on.


Greetings Gloom, sincerest thanks for speaking to us. First up, a little history: What inspired the creation of Graveir, and what is its purpose?

– The genesis of Graveir really started in 2009 as a vehicle for me to write the kind of music I was interested in. It’s not for everyone so I’d found myself playing in things more out of friendship. There was always compromise rather than a full creative expression. There was no real timeline on it, just a collection of riffs which ended up being the genesis of the songs on the demo.

I think it was around 2012 I met XI and found we were pretty much on the same wavelength. Being a particularly driven individual, once I showed him what I had been working on that was enough to set things on the path. Pretty quickly we’d demoed the songs. Admittedly these were pretty rudimentary given my lack of technical ability and preparation at the time but these helped us to form the remainder of the lineup in late 2013. I am pleased to say it has progressed from those humble beginnings much further than I would ever have expected.

As for its purpose, I am generally interested in the interplay between the sacred and the profane so sonically I wanted something that had a definite sense of melody but also felt slightly unsettling at the same time. At least to my ears, t’s the friction between the two that helps create the atmosphere in our music.

You have a new EP on the way, titled ‘Cenotaph’. How do you feel about it, did everything turn out exactly as planned? What was the creative process like?

– I think we will never be 100% satisfied with anything, no matter how good it is. This is healthy as prevents stagnation but it becomes important to know when to let something go and release it. People will ultimately make of it what they will. I am comfortable with the release – which is as close to happy as you should ever realistically be.

The recording was definitely a positive experience. We recorded locally so there wasn’t any time pressures and all of our equipment was available to us. Ean Redman, who recorded and mixed the album is someone we know on a personal level so the recording environment was very good. Tonally I think we got some good sounds from the instruments.

The writing process itself is fairly painless, new material comes easily to us. As for how it comes together, someone will demo guitars and guide drums for a song and send it around for initial opinions and if it is received well we take it to rehearsal and adjust it until we have a finished version and I’ll add lyrics to it from there.

The dictionary defines a ‘Cenotaph’ as: “a monument, sometimes in the form of a tomb, to a person or group of persons buried elsewhere”. Why did you select this as the title?

– It came from the lyrics for New Gods (Drowning the Sun) and seemed fitting for the overall tone of the album and the artwork. In a more literal sense it does serve as somewhat of a monument between where we have come from and to where things are heading.

The first teaser track is the aforementioned ‘New Gods (Drowning the Sun)’ and in my opinion is another huge step forward from everything you’ve done before, oozing with a bleak and unsettling menace. Can you describe the themes and intentions behind the track?

– Definitely – the lyrics centre around the cycle of domination and violence that come with change. More specifically changing of religion within a society. What we often refer to as mythology is really an insulting way of denigrating what was previously the dominant religion of a society i.e. “That was all make believe, what I am telling you now is the one and only truth.”. The song describes the building of the new order over the bones of the old through bloodshed.

Listening through from your last full-length ‘Iconostasis‘ and the great 2017 split with Mar Mortuum you can really hear the refinement of certain aspects of your sound, such as the development of a mutidimensional vocal assault that proves to be devastatingly effective. What would you say the biggest progression or development has been for Graveir since ‘Iconostasis’?

– There are three key things I’d point to as having the biggest impact on our sound to date.

The first thing that happened is that after the demo I was able to share more of the songwriting duties and this has continued to increase over time. We try to make sure everyone has had some songwriting contribution on all our releases but the composition of this has shifted. For example on Iconostasis if one of us wrote a song we would normally write both guitar parts before sending it to everyone. Now we will often write one guitar track then send it to either Alone or Emaciation to complete which often adds a different perspective to things.

The second thing is improving as musicians over time. This has enabled us to stretch our songwriting and technical abilities. Listening to a demo from 2009 versus today this becomes very apparent. This one is especially true for me.

Finally, Emaciation adding additional vocals has really helped add some additional depth into the songs both live and on the newer material.

There will also be a track on the EP titled ‘Dyatlov’. I’m curious, because if I’m correct this is something that has always fascinated me: Would this be referring to the Dyatlov Pass Incident? If so, can you tell us a little about why you chose to write about it?

– You are correct, it is referring to the events that occurred in Dyatlov Pass. The title was initially just a working title, which will often change once I actually start writing lyrics. However after doing a bit more reading and research I found it a particularly fascinating topic.

What makes the Dyatlov Pass Incident a compelling case may be more to do with the level of development of forensic science as well as the propensity for secrecy on the part of the Soviet government.

If I had to take my best guess I think it was something of a military nature, perhaps air mines or some other weapon capable of generating significant concussive force. The interest for me lyrically was the thought of the isolation and the unforeseen terror that would have followed.

The EP will be adorned with evocative cover artwork by incredible occult artist Norot Art. How did this come about, were you big fans of his work? How does the resulting image tie in with the themes of the EP?

– Essentially just by being fans of his artwork. From there we made contact and he agreed to do the artwork. He has done a stellar job and we are extremely happy with the end result. Our approach when contacting artists is to give them a listen to the songs, lyrics and titles to enable them to draw out what resonates with them and draw something based off that. We give little to no instruction or guidance beyond that. So, given that it draws from the source material I think it fits the overarching themes on the EP (which are essentially meditations on the nature of death, suffering and change) quite well.

‘Cenotaph’ will see the continuation of your recent partnership with the great underground Australian label Impure Sounds. How has it been to work with them?

– No complaints whatsoever. Graveir isn’t a money-making venture so any notions to that effect are easily dispensed of so long as you aren’t being exploited. What then becomes important is finding someone who will show as much care for the release as we have in making it and that on a personal level we are dealing with people we respect, like and trust.

We know the EP is in good hands so it is a largely stress-free process for us. Impure Sounds don’t run a massive release schedule so can give each release they put out care and attention it deserves. We have nothing but positive things to say about the label and would gladly work with them again.

I know you’ve been playing a few live shows of late, have you aired any of the new material and was it received well?

– This is always a balancing act as you don’t want to play all the new songs months ahead of the EP release otherwise there isn’t all that much excitement around the new material for the audience. Recent shows we’ve done one or two songs just to test them out in a live setting and to add a something unexpected to the setlist.

We did do a set of the EP material late last year at an event hosted by our friends the Brewditos. Given the excellent quality of the beer on offer and their support over the past few years we thought we should repay the favour with something special. Hard to say how much of it was the beer but the reception was very positive.

For the uninitiated, what can one expect from a Graveir live ritual?

– Great question – I think you can expect to hear a close representation of what is on the recordings. For the most part we don’t record anything we can’t re-create live and we avoid using anything overly processed so I think this translates well in the live setting only with a bit more of a feral energy to it. Outside of that you should expect a sufficiently bleak atmosphere.

Australia has a killer black metal scene. Are there any sorely underrated Australian bands that you believe deserve more widespread attention?

– Completely agree with that sentiment. I think there are some bands that are getting some well-deserved recognition at the moment such as Départe and Greytomb which I hope continues as they have both produced some excellent releases.

On the other side of the equation there are some excellent bands who I think are due a bit more than they might currently have. Ignis Gehenna, Convulsing, Siberian Hell Sounds, Norse, Bleakwood, Snorri, Ploughshare, Mar Mortuum, Host and Dødknell have all put out great releases in the past year or two. I’d also be interested in a follow up from Dead River Runs Dry as I thoroughly enjoyed the first album. I will miss Funeral Moon who were great and were over all too soon.

When can we expect the full EP to drop? Will it be on vinyl, CD, cassette?

– Release date will be April 20th and will be vinyl and digital only at this stage. CDs may come later but I think it depends on the level of interest.

Sincerest thanks for your time, Gloom. Very keen to hear the rest of the EP. Any last words?

– Thank you for the well-thought out questions, it has been a pleasure answering them. I hope I have answered them sufficiently. I will be interested to hear what you think of the rest of the EP once it is out.


Pre-order ‘Cenotaph’ on vinyl or digital from Impure Sounds here.

Support Graveir:


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Pray For Chaos – An Interview with Solfernus

Solfernus are back. Not only with their first album in twelve years, but also back from last rearing their devilish heads in our Sathanas Records label spotlight a few weeks ago. I enjoyed the Czech black thrash horde’s brand of melodic and diabolical aggression while creating that article, so when I got the opportunity to interview Igor Hubík (also of a little band you may have heard of called Root) about their ripping latest album ‘Neoantichrist’, I jumped at the chance to delve into the mind behind the mayhem.

From the nuclear-bomb energy of tracks like ‘Between Two Deaths’ to the anthemic storytelling vibe of ‘Once Upon A Time In The East’, the album is a stirring listen; so check out the tracks scattered throughout and buckle in as Black Metal legend Igor takes us through all things Solfernus and more.


Hello Igor! Sincerest thanks for speaking with us. First up, a question I’m sure you’ve been asked many times: it’s been twelve years since the last Solfernus offering… What took so long?

– Yeah, nobody asks the music thing as the first question but twelve years long pause between albums. Let’s fix it little bit. SOLFERNUS was active another three seasons after the debut album’s release. We played shows and made two videoclips, answered some interviews, appeared also in music TV channel… We started to work on the second album in 2008 but never finished it because of our own inability. Our drummer left the band etc… I wrote this new album during 2015 so the whole break between albums is pretty long but between band’s activities shorter but you’re right, still long too 😉

The album is titled ‘Neoantichrist’. It’s probably not a reference to the new coming of Solfernus, returned to destroy Christianity and bring hell on Earth, but it may very well be! What is the meaning behind the title?

– This title, or lets say a word composition, is such a hint at mainstream medias. So many people are able to follow and mainly repeat stupid thoughts and words which they read in newspaper or watch in TV, actually online too. Media is a new and dangerous gun for human being. We still hear and read also a “labeling” of people by journalists or politics and these idiots scream out perhaps every day these words with added “neo”. So we can learn from the press that there exist neomarxists, neoliberals, neonazis, neobolsheviks… Guess what?! So we have “Neoantichrist”! This lyrics is describing my view of actual downtowns’ consuming life absolutely dependent on medias, commercials, false celebrities but also hundreds years innocent people following tendency – a religion.

The release as a whole is quite dynamic and multifaceted, with many different tempos and atmospheres swirling throughout. Who handled songwriting duties this time around?

– I wrote all songs and lyrics and can say that it’s really inspiring and thrilling process. I wrote several songs in the past but usually not lyrics. That’s why I decided to make it with this album. We worked quite hard on vocals and you can hear the pronunciation of each single word or a type which is not a rule in this genre.

The album explores many themes and has some great lyrics, but I’d like to ask about one track in particular: What’s the story behind ‘Once Upon A Time In The East’, does it reference a particular event?

– “Once Upon A Time In The East” is the story about a young German soldier fighting during the World War II at Russian freezing winter battlefield. It is not about a particular event but simply inspired by confessions of those military heroes who survived this horrible insanity. When watching these documentaries, I was always quite shocked not only with unbelievable camera shots but also by old veterans who cried while they were talking about their memories. I must add that this is not so popular and often discussed theme ’cause people sometimes don’t want to see specific facts and parts of mankind’s history.

You’re also in longstanding Black Metal institution Root, who have been at it since way back in 1987. What originally drew you personally to explore the depths of black metal, and do you still feel the same?

– Can’t remember what exactly drew me into this genre but I guess it went step by step, maybe album by album? I still like this kind of art, you can recognize it from “Neoantichrist” songs’ collection and as you have mentioned, also according to my activities in that longstanding Black Metal institution. Anyway, this signification sounds killer man! We must use it for some product’s description 😉

This time around you’ve also brought over Paul from Root on drums, which I would imagine you are very happy with. What was the story behind this?

– I had in mind more drummers for this album because originally these songs should be a part of the brand new nameless project. I asked him as the first one to record drums for a bit wilder music than we play with ROOT. He was very into this stuff and recommended also the Ch-Records Studio for the final record.

While you can still hear some similarities, in comparison to the epic current feel of Root, Solfernus definitely plays with more chaos and aggression, like it wants to kick your fucking ass. Is it easy to put yourself in a different head-space when you write for each project? Do you approach each time you write with clear intent, or does the music just flow naturally and end up how it will?

– Both bands are quite different from each other with regard to the musical direction and lyrics. I miss more catchy and brutal music in ROOT, that’s why SOLFERNUS album was realized. Wanna to create fast, riffing and pulsing sharp compositions with screaming vocals and refrains. ROOT is going by its original way but I want to make songs like “Glorifired” or “My Aurorea” too. The composing of fresh songs goes naturally, no problem 😉

I believe you have recently filmed a video for the song ‘Mistresserpent’. Can you tell us a little about this? When will we get to see it?

– It took two days of filming right shots and we are going to make cuts and some another details this month. I think that the final videoclip could be online in Spring and can promise that you will see also beautiful women in “Mistresserpent”…

The album is out now on Satanath Records; how has it been to work with them?

– Current cooperation between Satanath Records and SOLFERNUS is going well. We are trying to promote “Neoantichrist” album as much as possible and the label did amazing job with CD itself, it looks more than perfect. They have also good digital distribution and the whole album is available through Spotify, iTunes, Bandcamp and other important web sites. 

Why did you originally decide to form Solfernus, and do those reasons still hold true on this latest release?

– Never thought about “why” man, probably some need to create black metal music along with those comrades who participate in that line-up. It was meant to be a special side project of musicians coming from their bands who joined forces in SOLFERNUS. Now we are just continuing with this art and philosophy on “Neoantichrist” album and I guess you can hear that our direction is still right.

Having completed a new album after so much time passing, how do you feel when listening to the older Solfernus works?

– We can feel that all three SOLFERNUS records are musically and lyrically connected with main points and I must add we still love to listen the very first EP “Diabolic Phenomenon” as well as “Hysteria in Coma” album.

And finally: Is this the full return of Solfernus? What’s next for the band?

– Due to a strange career of the band, we should not promise any concrete plans. There are some ideas which we would like to realize but instead of promises, let’s wait for real acts. The future will show everything else as we know from the past.  

Thanks for your time Igor! Any final words?

– Thanx for the opportunity to present SOLFERNUS to the readers of the webzine with such a fantastic name! We live Black Metal Daily!


Purchase ‘Neoantichrist’ digitally and on CD from Satanath Records HERE, on iTunes HERE, on Google Play HERE or listen on Spotify HERE.




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Light Fell Silent – An Interview with DSKNT

– time shifts and stretching tensor operators –

– isotropic radiation of remnants & white noises –

– transform & disassemble –


In this age of immediacy an artist still managing to stay cloaked in an aura of mystery is a fascinating thing; and enigmatic act DSKNT has been absolutely and effortlessly swathed in it. Originally formed in 2013 but laying seemingly dormant since, over the last six months scattered and intricately titled tracks began creeping out that sounded like the inexorable, grinding machinations of a machine neither organic nor lifeless yet working feverishly to deconstruct reality in suffocating horror; however all available information about these creations amounted to a few cryptic statements, a Swiss location and some personnel rumours. Even a label press release stated that they were “unable to confirm any other details regarding the nature and identity of the project”. 

That is, until now. 

After following the project with interest and devouring every mind-bending composition that slithered as nameless black lava reaching quivering and crystalline from the void, I reached out to make contact; thankfully the man behind it all agreed to lift the veil ever-so-slightly.

So with the debut album ‘PhSPHR Entropy’ finally released on Sentient Ruin LaboratoriesClavis SecretorvmBabylon Doom Cult Records and easily one of the most intriguing, synapse-crushing releases of the year; submit to its irresistible pull via the full stream linked below and read on as we speak with mastermind ASKNT.


Greetings, and sincerest thanks for taking the time to answer these questions and allow us a brief glimpse into the world of DSKNT. Not much is known about you, so this is very much appreciated. Firstly: What exactly is DSKNT, and where did it come from?

– DSKNT is the audial subdivision of DSKNT Industry, a project linking the perception and inspiration I have in order to create music/noise. The DSKNT terminology was extracted shortly after I created DSKNT Industry which is the entity used as medium to transform ideas in music. In fact, and to be compendious, DSKNT is the project and DSKNT Industry its source, its incubator and its global envelop.

Your debut creation, PhSPHR Entropy, is about to be released. What is the intention with this album, and the meaning/significance of PhSPHR Entropy as a title?

– The main purpose of the release, as idea, is to create and perform a hermetic conceptual cross between the factual implication as well as the uttermost discernible climax of certain specific aspects of the physics with the ineluctable, complete nullification of all. This fact is only hidden under their expressions in term of mathematical formula. Initial commitments of the lyrics were drawn in this way. Generate an audial unsafe place, a wall of distortions of the senses, kind of an unacceptable noise. The cover of PhSPHR Entropy is intended to extend the concept of the whole concept of the release. Something very sober and static in parallel to the music. Musically, there are two epochs of composition mixed together, but not distinguishable. In terms of lyrics: « You are not important ». Nothing is. It’s only a human issue to apprehend scales.

PhSPHR Entropy as title and mark of the album has a double significance. Referring clearly to physic and intrinsic natural concepts, first, the Entropy can be used as a kind of measure of disorder or randomness of an isolated system. Mainly, we don’t know enough parameters to understand the system globally. On the other hand, Entropy un-uniformity was the beginning. This measure will denote the end too. 

Why PhSPHR? Well, PhSPHR is glowing in the dark under certain conditions. The PhSPHR ions are highly reactive and have a high level of possible oxidation, it’s leading to a very high potential of Entropy in addition to being essential for the human being as for the DNA. The two terms together specify the internal metastability as well as the external instability of the All. PhSPHR Entropy speaks in terms of disorder and chaos, directly opposed to the equilibrium. It’s chaos, not the “Chaos”. Underlying chaos.

From where did you derive inspiration for the sonic chaos and themes depicted on the album?

– DSKNT inspiration comes from many sides. But it’s mainly driven by my apprehension of the vacuum or simpler of time. Since the disorder is the only leading and underlying principle of all, the sonic chaos, as you call it, comes from of this sensibility to it or probably of the DSKNT internal interests in disorder, sort of a blasting maelstrom. On the other hand, the true chaos will come. Just let it come with the time and its distortions, bends. That’s only a cosmological issue for this global extinction and prevailing void.

DSKNT seems to aim at defying all normal musical and sound convention. Were there any unusual techniques or instrumentation involved in the assembly of PhSPHR Entropy?

– I don’t know exactly what you mean by unusual techniques since each recordings phase could be very different from the others, and highly variable among bands. I can say that’s it’s a specific and inherent goal of DSKNT works to achieve such weird sounding. The recording process for a so-called one-man band is relatively different of a band formed by several people, as anyone may understand. Advantage for DSKNT, the music creation process doesn’t imply the inconvenient of making compromises on ideas or music, which could lead to the dilution of the goal to achieve. But the process is probably more iterative and incremental, it takes time. Each track of PhSPHR Entropy has many sub-versions and it’s always a real dilemma when you should set a final version.

On the other hand, I’m currently developing other techniques for the next tracks and releases, in order to enlarge this abrasive, dizzying, destructive and disassembled style more globally. By techniques I mean, create the own DSKNT hardware disto/fuzz effects and reverbs and other things that could lead to a more unique sounding, or just for DSKNT’s own experiments. As featured in PhSPHR Entropy, Kr. Vy. Rites, I would say that any medium could be used in the future to create this little unsafe suffocating place in music. As well as pure noise elements. My retrospective point of view, the guitar riffing is responsible for most of this entropy, disorder and/or unconventional mesmerizing sounding. But for me, it’s an initial step, I expect more.

Do you align yourself with any movements, styles or genres, or is DSKNT something that is intended to stand on its own?

– That’s a problematic question since, as you have noticed, the medium used to express this Entropy is what is mainly characterized as Black Metal. DSKNT themes and the way of doing have nothing to do with the traditional Black Metal themes, especially with new wave of occult themes and bands and the coupled evil imagery. To be under influence, it’s quite obvious (naive people don’t think probably so, but be honest), “Stand on its own” can only be a background idea, but it remains a view of mind.

The composition part wasn’t and isn’t aligned on a specific style, and will never. I can take “Resurgence of Primordial Void Aperture” versus “Kr. Vy. Rites” and its next “Kr. Vy. Portals” as examples. There is no specific solution or formula in DSKNT music. 

Everything is subject to change or evolve as well as the DSKNT’s music medium. But I have to say that there is a certain quantity of projects which are creating a very particular style, atmosphere and by the way, a very specific signature in their music. I speak of acts such PORTAL, or of the CHAOS ECHOES approach, HAUS ARAFNA raw sounds treatments. DSKNT can’t directly be categorized as Black Metal nor Death Metal, it’s both and none. And you can probably find most likely an assembly of elements of particular styles.

I’ve heard whisper that this madness is the product of one man, asknt. Is this true? How many souls took part in its creation, and what roles did they play?

– You are right. The complete instrumentation and lyrics is asknt’s part of the work. Besides, the vocalist of ANTIVERSUM (on Invictus Productions) has performed the whole vocals/noises parts on PhSPHR Entropy. His skills are very valuable to transmit the DSKNT intents since he understands the concept completely and participates to its sublimation. For the next works, DSKNT certainly will use the same “setup”. 

I can’t conclude this topic without talking about the highly important participation of Antïgraphics for the cover and layout, which has given the visual interaction with the background ubiquity of the variating Entropy that this release is intended to transmit.

The album was produced and recorded at DSKNT Industry, of which DSKNT is noted as a Noise Shaped Subdivision. What is DSKNT Industry and is DSKNT its only creation? 

– DSKNT Industry is both a recording studio, an experimental laboratory and rehearsal place. DSKNT Industry has recorded and engineered some other acts such as AB OCCULTO demos, both NECROSEMEN EP’s, AION’s album “Verses of Perdition” and some other projects, internal or external experiments. DSKNT instrumentations comes and were recorded in this place except the vocal parts which were recording at OSA Crypt in Zürich. I take the opportunity to thank them again.

PhSPHR Entropy is being unleashed in collaboration with Clavis Secretorvm, Sentient Ruin Industries in the US and Babylon Doom Cult Records for Europe. Are you pleased with the assistance received from these sources?

– The assistance during the whole process was perfect. The different proposals were totally in the DSKNT’s approach. All the people involved in background for the release were very collaborative and proactive. On the other hand, I was surprised of such support from the labels, since it wasn’t so for older works I’ve tried to release some years ago.

The DSKNT sigil and cover of the album was created by Antï Graphic Art. How were they to collaborate with? Were these formed from their interpretation of your work or were they under direction?

– Again, I have to say that DSKNT has nothing to do with human considerations like occult or esoteric concepts, neither other human centred preoccupations or interests. I would say “sigil” isn’t the appropriate and suitable terminology. 

Concerning the cover, Antïgraphics immediately understood the whole concept. I gave him some global guide lines and the complete and finished lyrics but, in fact and at the end, he was completely free. As far I remember, his creations are very inspired and lead to high-quality artworks with a very personal signature.

Are there plans for DSKNT to become a live entity in future, or is it by nature something that should be heard but not seen?

– As you already noticed, there was only few information about the project, about who does what in the project etc. DSKNT can’t treat abstract themes, mainly not related human scaled themes and become a live act, that’s completely antithetical. Furthermore, the live aspect would totally degrade the intention behind this project. According to my own beliefs, the DSKNT music isn’t suitable at all for live performances.

Are there any further forthcoming emanations from DSKNT apparent?

– DSKNT is now working on the new basis which will compose the material of the next album and a forthcoming split EP at some moment during the next year. A new attempt in adding opaque and oppressive atmospheres.

In the beginning of the next year, Sentient Ruin will release PhSPHR Entropy on vinyl.

Sincerest thanks for shining some light into the void that is DSKNT. Do you have any final messages?

– Thanks to you for the questions.

Light fell silent, few seconds before Eternity.



Purchase/pre-order PhSPHR Entropy digitally from Bandcamp HERE, on CD from Clavis Secretorvm HERE, on vinyl from Babylon Doom Cult Records HERE and on cassette or vinyl from Sentient Ruin Laboratories HERE.


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The Journey is the Destination – An Interview with MRTVI

“BAND DISCLAIMER: Negative Atonal Dissonance is not an album. It is a statement, a philosophy, an experiment; a rejection and reaction to the current trends within the mainstream and underground alike. Extreme metal has painted itself into a corner. Production values that serve no other purpose other than to sound recognisable and palatable. Arrangements, rhythms and harmonies that are more concerned with being identifiable and ‘viable’ than with originality. In an infinite universe, music is endless; a spectrum of emotion, of atmosphere, a vibrational connection running through and joining all frequencies; a spiritual, meditative practice, a dream and a nightmare connecting the creation with the creative force…”

Astute followers of Black Metal Daily may recall a while back I sung the praises of Serbian/UK experimentalist MRTVI, calling full-length ‘Negative Atonal Dissonance’ “…less ‘music’ than it is an attempt to shatter the space-time continuum”. In a fortunate and happy coincidence, I ran into the multi-instrumentalist mastermind behind it all Damjan Stefanovic in a diseased back alley somewhere in the dark shadows of the Internet (alright, it was a Facebook group comment thread. Same thing) and as it turns out he’s a super cool, down-to-earth guy with a diverse musical background and an intense passion for what he does. The result is one of the most in depth interviews we’ve had on these pages, about everything from recording techniques to the future of music… Not to mention his plans to change the fabric of music itself.

If you’re unfamiliar with his work, have a listen to the various audio samples scattered throughout the article. He largely implements improvisation along such lines as Nornahetta for example, but travels to infinitely more disturbing places sonically. The titular final track from ‘Negative Atonal Dissonance’ sounds like time unravelling around you. Even the production values are outside the ‘metal’ norm. The whole thing is an unsettling listen that descends further and further into chaos as it goes along; challenging comfort and the perceived natural flow of the universe, seemingly tearing a black hole in reality as we know it.

It’s an utterly mental release and you can hear a myriad of genres having varying degrees of influence on the sound of it, yet at its heart still beats a seething, horrifying mass of black metal. Not your typical black, however; what’s here is stripped back to beyond the core of it, black metal (or indeed, music itself) at a primal level but then enabled and allowed to flower outwards like a fractal, as it will. Natural, yet totally alien and undeniably panic-inducing. No bullshit, no restrictions, no tropes; you get the feeling we are seeing Damjan at his most pure artistic and creative self. It simply wouldn’t work if he called himself Lord Mordor and wore a cape, and the honest exploration of music for the sake of it is refreshing.

‘Negative Atonal Dissonance’ (and its predecessor, ‘Perpetual Consciousness Nightmare’) is by no means an easy listen and depending on your own pre-existing mental restrictions when it comes to music, there’s a 50-50 chance you’ll think it’s shit. But for those that find pleasure in the avant-garde and the utter disregard of musical ‘boundaries’, it’s an incredibly rewarding release that truly breaks new ground. So read on and listen carefully… You might just expand your boundaries before you come to any conclusions. After all, the journey is the destination.


Greetings Damjan! Thanks for taking the time to speak with us, I hope you’re well. Your astonishing second MRTVI release “Negative Atonal Dissonance” has been out for almost four months. Now that the dust has settled, how have you found the general reception to the album?

– Thanks for sending me some questions! In general the response has been really positive. There’s been a few negative reviews too, which is interesting. It seems some people get the jazz influence and some think it’s all just noise, which is fair enough. I got a couple ‘this isn’t metal!’’s too, which is always a good thing. I’m aware it’s not everyone’s cup of tea and I don’t really want it to be, I’m trying to go for something different, but it seems like there are people out there who ‘get’ it, so all in all it’s been a positive step. It’s really interesting reading people’s thoughts especially when you’ve never met them and they can say whatever they like. There’s been reviews from all over the globe too, which is really cool. I think the point is to provoke people a bit too, get the listener out of their comfort zone, so I can’t complain. Also, this has been interesting for me because this album was finished a year or so before it was released, so while I’m in a new head-space musically I’m getting jolted back a couple years to the creation of NAD.

The first track “As Consciousness is Harnessed to Flesh I” is an almost spoken word piece calling the listener’s attention to the lyrics from the get go; the themes of which resonate particularly well with me. How would you describe the lyrical content and how does it relate to your personal philosophies?

– Well to pre-empt a later question, this one, and in general a lot of the MRTVI lyrics, have been the product of automatic or free writing. I like the spontaneity, and it’s kind of like a verbal improvisation in some ways. I try and get some topics or ideas in my mind without thinking about them too specifically and then let the words flow out, but I’ve got to be in the right frame of mind. Lyrics aren’t the easiest thing for me, though this time around I think they came out well. The first track is kind of like a briefing for the soul before birth. A cosmic initiation a friend called it haha. The whole track is supposed to be a development on the standard atmospheric opening every bm album seems to have, which is why I made it quite long, and it builds to a crescendo. I wanted it to sound like there’s no reference, no gravity, no up or down, or tempo or anything… the melting energy of the ALL before the soul takes its human form.

The album contains a hefty amount of improvisation. I believe you have an interesting way of going about it that separates you from other acts that integrate improv into their art, especially on the mammoth, chaotic maelstrom of a title track which is like nothing else I’ve heard on this earth. Can you tell us a little about the process involved and why you utilise it?

– So I realised a while ago that metallers don’t really improvise. I get that 2 guitars in B played loudly with loads of dist is probably gonna sound terrible, but I wanted to try anyway hahahaha. This was something that I started on this album and have done a few times since (on stuff that was gonna be MRTVI but ended up a little too different to this particular album). So for the title track I recorded a 20 minute drum jam, with only 3 mics (all the drum sounds on this album are with 3 mics, kick snare, and a zoom stereo mic for overheads- which I had to sync up to the other two mics because it records on an SD card). Then I recorded a second one over the top, with the first take in the headphones, but without listening to it beforehand. So with 2 drum tracks, left and right, I recorded 5 guitars, one after another, without listening back to each take. So every take has a layer I’ve only played once before, and the previous layers. Then a bass track and 3 keyboard layers the same way. 

Then when it’s all done you listen back to it. It’s interesting to see where it’s a complete mess and where it comes together almost as if on purpose. The whole thing sort of ebbs and flows together, and after a couple takes I started recognising certain drum fills or sections, so slowly it comes together. After than I went through and put effects all over the place, on every instrument, volume dips and swells, effects coming in and out, phasers and pitchshifters on drums and cymbals has a pretty cool sound to it. Then I free wrote the lyrics and recorded them the day after in one take, improvised. There’s a video of the vocal recording that just went up recently actually: 

Do you find creating in this way more stressful, easier or cathartic than standard composing? Or is it more akin to, say, the phenomenon of automatic writing?

– I don’t find making music stressful. Sometimes it can be hard to make a decision of one part or sound over another, arrangements or song orders, those big picture things can be tough. I like getting lost in that weird in-between dimension where time and space doesn’t exist and it’s all happening in sounds. This improv technique (I dunno if it’s a ‘technique’ exactly, but hey…) is cool because it sort of pulls you in, and with a 20+ minute song with 10 layers that’s a good few hours of being in the zone and oblivious to everything.  It was a specific thing I wanted to try because it was new, and while it has some good results I found after doing a couple other EP’s in the same way that there comes a point where my guitar knowledge isn’t enough and I started repeating some things, so I’ve moved on since then, but I’ll definitely work like that again because if you don’t overdo it you get some really cool sounds, and the process is pretty cathartic when you’re right in there. I’ve also had times where I’m alone recording and I see shapes standing behind me or walking across the room, or sometimes I hear them singing along as if through the ceiling or walls. Sometimes it sounds like a choir and sometimes like disembodied screams. Complete immersion in intangible vibrations hahaha…

You’ve recently made the move from The UK back to your home of Serbia. Has the change in surroundings influenced you creatively in any way?

– Well recording alone in a house in a forest with basically no neighbours is a trip, like I mentioned above… It’s more about just putting myself out of my comfort zone, meeting new people and places. It really puts things into perspective, I’m a lot more sure of what’s important to me and what’s not. What and who I want to spend time and energy with. It forces you to confront things about your personality that you don’t really need to if you’re more settled or comfortable and just going on auto-pilot day in day out in familiarity. I had a lot of good fortune in life (and a lot of bad too…) so I’m just trying to use it to grow and learn and expand, and I think the music and creativity will follow. I’ve managed to create a space to be able to concentrate on music without distractions, I’ve recorded a tonne of new music while being out here in all different styles, which was the aim.  Also all of the MRTVI visuals since the first album have been snapped/filmed in Serbia, while the music for the first two albums was recorded in London, so it’s been a nice mix so far. 

I think there’s probably gonna come a point where the murderous suicidal existential monotonous cacophony will become overbearing again, then I’ll be off to a new place for a couple years 😉 

Negative Atonal Dissonance was released on CD through champions of the underground Transcending Obscurity Records, with a tape edition coming soon through fresh label Tenebrae Sumus Records. How has your experience been with both labels so far?

– Well with Tenebrae Sumus it’s early days, we’re still sorting some details, but it should be a January release. He’s put out some really cool releases so far and pays attention to details like presentation, so I’m looking forward to it. I’ve always wanted to get my music out on all formats. Kunal at Transcending Obscurity is wicked. He totally gets his metal and is honestly really passionate about it which is great. He took a chance on an experimental album so I’ll always be grateful. I’ve chatted to him a bit too, it seems like we’re on the same page about a lot of things which is great. 

The packaging for the CD version is gorgeous, a beautiful physical product in an increasingly digital world. Can you tell us a little about the artwork and photographs used?

– Kunal gets the credit for suggesting the digipack route. I want my artwork to be simple, understated almost, and photographic rather than painted, at least for now… I just don’t want to follow every other band with sacred geometry and pentagram artwork hahaha. The front/back was taken in a doorway in BIGZ which is a giant old building in Belgrade that houses loads of rehearsal and recording studios and probably half the Belgrade music scene. The inside photos are from an old complex on the other side of Belgrade that also has some studios upstairs, but plenty of disused space too. Belgrade is a very photogenic place, every crack in the pavement and graf and alleyway feels like it has a million stories to it. The covers for the first 3 albums are all gonna be linked visually…

This thing also deserves to be on wax. Is there a vinyl release planned?

– Not yet. I’m working on it. Like I said I’d like to get releases on every format but vinyl is expensive and blah blah. I’ve moved beyond those childhood ideas of ‘making it’ and ‘blowing up’ that all the magazines sold us when we were kids. It’s a journey, I’m making music that I care about and building step by step. Vinyl will happen sooner or later… it takes time.

A little history: What was the genesis of the entity known as MRTVI?

– So after a couple year period of little creative output, playing with various bands, various bands breaking up, fizzling out, etc, I wrote 2 songs in a style I hadn’t tried before (the first 2 songs on the first album). Basically it was just a couple songs, but my friends were really supportive and urged me to write more tunes like that. 3 months later the first album was finished. Within a year of writing the first 2 songs, the album was out on tape and disc, getting really positive reviews that I hadn’t expected at all, and the second album was almost finished. 

The atmosphere and general negativity and aesthetic was kind of influenced by an ooooold noise demo of mine that I rediscovered on my computer after years and years, but obviously with a few years more experience and listening to build upon. It had to have that classic European sounding black metal name of course, even though the project doesn’t really fall under the classic BM umbrella in terms of sound. 

It came at a time when I was really disillusioned with music and playing and most everything else in life, a real existential crisis at 22/23, and it helped me figure a few things out and gave me something creative and positive to pour my energy into. MRTVI really is what I want to do, fuck everyone else and their expectations. I’m not making a ‘product’ for someone to ‘market’ in order to have an excuse to tour and take peoples money. I want to break all the rules and then some, I want to make sounds that excite me, I want to push myself, and anyone listening, and see what I can uncover, how deep I can go with it, and if the process and the outcome is inspiring me that’s the most important thing. 

I came across a really cool interview with John Frusciante around that time where he said something like, ‘most people aren’t interested in what they can do for music, they’re interested in what music can do for them.’ I’m doing this for the sake of doing it, and doing it in a way I feel is right. 

And with all this in mind, the positive feedback and support that I’ve received from people all over the world, who I’ve never met, is amazing. It was surprising initially, but validation on an ‘underground’ level has made a lot of fucking bullshit over the last few years super worth it… I’ve gone on a tangent here but fuck it, thanks everyone!!! Hahahahaha

You also run your own label, Life As A Dream Records. What inspired you to start it up, and what is the mission statement of the label, so to speak?

– “We believe true art should be expression first, entertainment second, and a product never.” 

But let’s keep it real, it’s a Facebook/YouTube/Bandcamp page at the moment haha. Basically I want it to be a place where I can keep all the work I’m really proud of together, all different styles and sounds, solo and with bands, and a place where friends of mine can put out their music rather than just potentially sticking it on soundcloud or whatever. I’ve uploaded one album every month this year, mainly its been old bands and solo albums and EP’s. I also want to have some sort of visuals for most of the releases, videos, artwork, everything is in house and idiosyncratic to me/the group/the friends involved. 

In some excellent news, you’ve re-issued the first MRTVI album ‘Perpetual Consciousness Nightmare‘ through Life As A Dream… Today! (Pick up a copy from the Bandcamp page HERE.) What was the thought behind re-releasing your first album now?

– So the label who put that album out initially has since folded, and (with the help of a couple good friends) all the stock came into my possession. I’ve been holding onto it, but with the release of the new album I started getting messages asking where can people find the first album, so here it is, direct from the artists so to speak. I put together this video for it over a year ago that I finally got to put out! 

 Another thing I should mention is that the debut album is also getting a Japanese release in January on MAA Productions, which I am so excited about! There’s more info here:

What do you feel the key differences are between ‘Perpetual Consciousness Nightmare’ and ‘Negative Atonal Dissonance’?

– The first album was catharsis, the second was a slightly more confident experiment building on what came before, and the response to the first album. The production is totally different, the approach to structuring the songs, the overall flow of the albums. The first album is songs developing themes and atmospheres and pushing ideas individually, the second is more of a whole, overall, concept. There’s technically only one pause in the music on NAD, its pretty much 45 mins of solid noise haha. The second album also has a slight, let’s poke em in the eye, see how metal they REALLY are, sort of provocation to it. Alongside the fact I was pretty much listening only to jazz when I made it, the new album is kind of self-reflexive in a way, how far can you step outside of the conventions of metal, or black metal, while remaining rooted in the sound and atmosphere… when does it, or does it at all, stop being ‘metal’. What is metal? To go back to your first question, I think for some people it is a new perspective on metal, and for some its totally not haha. 

I believe the third MRTVI experiment will be actualized very soon, is this correct? You’ve previously mentioned the two albums so far are connected thematically, will this continue with the third? Can you describe how it all flows together?

– Yea so the third album is done. It just needs mastering. I have most of the ideas for the artwork but nothing shot yet. I also have a load of video shot to put together, but I need to shoot looooads more still. The artwork will be linked, and thematically the lyrics are linked. It’s not like a direct reference or whatever, but it’s there. I’ll talk about that more when the time is right. It’s essentially a 3 album concept though. Musically it’s certainly still MRTVI all over, but there’s a few elements that I haven’t played with yet being introduced, mainly hip-hop. Hahaha that’s a joke obviously…. (I’m listening to loads of hip-hop recently though).

I’m fascinated to see where you’re going to take this project, you already dive to depths others wouldn’t. How do you see your sound developing further? Does MRTVI have a foreseeable end, or are there infinite possibilities?

So album 3 is done. Album 4 is all in my head, and, without wanting to sound like a total cunt, it’s gonna be something special. What I’ve got in mind doesn’t exist in the metal world or anywhere from what I’ve heard. That’s gonna be a LOT (A LOT!) of work though, I have 2 demos at the moment, and theyre not even finished. NOBODY out there is doing what I’m imagining but like I said its all empty talk right now… gimme a couple years to get it down… it’ll change the game 100% for sure…

Other than that, and more realistically at the moment, I’m putting together a set and figuring out a way to get playing live as a solo musician. I was on the fence about it for so long, but I came to the realisation if I want to break the rules, being a one man bm band that tours is a pretty good rule to break. I want to travel and play and meet people and getting 4/5/6/7/8/9 people together to go on the road is a major pain more often than not. So booking agents hit me up hahaha. 

How far do you think exploration of sound and music can go? Imagine 300 years in the future. What are we listening to, how are we experiencing it?

– Hahahaha best question ever. I dunno man, either we’ll all be in some Huxley-esque emotionless future or everyone’s gonna be a cyborg capable of everything… Or maybe flying hi-fis blasting out Slayer from the sky..?

I think you’ll have an interesting take on this: What is the essence of Black Metal to you?
– Black and metal are the two essential ingredients. 

I think there’s a lot about black metal that is very punk. It’s gotta be against the establishment. I like the idea of being elitist in the sense of pushing yourself, better yourself, the Nietzschian overman working to improve himself, educate himself, take responsibility for his own actions and development. Unfortunately a lot of people seem to grossly misunderstand what he was saying, and turn it into another form of toxic herd-like group-think… I dunno, I think that kinda contradicts itself by definition. 

It’s gotta be music that you want to listen to, it’s not supposed to be made palatable for everyone. It’s for people who need it in their lives. It’s should be anti-music. There’s a lot of ‘metal’ bands out there now putting pop choruses in their songs, claiming to be pushing boundaries. No, they’re watering it down. It’s supposed to go the other way. Putting blues solos in bm songs and albums… c’mon man, it’s a specific sound for a specific emotion. It’s not accessible chart music. The lo-fi production I think is also an important part of distancing the whole thing from ‘the norm’, it needs to be challenging. 

And finally, because we’re coming to the end of the year and I’m intrigued to know what the mind behind this madness has been listening to: Any 2017 releases of any genre you’d recommend we check out?

– This year I was excited about Dodecahedron’s second album, also the new Blut Aus Nord that just came out. Fulgurum put out a wicked album, kind of like At The Drive In does bm, although that was in ‘16. I’ve been catching up on the 20 or so albums Omar Rodriguez Lopez (The Mars Volta) put out over the last 18 months.  MRTVI label mates Norse, from Australia put out an awesome album, really dark with some tasty riffage. The new Akercocke was interesting. I’ve been privy to the new Voices album (shhhhh!) though that’s out next year. I found a new band, Artificial Brain, they put out an album called ‘Infrared Horizon’ this year which is fucking wicked!!! Really filthy fucking shit hahaha!!  The new Wolves In The Throne Room is cool too, they never did anything for me before but this album is really cool. The new Inferno album was cool too. I can’t think of any more right now. I’ve been listening to all sorts this year. There’s a London band called Corpsing that put out an EP this year that my friend recorded, and that is brutal, they have an amazing drummer in that band. Oh yea I just remembered I rediscovered Mastodon this year, they’ve changed into a band I put on to relax to, after listening to metal all day hahaha. 

Sincerest thanks for your time Damjan, very keen for the next conjuration. Any last words?

– When Beavis and Butthead get asked the same question by some redneck after tripping on cacti in the desert:

Erm… Boobs… Heh huh heh huh.

In all seriousness though, thanks for taking the time to check out my noise and for the support and encouragement! To everyone that’s shared it, got in touch, listened, downloaded, bought, stolen, whatever. I went off on one earlier, those sentiments still stand. Check out for more info as and when it comes, be good to each other! 

Also check out for a load of music in different styles, and for anyone looking for mixing and mastering check out he does all my mastering and I’ve worked with him loads over the years, he’s super talented! 

Thanks again!



Purchase ‘Negative Atonal Dissonance’ on CD and digital from Bandcamp/Transcending Obscurity Records here and keep an eye on Tenebrae Sumus Records for cassette pre-orders here

‘Perpetual Consciousness Nightmare’ available on digital, CD and cassette from the Life As A Dream Bandcamp page here.


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Annunaki Rising – An Interview with Sar Isatum 

Sar Isatum are not messing about. When this preview track by the US trio of JP Dalkhu, Damothi and CC landed in my inbox my eye was immediately caught by their use of Sumerian themes; upon checking out the music itself I was far from disappointed. Great symphonic black does not find its way onto my radar as often as it should these days but the ritualistic drumming leading into a blistering, well produced assault of technical obsidian majesty felt like a clarion-call charge into battle and served well as a savage statement of intent. So, being a fan of both Sumerian mythology and good black metal, I was intrigued enough to investigate further and shoot off a few quick questions before the full-length debut ‘Shurpu’ descends upon the Earth. Luckily, the gentlemen were happy to oblige. Have a listen to the eponymous preview track and opening salvo from the upcoming album below, and read on for a fleeting glimpse into the mythos and minds of Sar Isatum.


Greetings Sar Isatum, thanks for speaking to us. First, some history: What is Sar Isatum as an entity, where did it come from and what is its purpose?

– Sar Isatum came to be as a musical force with the intent to make an intense and ethereal experience to the listener and an intense live performance and force to be reckoned with within the black metal realm. Our purpose is to personally conquer our musical creation and combine different elements within the genre.

You’re about to unleash your debut intonation upon the earth, ‘Shurpu’. Shurpu means ‘Purification by Fire’; in Sumerian, your emblem Sar Isatum means ‘King of Fire’ and the lyrics are inspired heavily by the Sumerian empire. Can you explain the use of Sumerian mythology behind the album and its importance to you?

– The Sumerian topic has always been interesting and it is a topic that not a lot of black metal bands represent and/or write about. Sumerian metaphysical and spiritual ideas also pre-date Christianity and have a dark occult nature to them, so we gravitate towards that rather than the topics that are overdone in today’s black metal.

There’s some great symbolic cover art from Mindrape Art as well, continuing the apocalyptic fire theme. What was it like to work with him, are you pleased with the result?

– We are highly pleased with what Mark did for our cover, I personally have worked with him for many years with other bands and he always delivers an amazing and fitting art. For this cover I sent him the finished album and explained our lyrical content and what we were looking for; needless to say, he envisioned exactly what we had envisioned ourselves. Mark Cooper is an art genius.

The eponymous preview track ‘Sar Isatum’ sounds like a call to arms. Is there a particular reason you selected this track as an introduction?

– We wanted to capture our listener with the first track to release to the public; a song that best represents the band, album, and the different elements that we apply to our writing.

There’s also what appears to be a demo for another great album track on YouTube, ‘Celestial Diaspora’, which sounds altogether colder. What can we expect to hear from the rest of the album?

– That was the demo track we released when the band was created. The album in itself has variation within the songs, we don’t intent to copy any band and we use our different influences to write music and you will be able to tell in this album. At the same time we are always working on evolving musically and do not intent to always sound a certain way.

The album was produced at Sawn & Quartered studios. How did you find the process, and is the final sound exactly as you envisioned?

– Shane Howard is a professional producer and it was great working with someone that knows exactly what a band wants when he’s presented with the music before the recording process. He was able to capture the sound we wanted for this release and we are planning to work with him once again in the future.

You’ve had some shows recently with the likes of Uada and Inquisition. How has the reception been to the material in a live setting?

– We have been received rather well, we have left a mark in the Denver black metal scene and we have created a great following in the short period of time we have been performing live. We just got picked to play with Belphegor, Cryptopsy, and Hate for a show on November 19th.

What’s the state of the Black Metal scene in Colorado? Are there any other underground artists you believe deserve more attention? 

– It’s a growing scene, a supporting scene and it’s definitely one of the best USBM scenes in the country. There’s many amazing bands in Colorado but the ones right now that deserve the recognition are our friends in Mount Cairn and Crafteon, great bands, go listen to them.

Are you currently shopping the album around to labels? Any word on when we can expect a release?

– We are casually shopping around but as of now we have not found the right deal and label to call home, so it’s looking like we will self release the album. Web release date is set for November 20th and the CD release will be on December 21st.

What lies in the future of Sar Isatum? Have you started writing for the next album, and will the Sumerian inspiration continue through future releases?

– Yes, we have started writing new material and as of now we have not made the decision to only continue with the Sumerian inspiration. We don’t want to limit our music and lyrics to one subject.

And lastly: Do you believe the Annunaki will return?

– I believe it is a possibility; to me, it’s more believable that we were created by an alien species than a bearded God.

Sincerest thanks for your time. Any final words?

Thank you for the interview and check out our pages in Youtube, Bandcamp, Soundcloud, Instagram and Facebook.


Pre-Order the debut album ‘Shurpu’ from the Bandcamp link below.

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Transmuting Darkness – An Interview With Theurgia

Music, and sound itself, can be a powerful catalyst. Innumerable studies have taken place regarding the effect listening to it can have on your emotions, moods, concentration, IQ, learning ability, even its utilisation as pain relief. Sonic waves have been used as a weapon, certain sub-audial infrasound frequencies can induce physical sickness. Then there is the ritualistic aspect; since time immemorial music and rhythm has been used to aid in occult and spiritual works, acting as a conduit and facilitator for certain energies or altering the physical and metaphysical planes as an energy itself. For Theurgia, this is an integral part of their stunning debut album ‘Transformation’. 

Formed in Venezuela 2014 from the ashes of Daemonhorn before relocating to Columbia, Theurgia take the energy of music and sound and wield it masterfully to achieve their dark goals. Whereas their great 2015 EP ‘Anti-Perpetuo’ was straight up second wave black fire, ‘Transformation’ melds the second and more avant-garde third waves with equal savage influence and walks the fine line between being a ripping black metal album and a ritual, subversively infiltrating every fibre and atom of your being, inviting them to vibrate at a higher level.

The album has an incredible dynamic flow from beginning to end. The more you listen the more it works on you, altering your consciousness. The cataclysmic fury, the transcendent rhythms, verses and chords; whether you realise it or not, you come out the other side irrevocably changed. The album transforms you.

Released on 16th August through Throats Productions, Worship Tapes and Esfinge De La Calavera, it’s a superb work of devotional mysticism that hopefully won’t fly under the radar for much longer. This deserves to be experienced. We were incredibly privileged to sit down with main composer Daemonae to delve deeper into the album and its esoteric power. Prepare yourself, and read on below.


Greetings Daemonae, sincerest thanks for your time. I’ve recently had the pleasure of an aural assault from your magnificent debut full-length ‘Transformation’. From the title to the lyrical content, the theme of this album leans towards metamorphosis and transcendence. Is this symbolic of any internal changes within you or the band?

– I’m so grateful to you for taking the time to listen to us, my friend. 
TRANSFORMATION has affected, in a positive way, in all members perceptions. I have an absolute deep liberation of my spirit in the moment of translating a word and a rhythm for this album. Every idea captured on it is a kinesthetic fluency; something I cannot describe in words, but maybe I can describe it with this album.

The album as a whole is fascinatingly infused with an almost devotional, ritualistic quality, and the name ‘Theurgia’ is taken from the Lesser Key of Solomon Book II, ‘Ars Theurgia Goetia’. Do you follow any particular spiritual paths or philosophy as individuals?

– Hellbeats walks on his own path, influenced by existentialism, he is just a simple guy but very focused on his dogmas. Mortum P. and Teuterastus are more influenced by Satanism, which I respect. I am a soul hungry for the truth. Today I have a strong inclination for the Aghori ideology, Spiritism, Luciferian Occultism. But my mind exclaims that nothing is enough and everything must be questioned in every way.

It’s a powerful release, you can feel it having an almost physical effect on you as you listen. Do you believe black metal, or music in general, has the ability to affect/alter reality or mental states to the point of eliciting transformation?

– Your own voice is a constant flow of frequencies, some not detected by one’s ear. Other frequencies affect our psyche positively or negatively (as you wish to use).

Lately I’ve been very deep on these experiences, on how my own voice can vibrate my cranial cavity causing a state of relaxation on my brain, helping me make a deeper meditation.

Music is a flow of feelings, feelings that you can touch under those frequencies. Frequencies that transform you and make you feel what that person wanted to carve into the song, or the album. And yes, I believe the music can transform us (Black Metal and any music genre).

Your great 2015 EP ‘Anti Perpetuo’ was composed entirely by you, while this time we see a collaborative effort in the writing stage. How did you find that change in the creative process and any resulting effects on your sound?

– Nothing has changed, brother. I’m still creating all the music of THEURGIA in every aspect. This album was written about 2 years ago, but we had to stop recording it. And this is due to our relocation in Colombia (I mean Hellbeats and myself). In just a few months, we recorded the album in Fenix Estudio in Barranquilla / Colombia.

But in this case, the collaboration of Hellbeats on drums was fundamental to the album. Giving him an aggressive and heavy sound he was looking for.

Despite the influence of both second and third wave styles in your sound you’ve never appeared to conform to any typical sonic or image based standards, and always operate on your own terms. Is this something you’ve consciously sought to cultivate in the band?

– This theorem it is create under this dogma, something that has persisted since we started. A way to lose our spirits in an eternal sea, hidden on cosmic energy, flowing our energy together into a blackened galaxies. 

No Corpse-Paint, no Inverted Crosses, No Goat headless, Long Spikes!

I respect a lot of those bands that follow these same stereotypes. Even more if this bands carry this on, all the fucking life. But I don’t wanna be the same.

From where do you derive inspiration while you write? Were there any specific pieces of music, art, or visions that influenced the conceptualization and creation of this album?

– I have been more influenced by cultures like the Aghori for their adoration and love of death, their vision of the flesh is obsolete, life must be measured by their spirituality as a whole.

In Tibet and Mongolia, by the connection with Spiritual & low frequencies, a totally hermetic knowledge.

Other philosophies or doctrines such as hyperdimensionalities, Kabbalah, Alchemy, Astrology, etc. Some authors like Zecharia Sitchin, Samael Aun Weor and I’m very much influenced by H.P. LOVECRAFT.

Maybe you’re asking, why?

Because I am a faithful believer that Howard did not just write science fiction. There was a lot of reality hidden in his writings. For example: Dagon/Enki and the origin of this water world (influence of ILV – THE VERB OF WATERS).

The album has been released on tape through Worship Tapes and soon on digipack CD through Throats Productions. Worship Tapes in particular does some fantastic work handcrafting his products, are you happy with both labels? Any plans for a vinyl release in future?

– In this case, the tape was released by Worship Tapes and ESFINGE DE LA CALAVERA from Spain. The work besides of these labels has been rewarding. All of them are magnificent lovers of “devout metal” so to speak. I have had incredible support on our short road. In the case of THROATS PRODUCTIONS, they have been a heavy support to promote TRANSFORMATION in every unimaginable way. The work of all labels has been impeccable and faithful.

And I hope this alliance continues for many years more!

The physical editions of the album contain a stirring bonus cover of Dissection’s classic track ‘Retribution – Storm of the Light’s Bane’. Why cover this particular song, what special meaning does it hold for you?

– This track was recorded for a tribute album. But for some strange reason (that I still do not know) it has not concreted as of yet. I was not informed more about it. In order to not lose it, we took the decision of including it on the album as a bonus track.

More than a tribute, it is a thorn that should be drawn. For years I always wanted to make a tribute to Dissection. For me, Storm of the Light’s Bane is a big influence.


The cover is an great piece of art by John Quevedo Janssens, in perfect synergy with your created work. Is it better than you imagined? What was it like to work with him?

– I did not expect that art to be so magnificent.

John worked with me on the album of my other band (Funebria), performing the art of our last album DEKATHERION. Realizing an incredible art. Upon this magnificent artwork I made the decision to work with him on the art for TRANSFORMATION.

A great friend with incredible talent, no doubt.

The last track is not only the final part of a numbered trilogy of songs (Procesio IV, V and VI) but has the only Spanish-language lyrics on the album. Is there any significance to this?

– I’m a big fan of Spanish lyrics with a grammar and a solid concept.

In Anti Perpetuo, all subjects were in Spanish except one. Many people in Europe thought that we should create the lyrics in English and, well… It was something that we didn’t ignore in this work. But I will never deny my native language since I love writing good lyrics in Spanish and so far, this has left me great satisfaction.

The band was originally from Venezuela but has now relocated to Columbia; many excellent artists have come from both over the years. Selbst is a personal favourite of late. Are there any other local acts that you believe deserve more exposure?

– The situation in our country is really heavy, and that shit starts to create a very unstable tension in people’s minds. This situation has strengthened black metal bands and some others are born under the path of the occult.

Bands like VeldravethIgni DareSagothSelbstGutirothSeoj. I could say that Funebria, and other new projects such as Nox DesperatioMonarchianvs Clavstrvm CastificatioNekro Cvlt Desecration. For me, one of the best projects born of the Orthodox style in Venezuela is MORITURIO. Which I highly recommend.

After letting loose this incredible work of nihilistic, hermetic and ascendant majesty upon the world: what is next for Theurgia? 

– Our devotion to the darkness and death will remain eternal. We’ll return to the place where we came from, the womb of our mother death. Exhaling his glorious words.

Our next work may be a heavier version of TRANSFORMATION. For the moment we have not thought of writing something new. But I can tell you that we have a SPLIT programmed to be released with very close band from our native country and a re-edition of ANTI PERPETUO, maybe a Studio Album (with No-Sequenced Drums).

Sincerest thanks again, your time is very much appreciated. Any final words?

– I hugely appreciate your support for spreading our words for your continent. I invite to all the readers of Black Metal Daily to remain very attentive to the news of THEURGIA. 

All the best to you!


Purchase ‘Transformation’ on CD from Throats Productions here and on cassette from either Worship Tapes here or Esfinge De La Calavera here.

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Abandon All Hope – An Interview With Aversio Humanitatis

“Transcend a fraudulent reality – 
let fear and pain penetrate and go through 

Deconstruct your being – 
resign all perishable aspirations 

Dissociation from all that surrounds you – 
become an impassive entity 

Accept your purpose in this world –
you are here to destroy and suffer”

– Aversio Humanitatis, “Advent of the Inescapable”


Back in March, enigmatic Spanish nihilists Aversio Humanitatis released an unequivocal contender for EP of the year. Originally only available in their home country, ‘Longing for the Untold’ was their brand of subtly mind-bending black metal continuing its metamorphosis into a cavernous, devouring new form: a perfect sickening balance between abyssal, disassociative chaos and an undeniable physicality as if punishing you for simply existing. Now the wretchedness is unleashed ever further as it sees a full vinyl, CD and die-hard cassette release through both BlackSeed Productions and Sentient Ruin Laboratories; expanded with the three great dissonant and sonorous tracks from their 2013 ‘Three Ways of Conciousness’ split with Selbst and Nihil to boot. 

We all know black metal has, by its very nature, always contained an element of the ‘anti’: anti-christian, anti-music, anti-trends, anti-life. Well, Aversio Humanitatis go one step beyond; you’ll understand when you listen. This is an EP that will pull your skin off slowly to force you to see what’s underneath, directing your gaze both inwards and outwards. I can’t get enough of it, I simply had to dive into the black infinity to make contact and find out more.

So direct your senses towards the official video for the title track ‘Longing for the Untold’ to prepare yourself, and read on below for a glimpse of clarity in the maelstrom of terror and introspection that is Aversio Humanitatis.


Hey guys, hope you are well. I’ve recently experienced your latest EP ‘Longing for the Untold’, a imposing release of progressive and powerful destruction. Given it’s been out for a few months now, are you happy with the reception it’s had?

– Absolutely, ‘Longing for the Untold’ has been a great step forward in all aspects, what we have achieved with this work is better than anything we’ve done before and that’s been reciprocated in terms of recognition and popularity.

The main EP itself is four tracks of punishing, cerebral despair and bleak agony. Can you shed a little light on the creative process behind such madness? Were there any specific inspirations that informed this release, or any particular challenges/influences that affected its writing/recording?

– Well, the composition of this EP started after some important events and changes inside the band: a member in a new very complicated personal situation, another one having to move out of Spain, etc. Personally, being the main composer in the band, I wasn’t able to create a song during 2-3 years, until 2015 when I managed to gather enough riffs to complete ‘The Ever Shifting Path’ and later the rest of the songs during 2016. We wanted to make a full-length but as result of what I’ve said things were going too slow; so when we had those four songs finished, we felt that we had to record them and give a push to the band as soon as possible. To restart our work after some difficult times, wounded but stronger than before.

Usually the composition process starts by me -S.D.- doing a fundamental structure of the songs with my guitar riffs; then I show them to the drummer -J.H.- who almost always suggests changes and contributes with ideas that end up modifying those first versions of the songs. -A.M.- is responsible of creating and performing all vocal aspects, bass lines and many of the lyrics. Although we barely rehearse together, except just before concerts.

The production is especially impressive to me, it sounds absolutely monstrous. Terrifying yet still deliciously obscure. Where was the album produced and who took care of the whole process?

– The EP was completely produced at The Empty Hall Studio, which I personally run. The studio was founded around a year and a half ago and ‘Longing for the Untold’ was the first full production ever done there. Of course this has many advantages and gives us complete control during the recording and post-production processes.

Some things went pretty straight forward, for example almost all vocals you can hear were recorded by A.M in the first take. J.H. also recorded the drums for all the four songs in a single day. But other things got complicated, I had to re-record the bass and guitars a couple of times until I found the right sound, and also made countless versions of the mix. We knew exactly how it had to sound and we got pretty close. It was a tough but satisfactory process.

I’ll take this opportunity to blatantly promote myself and tell all interesting bands to visit and get in contact if they want to work with me for their album.

The EP originally came out on CD through BlackSeed Productions and is now seeing a vinyl and tape release with Sentient Ruin Laboratories also on board. Two absolutely killer labels, are you pleased with this arrangement? How did Sentient Ruin become involved?

– Sentient Ruin got in contact with us just after the CD was released and proposed us to do the vinyl and cassette editions. We didn’t know the label but after checking it has edited a bunch of interesting bands in the last years we had no reason to say no. BlackSeed was already going to do the vinyl on their own but they thought it was a good idea to cooperate. So now each label is focused in their own distribution, that is SR in America and BS in Europe.

There’s an added bonus on this enhanced re-release, included is your side from the great 2013 three way split with Selbst and Nihil. I love the idea, showcasing previous work. What was your thought process behind including the older tracks?

– From a practical point of view there was enough space to include more music in a 12” vinyl, and since the EP’s length is only 21 minutes we thought it was a good opportunity to put new listeners in context showing them some of our previous work.

You can immediately hear the difference from the EP tracks when the older songs kick in. How do you feel your sound has developed, and how has your approach changed in comparison to the new material?

– You definitely can perceive a difference, but it isn’t something we were looking for, I think it’s due to the sum of several small changes. In the first place, there’s a lapse of 3-4 years between the composition of the previous split EP from 2013 and new songs (with the exception of ‘The Ever Shifting Path’, that was composed in between those), so this implies more experience as musicians, new ideas and, above everything, another vital state that is reflected in our creations.

I think there’s a common feeling in all our works, but there are also new nuances that appear or dissapear in every one of them, as well as new approaches to the same core ideas. Probably with the time we have given more presence to certain kind of riffs in detriment of others.

Finally, there are some more technical aspects that has changed our sound, such as a different guitar tuning, a lower vocal register, sporadic use of synths and the overall production, that makes everything sounds deeper and stronger. The result is that the new work is just better.

The EP feels like it transcends humanity and simple hatred, something alluded to not only in the lyrics but the name of the project itself. It’s a less misanthropic, more nihilistic feel. What are your thoughts on the current state and future of humankind?

– That’s correct, the lyrics of this EP are more oriented towards reflection on our existence, the passing of time, the capitulation of our pretensions before our own insignificance. I’d say that it’s beyond hatred, it’s closer to acceptance of our pain and the contemplation of our falling and the grandiosity of the universe. Our lyrics tend to be short but they ‘hide’ personal experiences and deeper reflections of what you can perceive at first. It’s also good to give enough space for everyone to find their personal meaning to the songs and own them in their unique way.

It’s difficult to make a diagnosis about the state of humanity, there are too many facts and data to ignore, it could be a really long discussion.

On a period of time the vocals have switched to a deeper deathlike assault, which sounds great and adds a whole other level to proceedings. What in particular instigated this change?

– Nothing in particular, as we started to make more low-tuned guitar riffs I think A.M. unconsciously adapted his vocals and started singing that way at some point, which is good since as you said it sounds deeper and stronger. With the years he has improved his vocals and got a wider range, which allows him to sound like that.

While listening through your discography I’ve been struck by thoughts of artists like Italy’s Lorn. Singular, subversive bands that work within a familiarity spectrum to ensnare but then create something subtly new and warped that infiltrates, unsettles and exhilarates. Quite unique. I know everyone takes something different from art, would this be similar to how you perceive your own work or hope it is perceived by others?

– You have a good ear and intuition, I’ve listened to Lorn since a lot of years ago and really enjoy it. I usually read a lot of absurd comparisons but this one makes sense to me. The funny thing about that band is that when I discovered their first album arround 2008 I thought it sounded similar to the band I had at the time (Eterna Penumbra), then they made a shift with the second album and when I listened to it I thought “this is kind of what I’m doing with Aversio Humanitatis right now!” so, there seems to be a ‘subconscious’ connection with them, hahaha. Although we don’t have any kind of relation.

I think your description hit the nail. We move in familiar territories for all who listen to extreme music, we are comfortable there and do not seek to transgress it but we definitely try to permeate our own personality into what we do; just enough to create something slightly new, as you said. I know everybody says this shit about their band, but whatever.

We don’t “hope” to be perceived by people in any particular way, I don’t even think the three of us conceive the band in exactly the same way, we just join forces and try to our best in every aspect. Once the work is finished, it’s an independent opus susceptible of being judged and interpreted in almost infinite ways. We don’t want nor need to like everybody, we’re confident of our ideas and skills, so we know that if we are satisfied with what we’ve done, other people will join us too.

The original cover showed a piece of Fabio Rincones art. However, for this reissue you’re using a sleeve of stunning, bleak photography; and I for one think the unexpected offset against what would be the usual genre tropes symbolises perfectly the music contained within. What’s the story behind the artwork, who is the photographer?

– That picture was taken by our singer A.M. during a journey he started just days after recording the voices for ‘Longing for the Untold’ (he hasn’t come back yet). By the moment I was doing the layout for the CD edition (in which this pictures can be found in the inner part), I had the Fabio’s figures, but we needed something more to complete the artwork, and there’s where these magnificent pictures appeared, they were taken just days before. I won’t say the exact place/country where they were taken to keep it more enigmatic, although perhaps someone recognizes it.
On one side, you have the Fabio Rincones’ art: deformed silhouettes that are being oppressed by their inner conflicts, by the pains of existence, although there’s also a certain attitude of opposition in their fall. On the other side, you have these impressive landscapes that transmit a relentless strength and beauty, they put us as beholders of what’s unknown and bigger than us. I think both parts of the artwork complement each other and make a good contrast, accompanying different aspects of our music and lyrics.

Your members have spent time in a few other luminary projects. Why does Aversio Humanitatis exist, how did it form, and what does it mean to you?

– It exists because we have nothing better to do, and probably there is nothing better to do. I don’t care about perpetuating myself through my art; as many says, I don’t want to perpetuate anything, especially not my name, but I do want to transcend as much as possible my everyday life full of stupid, useless and repetitive stuff, to create something out of my hands and head that can be appreciated by other people and make me proud of myself. A pinch of beauty and creativity in this world of shit. Having a band can be exhausting and very expensive, but it becomes an obligation to yourself, it’s a part of you and you can’t let it die, every time you want to make it better, bigger, more significant. It’s really hard to find another better way to spend your time, I will create music as long as I live. I can’t speak for the other members but I think they feel the same.

This EP is truly astonishing, and has definitely whet some appetites. Will there be another full-length materialising to shatter our realities any time soon?

– We are already working on new compositions for an album and probably a couple of other smaller releases. However, I don’t know how soon this will happen, since quality is first and a full-length are big words. So, except if the death interferes, we are definitely going to release an album at some point.

Sincerest thanks for your time and the incredible music. Anything else you’d like to add?

– Thanks for your interest in Aversio Humanitatis.


Purchase ‘Longing for the Untold’ on digital, cassette and vinyl from Sentient Ruin Laboratories in the US here, and on vinyl and CD from BlackSeed Productions in Europe here.

Support Aversio Humanitatis:

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Lucid Dreams in Savage Streets – A Review and Interview With Fell Ruin

Everyone loves a good story. But what if the story didn’t make sense? It sounded as if it did at first. At a cursory glance everything seems in order; but the closer you listen, the more things seem a little off. Words and sentences don’t seem to fit. Things seem to lose focus. The story drives on, but now something is definitely wrong. You aren’t following at all, are you losing your mind? Everything seemed normal. Why doesn’t this make sense? A feeling of dread creeps in. Is the storyteller insane, or are you? What’s happening? You begin to panic. Beads of sweat form. You have to get out of here, you can’t keep listening. What are they even saying? Why are they smiling? Their eyes seem dead. Your head feels like it’s unravelling. This isn’t normal. This isn’t happening. Run. RUN.

And so begins the musical journey that is US avant-garde four piece Fell Ruin’s harrowing debut opus ‘To the Concrete Drifts’. Released on March 17th through I, Voidhanger Records and Graven Earth, it follows a narrative and there are recurring motifs such as the gorgeous acoustic sections that lull you into a false sense of security; but that’s just a well calculated ruse to intensify the helplessness with which you tumble into its nightmare. The more you get lost in its intricacies, the more you realise it’s a staggering piece of art. 

Its five tracks begin with ‘Respire’, an intro of sorrowful and foreboding acoustic guitar before the terror begins to stir in second track ‘The Lucid Shell (Rite of Fertile Sand Coasts)’ with a savage, crawling doom rasping and grinding towards you. From then on the tale takes on a life of its own, subversively challenging your senses and nerve as it organically mutates from dystopian blackened doom to thrash to blistering pure black and even post metal, all within the same song. Brian Sheehan’s commanding, haunted and often sinister vocals drive proceedings; when he roars “I SUCCUMB” in third track ‘Spy Fiction Folds in Ready Streets’ you can almost literally feel yourself being swallowed by waves of concrete, shifting and crashing as the cityscape collapses and undulates, succumbing to the psychedelic horror.

Special mention should also be made to Jeff McMullen’s unique basswork and tone, winding around in fantastic interplay with Rob Radtke’s portentous guitar and adding a whole new level uncomfortableness, confusion and misery to proceedings as August Krueger expertly gives the songs what they need with dazzling progressive skinsmanship.

The whole thing works so well together, each listen gets better and better. Before you know it it’s dragging the pit of your stomach through the floor as it weaves a mesmerising spell, leaving you hopelessly ensnared by an unnerving and unhinged world you’ll be unsure of how you arrived at… and will never be able to catch your bearings enough to escape from.

I’ll be spending a lot more time getting lost in this album, I highly recommend you do too. In the meantime, check out the supremely unsettling official video for ‘Spy Fiction Folds in Ready Streets’ above; then read on below as we chat to vocalist Brian about all things Fell Ruin.


Hi Brian, I hope everything is well in the world of Fell Ruin. You recently released your crushing debut album, ‘To the Concrete Drifts’. You guys pleased with the reception it’s been getting?

– Better than we could have hoped. Glad to finally have it out there.

The songs are absolutely mammoth, kaleidoscopic slabs of blight and avant-garde decay. What was the creative process like? Does someone handle the bulk of the writing or is it more of a democratic process?

– Writing is a collaborative process. Everyone brings ideas to the table, and we refine as a group. Listening back to rough recordings from the previous rehearsal for further elaboration. Everyone plays off each other pretty naturally.

The album title is a partial line from one of the songs: “To the Concrete Drifts, I Succumb”. All of the esoteric lyrics conjure up some great mental imagery, but can you explain why you chose that particular phrase to represent the album as a whole?

– Naming things has and will always be the bane of my (our) existence. Scouring over the lyrics, To The Concrete Drifts fit the album as a whole, ringing true to the synopsis of the story.

You guys have a unique and discombobulating sonic pallette, raw and immediate yet oddly disconnected and surreal. I find it occasionally akin to being on acid in a burning building, sitting surrounded by death as everything crashes in slow motion around you. How did recording go, did everything turn out exactly as you envisioned?

– Perfect! That’s relatively close to the atmosphere we sought to create. Recording, for myself anyways, is always the most trying yet rewarding part of making music. With that said, tracking this album was the most comfortable and confident I have been with my performance to date. I think as perfectionists, we all hear things later down the road we wish would’ve been done differently. Collectively, we have long come to peace with such sentiments and remain proud of what we’ve created.

Is there any particular piece of art, music or otherwise, that inspired your sound and/or themes on this release?

– We all have our influences/inspirations. Individually and collectively. Without naming dozens of bands, I would say we are all simply into a little of (almost) everything. Speaking for myself and lyrical content, I’ve always been into the raconteurial approach. Grand story arcs that span the album. To The Concrete Drifts was heavily influenced by pieces such as El Topo, The Dark Tower (specifically “The Gunslinger”), Begotten, The Seventh Seal, and a plethora of others. I don’t really get any inspiration from any lyricists in the metal realm.

The CD is out on I, Voidhanger Records; one of my personal favourite labels. How did that come about?

– Same here. Once we received the mastered version back in the fall, I inquired with a few labels that seemed like a suitable fit. Luciano got back immediately and enthusiastically expressed interest in collaborating. Same thing with Rachel of Graven Earth (whom released the cassette version). Both have been a pleasure to work with, and the finished products exceed expectations.

The suitably nightmare-inducing video for “Spy Fiction Folds in Ready Streets” also dropped recently. Can you tell us a little about that and the ideas represented in the video?

– Having grown up on old, black and white horror/art films, it always seemed natural to pursue similar aesthetics and themes. Including elements from the lyrics as well as the album artwork without painting too specific of a picture is difficult. Surreal horror that isn’t in the straight forward commonplace, allowing the spectator to come to his/her own conclusions. In this case, we are more than pleased with the result. As for specifics, I will let the viewer discern.

Were you there for the shoot? How was that experience, and how much creative input did you have throughout the process?

It was a collaborative endeavor between Nick Holland of Diamond Dead Media, myself and a few close friends. I wanted to make something that made me feel the same way I felt watching Begotten for the first time, without just ripping it off. Sampling bits and pieces from the lyrics, crafting masks and costumes, it was an elaborate endeavor that took weeks of planning and two days of shooting on location.

The album artwork is great, ties in fantastically with the video. And it was done by yourself (Legerdemain Art)! Did you have any prior ideas/direction for it all?

– Thanks! It’s been a luxury handling the visual interpretations of the music. I had a vague idea going into it, but it came down to experimenting with multiple elements and combining them. Once the main image was conceived, the additional art came together pretty naturally.

It’s been two years since your also-excellent EP ‘Devices’, which I felt was slightly more straightforward black metal influenced. This one seems like you’ve really let rip. What would you say the biggest change has been from the EP to the album?

– I feel like our songwriting has matured as a whole. Although, two of the tracks on T.T.C.D. were written before some of the songs on Devices. Refined and relentlessly revisited before making it to the recording.

‘Fell Ruin’ strikes me as a very emblematic name. What’s the meaning behind it?

– Again, naming things has never come easy. We completed the recording of Devices before agreeing on the moniker. ‘Fell’ in the old literary sense (savage, violent, cruel). ‘Ruin’ in its common use (decay, dissolution). Inciting the notion of empowerment through turmoil.

You’ve been around a few years now. How did Fell Ruin come into existence, and why does it continue to exist?

– Just three friends from various musical endeavors conspiring to do something new. In the fall of 2013, August, Jeff and Rob started writing songs. I tried out for vocals in the spring of 2014 and it’s been us four ever since. It will continue until we feel it loses its luster.

What’s the Black Metal scene like in Michigan, are there any other bands from the area that deserve more attention?

– There are some great bands, but very few black metal bands. We ourselves never really considered this band to be black metal though the influences are undoubtedly there. To name drop a few local friends and peers: IsenblåstDark WinterTemple of VoidMammonEndlingSunlight’s BaneHer Dark Host

And finally, what comes next? What lies in the future of Fell Ruin?

– Writing for our next venture is already well underway. More live shows in support of the album are being planned, but nothing we can share just yet.

Great news, looking forward to seeing the horror and wonder the next album brings. Thanks again for your time!


Purchase the excellent debut album on cassette from Graven Earth Records here and on CD from I, Voidhanger Records here.

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The Infinite Dark – A Review and Interview With Synodic

“Our posturings, our imagined self-importance, the delusion that we have some privileged position in the Universe, are challenged by this point of pale light. Our planet is a lonely speck in the great enveloping cosmic dark.”  – Carl Sagan

Those who have been reading BMD for a while may be familiar with the name Synodic; the debut single ‘Large Magellanic Cloud’ by US duo Imber and Myrdin Cerphas was featured back in the heady days of Bandcamp Misanthropy Volume 1. Since then I’ve followed the project with interest and remained in contact, and now I’ve been extremely privileged to hear the full-length realisation of their vision and speak with conceptual creator, lyricist and vocalist Imber about the massive ‘Infinite Presence In A Violent Universe”, finally unleashed upon the galaxy at midnight last night.

But first, a look at the album itself. Space themed black metal projects are close to becoming dime-a-dozen these days; write some spacey riffs, slap on some psychedelic sounds, add vague lyrics and Bob’s your astronaut. Straight off the bat, with their debut Synodic surpass the majority of those projects by means of one key ingredient: a genuine passion for astronomy and the universe at large. A great deal of attention is paid to the scientific content of the lyrics and everything from the sound and production to the huge, expansive songs seems carefully planned to give the listener the most authentic cosmic experience still skillfully balanced with the raw black metal ethos and aesthetic. It’s violent and illuminating, light and dark, crushingly solid and eerily ethereal all at once. 

Introductory track ‘Descending On Titan’ sucessfully sets up the journey ahead, implanting images of an unfathomably huge object moving through space before the titular second track explodes as though you’re witnessing the big bang itself from afar. Think if Anaal Nathrakh were floating on a distant space shuttle instead of puking in the gutters of Birmingham and you’re along the right track; it’s one of the more intense songs on the record. It’s here you’re introduced to the unique production too, which eschews just enough of the total rawness of low-fi black metal for a more modern, distant and intricate effect. The guitars sound like planetary noise, a dense yet distant roar of raw sound while mechanical drums not often suited to black metal click and whir with savage precision like intricate parts of a spacecraft gliding effortlessly through the black void; shimmering cymbal crashes echoing throughout immensity. 

The fury of the song eases up for a moment to introduce us to another feature of the album; a synth interlude with a sound that isn’t a million miles away from the delicate cosmic tones of Limbonic Art’s ‘In Abhorrence Dementia’ introduction but which seems far more fitting here. These synths make a welcome return for the start of the absolutely epic third track; the lead-in single ‘Large Magellanic Cloud’. 

With the dust settled from the fury of the title track, now the stillness and vastness of the cosmos dawns upon you and you’re in awe of its magnitude. You’re floating in space, its wonders reaching out into infinity. It’s an epic, trance-like song, dense and heavy. Named after a galaxy that orbits our Milky Way once every 1500 million years, you know that feeling you get when your mind grasps the enormity of a fact like that? When you imagine yourself, an inconsequential mote of dust, drifting through the endless, terrifying yet beautiful nothingness of space? That feeling is this track. Magnificent, cold and awe inspiring.

The album continues with the two-parter of tracks four and five, ‘Cosmic Cataclysm NGC 6357’ and the instrumental ‘Cosmic Perspective’. The vibes are still sky high and Imber’s vocals taking a breather only allows pause to fully take in the sheer overwhelming vastness of it all. Speaking of which, Imber shrieks and rasps with the best of them and matches the tone of the songs with detached fury, her voice a vortex with it’s own gravitational pull; a vocal black hole.

I won’t say too much about the last two tracks so there’s still uncharted planes for the interstellar traveller to discover, just that the riffs in both are absolutely killer and the closer contains one of the catchiest riff/vocal combinations I’ve heard in aeons.

Overall, it’s a truly excellent debut that knows its subject matter and nails it better than some artists with ten times the experience. The songs are massive, expansive and really given time to breathe; the production is just right and doesn’t fall into the all-too-common trap of being too gaudy or bombastic, keeping its black metal roots intact and deliciously prominent. One of my favourite underground releases of late; I’ll be honestly surprised if this doesn’t get snapped up for a physical release by an ace label very soon. 

So without further ado, pick up the album from the above link (all funds go towards a physical release) then grab some headphones, go outside, look at the stars and float off into the atmosphere. Or alternatively, give it a stream as you read our chat with vocalist Imber below to delve further into its measureless mysteries.


Hails Imber! I hope you’re well. Your debut album ‘Infinite Presence In A Violent Universe’ has just been released, how does it feel to finally have it unleashed upon the world?

– As someone who has been very passionate about music my whole life it feels really good to release something that I am part of. Not just to be a listener but to be part of the creation itself.

Synodic is you and Myrdin Cerphas, who I believe is your partner, something you don’t often see in black metal. What’s it like working artistically with your significant other, do the creative fires burn brighter from your bond?

– It works well for us because we know and understand each other so well. When I presented the idea and concept to him he was able to translate that into music that was just how I felt it should be. He was able to create the right vibe and emotion it’s supposed to invoke. He is gifted in that way and we work well together.

It’s quite a strong debut, especially considering you take care of all aspects of the project yourselves. What roles do each of you play within Synodic? Do you offer any feedback on each other’s work or simply trust in each other’s ability and interpretation of the vision?

– A little bit of both. He writes the music and does all the sound engineering while I do all the vocals and lyrics. He always asks for my opinion and feedback on what he creates and vice versa. We take that into consideration and make something we both are happy as a result.

It’s been a couple of months since the excellent and trance-like first single ‘Large Magellanic Cloud’ was released. How long did the album take to complete? How was the recording experience?

– It took about 3 months from start to finish and since we record at home we can do it on our time so if we want to spend hours and hours creating and recording in a couple of days and then take a few days off we can. Recording at home with Myrdin on our own time is comfortable and it’s been a great experience because it’s something we do together creating music we are passionate about.

Synodic describes itself as ‘Cosmic USBM portraying the heavy, dark elements of the universe through music’. What is it about these universe that you find so inspiring, and why do you think these themes translate so well into black metal?

– There is nothing more violent, dark, and massive than the cosmos so it suits black metal perfectly. We are next to nothing in the grand scheme of things.

The lyrics of the album are quite unique; there are many space themed projects out there but this is the first one I’ve come across based largely on actual science. It really seems like you know your stuff and this is a genuine interest of yours. Have you had this project planned out for a while?

– I have always loved astronomy and the reality of the universe is so much more awe-inspiring than any fantasy or supernatural human creation in my opinion. Combining astronomy and black metal, my two favorite things, is really special for me. After listening to a few cosmic themed black metal albums last year we thought it would be perfect just do it in our own way using the science in a poetic way for the lyrical content.

One of the tracks contains a fitting sample of a Carl Sagan quote. What’s the significance of the quote, and what does it and Carl Sagan mean to this project?

– Carl Sagan is someone I admire and idolize really. He wanted the world to acknowledge our place in the universe and not fall victim to dogma. When you open your eyes and mind to the reality of the universe around you it is the most liberating feeling and he helped catalyze that during his time.

The instrumental introductory track ‘Descending On Titan’ has some interesting sounds in there. Can you tell us a little about this track, is it just something you knocked up in studio?

– We used actual sample sounds from the Huygens space probe that landed on Saturn’s moon Titan in 2005. It was part of the Cassini mission to Saturn. Sounds of the probe entering the atmosphere and the landing, so it was appropriate to name the track “Descending on Titan”.

Music-wise, are there any particular bands/artists that have had a profound influence on either you or Myrdin’s vocal or playing style?

– My biggest influences range from early black metal artists such as Burzum to the newer artists like Mare Cognitum. Myrdin draws influence from everything as early as 60’s rock to a lot of early black metal and newer black metal as well.

You’re self-releasing at the moment. Any plans to shop around for labels or would you prefer to remain independent for now?

– We would gladly sign to a label that is right for Synodic if the opportunity presents itself.

Are there any plans for Synodic to one day become a live entity? Is performing with session members something you’d be interested in?

– There are no plans for us to be performing live any time soon but who knows what the future will hold if we meet the right people.

What do you hope the listener takes home from this interstellar journey?

– An appreciation for what we create and hopefully they become interested in doing their own research into cosmos.

Do you guys have any other active projects we should check out?

– Myrdin has a black metal project called Revelation None that is a completely different animal from Synodic. You can look Revelation None up on FacebookBandcamp, and most streaming services such as Spotify.

So what comes next; what does the universe have in store for Synodic? Are you thinking about a follow up release yet?

– We hope to release an EP this fall so follow us and we’ll keep everyone updated.

Thanks again for talking to us, congratulations on a stellar debut! Is there anything else you’d like to add?

– We’d just like to thank you for the interview and review of the album. We appreciate everyone that has been there for us through the process and all those that will support us going forward.


Purchase ‘Infinite Presence In A Violent Universe’ on Bandcamp here.

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