DEADLY FROST - Triumph of The Damned Cross

Fallen Angel and Krew Diabła (Devil's Blood) will release DEADLY FROST's "Triumph of The Damned Cross". It is a full lenght material recorder before the sessions for the "Voices from Hell". It has been only available as CDr before. This edition will be enhanced with bonus session for "Blood For Satan".

 

HOLY DEATH - Evil

Yet another announcement from Fallen Angel and Krew Diabła (Devil's Blood). A CD re-ediion of a cult 1997's demo "Evil" from HOLY DEATH. This release will be enhanced with some tracks that were never published before!

 

HOLY DEATH - Triumph of Evil

Fallen Angel and Krew Diabła (Devil's Blood) are proud to announce a CD re-edition of a cult debut album from HOLY DEATH! "Triumph of Evil?" from 1996 will be enhanced with additional tracks that were not published anywhere ever before!! Stay tuned for more information!

 

ANGEL BUTCHER

Manuel "Joker" Henriques with UGANGA completed work on a new album, even though it is not sitting idly musician! ANGEL BUTCHER, a project in which contracts are Henrigues started rehearsals with the new line up and work on new material.

 

VOODOO looking for a drummer

Latest report from the camp VOO DOO. The team is looking for heavy metal drummer who knows his stuff and is able to meet the very high demands of the band. Gentlemen of the VOO DOO fans have had enough, time to get to work, a series of concerts in May! If you feel that you are able to meet this challenge, contact the team: Adres poczty elektronicznej jest chroniony przed robotami spamującymi. W przeglądarce musi być włączona obsługa JavaScript, żeby go zobaczyć. .

 

UGANGA - Opressor / Live album

Musicians UGANGA finalize their live album at the end of May. The band has already recorded a big concert in Germany (Razorblade Festival), two tracks of cover songs (TROOPD OF DOOM and NIGHTMARE) and three bonus cuts recorded in the studio - two covers of "Nao desist" (cover of an old Brazilian metal band STRESS), "Desespero" (cover of an old punk band PASTEL DE MIOLOS) and a short instrumental piece. CD will include a multi-track of a document with EuroTour 2010, two clips and a book of diary of the tour, also a lot of graphics, slipcase and 16-page booklet. The publisher of this album is Metal Soldiers Records.

In addition, this week the team completed work on a new studio album. Its title is "Opressor", will be released in October in Brazil by Laser Company (the label which cooperates with SEPULTURA, KRISIUN, MATANZA). The European version of the CD will be released probably by Metal Soldiers Records.

 

VOODOO - singiel

Another report from the city of Krakow! Slowly counting down days to the premiere of our upcoming CD, VOO DOO "Voo Doo" in 1987. In the meantime, the team is preparing a new single premiere of Peter "Foreman" outriders (HELLIAS).

 

HELLIAS preparing the next release!

Latest news from the camp of Krakow thrashers, HELLIAS. The team is preparing soon to release another record, this time it will be a retrospective album which will be recorded seventeen classic compositions from scratch. There will be also a very unique type numbers "Vampyr", which was originally on the demo tape "Revenge Of Hellias" '88. Moreover, as the story goes in the session will be attended by a number of invited guests, among others. guitarist VOO DOO, Richard Krupa.

This is not the end of the news from the camp, Goolary also announced this year, recording a brand new album premiere HELLIAS. You can see that spring is coming and the guys got down to work!

 

RISEN PROPHECY- Into The Valley of Hinnom CD Metal On Metal 2015

Another gem from the Italian label Metal on Metal. UK`s RISEN PROPHECY is back, after five years, with their second full length album. This is one of the more interesting bands this label has to offer, the label which has a good eye for valuable bands. And RISEN PROPHECY is a valuable band, for sure. It is dynamic thrash metal with a lot of Power influences. Boss Oliver`s powerful guitars keep as amazed again and again, cutting with their razor sharp riffs; solos are just breathtaking, the sound is just overwhelming. Plus, a very distinct vocal turns this material in a really explosive mixture. So the outcome is like this: a very interesting piece of music. And the music from “The Valley of Hinnom” is, indeed, unique. Here, you may find unusually complex songs, it all is perfectly balanced, and every single element is well hearable. The self-complementing instrumentarium of every band member is definitely noticeable. the rhythm section of Ben Olivier Bass and James Chalton is this album`s fuel. It all sounds very clear yet still filthy and rough. Too, Dan Tyren`s powerful vocal is this album`s bright point. There are no weak points here in this album, it all is just super tight and compact. The songs` amazing atmosphere is abundant with different moods. There are some calm moments, and there are some really wild ones. These 36 minutes of music is not enough, really. We need more. this stuff for maniacs into ICED EARTH, FORBIDDEN or UK`s SABBAT. Yeah, RISEN PROPHECY is cleverly influenced by these bands and they do not copy them mindlessly, oh no! Keep an eye on this talented band as they`ll show you again what they`re capable of! LWS

Poprawiony (piątek, 25 września 2015 10:44)

 

SPECTRAL VOICE

 
 
 
Hi there, good to finally see you here in Poland. By the way, not all the shows on your tour will be shared with Demilich. Is there one single band to replace them on the rest of the dates or are you going to be accompanied by different bands each time?
 
Hi. It will just be the local bands. Daniel from Kill-Town Bookings set up 13 shows with Demilich as that's as many as they can play due to their work schedules, we decided to continue on our own throughout the last week.. 
 
You often seem to be compared to bands from the Finnish scene (Disma, Demigod, to name just a two) – how do you feel about it? Are you indeed inspired by bands from that part of the world or is it just a biased opinion of some listeners? I guess you can't ignore the fact that you are touring with a Finnish band right now. 
 
We're definitely inspired by Finnish bands. When Paul and I started the band we wanted to capture the sound and gloomines of early Finnish scene, which was different from the rest that was going on then, with bands like Rippikoulu, Demigod, Disma, Disgrace. Also Disembowelment was a big one for us, they're from Australia and have a different sound, but  share the same vibe, this introspective element in their music. I fucking love Finnish death metal, way more than Swedish – the Finns had a smaller scene, but more varied sound. You know, Demich doesn't really sound like Demigod, Demigod doen't sound like Rippikoulu and so on. There was this sense of inspiring, but not copying among those bands and that's really cool. 
 
It took you five years to release a full lenght album, although you had released some rehearsals, a crushing demo and some splits on the way. This time can be seen either as long or short, depending on many factors. How do you personally see it? I mean: the music you make is very dense and structured, it clearly does not come to life overnight – how would you describe your writing process?
 
Well, the demo was just me and Paul, I played the drums, guitar and did the vocals, Paul mainly recorded the guitar leads and some synth parts. At the beginning we were specifically trying to do a Finnish style band, to recreate the sound of Abhorence, or such and such band from there. We had always wanted to tour from the first day we started the band, so when we got Jeff and Morris to join the band and with a full line up we did a tour, but it was me and Paul writing the music. We started working on the full lenth album in 2014. It was still the two of us handling the majority of writing, but this time also Jeff and Morris had some riffs and arrangements so it was more like a group effort. It was very positive, four guys creating music made the sound wider – instead of two guys obsessed with Demigod sound it was four having their own ear and ideas. I don't think five years is a long time. We all have jobs and homes, so in my opinion it's better to take more time and create something more solid and cohesive rather than release an album every year or two with just two good songs on it. But you know, sometimes the music does come overnight – Paul  once came to the practice with a song he had made the previous  night – Terminal Exhalation of Being – and we didn't almost change anything in it. Sometimes inspiration just strikes, at other times you have to work with the song. But what matters is that everything remains natural and organic. 
 
 
Everyone knows you're involved in some other projects, though Spectral Voice is your priority band. From your own perspective, do you think your involvement in other endeavors contributes to Spectral Voice or do you rather see it as exploring other music genres and a thing completely unrelated to your work in Spectral Voice?
 
Well, most  bands I play in are metal acts anyways, so it all depends on how you define 'related', but what matters here is that none of us would ever bring a riff that was made for another band, but it didn't work there or the other way round – not a single idea meant for SV would go to another project. The mindset and mental focus are strictly dedicated to each band so there can't be a lot of crossover. Well, some projects that I'm in are electronic or noise bands – they're unrelated musically, but it's moreless similar outlet in trying to capture the same energy. So, most of my projects are trying to seize the same thing, but in different ways and with different results. I think that could be said about most everybody in SV.
 
You desribe yourselves as a secular band, but your lyrics, although definitely more of a psychological rather than religious nature, seem quite spiritual. Could you tell us something more about them? What are your inspirations in that matter?
 
 
True, the lyrics are definitely not religious, as none of us are religious, though each ofu s has their own spiritual outlooks and beliefs. I try not to impose mine on others, but one big inspiration for me would definitely be Austin Spare, an English occultist who used psychology to break down  the barriers of mundane reality. He calls it atavistic resurgence. Also Carl Jung, who believed that within the collective unconscience we tap into the currents  and energies that are archaic, timeless, completely outside and acasual to any human domain. It's all very inspirational to me and it opens multiple universes to explore and see what lies behind the veil of our existence. Then there is Yung's outlook on dreamscapes and how your dreams can be reflective into your reality – that has also fascinated me. I've had recurring dreams since I was a child, really vivid and intense, really scary dreams that have definitely left a mark on me. So that's some of the inspirations, there are also my own visions of outer dimensions and inner realms. The lyrics of Spectral Voice are quite personal so they might be rather abstract for an average reader but that's OK for me, as those lyrics are important for me alone, not for the band to present its filosophy. It's not like I'm having a spoken word discussion with the audience every night, it's more like a chance of getting into the same mindspace as when you're writing the song. The lyrics are like a spell you set each time in the same way, otherwise the words will not work. They help recapture certain landscapes and emotions thanks to witch I can present the spectral aura of the band. 
 
All SV members are involved in multiple bands or projects,  some of them (Blood Incantation for that matter) seem more occupying than others. Don't you think that due to this state of affairs the band might not use its full potential? 
 
It hasn't been a problem so far, those guys are all dedicated to their craft and what they are trying to do with their lives. There are no schedule conflicts, we're all open to what offers are  available for each band. Both Blood Incantation and Spectral Voice are busy bands touringwise – SV do four to six weeks tours in the States, the last European tour was six and a half weeks – we like touring for sure. But it's not like I feel like I need to be on a tour, when Blood Incantation is touring there is no animosity, like 'SV could be on tour now, but they are instead.' I think when the time is right, the time is right. All members are dedicated, both bands practise twice a week, so we all make this our lives and it never conflicts with our schedules because we have the same schedules. The other guys are crazy, they played a 3-week tour with Blood Incantation ending at Kill-Town Festival and started a SV tour there as well. After the show they just got into another van with other gear. They just love doing it and that's the key thing here – if there was one single person who doen't really want to be there in that van, the whole band's energy would be lost and that would compromise everything. Also, I don't think we'll ever be a band that replaces musicians – if anyone decided to quit, it would probably be the end of the band. The way the band works is a very specific formula of all four individuals, in case anyone were replaced, it would be extremely hard to recreate that chemistry. 
 
You took over vocals after Casey Hogan's departure. Why did he leave and why did you, a drummer, decide to take this responsibility? It can't  have been the first option that popped in your head, you know what I mean.
 
It was actually somehing that simply made sense. When Casey left the band we were all in really good terms, he almost always goes on tour with us, he does the merch and sometimes joins us on stage to sing some songs, but he left the band simply because he didn't really want to do exactly what we were doing. In the beginning of the band it was all more rigid sonically, but he wasn't really sure about the aestethics and the presentation of the band on stage, also the touring at the time... When he left, we talked about it. At the time it was still only Paul and I, and it was me who wrote and composed the placement of the lyrics so it kind of made sense. So instead of finding a person to fill the void I just tried it and, although it was hard at the start, it became an integral part of our band. It was ust easier for me to sing my own lyrics than for anybody else to sing another person's quite personal words. And I said to myself, that if Chris Reifert can do this... also at that time I thought James Reed, the drummer from Revenge, did the vocals on stage as well, so, shit, if they can do this, why not me?
 
Not even a year has passed since the release of Eroded Corridors of Unbeing, I guess we'll have to wait a while longer for another full lenght. What are the bands plans for the nearest future?
 
Yeah, we have a split coming up with a band from Seattle, a 10 inch, then we'll start working on a new record, but I can't say when that will happen. Matt from Dark Descent Records is very open with whatever we do, he says 'when you're ready, just let me know.' He's been our friend since before the band started, we hang out a lot so it makes things easier. I really want the new album to be out, but it just has to be the right thing. The more the band exists the more we realise that we don't really need to be writing a song every two months to be on top of any schedule. Sometimes we try to write a song and it sounds good, but then we come back to practice another time and it sounds a little stale - the essense and atmosphere have to be there so the filter is very high for what will pass through. So that will probably make for a slower process, but we also devote a lot of out time to it so it doesn't have to be that long. We'll see. 
 
Thanks for the talk.
Absolutely, thanks. 
Radosław Grygiel
Foto Live Kazimierz Ździebło i zdzieblo.com.pl
 

Poprawiony (niedziela, 10 lutego 2019 08:32)

 

KRIEGSMASCHINE INTERVIEW

 

Apocalypticists, the brand-new album by KSM was out on October 21, 2018. In my view, tis` a good reason to inquire M about some details in connection with this very recording. I also allowed myself to ask about MGLA who are going to provide us with their new album quite soon. Ok, no need to waste our time. Lads and ladies, please read on.

Hello M. It’s been nine years since we spoke. A lot has happened during those years. I think that the premiere of KRIEGSMASCHINE`s latest album as well as MGLA`s forthcoming recording are good reasons enough to talk about your music. Can we start?

1. Exercises in Futility was released four years ago. Same for Enemy of Man. So much and so little time has passed, indeed. I am sure that you`ve been quite busy over the last four years, am I correct?

As for MGLA, we played live during that time. We did almost 100 shows in three continents over the span of two years. Of course, 100 wouldn’t be a shocking amount if we were a proper, incessantly touring band but for an independent BM group this number seems quite impressive. In December 2017, we suspended playing live. We`ll resume in March 2019. In the meantime, we stealthily recorded and released KRIEGSMASCHINE`s new album and are currently working on MGLA, too. As previously, we`re dealing with all the components ourselves, I mean we compose, record, release and distribute our music on our own; so, we`re quite busy but can’t complain, really.

2. Apocalypticists by KRIEGSMASCHINE was released in late October 2018. This album is much slower than your previous recordings. I would say this stuff is more atmospheric and one can clearly notice how much KSM have progressed over the last four years. As artists, you still have a lot to say. What Apocalypticists features is hardly comparable to what other bands can come up with these days. How difficult is it to write/compose original music presently?

To make a pure black metal album was one of our goals, however, using a different foundation by contrast with standard BM recordings. Due to this unorthodox approach, blended with this very overwhelming atmosphere of the whole recording, repetitive arrangements and so on, I, in result, expected Apocalypticists would be given a much worse reception than it actually did. I was “pleasantly” disappointed, so to say.

3. To say the least, the way Apocalypticists` has been recorded and sounds is, by all means, stunning. All the elements, all the minute details have been meticulously elaborated and worked on. I am curious to know how much time you guys spend on rehearsing/working on music before a proper recording session takes place? How often do you rehearse, in general? Do you work on music at home alone and bring rough versions of songs to your rehearsals or does the music get done while jamming and rehearsing together?

Thank you for your kind words. The first phase of working on a new album begins when we start gathering up ideas the moment the previous recording is complete. It takes, usually, a couple of years; after which we take a look at the basic, raw material we`ve brought forth, select what we need, work on further arrangements and keep writing and adding new parts. This phase takes some months. While working on Apocalypticists we didn’t rehearse at all. It all was pre-produced, so to say; I mean we worked on rough versions on a computer, those versions featured previously recorded parts, and when we had the song structures ready, we started the proper recording of tracks. KRIEGSMASCHINE is nowadays a purely studio band and its music is created “in layers”, I mean after we had recorded drums and lead guitar tracks, we composed and recorded additional parts of guitar and bass lines, then worked on vocals and so on. It went quite smoothly; in total, from the very first recording day to final mastering it took us three months in total.

4. I am wondering why so vital people like you guys certainly are, are able to create such gloomy and dark music. What inspires you to play such sinister sounds?

We create music which mirrors our inner self, which is based on and shaped into forms that interact with ourselves. These very specific parts of our inner selves aren’t manifested by musical activates exclusively. We strive not to, at least.

5. The KSM`s new album was composed by you and another guy, without Destroyer. Does it imply Konrad ain`t part of KSM any longer?

That’s correct.

6. I can still remember the time when KRIEGSMASCHINE used to play live a lot. MGLA, on the flip side, was a studio project. Now, it’s the other way around. Does it mean we`ll not get a chance to see KSM play live again in the future? I would say to play the whole Apocalypticists album live may arduous a task indeed.

Well, if this happens it will take place in remote future. First off, to do so, we`d have to regularly rehearse the album songs for a couple of months and ought to expand our line-up, too. It won’t happen in the next months, for sure, maybe even years.

7. While working on Apocalypticalists you guys were also busy with MGLA`s new album. Can you please spill the beans and tell us some more about band’s forthcoming stuff? Is it going to be in the vein of your latest album or should we expect something new and revolutionary?

We`ve elaborated a particular black metal style of ours and this style hasn’t completely dried up yet. We don’t expect any drastic volte-face to take place.

8. When MGLA`s new album is out, you will embark on a European tour together with REVENGE/DOOMBRINGER/DEUS MORTEM. Can you please tell us some more about this tour? Where are you going to show up? When exactly are you starting off?

The tour starts on April 27 in Berlin and will feature 19 gigs in Central-Western Europe, mostly in Germany, France as well as four live shows in Poland. All the participants have known and respected each other for years. The enterprise itself is a bottom-up project, including Steve who was responsible for our previous European tour with AOSOTH, as well as Mintaj of Left Hand Sounds, who`s been helping us out with organizational issues since the beginning of this year. We prefer to get our hands dirty but to stay independent with no heavily breathing tour agency supervising us; an agency run by a bunch of dynamic yuppies, skillfully adapting to trending requirements imposed by contemporary music industry. In other words, by sneaky rats.

9. You`ve already played live in Europe, USA as well as Australia. Are you going to show up in other Asian countries, like Japan, for instance, too? Are you going to partake in other events apart from the above-mentioned tour with REVENGE?

So far, we`ve got nearly 40 live shows confirmed. This year, it`ll be Europe only. In 2020, we`ll focus on other continents. Japan is planned on our way to Australia. South and North America will follow, that’s for sure.

10. Apart from KRIEGSMASCHINE/MGŁA you also are busy with recording other bands` music. Tell us about your recent doings, please?

My studio work is restricted to working on bands that belong to my friends. I am so busy with my own shit I have no time to run a full-time studio. In 2018, I cooperated with OWLS WOODS GRAVES, DEATH LIKE MASS, LVCIFYRE. The DEUS MORTEM`s new album is almost done and fully mixed. Also, there is something going on with MEDICO PESTE`s new stuff,

11. While chatting some time ago, you mentioned you had quite a number of ambient ideas you would like to record. Is it going to be another chapter of ARCA FUNEBRIS or something new?

I have recorded a lot of ideas but I have no time, motivation or interest to work on these, finalize these and release. In the recent years, I finally managed to enter the world of modular synthesizers, with the focal point on DIY and if time allows, I am going to realize a couple of ideas connected to generative music, which stands for self-generating where my role will be located somewhere between being an engineer and conductor. Stylistically, it can be considered dark ambient or some heavier forms of death industrial/power electronics; or somewhere in between – it all depends on my mood or what part of a day it is.

12. Let’s get back to Apocalypticists for a moment, shall we. I would say this album is very drumming – oriented. Was it your initial idea to expose this instrument that much or did it just happen on its own?

Yes, that’s correct. I would say that since Enemy of Man was out, KSM has become more and more rhythm oriented. The main idea wasn’t to make the drums sound as loud as possible but to base the structure of an album on other types of rhythms – different from blast beats and double pedal. In other words, to create a black metal album devoid of what I call a fundamental, rhythmic BM structure. MGLA is more conservative in this context. Riffs and vocals are of utmost importance, the aim of the percussion section is to provide a proper pulse.

13. A lot of great music to show up in 2018, for sure. Any favourite, stunning albums you can recommend to us? Is it black metal only or some other types of music, too?

Frankly, I don’t follow what’s new too much. I did enjoy CLANDESTINE BLAZE`s new album though. I also got to like FUNERAL MIST – did take me some time, I must say. As for BM I used to listen to KATHARSIS` World without End and BURZUM`s Hvis Lyset Tar Oss alternately and those two were enough for me. Plus, industrial, experimental and modern music. I tried to catch up with a number of older items too. To relax I listened to a lot of Obituary of the Americas by GENOCIDE ORGAN.

14. These days, we witness a number of spectacular reunions. TORMENTOR is back, Tom Warrior reanacts HELLHAMMER`s songs live. What is your view on this matter?

I have no view, whatsoever. It is because my perception of music is based on the 90s music. I have no sentiment about earlier stuff I mean it aint strong enough to get me interested again in it. Well, if Vikernes feels like reactivating his band in 5-10 years, I will surely have more to say.

15. Many ardent black metal fans claim black metal must correspond to Devil himself. What do you think about such an approach? Your lyrics don’t deal with Satan too much, I would say. If ever, indeed.

Indirectly yes, not mentioning the very Name. Because it, indeed, narrows down the issue, automatically. In my view black metal must be based on an emotional foundation as well as conceptual or ideological one. If these aren’t present, well, this sort of music becomes popular music which is beyond what I am interested in. Both as receiver and creator.

16. Over the years, black metal has evolved a lot. Frankly speaking, it doesn’t resemble the music it was in the beginning. Is it good or bad that this genre has changed so drastically.

First off, due to better distribution and increased availability, BM has ceased to be a niche kind of music. And thus, at least for an average listener, it`s become just another music genre. In result, many elements of black metal have penetrated pop culture, be it through inspirations other artists operating in other fields draw from BM; like aesthetics or symbolism, music arrangements and so on, then placed in totally different context. This is the tip of the iceberg, so to say. I mean these artists have learned about the most popular bands only; which doesn’t imply these bands are most important. For a person who originates from black metal underground, his natural reaction is somewhere between doubt and revulsion. Yet, statically speaking, we are a minority group. As for BM`s stylistic evolution, well, this is metal`s only subgenre where, I would say, new, interesting and inspiring things appear, constantly. Bearing in mind that black metal was supposed (all along) to be an anti-mainstream type of music, different from anything around there might be, well, I prefer looking for new ideas than listening to tribute bands.

17. Time to wrap up, I guess. If you want to add anything for our Old School Metal Maniac Magazine readers, feel free to do so. Thanks for your answers. Take care.

Thank you.

 

By NecronosferatuS

Poprawiony (niedziela, 10 lutego 2019 07:39)