(Comrade Aleks presents this interview with members of Italy’s Bretus.)
The shadow falls on Innsmouth once again! This time the Italian doom band Bretus comes to us to perform their own vision of nightmares which took place (and we know that’s true!) in a godforsaken town somewhere in Massachusetts. Bretus released The Shadow Over Innsmouth album just two weeks ago with the help of Dagon and BloodRock Records.
So if you like good old doom tunes, fish, and seafood delicacies, then this interview with seigniors Ghenes (guitars) and Zagarus (vocals) is for you.
Salute Ghenes! Bretus returns after three years of working in secrecy with a new conceptual album The Shadow Over Innsmouth. How did you spend this period since the previous record In Onirica was released?
Ghenes: Cheers man! We are not hyperactive guys for sure, but we recorded the single “The Haunter of the Dark” for the out-soon 7” split with Black Capricorn (for the label The Arcane Tapes), then we put together the first Doom fest (The Doom Diaries) in our city Catanzaro, and played some live concerts, including the Navajo Calling Fest in Parma, The Malta Doom Fest, and Doom Over Vienna IX. After that we concentrated on writing the new album, which between rehearsals and pre-production has taken us about a year.
(Comrade Aleks returns with an interview of members of the Peruvian doom band Reino Ermitaño, whose latest album Aleks reviewed for us here.)
Reino Ermitaño are well-known as followers of the doom path. This Peruvian band was born about fourteen years ago and since then they’ve proved that they have good taste and know how to play solid and nontrivial doom metal. Their mix of traditional doom and traditional elements of their native culture make a good balance, and the vocals of Tania Duarte are one of band’s features along with hypnotic, driving riffs and highly skilled guitar solos.
Reino Ermitaño finished their 5th full-length record Conjuros de Poder in Autumn 2014 and brought the power of their spells to Europe in a brief tour right after that. It’s a band that always have something new to show, and its members always have something interesting to say. I got in touch with Marcos Coifman (bass) to do this interview, and Tania Duarte (vocals) and Julio Almeida (drums) joined our conversation, too.
(Our Kansas-based friend Derek Neibarger is not only the man behind the Godless Angel death metal project and the inventor of the Cat Hand Rest©, he also proved himself to be an energetic and successful interviewer during his recent day-long takeover of Metal Sucks [all the interviews are linked here]. In fact, he was so energetic in lining up interviews that a few responses arrived too late to be posted at MS — and so we get to be the lucky host of this interview of Fabricio Bertolozi of Dying Breed.)
When it comes to death metal there are certain geographic modifiers that immediately demand my full attention. Florida, Swedish, and Brazilian are geo tags that speak volumes to the death metal aficionado. Even before hearing a single note, these modifiers can provide a fairly accurate idea of how the band in question will sound, from the guitar tone and percussion to the lyrics and vocal style.
And so I was very excited when I came across a mention of the debut album from Brazilian death metallers DyingBreed in my Facebook newsfeed. The South American region has provided a great deal of killer music to my collection, and DyingBreed most definitely lived up to my expectations. Their music is raw and intense, overflowing with vicious riffs and ferocious roars.
I had the great fortune of being granted an interview with bassist Fabricio Bertolozi, who was more than happy to talk about the band’s formation, the new album, and what the future holds in store for DyingBreed.
(Our Kansas-based friend Derek Neibarger is not only the man behind the Godless Angel death metal project and the inventor of the Cat Hand Rest©, he also proved himself to be an energetic and successful interviewer during his recent day-long takeover of Metal Sucks [all the interviews are linked here]. In fact, he was so energetic in lining up interviews that a few responses arrived too late to be posted at MS — and so we get to be the lucky host of this interview of Steve Jansson of the amazing Crypt Sermon, whose debut album came out of nowhere to take the metal world by storm this year.)
In 2013 members of Infiltrator, TrenchRot, Labyrinthine, and Hivelords came together to form Crypt Sermon. The Philadelpia doom metaller’s debut album, Out of the Garden, was released February 24th.
A chance meeting with their drummer, Enrique Sagarnaga, led to the opportunity to ask guitarist Steve Jansson a few questions about the new album and the band’s future plans.
Derek: Hi! Thank you for granting me an interview! In February of this year you released your debut album, Out of the Garden, on Dark Descent Records. Are you happy with how it turned out? How has the response been to the album?
Steve: We are definitely really pleased with how the record came out. Of course when I listen back, there are things that I wish I had spent more time on and done a little better on my end, but that’s the name of the game. As far as the response, it’s been extremely positive and we are certainly stunned at how much attention the album has been getting.
(Comrade Aleks interviews Behrang Alavi, the Iranian-born vocalist/guitarist for Germany’s Samavayo — and of course we have music for you to hear as well.)
Samavayo is the band for those who like stoner music and don’t fear experiments. If you want to know how stoner sounds with progressive, alternative, and Middle Eastern roots, then this band is for you.
Samavayo was born in Berlin somewhere around 2000, and different elements have prevailed in their music in different periods and on different records, but after all of that, the band have found their golden mean. I do think that their last work stands a bit apart from other albums – it’s a vinyl split release by Samavayo and the Russian band The Grand Astoria. We had a talk with Behrang Alavi (vocals, guitars) about this record and some other things.
Editor’s Note: KevinP and I are sharing this post, even though he doesn’t know he’s having to share it with me. In the first part you’ll find another installment in his “Get To the Point” interview series, in which he puts a handful of questions to Lioc F., the main man behind the multinational industrial/death/drone/doom band Autokrator. And after the interview, I have a few thoughts about Autokrator’s self-titled debut album, which was released digitally earlier this year and is due for physical release by Iron Bonehead on May 29.
“GET TO THE POINT”
K: Since you are a fairly new band, (formed in 2014) and I know nothing about your origins, please tell us about Autokrator?
L: Autokrator was born out of the ashes of my former project, N.K.V.D. I wanted to turn on a death-drone side for years, still with industrial influences, so I created Autokrator. And I recorded the album with musicians I was in connection with.
(KevinP puts five questions to Liam Millward, composer/guitarist/bassist/mandolin-player/backing-vocalist of Theoktony from the UK, whose new album you can stream in full at the end of this post.)
K: Cliff notes history lesson: You started as Pulverized in 2001, released one album in 2002, changed the band’s name to Theoktony in 2005, released a debut album in 2008. It’s now 2015 and you are about to release your sophomore effort, Loss, via Dissected Records. Tell us about it.
L: Loss was actually written a couple of years ago, its just taken a while to pull together and record. Musically, I tried to keep with the original modus operandi of Theoktony, to just write and see where it took me. I try not to restrict myself to a genre. Lyrically, I took inspiration from recent history and tried to stay on point, deal with ‘Loss’ in general, whether that be of faith, sanity, or life.
K: Who’s responsible for what on this album? (Writing, playing, producing, etc,)
L: On vocals we have Anthony Jody Myers; drums were played by Anil Carrier; guitars, bass, mandolin and samples were all by myself. As far as writing is concerned, all music and lyrics were written by myself, with the exception of the drums for the songs “Apostate” and “Eritrea”, which were written by Anil. I also produced the album, so if you hate it, I guess I’m to blame. Haha!
(I welcome an old friend but a first-time contributor to NCS. His name is Oily. He enjoys long walks on the beach… AT AN OCEAN OF BLOOD! In this post he interviews Paul Nicholls, frontman of a Portland thrash band long thought dead but now resurrected — Arachnid.)
All great monuments fade. Some treasures wither away, unknown and unappreciated. Seemingly lost, enveloped by the engulfing mists of time, a rare prize resurfaces — a sparkling blood-red gem of thrash metal has been wrenched away from the jaws of oblivion.
Some time back, searching through Stormspell Records’ catalogue, I came across a self-titled release from a Portland-area band called ARACHNID. Curiosity piqued, I had a listen and was blown away; this was without a doubt some of the best thrash I’d heard in a long while.
(In this latest installment of his “Get To the Point” series, KevinP poses 6 questions to Nataliia Androsova vocalist of Endlesshade from Ukraine.)
K: What made you choose death/doom as your style?
N: I used to listen to the music of such bands as Saturnus, Doom:Vs, Celtic Frost, Ea, Fallen, etc. I said “used to”, ’cause my tastes have changed a little. Now I mostly listen to post black, hardcore, and electronic music.
K: Even though your debut album, Wolf Will Swallow the Sun, has just been released through Naturmacht Productions, this was many years in the making, correct?
N: It took about a year to gather material and about half a year to record it. The main problem was that Michael and I couldn’t find musicians to record all the stuff.
(Our Russian contributor Comrade Aleks presents his interview with Henry Bones, bassist of Italy’s Caronte.)
There are a lot of bands who use the tag “occult” in speaking about their music. But the Italian dark masters in the doom stoner band Caronte are not ordinary followers of this genre. They play their songs with true and darkest passion and energy in practicing their mystic sacraments and sharing this experience with Caronte’s listeners. The second full-length album of this Italian cult was released by Van Records under the name Church of Shamanic Goetia in 2014, and once again Caronte have shown their best, revealing new heavy super-hits, as if Danzig himself were playing with them! I’ve used a chance to speak with Henry Bones (bass) about this new record.
Hello Henry! Caronte has released the album Church of Shamanic Goetia through Van Records in 2014. And though the band’s core remains the same, I hear some advancements in your music. How do you class the band’s evolution?
From the previous releases we are all matured a lot, both on a human level and at the level of composition. On our last album we really expressed ourselves as never before.
By the way, how many virgins did you put on the devil’s altar to gain such driving riffs and catchy tunes?
You should ask at our drummer Mike. Normally he is dealing with the virgins.