(In this post Evita Hofmane of the Latvian e-zine P3LICAN interviewed members of the Norwegian black metal band Dominanz, whose new album Noxious can be streamed at the end of the interview.)
Dominanz is a modern and a hellishly powerful band hailing from Norway, a land with a tradition of extremity in its music styles. Therefore, this band could be no exception, but Dominanz have enriched their sound even more. The band members basically come from the Black Metal scene (Hades Almighty, Immortal, Taake, Thy Grief).
In late 2010 Dominanz presented “The End of All There Is”. “The End Of All There Is” was the title track of Dominanz ‘s first single, released on October 25, 2010. On August 2011 Dominanz debuted with their critically acclaimed first album As I Shine.
(KevinP turns in another edition of his new NCS interview series, Get To the Point, and in this installment he talks with Nikos Panagiotopoulos, bass player for the Greek bands Universe217 and Lunatic Medlar.)
K: I was all set with my first question being “hey you had a busy 2014 with the Universe217 Ease EP & Lunatic Medlar’s debut album, Finely Tuned Machine, then I noticed the latter was in 2013. Sooo, I guess, I’ll go with “what are your plans for 2015″?
N: Universe217 will do a 4-way split with some good friends (Agnes vein-Allochiria-Hedvika) and also planning on finishing our next LP (which we have already started recording). And maybe some re-releases from our earlier material.
As for gigs, we are hoping for some European dates. We have almost finished our Greek tour for our EP Ease and our label, Van Records, already booked us for their Acherontic Arts Fest this coming May.
K: The songs for the 4-way split and for the upcoming full-length, can you give us some idea what to expect based on your prior material?
N: It’s more minimal/monolithic and has a colder vibe. We didn’t do it on purpose but I think we have less of that Balkan eastern element of our prior works. We didn’t lose it but you can hear it less.
(In this post Evita Hofmane of the Latvian e-zine P3LICAN interviews Jani Koskela of Finland’s 0 X í S T. Music from the band’s live performances and their forthcoming second album is also included with this interview.)
The Finnish band 0 X í S T, for “zero exist”, was formed in 2008. The band aim to create dark metal that stands truthfully for the description in their name. Therefore, 0 X í S T perform music that is menacing, heavy, and dark.
0 X í S T completed their first recording, the Unveiling the Shadow World CD-EP in September 2009. The EP was released in April 2010 by the French extreme doom metal label Ostra Records. After releasing a two-track demo in October 2010, the band started to concentrate on producing their debut album Nil. Nil was released in December 2012 as a joint effort by Ostra Records and Cold Void Emanations. It includes six doomy tracks of dark metal.
The band recorded their second album One Eon during the summer of 2014 and has announced that it will be published as a CD and digital release on the 4th of February 2015. A limited edition picture vinyl print will follow in March. One Eon will feature six works of slow and heavy Dark Metal, with cover art made by Hungarian artist Péter Takács. The album was recorded at D-Studio and partly recorded and mixed at 0 X í S T’s private studio. The band will self-release the album on Death Shrine Offerings (www.deathshrineofferings.net). The CD and digital versions are now available for pre-ordering at http://0xist.bandcamp.com.
In this interview the band’s leader Jani Koskela speaks about their new album, touring, and music itself.
(Karina Cifuentes rejoins us with the following e-mail interview of Magnus Olsfelt of Sweden’s The Crown, whose new album Death Is Not Dead was reviewed by our Andy Synn here and will be released on January 13 (tomorrow!) in the U.S. by Century Media.)
1. Ok, I would like to start with a little update about The Crown…
Ok we have the new album to be released next week and we will have a release party gig here in Gothenburg this saturday. Live drummer Henrik Axelsson will join us, but unfortunately he was rushed to the hospital yesterday with bad fever so let’s hope he can recover by Saturday!
2. What can the fans expect from the new album? Would you say that the fact that you guys were actually writing a The Crown album this time influenced the sound?
People can expect us doing a new album that we have done our best and put a lot of effort into. We think it should be listened to as a whole experience, from beginning to end, to have the full ride, with ups and downs and everything.
Odota — photo by Berit Lamp
(Comrade Aleks brings us this interview with Jarmo Nuutre (Blood Pavilion, Hjem, Skull Trading, ex-Talbot) whose new solo project is named Odota.)
Odota is a new experimental black metal project of Jarmo Nuutre, who took part in the massive Estonian duet Talbot till 2013. Jarmo has decided to concentrate on his solo career, so he plays all instruments on Odota’s first release Fever Marshal. Subjectively, as a person who is not the biggest fan of black art, I got this stuff, and if you need a reason to pay attention to this record, then here’s an interview with Jarmo.
Hail Jarmo! I’m glad that we have a chance to talk, but let me start our interview with the predictable question about leaving Talbot. Let us clarify it at once – is it time to speak about the reasons and is there any chance that you will return?
Hi there, Aleksey!
Well, the main reason for leaving Talbot was that I wanted to focus on my solo stuff once again. Odota, Blood Pavilion, Skull Trading, etc., Hjem too, although I’m not alone there — there’s a singer as well.
Over the years I’ve actually left different bands for the sake of my own projects, so I guess I’m not really good “band-material”.
As those who dwell in the underground already know, the seminal U.S. black metal band VON has embarked on an unusual audiovisual project: They are releasing their third album Dark Gods: Birth of the Architects (which is itself Part II of a trilogy that began with 2013′s Dark Gods: Seven Billion Slaves) in 12 CD installments, with each of the 12 tracks accompanied by part of a comic book named Dark Gods written and illustrated by VON’s founder VENIEN!!! Each CD includes not only a version of a track from the album — which will be released in its entirety in March — but also a bonus track exclusive to the comic book.
Today we bring you a special two-part feature: the premiere of a demo teaser for the album’s 7th track “Black Lotus” along with an instrumental B-side from the CD called “Extinction”, plus an exclusive interview with VON’s drummer “Dirty FvKn! Pistols” and the band’s guitarist “HangMan”. The interview, conducted by e-mail, comes first… the images you will see are preview pages from the comic.
“Dark Gods: Birth of the Architect” is an unusual project – 12 songs released on a weekly basis, with each song accompanied by an installment of a 12-part “Dark Gods” comic book, with a variety of variant covers. For people who are just learning about this, could you explain the concept behind the story and the music?
Dirty Fvkn! Pistols:
The idea was to take the story each song told individually and release them as though someone was giving you a novel, one chapter at a time. Conceptually we already intended to intertwine them so it just made sense to us. We wanted a record that was more than just a bunch of songs, but rather its own entity within itself. It was important that each piece be the correct fit to make one cohesive unit in the end.
(Our Russian contributor Comrade Aleks brings us this interview with Alco Tony of the Russian stoner/sludge band Pressor.)
Let me introduce you to a sludge’n’stoner band from the far-away and ancient Russian city of Kostroma – Pressor is its name. The guys have absorbed all the necessary elements of this dirty genre, so Pressor’s way lies through murky and ugly swamps of narcotic nightmares and most horrific dreams. Anton Khmelevskij aka Alco Tony reveals the sacred ancient obscure occult knowledge of Pressor. Alright now!
Hello! What do our readers need to know about Pressor?
The main thing is to keep yourself together and not get into postmodernism.
(Our Russian contributor Comrade Aleks returns with another interview. This time he talks with Sami Rautio of the band My Shameful, whose sixth album Hollow was released last fall by Moscow Funeral League Records.)
My Shameful is a pretty extreme death doom / funeral product of bitter and hateful inspirations from the daily life of its mastermind Sami Rautio. Its line-up has changed through the time, but mostly My Shameful works as a trio with Sami (vocals, guitars, keyboards) at the helm, Jürgen Frohling on drums, and Twist as the bass-guitarist.
The band’s followers got a full-length album Penance in 2013 after five years of silence; but Sami and the crew didn’t want to waste their time and they returned with the next record Hollow in 2014, and soon after that My Shameful took part in the split-album The Symmetry of Grief with Russian band Who Dies In Siberian Slush. Is it too much? That’s a good question, and I needed to ask Sami himself to know the answer.
I first discovered the Dutch band Apophys last June through a video about a visit by the band’s vocalist Kevin Quilligan to phoniatrician Enrico Di Lorenzo (who also happens to be the frontman of Rome’s Hideous Divinity) for a vocal assessment. That very interesting video (a short version of which is here) led me to search out music, and I found the band’s blast-furnace four-song 2013 promo (and frothed at the mouth over it in this post).
At the time I wrote that post in June, the band were working on a debut album — and then last month brought the surprising news that Metal Blade Records had signed Apophys and would be releasing that debut full-length to the masses.
In the summer of 2013 I came across an album named Evolve by a Chicago band named Of Wolves, and it spun my head clean around. I had more “what the fuck?” moments than I had experienced with any other album during the year up to that point. There was something unexpected lying in wait around every corner, and the album had more corners than a roller-coaster ride. As I wrote in my review:
These three working men in Chicago are fed up, frustrated, and pissed off. They vent their fury at everything from churches to governments to pervasive greed to the treatment of Native Americans to the mass of their fellow citizens (aka “sheep”) who allow themselves to be brainwashed, duped, and distracted from protecting their own self-interests — and they don’t mince words about it. As they say, “Life has been rough, the music is therapy.”
Apparently, the therapy consisted of taking a whole kitchen sink’s worth of musical influences and interests — from punk to crust to metal to garage rock to backwoods mandolin melodies — and letting them spill out in a flood of exuberant creativity.
After I wrote the review, I talked with the band’s vocalist/guitarist Steve Sherwood about doing an interview. Almost eighteen months later, it happened, via e-mail. There’s a reason why the slow loris is the mascot of this site. All live photos accompanying this interview were taken by John Mourlas.