(Our Russian contributor Comrade Aleks returns with another interview. This time his conversation is with Sami Hynninen, who has been involved in a diverse array of musical projects over a 30-year career, now including Opium Warlords and Azrael Rising.)
Sami Hynninen is one of most extravagant men in the Finnish artistic world. He has explored realms of the musical underground for about 30 years, and some of his excursions are well-known by metal heads (especially “doom” heads) of this miserable planet. For example, Reverend Bizarre were a damned famous band of the traditional doom new wave. As this band is long gone, Sami continues his searches with Opium Warlords, Spiritus Mortis, March 15, another his electro projects, Tähtiportti, and the black metal band Azrael Rising. Maybe I’ve forgotten to mention something… well, in this case Sami will correct me. Terve Sami!
Terve Sami! This year you have reached an interesting date — the 30th-year anniversary of your musical career. It’s a pretty long road, but dare I ask how you would sum up the experience of these years?
First of all I have to point out that those early years 1984 – 1990 were very rudimentary, but still, all of that chaotic noise I started with has connection to what I do now, so I think it is appropriate for me to celebrate these thirty years. It is all the same journey I am still on.
My career as a published music maker – first with noisecore tapes released by underground “labels” – started when I was sixteen or seventeen, and since then I have done the same thing that I keep doing today. Because of this I have never felt getting older, in the same sense as some people I used to know are really starting to look tired with their lives. I am that same sixteen year old boy. I have just gained some experience, and knowledge, and intelligence. But emotionally I am just as fragile as I was back then.
Ukraine has produced many outstanding pagan and black metal bands whose music is rooted in the native cultures and traditions that produced them — bands such as Drudkh, Khors, and Kroda. Now we must add one more name to the list: Stryvigor.
This new band, founded in 2012, take their name from a mountain river that flows through the Carpathians. Their debut album Forgotten By Ages will be released by Svarga Music next month. The songs, sung in Ukrainian, were inspired by the landscapes of the region and the warrior traditions of the people. Today we bring the premiere of the new album’s second track, “Mysteries of Darkness”.
Voiced by moving waves of tremolo-picked guitar, the song’s atmospheric melody turns like the firmament in the night sky, flowing like clouds passing the face of the moon or icy rivers coursing through snow-covered forest. Beneath the affecting melody, which exudes warmth as well as cold, the rhythm section provides a heavy foundation, and the scarring vocals add an extra dimension of passion to a song that comes across as genuinely heartfelt.
Editor’s Note: Terry Butler has had an enviable career as a metal musician. He was one of the early members of Massacre (along with Kam Lee, Rick Rozz, and Bill Andrews), a band whose comeback album Back From Beyond was released earlier this year. He was a member of Death from ’87-’90, playing bass on Spiritual Healing (which is being reissued in remastered form by Relapse next month); he was a member of Six Feet Under from 1993 to 2011; and he became a full-time member of Obituary in 2011 and appears on the band’s new forthcoming album Inked In Blood, which is due for release by Relapse on October 28 in the U.S.
This week NCS contributor KevinP talked with Terry about Inked In Blood, Obituary’s decision to release it through Relapse after successfully completing a Kickstarter campaign to finance the making of the album, Obituary’s forthcoming tour with Carcass, Massacre’s comeback album, and more.
K: We are less than 2 months away from the new Obituary album, Inked in Blood, how do you think it turned out?
T: I think it sounds amazing. We took our time writing the album, after all it had been several years since the last one, so why rush it. We mixed it ourselves and took time to make sure we liked the mix.
K: It just dawned on me that this was your first album with the band. Feels like you’ve been there much longer for some reason. It’s been over 4 years now, right?
T: Yeah, I started helping out in Feb 2010 and joined full time in March 2011.
K: Do you think being there that long before recording/writing an album helped you and/or the others?
T: It definitely helped as far as knowing how Donald and Trevor approach writing and arranging songs. I’ve known the guys for over 25 years, so we definitely get along and understand each other.
Horrific tearing noises accompanied the sundering of space-time, and through the rent in the dimensional membrane we received the latest transmission from the void-faring entity known as Ævangelist. Today we share with you this new hymn, as we deliver the premiere of “Præternigma”.
Although the band’s album, Omen Ex Simulacra emerged from the Abysscape only last fall, Debemur Morti Productions will soon be releasing a new full-length named Ævangelist III – Writhes in the Murk. It’s shrouded in striking cover art created by Andrzej Masianis, who also painted the cover for the last Ævangelist album.
From its inception, the music of Ævangelist has been devoted to the creation of mental imagery, emotional response, and physical sensation. The dense atmospheric sounds resist classification, as if a cyclone had scoured the musical landscape and caught up within its chaotic spinning mass the broken shards of death metal, black metal, dark ambient, industrial metal, powerviolence, and black noise (and the new album also includes saxophones and cello). Though guided by the same philosophy, the third Ævangelist hymnal is their most varied and immersive work yet, as the band employ new techniques for exerting their grasp on the imaginations of listeners.
Right about now, as this article is being posted on our site, Iceland’s Sinmara will be revealing the contents of their new album Aphotic Womb at an official listening party at the Beyond the Gates festival in Bergen, Norway, where the band will also be performing live tonight along with an impressive list of other extreme metal bands. But even if you’re unable to teleport yourself to Garage Bergen to hear the album, we’re hosting our own listening party right here through our U.S. premiere of Aphotic Womb.
Sinmara (formerly known as Chao) now includes members of other impressive Icelandic bands – Wormlust, Svartidauði, and Rebirth of Nefast – and I’ve written enthusiastically about each of the songs from the album that have premiered to date:
The squalling dissonance of the riffs, the extremely creative drum rhythms, the extraterrestrial atmosphere of the melody, the sheer vehemence of the acid-spray vocals — all of that combines to make “Verminous” a song that’s both utterly unnerving and utterly riveting. And the album’s title track is an otherworldly flowering of poisonous thorns, shrouded in a miasma of tremolo chords, serpentine leads, thrumming bass notes, and fantastic drum work that you can feel in your spine.
(Austin Weber provides the following introduction to a new song by Canada’s Beyond Creation that premiered yesterday.)
While lyrically speaking, the newly premiered Beyond Creation track, “Neurotical Transmissions”, may indeed mirror its title, the song itself resembles anything but the byproduct of a neurotic disheveled mind. It’s a graceful and epic song that diverges into a bevy of progressive moments amidst its fierce, full-throttle storm.
A back and forth trade-off of spiralling melodies and Dominic Lapointe’s warm, effusive bass rumblings sets the tone, quickly outgrowing its mid-paced beginning and switching direction on a dime toward a plane of mind-boggling pyrotechnics and machine-gun drum bursts, while the band make sure along the way to supplement the cutthroat moments with a series of titanic grooves that add plenty of contrast.
(Gemma Alexander is a Seattle-based writer and NCS fan who visited Iceland in the fall of 2012 during the Iceland Airwaves festival and was generous enough to send us interviews with such bands as Angist, Beneath, Kontinuum, Sólstafir, Gone Postal, and Skálmöld. In July of this year she returned to Iceland for the Eistnaflug metal and rock festival (“Eistnaflug” being Icelandic for “flying testicles”), and we are once again the beneficiary of her writing. Today we present Part 2 of a three-part report on the festival, illustrated with Gemma’s own photos. Visit her own excellent blog here and check out more of her reporting on the festival at KEXP’s web site. Part 1 of her report for us is here and Part 2 is here.)
For the few of us who bothered with the hours before – or even slightly after – noon on Saturday, the desperate drunkenness of Friday night had given way to a comfortable morning buzz. Fewer than two dozen made it to the first show of the day at 1 p.m., AMFJ.
Which was too bad. Aðalstein Motherfucking Jörundsson is one barefoot guy at a little table in the middle of the floor. There wasn’t much to see, but there was a lot to hear. The set started out doomy and moved into a rave-worthy beat supporting vocals distorted beyond recognition. It was some killer industrial noise.
I’m in a hurry, so here’s the deal: Right after the jump is a new Anaal Nathrakh song off their new album Desideratum, which is coming from Metal Blade on October 28. What else do you need to know?
Here are a couple of news items and new pieces of album art that caught my eye. I don’t have much to add to the information sent to us in press releases — other than to say I am tremendously interested in both of these albums (which happen to come from the same label), and you should be, too! (Click the artwork to view larger images.)
BLUT AUS NORD
Today Debemur Morti revealed the cover art (above) for the new album by Blut Aus Nord – Memoria Vetusta III – Saturnian Poetry. It was created by Kristian “Necrolord” Wåhlin (EMPEROR, BATHORY, DARK FUNERAL, DISSECTION, and many more), and it’s wonderful. The layout was conceived by Dehn Sora (known for his work for NEUROSIS and ULVER, among others).
The label further announced that the album has been scheduled for an October 10th release and will be available on Digipack CD, Gatefold 12″ LP, and a digital download version. Here’s the track list:
(In this post we premiere a full-album stream of the new release by Virginia’s Solace of Requiem. Austin Weber provides the following review by way of introduction.)
As a hardcore death metal junkie, I pride myself on my extensive knowledge of the genre. Especially the many underground, unorthodox, obscure, and defunct acts of the genre. As such, I feel like an idiot for being unaware of the Virginia-based group Solace Of Requiem until now. But even in my shame, I can rejoice in having spun their new record, Casting Ruin, numerous times already. To mix my metaphors, it’s a voracious technical death metal beast and a feast for the ears, one whose smorgasbord of sounds has been intricately intertwined into a singular weapon of immense hatred.
Solace Of Requiem write with a diverse array of metal influences, and the in which way they string those influences together in various combinations is the crux of what makes Casting Ruin stand out. Overall, their style weaves around massive bone-crushing columns of racing riffs and brimstone-exploding blast beats, topped off with highly venomous vocals. But to further dissect it, the death metal side of their sound often brings to mind the jackhammering propulsive beatings that Hate Eternal brought to life. In addition, they accent each song with a plethora of aggressive melodic leads and round them out with scathing infusions of blood-curdling black metal blasphemy.
A symphonic undercurrent with classical and orchestral motifs then further enhances most of the songs, including the monstrous savagery present in “Heaving Bile And Ash”. They also display a penchant for beginning and ending several tracks with samples — of such things as chains, clinking machinery, and echoing water droplets. If I had to guess, maybe the cold clang of chains and mechanical whirrings was intended to represent our mental self-imprisonment, societal restraints, and existence as a helpless cog in a larger grinding machine, with the graceful sounds of water drizzling down showing the flip side — freedom and the serenity found freely in nature.