May 042018
 

 

(Yesterday we posted Grant Skelton’s very interesting review of the unusual debut album by Death. Void. Terror. (brought forth last month by Iron Bonehead Productions), and today we’re following that with his e-mail interview of this mysterious entity, which is also… interesting.)

 

How was Death. Void. Terror. conceived? Whether musical or otherwise, what are some of the inspirations behind the music?

Death. Void. Terror. is an entity conceived for a single purpose: to serve as a vessel for the Great Monolith, a true sole true finality that we as practitioners are subservient to. There are no other inspirations, musical or otherwise. When I say we are vessels for the Great Monolith, I mean that we convey what is bestowed upon us by it and express this unconsciously through our recordings. Continue reading »

May 032018
 

 

(In this new interview Comrade Aleks poses questions to Frederyk Rotter, founding vocalist/guitarist of the Swiss band Zatokrev.)

Fourteen years ago Basel-based power-trio Zatokrev recorded their debut self-titled album. Frederyk Rotter (vocals, guitars), Marco Grementieri (bass), and Silvio Spadino (drums) brought forth a tensive, savage, and energetic blend of extreme doom and sludge. Over the years the band went through a series of metamorphoses, developing with each new record and enriching the sound with post- and some avant-garde influences.

Since April 13, a vinyl reissue of Zatokrev has been available for shipment via Plastic Head. It’s a good reason to talk with Frederyk about Zatokrev’s milestones, as he’s the only member left of the original lineup. Continue reading »

Apr 282018
 

 

(Here’s another edition of Andy Synn’s Saturday interview series in which the subject is metal lyrics.)

Unless you’ve been living under a rock like some quivering, spineless invertebrate (I might pay for that comment later), you’ll doubtless be aware of the great waves caused by the latest Slugdge album, Esoteric Malacology (which I already dubbed “a potential Album of the Year contender”).

Of course if you haven’t done so yet, you should check it out immediately, and then go back and check out the rest of the band’s back-catalogue too.

Once you’ve done that, and you’re suitably prepared in both body and mind, then – and only then – should you return here and delve into the following interview with the band’s vocalist Matt Moss, where he provides some seriously in-depth insight into both the method and the madness which together make up the band’s unique lyrical approach. Continue reading »

Apr 262018
 

 

(One of our Norway-based contributors, Karina Noctum, had the good fortune of recently interviewing Ihsahn, whose new album Àmr will be released on May 4 by Candlelight/Spinefarm, and we present their discussion here today.)

 

You mix together several genres in one song a lot, and this is complicated enough, so how do you compose? Do you have lots of riffs first or does the song develop out of an idea?

I think it’s more the latter. Although in my early years my way of doing it tended more towards having lots of riffs and then putting them together. But as a solo artist it has been more centered around an idea and developing everything taking it as a starting point.

 

But what about this idea, is it a musical one or can it be anything?

It is a musical one. Often times it has been just one vocal line. Take my first solo album, there is a song called “Called by the Fire” in there and those were some lines that I sang while driving, and all singing started from there. But frequently it is a musical theme, or a progression for example.

 

Does the music you listen to influence you when it comes to writing music?

I get inspiration from lots of sources. You named the fact that I bring in many genres… I do feel I still create music that belongs to extreme metal and Black Metal, but I get inspired by other musical landscapes. Other musical textures are something that I like to combine with the music, as it gives it a special character. Continue reading »

Apr 212018
 

 

(Welcome to another edition of Andy Synn’s Waxing Lyrical feature. Today he presents a very interesting discussion with Jamie Stewart of The Absence.)

Some of you may have caught my review of A Gift for the Obsessed, the long-awaited fourth album by Floridian Melodeath marauders The Absence, last month (almost exactly one month ago, in fact). And hopefully some of you were inspired enough to go check out the album on your own terms and, ideally, to pick up a copy for yourselves.

If you didn’t catch it, well, here’s another chance for you to check out what you’ve been missing, as I managed to cajole the band’s vocalist/lyricist Jamie Stewart into participating in this edition of Waxing Lyrical, where he talks about misheard lyrics, space madness, and the importance of Hip-Hop to his early musical development! Continue reading »

Apr 162018
 

 

(Comrade Aleks brings us this interview with three members of the Tennessee funeral doom band Loss, whose new album Horizonless was released last May by Profound Lore. All photos accompanying the interview were made by Diana Lee Zadlo.)

 

Some doom bands are really slow in everything they do. The depressive, crushing, unearthly funeral doom band Loss (Nashville, Tennessee) was formed in 2004, yet their first full-length Despond appeared only in 2011. Well, the band recorded two demos before it and took part in three split-releases, but they really used their time in considering Despond. Six more years passed, and then we got the second album – Horizonless.

I’d like to point out that Loss recorded it with the original lineup, so that’s a good sign of healthy atmosphere, however it doesn’t change the fact that Loss’ sound is damned ruinous again… but what else could we expect?

We had a conversation with three of Loss’ members not so long ago. Here it is — John Anderson (bass), Tim Lewis (guitars), and Jay LeMair (drums) tell their story of Loss, Horizonless, and their 14 years of doom. Continue reading »

Apr 142018
 

 

(Andy Synn returns with another installment in his Saturday series about lyrics in metal, and today brings us insights from Sammy Urwin of the UK band Employed To Serve.)

 

So last week’s edition of Waxing Lyrical featured an artist who I declared to have produced one of the best albums of 2017, and so I thought… why not carry on in that vein?

So here’s your chance to learn more about Employed to Serve, whose most recent album, The Warmth of a Dying Sun, was an absolute masterstroke of metallic catharsis and furious energy, courtesy of the band’s guitarist/main song-writer Sammy Urwin. Continue reading »

Apr 072018
 


photo by Unai Endemaño

 

(Andy Synn returns with another installment in his Saturday series about lyrics in metal, and today we have a fascinating and eloquent discussion by J. F. Fiar, the vocalist and bassist for the Spanish band Foscor, who has penned the lyrics for their songs, in Catalan and English, for the last four years.)

 

Foscor’s latest album, the stunning Les Irreals Visions, was a beautifully bleak, moody and multifaceted delight, and was so good I declared it one of the Critical Top Ten albums of 2017 and at one point described it as:

“…an album that is simultaneously easy to pick up, and nearly impossible to put down…”

Hopefully, like me, you’ve found it just as difficult to stop listening to and, if so, you might be interested in hearing from the band’s long time vocalist J. F. Fiar about his life, his lyrics, and everything he’s learned along the way! Continue reading »

Apr 062018
 

 

(Comrade Aleks presents this interview he conducted with Pascal Vervest, founding guitarist of the Dutch band Fall.)

 

Doom metal isn’t the slowest music in the world, but playing slow sometimes means “recording slow” as well. Netherlands-based funeral / death doom outfit Faal (which means “Fail” in Dutch) appeared in the heavy underground in 2005 and their first album Abhorrence-Salvation saw the light of day through Ván Records in 2008.

The combination of sub-genres Faal practiced brought some fresh vibe, but the band didn’t make haste and took their time in finishing a second album. The Clouds Are Burning appeared in 2012, offering the listeners a 45-minute-long voyage in the depths of depression and bitter grief; and, well, it even has some pretty extreme moments there…

With the third full-length record, Desolate Grief (Ván Records, February 2018) it seems that Pascal Vervest remains the only original member of Faal. How did he manage to keep the band in the same vein? I’m going to sort it out. Continue reading »

Apr 042018
 

 

(The members of Dreamarcher hail from the Hardanger district on the west coast of Norway, and their latest EP, Harding, was released on March 9th. Here, Norway-based NCS contributor Karina Noctum talks with the band’s Ruben Aksnes.)

 

Dreammarcher combines different influences. At times the music can resemble something like Cult of Luna, but for the most part it is progressive, and in a rock fashion; I think of The Mars Volta. The faster parts are a hybrid of hardcore and Black Metal. Clean vocals in an American style that at times remind me of bands from P.O.D to Fear Factory, but are rock-like for the most part.

I’d say Harding, their newly released EP, has a complex array of different vocal styles, a mesh of different genres, and interesting song structures. They have even brought folk into the mix by using the fiddle, which was, I found out, a symbol of rebellion in Hardanger, the Norwegian region the band hails from. Continue reading »