Oct 112016



(In this post we bring you two songs from the forthcoming reissue of the debut album by the unusual Greek band Morpheus Tales, along with the following review by Greek guest writer Chrysostomos Tsaprailis.)

Black metal and space have been closely intimated throughout the genre’s history. Not so much as the last frontier for humanity, but rather as an approximation of the Unknown, space exhibits close ties with the genre’s uncanny essence. The noir art genre on the other hand, though somewhat close aesthetically to black metal, has never been much associated with it, mainly due to the former’s emphasis on human emotions and relations, something undoubtedly contrary to the black metal thought-form. Still, the Greek experimental black metal band Morpheus Tales assume the difficult task of presenting a cosmic noir tale in their aptly named debut Secular Noir.

The album was first released independently on digital format in 2014, and two years after, it will finally see a physical release via the new Greek Arcane Angels label, firstly on tape as a taste of what’s to come, and then on both vinyl and CD editions. All physical releases will sport new cover art and band logo, created by Arcane Accidents, a sub-division of Arcane Angels, which will be responsible for the artwork of several other releases of the label as well. Continue reading »

Jun 172016



(We present this guest review of the new Virus album, written by Chrysostomos Tsaprailis, who also writes for Avopolis Music Network, Metal Invader, and for his own Industries Of Inferno blog.)

It’s really quite remarkable how a music genre, normally considered rather “off-limits” for a certain audience, can become accepted by it, if introductions are handled by a recognizable and trusted (by the particular audience) artist. In the case of experimental avant-garde rock, the Trojan horse in question, responsible to a large degree for its acceptance by the black metal audience, is one of the most congenial members of the Norwegian extreme music scene, namely Carl-Michael Eide, or Czral as far as his Virus persona is concerned.

He was certainly not the only one responsible for the embrace of unconventional (for the scene) music by a large part of the scene’s fans; remember that during the years around the millennium’s turn Norway teemed with experimentation. Still, Carl-Michael, firstly with the short-lived but ultra-influential Ved Buens Ende, and afterwards with Virus, managed, with an almost extraordinary casualness, to engraft the mind of a seemingly stiff audience with components that on a first level appeared incompatible with it. What is more, he managed that without losing any of the listeners’ respect, most probably due to his simultaneous participation in more traditional acts. Continue reading »