May 072018
 


Photo by Per Ole Hagen

 

(One of our Norway-based contributors, Karina Noctum, conducted the following interview with members of the Swedish black metal band Mephorash at this year’s Inferno Festival. The band are at work on a highly anticipated new album, which follows 2015’s 1557 – Rites of Nullification.)

 

Karina: You have released a single that belongs to your fourth upcoming album. Have you finished it or are you producing it?

Mishbar Bovmeph: We are almost finished. We are working wrapping the whole album up and hopefully we will release it towards autumn this year. 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 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 »

Mar 292018
 

 

(The multinational band Sojourner released their second album earlier this month through Avantgarde Music, and in this post our Norway-based contributor Karina Noctum provides thoughts about the music and also elicitsthoughts from vocalist Emilio Crespo about his approach to the crafting of Sojourner’s lyrics. You’ll have a chance to listen to the music as well.)

 

I don’t remember precisely how I found Sojourner, but what I do remember is that the cover of the first album dragged me to them first. When I saw it, I thought it had to be some sort of atmospheric band and I had to check it out. Yes it was, and a very impressive one. The best atmospheric music (for me) is created by a combination of all the musical instruments and the vocals, layered in such a way as to create the effect, rather than elevating one layer “above” it all — such as something ambient thrown in for good measure — which feels disconnected from everything else.

That discovery of Sojourner was in 2016 when they released Empires of Ash, but now they have released a new album, The Shadowed Road, which again reveals a good production that has rendered a layering to my liking. This album has been carefully made, and particular care has been taken in preserving a contemplative mood throughout the album, while including a variety of rhythms and dynamic song structures. Continue reading »

Mar 262018
 

 

(Norway-based metal writer Karina Noctum went to Netherlands Deathfest on March 2-4, 2018. She wrote to us about her experiences. She probably had no thought that this would turn us a radioactive shade of green with envy, but all things have unintended consequences. She also arranged to have her words accompanied by a sequence of brilliant photos by Niels Vinck, also probably without any desire to stoke the putrid fires of jealousy in those of us who weren’t there, but strengthening the conviction that we damned well better go next year.) 

DAY 1

My journey from the frostbitten lands of Norway started pretty early. 4 am on friday. I arrived in Amsterdam after some hours and a trouble-free flight, this being the usual for Scandinavian airlines that boast of being the most punctual in Europe.

The cool thing about The Netherlands is that every trip to another city from Amsterdam seems to be within a range of no more than one-two hours. After wandering a bit in Amsterdam, I took the train to Tilburg through the somewhat boring landscape (the landscape of every other country in Europe seems boring on the surface if you live in Norway).

I planned everything for the fest a bit too late and found no accommodation other than a private house on Air B&B. I was both lucky to have found a place at all and kinda unlucky that the owners, in addition to being circus artists, were also nudists. Continue reading »

Mar 202018
 

 

(Norway-based NCS contributor Karina Noctum prepared this review of the new album by Lecherous Nocturne, which will be released by Willowtip Records on April 6.)

Lecherous Nocturne are from South Carolina. The musicians have other musical projects that revolve around Brutal Death and Black Metal (Atrocious Abnormality, Cesspool of Vermin, Apotheosys, Helgaroth). They have accumulated enough experience, and it fully shows in LN. Besides, since they’re from South Carolina you can bet the guitarist has played live with Nile, and that is one good hint when it comes to LN’s level of talent.

Lecherous Nocturne are many things. First, they are tech, so you get the insane guitar/bass work, and drums to die for. But keep in mind that if you have your reservations against tech or brutal, this is not your boring, souless tech, and not your raw brutal Neanderthalensis either. This is interesting, reminiscent of stuff that everyone loves but in the grey zone between several styles.

So yeah, this is tech but it is blackened and darkened, in a different spectrum than your average tech death band. Hints of rawness, that blackened thrash rawness, are present. Think of Absu! When it comes to DM you also have Morbid Angel’s omnipresent shadow, which is like a solid concrete foundation that makes this so heavy and enjoyable. The first song brings to mind Morbid Angel’s Heretic, for example.

Their latest album Occultaclysmic is to be released on April 6th by none other than one of the safest quality-checkers in extreme metal, Willowtip. (What a roster they have!) This is an album that further confirms the high quality that is to be found in their catalog. This is basically my definition of how the sound of metal should develop. It has thick musical roots firmly engrained in the DM genre while expanding the sound further into the extreme. It’s faster, much more powerful, and more intricate, without spiralling away into full chaos or a vastness of experimental sounds until the very core of the music is lost. It’s everything you hold dear, just taken to a next level. I do enjoy next levels. Continue reading »

Mar 162018
 


Photo by Mattias Nilsson/Madcap Piktures

(Not long ago Andy Synn launched a regular Saturday series at our site called Waxing Lyrical, devoted to discussions with metal musicians about the lyrics of their songs and the process of creating them. That inspired Norway-based NCS contributor Karina Noctum to pose similar questions to Swedish musician Johnny Pettersson, and you’ll find his answers below, following Karina’s introduction.)

 

Musician Jonny Pettersson from Sweden has been prominently featured here on NCS with many of his bands. He is pretty active and some of his most-known bands are Syn:drom and Wombbath. Other projects of his are Just Before Dawn, Ashcloud, Gods Forsaken, Henry Kane, and Ursinne, to name a few.

With such a vast discography this article will focus primarily on his Swedish DM band Wombbath, whose latest release was a split with Germany’s Obscure Infinity called Upward On A Thousand Lies (Wombbath’s side was premiered here), but with attention also given to Henry Kane, which soundwise is in the same vein but tending more toward grind, and last but not least to Gods Forsaken, a DM project with a mix of mid- and fast-paced parts. It is definitely recommended for fans of Bloodbath, Dismember, and old At the Gates. An interview about Gods Forsaken conducted by Decibel Magazine can be found here. Continue reading »

Mar 152018
 

 

(Our Norway-based correspondent Karina Noctum brings us this interview of Apollyon from the Norwegian black/thrash band Aura Noir, whose new album Aura Noire will be released on April 27th through Indie Recordings.)

 

How do you innovate and keep your sound current while dealing with an old-school sound?

We are just doing what feels natural to us. Also we are mixing ourselves this time to be sure it doesn’t sound too flashy.

 

I attended the Party.San gig last year and there were some sound problems. Besides technical problems, how do those kind of incidents affect the mood while you’re playing live? Do you need to be in a particular mindset to perform your best?

We have a different sound on stage than the sound you hear in the crowd. So it can sound shit to us but good to you or the other way around. For us it is more inspiring to have a good sound on stage obviously. If we cannot hear what we are playing it will of course affect our performance and maybe we will look less confident/inspired. It’s a never-ending worry of course, and can become less worrying by bringing your own soundguy/stage monitor guy… loads of crew. But of course all this costs money so mostly we just use the local crew/sound people. Some of them are good.. .some are not. And some misunderstand how we want to sound. The dream would be to be able to be your own sound technician every night, but that is physically difficult. Continue reading »

Feb 142018
 

 

(Last November the Colorado black metal band Sar Isatum released their excellent debut album Shurpu, an album from which we premiered a song that shares the name of the band, with an introduction to the premiere by our Norwegian ally Gorger. Today we have an interview of the band by another Norway-based ally, Karina Noctum.)

 

First things first, the band’s name. The only fact I retrieved when I searched for Sar Isatum was some connection to a Babylonian incantation. So what’s behind the name?

The name was taken from Sumerian dialect and it means Lord of fire. Continue reading »

Jan 122018
 

 

(The solo artist behind the Swedish black metal band PanPhage has declared that the new album Jord will be the last Panphage record (for reasons discussed in this interview). It is being released today via Nordvis Produktion, and here we present Norway-based Karina Noctum’s review.)

 

Panphage is a Black/Folk one-man band from Sweden. Jord, the latest album, and the last one, comes two years after the release of the full-length Storm. The cover picture of Jord is from some Swedish autumnal landscape. The title of the album translates to “soil”. Most of the song titles are related to the soil/earth theme, e.g. (as translated), “Silent mountain ridge”, “Unsown shall the fields grow”, all revolving around heritage and the earth’s cycle of life and death.

The beginning of “Odalmarkerna” (cultivated fields) reminds me a bit of Iron Maiden actually. But as the album develops, the folk elements become more and more blackened. The album has an atmosphere, an old one. Especially the guitar and drum sound bring the ’90s black metal feeling back quite often. The Bergen scene comes definitely to mind here. Continue reading »