Chants of the fameless Vol. 7

N O W

HELLWITCH was founded in 1984 in Florida, and even though the band never got that much exposure, those among you who happen to know about them remember the pretty intense 1990 album « Syzygial Miscreancy ». Releasing only two albums in more than 30 years of career and not touring extensively did not help to get the name of HELLWITCH very famous. The band, lead by Pat Ranieri, never deviated from an uncompromising Death Metal that not so many dare or know how to play nowadays. The music withdraws a firm influence from the most aggressive and fast forms of Thrash Metal, à la SADUS, NUM SKULL. Hence, the Death Metal of HELLWITCH kind of belongs to this technical and thrashy bunch of bands like REVENANT or RIPPING CORPSE, but they still exist! And believe me, their latest output on Pulverised records is a strong and warmly welcome slab of uncompromising intensity. The « At Rest » 7″EP will be available on the 24th of February 2017, and can be preodered now here.

 

 

A decade after their first rehearsal tape, the French Death Metal maniacs of RITUALIZATION finally deliver their first album on Iron Bonehead recs. « Sacraments to the Sons of the Abyss » delivers a whirlwind of speed that engulfes you in darkness and evil. It feels good to see bands that still take enough time to shape their sound, spirit and identity. Of course, parallels can be done with the unrelenting violence of ANGELCORPSE, but RITUALIZATION has this little thing that makes them unique. And they are a quite intense band to see on a stage. These guys breath and live this music, and it is good to see them purvey such a solid and dedicated work of demonized frenzy to those who like their Death Metal bleak and uncompromising.

 

 

LUCIFERICON is a pretty new band with only 2 EP’s, but the members are no newcomers to the scene. Thus it is to be expected that these Dutch know how to deliver some very well conceived Metal of Death that makes you dive into the muddiest of occult waters. Their new Invictus Prods release « Brimstone Altar » confirms that these guys keep on getting better and eager to compose songs with a good balance between intense riffage and eerie atmospheres. LUCIFERICON channels grandeur and heaviness through the filth of their music.

 

 

T H E N

« Punk before punk existed ». That’s how the late John Peel would describe STACK WADDY‘s raw and hectic rock’n’roll. The simple, repetitive and simple riffs, the raspy vocals and the quite dirty sound thrown in the cauldron of bugger off attitude. This band has roots in blues more than in the garage sound of the sixties. They only released 3 records, the two first in the early 70’s, and the last one in 2013 as a compilation of lost jams recorded by Peel back in the days. If you’re into CAPTAIN BEEFHEART, MÖTÖRHEAD, and awkward blues à la Cedell Davis, then are you hesitating for a second to get your ears tainted by STACK WADDY’s power?

 

 

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He left us on the 21st of January 2017, and was one of the greatest choral composers of our time. The Estonian affable character that was Veljo Tormis is not of our world anymore, but he left a musical monument behind him. During decades he used to collect the heritage of the Estonian culture through ancients chants and runo songs (traditionnal songsfrom the thousand years old tradition of his country). He refered to the folklore and the shamanistic culture through something as fragile as oral tradition. Veljo Tormis was crucial in preserving a treasure. This music will give you shivers down the spine, as it will embark your soul to a journey you will not forget. There’s something so primordial and essential in Veljo Tormis work of a lifetime. May his soul keep on reaching us through the mouths of the singing generations to come.

 

R.L Burnside was an American bluesman whose style incorporated many folk aspects and was had dynamics that would remind of the groove of traditionnal music from Mali. Born in the 1920’s, he lived until 2005 and got to tour and to get exposure thanks to the JON SPENCER BLUES EXPLOSION, and his signing on Fat Possum records. Although he remained pretty confidential for a while. A whole new generation of Blues addicts got to know his music since the 1990’s. The man was brave enough to record a whole album where he mixed Blues and Hip-Hop, called « Wish I was in Heaven Sitting Down » and the result is quite stunning. Listen to his version of the classic Skip James’ « Hard Time Killing Floor » and let the Blues take you to another dimension.

 

 

 

 

 

 

 

 

 

Publicités

Purge, de Fange, chez Throatruiner

(English below)

Lors d’un détour estival, on assiste à un live de Dopethrone (on ne les présente plus, ces québécois malitornes, sti calice !), et en première partie, on découvre Fange, une formation de jeunots surexcités à l’âme aussi noire qu’une catastrophe pétrolière.

Leur son est gras, lourd, oppressant, et on aime ça. Après cette découverte live, l’écoute de leur nouvel opus, Purge, s’imposait. Leur énergie sur scène est brute de décoffrage, auto-destructrice, avec des influences harsh et punk plus présentes dans leur sludge très sombre. L’album présente un intérêt plus profond, plus sombre et plus travaillé, avec une meilleur fluidité dans la pose du noise.

Un groupe jeune donc, mais prometteur, si bien qu’on leur pardonne quelques maladresses au niveau des tripotages de boutons sur scène, qui semble pourtant leur donner satisfaction, affaire à suivre…

Benjamin qui officie à la guitare, au chant et aux manettes nous en dit plus :

Votre formation est assez jeune et pourtant le line up a tourné il me semble : une raison en particulier? 

Ben: Depuis 3 ans le line-up a en effet eu quelques remous, tout le monde nous en parle mais finalement il n’y a eu qu’un réel remplacement : derrière les futs.‎ Matthias a fait de la session live avant de pouvoir intégrer officiellement le projet et c’est tombé à un moment où Jyb faisait une petite pause pour se concentrer sur son boulot. Finalement ce sont plus des questions d’emplois du temps qu’autre chose depuis le départ de Baptiste qui sont à l’origine de cette modularité de formation.

Votre son est très « brut », pensez-vous que les machines soient nécessaires, surtout en live?  

Ben: Nécessaires : clairement. On s’en est rendu compte pendant les quelques concerts qu’on a fait sans Jyb au printemps. Au delà du travail de textures et d’épaisseur du son que la noise apporte pendant le set, on a surtout constaté qu’on jouait différemment‎, avec plus d’espace, plus de temps aussi pour laisser parler la matière sonore. Sans, c’était plus direct et punk mais il manquait un élément qui fait partie de notre identité musicale et de nos préoccupations sonores dès le début. Sur album c’est aussi une volonté d’apporter toujours plus de reliefs, de couleurs, de timbres qu’on va développer plus en profondeur par la suite, ne serait-ce qu’en terme d’écriture.

Vous dégagez tous une belle énergie sur scène, pourtant votre musique elle-même est criblée d’influences variées : vous pouvez nous éclairer sur vos goûts perso et votre but/envie commun(e)?

Ben: L’envie commune c’est tout simplement de se faire mal et de se défouler. Ce projet c’est un exutoire, on a autant de choses à dire musicalement que de choses à sortir physiquement. Jouer fort, sentir le son, vibrer et se faire saigner les tympans, c’est autant salvateur que rédempteur. On a beaucoup de pistes à explorer, du hip hop à la harsh noise en passant par le swedeath, la forme importe peu tant que notre vocabulaire et nos intentions sont cohérentes. Finalement l’identité musicale de Fange à l’heure actuelle n’est pas véritablement le reflet de ce qu’on écoute, mais plus de ce qu’on a envie de dire: MERDE.

Fange, c’est inclassable et c’est conseillé pour tous les amateurs de gros sons bien déprimant.

Ca s’écoute et s’achète là :Bandcamp de Fange

Prochaine suée en France le 27 Octobre à Nantes (Scène Michelet)

ben-et-dopethrone

Ben de Fange au chant avec Dopethrone, Nantes, Le Ferrailleur.

Fange, Purge

During the summer, at the Dopethrone gig in Nantes  (no need to introduce these loud fellows “sti chalice!”), loud discovery of Fange, an overexcited youngsters band whose soul is as black an oil disaster. Their sound is heavy, oppressive, and we like that. After this live discovery, listening to their new album, Purge, was an absolute necessity. Their energy on stage is rough around the edges, self-destructive, with harsh and  punk influences and more present in their very dark sludge. The album presents a deeper interest, darker and worked with a better flow in the installation of noise.

A young band so but quite promising, so we forgive them some awkwardness with buttons on swindles, yet that seems to satisfy them. To be continued …

Benjamin officiating on guitar, vocals and joysticks tells us more:

Your band  is quite young and yet the line-up has already turned, any particular reason?

Ben: Since 3 years the line-up has in fact had some turmoil. The only real change has been behind the drums.  Matthias made somelive sessions before he officially integrated the project and it fell at a time when Jyb was a break to concentrate on his job. Finally there are more job time issues than anything else since Baptiste has left.

 

Your sound is very « raw », do you think that machines are needed, especially live?

Ben: Clearly needed. We realized this during the few shows we did without Jyb this spring. Beyond the work of textures and thickness of the sound that the noise brings during the set, we mostly found we played differently, with more space, more time also to let speak the sound material. It was more direct and punk but lacked an element that is part of our musical identity. The sound was one of our concerns from the beginning. On this album, there is also a desire to provide ever more details, colors, stamps we will develop more in depth later, be it in writing term too.

 

You release all a great energy on stage, yet music itself is riddled with varied influences: you can tell us about your personal tastes and your goal / common desire (e)?

Ben: The common desire is simply to get hurt and to vent. This project is an outlet, there are as many things to say musically things out physically. Play hard, feel the sound, vibrate and cause the bleeding of all eardrums, as redeeming. We have many ways to explore, from hip hop to the harsh noise through swedeath, and the shape matters as our vocabulary and our intentions are consistent. Finally the musical identity of Fange at present is not really a reflection of what we listen to, but most of what we want to say: FUCK OFF.

Fange is unclassifiable and is recommended for all lovers of big, depressing sounds.

It is listened to and sold there: Fange’s Bandcamp

Sweat in France next October 27 in Nantes (Scène Michelet)

MINITEL, Abîmes

Comme l’été approche et que bientôt vous serez tous en quête d’un peu d’ombre pour vous cacher de la chaleur, je vous propose de mettre la tête dans le congélo (ou sous l’eau) avec un album à vous glacer les sangs : « Abîmes »
Comme la bande originale d’un film noir, on est entraîné dans des paysages glacés. Contrairement à d’autres projets du genre, il n’y a pas de trame comme une rythmique martiale ou une élaboration mélodique à partir d’éléments bruitistes. Minitel nous emmène dans un univers oppressant le temps de l’album, fait d’ambiances monotones mais néanmoins travaillées. On visite un cauchemar qui n’est pas le nôtre, et c’est plutôt intéressant.
Minitel, un nom qui évoque a priori plus un monde de synthés kitsch que le dark ambient qu’il distille, est un projet mené par Raph qui a bien voulu éclairer notre lanterne dans ces Abîmes enténébrées.

Quelle est la genèse de Minitel, comment as-tu créé cet album?
A l’origine Minitel n’était pas un projet autonome. Avec Annthennath, mon groupe de black metal, on s’était lancés en 2004/5 dans un délire jusqu’au boutiste dans lequel on voulait mélanger le dark ambiant et l’indus à un black metal cru violent et très linéaire. Sur le papier, c’était génial, mais c’était bien trop dur à mener pour nous, et au bout de deux ans on a fini par revenir à la base du son du groupe. Mais, j’avais quand même écrit et enregistré des heures (vraiment) de musique pour ce disque (qui aurait du s’appeler « HarMegiddo »), et j’aimais vraiment beaucoup certains morceaux. J’ai gardé ceux que je préférais, les ai peaufinés, ou tout simplement finis, en ai fait un album.

Composé en 2006? Que s’est-il passé ces 10 ans: pas de preneur, d’autres envies?
J’ai essayé de le sortir, mais ça n’a pas marché. Si peu de temps avant il y avait bien eu une petite « mode » dark ambient, c’était clairement retombé, et je n’avais aucune connexion pour espérer le faire sortir, donc je l’ai rangé dans un coin.
Régulièrement je l’exhumais, en lui donnant un nouveau nom super occulte et cryptique, et j’allais essayer de le fourguer à des petits labels, mais personne n’en voulait. Au bout d’un moment je me suis dit « fait chier, j’en ai marre, je le mets en entier sur le net, au moins une ou deux personnes pourront l’écouter ». J’ai donné un nom débile, fait une pochette en 2mn montre en main, temps de la photo compris, l’ai mis sur bandcamp, et là Marc de Facthedral’s Hall m’a contacté aussi pour le sortir ahaha.

On sent un mélange d’univers très différents, tant dans la musique que dans les partis pris esthétiques: c’est un joyeux bordel d’influences cathartique ou c’est prémédité? Abîmes à un côté très « bande originale « : y a-t-il des inspirations filmographiques dans tes morceaux?

D’un point de vue technique c’est entièrement fait sur ordinateur, mais dans un esprit bidouille plus que vraiment all-in-the-box/VST prêt à faire feu. Y’a des synthés numériques pour des nappes certes, mais pas tant que ça au final, y’a surtout beaucoup de guitares, méconnaissables, passées dans des dizaines de traitements pas possibles, et pas mal de sons enregistrés maison (même le ventilateur de mon pc). Y’a aussi des samples de films, mais qui ont été tellement torturés qu’ils sont défigurés, notamment un morceau entier qui est basé sur un dialogue du Septième Sceau, mais bon courage pour trouver lequel. Ça représente des heures et des heures à bidouiller des sons au casque la nuit tout seul.

Tu as des influences avouées?
En fait on m’a fait découvrir énormément de groupes/projets depuis que l’album est fini, et je ne connaissais pas grand-chose quand je l’ai fait. Je suis vraiment rentré en dark ambient et en indus (mais en en darkfolk aussi) par la toute petite porte à un moment au tout début des années 2000 où il y avait énormément d’interpénétrations (en tout bien tout honneur) avec le milieu black metal, et jusqu’à il y a peu, je n’avais fait qu’effleurer la discographie de pas mal de grands groupes, je suis encore très novice, et avide de découvertes. Donc il y a dix ans on ne pouvait pas vraiment parler d’influences, c’est surtout le son en lui même qui guidait le travail, une immersion totale, limite psychédélique, et l’envie de créer des univers sonores très linéaires et mornes. Un esprit « soundscapes » jusqu’au boutiste.

Runes, Ouroboros, vitriol, quel est le rapport de ce projet à l’occulte: un clin d’œil purement symbolique ?
Pour ce qui est de l’esthétique si on peut appeler ça comme ça, c’est très impulsif sans l’être. Disons que pour les photos, tout a été très vite mis en œuvre. Mais le goût qui m’a amené à ces mises en scènes a été forgé par des dizaines d’années de lectures, d’écoutes, de découvertes de nouveaux styles, et est au final très personnel, peut être même plus que jamais. Une « esthétique » quelque part entre Koudelka et Douglas Pearce, dans laquelle même le nom Minitel finit par s’intégrer, et avoir une justification pour l’enfant des eighties que je suis.
Après, c’est tout à fait cryptique et secret, pas vraiment possible à décoder, un peu à l’image de la musique du disque, qui est livrée sans la notice. Inutile de chercher par exemple un sens aux runes et à cette combinaison en particulier, pas d’après le sens historique, ou magique, c’est vraiment un sens très personnel, spirituel, mais pas mystique.

Voilà de quoi vous rafraîchir les esgourdes en digital en attendant que le facteur passe, sa besace pleine d’Abîmes, enjoy !

Rendez-vous sur 3615 GLAUQUE pour acquérir la galette glacée:
http://www.facthedral.com/product/f-h-productions/minitel-abimes/
As summer approaches and that you will soon all be looking for some shade to hide from the heat, I suggest you to put your head in the freezer (or underwater) with an album that’s curdling bloods « Abîmes »
As if it was the soundtrack of a film noir, one is drawn into icy landscapes. Unlike such other projects, there is no frame like martial rhythmics or melodic development from noisy elements. Minitel takes us into an oppressive  world for the time of the album with its monotonous  but still very elaborated environments . We are visiting a nightmare that is not ours, and it is rather interesting.
Minitel, a name that evokes spontaneously rather a world of kitsch synth than the dark ambient that it distils for sure , is a project led by Raph who kindly enlightens us in these dark and unquiet abysses.

What is the genesis of Minitel, how did you create this album?
Originally Minitel was not a standalone project. Annthennath,my black metal band, launched it in 2004/5 in a frenzy diehard where we wanted to mix the ambient and the indus with a violent black metal, in a raw and very linear way. It sounded good, but it was too hard to carry for us, and after two years we ended up back at the base of the group. But still did I wrote and recorded hours (really!) of music for this record (which should have been called « HarMegiddo »), and I really liked some songs. I kept the ones I prefered, had them refined, or just finished, and did one album with them.

Composed in 2006? What has happened these 10 years: no takers, other desires?
I tried it out, but it did not work out. So little time before, there has been a small « fashion » of dark ambient style, but it faded away and I had no connection allowing me the hope to get it out, so I put the project away . I regularly exhumed it, giving it a new  super secret and cryptic name, and I was trying to peddle to small labels, but no one wanted it. After a moment I thought « shit, I’m sick, I put it in over the Internet, at least one or two people will listen. » I gave a stupid name, made a sleeve in 2 minutes, time of the photo included, just put it on Bandcamp, and then Marc from Facthedral ‘s Hall contacted me to get it out ahaha.

We feel a mixture of very different worlds, both in music and in the aesthetic decisions: it is a happy mess of cathartic influences or is it premeditated? Depths to one side very « soundtrack »: are there any film inspirations in your songs?
From a technical point of view this is entirely on computer, but so to say more than a hack  « all-in-the-box « ready to fire. There are digital synth layers for sure, but not that much in the end, there are especially a lot of guitars, unrecognizable, spent in dozens of no treatment options, and a lot of home recorded sounds (even the fan of my PC). There are also samples of movies, but which were so tortured that they are disfigured, including a whole piece based on a dialogue of the Seventh Seal, but good luck finding that. It represents hours and hours tweaking sounds through headphones the night alone.

Do you avow influences?
In fact I have discovered a lot of groups / projects since the album was finished, and I did not know much about them when was doing it. I discovered dark ambient (also darkfolk) by the small door at a time in the early 2000s when there was a lot of interpenetration (in all honor) with the black metal world . I am still very eager for discoveries. I cannot really talk about influences, it is mostly the sound itself that guided the work, total immersion, psychedelic limit, and the desire to create very linear sound worlds and dreary « Soundscapes ».

Runes, Ouroboros, vitriol, what is the relationship of this project to the occult?
In terms of aesthetics if you can call it that, it is very impulsive without being. Let’s say for the pictures, that everything was quickly implemented. But the taste that led me to these stagings was forged by decades of readings, plays, discovery of new styles and is very personal in the end, perhaps even more than ever. An « aesthetic » somewhere between Koudelka and Douglas Pearce, in which the name Minitel eventually integrates itself and has a justification for the child of the eighties I am.
After that, it is quite cryptic and secret, not really possible to decode a bit, not unlike the music itself, which comes without the manual. Needless to seek such meaning to this combination of runes and especially not from the historical sense, or magical : it really has a very personal meaning, spiritual but not mystical.

Enjoy the icy abyss !

-Milesendre-

The Tarot Music Deck, Arcane IIII, the Emperor

The Tarot Music Deck, Arcane IIII, the Emperor
Not another occvlt chronicle for the deaf, just a 22 triumphs of the underground music series.

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It could have been easy – with such a card- to please many metalheads, but that’s not my purpose. The Emperor is a strong man, pretty sure, proud and strong of the path he has chosen after all.

Mornful and powerful artist, the Emperor I chose to pick is Blixa Bargeld. “Is that a name ? “ would you tell if you don’t know him yet. Yep, that’s the name of the weird child born of a pen and the surrealistic influence of cash money! But I’m pretty sure you came across some of his works for he’s the leader of the industrial band Einstürzende Neubauten. Noise and guts of grey cities, with the sardonic poetry of Blixa, those “collapsing buildings” made their way through the musical landscape of the last decades.

 

Blixa is also one of the shadows surrounding Nick Cave in the Bad Seeds, and his deep vocals are very known in some of their early songs.

Less famous, but not happier although, he collaborates with Teho Teardo on a more inward and quiter project. Those two men are masters of melodies, spoken language and in creating heavy and dark atmospheres. Even if the lyrics could be very depressive, exploring sadness or death, the instrumental vibes are nostalgic, with a retro touch, far from the industrial beginnings. Teardo and Bargeld instill their sour poison the subtle way.

Their last album released last April is called Nerissimo, “the Blackest”, darkest piece of art with the melancholic taste of Holbein’s portraits.

Never too late to discover such a complete and various discography !

Chants of the fameless vol. 6

N O W

Here we start with a French band that explores new soundscapes since a bit more than a decade. ALUK TODOLO has a sense for the sacred, the unseen, and yet has something viscerally organic in its sound. With this last album called Voix (« voice » in french), they somehow follow the patterns of a ritualistic transe, where a lot is codified and purposely done, although it might make you feel you are engulfed in a maelstrom of chaos. ALUK TODOLO is the thin line that separates you from this reality and the otherworldly. Also, I advise you to see them in concert, for they are quite a mesmerizing band in such conditions.

 

Another piece of crawling and filthy sonorities is to be found in the music of Californian HOWLS OF EBB. With their latest EP The marrow veil, this band provides a weird mix of TREBLINKA-esque riffage and MORBID ANGEL like guitar soli. Yet, the overall thing is far from being just a copycat. There’s something captivating in the redundancy of some passages, and if you add to that a pretty eerie atmosphere, one can say that HOWLS OF EBB manages to open doors to some fine mind travels into some quite obscure journeys. As INCANTATION once mentionned it: « For true tranquillity, can be found in our somber souls ».

 

Chile’s TOTTEN KORPS is just like its peers in ATOMIC AGGRESSOR or DEATH YELL, an institution of uncompromising Metal of Death. Founded in 1989, and releasing its first album only in 2001, the band finally graces us with its second full-length. Supreme commanders of darkness is a title one can take pretty seriously. This band nails it when it comes to depth, intensity, brutality and integrity. Although there’s quite a fierce new generation of Death Metal bands in Chile, TOTTEN KORPS shows no sign of fatigue and has surely not forgotten why and how its music has to be played.

 

T H E N

 

From the Infernal ending demo released in 1987, SILENXCE used to spread quite a lethal dose of Speed Metal. The guitar sound might remind the sheer brutality of ASSASSIN on Interstellar experience, whereas the vocals have that good old hysterical edge so typical from the mid 80’s. This demo is perfect to hurt your neck and maybe what’s left of your brain after so many years of mental Metal madness. The band has been active again since 2014, and a compilation CD of their demomaterial called Search for distant light has been released in 2003.

 

Why the hell would people think that Blues was the Devil’s music? I see nothing wrong with these lyrics… May the legacy of Lucille Bogan last for the centuries to come.

I got nipples on my titties, big as the end of my thumb
I got somethin’ between my legs’ll make a dead man come
Oh daddy, baby won’t you shave ’em dry?
Now, draw it out!
Want you to grind me baby, grind me until I cry
Say I fucked all night, and all the night before baby
And I feel just like I wanna, fuck some more
Oh great God daddy
Grind me honey and shave me dry
And when you hear me holler baby, want you to shave it dry
I got nipples on my titties, big as the end of my thumb
Daddy you say that’s the kind of ’em you want, and you can make ’em come
Oh, daddy shave me dry
And I’ll give you somethin’ baby, swear it’ll make you cry
I’m gon’ turn back my mattress, and let you oil my springs
I want you to grind me daddy, ’til the bell do ring
Oh daddy, want you to shave ’em dry
Oh great God daddy, if you can’t shave ’em baby won’t you try?
Now if fuckin’ was the thing, that would take me to heaven
I’d be fuckin’ in the studio, till the clock strike eleven
Oh daddy, daddy shave ’em dry
I would fuck you baby, honey I’d make you cry
Now your nuts hang down like a damn bell sapper
And your dick stands up like a steeple
Your goddam ass-hole stands open like a church door
And the crabs walks in like people
Ow, shit!
Ooh! Baby, won’t you shave ’em dry
A big sow gets fat from eatin’ corn
And a pig gets fat from suckin’
Reason you see this whore, fat like I am
Great God, I got fat from fuckin’
Eeeeh! Shave ’em dry
My back is made of whalebone
And my cock is made of brass
And my fuckin’ is made for workin’ men’s two dollars
Great God, round to kiss my ass
Oh! Whoo, daddy, shave ’em dry

 

DEVIL DOLL is quite enigmatic and unique. There’s this haunting yet attractive edge to the music. Add to this a theatrical sense to it, and you get a quite weird mix of KING DIAMOND meeting the soundtrack of The double life of Véronique. Mr.Doctor, the brain behind DEVIL DOLL, is indeed a very secret character, and not so much is known about the band. But something is for sure, this is definitely the kind of artist that has a talent for sneaking right to your most inner fear and discomfort.

SOULBURN, Apotheosis Infernali

SOULBURN stands for dark and abyssal Metal of the blackest kind. Formerly spawned for a short time between the fall and the rise of ASPHYX between the years 1996 and 1999, the band was revived again in 2004. As the video of  In Suffocating Darkness was officially released today, we thought it would be a fine opportunity to let one of SOULBURN’s masterminds get us to listen to his tales of mayhem that his mouth does spew. PoisoNoisE is hence honoured to feature this interview with the long time friend and drummer Bob Bagchus.

Soulburn-Logo

Hi Bob, nice to have you for this interview. SOULBURN was formed around 1996, from the ashes of ASPHYX, until 1999. After the return of ASPHYX in the 2000’s, you decided to start a band on the side, called TO THE GALLOWS. The main idea behind it was to perpetuate the spirit of early BATHORY and the first wave of Black Metal in all its primitivity and harshness. But soon enough, this new band morphed into SOULBURN again. What made you stop ASPHYX for a while between 1996 and 1999? And why the need to resurrect SOULBURN and to leave ASPHYX again in 2014? As much the music you play is often simple and straight forward, the History of your bands is not always easy to follow.

  • Bob- Hi Nathaniel.Good to talk to you again! Yes,Rogga and me started To The Gallows with the idea to make music in the old Bathory style,which I always loved so much since the beginning.I always loved that dark and primitive sounding music a lot.Well,later I asked Eric to join in as well since he is a huge Bathory fan too,so we started to rehearse and the songs were popping out like crazy! So then Eric suggested to reform Soulburn again since this was exactly what we had in mind in 1996! We love the repetive riffing and rhythm’s a lot! When I stopped with Asphyx in 1996 it was because Theo(RIP) lost interest so it was no use for me to continue with it.When I left Asphyx in 2013 there was no plan of reforming Soulburn again at all.My family needed me at home and for me that is the first and most important priority.I did want to continue with Grand Supreme Blood Court with Eric since that was on a much smaller scale but soon both Eric and me got frustrated and also had no inspiration anylonger for GSBC. Then To The Gallows came in the picture with Rogga and we switched to Soulburn(see above).I know all my bands have a complicated history as far as line ups go but all those things happened for a reason,and things that did not happen happened also for a reason and things that are happening right now are happening for reasons that should not have happened in the first place……..

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At first, Rogga Johansson (PAGANIZER and thousand other bands) and Henri Sattler (GOD DETHRONED) were part of the reactivated SOULBURN. And Eric Daniels and you were busy with GRAND SUPREME BLOOD COURT. Why did these two early members would leave SOULBURN? How comes that you decided to focus on this band exclusively after a while, as Eric, Remco and you left GRAND SUPREME BLOOD COURT in 2015? What makes SOULBURN your priority now? How did Twan Van Geel come in sight as your new bass player and singer?

  • Bob- Rogga became a father for the second time and Henri just reformed God Dethroned again. But since both Eric and me felt that Soulburn was a lot more the band our hearts belong too we decided to go for Soulburn 100%.Remco joined with us too. I mean,we made doom/death since 1988 already and our inspiration was below zero.Besides all other members had other priority bands too,so GSBC was doomed anyway. In Soulburn we have a chemistry exactly like the old Asphyx in the period ‘89/’90 and that felt like home. Our hearts and even our minds told us to go for Soulburn all the way.It is a band on a lot smaller level than Asphyx is but that is exactly what we want and what we need too.The cold dark occult/satanic vibe is what we missed in both Asphyx and GSBC lately,but we found ourselves again in Soulburn. For each his own.Well,Wannes suggested Twan as our singer.We asked Wannes first but he could not make it for good reasons and then he suggested Twan.And that was a master suggestion! We still thank him for that!                                                                                                                                                                                                                                                                                     10174789_666301930142019_1680078128231282430_n                                                                                                                                                                                                                                                                                                                                                                How would you compare “Feeding on Angels” released in 1998, and “The Suffocating Darkness” released in 2014?
  • Bob- Our debut “Feeding on Angels “ still had a lot of old Asphyx in it,which was fine at the time.It was mixed with some Bathory influences too.We still love that record.It had the same dark occult vibe as the Asphyx original debut “Embrace the Death “,which we love. The Suffocating Darkness is a lot colder and a lot more black orientated.Both are great releases(at least to us) and reflect the time perfectly they were released in.

 

  • You recently released a split EP with DESASTER. Have you recorded only one track, or should we expect some new recordings with other tracks from that session? What does the near future looks like for SOULBURN?
  • Bob- We only did “The Last Monument of God “ for that EP exclusively.No other tracks were recorded.Right now we just finished the last tracks for the 3rd Soulburn album,which will be our most dark and grimm one to date.We will record the drums for the final tracks in March and then the rest follows.Magnus Anderson from Marduk will mix the new album in the Endarker Studio.

SOULBURN - The Suffocating Darkness

As this interview is an opportunity to get the people to discover your new video clip, what should we know about it? How did you get the ideas and how would you end up collaborating with porn actress Natasja Less?

  • Bob- Yes,it got released today indeed. It is an obscure clip which tells the story of our song “The Suffocating Darkness “ .Is is probably hard to understand for the normal viewer or troller but we know the story behind it.Twan was the director and manager of the whole videorecording process.Twan got us Natasja(who did a great job) and she fitted perfectly to the dark mood,besides she loves Soulburn.

PoisoNoisE is about getting music fanatics to keep their neverending quest for new and old bands to discover. So, as a conclusion to this interview, I’d like to ask you to mention 3 active bands and 3 defunct bands, in any possible musical style, that leave or have left a strong impact on you. All the best with SOULBURN.

  • Bob- the 3(probably more) bands who had a strong impact on me are:
  • 1-Venom
  • 2-Hellhammer/ Celtic Frost
  • -Bathory
  • Slaughter
  • Messiah(original)…..I know…those are more then asked for but I just had to mention Slaughter and old Messiah too!
  • Cheers Nathaniel!

 

The Tarot Music Deck, Arcane III, the Empress

 Not another occvlt chronicle for the deaf, just a 22 triumphs of the underground music seriesempress giger

Who better than the coldest cello maestra could illustrate the Empress? If you are likely to listen to classical or experimental strings, take your time to discover Hildur Guðnadóttir

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This Icelandic genius has recorded with Throbbing Gristle, has been touring with Sunn O))) , and explores different registers in her recordings. She’s able to make you cry the melancholic way or to disturb you and lead you to madness. Once heart-warming and melancholic, sometimes mesmerizing, but for sure always sensitive and true.

If ever you believe it’s too classical for you, give a try to another track : her instrument can stab you as well as it burns .

 

 

HEAD OF THE DEMON…a sinister grin in the shadows

 

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HEAD OF THE DEMON has released only one album in 2012, but the bands is composed by dedicated and experienced entities. Since a new recordig is to be delivered in the upcoming moons, I decided to let the vessel of all things unpure and frightening speak plainly. Please welcome the words of Kosta, known for his past work with GODS OF GRIEF, A MIND CONFUSED, KAAMOS or SATURNALIA TEMPLE.

Greetings Kosta. It’s always a pleasure to talk with you. Especially now, that HEAD OF THE DEMON will be our main interest for this conversation. What did lead you to drift away from SATURNALIA TEMPLE? How did the idea of starting such a slow and mesmerizing band come in sight?

– I think the main issue was that I was fed up with playing music, in a band, under rules of a scene, that I don’t recognize and which I refuse to have an impact or influence on me. This has not to do specifically with Saturnalia Temple, but pretty much all bands I had and was playing in at the time as well. So I decided to quit all my musical enterprises and seriously ponder if I should just quit writing music all together. I did and it worked for maybe a year. Then my creative urge put a guitar in my hand, which I hadn’t played for several months. And I started jamming for myself and eventually I also started writing riffs that I’ve never done before. Slowly the idea and inspiration for creating a new vessel/entity emerged. And now it is known under the moniker Head of the Demon.

Whereas the name of the band clearly refers to a quite infernal topic, it appears that most of the lyrics from your first full-length are inspired by the lovecraftian universe and matters. Why such a choice? Are you going to stick with that topic on your new recordings?

– It is not so much a choice as serving a function for the current that sought to manifest. One can say that the debut dealt with the entities and forces that have been popularized by Lovecraft through his mythos and expanded and further developed by others. So, Lovecratian it surely is but from the magico/occult perspective. The focus is on what he speaks about, the Ancient ones, the Elder ones, the otherworldly titans that seek entrance to this world etc. It came to saturate the music and aura and it fully manifested with the debut LP. But we won’t be lingering on this topic for the next release. I am not against it theoretically. But I don’t believe that we will return to it either. For the new recording there’s no trace of what you ask. But let me put it this way. The new manifestation will be just as thorough as the previous one. Equally occult and magical but not lingering on the Lovecraftian themes. But rather on the philosophy of the LHP and elaboration on its practice out of a highly personal approach.

There’s something pretty personal in the music of HEAD OF THE DEMON. Whereas many doom bands tend to play with a very low tuning, yours is pretty high/standard. Then, there’s not so much distortion on your guitar sound. That gives a thin and haunting result. No double bass drums are to be heard either. And there are almost never any chords in your music. Everything is played note by note. In what terms should we understand that these aesthetical choices help you to channel the essence of the band?

– Thank you very much! I take that as a big compliment. When starting out I did have a very down tuned guitar, to B, and also loads of distortion. But as we were trying out some of the songs and riffs we gradually changed the settings so that our idea would come across as best as possible. Which resulted in me tuning up the guitar to regular E, as well as turning down the distortion so that the guitar would become “acoustically sensitive”. Meaning that it works a bit like a piano, depending on how hard you play on the guitar it either distorts or plays acoustic. A very simple sound in one regard, but hard to handle so that it sounds good. Since every little mistake is very clear. Anyhow, this seemed to have a way more haunting and eerie soundscape than the tons of distortion and down tuned guitars created. It somehow created a “silence” between the tones which made the shadow manifest through it. Thus the eerie essence needn’t hide behind a wall of effects and distortion.

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The music of HEAD OF THE DEMON is slow, repetitive, and almost creates a feeling of discomfort. Still, one might easily get attracted to it for these very same reasons. To manage to find a personal style is not something easy and might be fragile. How did you envision the successor to your first album, as I know you’ve been in the studio quite recently? What differences can you spot already between these two creations of the band?

– I don’t think we envisioned a successor or a follow up the way you phrase it. I simply started writing material and used gut feeling to discriminate between it. And then, eventually, we had some new songs. So in that regard I believe we all consider both albums to stand on their own feet. And not being a follow up in a direct sense. There are some differences which I find quite big, but I doubt the listener will notice them too much. But one thing I believe is the biggest difference is that this album is maybe more dynamic. Since it was much more of a group effort. And we also recorded it live which adds to the dynamics too. The new album is recorded and completed by now too so there should be a release date or the likes in a near future.

HEAD OF THE DEMON is a rare band when it comes to concerts. I assume it’s planned to remain out of the ordinary. What were your most interesting concerts? I remember you played at the Heavy Days in Doomtown in Copenhagen last year. I recall you got in touch with Marcelo and EVIL SPIRIT. Can you tell us how you discovered each other’s band and realized that you had more than one interest in common?

– We don’t see playing live as a means to an end. But rather consider the offers we get and see if we find it worth it from lots of perspectives. And if we feel it all adds up to the standard we wish to uphold we go ahead with it, mostly. I personally feel that I want to spend my time writing and creating music. So that is my priority with Head of the Demon. Everything else comes after that. We’ve only played live twice so far, the debut show being Black Harvest with tons of great bands. And also at Doomtown in Denmark. Both were great in their own way. And as for Marcelo, let me put it this way, Root united us!

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PoisoNoisE is here to bring any kind of relevant music to its readers. So, could you please name us 3 bands from nowadays and 3 bands or composers from the past that you think we should pay attention to? I hereby thank you for your time. You might as well mention here any further information that we need to know about that demonic head. 

– Well, here are three bands from the past and present you should check out. Past: Samhain, Hawkwind, Zero Kama. Present: Reveal, Ominous Resurrection, Aluk Todolo. Second album should be coming out during spring I believe. Meanwhile you can listen to the first one and enter its labyrinths. Thank you very much Nathaniel for the interview and interest in Head of the Demon.

Chants of the fameless vol.5

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Originating from Strasbourg, France, INGMAR is a band focusing on improvisation. As the name suggests it, the music is influenced by films and directord such as Ingmar Bergman, Jarmusch, Lynch or Fassbinder. This band sounds like an eerie and sometimes haunting soundtrack of kafkaesque worlds. Their first eponymous album shall be officially released on the 10th of January 2016. For those into musical UFO’s and curiosities, INGMAR might be an intriguing alien to approach.

 

From the cold ashes of diSEMBOWELMENT rose a black phoenix called INVERLOCH. This Australian horde released a mini called « Dusk I Subside » in 2012 and got acclaimed for the timeless quality of their music. Indeed, it is obvious to say that diSEMBOWELMENT was a quite avant-garde pionner in the fields of doomy Death Metal in the early 90’s. INVERLOCH keeps the level of quality and creativity at its peak. And there’s no doubt that their brand new release ‘Distance I Collapsed », to be released on Relapse recs on the 4th of March 2016, will stand the test of time.

 

From Koblenz, Germany comes HIMMELSRANDT. After having studied Viola and Piano, Peter H. decided to form a band inspired by Baroque and classical music, although influences from contemporary artists or bands like Olafur Arnalds, Sigur Rós or Paysage d’Hiver found their place in his compositions. HIMMELSRANDT is the music behind clouds, rain and ice on the quiet white mantle of winter.

 

T H E N

1969, Psychedelic Rock, and a solid album featuring the voice and guitar of recently defunct Ian Fraser « Lemmy » Kilmister. This is recorded before he would join the short lived band OPAL BUTTERFLY. He would then play with HAWKWIND for some years before he founded the almighty MÖTÖRHEAD in 1975. Farewell Sir…

 

FATAL from Detroit, Michigan was formed in 1985 and started to play an extrme form of Thrash Metal, leaning toward the brutality and darkness of Death Metal. Hence their demos « Guts for dinner », « Molested slaughter » and « Soul burn », all released between 1988 and 1989 are fine pieces of deathrashing madness. But with their 1991 EP « A somber evocation of nihilism », FATAL definitely went for more darkness and the band sounded more Death Metal than ever. And what a killer EP it was. Sadly, the band called it quits soon after and leader Tony Hamera focused on becoming a sound engineer. Though, this band recorded some essential stuff for all the Death Metal freaks out there.

 

The eponymous and only album of ODIN is quite a nice one. Consisting of a German, a Dutch and 2 British members, the band relocated to Germany at the time the LP was recorded. It’s some rocking Prog music for those who enjoy bands like TEMPEST, NEKTAR, IRON CLAW and the likes.

DUR et DOUX recs. Challenging your brain since 2008

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Something happens right now in Lyon, France. It’s quite refreshing to see a bunch of dedicated musicians and music addicts start a label that gathers quite a bunch of freaks, whose creativity and twisted sense of humour is of high quality. I was lucky to meet with Clément, in charge of the touring/booking and prmotionnal side of Dur et Doux, meaning Hard and Soft in english, during the concert of CHROMB in Strasbourg on the 17th of December 2015.
Hi Clément, it’s a pretty usual introduction, but let us know everything about Dur et Doux, why, how, when, and even more.

The label was created in 2008, by Pierre, Rodolphe and Marie from the band BRICE ET SA PUTE, based in Lyon. It consisted of the two musicans of the band, as well as their sound guy. The purpose was to start an association, and to get an entetainment licence in order to get a bank account that would allow them to sell legally their shows. Basically it was for their own promotion.

Then, I joined them in 2010. I got involved in the management and the promotion of their band. Back in the days, there was another band that was hosted in their structure. But it was just about giving them a hand, when they needed contracts, and such official things to be done.

At that time I toured with BRICE ET SA PUTE during 6 months. Then I organized a tour with hem and POIL, which would join our association after this collaboration. Then we released their second album, as they had no struture backing them before us. That was the moment when we also released the first album of BRICE ET SA PUTE. A bit later NI joined us as well. One thing leading to another, a tour with POIL and NI took place. POIL started to work on a third album. And quite a bunch of projects started to be part of the adventure. We realised that all the bands of our friends in the Lyon area had no structure that would gather and support them. We all had several experiences with labels, but nothing really solid came out of them. So we decided to make both a live and a studio production for these bands. Step by step, the ball was starting to roll.Connexions between bands and band members were done and gave birth to new collaborations. Of course, the structure of Dur et Doux was and still is pretty small, but that’s how the bound between bands and people was made.

So, both bands and Dur et Doux would grow together. In the end, there’s something happening at the moment thanks to the work made by this label. As you said, there’s a lot of consanguinity between the bands. Yet, at the same time, it’s something pretty unique in France these days. Of course there are other collectives or associations, but yours has some kind of a pretty unique personnality. Was this artistic aesthetic planned in the first place by Dur et Doux, or was it shaping itself through time and collaborations?

On an artistic level, there was no masterplan. We chose the bands we like. And most of the times the people in these bands are friends. Like the guys in CHROMB sitting right there behind us. We meet and go out for a drink every once in a while. There’s that real friendship going on. One of the guys lives in Paris, and I sleep at his place when I’m there. More than an artistic direction, it’s a network of musicians and friends who have a need for a hand with administrative stuff and record production. Hence a scene finally emerges, and we are lucky to have quite a big pool of talented bands. Obviously, on the artistic side, we go for what we personally enjoy. We of course have strategies to get the label going, but not really in order to achieve something that would be only concerned by a commercial success. We produce what we like, and help our network of musicians.

This said, the styles of these bands manage to bring something new and personal on the table. And appearantly it pleases the audience.

It’s an emerging scene. And we’re witnessing the very start of it. It’s a kick in the ass of the usual network of the current music or jazz scenes. When our bands play in such circles, they do appear like UFO’s. They are kind of hard to categorize. But step by step the audience follows them. We manage to get them to play on pretty cool stages and festivals, but they remain quite unusual.

Sure, these bands are not of the usual kind. But they do manage to get the audience pretty enthusiastic about them. I think of UKANDANZ that kicked everyone’s ass in Colmar during the last Jazz Off festival in September. Almost nobody knew the band, and after the second track, everybody was into their music. Same goes for CHROMB tonight. Not everybody knew the band, but they got quite a strong support.

True, in every band or project we defend, there’s something in common. In a live situation, these bands are good and comfortable. So, you come and you get pretty impressed by their performances. It works on me, and on a lot of people in the same way. It works in small niches, like at the Jazz Off festival in Colmar, where there’s no big headliner. It’s more a festival where you come to discover new bands and sounds. But it also works in bigger places with more exposure and more established bands on the bill. The bands on our roster easily grab the people’s attention. That’s for the live side.

When it comes to the records, we’re lucky to have a good promotion and distribution. But the discovery of these bands mostly comes from their concerts. These bands play a lot in France and in Europe. Some of them go from 30 to more than 100 gigs a year. They’re pretty active, and manage to reach new people all the time.

Dur et Doux, as well as most of its bands come from Lyon. It seems legit, as it’s a network of friends. But looking at the way the label evolves, do you have your eyes on other places and people that you might not know personally, but whose bands are alongside your tastes? Are there some plans to work with foreign bands as well?

For the distribution, we have a lot of connexions with foreign countries all over the world. Of course it’s on a pretty small scale. But our records are sold in Japan, in the USA or in Norway for instance. We get our bands to play abroad.

On the other hand, as we are based in Lyon, we do organize gigs there and we get the foreign bands we are in touch with the possibilit to play in our hometown. Sometimes we even organize a festival. But once in a month we are used to fix a gig. For such events, we always have a band from abroad, and a band signed on Dur et Doux. And if there’s no band from our roster playing those gigs, we try to get bands we love that are on tour at that particular moment. Some bands also contact us to play, and if we are into their music, we’re pleased to get them to play in our hometown.

So, are there any plans to sign bands that come out of your cricle of friends?

First and foremost, we try to keep it on a human level. The way we work, we like to meet the people in person on a quite regular basis. Of course, if you look at UKANDANZ, the singer lives in Addis Abeba in Ethiopia. So we don’t meet him as much as we would like too, butthe rest of the band lives in France.

We’re actually pretty open to work with foreign bands. I have had my share of offers to make coproductions on records. But well, we never did it so far. In a way, it’s not totally fitting with the identity of our project. But well… We’re not closed at all. For instance, I got very impressed by a Swiss band lately. I don’t know the musicians at all, but I know the label on which they’re signed. I offered them to work on their next album. I still haven’t got any answer. But time will tell.

And what about Dur et Doux now, and for the near future? It appears that you work with quite a bunch of bands. The label has grown quite remarkably over the last years. New projects like PINIOL even appear as a collaboration between musicians from POIL and other bands on Dur et Doux. It’s constantly moving. Do you think you’re gonna be able to follow the pace of such an active creativity?

(Laughs) I have no idea. First, it’s not easy at all. We’re 2 at the office. And there I take care of the artistic direction. A third person, Marie from BRICE ET SA PUTE, helps us as well. She’s still very much involved in the making of our festival and to help us to take decisions. We try to make it as collective as possible when it comes to decide things for the label. It’s not always easy, but it’s important to remain like that.

PINIOL is born from the complicity between POIL and NI, which tour pretty often together. So, it came out as something natural that they would start to play together. We helped them to get the finances to start this new band out of the blue. It’s the first time that a band is created inside the collective. And it’s awesome.

Only for 2015, we’ve released 5 to 6 albums. We keep it busy for such a small structure. Though, we do not work exactly the same way woth each project. For instance, CHROMB works on an album for next year. So we’re gonna focus more on them in the upcoming months. L’EFFONDRAS released an album last year, so we were behind them of course. As for POIL and NI their last album was released the year before L’EFFONDRAS. So you see, we are behind each band that has something new to offer. As there’s a lot of consanguinity between our bands, we can easily put some light on one band more than on the others for a while. It’s not about having the most exposure for the sake of it, but more to support the bands when they have something new going on.