Avsolutized Interview

Avsolutized are a Japanese band and have created a unique brand of Black Metal. The debut album is entitled “Den Svarta Vandans Genealogi“. Very unique vocals become the focal point of this album. Well crafted, European BM-influenced guitars, a fierce drum machine and at times almost flamboyant vocal performance from a member of Arkha Sva — high screams, death growls and twisted operatic wails. An impressive feat!
As this album was our first introduction to Avsolutized (and it made such an impression), it was of course necessary to write for further information and background on the band!

Thanks to Ur Èmdr ŒRVN for the contact, and MiZANE for any clarification.

Can you give a brief history of Avsolutized?

Hails to thee TODESTRIEB Cult.
AVSOLUTIZED. . . was formed in MCMXCVI anno bastardi, and at that time it was a solo, mostly instrumental black metal by MiZANE (All Strings). Ur Èmdr ŒRVN(All Words) joined in some years later.
The guitarist MiZANE has provided quite many materials to other groups around him in his career, and the only official release of AVSOLUTIZED. . . so far, other than “Den Svarta Våndans Genealogi” CD, is “Towards. . . You There” demo in MMVI, that was only spread among labels and related magicians and musicians.

How has your sound changed between the Towards demo and Den Svarta album? Has it always mixed the experimental with the traditional sounds?

Basically in the same vein they should be, total sonic blizzard BM in northern vein, although on “Den Svarta Våndans Genealogi” the instruments show more mature (even “calm”) side, and the voices show more extreme side, than on “Towards. . . You There”.
Nothing is not to be categorised “experimental” here, although it seems to be easily supposed that you refer to the vocal parts, but just they all depend on the results of channeling in a Satanic way.

Was this partly a tribute to Swedish/European Black Metal bands with the title and [Setherial] cover song?

SETHERIAL and their “Nord. . . ” album, and their older releases as well, were the main reasons why MiZANE started composing Black Metal back in MCMXCVI. And from that time back in around MCMXCVI in Sweden especially, there were many big sources of inspiration for Cold Black Metal you know. Too many to list them up here, but yes as you see, the title “Den Svarta Våndans Genealogi” was some kind of tribute to them, instead of saying “The Genealogy Of The Black Anguish”.

Vocals play an important part in the band. They are very varied and quite Operatic. Can you explain your approach?

Everything there just depend on the results and gained spells by channeling. They could sound varied just because they include varied messages and impression.
The singer would be called rather a transmitter of the voices from the under, than a normal singer with human vocal techniques.
And recordings? The voices on “Den Svarta Våndans Genealogi” were captured from a ritual, within a few hours in one day.
All the recorded things were done simply and quite straightly, in channeling the voices of agony, that always surround you from the under.

Do you record everything together? What equipment do you use?

As it is not an improvised kind of music, the instrumental parts are normally fixed first. The composition on “Den Svarta Våndans Genealogi” was collected among the fragments from various periods, and recorded in some time in MMVII.
MiZANE plays 7 strings guitars, and other equipments used were all owned by Neinsphere Studios.

Have you had good feedback from people hearing the album?

Nothing is particularly cared.
Rather, those who found keys to some particular states by skimming the underlain messages from “Den Svarta Våndans Genealogi” must have just gone there before deciding to write a lettre to AVSOLUTIZED. . . .

Can you explain the Sigil of A-A-A-A ?

It is a sect that explores in a particular system of Satanic Magick. And its sigil/ symbol shows apparently 4 A’s in it as you see.

What is the future for the band?

AVSOLUTIZED. . . will release its first full-album some years later.
AVSOLUTIZED. . . doesn’t have any plan to play live for the moment.
And the drummer? Time will tell.
After all, anything will be hired and used if they are necessary in order to complete particular impression or messages.

Longue vie à vous TODESTRIEB.
Hail Satan.

Interviews

Somrak Interview

” Somrak was formed in 2001 as a mere summon of those inhaled the cancer of uncreation in times when such plague was there still mostly unknown. Their first recorded ritual in live was served in 2002 on a self released tape. And soon after, a self-released poem …Of Witches which showed that what was unworthy on the biggest disease in existence – humanity. A 7″ was published finally in 2005 through Vile Arts Records and it showed a meaning of self-destruction and suicide of body and soul. Years passed and Somrak fell into the void of forgotness due to unworthy members of it’s name. In 2006 Somrak summoned again with a new member on blasphemical preaching and in late 2007 released an album. “

And it is for that album, The Abhorred Blessings, that we wrote to the band.
Our appreciation to A. for the answers!
The official Somrak webpage can be found here.

From 2001 there have been lineup changes in the band, what is the current status?

From 2001 to 2004 there were constant lineup changes because half of those band members weren’t taking the band as a serious thing. For them it was more of a hobby. After the recording of the song for the split EP the line up soon changed. That was even before the vinyl got released. The current lineup consists of 4 individuals: J.D. delivering the vocals, M.C. on drums, J.P. on bass and A.D. on guitar.

Your debut album was released at the end of 2007. How has it been received?

I don’t know how it has been received by people. I read some reviews (I think most of them) and they’re quite different in opinions. Some write that we are nothing but a monotone and boring copy of early Norwegian bands. Others say that that we sound somehow “refreshing” with the odd production and being from Slovenia.

Was the finished album what you intended when you originally started writing and recording?

During the recording process of the album we were quite satisfied with everything. Later we found out that there are some things that bother us. Like some mistakes for example or the sound of an instrument here and there. That was of course due to the limited time we had. On the other hand this way the album sounds more honest and spontaneous.

Crowning of the Morbid King also appeared on the 2005 demo. Were other songs written earlier?

Well I can’t really recall exactly but all the songs on the album were written from 2004 to 2006. At least I think so. With the exception of Trumpets of Malevolence which is the oldest song to appear on the album. This one was made already in 2003 but in a different form.

How has your sound progressed since the split?

The split was recorded through a mixing console directly into the recording device and more or less this was everything we did with that track.
The album was done more carefully and later being affected by mixing and mastering. It was recorded in a different place with another guy behind the knobs. Anyway no drum triggers were used or any other cheating occurred. It’s still a genuine black metal record.

The majority of members have had connections to the band Skorbut, is Somrak the continuation of this band or completely separate?

Somrak and the now defunct Skorbut are two totally separate bands. It may sound incredible, but that 3 of 4 Somrak members played at different stages in Skorbut is a pure coincidence.

DTR did a good job with the presentation. How did you want to present the booklet, artwork and CD to represent the music?

The booklet was done by one of our friends that is quite good in this field. We choose the front picture; the inlay and everything else are his ideas. I think the booklet turned out great and it goes hand in hand with the music. We would like to release the album on vinyl but for now no label showed interest.

The new logo and music seem to suggest a stronger move towards the ’style’ of “Orthodox Black Metal”. Was this a conscious decision?

I really don’t see the logo as being something of a connection to the orthodox style, as you call it. We are a black metal band so it’s obvious that the lyrics have a devil worshipping and self destructive message. We glorify loss and misery. And we carry this concept since the beginning.

We have very few arrivals from Slovenian bands, possibly just you and Torka. Do you still consider yourselves one of the very few Black Metal bands in the country?

Actually I don’t know what to say. Some years ago there weren’t any real black metal bands besides us, Torka and some anonymous projects. And now it seems like black metal bands are spawning from every corner of the country. But I’m not sure about the dedication of these bands. But at the end of the day who am I to judge them.

How difficult is it to arrange gigs for yourself in Slovenia?

Arranging gigs for ourselves in our country is no problem. We could probably play every weekend somewhere if we wanted so. The problem is getting gigs outside of our country. And this is pretty frustrating. We are trying to set up gigs in neighbour countries but with no success. We probably aren’t interesting enough for the crowd.

The Abhorred Blessings should make a strong impression. Where do you want to take Somrak from here?

The future for us is always uncertain. We’ll probably stick to making more devil tunes and carry around the smell of death and despair on live rituals. We’ll see…
Thank you for this interview.

Worship the Master of Hell.

Interviews

Grave Desecrator Interview

Grave Desecrator have been spreading the Brazilian extreme metal cancer for a few years now. We managed to distro a few copies of their first two releases during 2004-5 – the demo tape and tape version of Cult of the Warfare and Darkness on Ketzer. This same label signed the band for it’s debut album which is scheduled for release in a couple of months.
The album is entitled Sign of Doom and it sounds like their strongest release to date! The production is thicker with less thrash and more bestial death influence in a similar modern black/death vein to bands like Goat Molestor.
The recording is complete so we took the opportunity to ask a few short questions to Valak Necrogoat (bass).
You can listen to two tracks from the album here!

Before Grave Desecrator formed in 1998 you were involved in other bands?

Valak Necrogoat – I was involved in some old Death/Thrash acts in the very past. Later, I’ve been part of a Black Metal band called Ancient Sign Glorify in 1997. I did record the debut promo of Seges Findere in 1999. The other guys weren’t really involved in any shit, just our former vocalist, F.Mordor , who was inside some BM shits long ago…

Of course Brazil has an extremely strong history for Black/Death metal bands. Who were your main influences?

In Brazil, old Sepultura, Sarcófago, Vulcano and Mystifier are our main influences…We praise our ancient cult scene, not only these more well known bands, but also Impurity, Goat Penis, Murder Rape, Songe D’Enfer, Behemoth and many others..

G.D.’s first demo was released by your label Swords and Leather. Did the label release any other demos or albums? It was spread with about 1000 copies, was this mainly local?

S & L was a tape label made by myself and an old friend. We’ve stopped the activities due our few free time for it. We released the debut demo of Seges Findere and the debut demo of Sodomizer only..The demo 2001 was spreaded more outside Brazil, but many copies were distributed inside here as well, but we got more attention overseas…Our label is from Germany, by the way..

On your website you have a news post from August 2004 it lists upcoming splits with Front Beast and an unnamed Brazilian band, and a tape “The Devil’s Bless”. Did these get released?

Forget about this site, is too long outdated..The guy who was done that is deceased! He had died in a motorcycle accident year ago and we do not have the password to take that off..We didn´t release that stuffs…

Sign of Doom is the debut album and it’s coming out in a few months, what’s the story leading up to it and what can we expect??

Sign of Doom is our long waited debut album..It’s been too late due many personal problems and line up changes. We had to fire out our former vocalist few days before entering the studios unfortunatelly..Also recruited a new guitarrist ( Black Sin and Damnation )…That was professionally recorded indeed, and it’s mastered by Andy Classen in Germany..After the recording,and a gig alongside acts as Impurity in Espirito Santo state, we changed our drummer…Now it’s F. Tormentor the guy who will destroy the kits..

We hope all the dudes and ladies into old Black/Death feeling can corrode their souls listening to this…

How do you feel the band has changed in sound since the demo? A stronger death/Berherit influence now?

Don’t think we have changed too much and I don’t think we’re not too much into Beherit,even it’s a great act…old songs ( demo 01 ) were more into traditional BM mixed with Thrash/Heavy influences.. 7ep and news songs are nearest of what we were searching for sounding like…

Have you played live as a band? With the album being released on a European label, any chance of playing here?

We’ve already played alive..that’s nice when all is going well, but underground gigs in Brasil are sick sometimes..So we’re not too interested in doing any gig at any place…We want to play more, but with decent conditions, and it doesn’t mean rockstar attitude. We sick of bastards ruling the game ..I do not think it’ll help us to play in Europe, it depends a lot of things and money shits but would be killer to play over there and prove ethilic stuffs, nice girls and spread the words of misfortune…

What’s the future of GRAVE DESECRATOR??

To live every fucking day with hate!!

Interviews

Have a Nice Life Interview

Middletown, Connecticut – Have a Nice Life?
The two-piece will soon release their debut album. It will actually be two albums, “The Plow That Broke The Plains” and “The Future”. DEATHCONSCIOUSNESS is the culmination of four years work and two hours of recorded material.

Musically the influences are clearly varied, from the more experimental black metal of Lurker of Chalice and Xasthur to the alternative rock and shoegaze genres in the 80s and 90s, to recent drone acts such as Earth. These influences coupled with the acts intention of creating a sound that is as close to experiencing the pain and release of death results in a dream-like soundscape with real raw power. It magnifies the grandiose nature of death and humanities troubled relationship with it.

Deathconsciousness will be released on double-CD with a 70 page book and available on January 15. You will be able to order it at the Todestrieb Distro.

You can visit the band website and listen to “The Big Gloom” here:
http://www.myspace.com/haveanicelife

Please introduce Have a Nice Life.

HAVE A NICE LIFE started about 5 years ago when we (Tim Macuga, Dan Barrett) started trading tapes of songs we’d written back and forth. Tim was in a punk band called the Danger Strangers, and I was in the band In Pieces. We originally played only acoustic, but quickly got bored. When our respective projects dissolved we started dedicating all our time to HAVE A NICE LIFE, using it as a catch-all for the musical ideas we had floating around at the time.

We’ve released two demos, “Have A Nice Life vs. You” (cassette only, 50 copies) and “Powers of Ten” (CD, 75 copies), both on our home label, Enemies List Home Recordings.

The material for the 2CD package dates back four years, but was re-recorded for this release?

The recording process for the record has been continuous, with different versions of different tracks evolving over time. The “Deathconsciousness” recordings represent the final and complete version of the material that first appeared in our early demos. It was completed literally only a few weeks before the release date; we’re always working.

The Big Gloom (listen here) has over 50 separate tracks, can you explain this process?

The Big Gloom started as just a few tracks; it’s mostly bass. That song was one of the first where we explored layering tracks in such a way to create something different from what we were actually playing. Most of the tracks are playing different lines; the sound that comes about from those conflicting parts is different from any of the individual parts, as certain notes seem to jump out from the noise. It’s a technique we’ll be exploring more in our upcoming material.

The double cd will come with an impressive 70 page book. Who is writing it, what will it cover?

The book contains the track lyrics and CD information, but the bulk of it is an essay written by an old History professor of ours from the University of Massachusetts at Amherst. The lyrics on this record contain a lot of references to a sect of Italian heretics called the Antiocheans who were active in the 11th century; it’s an theme that reoccurs throughout the album. Tim and I are Historians by training, and we were both really interested in the group and their beliefs. The record became so intertwined with the underlying religious ideas that we asked [this History professor] to write something about it for us. We were blown away by how much he gave us, and I really wanted to include it with the record. I think reading it makes a big difference in how people experience the music.

Listening, the major influences seem to be a blend of post-punk/industrial/shoegaze of the 80s/90s and more recent doom/drone.

I think that’s fair. We never set out to sound like anything in particular, but our music took on a character of it’s own very quickly during the writing process. We were both interested in bands like Xasthur and Lurker of Chalice, who were exploring the bedroom-recording as an aesthetic, as well as older bands like My Bloody Valentine and Sisters of Mercy, Joy Division, and so on. We operate on feeling rather than genre, so we just try and capture that feeling in everything we do, visually, musically, etc.

The title and its explanation is an “overwhelming awareness” of death. But that doesn’t seem to carry a “feeling”. Is there a personal emphasis either way?

The record and the concept it’s built around are very personal, in the sense that we experienced the deaths of people very close to us during it’s recording – and most of the songs address that very directly. “Deathconsciousness” as a philosophical concept has it’s roots in Antiocheanism specifically, but also in Buddhism and Existentialism. I think a lot of “death” inspired art doesn’t really address death at all, but rather the idea of death – a caricature, but not the reality. That’s what this record is about: forcing people to see death for what it really is, to see it for the first time. We used to joke that the idea was to make people listening to the record have a nervous breakdown, but in a way that really is the point. People forget they’re going to die, and I think they’re worse off for it.

You’re based in New England, does your location play a part in the song-writing process? Is there a strong underground music scene?

There is not a scene for what we are doing. There is a small underground rock/hardcore/punk scene, but we are not a part of it. Hopefully that changes, and we’re trying to make that happen and expand the boundaries, but it doesn’t much matter to us whether that happens or not.

New England is a huge part of who we are, and of our aesthetic sense. It’s cold, it has a lot of forests, people stick to themselves and do things on their own.

Have you ever played as HaNL live? Would it be technically possible?

We have performed once, but it didn’t quite capture the sound we wanted. Our goal for the upcoming year is to take the band live, and to make the overall experience match the music. It’s possible, but we’re still researching our options. There’s also a visual component that I’m looking forward to working on.

Do you want the listeners (and readers) to have a nice life?!?

We mean that in the meanest way possible.

Interviews

Nadiwrath Interview

NADIWRATH are a new Hellenic cult. However as you will learn the members have a long and active history, including recent releases on Regimental and Moribund Records.
You can sample this Athen’s based horde on their site here:
http://www.myspace.com/nadiwrath
and we of course intend to stock some copies of the debut demo!
Thanks to Nadir for the fast response!

Interview with NADIR
12 December 2007.

Nadiwrath began earlier this year, what brought all the members together?

The Nadiwrath horde was created in the beginning of 2007 by Nadir (All hateful and raw guitars) and Wrath (voice of despair)! The combination of the names of these two dedicated and underground souls created the name of the band, Nadir – Wrath (Nadiwrath)! Soon, Sardonic (bass) and Yngve (hammers) joined the horde and the Black Metal propaganda of Nadiwrath begun! All members had and still have their own other bands and projects! Nadir was the main guitarist of Stellar Darkness (R. I. P.), Wrath has his own one man bands, Dodsferd, Kampf, Grab and an alcoholic band with full members, the Drunk Earth, Sardonic has his own blasphemous project, Inferno and Yngve is playing in several bands, which one of them is Obduction!

You’ve recorded your first demo – can you reveal any details?

The first Nadiwrath demo was recorded in May of 2007, in an underground studio of Athens (Encore Studio). Unfortunately, during the recording process, Sardonic due to serious health problems had to leave the band for a small but very important period of time for Nadiwrath, so Nadir recorded the bass for the demands of our first demo! Another problem was that we changed drummer during this recording process, due to problems that we don’t think it is necessary to mention! As you have already understood, Yngve is the second drummer of Nadiwrath!

The Nadiwrath demo consists of three songs, Horns, Winter Nights and Eyes Full Of Vengeance and the lyrics, meanings of our songs has to do with the debasement of humanity, the survival of human parasites who live in the expense of other people and the useless theories of the masses and their religion!

What is Nadiwrath?

True and pure unholy black metal, nothing more, nothing less! These are Nadiwrath!

Although the demo doesn’t sound too influenced by the Hellenic sound of Varathron etc. do you still take inspiration from older Hellenic hordes? Who are the major inspirations in the wider world?

Despite of the fact that the evolution of the Hellenic Underground black metal scene, here in Greece, is great, it is obvious that Nadiwrath have nothing to do with that particular sound! Total respect for the older Hellenic hordes! We are influenced by the true hordes who created the true spirit of black metal (Burzum, Darkthrone, Carpathian Forest, Impaled Nazarene) combined with the characteristics of each member of the band!

You have some gigs planned for January, are these your first?

Nadiwrath will perform their music live on stage for the first time in January 6th, 11th and 13th, of 2008, with bands, such as Kaiserreich (It), Croosover (Gr), Grimegod (Ro) and other underground bands of the Hellenic scene! Nadiwrath will perform their music live on stage and spread their propaganda wherever will be called to do it! Nadiwrath is a live band!
Athens is an active live Black Metal city!

How was the demo released? What has been the response been from the people that received it?

The first demo of Nadiwrath was self-released in 300 limited copies in cd format! Soon it is going to be released in tape format! Also, there were many proposals by underground labels in re-releasing our first demo as mini cd! The response was more than good!

Are you already planning an album or next demo? What do you expect in the immediate future for Nadiwrath?

In the end of February of 2008, we are going to start the recordings of our first full-length album, an album full of hate, blasphemy and uncompromising attitude! Also, we are planning to perform our music live on stage wherever they call us!
Spread the Nadiwrath propaganda against all!

Interviews

On Horns Impaled Interview

On Horns Impaled are a new band from Germany. Their debut demo will be recorded and released soon. We took the opportunity to introduce the band and learn their intentions for the coming months. You can visit their webpage here:
http://www.myspace.com/onhornsimpaled

Steelcrusher: Bass
Narkotic: Guitar
Supay: Drums
Scapegoat: Vocals

22 November 2007.

OHI was formed only a few months ago, how did all four members come together? Is this your first band, or do you all come from other projects? Is the a side project or main band?

Scapegoat: We know each other since years, because we all have rehearsal-rooms in a bunker here. For me it is my first professional band.
This is no side project this is a main band!

Steelcrusher: The idea to form this band was born when I visited a Watain concert in Hamburg, after that I asked Narkotik if he is hungry to start a raw black-metal-band under the banner of the name ON HORNS IMPALED.
And as you can see he is extremely hungry.
Than we thought by us who could take over the other positions, it went very fast until our friends Supay and Scapegoat joined forces with us. O.H.I. isn´t my first band but the first band where I play bassguitar.

Narkotik: I was suprised when Steelcrusher asked me to form a band, I´ve never thought about something like this. But I was interested since the first moment when he asked me, we talked about it and found the perfect line-up. We know each other and everything works!!!!

Supay: Steelcrusher asked me if I would like to play drums. This is my first band as a drummer, normaly I play guitar. The horny thing is, I play drums only since one and a half year.

What is the identity of the band?

Scapegoat: We want to keep the black-metal-flame burning even brighter than before. The theme of our lyrics are anti-religious and horror.
The sound? Raw and black! Anything what made black-metal famous.
Things which you can find in the norwegian-scene and of course also in the first-wave of black-metal, because without them our sound would not exist in the way how it is today.

Narkotik: We shit on modern musik. We want the music to be simple and evil. The lyrics are about satan, perversion and blasphemy!!!

Supay: War against christianity!!!

It’s fair to assume your name comes from the Watain track title? Why this name?

Steelcrusher: Great song great band and it is satanic.
And it wasn’t used by an other band.

Scapegoat: They´re awesome! I´ve seen them live at kick-off concert for their storm of the antichrist tour, if they´re going to play more intense concerts like that and relase more records like the last (Sworn to the dark is a future a classick!) than they´re going to play very soon in the first league of black-metal.

Narkotik: I think it´s the perfect name for a satanic black metal band.

Supay: Just evil.

Rather than recording and releasing a demo the first time anyone heard the band was live! How was the experience of debuting your material live?

Scapegoat: For me it was awesome, it was a rush. There were many friends of us and also other people we didn´t know, nearly a 50/50 mix.
99% of the reactions were extremly postive.

Narkotik: I didn´t really realize that we were supposed to play our songs until I was on stage. But after the gig, i felt great.

Supay: We had a lot of fun together.

Steelcrusher: It was really great to perform the songs live – more live rituals will come.

There seems to be a lot of activity in the Nordrhein-Westfalen region. How do you view the bands you’ve played with, or know in the area?

Scapegoat: The most of these bands are hot and hungry. Like us they´re motivated into the last nerve of their bodies.
And you can party with them damn good!

Narkotik: I´m not very into the music-scene but I like the bands we played with.

On your webpage you link to older giants like Hellhammer, Motorhead, Venom and to newer bands. Who influenced you most? Has anyone influenced your sound directly?

Scapegoat: DarkThrone! They´re definetly the real thing. And just like I said it before, without the first wave of black-metal, which includes bands like Venom and Hellhammer, there wouldn´t be the scene today like it is.
We´ve to salute them! If you forget your roots you can forget it all.
We´ve played our version of Motörheads Orgasmatron as an encore at our show and the audience loved it!

Narkotik: My personal biggest influence is Gorgoroth. They are my all-time favorite. DarkThrone is right on.

Steelcrusher: My influences are the first and second wave of black metal – the only newer bands i like are watain and shining.

You will be entering the studio to record your first demo on December 2nd. Have you written all the tracks?

Scapegoat: It is a professional studio and we´ve written all the tracks.
We hope that we can wake the interrest of a suitable label and some concert promoters. What we definitly want is to celebrate more live-rituals on stage!
That´s the only thing what we won´t take over from Dark Throne, harr harr harr!

Narkotik: We wrote all tracks on our own. Four great tracks are waiting to be recorded, I can´t wait to enter the studio and leave it with a new medium against christianity!!!!

Supay: I like what we do, I have a lot of fun. Anything else is unimportant. If the people like it, cool. If not, FUCK YOU!!!

Interviews

Objekt4 Interview

Anders Peterson, sole member of Swedish dark ambient project OBJEKT4 recently announced the end of this chapter in his artistic career. Objekt4 will stop recording and releasing material, although we are sure a new project will not be too far away.
We were first introduced to Objekt4 through a cassette release on the Czech label Ravenheart in 2004. Since this first release (Facility 77) Objekt4 has released another fourteen records, plus various different versions/formats and featured on five compilations. A very productive four years!

This webpage should serve as a source of information once the project has been dissolved:
http://www.myspace.com/objekt4

We wanted to catch a few last words with Anders, to conclude the project which began a few short years ago.

28 November 2007.

Objekt4 has been laid to rest. You say the objective of reinventing dark ambient has been achieved – how have you changed the genre? If recognition is important to you, do you believe you have received the right amount? Do you hope your work will influence future artists?

Generally by being openminded, and adding influence from other different genres, as well as a cinemative approach, which included making use of the 5.1 format. Recognition is always nice, I received great feedback from lots of people not involved in the dark ambient “scene”, nor music in general, regular people, just like myself, telling me how much they enjoyed my recordings – that truly gives a feeling it was all worthwhile!

From the first album “Facility 77″ to “Space Jungle Slums” the sound has moved from purely soundtrack recordings to more rhythmic, musical work. Is that a fair assessment?

Sure. It’s just natural evolution I think. Wanting to expand both mind and technique. Diversity in both ambience, rhythm and overall sound approach.

There is often an industrial, urban, mechanical atmosphere in your work. Is that a uniting theme to all recordings, if there is one?

Yes, these things all have a deep effect on me, and will probably always be an inspiration factor one way or another.

How does your environment impact your work?

At the moment I live in a very good appartment. Giving peace and quiet to focus on the things at hand. Having been more or less homeless for many years, this is a welcome change. Not saying these years were bad, they were very important, both for inspiration and being most humble of the way of life one is able to live in the western world. Life is not appreciated as much as it should be, too many people take so much for granted, and way too many are just fat, lazy and unappreciative in general.

Do you work towards creating original soundtracks for modern films?

Yes, I have recorded soundtrack and sound design for two feature films so far. It’s where it all started and I hope to be able to continue with it.

You recently announced an American movie has stolen your material for use in their film…

The whole soundtrack and sound design was recorded by Objekt4. Hopefully this will all be settled without further problems.

What are your proudest achievements in the history of this project?

I’m satisfied with the evolution in general of Objekt4, both sound-wise and mentality-wise. Now is a good time to move on.

Do you already have plans for future projects?

Not at the moment.

Do you intend to keep the records in print?

The records will not be in print. When they’re sold out they’ll be gone forever. Perhaps in the future a reissue with selected tracks from all albums would be an interesting idea. I also have some unreleased material that could be included on such a release.

Interviews

Amesoeurs Interview

Update:
Amesoeurs Logo Amesoeurs will release the forthcoming album through Code666. Visit their official website.
You can hear samples of the forthcoming Alcest album here.
Fursy (guitarist in Amesoeurs) has a project called Les Discrets, you can learn more here.

Amesoeurs are a reflection of our modern urban world. The endless grey shit stained concrete walked by the comatose masses, littered with needles, whores and bums. The useless working man trying to mask his tears with alcohol and television. Money and disease the duet that rule our world, infect our veins and corrupt our soul.
“Ruines Humaines” is the debut release from AMESOEURS, the reflective project of French master Neige (ALCEST, PESTE NOIRE) and Audrey Sylvain.
Neige was a central reason why the Mortifera album is such an amazing release and the skill he brought to that album is very present here. The music is a mixture of the melancholic ‘black’ metal found in Mortifera and Alcest mixed with strong inspiration from British bands Joy Division and The Cure.
Sad but contemplative, not offering any solutions or judgments, just a frustrated mirror held up to the sprawling city wasteland – but somehow, unintentionally, making it sound quite appealing…

Todestrieb extends our appreciation to Neige and Audrey for the chance to discover more about this exceptional band.

Interview with Neige & Audrey S.
Thanks to Noël Benoit for the translation.
3 January 2007

Did the idea of Amesoeurs (musically / thematically) form before the band itself in 2004? Was it something that has been in your minds for a while, or did something specifically spark it that year?
AUDREY
As for me, the idea of this concept was already in my mind before I met Neige. I wasn’t a musician at the beginning but a dancer. I was evolving around this concept with rock/coldwave/new wave choreographies I used to dance on, which were close to the style performed by Amesoeurs. Amesoeurs helps me complete my feelings through music.
NEIGE
By the same token, Amesoeurs was a concept in the beginning before it became a music. It was an idea born inside me during my childhood. I lived for many years in the countryside and I have never got used to the city. When I was going there, it felt like another planet, both because of the setting and the attitude of the people living in the city. It fascinates me as much as it disgusts me. I’m particularly attracted by the city at night, its atmosphere, its unpredictability, the cold lights from these huge futuristic buildings. For most people, this is totally insignificant but to my eyes, it conveys something romantic in the first sense of the term: an unbelievable setting suitable for delusions, stories and fantasies. The key element that made me transform all this into music was the discovery of new wave and post punk, the perfect soundtrack for this kind of universe.
However, Amesoeurs is not confined into its own concept, we don’t want to become predictable. Thus, I hope we will have a few texts that will deal with other themes compared to those we are used to talk about.

What happened during your first gig, was it a success?
AUDREY
I won’t say our first gig was successful. I only had a month of bass practice and I made a few mistakes here and there ahah. Moreover, we were both sick!
NEIGE
Indeed, this gig was quite mediocre, even if it stays a good moment. We played in front of 30 people and our setlist was really short, that’s why we haven’t enjoyed it properly. It took place in Laudun, a village near Avignon. There were two rock bands after us, nothing groundbreaking.

Do you have other members for playing live?
NEIGE
We are looking for a bassist to complete the line-up but we haven’t received any positive answers for the time being.

Do you have any songs from that time (Summer 2004-April 2005) that have not been recorded (or released)?
AUDREY
Yes, we have a few songs from that time. Some of them have been discarded, we have to work more on the others, but they haven’t been recorded yet.
NEIGE
For the forthcoming album, we will record “Les ruches malades”. This is a song we played during our first gig. We will also record other songs written in 2004 and 2005, which are still uncomplete but we’ll work on them quite soon.

Do you think the sound changed after Fursy left, was he a big aspect of the band?
NEIGE
Fursy is a good friend of mine, we grew up and discovered music together. He knows very well what is Amesoeurs and what it represents, that’s why I regret his departure from the band. Had he lived closer and not been that busy with studies, he would certainly be our live bass player. However, he takes care of the visuals of the band with Isabelle Hanssen, which is by no means insignificant insofar as image is very important to us.

Audrey Sylvain

Audrey, have you been involved with any other bands previously or currently? What is special about Amesoeurs that it made you want to start recording?
AUDREY
Amesoeurs is my first band. When I’ve met Neige, I have discovered a sensitivity close to mine, that’s why we’ve decided to work together and that is the reason why I want to keep working and recording with him. I sometimes sing a little for Alcest (on the forthcoming album) and for Valfunde, the solo project of Famine from Peste Noire.

Your photos seem to show you as ghosts among the urban landscape. Somehow in it, but not part of it. Do you feel this way? Do you feel outside the world while being wrapped up in it?
AUDREY
I won’t be playing with Amesoeurs if I didn’t feel outside of this world, but I can’t criticize today’s society in two or three lines. I am aware of the fact that this society enables me to create music and to have enough spare time to satisfy my hobbies. To spit and shit on society when you are well-off is a teenager reflex. However, I’ve always felt ill-at-ease in the city because of this urban landscape that brings to me some existential questions I don’t have any answers to, like the sense of my life or about life in general.
To my eyes, the fact that we tend to make everything esthetic with our music helps us to see things more confidently. I won’t be saying this and I would have a different sensitivity if I wasn’t living in a urban area. In a few years, I will go away from the city and I will move in the North of France. I really prefer the North than the South of France with its landscapes and mentalities etc…

Do you ever think about making a video for the music? How do you imagine an Amesoeurs film would look if you had the freedom to make one?
AUDREY
I would include of lot of dancing, be it pictures or little videos. I would take advantage of the fact that Amesoeurs feels “dancing” to me. We could think about urban landscapes, characters and so on.
We could include pictures of the city at night that we would take from a good distance to display the bluish lights… or lost places, squats, bars, clubs and other filthy and fascinating places. A few portraits too. To put things in a nutshell, I would try to blend beauty and purity with sadness, dirt and violence.
NEIGE
The idea of an Amesoeurs video attracts me a lot. We would take the opportunity to present our visual universe that go hand in hand with our music in an indirect way to materialize and give life to this universe.

Amesoeurs Underground

The front cover photo by Isabelle Hanssen is of the London underground, have you ever visited here to experience the human rats being herded through the corridors, crowding into trains…?
NEIGE
Not in London, no, but the subway in Paris or Lyon is really a strange experience to me. To each his life, his goal, a place to go and nobody cares about each other. Then, the noise, the never-ending motion, the heat, the stench… It feels horrible to me, it’s a real agression to our senses. To my eyes, the subway is a relevant metaphor of the dehumanization, the anxiety, the stress and the sadness that stem from modern life. There’s a lot of people in the subway packed in a relative intimacy. You are forced to be close to them, to listen to what they say, to feel their smell though we have no connection with them , they go out and you never see them again.

From the outside it seems you play the largest part in the band – vocals, guitar, bass – do you think that’s true? Do you take control over the song writing and lyrics?
NEIGE
I write 90% of the music. However, Audrey sometimes shows up with a riff, like for “Faiblesse des sens” for instance. This song originates from a riff that Audrey wrote, to which I’ve added others to create a whole song. As for the drums, I usually have them in my head but if Winterhalter comes up with a more efficient drum pattern than mine, I don’t mind using his for the song.
The writing process in Amesoeurs is different from my other projects. I sometimes find a bass line first and then complete it with the guitar. The guitar doesn’t necessarily come first. About the texts, Audrey will write most of them on the forthcoming album, I will maybe write just one or two.

Neige, your guitar has a unique and recognizable quality. Which guitarists influenced you as you’ve created this sound?
NEIGE
No band or guitarist have influenced me on a melodic point of view, be it in Alcest or Amesoeurs. With Amesoeurs, it’s more about the way we stage the instruments and rhythms that I’ve been influenced. Joy Division for example, the sound, the atmosphere and the drum patterns that this band uses have left a mark on me.

Where was Ruines Humaines recorded? Are you happy with how everything sounds? How long did it take to complete? Do you think the Summer season had any impact on the sound/emotion?
NEIGE
I’ve recorded this MCD at home, with a 24-track digital recording device. I’m not by any means a sound engineer but the production of this MCD is quite satisfying to me, I’m quite pleased with what I’ve achieved for once!
As usual, I’ve used a lot of time to complete the recording process, 5 or 6 months I guess. Summertime? I rather like it, this season means holidays and spare time to record some material without the anxiety of the studies.

Out of all the projects you’ve been involved with, is this most personal to you? Alcest is your solo work, but Amesoeurs seems more Human, or is that misunderstanding and Alcest is actually a much more personal/deeper work?
NEIGE
Both are profound but I think Alcest is my most personal project, I can’t clearly explain it, it’s really hard to talk about it. The concept of Amesoeurs is more comprehensible and human, it concerns all of us.

What are the current plans with Alcest – still to re-record the EP and work on a new LP?
NEIGE
The Alcest album is almost done. It will be released in 2007 and will be entitled “Souvenirs d’un autre monde”, in English it means “Memories of another world”. This title is to be understood literally and it sums up the whole Alcest concept.

Can you find any redeeming qualities in the Modern world?
NEIGE
The easy access to arts and culture, the comfort of life in the good sense (not the new useless technology toys).

Where are some of your favourite places to be (in the world or just in your city)?
AUDREY
The Frigolet abbey, Bagnols les Bains, the Lozere forests, Brittany…
NEIGE
Quiet at home, or lots of other locations such as Brittany, the Perigord and Auvergne regions in France or Norway, a marvellous country I’ve had the chance to visit.

Do you feel nostalgia for a certain time in history? Do you feel humanity was of a higher quality in previous decades / generations?
NEIGE
I’ve always sucked about historical facts and I don’t feel attracted by another time than mine. Hum… maybe the 19th century. As for mankind’s evolution, I think you’ve always been able to find both great and lousy men, more or less kindly ones. The only difference is that our society, on a technologic level , offers means of destruction that are more efficient than in past times. For example: at war, now you can endanger the whole planet and its inhabitants and not only a handful of men, which is rather frightening.

You say the future album will develop your sound towards something more powerful, electronic, depressive. Will it sound very different to the MCD? Will you be using more/different instruments or changing vocal style?
NEIGE
Yes, the album will be quite different compared to the MCD, but still cold and desperate. Anyway, both black metal tracks of the MCD should have been used for Mortifera. The “real” Amesoeurs has always been rock but since these two songs were on a conceptual and emotional level quite close to Amesoeurs, I’ve decided to use them for the project.
The instruments will stay the same: guitars, bass, drums but we’re going to add a few rhythmic and electronic elements, probably from a drum machine or a sampler that we will mix with real drums. We want to give a genuine new wave touch to the album and create songs that are at the same time sad, violent and dancing.
AUDREY
Amesoeurs will be the soundtrack of deranged and smoky dancefloors.

Audrey Sylvain

Interviews

Othendara Interview

OTHENDARA play old school mid-paced Black Metal with a real dark atmosphere. The band formed after Hvelvengel Av Helvete split up. Both members have been active within Metal bands for years including the early stages of Nachtmystium.
The EP “Blasphemous Revelation Arise the Ancient Evil” was released by Northern Horde (Canada) in 2004 after the original label (Sombre) finished. Much of Othendara’s (and several related projects) material remains self-released under Helvete Cult and within the US. These are: Hammer Of The Witches (Demo 2001) Dae Of Nox (Demo 2002) Blasphemous Revelations Arise The Ancient Evil (EP 2003) Hvelvengel Av Helvete/Othendara (Split 2004).

You can visit the Othendara myspace here.

Todestrieb wrote to Othendara to hear a complete history, learn about the bands ideological background and find out any current news after a year or two of relative silence. Highest regards to Kriglord and Noctis for the thorough answers!

Interview with Kriglord & Noctis
01 August 2006

You have been involved in several projects since the 90’s, what was the first? How did you originally get interested in writing and recordings BM?

Kriglord - The first project I was really involved in was Hvelvengel Av Helvete. Interest was sparked almost entirely by the Metal I was listening to at the time, and by wanting to play.
Noctis – It all comes back to heavy metal, it’s the only form of music that truely spoke to me, It’s something that’s been apart of my life since I’ve been very young. It started with traditional bands Judas Priest-Iron Maiden-Angel Witch, naturally progressed into faster, harder things like Slayer-Venom, to Morbid Angel-Deicide, and later things like Mayhem-Darkthrone really made impressions on me in my youth, and it came out in my guitar playing. I began playing BM with a band called Helms Deep sometime around ‘98 or ‘99, with a close friend Azentrius of Nachtmystium.

What is the timeline of your bands?

Noctis - Helms Deep lasted 2 years with a couple lineup changes here and there. during which time (’99-”00) I began singing for Ezurate, which also lasted 2 years for me, H.A.H was created sometime in ‘2000 and was active till 2003.
Othendara came to life, I believe in the winter of early 2001.
As for other projects I’ve been involved with there are many, like:
Virgin Killers formed 2002 (80’s styled thrash, think Razor, Sodom, Destruction.)
Trist Vintry Vandre (bizarre BM), The Crazies (Heavy Metal think Mentors, Plasmatics…) and other current ventures which will be released as demo’s on Helvete Cult Rec.

You released a split between Hvelvengel Av Helvete and Othendara. Do you see Othendara as a completely different beast to H.A.H?

Kriglord - Musically there are some similarities for some songs, but in many ways I find them to be entirely different. Theme wise, they tend to be drasticly different. HAH is far more out right blatant, and set on being utterly, and completely hateful, and self righteous. Othendara leans more towards the imaginative, and further expressive, as far as offering, and creating, a wider spectrum of thought, and feeling with in the tunes. So yes I find them to be different beasts, so to say.

Was a decision made to end Hvelvengel Av Helvete then immediately start Othendara?

Kriglord - Othendara basically came about from songs Noctis and I had written. We had done Hvelvengel Av Helvete for a while, and we just started writing, and jaming some new songs, recorded them, and decided they just did not fit the HAH style. Thus we founded Othendara,… and that’s about how it came to be, in short.

Do the names Hvelvengel Av Helvete or Othendara have special meanings / translations?

Kriglord - Hvelvengel Av Helvete translates to Archangel Of Hell; Othendara is a name which came from a map of an ancient fictitious realm.

2002-2003 you recorded a lot of material. How much of this has remained unreleased? Do you plan to use either the original recordings or re-record them for future releases?

Kriglord - That was a particularly active time for us. Most of the material has been released, but some still is waiting. As for re-recording, I don’t believe we would, simply because we are always moving forward, and to try and recapture the past just doesn’t seem meaningful, nor the right thing to do. The past is where you grow from, and to reproduce it would inevitably, in my mind, lead to stagnation.

How do you rate each Othendara release, how did you change/progress with each recording?

Kriglord - Each album showcased a rise in ability, and from the first three there is a very large distinction between lyrical subject matter. For each the process was very much the same, and there wasn’t any equipment change.

Hammer of the Witches, which contains our first recordings (and some of my very first songs), I wouldn’t rate very high, but I still retain pride for what we were able to create. The production is vile, and the songs aren’t my proudest moments, but I do believe we were able to create, and tap into a very interesting sound/mood.

Dae Of Nox, showed a large improvement in production, and ability, and I think really brought forth more of the sorrowful melodic elements than any other work of ours. I would rate this very high, and would consider a couple of the songs to be some of my favorite recordings I’ve ever done (for any project). I find the songs strongly convey, on a personal level, the moods, and feelings I felt at the time, and had wanted to sculpt into song.

Blasphemous Revelations Arise The Ancient Evil again showed musicianship improvement, and was a much different album than the previous two. It is much more aggressive, more hateful, and also a tighter execution of our imagery in sound. I would rate this highest amongst our released catalogue.

Hvelvengel Av Helvete / Othendara split is a compilation of early tracks that never made it onto the demos. Some of the material is rather under developed, and too crudely produced, but I still remain think all of it is good, and easily worthy to be representative of our earliest moments. I would rate this as mediocre amongst our catalogue.

What is your approach to Satan and Satanism? Is the music a natural and important extension of the ideology you hold?

Kriglord - I do not believe in religion intrinsically. I do however support philosophies, and causes of whom I find merit it.
I see “Satan” as a religious based manifestation of all that represents pain, and/or negativity. Baruch Spinoza wrote, “I recognize only three primitive or primary emotions, namely, pleasure, pain, and desire”, and I see Satan as simply an idol of which religions/religious people/artists/etc may place upon the self, or things, future, past, or present pain, and or negative (depending on pov) desire. Satan is an ideal which can be modified to fit a cause.
I see Satanism as a religion based upon many principles the Christian, and Judaic religions frown upon. It’s also a religion of mockery. It would seem to me more based on solipsism (well possibly for some), a strong sense of self pride, a clear want for self fulfillment and/or overindulgence, and a some what clear rationale, at base, than most any major religion.
I completely embrace the philosophies of Satanism in many ways, but I would not call myself a Satanist for I align my self wholly with no religion.
In many ways the music is and is not a natural extension of personal philosophies for what I attempt to create through music is overly more an aggrandizement of my emotions, and imagination than any direct philosophical or ideological message. With said, I do find that in all our music a strong anti-authority/humanity/religious message can be found, but I believe people enjoy thinking for themselves more about ideas, or subjects than just being preached too,… so I guess the message is simply there for one to interpet as one may wish.

Do you think the history of Othendara would be different if Sombre had released the EP? Would it have exposed you to a wider audience, more labels – would you even want that?

Kriglord - I believe it would have been very beneficial, yes, but as far as having more deals, and being more recognized such is not a real want. Art is not about recognition, but of creation, and exorcizing the self through an exploratory catharsis, or so I have found. Interesting question, and definitely one I’ve not put much thought into before.

How widely distributed are the Helvete Cult releases? Did they remain largely within US underground circles?

Kriglord - Yes, we’ve remained largely within the US cirlces. I had made contacts online from all corners of the globe (Europe, Asia, Australia), but mostly kept it to personal trading, and some small deals nationally

You have never played live but do you consider it? What’s the perfect way of representing your music live?

Kriglord - We would consider this. The perfect way to represent the music live would be quite costly, and would consist of many nude women, quarts of blood, raining fire, and goat heads littering the stage.
Feasibility for perfection seems impossible, but we certainly would like to play out when possible.
Noctis - I have always enjoyed the bands who put on shows, like Venom, Mercyful Fate…ect. they created atmosphere’s that complimented their music, it stimulates something very powerful.

What is the status of the “From My Throne The Heavens Burn” album and the five-song EP? When was this recorded, how does it compare with the older recordings?

Noctis - From My Throne…. was recorded in 2003, and was originally thought to be released through Helvete Cult, but as time passed we were unable, do to financial reasons. The sound of the recording is very different from any thing else we have released in the past, musically it is an improvement to Blasphemous Revelations, but is almost uncomparable in many ways.

2005 was an inactive year, has this continued into 2006? Is there new material, or a desire to write new material?

Kriglord - New material is on hold, but we had done a video with a well known photographer. The video is in its post production stages, and has no scheduled release date, but it will make its way to release some time before the end of the year.

Interviews

Augen Interview

Todestrieb contacted Augen for a brief introduction to the project from San Francisco and some explanation behind the initial recording, “Das Fieber Der Nacht”.

Interview with Augen
9 July 2006

Is this the first release from Augen?

Das Fieber Der Nacht is the first recording under the name of Augen. I have been playing drums many years, some previous bands not worth mentioning. I
am also a part-time member of the bands Wohin and Mokyre, both of which will have upcoming releases through my label, The Funeral Agency.

How do you approach recording?

I start with a base and build upon it, adding and removing elements where I see fit. The goal is to create atmosphere and dynamics.

What are some of your sources?

Many sources. The child is my son, E. Many of the droning tones heard are taken from Buddhist prayer boxes, these amazing little samplers that monks use so they can be mobile with their prayers and chants. These are available in various sizes and sounds in Chinatown here in San Francisco.

If you could make a movie to accompany the ambience, how would you best represent this recording visually?

Interesting question. I imagine the movie might look alot like the 1922 film Häxan.

“The fever of the night” – can you explain more behind the title?

The title is quite literal. The idea for this recording came while stricken by a very high fever, I wanted to capture that eerie floating feeling of illness.

Where do you plan to take Augen?

I am currently working on another release, though I want it to be more “musical”. Live shows are out, it would be impossible to properly recreate the material on a stage with traditional instruments.

Todestrieb Records

UK Black Metal Record Label & Distro

Category Archives: Interviews

Avsolutized Interview

Somrak Interview

Grave Desecrator Interview

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Nadiwrath Interview

On Horns Impaled Interview

Objekt4 Interview

Amesoeurs Interview

Othendara Interview

Augen Interview