Album Notes: Portent – Dismal Deities

A series of posts to highlight select releases in the distro, track notes are written by the band members.

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Written by Portent


A Fatalistic Ode! I was particularly taken with the idea of The Fates (the Moirai, the Norns, the Three Witches etc) spinning fate which is beyond our control and which ultimately leads to death.
Along with this there is the imagery of the spider who obviously also weaves – hence the title!
There are some references in the lyrics to the works of Knut Hamsun and Louis-Ferdinand Céline too. I thought them appropriate, as there is obviously some ‘existential’ pondering going on in this.
Musically I’d like to think that the riffs conjure this weaving, slightly off-kilter feeling, in a weird melding of Black/Death and Doom. I’m particularly fond of a section where we used a clean flange effect; although it is a fleeting moment I really like it. I think of the song as a bit of a journey leading to death, and I think this is reflected adequately in the last more doomy/burzumic section of the song.

Hollow Oaths
Thematically, this is quite a bitter song. It’s about the lies and empty words that spill forth from our collective wretched mouths nigh on incessantly. In that sense, it’s also quite misanthropic. I don’t think being misanthropic is particularly good or in any way something to be admired, but one doesn’t have to observe our species for very long to be disgusted.
There is also a lot of alchemical imagery played around with in this song. I’m interested in Medieval and Elizabethan occultism and alchemy, and it’s evident in some of the lyrics here. The Black Humours are strong!
Musically it’s one of the more obviously doomy numbers. I think it could bring to mind some early Katatonia and perhaps even early Opeth. I’m pleased with some of the bass parts on this song in particular as they really do add a lot. I think there really is a mournful Medieval/Elizabethan feeling in this one.

Paranoiac Invocation
This song is almost told from the perspective of one afflicted/gifted with “madness”. Obviously the Morbid obsession is high on the agenda again as well! A common theme in all of Portent.
Seemingly though, as the protagonist/I of the story has summoned paranoia/madness he is in conflict with himself and all of existence and the institutions of his confinement, both physical and mental.
He is gifted and afflicted with visual and auditory hallucinations, and as one who crosses boundaries, of sanity-insanity, he also summons Hermes. Hermes Thrice Greatest and Hermes the messenger of the Gods; the one who crosses boundaries, as he (the protagonist) has as well.
I try and make all Portent’s songs a journey, and this one is no different. It is slightly melodic in the latter part of the song, but also reflects the manic, deranged state of mind too. I think there is a bit of (early) Abigor in some of the riffs too.

Dismal Are Our Ways
I only became aware after writing this one, that it was very Lovecraftian. Perhaps a cliché in metal, but since I didn’t consciously write it about them, I will allow it, or perhaps the Ancient Ones will allow it! As well as that, there is also seemingly an invocation of the Black Sun. Once again, this was entirely unconscious, so I can only assume a “coincidence”/ synchronicity…! Once you begin paying attention to certain things, they pay attention to you?
This one talks about the cold indifference of the Void and those Beyond who care not for all our futile endeavors. Once again, mortality rears its head here.
Musically, this almost seems like a bit of a companion piece to the track ‘Cavern Shadows’, from my first self-titled demo. Both tracks are obviously more black metal than some of the others, but mid-paced with quite a melodic, slightly medieval feeling to it. This can be attributed to my adoration of Abigor. It also showcases some of the influence Ved Buens Ende and Virus have had on my guitar playing, particularly in the first half. I like how the bass guitar sticks out quite a lot during this track too.



Track by Track: The Last Twilight – La Octava Copa de Ira (Album Guide)

Track by track is a feature from the Distro: song explanations, background info, lyric details; written by the bands themselves.

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Written by: TLT


The album title refers to the final cataclysm and it’s an allegory of the satanic victory.
The concept of the album is mainly based on the story of the Seven Cups of Wrath poured out during the Great Tribulation,

“And men were scorched with great heat, and blasphemed the name of God, they repented not to give him glory” (Revelation to John, 16:9)

We’ve also been inspired by several works written by occultists such as Aleister Crowley, Arthur Edward Waite, Montague Summer or books like Lemegeton Clavicula Salomonis (mainly the Ars Goetia) and some apocryphal texts.

The “eighth cup” is a symbol of HIS power, after God’s failure, and I invite the worshippers to listen to our albums and read the lyrics in order to give a meaning to this 8th cup by themselves… every soul will drink from it in the new Eon.

The cover front was designed by M. from “Remember the Fallen Art” and it’s the visual representation of the album title.

Track by Track: Grift – Fyra Elegier (Album Guide)

Track by track is a feature from the Distro: song explanations, background info, lyric details; written by the bands themselves.

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Written by: Perditor

Presented in original swedish, Google provide a quick simple translation.


Dödens dåd
Vi valde att använda ett stycke skrivet och framfört av Hieronymous Gratchenfleiss som var verksam som begravningsviolinist under 1800-talet. Vi tyckte att stycket “The Noble March of Death” var ett passande intro till “Dödens dåd”, som med ens försätter lyssnaren i rätt stämning. Texten handlar om en vilsen själ med kronisk dödslängtan, som tillslut har “lycktat sina ensamma hemlösa guldår”, som jag sjunger. Jag fick inspirationen till texten när jag läste om och av poeten Dan Andersson, som dog när han var 31 år.

Förtappelsens folk
Första riffet i låten är nog det mest primitiva och barbariska riff jag har komponerat. Det var meningen att den här låten skulle bli väldigt primitiv och “stolt” i sitt uttryck. Texten har ett nihilistiskt och pessimistiskt budskap. Jag var väl ganska influerad av Johannes Edfelt och Albert Camus när jag skrev den. Samtidigt måste jag erkänna att Burzums “Belus” spelades rätt mycket hemma när jag skrev mittenpartiet i låten.

Den fångne
Musiken till den här låten kanske är den mest nostalgiska på skivan. Det hörs väl att vi gillar 90-tals black metal, antar jag. Texten i den här låten har faktiskt en lite punkaaktig attityd mitt i all pessimism. Jag har hämtat en metafor från Edfelt diktsamling “Elden och klyftan” här.

Musikaliskt var jag influerad av Joy Division här. Jag ville att trummorna skulle vara väldigt enkla, som på “Closer”. Texten är väldigt influerad av Pär Lagerkvist “Ångest” och “Aftonland”. En liten rolig detalj är att jag i början och slutet faktiskt “spelar” på min egen lie. Jag för en brynesticka mot liebladet, som man gör när man vässer en lie. Studion som vi spelade in i, “Liesmia”, är ett sammanslaget ord av “lie” och “smedja”, eftersom det har legat en smedja på gården där jag bor.

Track by Track: Ysengrin – T.R.I.A.D.E. (Album Guide)

Track by track is a feature from the Distro: song explanations, background info, lyric details; written by the bands themselves.

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Written by: Guido Saint Roch


Well this first track is slow as a rotting corpse. I like the last part of the track, with those epic keys, like the triumph of the Death. Lyrics mostly deal with dead and depression: under the reign of Saturn, for ever!

Je n’ai plus que les os
This track is a powerful tune with some great breaks. Lyrics are taken from a poem of Pierre de Ronsard, famous french poet of the XVIth century. Again, the topic is the Death. One of my favourite track on this opus.

De terre suis venu et en terre retourne
Instrumental track to close the “Putréfaction” chapter and it’s sound very dark… Ashes to ashes, dust to dust. Lot of inspiration from ONDSKAPT.

Passage VIII
Is my first track under the sign of Hermes. Short one but direct!

Rex sacrorum
This long track begin and finish with great doomish riff! The lyrics are dedicated to those who pray, the holy sacerdotal class born in the old womb of humanity…

Queste de quintessence
This one is an instrumental, closing the “Elévation” chapter. The path to the red glory and the total accomplishment. The music is a total ABIGOR worship!!!

Potencée d’or
Very melodic and thrashing track. The title is a pure reference to the medieval Kingdom of Jerusalem and to the king Baudouin the IVth: This king was taken by the hands of the leprosy when he was a child and he was a perfect example of bravery; the sick king against the famous Saladin!

Ode à l’escarboucle
A first anthem to the esoteric Sun with a very solar riffing feeling obviously. The escarboucle is an important symbol in YSENGRIN: the Sun will shine again in the dark heart of the Malebeste, like the eternal cycle of life and Death…

Troisième œil
The last track of this first opus and also a perfect end of the “Illumination” chapter. The total communion and clairvoyance. The sound of this instrumental is close to old ABIGOR as well.

Track by Track: Ain Sof Aur – Atra Serpens (Album Guide)

Track by track is a feature from the Distro: song explanations, background info, lyric details; written by the bands themselves.

Distro: Album Page | Artist Page

Atra Serpens deals with a process of man’s spiritual evolution. The title ‘black serpent’ means, briefly, what is considered to be an abomination by right hand path religious standards. The use of theology and philosophical views may corroborate what we say on an inverted perspective.

An existence that will or have reached apotheosis through Death. This album marks only the beginning of the journey toward that goal, as a metaphor of our own initiation.

In general, the whole booklet is a complete concept of what Atra Serpens really is – apart from the whole idea that this album is to be felt, it is an abstract insight that might be difficult to name or explain.
The songs’ description might be an in depth approach to some of the views presented in the booklet, though they can be quite vague in some ways.


Conjurating Oblivion
Oblivion stands here as the primordial Darkness that will bless the entire concept of Atra Serpens. It could also stand for the conjuration of the Holyness of Spiritual Death, as a form to destroy the old (that will, hence, be forgotten) to strengthen the new: the becoming of the black serpent.

Aeons of Silence
A perception of how limited and frail the Cosmos is and the need to negate or free oneself from it.
Silence stands for blindly accepting the rules of existence and marching towards the corrupt essence of a man related to God – zealotry and intransigence could also be related to corruption; in any way, it marks the perception of the terrors of the Lord.
The questioning of Faith or a deeper look at the dichotomy of life and death are also present.

Celestial Moral
The first glance at the morality of the Gospel of Creation, the manifestation of denying it to be able to see inside oneself.

Resquiessence in Abscess
The remains of the essence of the divine failure of Creation in men, or he who is realizing a whole new perspective of existence in a metaphysical point of view. It’d be, in a certain way, a stigmata originated from the spears/swords of Death and its Holyness molding a new form of abomination.

Using the name of an ancient Chaldean prince (song title) as an ironic metaphor for the destruction of the idols of Merodach, or simply, Marduk – he who engaged in a fight with the almighty Tiamatü, the Ancient Serpent of Chaos.
This prince claimed to be the very descendant of the aforementioned Sun God to usurp the Babylonian throne in 721 B.C. His arrogance and self righteous ways may be related to Marduk when dealing with the Chaldean account of Genesis and our own current – and man as the Black Serpent concept, the main focus of the album.
Hence, this song is the realization and awakening to the nightside of existence, with the Gods and Goddess of Sitra Ahra guiding one’s path to devour the children born from the womb of Creation.

Withered Husk of Amaziah
Amaziah or Amatzyah (אֲמַצְיָהוּ) stands for “IHVH the almighty” or “strength of the Lord”. After the perception and first contact with the Other Side, the calling from Ama Lilith to her womb, and the whole process of negating the right handed perception of existence, one realizes how fragile and petty the Evangelium is – therefore, the ‘withered’ husk of the title.
Thus, this is a sonic manifestation of how one disrupts the mundane and cuts the umbilical cord with God to enter what is considered to be “true terror”, or the forbidden and hard Path to reach divinity.

The Call of the Sick
It is a pure mockery of the Evangelium after being completely away from the Lord, showing how sick one who dwells in the siege of Divinity can be.
The relation of this sickness with the concept and belief of Sin and Faith (fides quea creditur) under the Lord’s Gospel, have an important role here. It is also related to the brief Kenosis part in the booklet.

Distress of Transgression
Meaning, literally, the anguish or misery of sin.
It could be seen as how the blessing of Death and Darkness represents the utmost sin on the Evangelium. This “inverted” aspect of a blessing may represent what the whole process of becoming that the Black Serpent is going for: it is draconian.
Misery actually stands for the hard path that blessing is directing the Black Serpent for or, perhaps, under another view, the consequence of sinning?
Either way, the end of this album is just the beginning of what is yet to come and the first manifestation of a process to free oneself from the shackles of Samsara – thus, the first step of denying the Gospel. The first step one should take to get away from a superfluous, mundane rebellion to be able to look inside oneself.

Track by Track: Trancelike Void – Unveiling the Silent Arms of Despair (Album Guide)

Track by track is a feature from the Distro: song explanations, background info, lyric details; written by the bands themselves.

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Written by: H.

Trancelike Void - Unveiling the Silent Arms of Despair

Unveiling the Silent Arms of Despair
‘Unveiling the Silent Arms of Despair’ is probably my favorite TLV recording of them all… It was recorded shortly (4-5 months) after the ‘Destroying Something Beautiful’ sessions, before that one was even released. At first, I wasn’t too happy with the result, especially the drums and vocals weren’t perfect. It was a matter of post-production though, and thanks to the capable mixing and mastering of Desolate (Austere, Funeral Mourning, Nazxul, etc), the result came out close to perfect.
This EP might be the most personal of all TLV material and embraces its essence, as it delves into my deepest emotional pits. Just like my other material, it was semi-improvised, some parts even completely improvised (like the acoustic part in part I). This way, the instrumentation might not be perfect, but the emotion is as pure and raw as possible. When I sent it to Hakan/THR, he immediately agreed on releasing it, for which I’ll be forever grateful.
One last thing, for those who wonder: the sample at the end of the EP is from the movie ‘The Exorcism of Emily Rose’.

Track by Track: Novus Ordo – At the End of the New Times (Album Guide)

Track by track is a feature from the Distro: song explanations, background info, lyric details; written by the bands themselves.

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Written by: Bestia777


Hados and Destinies
The beginning and the end of all creation was once destined by the ancients, who stipulated the End in orbital paths in times before the time when the originals created our destiny, so the destiny of our journey is the eternal sentence where the stars spread the dead of our era.

When Horns Call to the Battle
In times of ancient battles, where the winds whisper death and vengeance, the stars are the guide in the warrior’s way, where they will always give war where life and lights exist, when horns call the great battle.

At the End of the New Times
Omens of cosmical revelation, false prophets, fake idolism and religions, in a time of total darkness, when occultist lodges reclaim the crowning of the unique being in the time of Aquarian. This are the apocalyptic revelations that summon chaotic visions in a new awakening, in the end of new times… in times of the new order.

Visions of the New Eon
In the last Era, when the empires will fall in total obscurity, when solar death burst in the skies and celestial chaos starts the beginning of the new cycle, in limitless ages, when only one will rule, this are the subterranean tales of the times of the new Aeon.

Frozen places, desolated bye coldness and death, tell the polar times of demigods on Earth, colossal revelations in the cold southern hemisphere point out the sacred link of the world of ancient aryan, who began the descent to the mental interior of the Earth, the ancient land of Agartha.

Gathered in the Vision of the Black Sun
Moments of a great celestial war, the infinite battle against the Demiurge, they are episodes that sign the chaotic memories when the Vril spirit and power are the ancient weapons, unique secrets in the way of victory towards the Eternal return.

In the Trance of the Green Path and the Other Light
Tales of stellar passages where once white giants existed, now forgotten, lost territories narrated by the traveler, the one who left the human side and now he’s aware of stellar gates out of the nothingness, beyond the green light, in the glacial abyss.

At the Gates of the Blazing Sudpolar Circle
Between concentric circles under the uncreated light, this atmosphere is created under total darkness, to the cosmic journey between the stars, full of secrets and forgotten blasphemies, that burst in infinite constellations under the glory of the Black Sun.

When Ignorance Becomes Faith
In times when hundreds of religions exist, century by century of blood under the cross, it stares at a society full of lies and rotten believes for skeptics believers, where their ignorance become faith.


Track by Track: Remmirath – Polis Rouge (Album Guide)

Track by track is a feature from the Distro: song explanations, background info, lyric details; written by the bands themselves.

Distro: Album Page | Artist Page

Written by: As


The Will Behind the Colossus
Just a short intro setting the untrve tone for the album. Saxophones are not very unusual in metal anymore, but we thought it would fit the urban atmosphere we tried to create with the album. In the background, you can hear authentic sounds from a factory where our bass player used to work at the time.

Replacing the Sun
About mankind worshipping speed and the illusion of perpetual linear progress. Many fools believe that we live in the best of times, because hey, we got iPads and we are able to travel the stars. Those who exceed their minds beyond the primitive material plane already know that we are on the verge of the End times.

N.W.O. Neverland
Our conspiracy theory song. No Alex Jones or David Icke stuff, just a simple and direct lyric that could encompany the movie They Live. It speaks about Paris Hilton in the beginning. I once grabbed some tabloid paper and she was there on the front page, scratching her vagina in a swim suit. Breaking news, sheep!

A Little Trip to the Stars
The most personal song of ours and my favourite lyric. It tells about a couple of nights in summer 2005 that we spent with a few of our friends inside a cottage surrounded by the woods. A rural idyll if you wish. In the end it describes how we are returning to the city in a morning train, which takes us “so far from miracles”. The accoustic guitars slowly fade out and the electronic sounds of the next track brings us back into the brutal urban world.

La Figurine Plastique
Our tribute to Kraftwerk. And to the mystique of the city at night. Walking the lonesome streets and gazing into the illuminated shop windows, with plastic mannequins which stare at you with their empty, artificial eyes. However we loathe the trappings of the modern world, at the same time we find ourselves fascinated with it’s peculiar aesthetics and twisted charm.

Polis Rouge
The heart of the album, more or less continuing the theme of urban isolation and fascination with the atmosphere of a nocturnal city. This is the first time we entered the psychedelic rock territory, which we are exploring a lot more today.

What Remains After Us
Continuing the message of Replacing the Sun, the song tells about humanity limping across the edge of the Abyss, no longer having a meaning of life in a dystopian, transhumanist world where there is no more purity and spirituality left. Our science and arts are worthless and the Earth will devour us to grow a new skin. It ends with a positive thought though: “still it is so beautiful to stand here with you, at the end of all. That is what remains after us.” There is humanity left in humans, but their beloved civilisation needs to become extinct, so the world will get healthy again. Conoisseurs of modern classical music might spot a Gyorgy Ligeti sample in the second half of the song.

Rainy Friday
The most sappy song and my least favourite today, after 5 years. Cure fans might enjoy it though. It is almost fully instrumental, but it’s basically about a lonely (and rainy) friday spent at home, watching the rain pouring outside and thinking of someone you will probably never meet again.