21 Years Ago: MOONBLOOD record Siegfried (Die Sage vom Helden)

Considered by the band to not reflect their real concept, Siegfried was recorded during this month in 1995 and released on only 50 tapes.

In October, one month later, they released a Reh/Demo Tape that shouldn’t really appear in their discography as lyrically it didn’t fit in their concept. Therefore “Siegfried” was limited to only 50 copies, german written verses based on the Nibelungen Epos with Bathory-ish music underlayed. Definitely shouldn’t represent Moonblood in general.



20 Years Ago: MOONBLOOD record at Digan Tonstudio, Saxony

On this day in 1996 MOONBLOOD held a recording session and completed two songs. Fullmoon Witchery was included on the 1997 Encyclopedia Pestilentia compilation but Under the Abyssic Black Wings of the 3rd Angel was never officially released. Recording took place at Digan Tonstudio in Annaberg, Saxony (Sachsen) Germany.

The complete session is included on the official CD …of Lunar Passion and Sombre Blood which is in stock at the distro with all the other recent official MOONBLOOD releases.


JFN / Jarl Flagg-Nidhögg / Hendrik Möbus interview excerpt (ABSURD)


After my final release from jail, I was dismayed at the progressive decline of Black Metal from the uncompromising counterculture it was in the early 1990’s to the subcultural entertainment it has – not entirely but in large parts! – become ever since. In particular the young generation of bands and fans that came to Black Metal not sooner but in the new millennium, they are like the antithesis of everything Black Metal set out to be, and stood for, when I was a teenager myself. Back in the days, Black Metal was detached from the Metal genre in all but name. Yes, of course, many of those who became disciples of Black Metal have started as fans of Metal in general, but Black Metal was indeed a cult that forbids worship at any other altar. As soon as you shed the sheep’s clothing and became a wolf, you looked back at the Metal scene in spite and hatred. This disdain was equally echoed from the other side. It was out of the question that, say, you’d have a festival where a Black Metal band would share the stage with bands from another genre. Alas, this attitude has profoundly changed. Now, Black Metal has become just one of many sub-genres of Heavy Metal and it’s perfectly acceptable for anyone to listen to Black Metal among others. That has led to the proliferation of political correctness in Black Metal too, because this new generation of fans – and bands alike – is thriving on entertainment only. They enjoy the “occult atmosphere” and “wicked show” live on stage, but they don’t crave to actually torch a church or strangle someone to death like it was for the Black Metal of old, when the borderline between “fantasy” and “reality” was blurry, and bands and fans alike attempted to tear the fabric of reality apart so their sinister fantasies could materialize in our world. Now Black Metal of our day and age might still wish to shock, even to offend, but hurt nobody for real. It’s alright to hate mankind but wrong to hate any particular group of men, for instance. It’s tolerable to blaspheme Jesus Christ but if you’d do the same to the Prophet Muhammad, you are a racist. In a nutshell, Black Metal became castrated and domesticated. Black Metal won’t hurt anyone. No one needs to suffer for Black Metal, either. It’s self-evident that Black Metal, to a considerable degree, has become a parody – nay, a travesty – of what it once was. With that in mind, I am like a living fossil that even though it belongs to Black Metal ought to be extinct already.

Interview excerpt from The Sinister Flame, Issue V: Aristocracy of Wolves (Summer 2016 e.v.)
This issue of The Sinister Flame, previous issues and many other zines are in stock now at the distro


To the beautiful sound of cracking skulls, The Sinister Flame proudly presents its fifth issue, further exploring the abyss with ABIGOR, MARE, MORDOR, NASTROND, HIEROPHANT’S DESCENT, Temple of Them, XANTOTOL and Jarl Flagg Nidhogg of Darker Than Black. Aside from interviews, the issue also includes review sections and a special article by Northern Heritage that focuses on the connection of nature and Black Metal. DEAD REPTILE SHRINE, SATANIC WARMASTER, MUSTA KAPPELI, PHLEGEIN and VORDR all discuss the relevance of natural surrounding to themselves and their artistic work.


Moonblood – History, Biography, Facts, Samples – Reissues Now Available


Moonblood “Blut & Krieg/Sob a lua do bode” CD

Moonblood “Dusk Woerot/Taste Our German Steel!” CD

Moonblood “Of Lunar Passion and Sombre Blood” CD

Moonblood “The Winter Falls Over the Land” Demo/CD





Gaamalzagoth – Vocals
Occulta-Mors – Instruments


MOONBLOOD somehow arose out of the ashes of DEMONIAC who formerly have been active since 1990 under the name of PURULENT OBDUCTION and playing primitive Doom/Death Metal in the vein of ASPHYX, MY DYING BRIDE, PARADISE LOST, AUTOPSY and other bands of that period. And PURULENT OBDUCTION was the continuation of BLOODBRAIN (sample), an raw early Thrash/Deathcore act that was started sometime in early 1989 as T and A (Terror and Agnostic) by Tino Mothes (aka Occulti-is, later Occulta Mors) and Andreas Schwach (aka Lord of the Necrotic Slaughters, Lord Asmoday).

BLOODRAIN: Demo 2 / Demo 1

Partly other local “musicians” have been shortly members of the project in person of Michael Männel on guitar and Heiko Kahn (later joined the Hardcore band 4 BEHIND 3) on the drums. The line-up just lasted for a year or even less but long enough to play a horrible live show and 2 even more horrible sounding Grindcore Demo tapes (with Andreas Schwach and Tino Mothes as remaining members) were recorded in the attic namely “Satan’s Lust” (end of 1989) and “Cadaverous Mutilation” (1990). Tino Röder (aka Necromaniac, Count Damien Nightsky), who was playing with the local Schneeberg Thrash/Crossover band SEPTIC TERROR (in the vein of S.O.D./SODOM/KREATOR – Members: Torsten Seifert – Guitar, Tino Röder – Guitar, Torsten Oettel – Drums, Mirko Oechsner – Vocals) joined in late 1990 as guitarist and from this day forward the band was known as PURULENT OBDUCTION (sample) while the Grindcore changed to doomy Death Metal.


Besides PURULENT OBDUCTION Tino Mothes and Andreas Schwach had a Grind/Noisecore project running as well called EXCREMENT TERROR were they recorded several sick trax that have been available in form of a Demo tape called “Achachnophobia” (sample) back in 1991 (Excrement Terror in 2014) (sample).

Purulent Obduction demo / Excrement Terror demo

PURULENT OBDUCTION played 3 live gigs and locally released 3 Reh/Demo tapes (“Rotting Corpse” – 1991, “Live in Unterheinsdorf” – 1991, “Addictive” – 1992) until in spring 1993 they got the idea to change the band name once again due to the slightly changed lyrically content. The name they’d chosen was DEMONIAC and a first Demo “Divine Grudge” (sample) was released in March 1993 while the musically concept did not change until late summer/autumn 1993 when Mirko Schmat (Blacksoul, later Gaamalzagoth) joined on vocals and they also started writing faster, more Black/Death Metal oriented material highly influenced by SAMAEL, DARKTHRONE, MAYHEM, EMPEROR or BURZUM. The line up was consisting now of Necromaniac – Guitar, Occulti-is – Drums, Lord of the Necrotic Slaughters – Vocals, Blacksoul – Vocals.


With that line up they quickly recorded the Reh/Demos “Blaspherion” (September ’93) (sample), “Black Prophets” (October ’93) (sample) and “Jesus never lived” (January ’94). Shortly after releasing “Jesus never lived” that had almost no Death Metal influences of the early days left, the band broke up because of internal trouble. Necromaniac and Lord of the Necrotic Slaughters started Andras while Occulta-Mors and Blacksoul decided to change the band name to MOONBLOOD because another band from New Zealand just had released their first Demo almost at the same time when they sold their last Demo “Demoniac” (sample) in early ’94, a kind of compilation of ’93 recordings.

Demoniac demo covers

In July 1994 after several months of intense recording sessions MOONBLOOD finally had enough material for a fullenght Demo (entitled “Moonblood”). Sadly the sound was utter garbage, while the songs itself haven’t been that horrible though. With that tape they got in touch with Unholy Baphomet Records to release the “Nosferatu” Demo in late 1994, a 40 min fucker on pro-tapes but again with terrible rehearsal quality. In January 1995 MOONBLOOD entered for the first time ever a recording studio, the Digan Tonstudio in Annaberg (where most of the Death and Black Metal bands in that area recorded their stuff) and recorded the “The Winter Falls Over the Land” tape. Sadly they have been too unexperienced for such a session so the whole tape was mixed by the sound engineer himself. Therefore they later wasn’t much satisfied with the result in the end. September in the same year they once again entered the Digan Studio again highly motivated to record 5 more trax, including the intro of the coming album. This time the sound mix was much more of their liking. In October, one month later, they released a Reh/Demo Tape that shouldn’t really appear in their discography as lyrically it didn’t fit in their concept. Therefore “Siegfried” was limited to only 50 copies, German written verses based on the Nibelungen Epos with BATHORY-ish music underlayed. Definitely shouldn’t represent MOONBLOOD in general.

The next studio date was in February 1996 when they recorded the first album “Blut & Krieg” for the label Majestic Union Records again at Digan Studio. In August 1996 Unholy Baphomet Records finally published the Split 7″ with Nema, which the track “Moonstruck” was recorded for in September 95. “I am All” from the same session was placed on the Canadian Compilation CD “Under the Pagan Moon”. In November 1996 they had another Digan date and recorded the outrageous “Fullmoon Witchery” and the hymnic “Under the Abyssic Black of the 3rd Angel” (previously never used). The cassette version of “Blut & Krieg” was ready in March 1997 as a co-production of Majestic Union and Sombre Records. They’ve made 666 copies and in contrary to the LP version contains “I am All” and “My Evil Soul” from the September 95 session as bonus trax. July 1997 the “Enceclopedia Pestilentia” Triple Compilation CD’s got released and they opened the massacre with the aforementioned “Fullmoon Witchery” track. In the meanwhile they were waiting for the release of “Blut & Krieg” on vinyl as promised but nothing more happened in 1997 except that MOONBLOOD entered the Digan Studio again in November 97. Originally the 5 tracks recorded should be meant for a Split CD with malay Black Metal band PURNAMWULAN but it just did not happen. In March 1998 Sombre Records released the Split 7″ with ASAKKU with MOONBLOOD’s part being “Hordes of Hate”, the last unreleased track from the September ’95 session. Sombre Records also suggested to do the “Blut & Krieg” LP by himself which happened already in November. He did 333 copies, but it’s not a secret that more copies are circulating. When he died there was a complete box with 50 copies (or more) found at his place. You should at least watch out for the insert and the sticker if you plan to buy the LP, all copies without them are highly doubtable, especially the stickers as they’ve made them by theirselves, so there are just 333 stickers available. It was in August 98 when they recorded 7 new trax in a newly built up recording studio in their neighbour city and part of the songs have been used for the Split Tape with Brazilian band EVIL.


Sometime in autumn 1999 the whole songwriting process began to stagnate, they still rehearsed but apparently have both been busy with other things in their life. MOONBLOOD called it’s quit somewhere in late 1999 while Occulta-Mors already had recorded songs for his NACHTFALKE project and was also been playing bass in the Death Metal band LYSSA while Gaamalzagoth was more focused on AZAXUL that he started in 1997. Still in December 99 the Split 7″ with Czech INFERNO once again on Sombre Records was published. The track “Kingdom Under Funeral Skies” from the Erzschlag session August 98 and the Split Tape with EVIL was ready in the same month featuring “Burning in Hell” a homage to early BATHORY, “These Graves and Wooden Coffins are My Realm” and “The Quest for the Doctrines of Might and Wisdom” of the same session and the second mix with the shitty vocal effect. The tape was a co-production of the Southern Productions label and Gaamalzagoth’s own Steeldawn Inc. Though on the paper MOONBLOOD was dead they received an offer from End All Life Records for an album and decided to record some of the last tracks so they lended an 8-track-recorder from the Erzschlag Studio and in mid November 1999 KATHARSIS agreed that they could use their other technical equipment (they almost had a complete demo studio there except of the 8-tracker) to record “Taste Our German Steel!” (released March 2000) at the Reichsmusikkammer Ruppertsgrün. The session included the track “Troglodytin” too that appeared only on the “Black Metal Blitzkrieg” Compilation LP (March 2001 – EAL). 2 months earlier in January the Split LP with DEATHSPELL OMEGA was ready that EAL did together with Sombre Records. The reason for doing that was because of the massive left over material of the November 97 Digan session that was meant for the Split CD with PURNAMWULAN and later with Rhodos based ADHILL that both did not happen. From that session the track “Supreme Black Forces of Steel” was still unreleased and Sombre Records did a 600 copies edition Split 7″ with KATHARSIS in late 2001. The very last recording session happened in September 2000 again at Reichsmusikkammer Ruppertsgrün. There don’t even exist rehearsal versions of the “Dusk Woerot” trilogy (unlike of all the other studio tracks) as it’s probably the last material that they wrote together. The songs has been the first time ever recorded there in the studio. “Born to Live in the Shadows of Damnation” was at that time a really old song. Therefore the huge difference in the songwriting and style. “Dusk Woerot” Demo was published on Ataud Y Muerte Syndicate (666 copies) in Colombia. After during the years gone uncountable masses of bootlegs on Tape, CD and Vinyl did appear, the band decided to re-release everything again and this way take out the wind of the bootleggers sails. “From Hell – The Gift of Hatred” was an anthology vinyl box containing 4 LP’s plus a 7″ with (even partly unreleased) old studio and 4-track recordings, all restored from the original master tapes, done in co-operation with Iron Bonehead and Tales from the Crypt. Furthermore the immense bootlegged “Blut & Krieg” album got it’s long expected vinyl and CD re-release together with the complete “Sob a lua do bode” session. In the meanwhile 3 of the founding members of DEMONIAC have started rehearsing again. The first result you can find here, entitled “10000 graves” (sample).

One last important note; MOONBLOOD at NO TIME during their existence has ever been a political especially not an NSBM band. We did never write any lyrics in that direction and furthermore we don’t see any connection between National Socialism and Black Metal. As far as we do know on the beltbuckles of Hitlers soldiers was written “Gott Mit Uns” and most of them indeed have been severe religious Christians. MOONBLOOD does not support any religious or political fanaticism! In death you’re all the same, rotten flesh and bones falling slowly to dust…


Reh/Demo July 1994 (166 copies)

Reh/Demo December 1994 (Unholy Baphomet Records – 100 copies)

“The winter falls over the land”
Demo March 1995 (Gospel of the Witches Promotions – 333 copies)

Reh/Demo October 1995 (50 copies)

Split 7″ EP August 1996 (Unholy Baphomet Records – 600 copies)

“Blut & Krieg”
MC March 1997 (Majestic Union/Sombre Records – 666 copies)

Split 7″ EP March 1998 (Sombre Records – 500 copies)

“Blut & Krieg”
LP November 1998 (Sombre Records – 333 copies)

Split 7″ EP December 1999 (Sombre Records – 500 copies)

Split Demo December 1999 (Southern Prod./Steeldawn Inc. – 500 copies)

“Taste Our German Steel!”
LP March 2000 (End All Life Productions – 100 copies)

Deathspell Omega/Moonblood
Split LP January 2001 (End All Life/Sombre Records – 350 copies)

Split 7″EP 2001 (Sombre Records – 600 copies)

“Dusk Woerot”
MC December 2002 (Ataud Y Muerte Syndicate – 666 copies)

“From Hell – The Gift of Hatred”
4 LP Box November 2013 (Iron Bonehead Productions/Tales from the Crypt)

“Blut & Krieg/Sob a lua do bode”
DLP/CD July/September 2014 (Iron Bonehead Productions/Misanthrophia Discos)

“Dusk Woerot/Taste Our German Steel!”
CD December 2014 (Misanthrophia Discos)

“Of Lunar Passion and Sombre Blood”
CD February 2015 (Misanthrophia Discos)

“The Winter Falls Over the Land”
MLP/CD February/May 2015 (Iron Bonehead Productions/Misanthrophia Discos)


Reprinted from Misanthropia Discos

Daily Noise: Bethlehem – Schatten aus der Alexander Welt

New album scheduled for October but this is from the mythical Dictius Te Necare. The following text is from a 1996 interview with Bartsch, explaining some of the lyrical ideas behind this song:

…all religions keep it easy with different aspects, things such as “good & evil”, “ying & yang”, “black & white”, etc. are distinguished not clear. The christian ethics speaks of decisions & deeds in order to achieve a moral, pure and personal activity. An aware behaviour shall be the base and the question is whether the behaviour is good or evil. All these religions or should I better say “individual faith” make sense to lotsa folks and basically, one shouldn’t charge such a thing. My personal problem in all those years is that such a “sense” was always refused to myself. For example, in early youth the archangels Gabriel & Michael often appeared in my dreams. It always took place in a large, dirty and dark room in the “ALEXANDER WORLD”. There was no furniture in this room except a large, dirty simple table without any ornaments or scrolls. The table stood in front of a fireside and some kind of creatures made of matches dancing to a sick & bizarre melody. Together with both archangels I watched the creature dancing to the point when it inflamed in an ear-splitting raising of that melody. During that kinda ceremony both archangels spoke to me but I couldn’t imagine the sense of what they told. I really can’t translate the words they told me into English language because such words don’t exist in your language. I experienced the “Alexander World” since my early youth and it happens like this: it often starts at night when I suddenly start remembering different smells and odours. Then I enter kinda “world” for some seconds or few minutes… it’s not the same as dreaming but similar. Sometimes it lasts like half an eternity but as I told before it never lasts longer than some seconds, okay? Well, “SCHATTEN AUS DER ALEXANDER WELT” talks about one of these incursions into that “world”. Under a highway bridge there was a rotten, old house. You know, one of these with red bricks? I entered the house and on the second floor there was a room. It seemed to be a room of a young girl. The whole room was full of blood, on the bed, on the ground, on the walls, on the ceiling. It was a perverse stench, not just rotten but fresh…such as fresh, slaughtered meat. I took a look around and watched the shelves with girl-toys on ’em. I watched the vanity bags with small, floral patterned handkerchiefs & lace scarves. After a while I discovered three diaries bound in black letter and the title on each book was “SCHATTEN AUS DER ALEXANDER WELT”. I started reading the book and quite often went back to this place and rotten atmosphere. I read the whole story of that young girl, everything was so clear, evident & unadulterated. Just the pure essence of a tender, small life…until death…until the moment when that life was murdered quite brutally and animalistically and beyond. To read such a thing and to read it in ethics defined, moral behaviour disclosed a sheer inconceivable dawn upon my myself,a dawn I witnessed just one time before. The more intense dawn however was, that I meant I would enjoy it…and probably I did. Such things force myself to write it down or translate it into music. Sometimes after having a good joint, or a good fuck or whatever, my head is full of these things and I must write ’em down. Such an attack no longer lasts more than some minutes and that’s the chance to write a poem for Bethlehem. If it’s written down I never changed it again because just the first chosen words make sense to me, no other person can possibly understand it. Bethlehem for example likes the special mood but never understands the poem by itself. Personally, I never wanted to spread a “message”…these poems have to disappear out of my brain and subconsciousness, otherwise one day I’m gonna explode and would probably take my life or others. I don’t know and never will join such a situation. All these words are part of myself and on the other hand they’re so clear and evident but on the other hand so damn strange.

Ruchloser Mörder in purpurnen Seiten
vergieße ich das vermalefeite Blut deines
kindlichen Leichnams
und erwarte mit bessener Hingabe
die erlösende Begierde meines vielgepriesenen

Gewitter zieht auf und ich fühle wie de Träne
deren Dorn tief in den Pfuhl meiner
Prophezeiung stößt

Bare Vernichtung umweht meine lässigen
die Mitte kann nicht länger gehalten werden
und es bedarf nur zwei Schüsse den König zu

Und wenn der Zirkel der Gehenkten spricht
und das verblichene Licht in schwarzem Weine
sich bricht
wird die Buße des toten Pferdes
meiner harschen Dunkelheit anheim fallen