Nyctophobia - Interview

Contaminated Tones: With such little information available, can you present a general history of Nyctophobia?

Deimos: It's probably similar to many other one man projects. I couldn't find anyone else who wanted to play the sort of music I did so I started writing and recording alone.

CT: How would you describe your music to someone who is not familiar with funeral doom?

D: Slow, melancholy and empty. Long, drawn out notes played in minor keys and occasionally in irregular time signatures.

CT: How do you go about composing your songs? What factors help or hinder your creative process?

D: Usually I just start by playing, if I like something that I've played I'll record it then try playing it with different rhythms, change notes around to make it better until I'm happy with it. Then it's a case of trying different melodies over the top of it until I get something that feels right and so on. Basically just changing things and adding parts until I think that changing it or adding anything else would make it worse rather than better.

CT: How did the recording for Beyond The Pillars proceed? What effect or mood were you trying to achieve on your first release?

D: Pretty much as I described for how I compose. Doing it alone means that I have to record as I write in order to get a good idea of how everything fits together. I always seem to go for the same mood- I try to get it to sound ominous and dreamlike as if something bad is about to happen but not necessarily tied to reality.

CT: Are you satisfied with the results?

D: Mostly, although it's difficult to tell as I heard every track so many times while writing and recording.

CT: What emotions do you try to convey with your music?

D: Despair and fear.

CT: You include more melody in your music than many other funeral doom bands. "War" is a perfect example of your usage of melody. Do you feel that your usage of melody is one of the key features of Nyctophobia's sound? What are your opinions about melody in the genre?

D: I suppose it is, I just use a second guitar part to keep things interesting. I decided early on that I wanted to record music which sounds almost like nothing is happening but where something always is. I don't really have an opinion about melody some people use it, others don't. Both approaches work beautifully when done well. It's really just a matter of taste.

CT: How did you create the frightening noises in "And They Gathered?" I am assuming you didn't throw a bunch of forks and knives in a plastic tub like Judas Priest.

D: I have to be honest, I'm not sure what you mean. I've listened to the track a few times trying to figure it out but I have no idea. It was almost certainly some combination of voice, guitar, bass, reverb and delay. I have, in the past, used various objects to make different sounds but for "Beyond the Pillars" it was just normal, bog-standard, instruments.

CT: There is no lyric sheet for Beyond The Pillars though the album has lyrics and spoken word parts. Can you give any insight into the lyrics and thoughts you've expressed on this album. What are the themes and topics in the songs? Can you give any particular lyrics to the songs.

D: There are no themes beyond the atmosphere I try to create. If I have thoughts to express I'll write something to express them fully. I don't think music works well for this as it's an emotional rather than an intellectual medium. I just use my voice to add texture to the music, it's very much just another instrument. Bands which try to express something more aren't necessarily bad but if I'm listening it's because of the overall feeling rather than because they have a particular ideology.

CT: How did you go about writing the lyrics for the album? Drunken fits of rage and despair? Sitting in the woods? Driving in your car? Where do you write your lyrics? Do you aim for a specific mood of any sorts before trying to write your thoughts on paper.

D: The mood was already there in the music, the lyrics are always the last thing I do. It's generally a case of having a story in my mind and then distilling it down to a few words which I'll put in where the music needs it. Maybe this approach will change over time as this was the first time I'd recorded anything with any lyrics at all.

The Rest Here...

Almost... Here....

Yesss... it is almost here.... almost.....

Order Of The Light - Ancestral Knowledge

Order Of The Light have created an interesting sound scape on their "Ancestral Knowledge" tape. Somewhere between spacey and earthy, the six tracks on this cassette simply exude imagery of deserted cavern walls meeting the starry sky at sunset. You can get a similar sense of this atmosphere by listening to Earth's "Hex: Or Printing The Infernal Method" though Order Of The Light attack the imagery from a lo-fi, more distant direction than Earth. Really, the only thing this release is missing are a few well-placed wolf howls. What Order Of The Light have done so well is create six tracks that are similar and maintain an original style yet also offer something that the previous tracks may not have been able to offer. They are parts of the whole and able to hold ground on their own however there really aren't songs on this album that would stand out. They do work better when listened as an album and falling asleep to them is quite an awesome experience.

There are few things to compare "Ancestral Knowledge" with. Clock's "On The Threshold" is one worthy mention. Something (slightly) less obscure worth noting would be Bosque's less black metal moments. A clean guitar is the culprit for the majority of the release performed by the mysterious "N". If the tone of the album was cake and the icing was the reverb, the cake would be tiny and the frosting would be all over the place. Every note lasts forever and drips into the background like echoes dying off in the dark emptiness of a cave. The strings have a metallic ring to them and a distinctive clang, even when paired with the myriad number of reverb and echo effects which are used throughout the album. Percussion is provided in a slow, steady manner with the drums distant in the background by "S," another enigmatic character. The drums actually sound very close to the distinctive timbre of those kits that kids play in grade-school to accompany a piano for a Christmas Show however in this setting, with this accompaniment, they are anything but childish. What I find very interesting about the drums, is you can hear the room ambience and create a visual image of the room in which the drums are recorded. A rare experience in music. A constant windiness graces the release, subtle but real. Mere haunting movements in the foreground almost too close to see. Interesting release from Order Of The Light and a great gateway listen for those looking to get into ambient music.

____________RELEASE INFO________________
ORDER OF THE LIGHT - ANCESTRAL KNOWLEDGE

Year: 2008
Origin: Portugal
Label: Perpetuam Productions
Serial: PER004
Lineup:
N - Strings
S - Drums

Track List:
1. I
2. II
3. III
4. IV
5. V
6. VI

_______________LINKS________________
Perpetuam Productions

_____________EXTRA INFO_____________
REVIEWS:

INTERVIEWS:

PRESSINGS:
Perpetuam Records: PER004 Cassette Limited to 200 Copies

Logo Preview

So, had a logo made because my crappy self-made one is long past its prime (as if it ever was in a prime state). Now, I won't be changing it until I get the artist paid however, I feel that a preview is worthy. Of course, it is hand drawn, in old school fashion - as it should be - and is 100% metal. Here is a preview, for your eyes:

Doom Reich - Doom Reich # 2

So, after the hatred that was Doom Reich Issue one, I knew that Doom Reich Issue two would be the next step up in the magazine's nuclear arsenal. If numero uno (number one for Americans. I apologize for giving in to the "let’s put everything in Spanish, also" craze) was the first nuke, then number two is the hydrogen bomb. The hate is more prevalent, the opinions more forceful and the feeling one gets from reading something dangerous more pronounced. Oh, and that sick, disgusting humor is still there permeating every page like political correctness run rampant. And while this issue has, as Greven Melkor insisted, more material than number one, I still want just a little bit more because 20 minutes worth of time absorbing malice sometimes just isn't enough. Greven once again offers an introductory statement, this one entitled "No Life Worth Living." Once again, a philosophical display of resentment towards everything, but also reflective and legitimate, "No Life Worth Living" condemns the pretentious modern outlook on nihilism and demands a return to when nihilism simply was a hatred against every institution and beacon of order in the world.
Once again, Greven, Kvisling – who now has more aliases than the concept known as God — and Parallel, have awarded readers with material deserving of praise and, possibly, its own marble statue. Greven and Kvisling's material makes up 90 percent of the zine, while Parallel submits just one article. Though he only has a single showing in the magazine, Parallel's piece is going to be the most interesting to those looking for music "journalism." Part one of a three part series, "The Top Ten By Far Most Hateful Records Ever" covers what Parallel believes are the most disgusting, angry and malevolent records the world has ever seen. Three choices down and seven left to go (Parallel's math is wrong as he estimates that there are six more in his list), this should be a worthwhile romp through both known and unknown records. Parallel offers strong evidence as to the reasoning behind his choices as well, with little fluff and a lot of passion.
Other standout articles in the Doom Reich pamphlet include an interview — Doom Reich's first, with Eviigne, leader of the Argentinian enclave known as the Southern Elite Circle. An in depth, intellectual conversation concerned with the ideology behind the man before his music, Eviigne's mentality, outlook and goals sit well with the themes that wind their way through the magazine. In short, the interview has become less of a standalone interview and instead it takes the place of another Greven rant. Anyone looking to invest time in discovering interesting and rebellious philosophy would do well to take the suggestions of Eviigne. An excellent inclusion. Greven's last article in the magazine covers the important of Tabasco sauce in the diet of... well... anyone. Interestingly enough, Greven either has written this article in the style of Kvisling purposely, or has gone on to be influenced by Kvisling's writing style while writing about his fondness and need for the world's greatest condiment. Read it. You'll know what I mean.
On to Satan's Apostle: David Kvisling Hitler Faubus Stenger / Imperial Wizard Kvisling / Hasamir Fenring. Kvisling's first few words in the magazine are, "Fuck, so anyways I fucking crashed through the front of deLesseps and Son." The sentence goes on to describe the careening bus and the smashing of grandpa skulls. Yes, you know I'm talking about another installment of "My Life as a Superhero." Just as funny and moronic as the first episode, I get the feeling that by the time this is over everyone will be dead and/or raped, and there will be a movie deal in the works. Best line: "I flexed my massive forearm muscles so hard that his body fucking exploded apart under the strain." Genius. Kvisling's other notable articles contain information about his group, the Anti-Folk Metal Front, and an awareness for the degrading standards of the Metal Archives Web site. While I agree with everything he has to say, I feel that these articles might be over the heads of readers who are not aware of the Metal Archives Web site. Understandably, most of the readers of this magazine will be a member of the site, or have used the Web site before, but to confine one's thematic scope to cover such a minute piece of Internet space might be detrimental.
Overall, the magazine is still living up to expectations. I miss some of the inside the magazine artwork, as there is none in this issue; just the front cover and back cover imagery which are — as they were in the first mag — awesome. The writing is still excellent, well written and edited neatly. The construction and print job still good for a photo-copied zine. I still got my personalized note like I did with the first magazine. I don't have the feeling the magazine is slipping in quality, and I don't have the feeling that there will be any compromises in the future. I still support Greven Melkor and his minions and the ideas they are spreading to the masses. This is still one of the more unique fanzines around, and one I hope continues to preach for a bit longer.

________________RELEASE INFO_________________
DOOM REICH - DOOM REICH #2

Year: 2009
Origin: USA
Label: Self Released
Serial: None
Lineup:
Greven Melkor
David Kvisling
Parallel

Content:
1. No Life Worth Living
2. My Life As A Superhero Part II
3. A Call To Arms - Voice Of The AFMF
4. Post... Metal?
5. Nietschean Will: Interview With Aviigne Souther Elite Circle
6. The Top Ten By Far Most Hateful Records Ever
7. The Metal Archives' Standards Are Slipping And Its No Joke
8. Tabasco: The Swiss Army Knife Of Condiments
____________EXTRA INFO________________
Reviews:
Doom Reich - Doom Reich #1
Interviews:

Limbonic Art - The Ultimate Death Worship

Before this album, I have never heard something so absolutely unnecessary in my history of listening to music. "The Ultimate Death Worship" is the black metal equivalent of a Backstreet Boys "Greatest Hits Compilation." It's not that Limbonic Art aren't good musicians or good songwriters (which they aren't) but their style of melodic black metal is extremely stale and Limbonic Art does nothing to make it exciting. In fact, they make symphonic black metal less exciting. The whole style in which they compose has been overcooked to a degree in which it is no longer edible. What is even worse for Limbonic Art is that "The Ultimate Death Worship" was never edible to begin with. They are trying to cook rancid maggot infested meat and make it taste like fillet mignon. Combine irritating keyboards, inferior songwriting and samples worse than shitting yourself at the beginning of an airplane ride and the effect of Limbonic Art's album is near enough to poke with a short, poison tipped stick. The album is flawed irreversibly. It is not a matter of fixing a guitar part here, or adding some slight reverb to the drums or increasing volume of the bass guitar.

Addressing the keyboards on this album is both a wonderful chance to explain why I hate keyboards so much and also a great opportunity to utilize this hate to obliterate their usage on this album. Keyboards are a useful tool for creating quick and easy pseudo-atmosphere on a record. Keyboards come loaded with tons of effects and instrument modelers which make hiring real musicians a wasteful expense. Keyboards when used properly can recreate the sound of marching legions coming from hell, but still sound like evil carnival music. When used improperly they ALWAYS sound like evil carnival music and nothing less. Keyboards are also the most unmetal of all instruments. They remove any sense of bestiality and primitivism from black metal and make all forms of traditional and power metal sound like arena rock. Keyboardists, when playing on stage, always look like they are in an eternal squatting position, as if they are constantly being kicked in the balls every time they press a key and emit a girlish screeching wailing note instead of a manly painful grunt. Admittedly, Keyboards are not always terrible and will on occasion work as long as they exist inoffensively and are recorded with top of the line equipment. This usually works best on albums in which keyboards don't actually exist.

Limbonic Art has successfully created the worst showing of keyboards in black metal I have ever heard. The first track, the album's self titled song, is at best mediocre until the atrocious toy-ish keyboards start assembling. With keyboard accents accenting every note, there really is no such thing as accents. When the keyboards on your album sound like the battle effects from Legend of Zelda Windwaker and the flute leads (midi flute leads) sound like an SNES recreation of Aqualung there should be at least one person in the band thinking "This doesn't sound right..." Somewhere between the end of the first track and beginning of the second track is some weird spoken word segment focused around the death of a death row inmate. This between-track-purgatory consists of someone speaking through a walky-talky and stealing the background music for the next forgettable survival horror video game. All I know is that the title track is just the first dingleberry on the yak's ass.

While I could neatly rip apart any track on "The Ultimate Death Worship" with nothing more than a spoon and a damp washcloth, I feel compelled to point out the worst track. "Towards The Oblivion Of Dreams" is a bombastic amateurish romp through every stereotypical symphonic black metal convention that exists without doing anything to break the mold and lead the molten metal in a new direction. Considering the poor job Limbonic Art does at making symphonic black metal, however, I would be even more frightened to hear them attempt something new and unique. The childlike chanting and warnings in the track's introduction sound more like the fat kid on the playground. Some slight metallic jingling makes it sound like he's got change in his pocket as well. Ignoring the next two and a half minutes of banal riffs with more of that terrible keyboard instrumentation, the track kicks off into a sloppy black metal tremolo riff. After another three full minutes of crapboards and mind-numbing unoriginality, "Dreams" decides to try something interesting with a slow, doomy riff. If you guessed that keyboards ruined the sole chance the song had of creating atmosphere during this critical juncture, you win every copy of this album ever printed to use just for stress relief. This song is ten minutes long... there is no reason for such a pretentious song length. I would rather be waterboarded than listen to this flatulence.

What makes this album so spectacularly terrible besides the terrible songwriting, irritating keyboards and spunk-covered gay-porn samples is the album's tone. Fagboards have been discussed already but Daemon and Morfeus (Morfeus? Seriously?) have more at their disposal than stolen Fisher Price keyboards and kidnapped playground bullies. Daemon handles the vocals and lyrics and while I could go on endlessly about how he sounds like a constipated Gollum with a sore throat, it is easier to describe his vocals using his own lyrics. Taken from "Purgatorial Agony," a song that sounds like Butthead splooging inside an angry dwarf , Daemon's vocal talents "hide within places unknown." Other phrases from this song which apply: "There was nothing else to do", "Reservoirs of shame", and the classic Freshmaker hating battlecry of "Mentos Undivine." While Daemon is getting upset over breath-fresheners, Morfeus is trying his best to be genuine by burying every riff underneath a sagging elderly triple D sized breast full of muffled distorted bass and a buzzy guitar tone that sounds less like heavy and more like cheap amplifier. Do I need to describe what programmed drums sound like also? Thankfully they are neatly buried under everything else.

____________RELEASE INFO________________
LIMBONIC ART - THE ULTIMATE DEATH WORSHIP
Year: 2002
Origin: NORWAY (Sandefjord)
Label: Black Metal Attack Records
Serial: BMA 002

Lineup:
Daemon: Guitars, Vocals, Lyrics, PSYCHO PIANO (LOL)
Morfeus: Guitars, Electronics
Guest Vocals: Attila Csihar (Why stoop so low Attila?)

Track Listing:
1. The Ultimate Death Worship
2. Suicide Commando
3. Purgatorial Agony
4. Towards The Oblivion Of Dreams
5. Last Rite For The Silent Darkstar
6. Interstellar Overdrive
7. From The Shades Of Hatred
8. Funeral Death

________________LINKS___________________
Limbonic Art Myspace
Black Metal Attack Records

_____________EXTRA INFO_________________
Reviews:

Interviews:

Pressings:
Black Metal Attack Records: BMA 002 (2002)

Dark Fortress - Eidolon

Against my better judgment, I picked up a copy of Dark Fortress' Eidolon. It seems that the advertisements for this release permeated every magazine I read, appeared on trade lists across the internet and was basically thrown in my face at every record store I walked in. I knew Century Media had the capability to back their artists but their pushing of "Eidolon' has been borderline fear-mongering. So I caved in, collapsed against the pressure of Century Media's grasp and traded for a copy. Oddly enough, the release was not a total waste but it was far from deserving all the backing which Dark Fortress has gotten. It would be easy to pair them with Emperor, Satyricon and the newer wave of black metal such as Keep of Kalessin. All the bands utilize a similar style of chaotic black metal which Dark Fortress has picked up and copied to a great degree. While there are songs on this CD, such as "Analepsy," which show a band that might have something to offer in the future if they can escape the silhouette of previous bands, this release falls neatly into the category of "another black metal album."

Speaking solely in terms of production, the disc is like a trip to Perkins - you think it is everything you want but then you find that you feel empty afterwards. The guitars are clear, yet raw with some slight hiss. Everything is distinguishable and yet nothing stands out. The beginning of "Baphomet" offers a good opportunity to listen to the guitar tone alone. Luckily, only the first track has prevalent keyboards. Elsewhere on the disc, they remain in the distant background providing just slight atmosphere. They break through at times much to my dismay. I find myself the least irritable when I can barely hear them. Seraph's drums sound as good as any modern drums sound. Thankfully there is not much "kick click" and the snare sound is acceptable, yet I felt it to be buried for some reason - possibly because the drumming itself sounds hollow and uninspired. Draug's bass is audible as well though once again, fails to capitalize on the space given for it. Ultimately, the production is strong but retains a dullness much like a used razor blade. Morean's vocal approach is far from unique. A raspy, heard-it-before-on-every-black-metal-album, where-is-the-originality vocal style born from tradition; not all that astonishing considering Dark Fortress' Velcro-like attachment to the generic black metal style they swim in.

Most of the songs on "Eidolon" are unremarkable, standard black metal fast food. Opener "The Silver Gate" is devoid of anything that closely resembles interesting songwriting while "Cohorror" passes me by without drawing my attention away from what I am doing at all. The first song that really gets my attention is "Baphomet." Though the first three and a half minutes fly past without much impact, the song really breaks out into more impressive territories at the four minute mark. From this moment until the end of the song, there is a vastness and depth to the layers of guitars. Screaming guitar notes echo from the abyss. The whole last two minutes have a Gateways to Annihilation vibe while the rest of the song navigates between boring and a "Bewitched" styled plodding. Tom Fischer does guest vocals on "Baphomet" and that may have given the track a kick in the ass. "The Unflesh" once again drifts into this style a minute into the song. Distinctive Egyptian flavors reach out for one's tongue though are doused before obtaining a permanent position on the palette.

"Analepsy" is an incredibly subtle and yet wholly screaming track. It is the one track which has a massively infectious introduction that captures the ear and the attention of anyone with an interest in a more blasting black metal style. I would compare it to combining those black metal atmospheres which we all know and love with the intensity of the introduction of Decapitated's "Spheres of Madness." Aside for smashing skulls, the subtlety of the track is conveyed through fragile, windy melodies and a twisting structure like a bizarre glass art form ready to crumble should one construct fall out of place - a subtlety communicated again in the lyrics to the song. "Analepsy" is the kind of song I appreciate from this style of black metal, complex in its design yet not confounding. Considering the Czervikian quality of following track "Edge of Night," I nearly weep each time "Analepsy" ends. "Analepsy" shows much of the imagination and inventiveness that the rest of the album lacks.

"Analepsy" marks the high point of the album, the climatic moment where all other songs that follow are less intense, gratifying and interesting. "No Longer Human" is plagues by an overabundance of keyboards similar to "The Silver Gate." The scathing cymbal play halfway through the song is remarkable however sounds oddly enough like a hyperspeed alarm clock of sorts. The kind of clock that wakes you up three days before the designated time. "Catacrusis" lacks personality and sounds incredibly generic. Not something all that surprising however compared to most of the material on Eidolon. Closing track "Antiversum" is close to being a standout track for me though there is a dullness lingering, as if the passionate side of the track decided to elope. The song is well constructed, interesting and complex to a degree, particularly what could be considered the chorus. Ultimately, it is the perfect closing track for the album but it just lingers in a barren space trying to make it out. Much like "The Unflesh" there is a gap when the song seems like it will explode into something more than itself and just like "The Unflesh" it reverts back to something predictable.

________RELEASE INFO__________
DARK FORTRESS - EIDOLON

Year: 2008
Origin: GERMANY (Landshut, Bavaria)
Label: Century Media Records
Serial: 8358 - 2

Lineup:
Seraph - Drums
Draug - Bass
Asvargr - Guitar
V. Santura - Guitar
Morean - Vocals
Paymon - Keyboards
Guest Vocals on "Baphomet": Tom Fischer

Tracklist:
1. The Silver Gate
2. Cohorror
3. Baphomet
4. The Unflesh
5. Analepsy
6. Edge Of Night
7. No Longer Human
8. Catacrusis
9. Antiversum
__________LINKS______________

Dark Fortress Official Website
Century Media Records
________EXTRA INFO___________
Reviews:

Interviews:

Pressings:
Century Media Records (2008) 8358 - 2

Playlist - 05/14/09

So the show went decent aside for a few slips. I couldn't find the community calendar and I had literally two minutes to set up so a bit out of breath and flustered in the beginning. Audiovault was set on a manual mode which I was not sure how to use and I didn't figure out how to change the settings until about halfway through the show but I think it went smoothly. I want to thank everyone for listening and for anyone who called in requests. I had a request for Pantera after I went off which isn't listed also. I will say this, that Sepultura song is awful and should never be played ever. If I knew it was that bad I would not have played it and put on Arise or something from Schizophrenia instead. I apologize to all listening. It is a blatant reminder of the collapse and corruption which so many great thrash bands suffered. I will do my best to get a copy of the show uploaded within the next few days. I hope everyone enjoyed the music and heard some things they have never heard before. I feel this playlist was very conservative though hinted at the kind of show I will be doing once I get my own scheduled time.

Artist / Album / Song

01. Manowar - Battle Hymns - Metal Daze
02. Fates Warning - Awaken The Guardian - Guardian
03. Sapremia - With Winter Comes Despair - Open Grave
04. Iron Maiden - Somewhere In Time - Wasted Years
05. Death - Spiritual Healing - Killing Spree
06. Grand Magus - Iron Will - Beyond Good And Evil
07. Amon Amarth - Once Sent From The Golden Hall - Once Sent From The Golden Hall*
08. Budgie - Live In San Antonio - Melt The Ice Away
09. Thin Lizzy - Jailbreak - Emerald
10. Thin Lizzy - Jailbreak - Angel From The Coast
11. Anthem - Anthem - Warning, Action!
12. Anthem - Anthem - Shed
13. Virgin Black - Elegant... And Dying - And The Kiss Of God's Mouth Part I
14. Virgin Black - Elegant... And Dying - And The Kiss Of God's Mouth Part II
15. Morgion - Solinari - Nightfall Infernal
16. Venom - Black Metal - Black Metal
17. Primordial - Spirit The Earth Aflame - Gods To The Godless
18. Immolith - Rehearsal 2008 Demo - Ghost Tower Of Inverness
19. Apolion - The Mute God Of Deaf Men - Obscurity Millenium
20. Midnight - Farewell To Hell - Black Rock And Roll
21. Opeth - My Arms, Your Hearse - April Ethereal
22. Sepultura - Roots - Ratamahatta*
23. Iron Savior - Unification - Starborn
24. Manilla Road - Crystal Logic - The Riddle Master
25. Candlemass - Nightfall - Bewitched
26. Cathedral - Soul Sacrifice - Autumn Twilight
27. The Beast - Born To Metalize Split - The Shape
28. Deep Purple - Machine Head - Highway Star
29. Watchtower - Control And Resistance - The Fall Of Reason
30. Znowhite - Act Of God - To The Last Breath
31. Saxon - Crusader - Set Me Free

* Requested

Filling In

I will be filling in for C. Moore Evil this Thursday from 9PM-12AM EST on WPRadio887. Normally I Co-Host but the Host will be at a concert so I will have full control. Without Divulging the exact playlist, some bands which will make appearances are Manowar, Iron Maiden, Thin Lizzy, Omen, Cathedral, Power and Deep Purple. I will also be playing heavier material from Sapremia, Ripping Corpse, Apolion, and Death. Check it out here:

LISTEN

Just click the Icon at the top.

Opeth / Enslaved - Starland Ballroom

So, I grabbed the girlfriend and wandered on down to check out Opeth and Enslaved at the Starland Ballroom. Admittedly, I was more interested in seeing Enslaved at this show than Opeth due to my fear of Opeth "Watershedding" their set-list, a fear proven with the inclusion of Heir Apparent, Lotus Eater and the ungodly Hessian Peel which must be the most boring song I've ever heard. Throw in Ghosts of Perdition after Heir Apparent and basically half the set-list was new material. For me and the girlfriend - as longtime a fan as myself - a very upsetting revelation. Enslaved, after major sound problems during the first two tracks, To the Coast and Fusion of Sense and Earth, got their sound fixed for the rest of their set though, to my ears, the engineers were trying to fix their sound throughout their stage time. They suffered from a muffled sound with the bass and drums mixed too high and the guitars too low. I was impressed though with their style which I thought was a good pairing with Opeth, especially tracks like The Watcher and Ground. I was not familiar with most of their material though after the show I did feel a desire to delve into their back catalog. Vocally I thought they were fantastic. It was hard to distinguish some of the vocal harmonies however the black metal vocals were vicious and sharp. I will definitely be going to catch Enslaved next time around and I expect that I will be familiar with their material by then also.

For Opeth, I was scared while still waiting in the parking lot. When I go to a metal concert and see groups of blond girls in flowing dresses trying to cut me in line, I immediately want to beat them with their own flip flops. I am not a judgmental person but I know their type - the girls who love Damnation and expect them to play nothing but Windowpane and To Rid The Disease for two hours. Secondly, I saw roughly thirty people in Dream Theater shirts or tour shirts from the last shows Opeth played with Dream Theater. "But how is this foreshadowing?" You ask. I absolutely love going to see bands and having my theories proven true. In fact, I enjoy going to shows these days just to observe the audiences as much as see the bands. In the case of seeing Opeth for the first time after releasing both Ghost Reveries and Watershed, my predictions as to the change in their marketing strategies and set-list tactics prove my fear that Opeth and Dream Theater are secretly trying to steal each other's audiences. Now, I expect to get massive hatemail/male from the Dreamfags and Gaypeth fangirls so let me explain. Anyone with an ear can delineate the change in style from Blackwater Park onwards from their earlier material, notably My Arms, Your Hearse and Morningrise. Gone are the subtle black metal melodies, and flowing melodic structures influenced from the Gothenburg scene and second wave black metal bands. Replacing this are progressive rhythmic structures and awkward transitions (the main problem I have with Ghost Reveries and Watershed) similar to the style Dream Theater use - you know them, the incredibly technical guitar fills and moronic keyboard transitions. Also, Dream Theaters use of *gasp* blast beats on their new album is a sign of Dream Theater attempting to sink their hand into the Opeth cookie jar.

Opeth's decision to tour with Dream Theater was a conscious move to gain that audience - an audience they knew would take to their more modern material. The porcupine tree connection is also a factor here. This audience is more interested in the musicianship and progressive metal aspects Opeth employed on Ghost Reveries and Watershed and to a lesser extent on Deliverance and Blackwater Park*. Of course, this is a generalization however the amount of reaction to the Watershed tracks at this show and the number of people wearing Dream Theater and progressive metal shirts does support this. Hell, I saw four people talking to each other all wearing the same Dream Theater tour shirt. Also, only Dreamfags would create a circle pit during the kiddie music section or in my girlfriend's words, "It sounds like a Circus"-section in Lotus Eater. The "push" forward when Opeth took stage was another warning that Opeth had reached superstar status. This "Push" is a phenomenon I just will never understand. It only happens at shows where there are incredible amounts of newly indoctrinated fans. Where the fuck do you people think you are going to get to? Seriously? Why must you push forward to be as close as possible to the inside of Mikael's rectum? You will hear the same thing anywhere in the venue with the exception of the bar in the back which tends to become subject to "treble-drop." This kind of reaction to a band taking the stage is, above all, a sign that a band has become a "ticket" band. Opeth have become a gateway band much like Metallica, Dream Theater and Iron Maiden. Some people will never pass through the door, most will drop out and a few will move through and come to the realization that no band is worth shoving your cock into someone else's dirty ass for. In the case of girls, these numbers become even more exaggerated. Ninety-eight percent will fall into the "trendy" category and two percent will actually like the music and move on to better things.

ANYWAY. Other than having, in my opinion a shitty set-list, Opeth were excellent musically speaking. Mikael was, as always, humorous with a keen attention to localities, talking in depth about Bon Jovi and Skid Row. I was hoping for a cover of "Youth Gone Wild" but this never came to fruition. The inclusion of Godhead's Lament was really awesome. Last time I saw them they played Face of Melinda so now, I just need to hear Moonlapse Vertigo and The Moor before saying they have played all my favorite tracks from Still Life. Leper Affinity was also particularly brutal. The extended version of Closure was also trippy, especially when mixed with some psychedelic lighting, though after Credence (a song I adore) and Hessian Peel, I was ready for something blistering. I have to give massive credit to Mendez. He has always been one of the driving factors of the band for me, his playing is fluid, legible and his tone is gargantuan. Live, he is even better than on record. He provides the gravy to the potatoes. As Mikael talked about some Swedish jazz everyone in the audience should hear (but won't take the time to explore) Martin tossed in the beginning of what I believe was Visa Fran Utanymra** which was even more impressive. Definitely on my list as best bassists in every sense of the word. Frederik also did a sweet guitar solo and gave the impression of being a great addition to the band. I still miss Lindgren though.

Overall, I would admit that Opeth were fantastic, with a severely weak set-list. Not a single of the heavier tracks off My Arms Your Hearse showed themselves. I would have killed the flowy hippie sluts to see April Ethereal and would have taken out the rest of the audience to see Advent. Hell, even Demon of the Fall, a staple in their set would have been fantastic after so many newer tracks. Ultimately though, you can only get what the band gives. For me, they gave a great show though a bit too much laid back material and not enough of the metal. On to Pagan Fest!

__________SETLISTS___________:

ENSLAVED:

To the Coast
Fusion of Sense and Earth
RUUN
As Fire Swept Clean the Earth
Ground
The Watcher
Isa

OPETH:

Heir Apparent
Ghosts of Perdition
Godheads Lament
The Leper Affinity
Credence
Hessian Peel
Closure
The Night and the Silent Water
Lotus Eater
Deliverance

*Blackwater Park was always a logical progression from Still Life in my opinion. The transitions on this album are still strong. The melodies are still in the style of their earlier releases and the ratio of death metal to their Camel influenced sections is still roughly fifty-fifty. Though I do feel that they lost the grandeur of Morningrise and My Arms by this point the album still touches on some of the regal feel of Still Life. Ultimately this was the last album that presented any of this vibe and in my opinion was the final true Opeth album.

**Visa Fran Utanymra is a track by Swedish jazz pianist Jan Johansson off "Jazz pa svenska" (Jazz In Swedish). He is the father of Anders Johansson and Jens Johannson. Anders has played drums with Malmsteen and Hammerfall. Jens Johansson has played keyboards in Stratovarius and with Yngwie also.

Vader - Blood EP

You can always count on Vader to supply a healthy dosage of death metal medicine. Without relying solely on blasting fury, indecipherable vocals or convoluted meandering songs, Piotr and Co have assembled once again to provide fans of death metal with the steaming mounds of flesh they crave. Don't allow me to misguide you however; there is plenty of blasting fury, plenty of brutally demonic vocals and twisting riffery. What Vader do differently than other bands from their homeland of Poland such as Decapitated or Behemoth is that, the song is lord - as it rightly should be.

Vader truly excel in writing strong, memorable songs that find a festering place in your heart and the songs on "Blood" are no exception to the rule. Opening track "Shape-Shifting" is the most adventurous track on the entire EP. Taking some cues from the Swedish style, a clear underlying disease, a swarm of frustrated hornets, moves the song through it's phases; starting like a battery of gunfire then marching through the dead to reap the graves of the enemy. Complete with an atmospheric segment not unlike some of the more recent Bloodbath material, "Shape Shifting" is in itself a mini-documentary into the varying styles that death metal can deliver. Superior track, gritty, aggressive and hauntingly memorable. "We Wait" is a monstrously catchy, monstrously heavy and neck breaking festering showcase of well written death. It relies not on torrents of riffs but instead, allows the one or two monster riffs roll over you and crush every bone in your body. It is a simple construct though works like a charm, a reliable hand tool of sorts that needs only a skilled wielder to awaken. "Son of Fire" is a blistering track composed of nothing but hatred and aggression, fueled by the maniacal drumming of Doc and is unquestionably death metal.

The strength of the songs are aided by classic death metal production - thick guitars, a great bass tone natural, live sounding drum battery and an intense though decipherable vocal deliver. One of the best aspects of this release is the mix. It is professional, sturdy and enables everything to be heard perfectly including the much abused and ignored bass. Within all the frequencies however, there is some muddiness in the lower guitar tones - the "chug" frequencies. The increased bass audibility masks some of these tones however, as a bassist, I don't mind. Musicianship on this release is excellent as any Vader release. Piotr Wiwczarek handles both guitar and vocal duties with ease with fine accompaniment from Maurycy Stafanowicz. Adding to the duo's tightness is Marcin Nowak and Doc Raczkowski on bass and drums respectively. As far as a rhythm section goes, Marcin and Doc have to be one of the finest examples of such in modern death metal.

The album has some let downs however, and is far from killing the gopher. The main riff in "As The Fallen Rise" has an Czervikian annoyance due to the repetitive nature of it. I also felt that both "Traveller" and "When Darkness Calls" were lackluster compared to the strong opening of the album. Even though "Traveller" has some interesting lead work, the song as a whole really never climaxes for me while "Darkness," aside from having the best lead section on the album, both takes a bit long to get started and drags on after it has gotten started. The inclusion of a Thin Lizzy cover is endearing though an odd inclusion. It is a far cry different from anything else on "Blood" and ending a Vader EP with a droning ambient-ish outro just seems weird to me. Strangely, I find the cover less aggressive than the original, less epic and lacking the characteristic Lynott narrative style. As a cover, it's fun to hear a death metal band doing a traditional metal track. Tossed on, it doesn't really detract, but it really doesn't really serve the rest of EP either.

________RELEASE INFO__________
VADER - BLOOD
Year: 2003
Origin: POLAND (Olsztyn)
Label: Metal Blade Records
Serial: 3984 - 14461 - 2

Lineup:
Piotr "Peter" Wiwczarek - guitar and vocals
Marcin "Novy" Nowak - bass
Maurycy "Mauser" Stafanowicz - guitar
Krysztof "Doc" Raczkowski - drums

Tracklist:
1. Shape Shifting
2. We Wait
3. As The Fallen Rise
4. Son Of Fire
5. Traveller
6. When Darkness Calls
7. Angel of Death (Thin Lizzy)

__________LINKS______________
Vader Official Website
________EXTRA INFO___________
Reviews:

Interviews:

Pressings:Metal Blade Records (2002): 3984 - 14461 - 2
Metal Blade Records (2003):
==> A re-release with the Reign Forever World Album
==> This release is missing "Angel Of Blood"Metal Mind Poland (2008): MMP088
==> A re-release with the Revelations album

Words Of Evil - Words Of Evil #1

Luke Passinham and Billy Clough make no attempt to skirt the honest truth in relation to their sturdy little fanzine, Words of Evil. "Our intention with this zine to simply to expose bands we like." Poor grammar aside (hey... mine's not so hot either usually) it is a labor of love with a ton of information composed into reviews and interviews. Sweet cover also, with skulls emitting smoke from the eyes in a dark forest and the skeletal remains of Baby Bop reading from a grimoire of occult spells after having pillaged Stephen O'Malley's cloak closet. Most of the bands in the first issue of this zine have gained a status as minor underground "big bands" so anyone looking solely for information on rarities and has-beens might need to delve deeper. Interviews with Enforcer (SWE), Scythian, and Battlewitch pose typical surface questions, prying little into the nitty gritty interesting aspects but then again "to simply to expose bands we like" is a half assed mission statement if I ever saw one. The cut and paste zine is a ton of fun to skim through when time is limited with massive quantities of detailed backgrounds to look at (I like trying to pick out all the album covers I can) and an oldschool artistry that would make more modern artsy mags bow down and cower.

While the Enforcer interview was straight forward and a bit uninteresting, I found the Vassafor interview to be particularly arresting and involved. Although the questions were at times one sided, it was Vassafor's lord, V, who carried the interrogation, giving interesting and involved answers. His interest in cosmic theories and dreams was a welcome variation to the normal black metal responses most of the time resulting in childish worship of Satan in the same way brainwashed Christians worship their deity. Lord V also shows a keen sense of humor in regards to the titles of his releases and the quality of his tattoos. He shows a real passion for heavy metal and music. Interviews like this make supporting the fanzines and nabbing up as many as possible a real worthwhile investment when it comes to figuring out what artists to support. The Gama Bomb interview is also a fun read, with some cool movie recommendations for people like me who aren't devoted horror fanatics. Joe and Luke's humor and general laid back personality drenches the interview. Luke's response to the question about lyrical topics caused quite a chuckle as well - I think I know what his favorite lyrical topic is.... The Mutant review is an interesting read also if only for exemplifying the problem with a lot of younger bands - disguising a lack of their own style under the cheap costume of a need for "progression."

The first installment of Words of Evil also provides a nice quantity of informed reviews which are mostly well written and trustworthy. I bought almost the whole Deathevokation discography based on the review of their Chalice of Ages album. A mag with no outside strings controlling the movements and thoughts of it's creators, you can trust that the opinions presented are worth their salt. Though I felt that they could have been longer and a bit more content oriented, the reviews left me feeling like I learned something about the band's I was reading about. Also nice is the reviews of the albums released by the band's interviewed in the issue. After reading the interview, I was able to follow up with some extra material. Along with the Deathevokation review, other reviews that caught my attention were the Countess review, which was expertly written and contained a load of interesting information. I was a bit perturbed however at the author's suggestion of grabbing some bands' demos by contacting them, even if he showed a luke-warm, at best, opinion on their material - a helping hand that might not really be helping anyone in the long run.

While the magazine is generally well formated and easily readable, at times, some of the pages are photocopied poorly, cropping lines of text out. Also, there are some spelling errors scattered around in the pages which, while not a problem to the enjoyment of the zine do make me wish that there was a little more time taken to look over everything; we all make mistakes though. The photocopied nature of the magazine also has it's flaws, namely some of the images are blurred and unrecognizable - though not the crystal clear Consuming Impulse cover on page 27. Also, some of the images accompanying the actual interviews and articles are so small they are almost unrecognizable against the backgrounds. The inclusion of a live review is something of a double edged sword also. I enjoy the information and opinions on the live acts of the bands but a review of a UK gig for someone living overseas is a bit worthless and, presently, outdated. From a fanzine however, this inclusion is understandable, traditional and respected. The information and opinions of the author are credible and never compromised by including any kind of rectum-refuse, questionable material. No Trivium or deathcore reviews here, just honest thoughts from a long time fan of the genre.

_________RELEASE INFO__________

WORDS OF EVIL#1
Release: (2007)
Origin: UK - Birmingham
Pages: 50 (52 w/ covers)

Content:
1. Enforcer (SWE) Interview
2. Vassafor Interview
3. Scythian Interview
4. Gama Bomb Interview
5. Battlewitch Interview
6. Mutant Interview
7. Full Thrash Assault 2 Review

Reviews:
1. Deathevokation - Chalice Of Ages
2. Verminous - Impious Sacrilege
3. Hospital Of Death - Demo Mixes
4. Mutilator - Grave Desecration Bootleg
5. Infinitum Obscure - Internal Dark Force
6. Vassafor - Vassafor EP
7. Bonded By Blood - Extinguish The Weak
8. Impaled - The Last Gasp
9. Sirocco - The March Through Crimson Frost
10. Rannoch - Talamh Mathair
11. Stormcrow - Enslaved In Darkness
12. Metalocaplypse - The Dethalbum
13. Let 'Em Burn - Second Wave
14. Empathy - Skulls On Fire
15. Asomvel - Full Moon Dog
16. Anoxia - Manufacturing The End
17. Matricide - Holy Virgin EP
18. Feral - Lykos Anthropos
19. Enforcer - Evil Attacker 7"
20. Gama Bomb / Black Sister Split
21. Crucifire - Unblessed Unto Hatred
22. Ignivomous - Path of Attrition
23. Anal Vomit - Depravation
24. Martire - Martire EP

__________LINKS_________


__________EXTRA INFO_________


____________BUY_______

Indonesian Brutality Promos Vol. 1

Fleshvomit blasts through their promo with gusto. While I like their general style, I found a lot of the two songs entirely forgettable. I admit to not being a huge brutal death metal fan, but I can tell that these guys show promise and have a lot of passion in their music. The vocals are indecipherable but not a vomiting (as their name suggests) grunting monstrosity and the guitars incredibly heavy with loads of bass frequencies. I do wish I could hear a bit more of the bass tone but, with such massive guitars, the bass is dubbed obsolete. First song "Sadism Killer" is an easily enjoyable though easily forgettable song. The poppy, slightly tinny snare sound and ultra mesmerizing drum groove is captured on second track "Murder of Mutilation." Complete with twisted riffs and a variety of drum styles, moments of this track remind of Iniquity's Grime. Easily the best track of the two as well as being the strongest track of all the Indonesian Brutality Promos. I will definitely grab a copy of their full length when it is released. Though there are only two songs, it is easy to guess where these guys will be in a few years should they keep this style up. Fans of Iniquity, Suffocation, Immolation and any follower of the early round of Brutal Death metal fans should eat this up and clean the plate.

Katarak's moment to shine is less intriguing and original. The guitars are rustier during their tremolo moments and somewhat fuzzed over during the chugging moments. Still, the release captures an intensity similar to the Fleshvomit promo though not as veteran sounding. Opening track "Sadistic Hymns of Sacrificial Ceremony" is all over the place with wild guitar lines and spurts of interesting riffs but lacks a cohesive structure. "Overdose Is Suicide" blasts into a weird pulsing riff highlighting the tightness of the band though the simple and unemotional drumming seems to pull the track down. It could be the fact that it is buried in the mix, but its difficult to hear that the drummer has fallen into the beat of the song. Closer "Brutal Massacre of the Witcher" is a more mid paced thrashing Brutal Death Metal style with moments of intense blasting. Closing riff is twisted genius though I wish the band stuck to it a little more instead of going off in an unfocused combination of tremelo musings. Once again, the track fails to appeal structurally though with more of those weird pulsing riffs, Katarak still manages to leave an impression.

Indonesia's Destroy are more content writing short songs in the style of a wild boar attacking a twelve watt cheap amplifier. Ultimately, I found their promo to be the worst of all them. Nothing lasted long enough or sounded brutal enough compared to the other releases. Though they have the lowest grunting vocalist, coupled with the monstrously terrible production and bland songs, I fail to find any interest. "Primitive Insane" actually sounds like a recording of someone blowing bubbles in their milk while listening to the neighborhood gore-grind fanatic driving down the street. Even funnier is you can hear where the song was patched together in who knows what digital editing software (right after the first bass fill). The tinny snare sound in closer "Born To Grind Your Mind" sounds like someone inexperienced recording Lars' kit during the St. Anger sessions... Cool artwork though horrid music.

Bleeding Flesh play a style similar to both Katarak and Fleshvomit though with more blasting, less memorability and a brutally indecipherable complexity which actually makes me question whether these guys actually wrote anything in the first place. I had a friend who would say "Hey man, play this..." and then he would start jamming out riffs which he wrote on the spot. This is the same thing to my ears. Bleeding Flesh occasionally fall into a good beat, groove or idea though it usually ends sooner than I can actually take in what is going on. Maybe though, that's their point.

Tomhet - A Dark Serenity

The availability of bedroom black metal bands' material isn't cause for concern outright. Though when anyone with a Korg keyboard and a midi-drum program can make an album and find someone to release it, I am concerned with labels' attention to what is worth investing their time and money in. Labels pushing releases like Tomhet's "A Dark Serenity" are one reason for a swamped market; overcrowded and unbrowsable trade lists and above all - subpar metal. While Tomhet's "A Dark Serenity" might be worth your time if bland and boring blackened crap is up your alley, I don't see a reason for this release to be anything more than a self financed and released demo or even a pre-production click recording. Apart from the fact that this isn't really gripping in any way, the fucking songs last longer than reading the Yongle Dadian from beginning to end... well, they seem that way. I mean, the intro to the intro of the first song is two notes played over and over for two minutes straight. Why?!

So once the intro track is finished and I'm ready for some black metal - maybe the point of the strenuous opening - I still have to wait another minute and a half until the first distorted notes on the album break through. At this point, I've already sat through the same semi-conscious compositions for over four minutes before opening track "Ice Fell From The Sky" awkwardly erupts into a full frontal assault of bedroom blasting. Tomhet's creator, Jonathan S. proves his ability in repetitive drum programming from the start. While the sound of the drums themselves are not too irksome, real cymbals would help the monotony of hearing the same sounding high hat for the duration of the (too-long) CD. "Ice Fell" is an accurate representation of the rest of the albums black metal tracks - long, boring and repetitive - and introductory track, "Aphotic Infinity," sprawling like the suburbs of New Jersey, is a remarkable example of the orchestral tracks. Tracks four and five, "A Tale of Ultimate Catharsis" and "Everlasting Woe II" follow in their boring black metal and orchestral contemplation respectively. "Everlasting Woe" does have a nice throbbing keyboard drawl to it though this could also be explained by the headache I succumbed to listening to the cd two times in a row.

One stand out track is the enjoyable title track, "A Dark Serenity." An instrumental, this song is favored with having a nice soothing melody and a not-so-boring construction that alternates between multiple sections. Unlike the five previous paint-watching sessions which were either black metal or orchestration / ambient, "A Dark Serenity" falls somewhere in between. Yes, it is an ambient track but not as minimalist as the previous orchestrated romps and not so outright an attempt at black metal like the other black metal monotonies. The lack of Jonathan's horrid vocals are another major benefit to "A Dark Serenity's" listenability. On the previous tracks, his vocals were a distorted, reverberatory quadruple overdubbed mess of static and rawness mixed too high in the mix to destroy any hope of "atmosphere" the songs may have created in a distant parallel universe. They work much better in the title track... Sadly, this track is followed by "Journey Through The Frozen Forest," a journey through frozen redundancy, it marks the worst the CD has to offer. Boring, vocally grating and containing the most irritating riff since Pantera's "Walk," it gladly ends after only two minutes. More boring keyboard crap can be found in "Outro."
The Blasphemy cover, "Atomic Nuclear Desolation" starts off being the best track on the whole damn CD but cuts off after only twenty three seconds. Every song has at least ten seconds worth of silence following it (which I am thankful for - these moments of silence remained my only hope for momentary respite while listening). I am frustrated and needy now... like a little schoolboy surrounded by short skirted goddesses while the only woman who wants me is a chubby. This is limited to only one hundred and fifty copies (still too many) so luckily most people will never have to endure Tomhet.



________RELEASE INFO__________
TOMHET - A DARK SERENITY
Year: 2008
Origin: USA (Canyon County, California)
Label: Nokturnal Transmissions Records
Serial: NTR 005
Lineup: Jonathan S. - Everything

Tracklist:
1. Intro
2. Ice Fell From The Sky
3. Aurora Borealis
4. A Tale Of Ultimate Catharsis
5. Everlasting Woe II
6. A Dark Serenity
7. Journey Through The Frozen Forest
8. Atomic Nuclear Desolation (Blasphemy Cover)
9. Outro

__________LINKS______________
Tomhet Official
Tomhet Myspace
Nokturnal Transmission Records

________EXTRA INFO___________
Reviews:

Interviews:

Pressings:
1. NTR 005 (CD - 150 Copies)
2. LR 009 (Cassette - 50 Copies)

___________BUY_______________
Nokturnal Transmission Records
$6.00

Imynvokad -Tongues of Death

Crack open the door to Imynvokad's haunted realm and you will quickly find yourself surrounded by a dense wall of ghostly hues and malevolent apparitions. The sordid spirits lick your skin with wispy remnants of flesh that once lived. Tongues of Death sounds like spirits and wind, like running from inescapable foes that never die and never cease to occupy your thoughts. It is a proper blackened release comprised of four churning tracks of perfectly constructed metal of the ritualistic blackened kind sure to invest its creeping, lurking and seeping melodies deep into the recesses of one's cortex. Make no mistake about it, there is a primal essence running through the magnetic filament and it is ready to engrave on the willing listener a need to listen to the ghostly chants and paranormal activity supplied. If you don't believe in ghosts, this is a release that will make you think twice.

The crisp, ringing metallic guitar tone undulates through the cassette's current, leaving trails of hidden cadence, memories of the summoned spirits being absorbed into your consciousness. The guitars are sharp, cutting their way through the hordes of phantasms, revealing both subtle and outright melodies. Listen carefully and you can hear the bare amount of distortion and the massive reverb that coats each string as it is plucked with careful consideration and yet a hand that has performed these hymns many times before; both a thoughtlessness and reflection with every freed note. And while the guitars carefully mold the blustery textures carried through, sole instrumentalist and vocalist (Another of these one man black metal "bands") Beleseth is fond of mourning in the hidden recesses of each song, a distant rawness within which single words are audible occasionally. Beleseth's drumming is standard fare yet appropriate. Switching between faster, gusty and thrustful barrages of reverb-laden percussion and slower, mid-tempo rhythms, the natural tonality of the kit contains a morose, and morbid personality.

Each song has a distinctive flavor, its own lost Poeish tale. Opening track, "By Blood Does the Beast Arise," leads off the hellish journey with a nightmarish quality. It is easy to imagine the fear of being lost and hunted by malicious creatures or spirits with a hunger for human blood. The song drifts between an uneasy solace and a dreadful, tortured prey's tense last moments. There is a string of lyrics audible to the ear near the end of the track. To my ear: "I have power, iron will..." or "This power, I have willed..." Second track, "Union With the Blood of the Moon," is more delicate in its melody, more subdued and subtle. A whispering beast, dripping with sadness and evil. The main component is a dance-like segment repeated two times throughout the song with a brilliant weaving of textures both disgusting and beautiful. "Forge of Black Flames" and "Beyond the Veil of the Abyss" are both unique in their own right but share much of the same style and ideas of the first two tracks. "Forge" has an atmospheric, interlude halfway through the song that really stands apart. Still menacing, it reveals Beleseth's musicianship and attention to dynamic within the track. "Beyond the Veil of the Abyss" is a strong track as well, with a killer riff culminating in a fiery haze of haunted trance. My cassette has what sounds like a heartbeat after the track ends that continues on for another ten minutes. Meant to be there or some cassette trickery, it is an interesting effect that fits in with the atmosphere present.

________RELEASE INFO__________
IMYNVOKAD - Tongues of Death

Year: 2008
Origin: USA (Austin, Texas)
Label: Pale Horse Records
Serial: PHR003
Lineup: Beleseth - Everything

Tracklist:
1. By Blood Does The Beast Arise
2. Union With The Blood Of The Moon
3. Forge Of Black Flames
4. Beyond The Veil Of The Abyss

__________LINKS______________
Pale Horse Records

________EXTRA INFO___________
Reviews:

Interviews:
1. October 2006

Pressings:
1. PHR003 (Cassette)

___________BUY_______________
Pale Horse Records
$3.00

Doom Reich - Doom Reich # 1

Fanzines have been a tradition in underground metal forever. Inevitably, there would come a time when fanzines no longer become an outlet for opinions and took on spiritual importance for their writers - a desire to spread filth fueled orders to as many unsuspecting human failures as possible. Doom Reich, a tidy little zine the same size (and construction) as the program pamphlets handed out for Sunday masses all across the country, is hell bent on providing guidelines by which to both live ones life and at the same time, hasten the coming apocalypse. While the lovely homemade style and print is endearing, it is the effort taken to make the magazine as unique as possible that gives Doom Reich a charming personality. With each issue containing a hand written note of sorts - my note contained lyrics from Eyehategods's "Left To Starve" - from the main contributer and founder Greven Melkor, there is a feeling of worthiness contained with your issue. Apparently, Greven is now handing out obituaries with each issue as well and while I won't reveal where this idea came from, I will say that it is a practice I would like to see spread. Showing the faces of the dead to all who live, presenting an ultimate vision of every man and woman's future before their very eyes, is incredibly nihilistic and one hundred percent in line with the motives of this little zine.

The content of issue number one is small at the moment though with a more "packed" issue number two in the works, this might be a mag that grows into something more interesting than your simple interview - review format magazine that finds its way into every mailbox these days. The writing of the three contributing authors is acceptable but by no means exceptional. That doesn't take away from the sincerity and, in the case of David Kvisling Hitler Faubus Stenger, humor present. With Kvisling's article being an account of a methhead superhero's trip to work on the bus, be prepared to burst out laughing several times. Greven Melkor keeps his articles (3) to more down to earth subject matter, speaking about the price of cigarettes, his excellent experience with the Abyss Records online webstore, and on page one, a decree for all readers to "help usher in this age of hatred" and "strive for true intellectual freedom." Final contributer "Parallel," is happy strapping down readers to a chain link fence and forcing all to hear his opinions on Burzum's Daudi Baldr album. He expects all to agree with his open-hearted adoration for this midi-masterpiece.

Doom Reich is a neat little zine and a must have for zine collectors tired of getting zines full of crap. With a strong sense of artistic license, no grammar excrementstorms or choppy language, and a definite desire to offend and anger, Doom Reich is a zine worth keeping an eye on. Issue two will probably be the one to invest in, with more material and content, though anyone wanting a preview of what is in store shouldn't hesitate to send the three measly dollars to Greven Melkor for a copy. Considering the future, the damn thing might be worth something in a few years if the mag takes off. These will be hard to find and lauded as the mag that brought down the world - a sure reason to get your twitchy fingers mailing dollars.

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DOOM REICH #1

Release: (2009)

Pages: 6 (8 w/ covers)

Content:

1. The End Time Message

2. My Life As A Superhero

3. Abyss Records

4. Burzum - Daudi Baldrs Review

5. Pipe Tobacco

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