All posts by starryeyedlizard

Primal Instinct: An interview with Xepher (Draconis Infernum)

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People in Dhaka and around have a good reason to be pleased with the announcement that the Singaporean band, Draconis Infernum will hit the stage of Banish the Posers Fest this September. We are talking here about straight black metal and hellish energy, powerful riffs and great melody, basically something that takes you into a dark world which is fascinating and it’s uncanny for the human mind to part with this dimness. We got in contact with their skilled guitar player, Xepher and fortunately, he answered some question of us. Here we present you a very interesting vision with relation to black metal, borders and tendencies and other facts about Draconis Infernum, their music and their newest release. Continue reading Primal Instinct: An interview with Xepher (Draconis Infernum)

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Temple of words: an interview with MkM (Aosoth, Antaeus)

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Today we have a new chapter to bring forward which is related to the French black metal dimension. A while ago we published an interview with Amduscias, the frontman of Temple of Baal, but now we are delighted to share with you the dark words of Mkm of Aosoth and legendary Antaeus, basically two radical bands for the period unfolded after the year 2000. You will read here about the status of Antaeus, a satanic group that apotheosized aggression on each possible level through the medium of albums like De Principii Evangelikum or the great Blood Libels. Otherwise, Aosoth is a fierce brute which continues to spread catacomb sounds and blasphemy. Below is our gloomy talk with the vocalist of these two bands. Continue reading Temple of words: an interview with MkM (Aosoth, Antaeus)

INTERVIEW: NIFLUNGR OF AZAGHAL

Azaghal has been blasting the metal world since the mid 90’s and these Finnish fellows are still very active. Their discography is wide and their musical approach has been improved with every new material. The highest musical point that this band touches is based on a classical Finnish manner of playing black metal that uses both aggressiveness and melody. Niflungr, the vocalist and bass player of Azaghal told us a few things about his band, their next release and gigs, about their ideologies and the surrounding vibe that Finland provides them.

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Greetings to you! We are pleased to have your words here, on Venustas Diabolicus.

First of all, I’m sure that Azaghal had to do with this kind of – let’s say – undemanding question before, as every band does, but what is the deal with the name? I know you were just around and not a member of the band when the name was chosen, but how do you see it? Is it the image of Azaghal, the dwarf that fits this band and its music? Or is it just about those fairy qualities of Tolkien’s character and his abilities to create the finest steel blades and the best armour? How do you link these mythologies with black metal and the message of Azaghal?

Niflungr: Well, it was quite fashionable in the 1990’s to pick a fancy sounding band name from Tolkien mythology. I guess Burzum was one of the originators of this movement and naturally the others, including us, followed. I don’t see any Tolkien references in our lyrical concept anymore, but I guess it is a bit too late to change the name, now after 20 years, heh heh…

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And what is about Niflungr? What made you go with this name?

Niflungr: This is taken either old Norse Poetic Edda, or Prose Edda. It is basically the same as more know Nibelung. I didn’t think too deeply while choosing the name, but at that time it sounded nice and exotic for a Finnish teenager.

Besides the split with Ars Veneificium that is announced to be released in February, what other plans do you have with Azaghal? What can you tell us about the next full-length?

Niflungr: The next full-length album called Madon Sanat will come out during the first weeks of 2015. It will be released through Hammer of Hate / Kvlt in CD format. For vinyl version release we already have another label, that will be announced a bit later.

Stream the title track of the album here:

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What about gigs? Is there a place or event that you would definitely want to reach in the near future?

Niflungr: We usually do less than five gigs per year, so no huge tours are expected to happen in near future. Next in schedule we have gigs in Holland and Belgium, next February. Also we will go all the way to Montreal, Canada in April to attend Messe des Morts Festival. Naturally we would like to go as many places outside of Europe as possible. This year we went outside of Europe for the very first time, while we had a short tour in Brazil.

About three years ago you played in Moscow at Volh Black Metal Fest. For me, watching from outside, the Russian culture seems to be something particular comparing with those from every other corner of the globe. I sense an interesting paradox at this culture in many artistic fields. They seem to mix the magic and dreaminess with the coldness and straight forward attitude like others do not. What do you remember of that gig, the crowds and so on? How does it feel to play black metal there?

Niflungr: The gig itself was a disaster, to be honest. We traveled a day and a half one-way, by using various methods, just to end up playing twenty minutes before lights were put on and audience thrown out. The scheduled time for the event exceeded and we couldn’t even play half of our set. These things do happen sometimes. Playing itself and the audience didn’t feel too different from North European gigs.

In an interview for Metal Maniac you said that Satanism should be a way of life for all those who play black metal. But, have you ever thought that this can be also a kind of globalization in terms of expression, attitude and direction? Nowadays, black metal is almost everywhere, so at one point it becomes difficult to gather all these people that make this music under a single theme that is Satanism. I think that if black metal started as a satanic manifestation it is not necessary to continue like that. This music, as any other genre can speak of absolutely everything, including Satanism, darkness, occult stories and all the classic things. But I do not take these themes as mandatory anymore since everything around us is in constant change and otherwise, they do not come in a natural form for everyone. Tell me about your opinion, please.

Niflungr: I still think that people who express themselves, share their personal visions, moral code or fantasies under the title Black Metal, should be Satanists. It does not necessary mean that every song’s theme should be Satanism. There is a massive amount of bands in the scene who are expressing Satanic values, but when getting to know them on a personal level, they appear to be humanists and not standing behind their message. Even the people who have been in the scene for a decade or two, appear to be weak-minded sheep, trying only to boost a weak self-esteem. What differs Black Metal from other form of music and arts, is the fact that there is an ideology connected to it.

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Is there a favorite part for you when it comes to any kind of satanic literature?

Niflungr: I read very little of this kind of literature. I strongly believe that people should find their own ways, within themselves. My personal world-view is based completely on observing the world around me and my own experiences in life. This has shaped me to who I am these days and what I do believe in. Life is quite simple; we are star dust and what we want or desire means nothing in the end.

What do you think about the new Mayhem, Esoteric Warfare? I am asking this just like a black metal fan who talks with another black metal fan about the musical scene, despite the fact that you are actually a musician, but, of course, this cannot alter somebody’s perception about music.

Niflungr: Personally I enjoy it. Maybe I think too much about the technical side of albums these days. This particular piece is very, very technical to play, but still atmospheric and devastating. Maybe I cannot listen music as a fan anymore, which is kind of sad.

Did you notice any difference concerning people’s reaction about your music since you started to write more lyrics in English?

Niflungr: No, I cannot say I did. I haven’t discussed about this matter with the listeners, really. Maybe for some people this has removed a bit of the shroud created by a weird language like Finnish. Not many foreign people can read or speak Finnish fluently, so a translation process has always been necessary, before understanding completely what is stated in the songs. Well, now we are back to Finnish as this whole English language-thing was just a test to see how it works out. Maybe we should stick with our native language after all.

How is the mood in Finland these days concerning cooperation between musicians and the relationship between musicians and audience?

Niflungr: In our home town, we are doing a lot of co-operation with fellow musicians. New exciting and potential bands have raised and has made this kind of interaction possible. This wasn’t always the case in the past. In Finland in general, I’m sad to announce that the amount of audience has decreased significantly here. Maybe there are too many Black Metal events around or maybe people rather stay home and see things on YouTube or something.

If we think at your native place, the history and the heritage of the country, what is the thing that you like most about this land, its people and their habits?

Niflungr: I like all the unforgiving nature, cold winters and endless forests and thousands of lakes. There are still places around that human filth has not polluted, luckily. Our tribes have populated these lands since the beginning of post-ice age, so we have a strong blood connection to these landscapes.

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Finally, how can you translate the idea of corpse paint? How do you feel when you do it? Can you relate it to a transformation procedure that is definitely needed for your performance or something like that?

Niflungr: Corpse paint works as an extension to our musical expression. It gives a face to this particular side of ourselves that we are expressing. It also is a tradition, inherited from the early 90’s, when we were just starting to explore all of this. Unfortunately it has become a great trend, even among people who has no clue about the ideology of this genre. Even models pose in bikinis with corpse paint on in social media these days. It is disgusting.



That’s it for now. Thank you so much for sharing your thoughts with us. If there is anything else to add or any other ideas that you want to transmit to our readers, here is plenty of space for you. Cheers!

Niflungr: Thanks for the interesting interview. If you want to keep on track what is happening in the Azaghal camp, you can find our official page on Facebook. This is administrated by the members of the band themselves. Let the light of Lucifer guide you!

Conducted By: Gina S.

Azaghal:

  • Narqath: Guitars, Bass, Vocals, Keyboards
  • JL Nokturnal: Guitars
  • Niflungr: Vocals, Bass
  • Lima (aka. Jonas Pykälä-Aho): Drums

Facebook of Azaghal:

https://www.facebook.com/AzaghalTerrorCult 

BEGRIME EXEMIOUS – PRIMEVAL SATELLITE

 

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It is doom and thrashy in the same time and eventually hits the black/death torment that partially describes the Canadians of Begrime Exemious. This is how their latest EP goes. Primeval Satellite was released this year’s late summer but it was recorded two years ago. And I must admit that the entire material reveals a feeling of something kept in a cave for a while. It has a kind of aggressiveness which seems that it might have been very well calculated, but I think it is all just natural because this is how old school death metal tends to sound like. Everything is slow and rough because there is no need to hurry while destroying something, you must enjoy it first.

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Things have changed a bit since their first full length, Impending Funeral of Man in terms of intensity. Yet their composition is based on a few contradictory details, but I think that this is part of their sense. Otherwise, the rhythm’s balance and the guitar tones are way better than what we could here on Visions of the Scourge. That is why Begrime Exemious deals with a constant evolution. Now their rawness is high-pitched and the melodic character is concentrated in beautiful solos and I will mention here the first song from this EP, Entrails & Barbed Wire and the fifth one, Bloodworms. It seems that the most serious track is Silent Observer Older Than Earth concerning musicality, being nothing more than a gloomy doom piece transformed in an easy-going declaration of death and horror. The levels of Primeval Satellite are pretty divers and so, the next song, Wolf Hound Bitch revolves around a nice groove emphasized by simple blasts.

The vocals and many riffs remind me of the Necrophagia vibe, especially that one from Cannibal Holocaust. Anyways, there are many parts that can be familiar for anyone who is into extreme metal, but the blending makes the element of surprise. Comparing with the peers of the Canadian black-death realm, Begrime Exemious succeeds to be quite natural, having all this range of influences disclosed in an interesting manner, a fact which makes them so alive.

The song that marks the end of this material it is a cover for the Nuclear War of Nuclear Assault and I find this admirable. It is such a good song that you can never refuse to go and listen to it once again, being in the know that is the same old killer thing with a new sound.

In view of these facts, I’m looking forward for a new full length from Begrime Exemious because it seems that this time they got something which is less ambiguous and so it became powerful. Also, a more devastating sound would be a better feature for their musical attack.”

Score: 77/100

By: Gina S.

Stream the entire album on Bandcamp:

Released on: August 18, 2014

LabelDark Descent Records

http://www.darkdescentrecords.com/

Lineup:

D. Orthner – Lead/Rhythm Guitar, Backing Vocals
T. McClelland – Bass
L. Norland – Drums
F. Thibaudeau – Rhythm Guitar
B. Leland – Vocals

B. Symic – Additional Vocals

Homepage: http://begrime.orphy.net/

Facebook: https://www.facebook.com/begrimeexemious 

 

INTERVIEW: MORS DALOS RA OF NECROS CHRISTOS

We are all aware of the fact that occultism means something beyond general conscience’s reach but even so, we hear this word more and more nowadays. That is why occultism is not a hidden phenomena anymore. Anyways, concerning the unseen world, we had a talk with Mors Dalos Ra of Necros Christos in order to understand better what is all about with his music and the strangeness we feel there. Mors Dalos Ra took exquisite care of his unseen world and so he talked about it by introducing here and there rabbinic terms or strong names related to the mystic doctrines of Kabbalah. Besides his views on infinity and other abstract concepts, we have also some words about Necros Christos plans, influences and meaning.

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How’s it going? What’s the current focus of Necros Christos after releasing the Nine Graves EP?

Mors Dalos Ra: We currently do travel on many roads so to say. Of course, the promotion for Nine Graves demanded to give lots of interviews, but it all calms down a bit right now and we just focus on rehearsing as well as writing new songs. We shall play at least one last show this year in Dublin in November, alongside PRIMORDIAL`s record release event. Looking more than forward to this one tough!

What is the source of the occult approach in your music? We all know that the occult thing is something unspeakable or so it should be, but now we are talking about individual ways of getting inspiration. In what way does occultism interfere with your life?

Mors Dalos Ra: Since my earliest childhood, I felt strangely addicted and drawn to this unspeakable realm.

I answered this question in depth in a lot of interviews before, so for all interested readers out there, who already know about, just skip the following:

The very first thing I actually do remember is my baptism, on which I was one and a half year old. I still can see the scenery as being burned in my mind, people standing in the cold November rain outside that very old church, everything seemed to be really blurred and dark.

I remember the smell of the stones, the water and something utmost spiritual, some Thing, which was there.

I visited that church more than 36 years later and some signs, which I got aware of during that visitation, came close to a personal revelation. Note that this has nothing to do with Christianity in general, I try to describe what I felt. When being one and a half year old, you haven`t heard about God or Jesus, but your senses are already glowing in full effect, you simply feel.

The second coming occurred when I was approximately three years old, spending vacations with my parents on Crete, Greece. I had a seriously bad infection of my tonsils, but when it got discovered, fever and disease had already laid their foul hands upon me. I was brought to a hospital, but no bed was left, so they put me in a small stinking cell reeking of excrements and disease. And guess what, it was the room for the dead. During this night, I left my body for the first time, seeing this painful vessel of mine beneath.

Later on, my father, who was kind of a devoted hobby archaeologist, took me to places all around Greece, Turkey and so on. I guess that should explain my addiction to the oriental world as well as being consumed by all occult spirituality. Take all of that memories and experiences combined with my own style of writing (Death) Metal songs and you have the essence of what NECROS CHRISTOS is all about.

What is your own philosophy about death, blackness, or void? People often perceive these phenomena as an end. What does the end mean for you?

Mors Dalos Ra: It is no end and our souls have none. Since an adoil of tyme, we`re forced to re-incarnate again and again, until the primordial ocean of souls shall re-unite in Adam Kadmon.

But since we lost contact with the primary influx of Ain Soph eternal, hidden within Domedon Doxomedon realm, this final return  to the essence won`t never happen and our souls are cursed to be thrown into worlds and netherworlds forever.

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Within the Nine Graves EP, it is more obvious than ever that one of your main inspirations has to do with the Oriental spirituality and musical expression, with the religious culture of the Eastern side, actually the realms of the living sun. Even though, we all could notice the fact that your interest in this part of the world was emphasized on the previous Necros Christos materials also. The most profound philosophies regarding humankind, micro and macrocosmos were developed there in the ancient past. Nowadays, many of these regions seem to be buried in social and territorial conflicts, overpopulation, both spiritual and material poverty and so on. What is your view about this extreme turning point?

Mors Dalos Ra: I try to follow the news every day and it makes me becoming sick, really.

What kind of disgusting things happen when delusion, disorder and fanaticism take over and possess the mind and heart of people, everybody can see at many different corners of the world right at the moment. No matter of what kind of religion, if anybody really proclaims to inherit the one and only belief, if he discriminates others due to their religion or he/she even kills due to that, he/she simply does NOT believe. They all do serve just “the other side” they actually want to avoid, but our world has become damn sick and it shall be cleansed very soon by the will and powers of the radiant light of Ain Soph absolute.

How do you feel before playing in front people? Do you take into account that there are lots of energies that you have to deal with and make a specific preparation? Or does everything come just naturally?

Mors Dalos Ra: I love what I do, so there`s no complain at all. I have no problem by performing in front of others and mostly, we`re blessed with such an excellent crowd, that it is a sheer pleasure to play. Indeed, if the audience is really into our sound, we`re able to absorb all the energies and transform them into our own performance. This might be the highest state of ecstasy one can think off, but we luckily had many rites where things like this happened.

When it comes to demonology, people tend to associate the evilness with it because of Christianity. But before Christianity became an official religion, mythological demons were seen as both good and evil. Also, most demons were actually messengers between individuals and entities. What is the role of Necros Christos in terms of your own visions?

Mors Dalos Ra: NECROS CHRISTOS is the messenger. When I was approximately seven years old, a demon named Dalos revealed his spirit unto me and when I was way older, the foul vessel of the nine dolours of Christ, also known as NECROS CHRISTOS, transmitted his prophecy.

When did you discover your interest in Kabbalah? How did you see this tradition in the beginning and how did your views evolve regarding this form of mysticism?

Mors Dalos Ra: I can`t remember properly when exactly my interest in Jewish mysticism rose to a high degree, but when I stumbled across the first fragments of texts years ago, I immediately felt a strong connection to that source, something, which I never felt before. I just read and studied the Sefer ha-Sohar this summer for the (maybe) third time, I read the Sefer ha-Bahir and of course, Gershom Scholem`s works are always present.

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 How do you see the metal world of today and to whom do you dedicate your music?

Mors Dalos Ra: To everyone who is open minded and to all our brethren and sisters of the NC Temple. Further to such amazing artists as Manuel Tinnemans, Timo Ketola, the covens of SVR RECORDS and VÀN RECORDS, GRAVE MIASMA, VENENUM, GRIFTEGǺRD, TEITANBLOOD, ASCENSION, SOTM, PENTACLE, DROWNED, ESSENZ, NEGATIVE PLANE, THE RUINS OF BEVERAST, THE WOUNDED KINGS, YEAR OF THE GOAT, ARKTAU EOS, DEAD CONGREGATION, just to name a few.

It was eight years ago when you released a split with Teitanblood. What is the relation between you and the two guys of Teitanblood today and how do you see their esoteric approach on music comparing to yours?

Mors Dalos Ra: The esoteric approach might be too personal too speak about, but their approach to Death Metal is someway different. NsK belongs to my closest friends and I feel nothing but the highest respect for TTB. One of the, if not THE most extreme band in the world of (Death) Metal nowadays. Those guys are real magicians for sure.

How did you decide to work with Timo Ketola for the Nine Grave artwork cover? What do you like most when it comes to his art?

Mors Dalos Ra: Timo is an old friend of NC and has done many signs and wonders for our Temple.

And honestly, he`s one of the most serious occultists I can think of, his knowledge is of unbelievable dimensions.

There was this painting of Eugene Delacroix I came across, “Christ carried down to the tomb”, which I had in mind when speaking first about the cover concept with Master Ketola. The final painting he delivered just made me speechless, you nearly can smell the cold, foul air of that mass rock-cut tomb somewhere in the Middle East.

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We also know that you are into traditional music from Indian and Persian cultures. Can you recommend us something like that by naming a few of your favorite artists?

Mors Dalos Ra: With utmost pleasure. Out of India, I would like to name first the greatest Sitarist of all time, namely Nikhil Banerjee. Other important names would be Ajoy Chakrabarty, Ali Akbar Khan, Sultan Khan, Kala Ramnath, Tejendra Narayan Majumdar, Prabha Atre, Purbayan Chatterjee and Irshad Khan. Going to Persia, blessed be the works of Hesameddin Seraj, Ramin Kakavand, Davood Azad and Salar Aghili.

 Who is your favorite modern or contemporary writer when it comes to religious studies?

Mors Dalos Ra: Gershom Scholem, no second thought needed! His writings and essays about Kabbala mysticism opened my eyes and I saw clear.

In the end, we would like to thank you very much for sharing us a part of your visions and feel free to write anything you want for those who appreciate and relate to your work.

Mors Dalos Ra: Thanks a lot for the interview, it was a pleasure to answer!

Whoever thinks in terms of country borders or skin colour has no place within the realm of NC.

Death Metal has no boundaries.

And so doth NECROS CHRISTOS.

Amen.

                                                                                                                                    Conducted By: Gina S.

Necros Christos:

  • Mors Dalos Ra: Guitars (electric and acoustic), Vocals, Keyboards
  • The Evil Reverend N.: Guitars
  • Iván Hernández: Drums
  • Peter Habura Bass

Facebook of Necros Christos:

https://www.facebook.com/darknessdamnationdeath

Official Bandcamp:

http://necroschristos.bandcamp.com/

 

Chiral: Abisso: 50%

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There is a wide landscape dominated by single people who create music by their own and it definitely belongs to black metal. For instance, Chiral is a project of this kind, coming from Italy. The music is described as progressive black metal and actually, it can be regarded like that, considering the various influences included there. The latest release of Chiral is the Abisso EP, basically the second material after a first demo released this year as well.

The EP starts with a windy intro, thunders and rain sounds and continues with „epic” keyboards. Then you can hear that so-called melancholic and atmospheric part and then that so-called nostalgic black metal riff and then some nasty doom death vocals and I honestly had enough of this during my lifetime. But let’s have faith for the second song, Atto I: Oblio and its nice raw black metal approach. Unfortunately the sound is awful especially because of those programmed drums. Otherwise, the guitar tone is quite bad even though the riff from the beginning is classic and good. The song comes with some acoustic breaks and this way of combining opposite dimensions gives power to the music, but I cannot say good things about the final part of the song that brings a non-musical chaos. At least the vocals became tolerably harsh. The piano from the following track is okay, but still I cannot find the purpose of the solo guitar that comes next. Anyways, things would have been great if only the drums have not started. But they did it again and after I forced myself to ignore their sound I could discover the best song of this material. It was the first time when I could notice the influences mentioned in the project’s description, like something from Dissection or Sacramentum, especially in the second half of the track. The final part of the record is a short and nice piano outro that uses again the windy sound in order to complete the circle in a classical manner.

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Improvements are for sure needed when it comes to Chiral’s music, both in songwriting and musical production. People these days are making haste to release a record and that’s why they forget how to reach the essence of music and so they focus on creating a copy-cat material or music in general that brings a wide range of transiently influences. The musical market is very crowded, to put it like that, even if it’s all about metal music. I hope one day some musicians will be aware of that in order to make any kind of difference.

Release date: June 21st, 2014

Label: self released

Tracklist:

1. Atto I: Disceso Nel Buio 04:04
2. Atto I: Oblio 05:20
3. Atto II: Abisso 11:42
4. Atto II: In Assenza 01:11
22:17

Lineup:

Chiral Voice, All Instruments, Programming
Ludovico Cuoghi Guest on Atto II: Abisso, guitar solo

 

Homepage: http://chiralitaly.wix.com/chiral

Facebok: https://www.facebook.com/ChiralItaly

Bandcamp: https://chiral27.bandcamp.com/

 

By: Gina Sandulescu