I was first made aware of the word “Nidrosian” by contemporary Black Metal artisans, Mare (Spheres Like Death, Terratur Possessions, 2010). Their orthodox Scandinavian sound is not what caught my ear, rather their ritualistic soundscapes, which invoked the thoughts of medieval black masses. Mare’s entire aesthetic is enchanting to the proponent of the dark arts. Their live performances are an otherworldly experience in itself, combing sonic assault with arcane visual enchantment. Truly an impious experience.
Chalice of Blood, a band locating from Sweden has marked almost a decade of their existence. Not known to many black metal enthusiasts, moreover the band members also disguise their identities to public; however, the band has not released anything remarkable yet. The band has only a demo released back in 2005, which has been followed by several split releases. Chalice of Blood has an EP on pipeline, entitled Helig, Helig, Helig, which is to be released on Daemon Worship Production.
Chalice of Blood plays orthodox black metal, somewhat similar to Orcivus, Ofermod, early Funeral Mist or Watain. Obviously these resemblances don’t explain what’s going on this 20 minute release. The band has some flourishing melodies to offer with usual grim black metal background.
The EP starts off with a melodic tremolo riff, followed by harmonized guitar notes on an intro titled as Hoor-Paar-Kraat. The intro certainly sets the mood for a chaotic black metal experience as Nightside Serpent breaks in. The guitar tones are sharp, tremolo picked and even there are breakdowns and clean guitars. The clean guitar sections are particularly pretty well timed and also mixed brightly (Transcend the Endless for example). The best part about the guitars are they actually pull on a good, solid background for a black metal release. The rhythm section is not pretty noteworthy, but some riffs are really good and well executed (Shemot and Transcend the Endless). The bass guitars are although buried under guitar tones, but they do make the sound and atmosphere heavy. The distorted bass lines could be heard properly as the guitar breaks down (Shemot, The Communicants). The drums are straightforward, typical blasts yet there are some long, nicely composed fills. The vocal does some great deliveries throughout. There’s not much variation on vocal style, the singer keeps shrieking on lyrics passionately. The vocals are a bit low in the mix, giving more place for the music to fit in. The mixing is done pretty well, with a strong production without hurting the atmosphere, resulting in a solid sound.
Now about the demerits of the album. Reinstated that, the album is pretty solid in sound. But there is certainly a lack of originality. There’s nothing exceptional the listener can expect but mid paced black metal, which is obviously an evidential orthodox release. Another down point I can state about is, the band somewhat slipped to execute the ideas they planned. For example, the track The Communicants has some redundant moments in it. However, that’s acceptable for the good melodies the band has provided afterwards.
To finish with, Helig, Helig, Helig is overall an admirable record with a solid sound, but lacks the originality somewhat. However, this EP can be claimed as a good start for Chalice Of Blood’s upcoming journey. The EP is recommended for the fans of bands like Watain, Ofermod, Nefandus or more elaborately, fans of Swedish black metal.
Highlights: Transcend the Endless, Shemot.
Listen and order Chalice of Blood- Helig, Helig, Helig EP
The band chose to remain unknown.
Release Date: January 15th, 2015
Label: Daemon Worship Production
Daemon Worship Production official site: http://daemonworship.org/index.php
DWP on facebook: http://facebook.com/daemonworship
Ascension, perhaps need no introduction to the fans of occult black metal. As a band, these Germans have created a mist of aura about themselves- primarily with their stunning music accompanied by excellent lyrics and a magical hymn procreated on western esoteric metaphysics. The band willingly chose to disguise their identity as a mean to their firm withstanding to the mainstream trends and also to differentiate their level of maturity over the tons of band labeling themselves as black metal. Their seven years journey through the clandestine passages of superior wisdom has seen its destination in two full lengths so far – Consolamentum and The Dead of the World which is scheduled to be released on 24th of December, 2014. All of their releases so far has been distributed by the German label, World Terror Committee.
Ascension have always put priority on composing music to reflect their ideas and messages perfectly, with dark and menacing guitar riffs, driven on melody and heavier bass guitars. To take the listeners into the deepest trench of hell, this time the band chose to slower their tempo- almost to a doom-ish scale as the first track The Silence of Abel breaks in. This is the primary deviation the band has developed since the release of Consolamentum. The guitars are slow, heavy and punishing as the running time forwards. The hint of progression in the sound becomes audible with clearer production (not cheesy at all if compared to Watain’s The Wild Hunt). The effective use of sharp guitar melodies and so-often shredding solos in contrast with dark, spine chilling ambiences. If you are looking for traditional thin sounding atmosphere, then Ascension is to be ruled out of your school. The distinctive and increased bass mixing amplifies the dimension of heaviness so to speak. If it seems overhyped then Mortui Mundi could be a perfect example. The drums, are not typical at all. No shitloads of blasts or generic double basses, but the drums are composed here with care to suit the steady, punishing background. The tortured, suffered screams are sure to lose your soul in the vast, lethal darkness of eternal sleep… yes that’s what the band vents about on this record. The elegy of souls and the eternal demise of the world- which has been sheltered and invoked throughout the dirges from this chapter.
The sound of Ascension on this record is remarkable, the direction the band chosen is a matter of debate (confronted mostly by the steadfast orthodox fans), but the modern black metal fans should consider this album as a masterpiece and recommend as a must-listen. If you are a fan of black metal digging both the 2nd wave and modern school, you should give it a listen: the dark, chaotic sound won’t disappoint you at all. My personal opinion says, The Dead of the World could be considered as one of the best releases of 2014, coming out on a Christmas Eve, to mark the insignificance of a so called holy day and worship the eternal demise glorified by the great obscurity!
The Dark Tomb Shines: The apex of this full length in my opinion. This track could actually manifest the sound of this album as well as the modern black metal. Cold and eerie guitar rhythms, audible and independent bass guitars backed up by delicate drumming define the absolute black metal atmosphere. The subtle progression of soundly finely exemplified by the latter half of the song which ends up with the beauty of guitars.
Mortui Mundi: The title track as the Latin translation refers to it. This 10 minute opus starts off with malicious and evil riffs, continues with powerful vocals. This track has vocal contributions from infamous Mors Dalos Ra of Necros Christos. The song ends up with a long dual guitar solo with triggered atmosphere, a perfect ending to such a record.
The Silence of Abel: The album sets on with this track, the most doom-ish track on this record.
Unlocking Tiamat: Another slow yet heavy track on this record. Ritualistic sound and the psalming vocals from The Magus (Necromantia) ceases all the integrity there could be.
Listen to The Dark Tomb Shines from The Dead of the World
The band chose to remain unknown.
Release Date: 24-12-2014
Order The Dead of the World from
World Terror Committee:
Season of Mist (North America):
Fourth full length of Nightbringer, Ego Dominus Tuus is one of the most anticipated album among the enthusiasts of the black metal music. The album is set to be released on the final day of September, 2014. Three spectacular tracks from the album have already been premiered and undeniably these revered creations have necessitated a wistful longing among the listeners to experience the taste of the full length. It goes without saying that the crafts that Nightbringer make transparent through their wondrous music are not a dime a dozen. The esoteric and occult essence that are reflected from Nightbringer’s music simply deserve admiration. The band flawlessly holds a combination of eccentric sound and expansive spiritual based lyrical theme that can be regarded as an aestheticism in black metal music.
New full length is probably going to be a watershed of the modern occult oriented black metal movement. We have had in details conversation with the founder of the band, Naas Alcameth where he has opened a lot of words about the new release and more about Nightbringer and his other projects.
- Et Nox Illuminatio Mea In Deliciis Meis is a phenomenal creation. Maybe the track is just a glimpse of the entire album, but it has definitely increased my craving for listening to the Fourth Full Length of Nightbringer.
Naas Alcameth: Thank you.
- Would you like to light up our readers by revealing the information about the upcoming full length? I can feel the presence of more atmospheric vibe in the mentioned track and the sinistrous signature guitar tones are also audible here. Brief us about the concept, writing and recording process of the album.
N.A.: The concept is based on a cipher of a certain sacred name, in which is veiled a hierarchical formula consisting of three parts which represent three phases upon the path of the Great Work when approached from the infernal road. Without saying too much on the topic I can say that the concept of ordeal is central to the path of which we are relaying. To reiterate what has been previously said regarding all of this, it represents the path of ordeal, from the transformative Fires of the Art within the crucible of the underworld, to the revelation of the Daimon to the Guardian at the Threshold and slaying the Sun of Death, Light of Lucifer. The allegory is sacred and has no direct bearing on any of the mundane aspects of the album’s creation. It is meant to reflect a spiritual process and the greatest spiritual aspirations. The writing and recording process was approximately one year in duration from start to finish. The songs were written independently by the respective core members with concept and overall shared vision kept in mind of course. We approached all of this in a very exhaustive and meticulous manner, more so than ever before and we believe the final result greatly reflects this.
- It can be assumed that each of the members of the Nightbringer has endowed their parts for the full length, just like the previous occasions. Am I correct? Which of the tracks are structured from your part?
N.A.: This is correct. Musically I am responsible for writing and recording Et Nox, Lantern of Eden’s Night, I am the Gateway and The Otherness of Being, as well as the ambient pieces Prayer of Naphal and Call of the Exile which I did in collaboration with H. McFarlane of Funerary Call and the track Salvation is the Son of Leviathan which I created myself. VJS is responsible for the writing and recording of the tracks Things which are Naught and Where Fires Never Dreamt of Man and Ophis is responsible for the writing and recording of the track The Witchfires of Tubal-Qayin. I am lyrically responsible for Nephal, Et Nox, Lantern of Eden’s Night, Salvation is the Son of Leviathan and The Otherness of Being, while aRRa’ad handled Things which are Naught and Where Fire never Dreamt of Man and Ophis handled The Witchfires of Tubal-Qayin.
- Is the album name somehow related to Ego Dominus Tuus of B. Yeats? If it is, then do any of the tracks have resemblance with that poem of W.B. Yeats?
N.A.: The title was indeed inspired by Yeats poem, specifically his concept of the daimon. Outside of this specific element of inspiration the lyrics are specific to the album concept mentioned above and not inspired from Yeats outside of this conception of one’s daimon.
- Lyrics of the track Et NoxIlluminatio Mea InDeliciisMeis is based on 139th Psalm and in fact the moniker of the track has also been taken from a line from it. 139th Psalm asserts the ubiquity of God. Does the lyric of the track also refer to the ubiquity of anything – any deity-or Satan?
N.A.: Indeed it does. The lyrics are influenced from this psalm, which I felt, via a heretical approach, evokes such symbols as the ‘midnightsun’ and the ‘night of light’, symbols important to our work. The lyrics also touch upon the Greek ‘melancholia’ and the sovereignty of Saturn over those of us who are born with his mark and our relation to the former concepts. It relays the idea of ecstatic furorth at it is said one may enter in order to obtain wisdom, which is imparted both from ‘above’, ‘below’ and ‘within’, via a state of ‘divine madness’, the inspiration felt at the heights of an ecstatic state. As for mans amazement towards God, this would also be correct but in this track specifically the amazement is towards a specific aspect or face of God (God as understood as the Absolute as it is used in a Platonic/Orphic tradition), which in one instance may be expressed as Saturn and another as Satan. Regarding the interpretation of the ‘extermination of non-believers’ from the lines within the psalm, from this approach and personal interpretation, theselines serve to express our utterest rangement from those who are diametrically and fundamentally our spiritual opposites, and ultimately the irrevocable schism of those who would strive to truly be awakened, truly alive and those who are, unbeknownst to them, irredeemably dead. Inevitably we all will be ‘as food for the gods’, we are all slain unless we learn to be otherwise.
- David Herrerias has done the Cover Art. We have previously witnessed some of his splendid creations in the cover art of Necrocurse and Noxious Anathema. What message does the artwork reflect and how is it related to the concept of the album?
- Menthor and ar-Ra’d al-Iblis reside far away from the other members of the band. Has it ever become an unpleasant incident for you in terms of recording and maintaining other activities?
N.A.: Actually it really has not been a problem. The core members essential to the music composing and recording all reside here in Colorado, minus our drummer Menthor who is able to efficiently record his tracks from afar with some back and forth discussions and simple revisions. It has all worked out very well.
- Let’s traverse back to the last two split releases of Nightbringer – The Ruins of Edom (w/ Acherontas) and Circumambulations of the Solar Inferno(w/ Dødsengel).Both of the splits were conceptual approach. Is not it a demanding task to release a conceptual split with other bands as both of the bands need to cross the same path in terms of ideology and knowledge? Do you find the similarity with these artists in terms of philosophy?
N.A.: It was not so difficult as both bands share at least some commonality in regards to spiritual philosophies. There was plenty of discussion between both entities before and during the composition process as to what the unified visions would be. Although our outlook towards spirituality is not identical to either of these great acts there was enough common ground to build a solid and unified conception.
- You are an admirer of both Ambient and Classical music. Implementation of the elements of these sophisticated genres has already been observed in the materials of Nightbringer. You are also associated with two ambient projects – Temple of Not and Akhlys. Do you have any intention to start any project related to classical music?
N.A.: At this time I have no plans to do such a thing but perhaps in the future. It is hard to say.
- I think both Serpentanim and Excommunion are not full of life. What is the current circumstance of your other projects- Bestia Arcana, Akhlys and Temple of Not?
N.A.: Excommunion has been resurrected for another album although there will be much departure from what it was when I was a youth. This will be out sometime next year via Dark Descent. There are no immediate plans for ToN but some things are coming together slowly for an Akhlys release, but this may still be a ways off.
- Regarding the Unholy Black Metal Fest – Gathering of Shadows in which you are associated with, what is the current condition of it?
N.A.: I am uncertain if the individual behind it will do another one or not truthfully. We would love to participate again if it does come to pass.
- 2014 is the 15 years of the tenebrous journey of Nightbringer. Will there be any 15 year anniversary tour or at least can we expect any supportive tour for the release of the album. Recently, you have covered a lot of regions of Europe. Any plan to put step into the other parts of the world?
- Gratitude to you for your efforts to answer the questions. Finally, anything else you want to unmask relating to the future and the forthcoming album?
N.A.: I will let the daimon speak for itself. – Pete solem in domo Erebi.-
Conducted By: Zoheb Mahmud
Naas Alcameth – Vocal, Guitars, Bass
VJS – Guitars, Drums
ar-Ra’d al-Iblis – Vocal
Ophis – Guitars
Menthor – Drums