Možná po nás zůstane jenom spálená země. Děláme pro to absolutně všechno. Ničíme oceány, lesy, máme jedovatou vodu a navzájem stále vymýšlíme co nejlepší způsoby, jak se zabíjet. Někdy si připadám, že kráčím zničeným územím. Invazivní druh, který si říká člověk. Mám rád death metal v jeho klasické, syrové podobě. Němečtí HUMAN WASTE jej hrají. Jsou brutální, ostří a divocí. Jsou jako vyslanci temnoty, kteří přišli svojí hudbou zničit všechno, co tu ještě zbylo.
Líbí se mi způsob, jakým jsou skladby napsány. Mají v sobě potřebný drive, sílu, tlak, touhu zabíjet hudbou, ale také temné a chladné melodie. Mám pocit, že při poslechu zažívám ty nejděsivější dystopické představy. Noční můry se stávají krutou realitou a znovu a znovu zapínám play na svém přehrávači. Mraky jsou nízko a prší z nich krev. Tahle smečka je letos ve velmi dobré formě.
Pokud bychom si měli promluvit o zvuku, tak ten je náležitě masivní, dobře čitelný a zadře se vám pod kůži. Mám při každém setkání neodbytný pocit, že bych měl vzít do rukou kladivo a jít zbourat nejbližší zeď. Třetí dlouhohrající album se povedlo i co se týká motivu na obalu. Po formální stránce je vše v nejlepším pořádku a vy se tak můžete plně soustředit na hudbu a jednotlivé nápady. "Misery Obsessions" je přesně tím druhem nahrávky, která se vám dostane do hlavy, do podvědomí, zkroutí vám vnitřnosti, zabodne se do vás jako čerstvě nabroušený skalpel. Kývám se spokojeně do rytmu, užívám si mrtvolné nálady, které se vznášejí kolem, jako pach rozkládajícího se masa kolem mrtvoly. HUMAN WASTE vydali letos album, které splňuje všechny mé požadavky, abych jej rád a často poslouchal. Vracím se k němu hlavně v pátek, když už mě štve celý svět, když jsem unavený a potřebuji svoji dávku ostré hudby. Abych přežil v dnešním divném světě. Zapomenout bych neměl ani na to, že novinka vychází digitálně, jako CD i vinyl. Myslím si, že každý fanoušek si přijde na své. Chtělo by to malý klub, do kterého přijdou jen ti, kteří podobnou hudbu poslouchají rádi. Myslím si, že naživo musí být jednotlivé songy ještě surovější. Možná tu za pár let už nebudeme, až všechno úplně zničíme, ale než se tak stane, tak budu podobné desky poslouchat a všude doporučovat. Možná po nás zůstane jenom spálená země. Děláme pro to absolutně všechno. Ničíme oceány, lesy, máme jedovatou vodu a navzájem stále vymýšlíme co nejlepší způsob, jak se zabíjet. Někdy si připadám, že kráčím zničeným územím. Podobné nahrávky mi pomáhají přežít. Syrový, brutální death metal s temnou dystopickou vizí! Budete roztrháni na kusy!
Asphyx says:
Maybe all that will be left of us is scorched earth. We’re doing absolutely everything we can to make sure of it. We’re destroying the oceans and forests, our water is poisoned, and we’re constantly coming up with new ways to kill each other. Sometimes I feel like I’m walking through a devastated landscape. An invasive species that calls itself “human.” I love death metal in its classic, raw form. The German band HUMAN WASTE plays it. They are brutal, sharp, and wild. They are like emissaries of darkness who have come to destroy everything that’s left here with their music.
I like the way the songs are written. They have the necessary drive, power, intensity, and a desire to kill with music, but also dark and cold melodies. I feel like I’m experiencing the most terrifying dystopian visions while listening. Nightmares become a cruel reality, and I press play on my player again and again. The clouds are low, and blood is raining down from them. This pack is in very good form this year.
If we’re going to talk about the sound, it’s appropriately massive, clear, and gets under your skin. Every time I listen to it, I get this nagging urge to grab a hammer and go tear down the nearest wall. The third full-length album is also a success in terms of its cover art. Formally, everything is in perfect order, allowing you to fully focus on the music and the individual ideas. "Misery Obsessions" is exactly the kind of record that gets into your head, into your subconscious, twists your insides, and stabs you like a freshly sharpened scalpel. I nod contentedly to the beat, enjoying the deathly moods that hover around like the stench of rotting flesh around a corpse. HUMAN WASTE released an album this year that meets all my criteria for something I’ll love and listen to often. I return to it mainly on Fridays, when the whole world is getting on my nerves, when I’m tired and need my dose of heavy music. To survive in today’s strange world. I shouldn’t forget to mention that the new album is being released digitally, on CD, and on vinyl. I think every fan will find something to enjoy. It would be great to play in a small club where only those who love this kind of music show up. I think the songs must sound even rawer live. Maybe we won’t be here in a few years, once we’ve completely destroyed everything, but until that happens, I’ll keep listening to albums like this and recommending them everywhere. Maybe all that will be left of us is scorched earth. We’re doing absolutely everything to make that happen. We’re destroying the oceans, the forests; we have poisoned water, and we’re constantly coming up with the best ways to kill each other. Sometimes I feel like I’m walking through a devastated landscape. Albums like this help me survive. Raw, brutal death metal with a dark dystopian vision! You’ll be torn to pieces!
Mrtvé duše nezpívají - Jussi Adler-Olsen, Line Holm, Stine Bolther
2026, Host
Možná jsem byl tři dny trošku nevrlý. Dočetl jsem minulou knihu a někde u dopravce ke mě jela nová od mého oblíbence Jussi Adler-Olsena. Jeho oddělení Q, ve kterém řeší skupina velmi originálních osobností v čele s morousem Carlem mi přirostlo k srdci již před mnoha lety. Dokonce jsem viděl i filmy a seriál na Netflixu. Jediné, co se mi z celé série nelíbilo, tak byl díl Marco, který byl nudný, se špatnými herci. Jinak jsem ale pokaždé rád s touhle partou rozplétal jejich zajímavé případy, sahající do daleké minulosti. Olsen v tomhle uhodil hřebík přesně na hlavičku. Staré křivdy, dávno skoro promlčené vraždy. No řekněte, co může být pro fanouška detektivek zajímavějšího? Vždy velmi syrové příběhy, plné lidské temnoty, nenávisti. Sympatičtí vyšetřovatelé. Nebudu to zdržovat, novinka Mrtvé duše nezpívají je velmi dobrá.
Carl je už v důchodu, ale znáte to, jednou policajt, navždy policajt. Když mi kniha konečně přišla, tak jsem šel zrovna z rehabilitace zlomené nohy. Nahazuji na asociální sítě příspěvky z mých stránek a nudí mě to. V noze tepe, je celá modro červená a musím si lehnout. Předtím ještě ale uchopím svůj nůž z USA, který používám skoro na všechno a otevírám pevnou kartónovou krabici. Přivoním, ale dělám to opatrně. Ne, nejsem fetišista, ale vůni nových knih miluji. Mimochodem, jednu dobu jsem trávil kdysi i v jednom strojařském archívu a voněly mi i lehce plesnivé svazky a pauzáky. Mě zkrátka hrozně baví šustit papírem, skoro až nábožně číst předmluvy, postupně se tím vším vždy hodím do potřebné nálady. Léčba zlomeniny se zdá být nekonečná. Včera jsem zkusil malý výlet a byl jsem tak hotový, že mě musela zpátky přivézt manželka autem. Uvelebím se, v noze stále cuká, ale jsem mimo, jsem součástí příběhu.
Po deseti případech Olsen předává tuhle sérii svým dvěma kolegyním. Nutno rovnou dodat, že se své role zhostily s elegancí a píší velmi dobře. Skoro jsem ani nepoznal, že stojí hlavní autor spíše v pozadí. Kniha mě baví, jsem chycený, jsem mimo, těším se každý den domů, až si na chvilku zalezu. Dokonce jsem začal dělat to, že v rámci tréninku beru k hůlkám i batoh a sedávám s důchodci na lavičkách a čtu si. Se sluchátky na uších, s nikým se nechci bavit, jsem ve svém světě. Nebo spíš v jednom starém archívu, dole v podzemí, kde čeká další z případů, které potřebují vyřešit. Carl je pořád stejný, jen starší. Mozek mu ale funguje a vy si můžete vychutnat další z thrillerů, které před sebou mimochodem doslova vidím zfilmované. Odsýpá to pěkně, to vám povím. Kniha má navíc nezaměnitelnou atmosféru.
540 stránek je tak akorát, aby příběh nenudil, ale zase nebyl příliš krátký. Každý poctivý fanoušek krimi dostane svoji potřebnou dávku. Tak vnímám novinku já. Uvědomte si ale, že nejsem žádný hudební kritik, ani znalec. Stejně jako u hudby si vlastně jen užívám. Jenom se potom snažím svoje dojmy a postřehy sepsat a uveřejnit. Možná mě nahradí brzy umělá inteligence, ale to lze dnes říct o spoustě věcí. Olsen a jeho Carl jsou ze staré školy. Možná jsme už dávno přežití. Jíme jídla, která už určitě nejsou moderní. Oblékáme se podle sebe, jsme pohodlní a nestíháme držet prst na tepu doby. Možná už ani nechceme. Pro nás je tahle detektivka napsaná. Má v sobě potřebné emoce, ale také poctivé řemeslo, na které se dnes tolik často zapomíná. Navíc, mě zkrátka baví nový případ řešit, číst, užívat si. Jiný už asi nebudu.
Když o tom teď přemýšlím, tak vlastně vůbec netuším, co jednou budu dělat v důchodu. Asi budu mít víc času na koníčky? Pokud to půjde tak i na sport? Budu chodit víc do lesa a do přírody? Budu cestovat? A nebo budu ležet dávno pod drnem a zbydou po mě jen vzpomínky? Opravdu nevím. Možná a nebo právě proto chci žít teď, v tuhle chvíli. Já prostě musím některé knihy mít co nejdřív. A tak jsem nervózní, když se kurýr zpozdí. Mrtvé duše nezpívají jsem si užil. Je to klasika, která mě opravdu bavila. Pokud jste naladěni na stejné vlně jako já, mohu jen doporučit. Před chvílí jsem si vyhledal v prohlížeči další knížku. Je na co se těšit. A to je důležité. Mějte se hezky, opatrujte se a ať se vám daří! Děkuji za pozornost.
Carl Mørck si chtěl užívat důchod. Pomůže oddělení Q úspěšně vyřešit zlověstný případ? Carl odešel do důchodu, aby se mohl věnovat psaní. Opustil policii i své milované oddělení Q a hledá znovu sám sebe. Jenže pak ho kontaktuje žena, která má u sebe znepokojivou nahrávku, a než se Carl naděje, zase se vrhne do vyšetřování. Vyhledá Rose a Asada, kteří se po jeho odchodu snaží držet oddělení Q při životě a těžce se smiřují s příchodem jeho nástupkyně, která navíc skrývá temné tajemství. Trojice se jako za starých časů nového případu ujme. Na zvukové nahrávce slyší hlas ženy, kterou se před čtyřmi lety pokusil zavraždit její manžel. Muž si následně vzal život a policie případ označila za vyřešený. Na nahrávce se však objevuje třetí neznámá osoba a všechno nasvědčuje tomu, že policie udělala chybu.
Po deseti případech Jussi Adler-Olsen symbolicky předává otěže svým kolegyním Stine Boltherové a Line Holmové, které od něj oblíbenou severskou krimi sérii přebírají a úspěšně na ni navazují.
Vzpomínky se vrací jako zběsilé. Křičíš do tmy, v děsivé noci a kolem tebe znovu hoří kamarádi. Uprostřed džungle, ve vlhku, s hady a škorpiony. Měl si být dávno mrtvý. Měl si jako jeden z mála štěstí, ale teď si nejsi jistý s tím, jestli si neměl raději také zemřít. Tisíce bílých křížů, tisíce pekelných zážitků. Na konci je vždycky smrt. Poznal si pravé peklo a máš pocit, že už bys tu dávno neměl být. Veterán jedné z dalších zbytečných válek, na kterého všichni zapomněli.
Válečný death metal je dle mého skromného úsudku velmi těžká disciplína. Vytvořit totiž opravdovou, reálnou a uvěřitelnou atmosféru bojiště, je opravdu těžké a náročné. JUNGLE ROT vždy patřili a stále patří mezi vyvolené. Mezi vojáky temnoty, kteří jsou naprosto autentičtí. Pánové volně navazují tam, kde minule přestali a stále nám rvou do hlavy valivý, surový a naprosto zabijácký smrtící kov. Nové letošní album "Cruel Face of War" se opět povedlo. Shoříte u něj v plamenech.
Válka byla vždycky neskutečné svinstvo a její důsledky nejvíc odnesou obyčejní vojáci. JUNGLE ROT to moc dobře ví a vy si tak můžete vychutnat další z nahrávek, které se vám zadřou pod kůži. Nevím jak posloucháte hudbu vy, ale já si vždycky nejdříve s novinkou sednu (ano, stále jako kdysi dávno v devadesátých letech, když jsem s death metalem stejně jako tahle smečka začínal), zapnu play a pak čekám, co se mnou muzika udělá. Při poslechu tohoto alba jsem si začal postupně podupávat nohou do rytmu, abych nakonec skončil v soukromém headbangingu. Nechápu, kde pořád pánové berou tolik nápadů. Jasně, nevymýšlejí nic nového, příliš nemění své postupy, jenže když ono to na mě pořád funguje. Vnímám všechnu tu energii, tlak, sílu, které mě nutí mlátit pěstí do stolu. Skladby se valí dopředu jako bojové vozidlo pěchoty. Zůstává po něm hluboká krvavá stopa. Desítky mrtvých, které shnijí v bahně, zbyde po nich jenom otisk ve vzpomínkách. U stolu, v klidu a pohodě opět jednají mocní tohoto světa a posílají na smrt další pochodující těla. Příliš se toho nezměnilo a jsem vždycky moc rád, když potkám kapely jako je tato, které na všechna ta zvěrstva upozorňují. Navíc to dělají způsobem, který mám rád od jejich počátků. Vlastně není v závěru moc co řešit. Máte rádi hrubozrnný, na kusy nasekaný smrtící kov ze staré školy? Potom jste zde správně. "Cruel Face of War" je také nahrávkou, která má masivní, dobře čitelný zvuk, který vás přikove na zeď. Obal se myslím také povedl. Až půjdeš zase na hřbitov, zavzpomínat na své kamarády ve zbrani, tak si vezmi tohle album s sebou. Pomůže ti přežít. Vynikající válečný death metal pro všechny staré veterány! Nahrávka, která vás přenese přímo na bojiště!
Asphyx says:
Memories come flooding back. You scream into the darkness, on a terrifying night, as your friends burn around you once more. In the middle of the jungle, in the damp, surrounded by snakes and scorpions. You should have been dead long ago. You were one of the lucky few, but now you’re not sure if you shouldn’t have died too. Thousands of white crosses, thousands of hellish experiences. Death is always at the end. You’ve known true hell, and you feel like you shouldn’t be here anymore. A veteran of yet another pointless war, forgotten by everyone.
In my humble opinion, war death metal is a very difficult discipline. Creating a genuine, realistic, and believable battlefield atmosphere is truly hard and demanding. JUNGLE ROT has always been and still is among the chosen few. Among the soldiers of darkness who are utterly authentic. The guys pick up right where they left off last time and continue to blast our heads with rolling, raw, and absolutely killer death metal. This year’s new album, “Cruel Face of War”, is another success. You’ll burn in its flames.
War has always been an absolute nightmare, and it’s the ordinary soldiers who bear the brunt of its consequences. JUNGLE ROT knows this all too well, so you can enjoy yet another of their recordings that will get under your skin. I don’t know how you listen to music, but I always sit down with a new release first (yes, just like back in the day in the ’90s, when I was getting into death metal just like this band), hit play, and then wait to see what the music does to me. While listening to this album, I gradually started tapping my foot to the beat, eventually ending up in a private headbanging session. I don’t get where these guys keep getting so many ideas. Sure, they aren’t inventing anything new, they don’t change their approach much, but it just keeps working on me. I feel all that energy, pressure, and power, forcing me to pound my fist on the table. The songs roll forward like an infantry fighting vehicle. It leaves a deep, bloody trail in its wake. Dozens of dead bodies rotting in the mud, leaving behind only a imprint in our memories. Seated at a table, calm and collected, the powerful of this world are once again making deals and sending more marching bodies to their deaths. Not much has changed, and I’m always thrilled to come across bands like this one that draw attention to all these atrocities. What’s more, they do it in a way I’ve loved since their early days. In the end, there’s really not much more to say. Do you like gritty, choppy, old-school death metal? Then you’re in the right place. “Cruel Face of War” is also a record with a massive, clear sound that will pin you to the wall. I think the cover art turned out great, too. Next time you go to the cemetery to remember your comrades in arms, take this album with you. It’ll help you survive. Excellent war death metal for all you old veterans! A record that’ll transport you straight to the battlefield!
Čtyři ostré hřeby, které zatloukli do mé rakve. Čtyři skladby, které se mi zadřely do mozku a zůstaly tam ještě hodně dlouho potom, co mě pohřbili zaživa. Nemůžu dýchat, škrábu do dřevěné rakve. Nikdo mě neslyší, všem je to jedno. Ve smrti jsme nakonec všichni sami. Pomalu přestupuji na druhou stranu, do země nekonečných stínů a tohle EP si beru s sebou. Je totiž plné opravdových, surových skladeb, které ve mě evokují poslední hodiny, které jsem strávil v bolestech na tomto zkaženém světě.
O kapele COME BACK FROM THE DEAD ze Španělska jsem již několikrát psal. Vždy se mi líbilo, že pánové hrají surový death metal s takovou tou krvavou jiskrou v oku. To se nedá naučit, to musíte mít v sobě. Letošní novinka je jasným důkazem toho, že tahle smečka je naprosto ryzí, opravdová, uvěřitelná a totálně autentická. To vám klidně podepíšu vlastní krví.
Pojďme si promluvit o zvuku. Ten je surový, masivní, špinavý a působí až analogovým dojmem. Musím říct, že mi vystřelil mozek z hlavy. Za velmi povedený považuji i motiv na obalu. Jako vždy je ale nakonec nejdůležitější muzika samotná. Ta je volně inspirovaná kapelami typu BOKLUK, AFFLICTION GATE, PAGANIZER, URSINNE, WARCRAB, DISMEMBER, ENTOMBED, AUTOPSY, VANHELGD, UNDERGANG. Pánové potom přidávají do skladeb velkou spoustu svých nápadů a invence. Osobně se mi líbí, že se s tím kapela moc nepáře, že útočí napřímo, řeže do živého. Novinka má v sobě takovou tu těžko definovatelnou živočišnost, syrovost, které jsem měl vždy u tohoto stylu tolik rád. Vypadá to, že jsme s kapelou stejné krve. "Ad Nauseam" trvá necelých patnáct minut a jedná se přesně o ten druh EP, ke kterému se budete rádi a často vracet. Nikde nic nechybí, ani nepřebývá. Nevím, jestli jste někdy strávili noc v márnici, ale pokud ne, tak ani nemusíte. Stačí znovu zapnout play na vašem přehrávači a zážitek bude velmi srovnatelný. Na téhle smečce je skvělé, že přesně ví, co a jak chce hrát a tomu podřizuje všechno. Jako bonus mě potom i jejich nové skladby baví. Rvu si je pod tlakem do hlavy, řvu spolu s kapelou do tmy, zažívám znovu děsivé noční můry, ve kterých jsem pohřbíván stále dokola zaživa do studené země. Červi se právě zakousli do mého masa a je jim úplně jedno, že ještě trošku žiju. Čtyři ostré hřeby, které zatloukli do mé rakve. Čtyři skladby, které se mi zadřely do mozku a zůstanou tam ještě hodně dlouho. Tohle EP lze doporučit všem pravověrným! Hnilobné procesy byly znovu zahájeny! Syrový, prašivý death metal, u kterého odpadává maso od kostí!
Asphyx says:
Four sharp nails driven into my coffin. Four songs that burrowed into my brain and stayed there long after they buried me alive. I can’t breathe; I’m scratching at the wooden coffin. No one hears me; nobody cares. In death, we’re all alone in the end. I’m slowly crossing over to the other side, to the land of endless shadows, and I’m taking this EP with me. It’s full of genuine, raw songs that evoke the final hours I spent in agony in this corrupt world.
I’ve written about the Spanish band COME BACK FROM THE DEAD several times before. I’ve always liked that these guys play raw death metal with that bloody spark in their eyes. You can’t learn that you have to have it inside you. This year’s new release is clear proof that this pack is completely genuine, real, believable, and totally authentic. I’ll gladly sign that with my own blood.
Let’s talk about the sound. It’s raw, massive, dirty, and has an almost analog feel to it. I have to say, it blew my mind. I also think the cover art is really well done. But as always, the music itself is what matters most in the end. It’s loosely inspired by bands like BOKLUK, AFFLICTION GATE, PAGANIZER, URSINNE, WARCRAB, DISMEMBER, ENTOMBED, AUTOPSY, VANHELGD, and UNDERGANG. The guys then add a whole lot of their own ideas and creativity to the songs. Personally, I like that the band doesn’t mess around they attack head-on, cutting right to the bone. The new release has that hard-to-define animalistic energy and rawness that I’ve always loved so much about this style. It seems like we’re cut from the same cloth as the band. "Ad Nauseam" runs just under fifteen minutes and is exactly the kind of EP you’ll love to come back to again and again. Nothing is missing, and nothing is superfluous. I don’t know if you’ve ever spent a night in a morgue, but if not, you don’t have to. Just hit play on your player again, and the experience will be very similar. What’s great about this band is that they know exactly what and how they want to play, and they make everything else fit around that. As a bonus, I also enjoy their new songs. I’m cramming them into my head under pressure, screaming along with the band into the darkness, reliving terrifying nightmares in which I’m buried alive over and over again in the cold earth. The worms have just sunk their teeth into my flesh, and they couldn’t care less that I’m still barely alive. Four sharp nails they hammered into my coffin. Four songs that have lodged themselves in my brain and will stay there for a very long time. This EP comes highly recommended to all true believers! The processes of decay have begun anew! Raw, mangy death metal that makes the flesh fall from the bones!
about COME BACK FROM THE DEAD on DEADLY STORM ZINE:
Vždycky je nejhorší zbavit se těla. Zabíjet umí každý, ale naporcovat maso a kosti zvládají jenom mistři. Musíte mít zkušenosti, čas a také dar na záhrobní věci člověka. Když jsem se poprvé před lety setkal s tvorbou kapely NECROTESQUE, ihned jsem věděl, že jsme jedné krve. Bylo to na jednom malém koncertě, kde došlo ke vzájemnému přenosu morbidních emocí mezi mnou a touhle smečkou. Byl jsem si jistý, že pánové v sobě mají zabijácký instinkt a jejich smrtící kov je zahraný od srdce.
I letošní novinka je brutálním, syrovým a divokým masakrem. Zahraným s elegancí a nadšením starých mistrů v oboru. Připadám si, jako bych se probudil uprostřed noci z noční můry do ještě krutější reality. Nové album vám propláchne mozek kyselinou a vystřelí vám jej z hlavy. Žádné kompromisy, žádné zbytečnosti, jenom poctivý death metal ze staré školy, který vás pohřbí zaživa.
Holanďané se sice pohybují v jasně daných mantinelech, které lze přirovnat k tomu, co hrají kapely typu SINISTER, ASPHYX, ENTOMBED, GRAVE, SIX FEET UNDER, OBITUARY, PESTILENCE, DYING FETUS, DEATH, ale přidávají také velkou porci svých nápadů a invence. Pro mě je asi nejdůležitější, že se nenudím ani chvilku. Rvu si novinku "Et Mortui Resurgent" do uší, užívám si mrtvolně chladné a temné nálady, které během poslechu kolem mě létají jako můry kolem ohně. Píšu to často, ale tentokrát znovu musím, vždycky jsem měl rád kapely, které jsou opravdové, ryzí, upřímné, ostré a naprosto uvěřitelné a autentické. NECROTESQUE i letos splňují všechny body obhajoby a mě nezbývá nic jiného než ponořit ruce hluboko do vnitřností a do krve a album vám doporučit. Jeho poslech mi připomíná nejen návštěvu starých opuštěných jatek, ale i patologických sálů, mrazivých márnic, plesnivých katakomb. Pokud bychom se měli bavit o zvuku, tak tady si dali pánové velký pozor, aby nová nahrávka zněla masivně, ostře, divoce, neurvale, ale také čitelně a podmanivě. Za mě je vše v pořádku. Velmi zajímavý je i motiv na obalu, troufám si tvrdit, že po formální stránce je novinka velmi zdařilým dílem. Vy se tak můžete v klidu soustředit na muziku samotnou, která má v sobě všechny potřebné ingredience pro to, abyste s ní navštívili ty nejděsivější hřbitovy. Tahle smečka hraje naprosto zabijácky a každé setkání, ať již v rozhovoru, při recenzích a nebo naživo na koncertě, je pro mě vždy velkou ctí (koneckonců, veškeré články jsou odkazovány dole pod dnešní recenzí). Vždycky je nejhorší zbavit se těla. Zabíjet umí každý, ale naporcovat maso a kosti zvládají jenom mistři. Musíte mít zkušenosti, čas a také dar na záhrobní věci člověka. Naprosto zničující death metalová nahrávka, která ve vás probudí zabijácké instinkty! Hororový masakr na starých jatkách!
Asphyx says:
Getting rid of a body is always the hardest part. Anyone can kill, but only masters can cut up flesh and bones. You need experience, time, and a knack for the afterlife. When I first encountered NECROTESQUE’s music years ago, I knew right away that we were cut from the same cloth. It was at a small concert where a mutual exchange of morbid emotions took place between me and this pack. I was certain that these gentlemen possessed a killer instinct and that their deadly metal was played from the heart.
This year’s new release is also a brutal, raw, and wild massacre. Played with the elegance and enthusiasm of the old masters of the genre. I feel like I’ve woken up in the middle of the night from a nightmare into an even crueller reality. The new album will flush your brain with acid and blast it out of your head. No compromises, no frills, just honest old-school death metal that will bury you alive.
While the Dutch band operates within clearly defined boundaries—comparable to the sound of bands like SINISTER, ASPHYX, ENTOMBED, GRAVE, SIX FEET UNDER, OBITUARY, PESTILENCE, DYING FETUS, and DEATH they also bring a great deal of their own ideas and creativity to the table. For me, the most important thing is that I’m never bored for a single moment. I’m blasting their new album “Et Mortui Resurgent” through my speakers, enjoying the deathly cold and dark moods that swirl around me like moths around a flame as I listen. I write this often, but I have to say it again this time: I’ve always loved bands that are genuine, pure, honest, raw, and completely believable and authentic. NECROTESQUE checks all the boxes again this year, and I have no choice but to plunge my hands deep into the guts and blood and recommend this album to you. Listening to it reminds me not only of a visit to old, abandoned slaughterhouses, but also of pathology labs, chilling morgues, and moldy catacombs. If we’re talking about the sound, the guys took great care here to ensure the new recording sounds massive, sharp, wild, and rough, yet also clear and captivating. As far as I’m concerned, everything is just right. The cover art is also very interesting; I dare say that, from a formal standpoint, this new release is a very successful work. This way, you can relax and focus on the music itself, which has all the necessary ingredients to take you on a journey through the most terrifying graveyards. This pack plays absolutely killer, and every encounter whether in an interview, in reviews, or live at a concert is always a great honor for me (after all, all the articles are linked below today’s review). Getting rid of the body is always the hardest part. Anyone can kill, but only masters can carve up flesh and bones. You need experience, time, and a gift for dealing with the afterlife. An absolutely devastating death metal record that will awaken your killer instincts! A horror massacre at an old slaughterhouse!
Viděl si za svůj život až příliš bolesti. Násilí nás provází od počátků lidstva. Každý den utíkáš domů, do svého sklepa, aby sis pustil nějakou muziku, která ti vystřelí mozek z hlavy. Už to nemůžeš vydržet. Frustrace, všude přítomné obrazovky, falešné úsměvy, zabíjení ve jménu víry nebo čehokoliv. Je toho na tebe moc. Nepomáhá alkohol, sex ani samota. Bolest je v tvé duši a musí ven. Když si poslechnete jakékoliv album od švédských grinderů GADGET, tak se vám uleví.
I letos na mě působí nové EP jako terapie hlukem. Ostré riffy, jedovatý vokál, zabijácké bicí. Tohle všechno tvoří koktejl, který když vypijete, tak z vás spadne kámen vzteku. Najednou je vaše mysl klidná jako hladina horského jezera. Dokud nevyjdete zase ven, do divočiny běžného dne. Švédi nehrají ale jenom grindcore. V jejich hudbě lze vystopovat i punk, hardcore, death metal, noise i spoustu experimentálních prvků. V závěru to není tolik důležité. Doporučuji vám vypnout svět kolem vás a jen se nechat unášet na krvavých vlnách divokých melodií.
Kdo tuhle smečku znáte, tak víte, že její síla je na pódiích doslova zničující. Myslím si, že letos se jim povedlo přenést temnou a chladnou energii i do nových skladeb. Pro mě osobně je potom velmi důležité, že se nenudím ani chvilku, rád se k nahrávce vracím a užívám si ji jako celek. Do nečisté hry vás uvede už velmi zajímavý a osobitý motiv na obalu (Caroline Harrison www.carolinedraws.com). Samozřejmostí je masivní, dobře čitelný, surový zvuk, který vás smete z povrch zemského. Tohle není zkrátka jen obyčejné album, ale spíše lavina z kostí, lidské bolesti, vzteku a nekonečné špíny temných duší. Přiznávám, novinka mě zasáhla hluboko, dostala se mi do hlavy a zanechala po sobě drásavou krvavou stopu. Většinou poslouchám trošku jiný druh extrémní hudby, ale GADGET do mě i letos zasekli svůj dráp a už mě nepustili. Pokaždé, když se blíží pátek a můj mozek je zanesený spoustou zbytečných informací, tak se uzavřu do sebe. Netrpělivě čekám, až se dostanu domů. Zabouchnu za sebou dveře a narvu si novinku "Coerced" pod tlakem do hlavy. Pokud máte rádi to, co hrají třeba kapely typu NASUM, ROTTEN SOUND, KILL THE CLIENT, JIGSAW, PIG DESTROYER, NAPALM DEATH i EXTREME NOISE TERROR a máte hluboko ve své DNA zakódovanou temnotu a chlad, potom neváhejte ani chvilku. I po změně sestavy jsou Švédi ve vynikající formě. Nová vokalistka Emilia Henriksson navíc dodala skladbám další rozměr. Zkrátka a jednoduše, novinka se povedla ve všech bodech obhajoby. Viděl si za svůj život až příliš bolesti. Násilí nás provází od počátků lidstva. Každý den utíkáš domů, do svého sklepa, aby sis pustil nějakou muziku, která ti vystřelí mozek z hlavy. Už to nemůžeš vydržet. Frustrace, všude přítomné obrazovky, falešné úsměvy, zabíjení ve jménu víry nebo čehokoliv. Je toho na tebe moc. Totálně zničující grindcore, který ve vás zanechá hlubokou krvavou stopu! Masakr lidské mysli!
Asphyx says:
You’ve seen far too much pain in your life. Violence has been with us since the dawn of humanity. Every day you rush home to your basement to blast some music that blows your mind. You can’t take it anymore. Frustration, screens everywhere, fake smiles, killing in the name of faith or whatever. It’s all too much for you. Alcohol, sex, and solitude don’t help. The pain is in your soul and it has to come out. When you listen to any album by the Swedish grinders GADGET, you’ll feel relief.
This year, too, their new EP feels like noise therapy to me. Sharp riffs, venomous vocals, killer drums. All of this creates a cocktail that, once you drink it, washes away the weight of your rage. Suddenly, your mind is as calm as the surface of a mountain lake. Until you step back out into the wilderness of everyday life. But the Swedes don’t just play grindcore. You can also trace punk, hardcore, death metal, noise, and plenty of experimental elements in their music. In the end, it doesn’t really matter. I recommend you shut out the world around you and just let yourself be carried away on the bloody waves of wild melodies.
Anyone familiar with this band knows that their stage presence is literally devastating. I think they’ve managed to channel that dark, cold energy into their new songs this year. For me personally, it’s very important that I’m never bored for a moment; I love coming back to the album and enjoying it as a whole. The very interesting and distinctive motif on the cover (Caroline Harrison www.carolinedraws.com) sets the tone for the album. Of course, there’s a massive, clear, raw sound that will sweep you off the face of the earth. This isn’t just an ordinary album, but rather an avalanche of bones, human pain, rage, and the endless filth of dark souls. I admit, this new release hit me hard, got into my head, and left a harrowing, bloody trail in its wake. I usually listen to a slightly different kind of extreme music, but GADGET sank their claws into me again this year and haven’t let go. Every time Friday approaches and my brain is clogged with a ton of useless information, I shut myself off from the world. I wait impatiently to get home. I slam the door behind me and force the new album "Coerced" into my head. If you’re into bands like NASUM, ROTTEN SOUND, KILL THE CLIENT, JIGSAW, PIG DESTROYER, NAPALM DEATH, and EXTREME NOISE TERROR, and darkness and coldness are deeply ingrained in your DNA, then don’t hesitate for a second. Even after a lineup change, the Swedes are in top form. New vocalist Emilia Henriksson has also added another dimension to the songs. Simply put, the new album is a success on every front. You’ve seen far too much pain in your life. Violence has accompanied us since the dawn of humanity. Every day you rush home, to your basement, to play some music that will blow your mind. You can’t take it anymore. Frustration, screens everywhere, fake smiles, killing in the name of faith or whatever. It’s all too much for you. Totally devastating grindcore that will leave a deep, bloody mark on you! A massacre of the human mind!
Recenze/review - GADGET - The Great Destroyer (2016):
Ave RESURRECTED! Before we begin the interview, let me thank you. You know, I’m an old metalhead, and I listen to music not just with my ears but with my heart, and your new album “Perpetual” has literally captivated me. It’s as if I’m looking into the darkness somewhere in a sewer beneath our industrial city. It’s a very dark and cold album. How did it come about? What is RESURRECTED’s recipe for so much emotion, for such dark, raw moods?
I think it’s more that we should be thanking you for giving us the chance to speak here! We appreciate every interview about the new album. I read your review of “Perpetual”, and it really moved me because I felt like I could sense what was going on inside you while you were listening to the record. And that, in turn, moved me even more you wrote it straight from the heart. I’m also very emotional when I listen to music. Not with every song or every album, of course, but I connect a lot of emotions with music that was already the case with my grandfather.
We grew up here surrounded by industry, by dirt, by people shaped by all of that. Naturally, that leaves its mark on us as human beings. When the leaves fall from the trees, everything here really turns into shades of grey. On top of that, Chris and I, as songwriters, both carry our own very personal darkness within us.
To tell you the truth, even though I’m a huge fan of old-school brutal death metal, what I really like about you guys is that you stand out completely. While the foundation of your music is indeed death metal, you can also hear a solid dose of grindcore and classic death metal. At least that’s how I hear it. It seems to me that on “Perpetual” you’ve let the cold and darkness stand out even more. I love the sound of the new album! Who handled the mixing and mastering? Tell them I pay them my respects. Where and how did you record?
I’m glad to read that we stand out to you from the old-school brutal death scene. Back in the ’90s, I was heavily influenced by grindcore bands like Napalm Death, Terrorizer, and Brutal Truth, but alongside them were the “classic” death metal acts like Deicide, Cannibal Corpse, Morbid Angel, and Entombed. It really didn’t get any more brutal than that back then. Of course, I still carry that baggage with me when it comes to songwriting. These days, though, it’s more bands like Origin or Cattle Decapitation that spark the occasional outburst of rage on a record like on “Into Mighty Death,” for example.
We once again made a very conscious decision to work with Jörg Uken and his Soundlodge Studio. We’ve already collaborated on our previous albums. Jörg is a drummer himself, and the chemistry between him and our drummer Dennis is just right—they understand each other. And Dennis hates those over-polished modern productions that all sound the same because everyone uses the same samples. Jörg simply doesn’t do that, and that’s exactly why we worked with him everything is organic. During the pandemic, I had a lot of time to refine my guitar setup, letting go of many things to achieve exactly the tone you hear on “Perpetual.” If you start heavily tweaking the guitar tone in the mix, you’re basically done for. We just put two mics in front of the cab, saw what would happen (I’d brought five other amps along), and Jörg immediately said: “That’s it we’re not touching a thing!” Jörg Uken actually handled everything from recording to mixing and mastering; I only tracked the guitar DIs at home beforehand because that would’ve taken far too much time otherwise I’m very meticulous about that.
I’m also thrilled with the cover art and graphics. Who painted such a gloomy and dark motif for you? What was the brief for the new album? How does the motif relate to the music and lyrics? What is it really supposed to depict? Are those people marching to the afterlife?
The cover was designed by Ivan Bragin. At the end of 2024, when we were looking around for potential artists, I randomly came across this artwork of his online. Those are the moments when you just know: this is it. So he didn’t have to paint anything new—we simply had to acquire the design from him. And you’re right, they are figures marching into the afterlife.
Most of the songs actually came together after we already had the cover artwork, although I wouldn’t say there’s a strict, overarching concept linking the songs, lyrics, and cover. Everything was meant to create an overall dark atmosphere, and I think we pulled that off quite well. Also the way Janina our drummer Dennis’s wife ultimately handled the illustration and integrated our logo into the cover works perfectly.
I’ve always liked that you don’t neglect the lyrics. I don’t have the original copy with me right now, but I’m already looking forward to “reading” it. Most death metal bands have such ordinary, classic lyrics. What are the ones on “Perpetual” about?
Christoph doesn’t really write long lyrics that just struck me again when I was adding them to the songs on Bandcamp. His lyrics are usually very personal; he processes a lot of his own experiences and turns them into death metal lyrics. Since I know him very well, I understand what they mean to him, but they always leave enough room for interpretation so that anyone can create their own story from them.
As I mentioned earlier, you’re a truly original band. Your guitar style is unmistakable, and your songs are composed with ease and elegance. Am I right? Does writing new material come easily to you? Could you please tell us about the process of creating a new song? How does RESURRECTED create its music?
To be completely honest, I’m a pretty miserable guitarist. I only took guitar lessons back in the day until I had gathered enough theoretical and practical knowledge to write death metal songs. And back then, it all came much more naturally than it does now. We used to rehearse three times a week, jam, and write songs that wayI’d have an idea for a riff, our drummer at the time, Michael, would lay drums underneath it, and at some point a song was done. We never wrote anything down we had it all in our heads. That’s how we managed to release a new album every two years.
These days, I feel like two years pass in the blink of an eye. On top of that, the whole process has completely changed. Unless we’re rehearsing for a live show, we usually only meet up with fully formed song ideas that either Chris or I bring in. Those already include rough drum structures. Dennis often comes up with much better ideas anyway, but he likes to know the general direction beforehand.
For “Perpetual” as the title track, for example, he wasn’t happy at all with the original idea for the drum part in the chorus. He just said, “I have to blast it—there’s no other way.” I was like, “That’s 270 BPM!!!” And Dennis just went, “Doesn’t matter!”
But the next album definitely won’t take as long to arrive as “Perpetual.”
You’re a band that traces its origins back to the 1990s. That’s a long time ago, and a lot has changed since then. I’m talking about new technologies, recording methods, sound capture, but also the approaches to and perception of music itself. We have various streaming services, YouTube, Spotify. How do you, as a musician, perceive all of this?
Back then, we were still recording demo tapes on an 8-track recorder. A regular person couldn’t afford a PC in those days, and we didn’t have the money to book studio time either—300 Deutsche Mark (about €150) per day was way out of reach. The budget for our debut album “Raping Whores” was just €500 (1000 Deutsche Mark), which came out on Eaststar Records at the time. That didn’t exactly allow for much studio time.
But the “digital domain” gradually started to take over. In 1996, I began working with a halfway decent PC and the sequencer Samplitude it actually fit on a 1.44” floppy disk. I’m still using the same sequencer today, although it’s grown to about 1.6 gigabytes by now. One thing I’ve always stuck with, though, is a real guitar amp I never switched to modelers, not even live. I’d rather bring a small lunchbox amp on stage than put a laptop there. At many shows we play nowadays, younger bands are fully digital and don’t even understand why you’d need a guitar cab or a real amp. Some promoters even struggle to put together a backline because local kids just don’t bring that kind of gear anymore.
That said, I do keep up with new technologies and like to adapt when it makes sense—especially when it comes to traveling long distances. But to my ears, digital gear still doesn’t sound good enough. I hear it at so many shows, and it actually puts me in a bad mood when I catch that flat, lifeless Kemper sound coming off the stage.
You mentioned streaming services I don’t use them. End of story. But of course, we maintain all our platforms like Spotify, Apple Music, Amazon, YouTube, Deezer, and so on. And naturally, our songs are available there if you want any kind of reach as a musician today, you simply can’t avoid it. Unfortunately, musicians are at the very bottom of the food chain. The payouts are already almost negligible, and by the time the revenue reaches the label and we as musicians only get a fifth of that you can imagine how little is left. That said, I’m not blaming the label at all; compared to others, we’re actually in a pretty good position. But that’s just how the business works.
When you came back with a new album this year, I was thrilled. You know how it is—I immediately went down to the basement and spent almost the entire weekend there looking for an old cassette of “Raping Whores.” Not an original, just a regular copy, but back then it meant the world to me. How do you look back on the old days? You were young, you had more time; sometimes I wonder if things weren’t better without the internet and all the new technologies. Although, maybe life is easier and more comfortable now?
That’s crazy you’ve got a cassette copy of “Raping Whores”? Did you copy it from vinyl or CD? I used to tape stuff from vinyl onto cassette all the time, mostly for the car. Nuclear Blast used to have LPs on sale for 1 Deutsche Mark (€0.50). You can’t even afford those records anymore today. Back then, it was way cheaper than buying the CD.
To be honest, I didn’t really have more time back then I was working shifts. But I did have more time for what actually mattered: writing music, spending time with friends, things like that. These days, it takes so much time just dealing with social media as a musician. I don’t want to do it, but there’s no way around it. The internet means reach for us, but on the other hand it also means overload for the listener. You have everything instantly available, no matter where you are on the planet. Your thoughts are constantly jumping you’re not really focused or concentrated for long anymore. I’m not excluding myself from that either.
Was it better back then? That’s a philosophical question. If I had known in the ’90s what would be possible today, wouldn’t I have wanted it immediately?
When I interviewed the band DEATHSWARM with Heval, he wrote a beautiful sentence back then: “Extreme metal generally means freedom and self-confidence to me, both musically and in terms of lifestyle.” I thought about it a lot and realized I feel exactly the same way. For example, I always view a band as a whole. How they come across at concerts, in interviews I have to believe in their music. RESURRECTED really gives the impression that your music comes straight from the heart. No posturing, just “pure art.” Do you think this can be learned? What does music actually mean to you?
There are things you simply can’t learn. You can learn the theory to bring to life what you carry in your heart but that’s exactly the point. Making music, especially death metal, comes from within and means having the freedom to do whatever you want. I always carry that very specific feeling inside me it’s like a constant underlying noise, no matter what I’m doing.
When I was younger, I thought I’d be doing this at most until my mid-thirties. I’ll be turning 52 in June, and I’m still standing here. Do I want to give that up? No. That would mean giving up on myself. The shows hurt a bit more than they used to, sure but I still enjoy every single moment on stage with these guys, who are basically my family.
If you don’t carry it in your heart, the audience will notice. Sooner or later.
You come from the industrial city of Duisburg, North Rhine-Westphalia. Has your environment the factories, the smog, the steel influenced your work in any way? I also work in industry, and I can’t shake the feeling that I always sense a certain peculiar darkness in your work, a restlessness that I experience every day early in the morning as I walk to work…
Your surroundings definitely shape you. I grew up right in the middle of that grey bleakness myself on the outskirts of Oberhausen. Our first drummer, Michael, used to work underground in the mines. Our rehearsal space is located in an air-raid bunker from World War II, a massive block with five-meter-thick reinforced concrete walls. Every time you go in there to rehearse, you pass through a very particular kind of darkness. You can almost feel what people must have gone through back then, when the bunker was still used for its original purpose.
You should be glad you can walk to work! I usually have to drive, but when it’s a bit warmer, I sometimes take the bike and run back—that way I’ve already had my workout. When you walk, run or cycle like that, you perceive everything around you very differently—much more intensely. All that industry, the empty faces of people with a sense of hopelessness in their eyes… You can probably imagine that it doesn’t exactly make me want to write cheerful harmonies.
Everyone had to start somewhere. As I mentioned, you formed the band back in 1993. You’re part of the German death metal scene, which has always been very strong. Even today, lots of great bands are still emerging. I’d be interested in your perspective from the inside. How do you perceive your scene, the fans, and the concerts?
We’re still in touch with long-established German bands like Fleshcrawl, Purgatory, Profanity, and Depression they’ve all been around since the early ’90s as well. Back in the day, the contact was more intense, but most of them didn’t have families yet. Still, we’re always happy when we run into each other at festivals or end up playing shows together somewhere.
There’s also a solid underground scene here in the Lower Rhine area, but most of those musicians have been around for a long time too and play in different lineups across various bands. To be honest, I don’t have much contact with the newer bands in Germany. That usually only happens when they reach out to book us for a show—they tend to know us because they’ve stumbled across us on Spotify or YouTube. At some point, I think there was a kind of disconnect where we “lost” the newer bands. Maybe we’re just getting too old, or maybe it’s because the last album took so long—I really can’t say.
When I go to a show around here, it feels like there are two separate worlds: either I know pretty much everyone, or I don’t know a single person. It’s pretty strange.
Let’s stay with the history for a moment. How did you actually get the band together? Please reminisce for us…
That wasn’t all on me back then I had more of a supporting role, haha. I used to hang out quite a bit in EVOCATION’s rehearsal space, which basically laid the foundation for what later became RESURRECTED. The name RESURRECTED is actually a nod to the “resurrected” EVOCATION the lineup was identical, except for me on rhythm guitar.
We eventually had to leave that rehearsal space, though. The lead guitarist who’d been kicked out was the one who had rented it for EVOCATION in the first place, and of course he didn’t want us staying there if he wasn’t part of the band anymore. We got thrown out of the next rehearsal space too it was in a school, and we got caught drinking beer there, which wasn’t exactly allowed, haha. At that point, we still didn’t even have a name. After a few rather inactive months, we pulled ourselves together again and moved into the rehearsal space we’re still using today that was in July 1994. And we played our first ever show in November 1994. A club where we return to in May 29th this year. Maybe I’m going to make some video of the history and all what happened in between.
That first lineup stayed intact until a show with Fleshcrawl in 1997, when our singer Carsten fell out with our lead guitarist Dirk. First the fists flew, then it was Dirk flying out of the band. And up until 2024, I had to carry the whole thing on guitar pretty much on my own.
And what about you personally? When did you first pick up an instrument, when did you attend your first concert, and how did you enjoy it? And what about your first performance on stage? Do you still remember your first tour? Personally, I experienced the nineties; I was young, and I only got into death metal gradually, through German thrash metal… How was it for you?
I first picked up a guitar at 18 that was in 1992. I was still in school and had a small job in the afternoons, which allowed me to afford my first guitar and guitar lessons. My first metal concert was actually DEICIDE on their “Legion” tour in 1993. Back then, they had serious trouble with animal rights activists over here they were all standing in front of the Live Music Hall in Cologne with their signs, trying to stop fans from going into the show. I remember it like it was yesterday.
I was never really into that “Teutonic Thrash” for me, it was a pretty quick jump from Metallica’s “…And Justice for All” to “Subconscious Terror” by BENEDICTION and “Altars of Madness” by MORBID ANGEL. In 1994, I played my first show still with short hair, a BC Rich Warlock that cost me €200, and tall biker boots. Of course, we were all incredibly nervous. I still get nervous today not nearly as much as back then, but I don’t think it ever fully goes away.
Our first tour was in 1997 with FLESHLESS and BONEHOUSE ten shows across Europe, no tour bus of course, just a rented van and sometimes pretty questionable venues. Back then, it somehow felt easy to book ten shows in a row as a band. These days, it’s become a lot more complicated.
The classic closing question. What does RESURRECTED have planned for the coming months? Do you want to say anything to the fans, promoters, or labels?
We’d obviously love to play more live shows, especially after the release of “Perpetual”—but the festival season is already pretty much fully booked by the promoters. Maybe something will still come up and we can jump in somewhere. Otherwise, we’ve only got festival requests lined up for 2027 so far, but at least we’re confirmed for Protzen Open Air on June 20th, 2026.
Our label Testimony Records is also looking to put together a label tour, and we’d definitely be up for that if it works out. In December, the “20th Year Edition” of our album “Endless Sea of Loss” will be reissued through them with the “Bloodline” EP included as bonus tracks.
If not too many additional shows come in during the second half of the year, I’d actually like to start working on new material for the next album right away. Chris and I still have a few ideas in the vault that didn’t make it onto “Perpetual” mainly because we ran out of time to fully finish those songs.
You have no idea what this interview means to me. I really appreciate it. RESURRECTED are frequent guests on my playlist. Thank you for your answers, and especially for your music. May you thrive both as musicians and in your personal lives! RESURRECTED rules!
It’s always moving for me to read that our music can trigger something emotional in others—just like it did with you. Like I said, I could feel that in your review; you’re writing straight from the heart. That really motivates us to keep going the way we are.
Thanks for giving us the opportunity to chat a bit about the past and present I hope it wasn’t too boring. Hopefully, we’ll see each other soon on one of the stages out there!
