Vykradači hrobů se vrátili. Uprostřed noci se nejdříve procházeli mezi náhrobky a naslouchali šepotu nemrtvých. Hledali nějaký opuštěný hrob, který by mohli znesvětit. Tentokrát se ale mýlili. Zohavená mrtvola během exhumace procitla a šla jim po krku. Jakoby z podzemí vylezla pradávná krvelačná bestie. V mlhavém ránu jste potom mohli najít jenom kruté stopy po jejím řádění. Na hromadu vyskládaná těla, maso odtrhané od kostí. Démon je zpět, neslo se jinak klidným a tichým hřbitovem.
Vrátil jsem se do márnice a poslechl si novou nahrávku od amerických veteránů DETERIOROT. Tahle smečka vždycky moc dobře věděla, o čem jsou záhrobní rituály a jak probíhá exhumace starých plesnivých hrobů. Hnilobě a totálnímu rozkladu tkání je podřízeno všechno. Jednotlivé nápady jejich mokvajícího death metalu jsou jako rezavé hřeby, které jednou budou zatlučeny i do vaší rakve.
I letos tihle gentlemani působí jako vyslanci temnoty. Riffy jsou ostré, nasáklé zkaženou krví, bicí zabíjejí a vokál zní jako řev raněné šelmy. Po formální stránce je vše v nejlepším pořádku. O zvuk bylo velmi dobře postaráno, stejně jako o motiv na obalu. Fanoušci plesnivých katakomb se tak mohou soustředit na hudbu samotnou. DETERIOROT patří mezi klasické, tradiční death metalové nihilisty. Umně kombinují atmosféru prokletých pohřebišť s nahrubo nasekanou tmou a chladem. Pokud jste rádi a často ve společnosti kapel jako OBITUARY, CIANIDE, INCANTATION, AUTOPSY, ENTOMBED, FUNEBRARUM, DISMA, BOLT THROWER, potom si můžete být jistí, že novinka "Awakening" bude mít čestné místo i ve vaší sbírce morbidních záležitostí. Tohle je album, které smrdí jako dlouho uleželá mršina. Je opravdové, reálné, autentické, zahrané s touhou po čerstvé krvi. Kývám se spokojeně do rytmu, jsem starým hrobníkem, kterého nová nahrávka doslova uhranula. Stala se mým stínem, krvelačným démonem, čekajícím, až mi bude moci prokousnout hrdlo. Kapela znovu jasně potvrzuje svůj status legendy a mě nezbývá, než vám jejich nové skladby doporučit. Mají v sobě něco neklidného, něco zlého a ošklivého. Jsou jako přízraky, které právě vylezli z hrobů. Spoutali mě, mučili, zavřeli do studené kobky. Nechali mě shnít a pohřbili mě zaživa. Našli mě až letos. Vykradači hrobů se vrátili. Uprostřed noci se nejdříve procházeli mezi náhrobky a naslouchali šepotu nemrtvých. Hledali nějaký opuštěný hrob, který by mohli znesvětit. Hnisavý, mokvající, prašivý, death metalový hrob, který právě vydal další ze svých děsivých svědectví! Temná a chladná exhumace!
Asphyx says:
The grave robbers have returned. In the middle of the night, they first walked among the gravestones and listened to the whispers of the undead. They were looking for an abandoned grave to desecrate. But this time they were wrong. The mutilated corpse awoke during the exhumation and went after them. It was as if an ancient bloodthirsty beast had emerged from the underground. In the foggy morning, all you could find were the cruel traces of its rampage. Bodies piled up, flesh torn from bones. The demon is back, echoed through the otherwise peaceful and quiet cemetery.
I returned to the morgue and listened to the new recording by American veterans DETERIOROT. This pack has always known very well what otherworldly rituals are all about and how the exhumation of old, moldy graves takes place. Everything is subject to decay and total tissue decomposition. The individual ideas of their oozing death metal are like rusty nails that will one day be hammered into your coffin.
This year, these gentlemen once again act as emissaries of darkness. The riffs are sharp, soaked in corrupt blood, the drums are killer, and the vocals sound like the roar of a wounded beast. Formally, everything is in perfect order. The sound has been very well taken care of, as has the cover art. Fans of moldy catacombs can thus focus on the music itself. DETERIOROT are among the classic, traditional death metal nihilists. They skillfully combine the atmosphere of cursed graveyards with roughly chopped darkness and cold. If you like and often listen to bands such as OBITUARY, CIANIDE, INCANTATION, AUTOPSY, ENTOMBED, FUNEBRARUM, DISMA, and BOLT THROWER, then you can be sure that the new album "Awakening" will have a place of honor in your collection of morbid items. This is an album that stinks like a long-rotting carcass. It is real, authentic, played with a thirst for fresh blood. I nod contentedly to the rhythm, I am an old gravedigger who has been literally spellbound by the new recording. It has become my shadow, a bloodthirsty demon waiting to bite through my throat. The band once again clearly confirms its legendary status, and I have no choice but to recommend their new songs to you. There is something restless about them, something evil and ugly. They are like ghosts that have just climbed out of their graves. They bound me, tortured me, locked me in a cold dungeon. They left me to rot and buried me alive. They found me only this year. The grave robbers have returned. In the middle of the night, they first walked among the gravestones and listened to the whispers of the undead. They were looking for an abandoned grave to desecrate. A festering, oozing, mangy, death metal grave that had just released another of its terrifying testimonies! A dark and cold exhumation!
Padl si na chladnou zem a poslední, co jsi ve svém nebohém životě viděl, byla mozek tvého kamaráda, který vytékal ven. Slibovali ti vítězství, krásný život. Ve jménu víry jdi a zabíjej. Místo toho ses brodil ve špíně a bahně, viděl si umírat tisíce nevinných. Bolest, kterou si cítil, se přenese na několik dalších generací. Slepě si věřil a s úsměvem na rtech si pochodoval na smrt. Nesl si hrdě vztyčený prapor s obrazem dávno mrtvé modly. Je to stále stejné, lidé se nikdy nepoučí.
Rakouské SLOOW jsem si pro sebe objevil víceméně náhodou při jedné z mých nekonečných toulek podsvětím. Poslechl jsem si ukázky a bavily mě. Nastal proces poznávání. Kapela má na svém kontě ještě dvě další nahrávky, které vám doporučuji si pořídit. Stojí rozhodně za to. Stylově se jedná o surový, prašivý death metal, který může být klidně chladným soundtrackem k další ze zbytečných válek.
Začíná to vždycky pomalu, postupně. Kněz s temnými myšlenkami a jedovatým úsměvem na tváři ti nasadí do hlavy spoustu pochybností. Jenom on a jeho víra ti dá rozhřešení. Potom jsi už jen ovládaný na dálku. Stane se z tebe slepá ovce jdoucí na prážku. SLOOW jsou přesně tím druhem kapely, která řeže do živého. Jejich hudba je opravdová, reálná, poctivá, autentická ze své podstaty. Jedná se o starý death metal s vlastním rukopisem a výrazem. Pokud jste vyrůstali na undergroundových kapelách z devadesátých let minulého století, potom neváhejte ani chvilku. Dostanete pořádnou porci syrového, již notně zahnívajícího masa. Rakušané jsou jako smečka prašivých psů, která vás roztrhá na kusy. Novinka je nekompromisním útokem z temnoty, je opatřena potřebně špinavým a hrubým zvukem, má stylový obal, zároveň v sobě obsahuje spoustu zajímavých a neotřelých nápadů. SLOOW nejsou sice smečkou, která by do záhrobí přinášela něco novátorského a převratného, ale jejich nové stejnojmenné album rozhodně není jen dobře odvedeným řemeslem. Nahrávka má v sobě něco navíc, takový ten drive a temnou sílu, touhu ničit, zabíjet hudbou. Pak je tu ještě jedna, pro mě asi nejvíc rozhodující věc. Mě zkrátka a dobře baví nová deska poslouchat, rád se k ní vracím a rvu si ji do hlavy pod tlakem. Pokud jste na tom stejně jako já, potom vám doporučuji otočit volume doprava a uslyšíte sami. Tohle album se valí kupředu jako ocelový tank! Temný a surový death metal, který vás přenese přímo do zákopů!
Asphyx says:
You fell onto the cold ground, and the last thing you saw in your poor life was your friend's brain spilling out. They promised you victory, a beautiful life. In the name of faith, go and kill. Instead, you waded through dirt and mud, watching thousands of innocent people die. The pain you felt will be passed on to several generations to come. You believed blindly and marched to your death with a smile on your lips. You proudly carried a flag with the image of a long-dead idol. It's always the same, people never learn.
I discovered the Austrian band SLOOW more or less by accident during one of my endless wanderings through the underworld. I listened to some samples and enjoyed them. The process of getting to know them began. The band has two other recordings to their credit, which I recommend you get. They are definitely worth it. Stylistically, it's raw, mangy death metal that could easily be the cold soundtrack to another pointless war.
It always starts slowly, gradually. A priest with dark thoughts and a poisonous smile on his face fills your head with doubts. Only he and his faith can give you absolution. Then you are controlled from afar. You become a blind sheep walking to the slaughter. SLOOW are exactly the kind of band that cuts to the quick. Their music is real, honest, genuine, authentic in its essence. It's old-school death metal with its own signature and expression. If you grew up on underground bands from the nineties, then don't hesitate for a moment. You'll get a hefty serving of raw, already rotting meat. The Austrians are like a pack of mangy dogs that will tear you to pieces. The new album is an uncompromising attack from the darkness, with the necessary dirty and rough sound, stylish cover art, and lots of interesting and original ideas. SLOOW may not be a band that brings anything innovative or revolutionary to the table, but their new self-titled album is definitely more than just a job well done. The recording has something extra, a kind of drive and dark power, a desire to destroy, to kill with music. Then there's one more thing, which for me is probably the most decisive factor. I simply enjoy listening to the new album, I like to come back to it and blast it in my head under pressure. If you feel the same way, then I recommend turning up the volume and hearing for yourself. This album rolls forward like a steel tank! Dark and raw death metal that will transport you straight to the trenches!
Chodil jsem okolo dlouhé roky a pokaždé jsem měl takový divný pocit. Jakoby se mi ve vnitřnostech usadilo něco zlého. Možná jsem zahlédl ve tmě i krvelačný pohled. Legendy vyprávěly o hnusné bestii, která spí hluboko v jeskyni. Nedalo mi to, mám rád temnotu a surový death metal. Již u vchodu jsem našel hromadu vybělených kostí. Poházené jako nějaké bezcenné loutky. Pach smrti a rozkládajícího se masa. Potom těžký vzduch prořízl první ostrý riff. Najednou jsem věděl, že jsem zde správně. Tohle je přesně hudba, která koluje i v mých žilách.
THAUMATURGY jsou z Kansasu a hrají hnilobou a zkaženou krví nasáklý starý prašivý death metal v jeho hnusné ortodoxní formě. Přidávají ale i spoustu svých neotřelých nápadů. Máme tak opět (kapela má na svém kontě ještě jednou dlouhohrající album a EP, které se určitě také poslechněte) co do činění se smrtícím kovem, který musel být nahráván hluboko v podzemí, ve staré chladné jeskyni.
Za povedený považuji zvuk (Loïc F. mastering), který je hnisavě masivní, chladný a surový. Líbí se mi i motiv na obalu, který krásně morbidně doplňuje muziku samotnou. Hlavní je ale jako vždy muzika samotná a je volně inspirována kapelami jako PESTILENCE, SINISTER, MORBID ANGEL, INCANTATION, KRYPTS, GRAVE MIASMA, GROTESQUE, NECROPHOBIC, CRUCIAMANTUM, DISMA, CIANIDE. To ale zase není tolik důležité. Pro mě osobně je hlavní to, že mě baví novinku poslouchat, rád se k ní vracím a užívám si ji. Je totiž plná morbidních nápadů a podmanivě tajemné atmosféry. Navíc, a to dokáži vždy ocenit, se jedná o velmi uvěřitelný, reálný, opravdový a autentický morbidní zážitek. Připadám si při každém setkání spíše jako na nějakém pradávném rituálu pro vyvolávání temných sil. Většina motivů opravdu jakoby nebyla ani z našeho světa. Kapela na to jde ostře, nekompromisně, má dar znázornit těkavé nálady posledních chvilek před smrtí, ale nezapomíná ani na chlad a temnotu. Album "Pestilential Hymns" jsem vždy poslouchal jako celek a doporučuji to i vám. Tak nejvíce vynikla jeho síla. Mraky byly zase jednou velmi nízko. Měly barvu černé krve a ve vzduchu bylo cítit napětí jako před bouřkou. Chodil jsem okolo dlouhé roky a pokaždé jsem měl takový divný pocit. Jakoby se mi ve vnitřnostech usadilo něco zlého. Možná jsem zahlédl ve tmě i krvelačný pohled. Legendy vyprávěly o hnusné bestii, která spí hluboko v jeskyni. Tahle nahrávka má v sobě velkou energii a dokázala ji znovu probudit. Mokvající, shnilý, prašivý death metal ze starých pohřebišť! Temnota a chlad prokletých hrobů!
Asphyx says:
I walked around for years and always had this weird feeling. Like something evil had settled in my guts. Maybe I even saw a bloodthirsty gaze in the dark. Legends told of a hideous beast sleeping deep in the cave. I couldn't resist; I love darkness and raw death metal. At the entrance, I found a pile of bleached bones. Scattered like worthless puppets. The smell of death and decaying flesh. Then the heavy air was pierced by the first sharp riff. Suddenly, I knew I was in the right place. This is exactly the music that flows through my veins.
THAUMATURGY are from Kansas and play rotten, decaying, blood-soaked old death metal in its ugly orthodox form. But they also add a lot of their own original ideas. So once again (the band has another full-length album and an EP to their credit, which you should definitely check out) we are dealing with deadly metal that must have been recorded deep underground, in an old cold cave.
I consider the sound (mastered by Loïc F.) to be successful, as it is purulent, massive, cold, and raw. I also like the cover art, which beautifully and morbidly complements the music itself. As always, however, the main thing is the music itself, which is loosely inspired by bands such as PESTILENCE, SINISTER, MORBID ANGEL, INCANTATION, KRYPTS, GRAVE MIASMA, GROTESQUE, NECROPHOBIC, CRUCIAMANTUM, DISMA, and CIANIDE. But that's not so important. For me personally, the main thing is that I enjoy listening to the new album, I like to come back to it and enjoy it. It is full of morbid ideas and a captivatingly mysterious atmosphere. Moreover, and I always appreciate this, it is a very credible, real, genuine, and authentic morbid experience. Every time I listen to it, I feel like I'm participating in some ancient ritual to summon dark forces. Most of the motifs really seem like they're not even from our world. The band goes at it hard, uncompromisingly, with a gift for depicting the volatile moods of the last moments before death, but without forgetting the cold and darkness. I always listened to the album "Pestilential Hymns" as a whole, and I recommend you do the same. That's how its power stood out the most. The clouds were very low again. They were the color of black blood, and there was tension in the air like before a storm. I walked around for many years and always had a strange feeling. It was as if something evil had settled in my guts. Maybe I even saw a bloodthirsty gaze in the darkness. Legends told of a hideous beast sleeping deep in the cave. This recording has great energy and managed to awaken it again. Oozing, rotten, mangy death metal from ancient burial grounds! The darkness and cold of cursed graves!
Těla spálená na popel. Nářek a bolest. Utrpení. Celý svět jakoby byl zahalený do černého mraku. Země je v plamenech. Stará sopka o sobě dala zase jednou vědět. Popáleniny třetího stupně vám může způsobit i nové album italských maniaků DEMIURGON. Tvorbu téhle divoké a nespoutané smečky sleduji již od jejich počátků. Pokud máte zájem, můžete si u nás na stránkách přečíst i recenze na předchozí počiny, případně se podívat i na report z mého rodného města (odkazy naleznete dole pod tímto článkem).
Pánové z Itálie pokračují ve své morbidní cestě. Ta je lemovaná hromadami zahnívajících mrtvol. Pokud máte rádi smrtící kov v jeho surovější, maniakálnější podobě, potom jste zde správně. Žádné kompromisy, žádné slitování, jenom přímé útoky z toho nejhlubšího podzemí. Klasické postupy se zde potkávají s technickými, zajímavými pasážemi. Výsledný jedovatý koktejl na mě opravdu působí jako žhavá láva, která vyvěrá nejen ze sopky, ale i z temných zákoutí tohoto alba. Novinka mě opět smetla z povrchu zemského.
Pánové moc dobře vědí, jak vytvořit mrtvolnou atmosféru. Dali si pozor i na to, aby měli masivní, ostře řezající a syrový zvuk. Po formální stránce je vše v absolutním pořádku. Hodně se mi líbí i motiv na obalu (Artwork by Giannis Nakos / Remedy Art Design). Při poslechu se tak mohu v klidu soustředit na muziku samotnou. Album je po okraj doslova narvané zajímavými nápady. Jsem moc rád, že si kapela stále uchovala takovou tu staroškolskou poctivost. Je to smečka rozzuřených šelem, které dlouho hladověly a teď touží po čerstvém mase. Nutno rovnou dodat, že letos je jejich lov opravdu úspěšný. Pokud rádi navštěvujete opuštěná jatka, patologické sály a staré márnice, potom jste zde správně. Novinka bude určitě v soukromých sbírkách všech maniaků, kteří mají rádi kapely typu SUFFOCATION, IMMOLATION, DEEDS OF FLESH, ORIGIN, HATE ETERNAL, HIDEOUS DIVINITY, UNMERCIFUL. Zkrátka a dobře, tohle je nářez, který vám vystřelí mozek z hlavy. Muzika, u které se budete cítit jako ve staré studené mučírně. Způsobů, jak zabít člověka, je velké množství. Tahle smrt přichází středem, jde se tu rovnou na věc. Skladby v sobě obsahují potřebné velké množství tlaku, špíny a temné energie. "Miasmatic Deathless Chamber" považuji za velmi, nejen stylové, povedené album po všech stránkách. Je velmi dobře, zajímavě napsané a složené. Každé společné setkání si vyloženě užívám. Těla spálená na popel. Nářek a bolest. Utrpení. Celý svět jakoby byl zahalený do černého mraku. Země je v plamenech. Brutální, syrové, ostré a temné death metalové album, které vás spálí na popel! Technika se zde potkává se surovostí ve velmi morbidním poměru!
Asphyx says:
Bodies burned to ashes. Wailing and pain. Suffering. The whole world seems to be shrouded in a black cloud. The earth is on fire. The old volcano has made itself known once again. The new album by Italian maniacs DEMIURGON can also cause third-degree burns. I have been following the work of this wild and unrestrained pack since their beginnings. If you are interested, you can read reviews of their previous works on our website, or check out the report from my hometown (links can be found below this article).
The gentlemen from Italy continue on their morbid journey, lined with piles of rotting corpses. If you like death metal in its rawest, most maniacal form, then you've come to the right place. No compromises, no mercy, just direct attacks from the deepest underground. Classic approaches meet technical, interesting passages here. The resulting poisonous cocktail really strikes me as hot lava erupting not only from a volcano, but also from the dark corners of this album. The new release has once again swept me off my feet.
The gentlemen know very well how to create a dead atmosphere. They also made sure to have a massive, sharp, and raw sound. Formally, everything is absolutely fine. I also really like the cover art (Artwork by Giannis Nakos / Remedy Art Design). When listening, I can calmly focus on the music itself. The album is literally packed to the brim with interesting ideas. I am very glad that the band has retained its old-school honesty. They are a pack of rabid beasts that have been starving for a long time and now crave fresh meat. It must be said that this year their hunt has been truly successful. If you like visiting abandoned slaughterhouses, pathology rooms, and old morgues, then you've come to the right place. The new album will definitely be in the private collections of all maniacs who like bands such as SUFFOCATION, IMMOLATION, DEEDS OF FLESH, ORIGIN, HATE ETERNAL, HIDEOUS DIVINITY, and UNMERCIFUL. In short, this is a blast that will blow your mind. Music that will make you feel like you're in an old cold torture chamber. There are many ways to kill a person. This death comes straight to the point. The songs contain the necessary amount of pressure, dirt, and dark energy. I consider "Miasmatic Deathless Chamber" to be a very successful album in every way, not just in terms of style. It is very well written and composed in an interesting way. I thoroughly enjoy every encounter with it. Bodies burned to ashes. Wailing and pain. Suffering. The whole world seems to be shrouded in a black cloud. The earth is on fire. A brutal, raw, sharp, and dark death metal album that will burn you to ashes! Technique meets rawness in a very morbid ratio!
Do očí jsem se ti nikdy nedokázal dívat příliš dlouho. Bylo v nich totiž něco zvráceného, zlého, děsivého. Stačilo, abych tě spatřil, jak stojíš ve stínu a mrazilo mě v zádech. Bál jsem se tvého hlasu, pohybů, pokaždé, když ses vkradla mezi mé noční můry, bolelo mě u srdce i ve vnitřnostech. Připadal jsem si jako otrávený jedem, umíral jsem a znovu se rodil v krutých křečích. Probuzen uprostřed noci jsem potom zažíval ještě horší realitu. Vždycky jsem měl rád hudbu, která je inspirovaná horory. Holandské CARACH ANGREN určitě všichni znáte. Jedná se o symfonickou black metalovou kapelu, která pokaždé, když začne hrát u mě v pokoji, venku začne z černých mraků padat krvavý déšť.
Tentokrát se kapela inspirovala starými básněmi, divadelními hrami. Vystupuje v nich Bílá paní ze Schinveldu a hlavně Kariba, travička a čarodějnice. Pokud máte rádi temný folklór, okultní symboliku a hororově podmanivou atmosféru, potom jste zde správně. Pohodlně se usaďte, zhasněte všechna světla a nechte se obejmout krvavou tmou.
Symfonický black metal není zrovna styl, který by příliš často hrál v mém přehrávači, jenže CARACH ANGREN se mi dostali do hlavy. Novinka má v sobě cosi magického, záhadného, tajemného. Možná to jsou témata textů, ostrý a dobře čitelný zvuk, možná je to i motiv na obalu (takhle nějak si Karibu opravdu představuji). Nevím, poslouchám hudbu hlavně srdcem a tady si připadám jako chycený do sítí. Líbí se mi rukopis kapely, jednotlivé nápady, skvěle zpracované vokály, grafika, ale hlavně - nové EP mě opravdu baví poslouchat. Rád se k němu vracím hlavně ve chvílích, když je venku ještě tma a přízraky se toulají ulicemi. Ne, najednou nejdu jako každý den ráno do práce, ale v hlavě se mi odehrávají starodávné příběhy, užívám si atmosféru a když potkám nějaký přízrak, tak moc dobře vím, odkud přichází. Líbí se mi i určitý neklid, černá energie, chcete-li, které je na novince opět velké množství. "The Cult of Kariba" je volným pokračováním věcí minulých, ale také nahrávkou, která drásá zevnitř. Je samozřejmě nutné, abyste měli bohatou fantazii a náležitě morbidní vkus. Tohle je hudba pro všechny, kteří dokáží rozeznat tisíce odstínů tmavých barev. Ano, CARACH ANGREN jsou jako temní prokletí malíři, kteří pomocí své hudby nanášejí na celkový obraz pestrou paletu depresivních a nihilistických nálad. Připadám si jako na návštěvě dávno zapomenutého archívu, ve kterém pátrám po starých děsivých činech. Nálada je velmi pochmurná, napínavá a strašidelná. Hlavní pro mě ale je, že kapele věřím každý tón, notu, úder bicích i pasáže upletené ze smyčců. Monumentální, mocné a děsivé symfonické black metalové dílo! Kariba stojí ve stínu a dívá se i na vás!
Asphyx says:
I could never look into your eyes for too long. There was something twisted, evil, terrifying in them. Just seeing you standing in the shadows was enough to send a chill down my spine. I was afraid of your voice, your movements, every time you crept into my nightmares, my heart and guts ached. I felt like I was poisoned, dying and being reborn in cruel convulsions. Waking up in the middle of the night, I experienced an even worse reality. I've always liked music inspired by horror movies. I'm sure you all know the Dutch band CARACH ANGREN. They are a symphonic black metal band, and every time they start playing in my room, bloody rain begins to fall from the black clouds outside.
This time, the band was inspired by old poems and plays. They feature the White Lady of Schinveld and, most notably, Kariba, a poisoner and witch. If you like dark folklore, occult symbolism, and a captivating horror atmosphere, then you've come to the right place. Sit back, turn off all the lights, and let yourself be enveloped by bloody darkness.
Symphonic black metal isn't exactly a style that plays very often on my player, but CARACH ANGREN got into my head. There's something magical, mysterious, and enigmatic about their new album. Maybe it's the themes of the lyrics, the sharp and clear sound, or maybe it's the cover art (this is how I imagine Karibu). I don't know, I listen to music mainly with my heart, and here I feel like I'm caught in a web. I like the band's style, the individual ideas, the superbly crafted vocals, the graphics, but most of all, I really enjoy listening to the new EP. I like to come back to it, especially when it's still dark outside and ghosts are roaming the streets. No, I'm not suddenly going to work every morning like everyone else, but ancient stories are playing out in my head, I'm enjoying the atmosphere, and when I meet a ghost, I know very well where it comes from. I also like a certain restlessness, black energy, if you will, which is again abundant on the new album. "The Cult of Kariba" is a loose continuation of things past, but also a recording that tears you apart from the inside. Of course, you need to have a rich imagination and appropriately morbid taste. This is music for anyone who can discern thousands of shades of dark colors. Yes, CARACH ANGREN are like dark, cursed painters who use their music to apply a colorful palette of depressive and nihilistic moods to the overall picture. I feel like I'm visiting a long-forgotten archive, searching for old, terrifying deeds. The mood is very gloomy, suspenseful, and scary. But the main thing for me is that I believe every tone, note, drum beat, and string passage of the band. A monumental, powerful, and terrifying symphonic black metal work! Kariba stands in the shadows and watches you too!
Tracklist:
1. A Malevolent Force Stirs (1:16)
2. Draw Blood (5:18)
3. The Resurrection of Kariba (4:45)
4. Ik Kom Uit Het Graf (4:51)
5. Venomous 1666 (4:37)
Production Credits:
Main compositions by Ardek.
Pre-production, orchestral arrangements and keyboards by Ardek.
Vocals by Seregor, recorded at Tidal Wave Studio, Germany.
Backing vocals by Ardek.
Drums performed by Gabe Seeber, recorded at Mayhemeness Recording Studio.
Bass guitar, drums written by Ardek.
Guitars tracks 2,3 written by Seregor.
Guitars tracks 4,5 written by Ardek.
Lyrics tracks 1, 2, 5 by Ardek.
Lyrics track 3 by Ardek & Seregor.
Lyrics track 4 by Seregor.
All guitars and bass guitar performed and recorded by Patrick Damiani at Tidal Wave Studio, Germany.
Mixed & Mastered by Patrick Damiani at Tidal Wave Studio, Germany.
Vinyl Mastered by Robert Schmidt, 24-96 Mastering, Germany.
Guest Musicians:
Solo violin tracks 2, 5 performed and recorded by Nikos Mavridis.
Když se dívám kolem sebe a roky ubíhají, tak zjišťuji, že se lidé příliš nemění. Možná máme nové technologie, možná jsme dál, co se týká nepodstatných věcí, ale v základu jsme stále stejní. Pořád ničíme planetu, stále válčíme, krmíme se jedy a věříme falešným prorokům. Tupý zástup lidí stále pochoduje na smrt. Thrash metal jsem kdysi začal poslouchat kvůli tomu, že jsem se chtěl vymanit, vystoupit z davu. Byla to rebelie, pochopitelná mladistvá touha po změně. Oblíbil jsem si tenkrát i kapelu CORONER ze Švýcarska. Dodnes si jednou za čas vytáhnu jejich alba a přehrávám je při mých soukromých seancích.
Svět se mezi tím spojil ve všemocnou síť a umíme se lépe zabíjet na dálku. Umělá inteligence je mnohdy chytřejší než někteří z nás. Poctivá muzika ale stále zůstává. Zrovna tahle smečka, na rozdíl od mnohých jiných, si stále zachovává status legendy, která nejen že má na svém kontě zásadní stylové nahrávky, ale i jejich nová tvorba má v sobě stále oheň a vášeň. Pánové jsou zpět a působí stejně jako kdysi. Jejich nezaměnitelný a originální rukopis je pořád patrný, posouvají se ale dál, dopředu, do dosud neprobádaných dimenzí. Novinka mě baví úplně stejně jako jejich dávné nahrávky. Návrat po 32 letech se vydařil na výbornou.
Napíšu to rovnou, z některých pasáží mě doslova mrazí v kostech. CORONER nejen, že i letos objevují nová temná zákoutí, ale stále umí napsat skladby, ve kterých se potkává technika se syrovostí ve vzájemně (nebál bych se napsat) magickém poměru. Jednotlivé motivy na mě fungují, zadírají se mi postupně do podvědomí. Zůstávají tam, nutí mě přemýšlet nad jako vždy promyšlenými a propracovanými texty, nad pasážemi, které v sobě mají velké množství tlaku a energie. Líbí se mi, že pánové lehce experimentují, jsou progresivní, ale dělají to zajímavým a dobře poslouchatelným způsobem. Jejich přístup, talent a celkový dojem na mě působí velmi podobným způsobem, jako práce, kterou odvádějí mí oblíbení VOIVOD. Jen je zde ještě více patrná temnota a chlad. Toulám se tímhle podivným světem a roky, které mi příroda, bůh a nebo osud nadělili, ubývají. Jsem tak rád za podobná skvělá alba, jako je "Dissonance Theory". Už jenom ten zvuk (Jens Bogren - mixing, mastering), motiv na obalu (Stefan Thanneur) dávají jasně na vědomí, že alespoň pro mě, je novinka jasným kandidátem na jedno z nejlepších alb letošního roku. Tohle je, dámy a pánové, návrat ve velkém stylu. Vše sedí perfektně na svých místech, skladby mají drive, takový ten heavy efekt, jsou tajemné a je v nich obsažena veškerá temnota vesmíru. Jakoby kapela vzala veškeré své zkušenosti, smíchala je dohromady a přidala do nich nové, neotřelé ingredience. Jestliže mě jejich první nahrávky provázely mým mládím a vlastně i celým životem, jejich letošní pokračování je velmi důstojným nástupcem. Když se dívám kolem sebe a roky ubíhají, tak zjišťuji, že se lidé příliš nemění. Možná máme nové technologie, možná jsme dál, co se týká nepodstatných věcí, ale v základu jsme stále stejní. Pořád ničíme planetu, stále válčíme, krmíme se jedy a věříme falešným prorokům. Pokaždé, když budu chtít vystoupit bokem, narvu si nové album do hlavy. Vám to doporučuji také. Novinka má v sobě totiž všechno, co mám na hudbě rád. Propracovaný, temný a chladný thrash metal, který vás vezme na výlet do jiných dimenzí! Skvělé návratové album, zahrané s elegancí a vášní starých mistrů!
Asphyx says:
When I look around me and see the years passing by, I realize that people don't change much. Maybe we have new technologies, maybe we've progressed in terms of trivial things, but fundamentally we're still the same. We're still destroying the planet, still waging war, feeding ourselves poison, and believing false prophets. A mindless crowd of people is still marching toward death. I started listening to thrash metal because I wanted to break free, to stand out from the crowd. It was rebellion, an understandable youthful desire for change. At that time, I also became fond of the band CORONER from Switzerland. To this day, I still pull out their albums from time to time and play them during my private sessions.
In the meantime, the world has connected into an all-powerful network, and we have become better at killing each other from a distance. Artificial intelligence is often smarter than some of us. But honest music still remains. Unlike many others, this band still retains its legendary status, not only because of its seminal recordings, but also because its new work still has fire and passion. The gentlemen are back and sound just like they used to. Their unmistakable and original style is still evident, but they are moving forward, into unexplored dimensions. I enjoy the new album just as much as their old recordings. Their comeback after 32 years has been a great success.
I'll say it straight out: some passages literally send shivers down my spine. Not only does CORONER continue to explore new dark corners this year, but they still know how to write songs in which technique meets rawness in a (I wouldn't be afraid to say) magical ratio. The individual motifs work for me, gradually burrowing into my subconscious. They remain there, forcing me to think about the lyrics, which are as always well thought out and elaborate, and about passages that contain a great deal of pressure and energy. I like that the guys experiment a little, that they are progressive, but they do it in an interesting and listenable way. Their approach, talent, and overall impression on me are very similar to the work of my favorite band, VOIVOD. Only here, the darkness and coldness are even more apparent. I wander through this strange world, and the years that nature, God, or fate have given me are dwindling. I am so glad for great albums like "Dissonance Theory". The sound alone (Jens Bogren - mixing, mastering) and the cover art (Stefan Thanneur) make it clear that, at least for me, this new release is a clear candidate for one of the best albums of the year. This, ladies and gentlemen, is a comeback in grand style. Everything fits perfectly into place, the songs have drive, that heavy effect, they are mysterious and contain all the darkness of the universe. It's as if the band took all their experience, mixed it together and added new, fresh ingredients. If their first recordings accompanied me through my youth and, in fact, my entire life, this year's follow-up is a very worthy successor. When I look around me and see the years passing, I realize that people don't change much. Maybe we have new technologies, maybe we've progressed in terms of trivial things, but at our core, we're still the same. We are still destroying the planet, still waging war, feeding ourselves poisons, and believing false prophets. Every time I want to step aside, I'll put the new album in my head. I recommend you do the same. The new album has everything I love about music. Sophisticated, dark, and cold thrash metal that takes you on a trip to other dimensions! A great comeback album, played with the elegance and passion of the old masters!
Mlha měla zase jednou barvu krve a mraky se dotýkaly země. Na starém hřbitově, kam mě každou noc přivedou mé vlastní noční můry, je pochmurno, teskno. Na jednom nakloněném náhrobku je napsáno moje jméno. Z nedávno pohřbené rakve se ozývá děsivý šramot. Uložen do studené země jsem nezemřel. Navěky bloudím mezi naším a oním světem, mezi mrazivými stíny. Moje duše je nasáklá bolestí a strachem z neznámého. Rozdrásán vyhledávám již jen temnou a podmanivou muziku, která se hodí k pomalu usínající přírodě, k pestré paletě zbarvených listů podzimu.
Doom metal je dle mého skromného úsudku velmi niternou a těžkou záležitostí. Více než kde jinde zde totiž velmi záleží na tom, abych kapele jejich melodie a motivy věřil. Polští DEATH HAS SPOKEN patří mezi opravdové, reálné, autentické smutkaře. Již od prvního tónu podléhám každému tónu, notě, každému úderu bicích nebo výkřiku do tmy. Bývám znovu a znovu pohřben do studené země a zůstává po mě jen nakloněný náhrobek na mlhavém hřbitově plném stínů.
Polští gentlemani naplno ctí staré pořádky. Pokud jste rádi ve společnosti hudby třeba takových PARADISE LOST, NOVEMBERS DOOM, SATURNUS, OCTOBER TIDE, SWALLOW THE SUN, MY DYING BRIDE, SHAPE DESPAIR a dalších, kteří dovedou umně nakombinovat syrový kov smrti s doomovou bolestí, potom jste zde správně. Je pro mě velmi příjemné se vrátit z procházky na lesní hřbitov, sednout si do křesla, číst si ve starých spisech, nasávat pach hniloby a nechat smutek, aby na mě jen tak působil. Ocenit musím jak velmi povedený, čistý a mrazivý zvuk, tak i motiv na obalu (Marcin Grygoruk - Recording, Mixing, Mastering, Cover art, Layout, Janusz Grabowski - Recording, Mastering). Vše tu sedí perfektně na svých místech, nezapomnělo se ani na takové detaily, jako dobré promo fotky (Karina Filipowska). Je slyšet, cítit, vnímám to všemi póry svého těla, že kapela dala do nové letošní nahrávky kus svého srdce i talentu. Víte, neznal jsem je, ale přesně tahle záležitost je pro mě mrtvou vodou, která mě pohání v životě dál. Abych pro sebe (a vlastně i pro vás) objevoval další temná zákoutí, abych s napětím čekal, co z reproduktorů zazní. Novinka těchto tmářů je pro mě takovým soukromým podzimním objevem, o které vím, že se k ní budu rád a často vracet. Pánové sice nepřinášejí nic převratného, ale album rozhodně není jen obyčejným dobře odvedeným řemeslem. Je v něm něco navíc, něco magického, přitažlivého, něco, co mě obejmulo jako pevné pavučiny. Zítra ráno vstanu brzy a budu se těšit na mlhavé stíny nad hřbitovem. Na starou rozpadlou márnici, na ruiny i vzpomínky na bolest. "Elegy" si vezmu samozřejmě s sebou. Zde, na pradávném pohřebišti, vynikne její síla nejvíce. Mlhavé, smutné, mrazivé doom death metalové ozvěny ze záhrobí! Podmanivá, naléhavá cesta temnotou!
Asphyx says:
Once again, the fog was the color of blood, and the clouds touched the ground. In the old cemetery, where my nightmares bring me every night, it is gloomy and melancholic. My name is written on a tilted gravestone. A terrifying rustling sound comes from a recently buried coffin. Laid to rest in the cold earth, I did not die. I wander forever between our world and the other world, among the frosty shadows. My soul is steeped in pain and fear of the unknown. Torn apart, I seek only dark and captivating music that suits the slowly falling asleep nature, the colorful palette of autumn leaves.
In my humble opinion, doom metal is a very intimate and heavy matter. More than anywhere else, it is very important that I believe in the band's melodies and motifs. The Polish band DEATH HAS SPOKEN are among the true, real, authentic mourners. From the very first note, I succumb to every tone, every note, every drum beat, and every cry into the darkness. I am buried again and again in the cold earth, and all that remains of me is a tilted gravestone in a foggy cemetery full of shadows.
Polish gentlemen fully respect the old ways. If you enjoy the music of bands such as PARADISE LOST, NOVEMBERS DOOM, SATURNUS, OCTOBER TIDE, SWALLOW THE SUN, MY DYING BRIDE, SHAPE DESPAIR, and others who skillfully combine raw death metal with doom pain, then you've come to the right place. It's very pleasant for me to return from a walk in the forest cemetery, sit down in an armchair, read old writings, soak up the smell of decay, and let sadness wash over me. I must appreciate both the very successful, clean and chilling sound, as well as the cover art (Marcin Grygoruk - Recording, Mixing, Mastering, Cover art, Layout, Janusz Grabowski - Recording, Mastering). Everything fits perfectly in its place, and even details such as good promo photos (Karina Filipowska) have not been overlooked. I can hear, feel, and perceive with every pore of my body that the band has put a piece of their heart and talent into this year's new recording. You know, I didn't know them, but this particular issue is like dead water to me, driving me forward in life. So that I can discover more dark corners for myself (and for you, too), eagerly awaiting what will come out of the speakers. This new release from these obscurantists is a kind of private autumn discovery for me, one that I know I will gladly and often return to. The gentlemen may not be bringing anything revolutionary, but the album is definitely not just a well-crafted piece of work. There is something extra in it, something magical, attractive, something that embraced me like a strong spider web. Tomorrow morning I will get up early and look forward to the misty shadows over the cemetery. To the old dilapidated morgue, to the ruins and memories of pain. Of course, I will take "Elegy" with me. Here, in this ancient burial ground, its power will be most evident. Misty, sad, freezing doom death metal echoes from beyond the grave! A captivating, urgent journey through darkness!
Ave PROSCRIPTION! Greetings to the dark underworld. I first listened to your new album, Desolate Divine, on my way to work. I walk past an old cemetery and then an abandoned factory. At times, I felt like I was seeing ghosts! The album is really great. You've returned after five years and seem even stronger than before. How did the new album come about and why was there such a long gap between albums?
The time gap? It wasn't intentional! HAHAHA, I guess it takes the time that it takes. I didn't even notice until a few album reviews made a huge deal about it. I didn't realize taking my time would cost rating points for those reviews, but now I know, but still couldn't care less. The first album had so much positive acceptance, and I felt that pressure of making lightning strike twice somewhere in the back of my head. But regardless of that, I am super picky about riffs. We just waited until we felt ready, it just happened to be 5 years. There was a pandemic which was a distraction during that time so, maybe something went there too? I don't know.
I'm an old fan of yours, I enjoyed listening to your 2017 demo "Promo" and I like that you have your own style while maintaining your own signature sound. How did the idea to start a band in 2017 come about and why did you decide to play death metal? I feel a strong influence of old American bands in your music. Were they an inspiration for you?
I had songs written that were intended for Maveth’s next album, but I wanted to bring in fresh energy and see where they could go with someone else’s imprint. I contacted Cruciatus immediately — we already knew each other through a mutual acquaintance, we both had bands on the Dark Descent Records roster, and had a strong bond in terms of music and vision. He injected his style into my material, and it felt like everything I had always wanted Maveth to sound like, but hadn’t quite achieved.
As for why death metal — that was inevitable. From the moment I heard Altars of Madness, I knew this was the music I was meant to create. And I was always more drawn to the darker, more obscure side of death metal — bands like Morbid Angel, Incantation, Immolation, Demilich, and Gorguts. That influence still lives in Proscription.
If I understand correctly, PROSCRIPTION is a kind of successor to MAVETH? The band has a number of great musicians. How did you actually get together? How did you get together with the current lineup, and was it difficult to find musicians who wanted to play death metal at such a level? For example, in the Czech Republic, not that many people play extreme metal.
Yes, essentially Proscription rose from the ashes of Maveth. When that band ended, I reached out to Cruciatus, who I had known for about 15 years. He was interested, and we began shaping the first songs. M.K. joined soon after — he’s the cousin of Matti Mäkelä (Corpsessed), and once I saw a video of him playing, it was obvious he was the right fit. Apep came into the fold shortly after as bassist, and once I realized he lived near M.K., it was perfect since they could travel together for rehearsals in Kuopio which is 4 hours drive from where they lived.
At first Apep was only going to play bass, but in the studio I asked if he could handle some vocals. He had experience as a backing vocalist before, so we tried it, and the dual-vocal approach worked really well — his black/thrash energy is a great counterpoint to my death metal roots.
Recently we had a change: Cruciatus decided to step down, and our longtime friend and producer Kalle Laanto (Sonic Violence Studios) joined us. He was actually one of the first people I considered when forming Proscription, so it feels like things came full circle.
Let's move on to the new album. Do you know what I like most about it? The atmosphere. Yes, the album is very dark, brutal, but sophisticated, and the mood changes throughout. Sometimes rawness comes to the surface, sometimes coldness, sometimes rotten blood. Can you tell us how PROSCRIPTION composes new material? Who writes the songs?
Up to this point, I write 95% of the riffs. I just sit and write all the time. I throw away far more riffs than I keep, as I’m sure many others do. Once I get a few riffs that start to feel like they have a relationship, I start recording and arranging a rough concept. Then I send them to M.K. and he will do several demos with alternate beats to see what the riff needs or wants to become. He has been doing some arrangements on the new material we’re working on now, and I can’t even say what a huge weight off my shoulders that has become! When I’m the only riff machine, THAT would be my biggest barrier. I start to feel like I’m repeating myself, and sometimes throw away sick riffs out of frustration, thinking I’ve written something too similar previously. But then M.K. will make a drastic tempo change, or sick break, or present a drum idea that was nowhere in my mental library which changes the idea completely for the better. This new evolution is extremely exciting to me.
And now, with Kalle in the band, he’s one of the main riff machines in his other projects and already has material for Proscription flowing. I would dare to say the wait for the third album should NOT be five years again. Hahaha.
Sound is very important, not only in death metal. I like how massive and majestic it is on the new album. Dave Otero is responsible for it. How did you work together? Did you ever have different opinions about the sound, did you have a say in the final result? Or did you leave everything up to Dave?
Dave has been my friend for over 25 years. We are old bandmates as well! We played in the Colorado based Dethroned back in the day. So, I already knew his production and ideas on sound. He mixed and mastered the first album as well. First album we told him to use the tones we already had from the studio, and work his magic from there. That guitar tone was already 90% what I wanted to hear, drum tones were all natural, so just add his "special sauce". I mean, all I had to say on bass was "thrash bass" and he already knew what I meant. You know? Same minded in those aspects. So, on the new album we did the same, but let him have liberties in tone we took off the table for the first album. Opinions on that have been "hit or miss" but, when is that not the case? To be honest, we ourselves had a different vision for the guitar tone, but there was no time to change it before the deadline.
Thanks to you, Samuel Araya and Artem Grigoriev have become my favorite cover artists (I love Samuel's work for your previous album). The cover for the new album is very dark and mysterious. It gives me the chills. Can you tell us how you got together with these excellent artists and why you chose these particular motifs? And why is the cover different on the CD and vinyl?
Ah yes........ there IS a story here. So, Artem was contacted back in 2018, to create artwork for Conduit. He said he would need 6 months to do it and we agreed it was perfect timing for our release window. But, the time came and went, and we had to get something together for the cover unless we were to miss that window. And, I can't remember who pointed me in Samuel's direction, but I looked through his galleries and the painting we used for the cover was just there, in his personal collection. All 4 band members agreed that it spoke to us so I contacted him to use for the cover art. It was meant to be because it truly IS perfect for that release, and it was complete and ready to go instantly. Then, when I was feeling like this new album is almost ready to hit the studio, I was talking with Naas about lyrics and he was too busy with Akhlys to offer anything new at the time. So, I sat and started working on concepts I had WAY back in the Dethroned days that never were used lyric-wise. When it was done, I remembered another painting from Samuel that told the story of "Desolate Divine" if you interpret it that way, and SAME DAY M.K. said "Hey, what about that other painting from Samuel we were discussing before?". We all agreed on this art I called “Behemoth of Woe” and it had to be the one. Then, we realised Artem's art was just sitting in my inbox collecting virtual dust, and it was too detailed and amazing to not use. it took almost 2 years to get it from him!! But, coincidentally it actually has similarities to the opening tracks on both sides of the vinyl. So.......we decided BOTH needed to be on the album. Samuel for the CD, and Artem for the vinyl. I mean, why not? It satisfied so many things on OUR end.
What are the lyrics on the new album about? Where did you draw your inspiration from? Like you, I enjoy old occult films and books. So, I wonder, do you believe in hell? Do you think it really exists?
I’ve always been drawn to darker, mostly anti-Christian themes. Organized religion has always felt like hypocrisy and mental slavery to me. Over the years, I’ve collaborated with Naas (Nightbringer, Akhlys), who has an immense knowledge of esotericism, the cosmic, and the satanic. Some of his writings became Proscription lyrics when they didn’t have a home in his other projects — that’s one of the reasons why our first album was called Conduit.
For Desolate Divine, I wrote about half the lyrics myself, with Naas guiding me through sources and ideas when I needed it. The themes explore cosmic horror, spiritual decay, and the rejection of false light.
As for hell — I don’t believe in a literal biblical hell. But as a concept, as a state of existence, as a reflection of human madness and suffering — yes, it exists in that sense.
How are things going with PROSCRIPTION concerts? Do you play a lot and often? What about a tour for the new album? Are you planning one? Do you prefer smaller clubs or big festivals?
Live shows are the main reason I do this. Albums are important, but they exist to bring people to the gigs. Until the day I can no longer do it physically, I’ll be on stage.
We’ve had our share of obstacles — especially with the long gap between albums — but with Desolate Divine, we plan to push harder with touring and festivals. Personally, I enjoy both clubs and festivals. Clubs have that intimate, violent energy, while festivals give you the chance to bring the music to a much wider audience. As long as the atmosphere is right, both are vital.
We really have the strong desire to tour for this album. The tour we did in 2024 was originally meant to be for "Desolate Divine" as it was recorded in summer 2024 actually. But, it wasn't possible to get it in hand in time.
I've been listening to death metal since the nineties, and Finland has always been a country where a lot of good bands came from. But what is the situation like now? I follow your scene, write about new bands, try to get interviews, and everyone agrees that it's still very much alive. What is your opinion of your scene? What about labels, fans, promoters? But you also have musicians (Christbutcher) from the US. Can you compare the two scenes in any way?
The Finnish underground is alive and well — there’s a new wave of younger bands playing old-school death metal with real conviction: bands like Azatoth, Malformed, Disguised Malignance, Tramalizer. They’re hungry, they’re touring, they’re working hard, and it’s inspiring to see. And there are always gigs with Corpsessed, Krypts, Gorephilia, Lantern etc. To keep things quality. hahahah
Of course, the scene, globally has its flaws. Too many small labels are pumping out mediocre records, oversaturating things. But at the core, there are still great bands, dedicated fans, and promoters who keep this alive.
As for the US vs. Finland — both have strong undergrounds, but they’re different in spirit. The US scene is vast and diverse, with many regional differences. Finland is smaller, tighter, but very passionate, and it has always produced death metal that feels uniquely cold and dark. American fans are way more energetic and violent, much more pit activity. But, finnish gigs seem to draw more numbers!
How did you get started with extreme music? What was the first band you heard that got you into music? And what about your musical beginnings? What instrument did you start with? Who was your role model? And what about your first concert, your first performance on stage? Please reminisce for us.
My first real exposure was hearing Altars of Madness blasting through a friend’s brother’s door in the early ’90s. It stopped me in my tracks. I knocked, fully expecting to get punched, and demanded to know what it was. That day I was introduced to Morbid Angel, Deicide, Death, Obituary, Napalm Death… and there was no going back. Even Slayer lost its hold on me after that. Death metal was my calling.
My first concert real was in 1992. Malevolent Creation, Cannibal Corpse, Agnostic Front, and Obituary at The Gothic Theater in Denver. That was fucking amazing. First time I ever heard Malevolent Creation, and they were supporting the Retribution album. Cannibal Corpse had recorded Tomb of the Mutilated but it wasn't released yet and they played most of the album if I remember correctly. I was only 14! Ah, that's another scene difference between Finland and the U.S., 99.9% gigs in Finland are 18+, which is a shame.
As a musician, I was drawn to bass guitar! I had friends who were disgusting guitar players but I wanted to play bass. I wanted to be Cliff Burton, or later Alex Webster! There was an old hippy living downstairs from my family in the same apartment complex. My mother heard him playing bass sometimes and went to ask him if he had any interest in teaching. He thought she was going there to complain about the noise!! AND, when she said “my son wants to learn to play” He was like “No kids WANT to play bass, you probably misunderstood.” but she mentioned I worshipped Cliff so, he said “Send him to me”. He taught me a few riffs and licks. Then showed me how to read tablature on a few evenings, and out the door I went on my own from there. Over the years, one thing or another always forced my into the guitar role, so I accepted my fate. I consider myself a mediocre guitar player at best, especially after playing next to Cruciatus, and now Kalle! I am sub-par at best.
My first performance: Cursed Divinity at Cafe Euphrates in Denver. Maybe 1998? 97? There was no stage but once I stepped "on stage" and felt that energy, I knew this was something I’d never walk away from.
I'm an old dog who still remembers copying cassettes and exchanging them. Writing letters to bands. Those were beautiful times, we were young. You are much younger than me, but I can't help asking... do you remember how PROSCRIPTION started? Most bands in our country were formed in pubs. Can you walk us through the history of your band?
I believe the band formation was covered in question 3?
But, I seem to be much older than you think! At the time of typing this, I am 48 years old and in the scene since 1990 or so! We had no internet then so, tape trading was essential in the parking lot before gigs! We did a lot of VHS trading as well. I got introduced to so many new bands that were on copilation mix tapes, and gig videotapes! I have 1 VHS tape with me doing vocals for Cryptopsy on 2 songs even hahaha. Mike DiSalvo had a throat infection, and Jason from Divine Empire (and Malevolent Creation) literally threw me onstage since they were performing with no vocalist due to MANY shitty circumstances on that tour.
My first band was called Cursed Divinity in 1997 or so. Then I joined Excommunion in late 1999. I did a good handful of guestspots or session spots throughout. I moved to Finland in 2007, where I formed Maveth. Lots more sessions or guestspots. And now, Proscription.
How would you define death metal? What does music mean to you? Is it a lifestyle, a hobby, relaxation? I'm still fascinated by darkness, I'm drawn to the energy. How about you?
Death metal is power, darkness, madness, and truth through sound. For me it’s empowerment, belonging, and freedom — musically and emotionally. Outside the love of my wife and child, it’s the deepest passion I hold. At the same time, am I a hobbyist? I mean, I could never make a living with my music it seems. So I am not pro. But I spend all my freetime writing music, playing gigs, listening to music. I don’t do sports or any crafting or whatnot. Just death metal. Nothing gives me the same feeling in any way.
The classic question to end with. What does PROSCRIPTION have planned for the coming months? If you have anything on your mind that you would like to say to fans, labels, promoters, here's your chance.
Now we have only a couple of finnish gigs left this year, and a possible fest in Poland, though the polish organizers have gone full radio silence, so who knows where that sits. A festival in Germany next spring but, we would love to turn that fest into a stop along a tour of course!
We are demoing new material this autumn as well to see where we stand, and moving forward towards the 3rd album hopefully before too long!
I'm already looking forward to putting my headphones on again tomorrow morning and blasting "Desolate Divine" into my head. The album turned out great. Thank you for the interview, I really appreciate it. I wish you success with the band, full concerts, and good album sales. All the best in your personal life as well! PROSCRIPTION RULES!
Thanks to you man!! We always say “Thanks for the support” so much that it feels like a simple passing by “whats up”. But, it’s true! We need to support, we need the promotion! All we can get!! So again, from the soul, Thanks for the support!!
