DEATH, THRASH, BLACK, HEAVY, DOOM AND ROCK METAL ZINE

- REVIEWS, REPORTS, INTERVIEWS - SUPPORT METAL UNDERGROUND

sobota 11. května 2024

A few questions - interview with grindcore brutal death metal band from France - CRYPTIC PROCESS.


A few questions - interview with grindcore brutal death metal band from France - CRYPTIC PROCESS.

Answered vocalist Damien Roger, thank you!

Recenze/review - CRYPTIC PROCESS - Human Snack (2023):

Can you introduce your band to our readers? When was it founded and what style of music do you play, etc.?

Hey there! Cryptic Process is the story of two buddies who have always loved making music together and seized the opportunity to reunite. So, it's Ugo on guitar and drum programming and Damien on vocals. This project was born during the Covid pandemic in 2020; we're old friends and just wanted to get back to playing Brutal Death together. As for our background, we're former members and founders of Goryptic (and Heresy). Both of us had a stint in Grindcore for several years: Ugo played guitar in Trepan’Dead, and Dam was a vocalist in Unsu. Our style is Brutal Death with touches of Grindcore and even some Slam elements here and there.

Where and under what conditions did you record the new album? Who was responsible for the sound, production, and mastering?

We recorded the album in August 2023 in our rehearsal space. We locked ourselves in for about ten days and did everything from A to Z. Since Ugo is a sound engineer, he had everything prepared and knew exactly what he was doing! He also handled the mixing and mastering. We were very meticulous and didn't let anything pass until we had a completely satisfying result. It was enriching as an experience, not only in terms of our own instruments but also in discussions and choices regarding the sound/mix/testing, etc.


How many copies were published, and what format was used for this new edition (CD, digital, vinyl, cassette)? Who wrote the lyrics and how were they created, and what are the lyrics about?

We released 500 copies in a 6-panel digipack to allow for more panoramic visuals. Dam: As for the lyrics, they're quite varied, covering various subjects. There are lyrics about the current absurdity of our world, life entangled in these networks, compulsive overconsumption, my personal experiences, but also totally spacey lyrics about entities visiting us (beings from another hostile dimension, for example). We're not into the ultra-gore stuff like most bands in our style, but there are elements here and there. However, I try to create real stories and not just say "kill kill, blood, guts." In fact, about half of the lyrics are in French. Some texts flow easily and quickly, while others are more difficult to come up with because I don't want to reuse the same words. I aim to deepen and vary the elements; it's just a matter of honesty with myself. Vocals are first and foremost an instrument with multiple sounds to explore, which should bind the composition together and make it even more massive and violent. Vocal variations are as important as variations in other instruments.

Who created the band logo, and who handled the graphics and website? And what about social media? Do you consider these things important?

Dam: The original logo was created by me, but we weren't 100% satisfied, so we enlisted an artist named Brilliansyah who did a great job! As for the visuals, I developed everything myself. The concept stemmed from a title we really like, "Human Snack" (which closes the album). From there, I imagined a story where essentially the human species was "planted" on this planet by beings from who knows where (everyone can imagine what they prefer: other dimensions/demons, etc.) to be later harvested and eaten, like common snacks. Added to this is a fury multiplied by these beings upon realizing how much our species had destroyed its habitat. We love this dirty, dusty, hopeless, no-return-possible aspect. We could have easily gone for the classic gore style, but that's not really our thing. We prefer bizarre and gloomy universes. These creatures have extraordinary dimensions; they are gigantic reapers. As for the realization, I did it myself. I'm a graphic designer by profession, but I'm fascinated by what can be achieved today with AI, in particular. Using AI in a band that already has a "robotic" drummer is very coherent from our point of view. So, I had to learn to use it because it's not a magical tool that produces a wonderful result with just three prompts, contrary to what some may think. It's a tool to be approached like Photoshop was when it was first released. So, I experimented with a lot of things for several weeks until I got a solid foundation. Then I used this material to build the entire universe of this album cover. We wanted a 6-panel digipack to have two fairly explicit panoramic visuals. As for social media and the website, I created them myself. It takes time and effort to acquire knowledge, but we like to manage things ourselves, and it's worth the effort. Social media is indeed very important. Let's not kid ourselves; the dissemination of everything goes through there and not through "physical" stores anymore (and I've experienced both, so I can make a good comparison, lol).


Which label did you choose for the release of your album, and why this label? Are you satisfied with how your label represents you and takes care of you?

We don't have labels per se, but two promo/distribution partners, Crypt Of Dr. Gore and Drowning In Chaos Records. They helped us finance the pressing of the album and, more importantly, they help us with its distribution. It's a deal that suits us quite well, done in good faith, and the guys are motivated!

Which bands do you idolize, and where do you draw your inspiration from?

Well, the term "idolize" is a bit strong, lol! But of course, there are bands that we love and that have strongly inspired us. In terms of influences, we like a lot of bands like Goratory, Necrophagist, Cryptopsy, Dying Fetus, Aborted, or even Infant Annihilator. And some more old-school stuff like Pantera, Carcass, etc. We also listen to totally different styles that can bring openness to our own compositions.


Did you send your recording to labels - which labels? What was the response?

No, not at all, we're not actively seeking to be signed by a label! We've always been self-produced with our previous bands, and that suits us just fine (that's our "A to Z control" side). But we're not closed off to it! If a label offers us an honest deal that suits us, why not! In the meantime, our partnerships suit us just fine.

How many concerts have you given? What type of concerts do you prefer, whether it's clubs or festivals, and which of your performances do you consider the best?

We've had 2 concerts so far, one on April 26 in St-Omer for a festival warm-up, and the other on May 4 in Paris for a festival featuring Inhumate (a big French grindcore band). It was totally new for us to come and offer a concept (not new) but experimental for us: 2 musicians only with the drummer coming out of the sound system! And honestly, it was excellent! In Paris, people really got into it, even though many were initially intrigued and wondered what was going on, haha. And in the end, it was war! People were really moving! The feedback was good, and we're thrilled to finally be able to perform HUMAN SNACK live! Everyone had a smile, and that's fantastic!

Every venue is different and has its own energy; we like the proximity to the audience, so bars are cool, but big stages with lots of people and awesome sound... that's great too! A concert also depends a lot on the receptiveness of the audience; if people are really into it and moving, it's great and it will give good memories to everyone, both the band and the audience!


What are your plans for the future? What do you want to achieve with the band?

All we want is to play together, compose, and have a good time! We're primarily friends who love what we do. We don't have a "career plan" or anything; we just want to keep composing songs, playing, and doing concerts!

How and where can your fans contact you? Can you provide contact information? Thank you for the interview.

The album is available on our Bandcamp here: https://crypticprocess.bandcamp.com/ merch or even by email at crypticprocess@gmail.com! You can visit our website: www.crypticprocess.fr where all our social media links are provided, as well as links to listen (Spotify/Deezer/etc.). We post all news and info on our Facebook page: https://www.facebook.com/crypticprocessofficial

Thanks again for the interview and support! If we come by your area, don't hesitate to come see us!

Thank you for interview.

Recenze/review - CRYPTIC PROCESS - Human Snack (2023):

Recenze/review - RED ROT - Borders Of Mania (2024)


RED ROT - Borders Of Mania
CD 2024, Hammerheart Records

for english please scroll down

Nejdříve na něm nebylo nic vidět. Stále se usmíval a všichni jej měli rádi. Začalo to děsivými sny, ve kterých se mu do vnitřností zakouslo něco zlého a ošklivého. Budil se uprostřed noci, mlátil hlavou o zeď. Bylo pro něj čím dál těžší se přetvařovat. Bál se světla, lekal se stínů. Líbil se mu pohled na krev, na utrpení. Vyhledával jenom děsivé filmy a po nějakém čase nevěděl, co je pravda a co lež. Teď tu sedí, uprostřed chladné a temné místnosti. Zavřený ve své cele se usmívá. Už dávno ví, že peklo opravdu existuje.

O kapele RED ROT jsem toho příliš nevěděl. Musím ale napsat, že moje první setkání bylo spíše obřadem, než jen obyčejným poslechem. Seděl jsem ve svém pokoji a mraky nad městem byly nízko. Blížila se bouře. Zazněl první riff, první mocný motiv a venku zahřmělo. 


Tahle kapela je složená ze samých zkušených muzikantů. Ti se již podruhé sešli, aby nahráli album, které je po okraj narvané tmou, chladem, smutkem, melancholií, paranoiou, i prvky doomu, deathu a thrashe. Vše je zamíchané v jedovatém koktejlu, který když vypijete, tak budete mít šílené představy i noční můry. RED ROT jsou naléhaví, drásaví, syroví. Jejich hudba má v sobě všechny prvky, atributy i náležitosti k tomu, abych ji poslouchal ve studeném větru, v mocném dešti i ve chvílích, kdy mám pocit, že se celý svět zastavil. Je to hudba, u které musíte přemýšlet a vyžaduje od posluchače soustředění i pořádnou porci fantazie. Musíte jí dát čas, aby postupně uzrála, aby se vám dostala do krve i do hlavy. Naleznete zde surovost MORBID ANGEL, smutek PARADISE LOST, ozvěny z vesmíru jako od VOIVOD i třaskavou směs CONVERGE. Pánové rádi a často překračují běžné hranice. A dělají to velmi elegantně. A hlavně, mě baví jejich novou desku "Borders Of Mania" poslouchat. Je zkrátka jiná, progresivní, experimentální. Zároveň, a to je pro mě velmi důležité, pokaždé v ní najdu něco nového. Co se týká zvuku, obalu, celkové produkce, tak vše je v nejlepším pořádku. Můžete si tak naplno vychutnat jednotlivé ozvěny. Někdy přemýšlím o lidské mysli, o její složitosti, o jejích temných zákoutích. Kde se v nás bere nenávist a zlo? Nejdříve na něm nebylo nic vidět. Stále se usmíval a všichni jej měli rádi. Začalo to děsivými sny, ve kterých se mu do vnitřností zakouslo něco zlého a ošklivého. Budil se uprostřed noci, mlátil hlavou o zeď. Bylo pro něj čím dál těžší se přetvařovat. Bál se světla, lekal se stínů. Intenzivní, maniakální, surový extrémní metal, který se vám dostane hluboko do podvědomí!

Asphyx says:

At first, there was nothing visible on him. He was always smiling and everybody liked him. It started with terrifying dreams in which something evil and ugly bit into his insides. Waking up in the middle of the night, banging his head against the wall. It was getting harder and harder for him to disguise himself. He was afraid of the light, afraid of the shadows. He liked the sight of blood, of suffering. He sought out only scary movies, and after a while he didn't know what was true and what was false. Now he sits here, in the middle of a cold and dark room. Locked in his cell, he smiles. He's known for a long time that hell really exists.

I didn't know much about the band RED ROT. But I must write that my first encounter was more of a ceremony than a simple listening session. I was sitting in my room and the clouds were low over the city. A storm was coming. There was the first riff, the first powerful motif, and it thundered outside. 


This band is made up of all experienced musicians. They have come together for the second time to record an album that is filled to the brim with darkness, coldness, sadness, melancholy, paranoia, and elements of doom, death and thrash. It's all stirred up in a toxic cocktail that, when you drink it, will give you crazy fantasies and nightmares. RED ROT are urgent, gut-wrenching, raw. Their music has all the elements, attributes and essentials to make me listen to it in the cold wind, in the mighty rain and in moments when I feel like the whole world has stopped. It's music you have to think to and it requires concentration and a good dose of imagination from the listener. You have to give it time to mature, to get into your blood and into your head. Here you will find the rawness of MORBID ANGEL, the sadness of PARADISE LOST, echoes from outer space like VOIVOD and the shattering blend of CONVERGE. The gentlemen are happy to and often do transcend normal boundaries. And they do it very elegantly. And most of all, I enjoy listening to their new album "Borders Of Mania". It's simply different, progressive, experimental. At the same time, and this is very important for me, I find something new in it every time. As far as the sound, the cover, the overall production is concerned, everything is in the best order. You can fully enjoy the individual echoes. Sometimes I think about the human mind, its complexity, its dark corners. Where does hatred and evil come from? At first, there was nothing to see in him. He was always smiling and everyone liked him. It started with terrifying dreams in which something evil and ugly bit into his insides. Waking up in the middle of the night, banging his head against the wall. It was getting harder and harder for him to disguise himself. He was afraid of the light, afraid of the shadows. Intense, manic, raw extreme metal that gets deep into your subconscious!



TRACKLIST
01. Compulsive Delusion
02. Agony Untold
03. False Memory
04. Homo Sapiens Imago Dei
05. Messianic Alteration
06. Inner Voice
07. Overlord
08. Not in Control
09. Cranioscopy
10. Endless Ravine
11. Vindication
12. Self Harm Scars
13. Misericordie
14. Sun
15. Affliction and Relief

LINE-UP
Luciano Lorusso George - Vocals
Davide Tiso - Guitars & synthesizers
Chris Alfano - Bass
Ron Bertrand - Drums


pátek 10. května 2024

Recenze/review - SUFFERSYSTEM - Disintegration of the Individual (2024)


SUFFERSYSTEM - Disintegration of the Individual
CD 2024, Black Blood Records

for english please scroll down

Odsuzujeme nevinné, o kterých nic nevíme. Neznáme jejich krutý osud, špínu a hnis, kterým museli čelit. Potkával jsem ji každý den, když jsem chodil na hřbitov. Pokládala květiny na jeden starý hrob. Představoval jsem si, že měla někoho ráda a ten zemřel. Jenže to nebyla pravda. Jednou se mi totiž podívala do očí a byla v nich nenávist. Absolutní tma a chlad. Stejně jako v hudbě německých death metalistů SUFFERSYSTEM. Kapely, v jejíchž řadách působí pánové z DEFECTED DECAY, FALSE MUTATION, SEEDS OF TORMENT.

Stejně jako se dívka  v úvodu dnešního článku chodila ujišťovat, zda je ten, co jí kdysi dávno hodně ubližoval mrtvý, jsem si jistý s tím, že tahle nahrávka hoří jasným černým plamenem. Najdete na ní syrový, plesnivý death metal ze staré školy. Ostré riffy, maniakální bicí, chorobami nasáklý vokál. Jedná se o velmi dobře zahranou pomstu ze záhrobí. O krutou a reálnou smrt, které zkrátka musíte podlehnout. 


Když otevřete hrob někoho, kdy byl za svého života zlý, je to něco úplně jiného. Jakoby byla mrtvola i po své smrti nasáklá černou, zkaženou krví. Jestliže za života docházelo k postupnému rozkladu osobnosti, tak teď uvidíte pouze rozkládající se tkáně. S hudbou od německých SUFFERSYSTEM je to hodně podobné. Cítím stejný nasládlý pach smrti, slyším syrové ozvěny ze záhrobí. Pánové uchopili staré postupy po svém. Inspirovali se smečkami jako MORGOTH, ASPHYX, PESTILENCE, DEATH, MORGOTH, AUTOPSY. Navíc přidali spoustu svých morbidních nápadů. Výsledkem je deska, která sice není na první poslech, ale když ji dáte čas, tak na povrch postupně vylezou motivy, které se vám doslova zadřou pod kůži. Základem jsou temné a chladné melodie. Jestli jste byli někdy přítomni exhumaci hrobů za brzkého rána, tak asi víte, o čem píšu. Tohle je hudba pro staré prašivé psy, pro hrobníky, kteří ještě nezapomněli, jak má znít pravý, nefalšovaný kov smrti. Album má velmi dobrý zvuk, který je masivní a čitelný zároveň. Líbí se mi i obal, který mi připomíná dívku, co každý den pokládá květiny k jednomu starému náhrobku. Také cítíte fyzickou přítomnost smrti? Já samozřejmě ano, jinak bych o téhle smečce ani nepsal. Jsem moc rád, že se mi jejich nové album "Disintegration of the Individual" dostalo do rukou. Strávil jsem s ním mnoho bezesných nocí. Dostalo se mi pomalu do podvědomí, jako pradávné noční můry, které se pokaždé vynoří, když poslouchám nějakou podobně dobrou muziku. Odsuzujeme nevinné, o kterých nic nevíme. Neznáme jejich krutý osud, špínu a hnis, kterým museli čelit. Starý, plesnivý death metal, který vytáhne na povrch vaše nejtemnější myšlenky! Totální rozklad těla i mysli!

Asphyx says:

We condemn innocents we know nothing about. We don't know their cruel fate, the filth and pus they had to face. I used to meet her every day when I went to the cemetery. She was laying flowers on an old grave. I imagined she loved someone and they died. But that wasn't true. She looked into my eyes once and there was hatred. Absolute darkness and coldness. Just like in the music of German death metallers SUFFERSYSTEM. The band, which includes gentlemen from DEFECTED DECAY, FALSE MUTATION, SEEDS OF TORMENT.

Just as the girl in the beginning of today's article went around making sure that the guy who hurt her a long time ago is dead, I'm sure with this record is burning with a bright black flame. You'll find raw, moldy, old school death metal on here. Sharp riffs, manic drums, disease-soaked vocals. This is a very well played revenge from beyond the grave. A cruel and real death that you simply must succumb to.


When you open the grave of someone who was evil in their lifetime, it's a different story. It's like the corpse is soaked in black, corrupted blood even after death. If in life there was a gradual decay of personality, now you see only decaying tissue. It is the same with the music of the German SUFFERSYSTEM. I smell the same sweet smell of death, I hear the raw echoes from beyond the grave. The gentlemen have taken the old methods in their own way. They took inspiration from packs like MORGOTH, ASPHYX, PESTILENCE, DEATH, MORGOTH, AUTOPSY. Plus they added a lot of their own morbid ideas. The result is a record that may not be a first listen, but if you give it time, themes will gradually surface that will literally get under your skin. Dark and cold melodies are the basis. If you've ever been present at an early morning grave exhumation, you probably know what I'm writing about. This is music for old mangy dogs, for grave diggers who haven't forgotten what true, unadulterated death metal is supposed to sound like. The album has a very good sound that is massive and clear at the same time. I also like the cover art, which reminds me of a girl who lays flowers at an old tombstone every day. Do you also feel the physical presence of death? Of course I do, otherwise I wouldn't be writing about this pack. I'm very happy that I got my hands on their new album "Disintegration of the Individual". I spent many sleepless nights with it. It slowly got into my subconscious, like an ancient nightmare that always resurfaces when I listen to some similarly good music. We condemn the innocent we know nothing about. We don't know their cruel fate, the dirt and the pus they had to face. Old, moldy death metal that brings out your darkest thoughts! Total decomposition of body and mind!


about SUFFERSYSTEM on DEADLY STORM ZINE:

Interview - SUFFERSYSTEM - Old, moldy death metal that brings out your darkest thoughts!



TRACKLIST
01. Feast Of Souls
02. Disintegration Of The Individual
03. Obliteration Predicted
04. Mangled Corpse
05. The Evil Within
06. Fragments (Inst.)
07. Chopped Into Pieces
08. Lobotomy
09. Suicidium
10. Hellspawn

band:
Dirk Nickel Guitars - Drums
Daniel Funke - vocals

Recenze/review - TEMPLE OF THE BEAST - Geminian Arcana (2024)


TEMPLE OF THE BEAST - Geminian Arcana
MLP 2024, Iron Bonehead

for english please scroll down

Pokaždé, když jsem šel okolo, udělalo se mi špatně. Začala se mi motat hlava a ve vnitřnostech jsem cítil hlodající červy. Měl jsem pocit, že smrt je hrozně blízko, že na mě sahá svojí kostnatou rukou. Podivné místo, plné děsivých stínů. Jednou jsem se rozhodl, že překonám strach a usedl jsem do stínu starého stromu. Začaly se přede mnou odehrávat pradávné krvavé rituály. Byly v nich obětovány lidé bez tváře. Poznal jsem jediného. Byl jsem to já sám. Z tohoto bolestivého snu jsem se již nikdy neprobudil. Poslouchal jsem totiž debutové album amerického maniaka Alexandera Maciase, který je podepsán pod všemi nástroji i vokálem.

Jedná se o tajemný, magický a chladem nasáklý black death metal. Majestátní skladby, po okraj narvané špínou, černou magií i nahrubo nasekaným zlem. Vítejte na černé mši! Pokud máte podobnou hudbu rádi, nezbývá, než abyste poklekli. 

Podivné symboly, nakreslené všude kolem. Hořící ohně, pentagram i lebky, smějící se do ticha. Muzika je jako nějaký tajemný lektvar, který když vypijete, dostanete se do jiné dimenze. Do míst, ve kterých se nachází pouze strach, beznaděj a nekonečná bolest. Pokud máte rádi kapely jako DEMONCY, SAMAEL, MYSTIFIER, BEHERIT, myslím si, že by se vám mohlo líbit i album "Geminian Arcana". Má atmosféru velmi podobnou té, jaká se nachází na místech, na kterých se kdysi prováděly krvavé rituály. Představte si dávno opuštěné sklepení, hluboko v podzemí. Také cítíte ten chlad? Obepnou vás pavučiny a ocitnete se na druhé straně, na onom světě. Stačí jen odříkat několik obrácených modliteb a poklonit se stínům. A samozřejmě poslouchat tuhle desku. Líbí se mi zvuk, obal, oceňuji jasný a zřetelný rukopis. Zanedbáno nebylo nic. Už jste se někdy dusili vlastní krví? Pokud ne, tak vám tuhle nahrávku doporučuji, zážitek to bude velmi podobný. Přiznávám, že mám pro podobné kapely/projekty slabost. Novinka musela být nahrávána někde ve starých katakombách, mezi pozůstatky padlých kněží. Je celá zahalená do studené mlhy, chladí, žhne a pálí zároveň. Opravdu doporučuji poslouchat uprostřed temné noci. Potom její síla vynikne nejvíce. Pokaždé, když jsem šel okolo, udělalo se mi špatně. Začala se mi motat hlava a ve vnitřnostech jsem cítil hlodající červy. Měl jsem pocit, že smrt je hrozně blízko, že na mě sahá svojí kostnatou rukou. Podivné místo, plné děsivých stínů. Starodávný, temný a krví nasáklý rituál té nejděsivější smrti! Tajemné black death metalové ozvěny!


Asphyx says:

Every time I walked by, I felt sick. I felt dizzy and I could feel worms gnawing in my guts. I had the feeling that death was very close, that it was reaching out its bony hand. A strange place, full of terrifying shadows. One day I decided to overcome my fear and sat down in the shade of an old tree. Ancient blood rituals began to unfold before me. Faceless people were sacrificed in them. I recognized only one. It was myself. I never woke up from that painful dream. I listened to the debut album of the American maniac Alexander Macias, who is signed to all the instruments and vocals.

This is mysterious, magical and cold-soaked black death metal. Majestic tracks, packed to the brim with filth, black magic and coarsely chopped evil. Welcome to the black mass! If you like this kind of music, you have no choice but to take a knee. 

Strange symbols drawn all over the place. Burning fires, pentagrams and skulls laughing into silence. The music is like some mysterious potion that, when you drink it, takes you to another dimension. A place where there is only fear, hopelessness and endless pain. If you like bands like DEMONCY, SAMAEL, MYSTIFIER, BEHERIT, I think you might also like the album "Geminian Arcana". It has an atmosphere very similar to that of places where blood rituals were once performed. Imagine a long-abandoned dungeon, deep underground. Do you feel the chill, too? The cobwebs encircle you and you find yourself on the other side, in the other world. All you have to do is say a few inverted prayers and bow to the shadows. And of course, listen to this record. I like the sound, the cover, I appreciate the clear and distinct writing. Nothing has been neglected. Have you ever choked on your own blood? If not, I recommend this recording, the experience will be very similar. I admit I have a soft spot for bands/projects like this. The new one must have been recorded somewhere in the old catacombs, among the remains of fallen priests. It's all shrouded in a cold mist, cooling, glowing and burning at the same time. I really recommend listening to it in the middle of a dark night. That's when its power shines through the most. Every time I walked by, I felt sick. I felt dizzy and I could feel worms gnawing at my insides. I had the feeling that death was very close, that it was reaching out its bony hand. A strange place, full of terrifying shadows. An ancient, dark and blood-soaked ritual of the most terrifying death! Mysterious black death metal echoes!


tracklist:
1. Temple I: Through the Trees
2. Temple II: The Initiation
3. Temple III: Reborn into Darkness
4. Temple IV: The Key & the Gate (Sitra Achra)
5. Temple V: Exalted Invocation of the Blood Moon



News! - WITHERING SURFACE - Denial Denial Denial - official video (Mighty Music)


WITHERING SURFACE “Denial Denial Denial” official video


For their new digital single and official video, Denmark’s melodic death metal prodigal sons WITHERING SURFACE unveil one of their most catchy and melodic songs ever. “Denial Denial Denial” gets under your skin with its straight-forward verse-bridge-chorus structure, and gets you banging your head and singing before you even hit that “Repeat” button. Vintage, lead-soaked, melodic death metal with a modern twist for a band that seems to have no problem in reinventing itself.
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“Exit Plan” is the 6th studio album from Withering Surface following the success of the 2020-comeback album “Meet You Maker”. The process of the “Exit Plan” album was long and challenging with various recording session, line-up changes, producers and on top of that all the obstacles with Covid and post-Covid. The fact that the band’s engagements with Copenhell and various other festivals in 2020 were postponed two years to 2022 could easily have killed Withering Surface that was making a comeback after 15 years in slumber. Instead, all efforts were put into the making of “Exit Plan”. An album where both songwriting and lyrical concept appear stronger than ever for the band. Topping this is the production by Soren Andersen (Medley Studio), mainly known in rock and hard rock circles for his work with artists like Thundermother, Tygers Of Pan Tang and Glenn Hughes. Soren Andersen was not the obvious choice of producer for a melodic death metal band but ended up being the perfect match for Withering Surface anno 2024 delivering a huge over-the-top sound.

Allan Tvedebrink says “Right after we dropped “Meet Your Maker” all our gigs and plans were scrapped because of the pandemic and it obviously created a huge void for us. I’m very proud of that album, but when it was finished, I felt that we could do better and, because of the wide open schedule, I immediately started working on “Exit Plan”. The new material is focused on a much more direct and intense approach and it is by far the strongest compilation of songs we have ever done to represent an album. In the process of creating “Exit Plan” we had lots of set backs. Deciding to let our new drummer go after we recorded the drums, having a new guitarist on board and losing our keyboard player took some extra time, but also made us re-visit the material and get everything right. The challenges and the decisions made in the process definitely made the album way better”.


Soren Andersen: “I was initially hired as the mixing engineer but I have ended up becoming a superfan. This is how I feel about Withering Surface and their forthcoming album “Exit Plan”. They are by far the most extreme band I have ever worked with. Musically I have no other bands to compare them with besides Faith No More and Soilwork. After a few mixes I totally fell in love with the sound of the band, and never before have I challenged myself as much as I have working upon this album. Combining brutal riffs, a powerhouse rhythm section, screaming vocals, melodic solos and imaginative songwriting, this is all I could ever ask for in a metal band”.

Singer Michael Hvolgaard Andersen adds: “Vocal wise I wanted to go back to the roots of Withering Surface. Capturing some of the spirit from the frustrated 19-year old me. Songs on the new album like “Where Dreamers Die” and “You Hurt This Child” show that. I was not sure I still had that throat capacity and aggression in me but proved myself wrong. I always had the desire to make catchy sing-a-long choruses. In the past they were on songs like “Dancing With Faries” and “Joyless Journey”. On “Exit Plan” this desire is brought to life on “Denial Denial Denial”, “Finish What You Started” and “I Finally Lost (All Faith In Humanity)”. Since the formation of Withering Surface, Allan’s songwriting felt natural for me to make vocal lines and melodies on and on “Exit Plan” I truly believe he delivered his strongest material to date which by the end of the day is the reason that made my voice sound strong and have me deliver that little extra”.

The lyrical concept

“Exit Plan” is about breaking boundaries and norms that have been set for one. To put a mental period and start over. To get complete clarity about where you are and are going and want to end = “Exit Plan”. Song titles include “Where Dreamers Die”, “Mindreader”, “You Hurt This Child” and “I Finally Lost (All Faith In Humanity)” and are all with a lyrical foundation in the aforementioned outlook on life, sex, shame, religion and a fading view of humanity.

“Exit Plan” is a lyrical extension of its predecessor “Meet Your Maker”, where a religious meeting with the higher powers made the protagonist realise that there is no help to be had from anyone but the person himself. That you stand alone. That the only one who can help you is yourself. Cold cynicism and power do not go hand in hand with charity. Forget the norm and anything that doesn’t work for you. No excuse, no blame. You are not a social experiment. The thanks you get when you’re gone are worthless and remember one of man’s greatest qualities is to repress.

“Exit Plan” will be released on LP (black vinyl), CD and digital formats on June 7th, 2024 via Mighty Music.

Lineup:
Allan Tvedebrink - guitars
Michael H. Andersen - vocals
Jesper Kvist - bass
Troels Lund-Sørensen - drums
Marco Angioni - guitars

All drums on “Exit Plan” performed by Jakob Gundel

Digital single pre-save link:


Webshop:

Web:
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KNIŽNÍ TIPY - Smrt pod kůží - J. D. Barker, James Patterson (2024)


Smrt pod kůží - J. D. Barker, James Patterson
2024, Kniha Zlín

Už to bude nějaký ten rok, co jsem na jedné německé dálnici zkolaboval. Stál jsem tenkrát v autě a nemohl se hýbat. Kamarádi pro mě museli dojet a odvézt mě i auto. Jsem jim za to dodnes vděčný. Následovalo několik vyšetření, aby se nakonec zjistilo, že moje oči už nejsou v pořádku. Musel jsem překopat celý svůj život. Byl jsem nucen zase po letech usednout do vlaků. Zpočátku jsem byl naštvaný. Potom jsem si cestování oblíbil. Jedu si takhle zase na sever a dlouho hledám v batohu svůj osobní nůž. Konečně můžu rozříznout krabici, ve které je kniha uložená. Složím karton do co nejmenšího kvádru a vrátím jej do batohu. Ke knize si nejdříve přičichnu. Jsem jak feťák, který potřebuje další dávku. J. D. Barkera mám moc rád. Pro tenhle výtisk jsem šel ještě ráno před prací. V půl páté jsem stál u zásilkového boxu a ťukal jsem kód. Potom nebyl čas, až teď někde mezi Plzní a Rokycany.

Na nádraží v Praze si není kam sednout. Mám v jedné ruce svačinu a v druhé knížku. Čtu si zase jednou ve stoje. Nevnímám dotazy některých lidí, kteří, ač mají nejnovější Iphony, ptají se mě na cestu a v kolik to jede. Je to stejné, jako minule v Jizerkách. Jsem uvnitř příběhu, chycený do pasti kapitol. Smrt pod kůží je svým způsobem trošku podobná tomu, co píše Stephen King. Alespoň tak na mě působí. Mám to takhle rád, miluji tu temnotu, záhady, magii. Když k tomu přidáte tajemno a vypravěčský talent, nemůže u téhle rovnice vyjít lepší výsledek. Nalezu do couráku a začne pršet. Šedivé pole, divní spolucestující. Periferie Prahy, už dávno mám na uších sluchátka. Abych neslyšel rodinku, která vypadá jak z nějaké sekty. Potřebuji jejich divná slova o Bohu odhlučnit. Poslouchám nové DARKTHRONE. Ha, říkám si poněkolikáté, začínám mít některé nahrávky spojené s konkrétními knihami. Zajímavé, ale tak tomu prostě je. 

Nechtěl bych být v kůži strážníka Waltera, který se shodou okolností dostane na místo vraždy. Krásná mladá dívka zabije svého únosce. Potom uteče při převozu do nemocnice a začne se odehrávat příběh, který je doslova narvaný napětím. Chce to pořádnou dávku fantazie, kterou samozřejmě máme, protože jinak bychom nebyli knihomoly. Občas vzhlédnu přes brýle do krajiny. Stavíme v kdejaké vesnici, u kolejí pár naházených panelů. Někdy je to až strašidelné. Nevidím náhodou támhle za tou budovou podivný stín? Nekouká se na mě někdo? Ne, to je jen chlápek čekající na svojí paní. Nebo ne? Je nějaký křivý a jeho pohled je děsivý. Znovu se začtu a jsem v mém oblíbeném Detroitu. Vidím před sebou prázdné ulice, kdysi tolik prosperujícího města. Neleží náhodou nedaleko v jednom bytě mrtvola? Jak to můžu vědět? To se mě neptejte. Zrovna vyšetřuji spolu s Walterem. Doufám, že stihnu ještě jednu kapitolu. Než přestoupím ve Všetatech. 

Některé stránky jsou pěkně zmoklé. Achjo. Vyndám kapesníky a pokouším se vše vysušit. Jenže to moc nepomáhá. Ještě, že je to voda a ne krev. Říkám si pod vousy, jako správný fanoušek krimi. Říkal jste něco, zeptá se mě najednou mladá dívka, která nastoupí ani nevím kdy. Nejdřív se leknu, ale když vidím, že se usmívá, přiznám se ke své zálibě v knihách. To já vůbec nečtu, mě to nebaví. Podle mě je to ztráta času. Raději se podívám, až natočí film. Nějak jí nedovedu odpovědět, neumím se bránit. Má svým způsobem pravdu, ono i mezi čtenáři jsou rozdíly. Někdo nemá rád komplikovanější příběhy, někdo zase sci-fi. Každý podle svého gusta. Mě se na Smrti pod kůží líbí jazyk, jakým je knížka napsaná. Způsob, jakým mě drapla do svých drápů a nepustila. Nechávám vždycky svoje myšlenky, aby nejdříve létaly kolem. Časem se představy usadí a já přesně vím, jak jednotlivé postavy vypadají. A když si k tomu připočtete i tajemno, budete nadšeni. Jsem fanoušek autora, znám jeho knihy a jako takovému se mi novinka líbí. Ale dovedu pochopit, že někomu nechutná. Záleží na vkusu, jako vždycky. 

Přivítám se se svojí starou mámou a pokecáme. Jde spát brzy. Já si znovu otevřu knížku a pivo. Pod okny se procházejí přízraky. Jsem v bytě, ve kterém jsem kdysi vyrůstal. Sedím u stejného stolu, čtu si jako když jsem byl malý. Vrátil jsem se ke svým kořenům. Zajímavé je, že to bylo zrovna s touhle knihou. Potom mi padne hlava na stůl a jdu si lehnout. Chybí mi padesát stránek do konce. Druhý den je ale náročný, musím stěhovat, pomáhat, makat. Večer se mi klepou ruce a těším se, až si zase zalezu pod starou lampičku. Druhý den jedu domů brzy ráno a všechno si znovu a znovu přehrávám v hlavě. Tahle knížka ve mě zanechala pěkně hlubokou stopu. Nelze jinak, než doporučit. Mějte se krásně a přeji příjemné světlo ke čtení. Děkuji za pozornost i za přízeň. 

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Když se oběť stane detektivovou posedlostí. Strážník Walter OBrien se při své první službě v řadách detroitské policie náhodou dostane na místo vraždy. Uvnitř zchátralého bytu právě vyděšená krásná dívka usmrtila svého únosce. Představí se jako Amy Archerová a mezi ní a Walterem okamžitě vznikne podivné pouto. Když ji Walter převáží do nemocnice, Amy se podaří utéct z jeho policejního vozu, čímž policii překazí vyšetřování. A Walter ji nemůže dostat z hlavy.

V době, kdy je povýšen na detektiva, se už jeho fascinace zmizelou šedookou ženou mění v posedlost. A když Amy znovu zahlédne, je odhodlaný ji najít. Zjistí ale, že je nějakým způsobem zapletená do řady nevysvětlitelných vražd, které právě vyšetřuje. Po mladé ženě pátrá i tajná vládní agentura, s níž začne Walter spolupracovat. Postupně odhalují související vraždy, které sahají daleko do minulosti. Walter ví, že právě on musí zabránit dalším úmrtím. Jak vysokou cenu ale bude ochotný zaplatit, aby vražedné běsnění jednou provždy zastavil?


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čtvrtek 9. května 2024

Recenze/review - NECROPHAGIA - Moribundis Grim (2024)


NECROPHAGIA - Moribundis Grim
CD 2024, Time to Kill Records

for english please scroll down

Už je to dávno, tak dávno. Psal se myslím rok 1990, když jsem se svojí tehdejší dívkou utekl do chaty v hlubokých lesích. Sedíme u VHS přehrávače a sledujeme kopie hororů, které jsou už v tehdejší době staré. Z obrazovky k nám stékají litry krve. Sérioví vrazi, démoni, nemrtví, zombie, bojíme se vylézt ven. Potom vypadne elektrický proud a ve tmě zahlédneme pár krvavých, žhnoucích očí. Je to přelud nebo krutá realita? Netuším, co ale vím jistě je, že druhý den ráno jsem poslouchal album "Ready for Death" od NECROPHAGIA. 

Měl jsem potom děsivé sny. A také jsem si přísahal, že tuhle smečku chci vidět jednou naživo. Bohužel se mi to nikdy nesplnilo. Někdy nebyl čas, jindy peníze a také, kapela nikdy netrpěla nadprodukcí. V roce 2018 nakonec zemřel zpěvák Killjoy a já se smířil s tím, že už tuhle legendu neuvidím. Zakonzervoval jsem si svoji sbírku a vracel se k ní pokaždé, když jsem měl pochmurnou náladu. Letos se kapela vrátila, aby nám představila nové album "Moribundis Grim".


Pánové vzali surové demo nahrávky, které nahráli ještě s mistrem Killjoyem a doladili je do finální verze. Na novém albu jsou tedy vokály původního zpěváka. Kapele potom vypomohli bývalí členové John McEntee z Incantation, Titta Tani (ex Goblin) a Mirai Kawashima ze Sigh. Výsledkem je materiál, který musí udělat dobře na zkažené duši každému opravdovému a věrnému fanouškovi kapely. Při poslechu si připadám, jako bych se vrátil po časové ose o spoustu let zpět. Zrovna jsme byli v kině a ohlížíme se neustále za sebe. Lekáme se každého stínu a nevěříme ani jeden druhému. Co kdyby náhodou? Skladby v sobě nesou klasický, tradiční rukopis NECROPHAGIA, přesně takový, jak jej máme rádi. Jedná se o sběratelskou záležitost, ale i o krásně morbidní vzpomínku. Mě se vždycky líbila taková ta těžko definovatelná nadsázka, kombinace surového, temného, chladného smrtícího kovu a podmanivě hnusné a mrazivé atmosféry. Doporučuji vám udělat následovné. Nejlépe o víkendu, v místnosti bez světel, si přehrajte celou diskografii téhle legendy. A potom si doplňte vzdělání i setkáním s "Moribundis Grim". Zklamání rozhodně nebudete. Jen si dejte pozor, až vylezete na světlo, na podivná znamení, která se budou objevovat všude kolem. Možná vás posedne ďábel, ale to už k tomu tak nějak patří. Jako k mrtvému dřevěná rakev. Vrátil jsem se do té staré chaty hluboko v lesích. Dokonce jsem našel i starý VHS přehrávač. Kazeta se uprostřed přetrhla a děsivý film se stal krutou realitou. Nechte si chutnat, podávány jsou zahnívající, syrové kousky masa, o jehož původu se dají vést spory. A také hudba, která se vám dostane do morku kostí. Morbidní, klasický, temný death metal s krvavou hororovou atmosférou, u kterého budete posednuti démony! 


Asphyx says:

It's been a long, long time. It was 1990, I think, when I ran away with my then-girlfriend to a cabin in the deep woods. We'd sit in front of the VHS player and watch copies of horror movies that were old by then. Gallons of blood dripping from the screen towards us. Serial killers, demons, the undead, zombies, we're afraid to come out. Then the power goes out and we see a pair of gory, glowing eyes in the dark. Is it a mirage or a cruel reality? I have no idea, but what I do know is that the next morning I was listening to NECROPHAGIA's "Ready for Death" album. 

I had terrifying dreams afterwards. I also swore to myself that I wanted to see this pack live one day. Sadly, I never got to do that. Sometimes there was no time, sometimes there was no money and also, the band never suffered from overproduction. Finally, in 2018, lead singer Killjoy passed away and I resigned myself to not seeing this legend again. I bookmarked my collection and returned to it whenever I was in a somber mood. This year, the band returned to present us with a new album, "Moribundis Grim".


The gentlemen took the raw demos they recorded with master Killjoy and tweaked them into the final version. The new album features the vocals of the original singer. The band was then assisted by former members John McEntee of Incantation, Titta Tani (ex-Goblin) and Mirai Kawashima of Sigh. The result is material that is bound to do good to the corrupted soul of any true and loyal fan of the band. Listening to it makes me feel like I've stepped back in time many years along the timeline. We've just been to the cinema and we're constantly looking back. We're scared of every shadow and we don't even trust each other. What if by chance? The songs carry the classic, traditional NECROPHAGIA signature, just the way we like it. It is a collector's item, but also a beautifully morbid memory. I've always liked that kind of hard-to-define hyperbole, the combination of raw, dark, cold death metal and captivatingly ugly and freezing atmosphere. I recommend you do the following. Preferably on a weekend, in a room without lights, play the entire discography of this legend. And then supplement your education by meeting "Moribundis Grim". You will not be disappointed. Just watch out when you step out into the light for the strange signs that will be popping up all around you. You might get possessed by the devil, but that's kind of part of it. Like a dead man's wooden coffin. I went back to that old cabin deep in the woods. I even found an old VHS player. The tape broke in the middle and the horrific film became a cruel reality. Taste it, served with rotting, raw pieces of meat whose origins are disputed. And also music that will get to your bones. Morbid, classic, dark death metal with a bloody horror atmosphere that will have you possessed by demons!



about NECROPHAGIA on DEADLY STORM ZINE:



Tracklist:
01. House By The Cemetery (Cover)
02. Moribundis Grim
03. Bleeding Torment
04. Mental Decay
05. Halloween 3 (Samhain cover)
06. The Wicked (Live)
07. Scarecrows
08. Sundown

Album line-up:
Killjoy Desade - Lead Vocals
Serge Streltsov - Guitars, Bass
Shawn Slusarek- Drums
Jake Arnette- Bass

Titta Tani - Drums, Backing Vocals
Mirai Kawashima- Keys
John McEntee - Guest Vocals
Dee Commisso - Keys

Interview - HERESIARCH - A furious, hateful black death metal inferno!


Interview with death metal band from New Zealand - HERESIARCH.

Answered N.H. and C.S, thank you!

Recenze/review - HERESIARCH - Edifice (2024):

Ave HERESIARCH! I am listening to your new album „ Edifice“ and I have the perceptive feeling that I am at an evil black mass. You play black death metal and this is your second full length album. Can you tell us how the new recording was made and in what direction did you want to move from the great previous albums? Did you want to be even faster, darker, more evil?

We set out to write something that surpassed our previous releases. Edifice is written as the predecessor to our first album, Death Ordinance. In that album, malformed and disfigured people fight mercilessly for the scraps in the fallout and ruins of civilisation.

Given how harsh and violent that album was, Edifice needed to be crueller, more hopeless and more oppressive to lead to that conclusion. It’s the last remnants of human dignity being beaten out and trampled to get to that state.

With Edifice, we wanted to amplify everything. Darker, more violent, more dismal, more pronounced doom, with more chaotic and fast sections. Our writing expands simultaneously in opposite directions - the most primitive material we've released is coupled with the most complex and nuanced.


You know what hit me into the face? Sound of this new record, It's organic, rainy, the album has a black spark. Nowadays, between overwhelmed and compressed formats it is literally refreshing. This is what I think is true hell! Please tell me where and how did you recorded? How did you get that sound?

The album was tracked by Raj Singarajah and Cam Sinclair at Dynamic Rage and mixed by Cam using a mixture of analogue and digital equipment. Working with them was crucial to the sound of the album, as they have the knowledge, skills and equipment to facilitate our goals.

Our approach to tracking is to get the tones and sound dialled in at the source so that we can capture the raw material as honestly as possible. For example the rhythm guitars were recorded in one session with an emphasis on using single takes of tracks. It was essential for us to capture the atmosphere, violence and aggression of our music whilst maintaining clarity. There’s no point spending lengths of time writing music only for it to sound like a load of bloated and muffled shit recorded in another room. At the same time, we actively avoided an over-produced, sterile sound.

The raw tracks themselves sounded excellent, and this upfront method made the mixing process much smoother and yielded better results than compromising, dramatically changing the character of the recording or half-assing it. The mastering was completed by Luke Finlay from Primal Mastering, so from that perspective all the sound aspects were handled in New Zealand. This configuration works well for us.

I'm the kind of old school fan who approaches music by buying a CD and a T-shirt when he likes the album. I have to say that the motif on the cover of this year's album is really good. That's how I imagine real hell. Can you tell us how you chose the motif, who's signed and how it relates to music?

The cover art is done by Khaos Diktator Design who has produced some real standout art over the last few years. He's also passionate about this style of music which meant he understood the vision and intent very clearly.

It’s a statement of control, subjugation, and futility before the looming edifice. The cover signifies the lengths people will take to survive and appease those with power, a statement to both human cruelty and weakness before an uncaring monument built to their oppression.

Ultimately, it represents how people can be manipulated to commit acts that go against our morals and principles. This ties in with the lyrics and narrative of the album well, as does the inner art.


When I look at your line-up, you're a band that is made up of experienced musicians. How do you create new music? What about the process of creation new material? Do you have any problems - after all, experience is sometimes an obstacle. You know - ego etc.

The vision and objective are more important than the individual contributions, so we don't let ego be an obstacle. Nothing is ever off the table in terms of improving, saving for later or scrapping completely, the main priority is that it serves a purpose within the greater vision.

A lot of the riffs and initial musical ideas emanate in a completely natural fashion. In a way, it is as if they plucked from the unconscious. After the base material is formed, there is a calculated phase where the material is fine-tuned and structured. We do not have problems, but this process can take a long time.

We strike a balanced approach between thinking and feeling when creating new music. We’re not forcing riffs, noodling around, or jamming. Often, we will have an idea to build on or manifest something as before mentioned, we then tweak it and improve it. It's important that the music sounds like a complete body of work, with an attention to detail that doesn't affect the atmosphere or rawness of the music. We intentionally create music that is at times challenging for the listener and remains unpredictable.

As we continue to evolve, there is always a strong influence and recognition of our previous works. We are self-influenced more now than ever and will continue to explore this more in our next release.


For me, the Australian and New Zealand school of death metal has always been associated with a certain darkness. Even when I was young I used to be fascinated by references to Satanism, the kind of filth, the rottenness that could be felt in the work of your bands. How did you get into that style?

We were naturally drawn to the more violent styles of Metal and completely skipped a lot of the more watered down “extreme” bands while still retaining some influence from wider genre classics. This meant we always had less focus on hooks and conventional pop structures, this is most evident on Edifice.

While we definitely have some similarities in sound to other bands from our region, our initial influences came from Canadian, US and Finnish bands.


I wonder what it's like in New Zealand as far as music is concerned? How did you get into music and who were your role models? What about your scene, clubs, fans?

We grew up around Wellington, often running into each other at all ages shows and the occasional R18 ones. We were considerably younger than most others around at that time and were starting to make our own music independent of what others in that scene were doing. We knew each other for years before starting to work together and it has been very straightforward in terms of communication and collaboration between us.

With regards to the current scene, clubs etc we are not particularly connected or interested. Exaltation are another NZ band to look out for. Backyard Burial was one of the cornerstone bands of Wellington, and Blaps (RIP) was an exceptional frontman in particular. It's exceedingly rare to see someone with that same presence perform.

You are also very dark in your lyrics. Of course it belongs to death metal and I like it, but I'd be interested in the origin and origin of the lyrics. How did the lyrics for the new album come about? What are they about?

The narrative and story were plotted out in advance but writing the actual lyrics always comes last. As mentioned before, it ties in as a precursor to Death Ordinance and is set in the near future.

There are several coinciding storylines within a greater piece. One who perceives themselves as the warrior of overcoming, stoicism, and conquest effortlessly killed by that which they wish they were. Insights and visions of the oppressed, oppressor and a more removed 3rd person narrative of the world. The stories are collected and presented in a fragmented and unhinged retelling, similar to how we draw upon stories from the past.

Regaring literature, Nietzsche “Thus Spoke Zarathustra”, Huxley “Brave New World”, and Junger “On the Marble Cliffs” had some influence on the lyrics, along with the writings of Tacitus, our own imagination and real world events throughout history.

The present day atrocities commited are a poignant reminder that our observations of humanity are correct.

“Barbed ouroboros of eternal misery
The recurring eternal of warfare
The somatic form trampled, a mere vessel for survival”

There have been many times in the history of metal that bands have been banned because they were shocking or had different views from the mainstream society. Have you ever had problems? In this day and age of the internet, it's awfully easy to immediately condemn someone, to start a rumour, to destroy them.

The internet is the perfect tool to give otherwise unremarkable people a sense of accomplishment through minimal effort.

There's a level of controversy one can expect with art of a confrontational nature, it can manifest in many forms. There are of course many who make a hobby of creating controversy and feigned moral outrage through presenting over a decade old information as current, which is often disingenuous and counter-productive.

You can’t please and placate everyone and this is not a priority for us. If people are looking for us to promote obsolete doctrine or validate their irrelevant worldview (Nazism, Communism, religious or racial superiority) they’re looking in the wrong direction.


Have you had to change your approach to music in any way thanks to new technologies? Thanks to the internet the world is completely different, bands have to approach everything in a completely different way. How do you perceive these changes?

Technology has no impact on the way we approach our music. Obviously we utilise modern technology to an extent, but this is only a means to produce something that is ultimately primitive and organic. An over reliance on modern technology to produce any art is pathetic, but it is even worse in the case of Death Metal/Black Metal.

We will never credit a drummer for programmed drums or completely replace and quantise the human element. We’re not dependent on technology to fix our lack of ability or asking people to fund our endeavours with subscriptions and exclusive “content." There’s too much “content” demeaning the value of art today, emphasised by bands churning out vapid releases with terrible AI “art.”

What about HERESIARCH and gigs? I noticed you don't get out so often. Do you like the tour over the Europe? I could imagine you alongside such POSSESSED, DEICIDE, as they come to us quite often.

We haven’t played since 2019, touring isn’t a priority now and that will remain the case. The benefit to this is we can purely focus on composition without rushing or compromising, we're not churning out releases as a means to travel.

It would be good to get to Europe at some point as we’ve never played there. It’s most likely we will play a single show in New Zealand this year at this stage.


What does death metal, black metal mean to you? How would you define it and how do you perceive these styles as an experienced musician? I do not want you to describe the technique of playing, I would rather be interested in your gaze, feelings, transmitted energy etc. Try to be a philosopher for a while.

As a band that draws influence from both, we're not particularly caught up in the absolutes of genres. It is also difficult to qualify and quantify, given how vast the genres are and the varying levels of interest we have in them as individuals.

Too much focus on tradition can dilute the music, your attention turning from creating fulfilling art to pleasing others. If you go too far out of the bounds you can head into pointless experimentation and pretentiousness.

This music has the potential to present creation, destruction, or both simultaneously, depending on the intent of the artist. When intent is only directed to the aesthetics or promoting a message, it often musically falls short and when there is no intent there at all, there is no real purpose for it to exist. A lot of mediocre music exists due to this and the obsession with relevance and “content” as seen with bands pumping out insipid garbage or retreading the same ground. Finding the right balance is up to the bands and their vision and people have the choice to engage with it or not.

It goes beyond playing an instrument in a specific way to achieve a specific sound as you've alluded to. Something as individual and experiential can be hard to put into tangible terms, you feel it or you don't.

Thank you very much for the interview. I really appreciate you taking the time for our web-zine. I wish your whole band a lot of hell inspiration, sold out media and enthusiastic fans. Good luck in your personal life. I hope to see you live ...

Cheers Jakub, the album seems well received so far and we are working on our next release currently. It shouldn’t be 7 years between albums next time.


Recenze/review - HERESIARCH - Death Ordinance (2017):




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