30 May 2023

Review: WINTERCOLD - As Above as Below


WINTERCOLD (Sweden) - “As Above as Below” Full-length 2021
This band is not a new name. Wintercold has issued numberless releases in the 15 years of its existence (you can check their data of discography at Encyclopaedia Metallum). It’s just that for me they are a bit low-profile, more into do-it-yourself ethics and positioned in the depths of the Swedish underground. “As Above as Below” is one of the most recent, a full-length containing 12 tracks that was released on August 4th, 2021. Throughout approximately 37 minutes of total playing time is wisely-interpreted Black/Doom Metal; epic, artistic, well-executed compositions. The gloomy and atmospheric nuances are precisely pleasant. The empowerment of pagan/neofolk/ambient elements in the structures and arrangements of their songs (referring to this “As Above as Below” album) has made them an awe-inspiring, breath-taking and undoubtedly worth-checking band. Wintercold stands in a class of its own!

29 May 2023

Review: V.A. - Azores & Metal Vol #2


V.A. - Azores & Metal Vol #2 (Compilation 2022)
“You may not believe in Azorean Heavy Metal, but it exists!”. Portugal’s Ponta Delgada-based label Museu do Heavy Metal Açoriano is back with its second volume of Azores & Metal compilation series, assembling some more 17 most active bands from the islands. Just like Vol.#1 that I checked in Reveal #14, I was once again fascinated and even more stunned by the quality of each band appeared in this Vol.#2. Each of them has given the best in terms of sound production, ideas that are rich in variety and full of color, song compositions in high creativity beyond limitations, a few of them are smart and brave to inject some non-metal elements, modern characteristics and other surprisingly unexpected features. Azores & Metal compilation is solid proof that there is a worthwhile metal scene in that Portuguese archipelago, and it’s like an ever-rolling ocean wave!

Review: TEARS OF FIRE - Anatta


TEARS OF FIRE (Germany) - “Anatta” 7" EP 2022
The Iranian-Swedish-German conspiracy Tears of Fire returns with their latest brainchild, “Anatta” 7" EP released through Austria’s Grazil Records on December 31, 2022. This, in my opinion, is another magnificent product following the full-length “Relics of Ancient Love” (2021) which I reviewed in Reveal #13. Once again I want to emphasize, wisdom has no boundaries and restrictions. Intellectuality grows and expands if you don’t put yourself in a limit. That’s what Tears of Fire has and they have their own magic and intelligence in their creative works. “Anatta” contains 3 monumental tracks infused with brilliant components; ritualistic, spiritualism, distinctiveness -- and the result is a mesmerizing and haunting artistry of Oriental Funeral Doom. This EP is absolute perfection!

Review: PAST M.D. - Desert Moon Hotel


PAST M.D. (Germany) - “Desert Moon Hotel” Full-length 2022
Frankly speaking, I never knew anything about this band until one day I received a press-kit from Imperative Music Agency (thanks to Gilson). Germany’s Past M.D. are a bunch of experienced musicians who have been in the Hard Rock scene there for a long time. Jörg Reuter (vocals, guitars, harp) and Detlef Poschmann (guitars, vocals) started with Midnight Darkness formed in 1980, recorded the only album “Holding The Night” released in September 1985. These two most crucial members returned in 2004 under a rebranded name - Past M.D. (so now you know what the MD stands for). Based in Oberhausen - North Rhine-Westphalia, the band released two early albums; “Part Time Rebellion” (2008) and “Circles” (2010). After several years passed and several phases of line-up changes, Jörg and Detlef teamed up with Hansi Heringer (drums), Jürgen Becker (guitars, piano) and Andreas Keuntje (bass) to record their third full-length “Desert Moon Hotel” officially released on October 1st, 2022. The new album comprises 12 songs (with a total duration of 58:55 minutes) of truthfully classic Hard Rock, fulfilled with the 80s aura and charisma, and the sound quality is really pleasant to the ears. Apart from the hard rock nuances that are the backbone of their music, Past M.D. also incorporate elements of ballads, blues rock and rock & roll at the right balance to make their works varied and more importantly, amazing! Remember one thing: Old people are still poisonous!!!

Review: GHOST:WHALE - Echo:One


GHOST:WHALE (Belgium) - “Echo:One” Full-length 2022
Now, it’s time for us to listen and enjoy something interesting and particularly amazing! Based in Brussels, the trio uniquely named Ghost:Whale bring us what they claim to be Instrumental Stoner Doom Sludge Noise. “Echo:One” is their one hour debut album, comprising 5 lengthy tracks including one epic 27-minute song. Heavy and loud sound. Sublime songwriting with highly creative music arrangements. Intensely groovy double distorted basses (by Lionel Beyet and Yves Vranckx). Profoundly solid drumming by Vincent De Santos. The addition of effects and samples that further enhance the brilliance of their songs. Ghost:Whale has brought out their music to a broader definition, daring to vary and innovate without limits and restrictions. Inhale your weed and fly to the tunes of “Echo:One”. Fantastic at all means!

Review: FOREST NOCTURNE - Scientia Potentia Est


FOREST NOCTURNE (Australia) - “Scientia Potentia Est” Full-length 2022
Something epic and majestic that you will get from the debut full-length of Forest Nocturne. “Scientia Potentia Est” contains 5 tracks that all feature an equal blend of aggressiveness and melodiousness. The quality of music and sound is close to the spectacular works of bands such as Emperor and Dissection. Based in Adelaide - South Australia, Forest Nocturne consists of L.Saalah (guitar/bass/vocals) and Robin Stone (drums), and they are both immensely intelligent in songwriting & music arrangements. Truthfully dark and furious guitar riffings, monumental drumming attacks, added with mesmerizing acoustic and synth elements, harsh-screaming vocals… the entirety sounds ravishing and remarkable! The album “Scientia Potentia Est” is 33:30 minutes of purely uttermost Black Metal aesthetics.

Review: BAREBONE BLITZ - Uproar Against…


BAREBONE BLITZ (Philippines) - “Uproar Against…” EP 2022
I once reviewed this band's 2-track promo/demo “This is Sure More Terrifying!!!” in Reveal #8 (August 2021) and now they are back through an EP entitled “Uproar Against…”, released on August 18, 2022. Established around 2020, the Filipino band Barebone Blitz will definitely always get my attention because their musicworks are always exciting. Damn!!! The new EP which includes four songs with only 4:13 minutes total playing time will make us amazed at the superb maximum speed they have presented, and all that in tight play conditions. Barebone Blitz really defines ‘fast, short & loud’ at its best and perfectly delivers what is called straight-in-your-face thrashcore threat!!! It’s heavy, lunatic and kicking ass! If you want something riotous, get this.

Interview: WINTERCOLD (Sweden)


Based in Sala, Västmanland (Sweden), WINTERCOLD was originally a one-man band formed by Satanic Tony (Vocals, Guitars, Bass, Drums) in early spring 2008. From late summer 2018 the band evolved into a duo with Shelmerdine (known from Dark Awake) from Greece (on Keyboards, Vocals, Effects duties). Wintercold has been experimental from start and played a form of doom/goth metal the first years, nowadays they play their own brand of Atmospheric Black/Doom Metal with Neofolk/Pagan and Esoteric Ambient elements. Countless recordings and releases have been unleashed since it began, and the new one “When the Leaves Fall” (full-length 2023) is about to hit its light. Be prepared!… Here we talk exclusively with the band founder, Satanic Tony. - Interview by Atandistorted (May 19, 2023)

Hail! Tell us the history and background of Wintercold? What are some of the current status and news about the band?
The band started around March/April 2008 as a side project beside of the main band Demorian back then. From beginning I guess that it was never meant to be a serious band, but things got changed. 

Please also introduce the band line-up? How did you guys gather the ideas for the band name and the overall concept of Wintercold?
The band started as a one man band with me on all instruments, vocals and during many years it was in that way except for some guest appearance on a few recordings. In late summer/autumn 2018 the band extended into a duo with Shelmerdine from Greece. On the album “The Passage” from early 2019 we were two members and since then the band and the musical genre/sound have grown and changed a bit, but without leaving the old philosophy and idea in the band. The band name was more or less just taken as something that was related to nature + it was also a track title from my other band Demorian and thought it was a good name. 

In more detail, could you please define and describe the music of Wintercold, and also where most of the influences come from when talking about songwritings and the music sound?
The musical influences I take and get is from a huge number of musical genres, bands (Hellhammer, Bathory, Venom, Nokturnal Mortum is a few) etc. It is all from raw black/death to doom, folk, pagan, punk and some dark ambient. My personal idea from the beginning was that the band should do everything in it’s own way without try sound like all others, guess I have managed with that. Many call our music dark metal, doom, black metal and some not, guess we both leave all that to those who listen to our music. We create what feels right. Can add that I am personally most influenced by older bands from the 80’s and even some from the 70’s.

What are the lyrics all about? 
Hard question, but most lyrics is about topics related to our world today, life struggle, war, nature, ancient history, nationalism, our roots, heritage, life and death, universal powers, apocalypse. Personally have death and much thoughts around a life after death becoming a big part lately, much thanks to so many around me that have left their lives and often to damn early and it is probably because my own age today. Death is something that’s impossible to avoid for us all and that’s just a fact.

There might be some of us unaware about your full discography, so please keep us informed about some of the latest releases from Wintercold?
Some of the latest releases we have done is the ep/mini album “Dark Thoughts” from 2021 that we are very proud of and was produced by Dark East Productions in Russia. Then in the same year the band released a all free digital album “As Above as Below” that is a very special one, many instrumental tracks and can be seen as a way of a experimental one with lots of folk/pagan music elements. “To Nature we will Return” is an quite new ep we released last year and so far only as digital that also got a lot of pagan/folk rock elements. In 2022 we also did a split “Bloodlines Energy Cosmic Covenant” together with Ihdamas from Colombia and that one was made on a limited cassette, here’s the sound is more in the way as “Dark Thoughts” and “The Passage” albums. Right now we working on the layout for our new coming full length called “When the Leaves Fall” that have taken a long time to finish, it will be out sometime this year. 


How do you evaluate the band progressed in terms of musical composing and recordings on your new records as to compare with your old previous stuffs?
It is more or less in the same way for me when it comes to the recording process, but since the band now have two members it has developed and increased a lot in sound, guess we both believe it is so. With Shelmerdine in the band it have now a more mature/very dark, stable atmosphere, more than I think it was before. It is also because of that we all gets older and the longer a band goes on you also need to see and find new directions/ways in the musical creation.

Were there any live appearances from Wintercold?
No, sad to say, some years ago I had those ideas of do some live performance/gig with some guest musicians in the band. But I also think now that’s not the most important thing in life or as a band. Of course it would have been fun, but for what reason, for myself, or to sell some more record after, get more fans..ehh playing music and especially underground music is much more than that and was probably a more important thing for me when I was younger.

How do you predict the future of the band for the next few years to come?
In about 5 - 10 years from now I can absolutely see myself still doing music and it will not be pop (if the health is well), age is just a silly number and doing extreme music is absolutely nothing that’s just for a youth and have no such best before date in my eyes. In fact have I personally become a better musician just the last ten years so sometime is age and getting older a very positive side effect. I also hope that Wintercold as band is still active in 5 - 10 years, but of course I can’t give a guarantee as you never know what the future brings. We keep on going as long we do and that’s true.

Mind you sharing something about the extreme metal / underground music scene in Sala, Sweden? Are there any fanzines from the area?
There are no fanzines/magazines that I know of here today, back in the 80’s and early 90’s there was a few. Our town have some underground and known metal bands and a few punk bands as Grand Design (at least half band), Carnal Forge, Wombbath (not sure if all members live here now), Stonetrade, Mayhem in Bedlam, Below Under,  Irritation (Hc/crust) and Freddie Brox. Older bands that the town is known for is In Thy Dreams, Harvey Wallbanger, Hans & Greta, Metal Militia, Nightfall, Steelattack, Section Eight, Tragic Serenade, Persecution, Asperity, Soulskinner and many more. There have always existed a lot of bands in our area and many have been so underground that none have even realised they have existed. But beside of myself there’s not many that have been focused or even have been close to do black metal or more extreme. We have a local rock/pub place here that many smaller local, but also well known international bands have been playing at so the scene is alive, but not like the old days. Spotify, Itunes etc.. have f**ked up a lot.

Thanks for spending your time for this interview. Any last words?
We thank you for the interview and hope people will keep on support the underground metal scene as it have started become fragile these days. The modern world with all the technology destroyed a lot the past years. Hails!

12 May 2023

Interview: AVTOTHEISM (Italy)


Death Metal will sound unique and extraordinary if a band wisely incorporates varied and different elements in the right place, has a high quality of creativity and puts it in a distinctive sound. This is what AVTOTHEISM, a brilliant band from Italy, has. Their debut full-length is absolutely heavy, angular, tense, yet manic. “The Sleeper Awakens” is an ambitious exploration into the mammoth darkness that waits beyond. A signal transmitted through dreams but is not a dream. - Interview by Atandistorted [May 12, 2023]

1: Hail! As has been informed, Avtotheism was established in Italy in 2016. Can you tell more about how this band was founded and who is in the present line-up? What is behind the bandname, Avtotheism?
Hail! 
Yes, we formed in 2016 in a completely different shape. First of all, we are previously friends than band mates. We began as a 4 piece band, when L. (bass) asked us to the write some extreme music inspired by names like Cryptopsy and Deeds of Flesh. At the time we were just jamming some tunes and the idea was to tribute the old Sci-Fi movies era. We had a completely different name and approach. Then, we realized that we could take this thing to something different and more close to what we deeply love about extreme music. 
The name Avtotheism came to describe both sacredness and iconoclasm, the elevation of the self beyond religion and divinity. Unfortunately the name “Autotheism” was already taken as an album title, so we decide to switch the “u” into a “v” to keep the band easily researchable. We had a line-up change past year and now we are a 3 piece band.
 
2: I learned that Avtotheism is a Death Metal band with sulphuric, atmospheric and dark ambient elements in their sound. Please describe further about this musical genre and also explain where you get your major influences from?
All of us have completely different type of musical backgrounds, that we try to blend together to get the most abyssous and cavernous soundscapes we can. 
The idea is to find sulphur and atmosphere within sound research and not strictly into the riffs. 
As I said previously, we have come across different styles and musical tastes. 
For sure our main influences are Morbid Angel, Portal, Immolation, Ulcerate, Gorguts, Cult of Luna, Incantation, Abyssal, Lustmord, Atrium Carceri…

3: Something interesting considering your lyrical themes and the music deal with concepts, end-time scenarios and human annihilation. Elaborate more on this and why it has been your choice for Avtotheism?
We try to match the music that we make with something that could describe it as tight as possible. I think it is also cathartic for us to release our deep anguish and anger into music, there are flaws and frailties into the essence of being human that we want to unveil as they repulse and scare us, and probably this human race collapse scenarios are what combine the most all these elements together. 


4: Now please share as many things as you can about your current full-length, “The Sleeper Awakens”, especially in terms of songwriting, recording sessions, also in relation to the production and distribution of the album? Have the end outputs reached the quality you guys expect?
“The Sleeper Awakens” has been a quite long process, due to the 2020 pandemic. 
First of all, the album is a concept based on the movie Prince of Darkness, directed by John Carpenter. I (R.) always wanted to write music based on that movie.
Musically speaking, I think there’s a lot of sci-fi/soundscapes elements that make the record more cinematic than the previous material we wrote. It was one of a kind record because we tried to blend the music we play with the mood of the movie, and I think we are completely satisfied about the result. 
We began write riff and chunks of music round 2017, but the most was written during summer 2018, in a very short term of time (basically in 10 days I wrote most of the songs), but we could not record it before summer 2019, in our past drummer N. rehearsal room. 
As I said previously the pandemic slowed down the process, and we had to mix and master the record remotely, during long video and phone calls. Finally, by the end of 2020 we began searching for a Label that we actually found, but the deal went down after few months, so we lost other time researching someone else to promote the album. 
Fortunately we found Eric from Life After Death, the right man at the right time.
The record was finally released in summer 2021. 
I think we did not expected anything, for us the most important thing was to release a record that had 3 / 4 years gestation, but we are quite happy about the resulted output it reached, considering the time and energy we had spent at that times.

5: Compared to your previous works, especially referring to “Hives MMXVII” EP 2017, how do you interpret that Avtotheism has progressed and evolved more through “The Sleeper Awakens”? Do you see this process as just normal growth or do you feel that Avtotheism is still far from maturity?
I personally think both things, We are in the process of natural growth but still we are far from maturity. I always thought that the best record you craft is the most recent, so to me our growth and maturity are exponentials. Will be the next record more mature? Yes.
Will be the most mature? No. Music in general is research, and research never ends to me. 
That said, “Hives MMXVII” was made strictly for fun, we do not have clear ideas of what we were doing and where we were going, we were just enjoying the process and having fun. 
After it release, I realized we could and should take that thing to another level, that could express more our musical personalities. 

6: Many thanks for responding. Last but not least, how do you predict the future of Avtotheism? Are you currently planning for new recordings and next releases? What can you promise for the listeners of Avtotheism music?
First of all, thank you for your time and space. 
Yes, we are currently planning a new record. We began recording past year some material, but after few listens I personally wanted to go back and adjust things here and there, re-write songs and write some new tunes. I’m really obsessive when it comes to write music and I have to be 100% sure of what I hear, to be sure it represent us artistically in every part. 
Surely it will be a more obscure and cavernous record, with less melody and more dissonance. We are also planning some guests for this record, one is confirmed and already recorded is part, that we are really grateful for and proud of. 
For now this is all we can promise!

Information and contacts:


Credits: P. and AVTOTHEISM

5 May 2023

Interview: CREPUSCULAR ENTITY (USA)


The underground scene is not only limited to extreme metal and hardcore/punk genres but there are many other unique and different dimensions of art as performed by CREPUSCULAR ENTITY in this interview. You just need to have the openness to accept everything that has been done by Ken Jamison, a great personnel behind CREPUSCULAR ENTITY who is also the owner of a label called BASEMENT CORNER EMISSIONS. - Interviewed by Atandistorted [May 5, 2023]

Hello! What’s up today? Well, please tell us the history of Crepuscular Entity? Who is behind it?
Hello, I am Ken Jamison, from Oregon on the west coast of the US. I am the flesh and blood behind Crepuscular Entity. I also have the wall noise project Hana Haruna and I am in several duos like FOTO, Suyuin, Crepuscular Rituals, and Crepuscular Zombie, and have been making experimental noise since early 2018. I also run the (mostly) netlabel Basement Corner Emissions. I originally was in the noise duo Danshoku Dino and Crepuscular Entity (or CE) was my solo material. After the dissolution of Danshoku Dino my energies went full-time into CE, Hana and the label. Having no instrumental musical talent but loving the audio arts, CE was essential for my creativity.

What actually inspired you to form Crepuscular Entity and in more detail, how would you like to describe the music/sound created by this project?
CE came about because I had ideas in my head that didn’t fit in with Danshoku Dino as a collaborative and were more individual to me personally, and also because I knew the duo wouldn’t last forever. With CE I primarily make experimental sounds, focusing mostly on harsh noise, ambient, and some drone, but I have a wide variety of concepts mixed in and will add anything to the brew that makes it sound good to me. It’s primarily improvised on analog gear; I have a few dial synths and lots of effects pedals to run the sounds through, and also some looper pedals to gather found sounds to mutilate and distort to whatever I need. I just try and keep it as interesting as possible. 

Do you have any reasons why it is named as Crepuscular Entity?
Crepuscular Entity basically means ‘twilight being’. I like the idea of twilight as this area of neither fully light or fully dark, but obscuring everything into not-fully-knowable mists or fog. Dimness as an ideal. I try not to be obvious in what I do and to allow things to be interpreted by the mind of the listener. Plus it stands out in this era of noise all about women’s stockings or skinny ballet dancers or oozing pus or a bunch of no-longer-original themes. It’s an abstract in a time of specifics.

Tell us some of the best workpieces and releases from Crepuscular Entity? 
Wow, after hundreds of releases I honestly am not sure I can do that. Pick from my children? You can go to Basement Corner Emissions (or BCE) and just start with the most recent and go backwards. And often much of my best stuff is on the splits I do with other projects. Actually listening to my tracks on splits here and there is a good way to catch a variety of what I’ve done. And listen to the other project as well, which is what splits are all about.


What were majorly emphasized everytime you write and record a track?
As I said above, improvisation. I may start on a track with a basic concept, work out a loose structure, perhaps a time length and maybe how I primarily want it to sound, but when I hit record I try not to overthink what I’m doing, but let the flow of the sounds work themselves out and then improvise what I do from there. There’s no writing, all composition is in the moment, from my head to my fingers on the dials and then to an unforeseen end. It forces me to use my brain and stay engaged. It’s also more fun for me that way.

Do you put any message on each piece of work? How do you determine the track title?
No message, at least not in a strict sense. I love the abstract and do nothing with a determined meaning. My influence is not other noise acts but free jazz. Little structure, but chaos somehow filtering out into some kind of flow and ebb. As I’ve gotten older I have found that I have no interest in narrative forms in artistic endeavors, whether it be literature, film, TV or music. It is reflected in my sounds; no story, no neat finish, but oddities and strange nuances as ends in themselves instead of just moving a story along. I do have interests in history and remote and abandoned places that often enter as influences and these often get reflected in the final titles of tracks, but it’s more of a feel than of strict interpretation. My noise is just sound moved around according to my own impulses.

Please introduce more about your label - Basement Corner Emissions?
BCE came out of the ashes of the old kv&gr/recs label after the end of the original duo/partnership/friendship. kv&gr/recs started as a format for our own material but grew quickly to include other acts. When I had full control of the label I wanted to take it in a fresher direction, emphasizing newer and different experimental and noise projects over the usual suspects in the genre. I noticed the big name labels all seem to be a cabal of the same dozen US white males in cahoots with the same dozen European white males. It was getting boring. I wanted more diversity, not in a sense of political correctness, but because those outside the precious few were actually making better and more creative noise. I was finding great stuff in Latin America and Asia that were being ignored by the tastemakers, who after reaching the apex of the harsh noise pile seemed more intent on pushing others down and keeping the spoils for themselves. So I figured someone had to grab up all the good shit coming out of The Philippines and Indonesia and Thailand and India and Brazil and Argentina and other places not considered by the hipster labels and also promote the fact the best noise comes out of unusual circles nowadays. And of course female representation which is just as sparse. For a form that considers itself the most underground and unique of musical forms it seems to have no problem in letting the testosterone flow too freely. BCE exists to give new artists a leg up and a place to have their works heard, and to release albums by projects that were favorites of mine that might not get a call by the elites. I want good sounds, not fashionable ones.

Thanks for the answers. Anything else you want to say about Crepuscular Entity and to zine readers?
Please have a listen to the label and if you make noise or experimental sounds please consider contacting me through the contact page on Bandcamp or the social media links there. Or at basementcorner@outlook.com. I can’t promise I’ll release your work but I will give it a serious listen and the policy is pretty open door. And if you’re looking for sounds to listen to try projects you’ve never heard of and the more underground labels. I can tell you there’s nothing fresh going on with the well-known noisemakers, just a lot of 15-year-old re-releases on vinyl by labels trying to look cool. That is definitely not the future of the genre.