maanantai 31. toukokuuta 2010

Förgjord interview

This is my first interview in this blog and it is with Valgrinder from Förgjord. I bought their LP 'Ajasta Ikuisuuteen' couple of months ago and really enjoyed it. After that i had an idea to start a blog about BM / DM metal (salute to Wrath for the inspiration!), but as you can see, i have used interviews done by others, but from now on, all Finnish BM / DM interviews will be done by me. I will also try to do interviews with bands from outside Finland, but it's not so easy and sometimes a language barrier is the main problem, but let's see.. Much thanks to Valgrinder for this interview. (KMC)


KMC: First of all... i know this is a boring question, but can you tell me about Förgjord, history etc.?

Valgrinder: It all began somewhere in 1995 or 1996. First there were three members; Prokrustes Thanatos (vox) (Njafrar), Hypnos (drums) and Fullmoon (bass), but soon i (Valgrinder) (Bestial Devastation (Fin), Gaurithoth, Njafrar, Pimeys) joined as guitarist. Nothing really important happened until few years later when we kicked drummer and bass player and that was best thing that happened in bands history. One must destroy to create something new. Now band was just two members but still more complete than ever before. As the mark of new era, the name Förgjord was chosen.

Förgjord isn't just "band", but more like way to express ourselves. It's also mark of our brotherhood. You know, band members and friends comes and goes but true brotherhood will last forever. There is very long breaks when we don't create anything, but when inspiration strikes, we are ready to war. When there isn't any schedules we are free to create whatever we like whenever we like.

KMC: Has Förgjord ever played live? if no, will you ever play live?

Valgrinder: No, we haven't played live and some times ago i was sure that we won't ever play live. I don't like the idea that i have to use session musicians, not even if they would be our closest comrades. But seems like there's some people who would like to see us live and we've got some really interesting offers. So maybe someday we will do just one gig.

Personally i don't like to go to gigs, not to see other people nor see the bands. Don' t know why, but i dont need to see anymore metalheads or scenesters. I know who my allies are and that's all i need.

Förgjord - Korpilaki
(taken from 'Fratres Militiae Inferi' Demo self-released 2001, also in 'Henkeen Ja Vereen' Compilation Hammer of Hate 2006)

KMC: Where does Förgjord found it source to inspiration?

Valgrinder: Don't know, most likely it comes from finnish nature; thousands lakes and deep forests. That's maybe clishee, but what the hell. When i was younger i was more anti-something but nowadays i see that i'm more pro-something-something. Of course i'm same person that i was more than 10 years ago and feel same hatred and anger that i felt then, but during these years i have evolved so i can respect and love my culture, heritage and closest ones. I'ts good that theres some things that you're ready to die for. So that also gives more wider aspect to think.

But also hatred, anger, antichristianity and death are where our dreams are made of. They are part of finnish culture too, even if they aren't so "national romantic" themes.

Still i dont take "inspirations" intentionally. Often these words just start to flow inside of me, all i need is just moment in darkness with myself. Don't know how Prokrustes creates his art, but i know they are very personal. So i think that it's his inner self where those visions comes from.

KMC: What is the next step for Förgjord?

Valgrinder: Big wheel is turning again, so we have started to record new material. So expect more darkness, death and madness.


KMC: I must say that 'Ajasta Ikuisuuteen' is a great piece of work. How do you feel about the album yourself? Did the album turn out the way you want it to?

Valgrinder: We used four-tracker for that record, so of course there's some things that were meant to sound different. But i think that we won more than lost when using that old piece of shit. After recording the album it took some weeks until i could listen it again. I mean, couple years i've been playing with those riffs, though about compositions, finally recording and mixing and mastering, so i could say i gave everything i could. So when it was finally done, i was so full that i easily could have smash master tape. But time does heal and like i said, after some weeks i could listen it as outsider. When one sees/hears something too closely, it makes him blind/deaf.

But now i know that we made everything right. Ajasta Ikuisuuteen sounds like honest Finnish black metal, it represents us perfectly.

KMC: In the LP version there is a 'side Aika' and 'side Ikuisuus'. What is the stroy behind that?

Valgrinder: "Ajasta Ikuisuuteen" ("From time to eternity") means that when our time is complete, we start to move closer to eternity. That time starts when we born and ends when we die, after that starts eternity. So that LP starts from side "Aika" ("time") and it ends to side "Ikuisuus" ("Eternity"). So one could say that LP should be played from start to neverending end.

Förgjord - Kristuksen malja, ruumis ja veri
(taken from the album "Ajasta Ikuisuuteen" Hammer of Hate 2008)

KMC: What is the lyrical path of Ajasta Ikuisuuteen creation?

Valgrinder: There isn't any big storyline or concept. Those lyrics are made to stand on their own. But although me and Prokrustes write lyrics independently, still they seem to follow the same line.

KMC: I have not heard the CD version, but in the LP version it says that "vinyl mastered by...". Has the CD version got different kind of mastering?

Valgrinder: That LP's master is first time when any outsider have touched our music. Until that we have recorded, mixed and mastered our stuff ourselves. But my way of mastering is quite unnatural. One could even say that it's "wrongly mastered, too loud, no dynamics, too compressed" etc and if you listen our CDs, you know what I mean. But when time came to release LP we though that we have to get another master that fits for vinyl. Don't remember how we found Dan and his studio, but he did a great job. So there's big difference between "Ajasta Ikuisuuteen" CD and vinyl version. One is more dynamic & warm and one will make your ears bleed.

KMC: There is two members playing in 'Ajasta Ikuisuuteen' record (also in Förgjord / Musta Kappeli Split - Uskon Kuolema'). Will the Förgjord line-up be same in the future releases or are you considering taking more members in the band?

Valgrinder: More likely we will start to use some session members. In matter of fact, we already recorded three new tracks with session drummer but don't know if we ever use those ones. As i stated before, Förgjord isn't about playing or "being in band", it's Fratres Militiae Inferi, warbrothers of hell. But maybe we have to do some compromises and start to use session members. But i promise i will lead them like tyranny, they will be nothing but instruments of our vision.

Förgjord discography
Fratres Militiae Inferi Demo, 2001
Tie, Totuus & Kuolema Demo, 2002
Henkeen Ja Vereen Best of/Compilation, 2006
Ajasta Ikuisuuteen Full-length, 2008
Uskon Kuolema Split, 2009


KMC: Förgjord did two demos before Hammer of Hate released 'Henkeen Ja Vereen' (Best of/Compilation). After that Hammer of Hate released 'Ajasta Ikuisuuteen' and 'Förgjord / Musta Kappeli Split - Uskon Kuolemaa'. How did you end up releasing all your releases (except demos) through Hammer of Hate ?

Valgrinder: We had some bad expreriences with some demo labels before that. So it seemed that we were only ones who believed in Förgjord. So finally we though that it's time to do our swan song and we gathered promo package with some of our songs. We sent that promo to some Finnish labels and soon Hammer of Hate contacted us and after some talks they offered us a deal. They showed us true support and breath some life to dying band.

KMC: Will Hammer of Hate release the next Förgjord release also?

Valgrinder: Yes, and were honoured to work with them.

KMC: What do you think about the label itself?

Valgrinder: I haven't ever met so dedicated label than Hammer of Hate . They have given us everything we have ever asked but still they don't demand anything from us. But of course we will give them what we can, that's what co-operation is all about. In matter of fact, I don't think that there could be Förgjord anymore without Hammer of Hate and Molestors support.

Förgjord - Itseensä kahlittu
(taken from the album "Ajasta Ikuisuuteen" Hammer of Hate 2008)


KMC: What does Satanism mean to Förgjord?

Valgrinder: For me satanism is antichristianity. It's about strong ones over the weaks, not turning the other cheek and honesty to oneself.

KMC: What does Black Metal mean to Förgjord?

Valgrinder: Instrument to express antichistianity.

KMC: What do you think about the Black Metal scene in Finland today?

Valgrinder: Here's great bands, great labels, great individuals but also great backstabbers.

KMC: Any BM bands you would like to salute?

Valgrinder: Hails to our comrades from Nekrokrist SS!

Hammer of Hate:
Encyclopaedia Metallum:

Förgjord: Ajasta Ikuisuuteen out now on Hammer of Hate.
Order HERE.

perjantai 28. toukokuuta 2010


Blackdeath is a BM band from Russia with a distinctly primitive, militant and raw sound with a bestial and howling vocal delivery which provides an intensity lacking elsewhere in music of any kind. Formerly known as Draugwath and later Black Draugwath.

Blackdeath - Sun Is Setting In The North
(from the Split EP 'Bloodhammer / Blackdeath' Breath of Pestilence 2004)

Para Bellum (Dmitriy Popov) - Bass, Vocals (1998- ) (Draugwath, Black Draugwath, Cthulhu Biomechanical)
Abysslooker (Denis Popov) - Guitar, Keyboards, Vocals (1998- ) (Draugwath, Black Draugwath, Cthulhu Biomechanical)
(past members)
P.Ch.14 (2007)
Krieger (2006-2007)
Doommaker (2006-2007) (Guaho)
Maya - Drums (2007- ) (Ereth, Ulvdalir)

Promo' 98 Demo, 1998
Grave of the Light EP, 2001
Saturn Sector Full-length, 2001
Fucking Fullmoon Foundation Full-length, 2002
Bottomless Armageddon Full-length, 2003
Bloodhammer / Blackdeath Split, 2004
Mortifera / Blackdeath Split, 2004
Satan macht frei Full-length, 2004
Horna / Blackdeath Split, 2005
Portrait in Scars Split, 2005
Black Metal Fest DVD, 2006
Fanatical EP, 2006
Vortex Full-length, 2008
Chronicles of Hellish Circles Best of/Compilation, 2009

Blackdeath - Der Kalte Heiligenschein
(from the album 'Vortex' Omega Recordings 2008)
(re-released in 2009 on LP limited to 250 copies by Northern Heritage Records).

(taken from Northern Heritage zine)

Encyclopaedia Metallum:

Blackdeath- Stolz Der Falschen Engel, Live at Relax, 23.01.09 a.b.


Warloghe is Black Metal Band From Finland Formed At year 1995 in Jyväskylä. Lyrics Contains Satanism and Death Worship. Of the many Finnish raw black metal bands, Warloghe might be the one that has the strongest Black Legions vibe in their music. The band’s name means “oathbreaker”, as in breaking the oath with god.

Warloghe - Waaslandia
(from the EP 'Unlighted' Daimonion Productions 1997)

Glaurung (Eorl Torht Tyrannus) - Guitar, Vocals (Utgard)
T. L.(Leppänen) - Drums (Helwetti)
(past members)
Morath Worlock - Drums
Nazgul (Lauri Penttilä) - Bass (Blasphemous Evil, Blutrache (Fin),Horna, Incriminated, Kyprian's Circle, Mental Terror, Pest (Fin), Shatargat, Skullkrusher (Fin), The True Werwolf, Vomitfago, Krieg, Armour (Fin), Satanic Warmaster, Satanael)
(live session members)
Stormcrown - Bass (1998) (Helwetti)
Desecrator - Bass, Vocals (1998, 2005) (Helwetti)
Cornelius Mikael Waldner - Bass (1998) (Sagittarius (Deu), Hailstorm (Deu), Fahl)

Warloghe - Once More Against The Light (For Satan)
(from the album 'The First Possession' Drakkar Productions 1999)

The Black Tower Demo, 1996
Unlighted EP, 1997
Desecration Rehearsal Demo, 1997
Impurity Rehearsal Demo, 1997
The First Possession Full-length, 1999
Black Metal Endsieg I Split, 2001
Womb of Pestilence Full-length, 2003

Warloghe - Opened and Tainted Graves
(from the album 'Womb of Pestilence' Illuminating Void Productions 2003)

Myspace (fan site):
Encyclopaedia Metallum:

Warloghe - Nightly Storms
(from the demo 'The Black Tower' self released 1996)

keskiviikko 26. toukokuuta 2010


Torgeist was a black metal band formed in 1992 in Martignas-sur-Jalle, Aquitaine. The band belonged to the Black Legions (Les Légions Noires) along with Mütiilation, Bèlkètre, Vlad Tepes, Brenoritvrezorkre, and so on. Torgeist means "Gate Spirit" in German.

Torgeist - Devoted to Satan
(from the demo 'Devoted to Satan' 1994)

Lord Beleth'Rim - Guitar, Vocals (Amaka Hahina, Hellraper, Torture (Fra), Vermeth)
Vordb Bathor Ecsed - Bass (Black Murder, Brenoritvrezorkre, Dzlvarv, Moëvöt, Susvourtre, Vzaeurvbtre, Zelda, Dvnaèbkre, Chambre Noir, Bèlkètre)
Lord Aäkon Këëtrëh - Guitars (Bèlkètre, Dzlvarv)
A Dark Soul - Drums
(past members)
Dark - Guitar
Gargoyle - Drums

1994 Rehearsal Demo, 1994
Devoted to Satan Demo, 1994
Time of Sabbath Demo, 1995
Black Legions Metal Split, 1996

Torgeist - Flame of Hate
(from the split 'Torgeist / Vlad Tepes - Black Legions Metal' Drakkar Productions 1996)

Tribute site:
Encyclopaedia Metallum:

torstai 20. toukokuuta 2010


1992 - The Finnish Black Metal band was formed in summer as a five piece band under the name of Sigillum Diaboli. The first demo "Descent Into Hell " was released in November.
1993 - The band played their only gig in January. Later three members left/were kicked out of the band.
1994 - "Demo II" was released in June. Line up was: Pete-guitars (Depravity, Psychopathic Terror), bass, drums and Grimn`r-vocals.
1995 - In the summer the bands name was changed to DIABOLI, and later Pete parted ways with Grimn`r (vocals). In the autumn Pete recorded the first album "Mesmerized by Darkness".
1996 - "Mesmerized by Darkness" was released by UNISOUND RECORDS (Greece) in the summer.
1997 - In October Pete signed DIABOLI to American label FULL MOON PRODUCTIONS for two albums.
1998 - The second album "Towards Damnation" was released by FULL MOON PRODUCTIONS in January. The third album "Anthems of Sorrow" was recorded during the autumn. Vocals for this album were done by Grimn`r.

Diaboli - Totaalituho
(from the album 'Towards Damnation' Full Moon Productions 1998)

1999 - In the beginning of December Pete was arrested and charged with an attempt to kill a man with an axe. Later he was found guilty, and was sentenced to four years and six months in prison.
2000 - The third album "Anthems of Sorrow" was released in September by FULL MOON PRODUCTIONS. This year Grimn`r went to prison too for a few months because of some violence charges. The whole band was behind bars for a while.
2001 - In June Grimn`r (vocals) committed suicide.
2002 - Pete got out of prison in March. In September a Finnish label NORTHERN HERITAGE RECORDS released a limited edition (500 copies) 7"ep "Descent into Hell". The ep includes two songs from the first demo,which are re-recorded in 1999.
2003 - The fourth album "Unseen Age of War" was released in July by NORTHERN HERITAGE RECORDS. The album includes 12 unreleased tracks and both demos.

Diaboli - As I Walk Through The Shadows
(taken from the album 'Anthems of Sorrow' Full Moon Productions 2000)

2004 - The fifth album "Kirous" was released in October by NORTHERN HERITAGE RECORDS.
2006 - The sixth album "The Antichrist" was released in October by NORTHERN HERITAGE RECORDS.
2008 - Vinyl versions (500 copies) of "Kirous" and "The Antichrist" were released in March by NORTHERN HERITAGE RECORDS.
2010 - The seventh album "Invocation" was released in April by NORTHERN HERITAGE RECORDS.
(Bio taken from Diaboli website bio.)

Diaboli - A Sign For War
(from the album 'The Antichrist' Northern Heritage Records 2006)

Diaboli (Pete) interview 1997, by Steve Hoeltzel.
(Taken from Chronicles of Chaos)
CoC: Why did you decide to go "back to the roots" of black metal on Mesmerized by Darkness?
Pete: I don't know about going back to the roots. The music has always been in this style, so...
CoC: What are four or five albums that have had the greatest influence on the Diaboli style and sound? What else inspires you?
Pete: That's a hard one. One album I have to name which influenced me a lot when I heard it is Slayer's Reign in Blood. But speaking of black metal albums, there are many - Venom, Bathory, Celtic Frost albums, and a lot more. I think it's impossible to name just a few. And besides the 80s bands, some of the 90s bands have also influenced me - for example, Darkthrone. I can't deny that.
CoC: The album has a fairly raw sound to it (which I like!!). If you had the opportunity to record an album with a polished, big-budget production, would you take it?
Pete: Well, I think the first album almost sounds like a big-budget recording (!), but I don't know. I'm sure that if I had the opportunity, then I'd record a few songs and listen to how it sounds. It the sound was too clean, then no.

Diaboli-Victory Celebration
(from the album 'Mesmerized by Darkness' Unisound Records 1996)

CoC: Why do you choose to operate as a one-man black metal project? Has there ever been a time when Diaboli involved other musicians besides yourself? If so, what happened to them?
Pete: When the band was formed in summer 1992 and we released the first demo, Descent into Hell , in November 1992, there were five members in the band. But when we released Demo II in June 1994, there was only me and a vocalist left. Then our egos got too big and we were not getting along very well, so I parted ways with the vocalist, and Diaboli became a one-man band.
CoC: Were you involved in any other bands prior to forming Diaboli?
Pete: Yes. I played some not-so-interesting music.
CoC: Black metal is extremely fashionable in the underground metal scene right now, and it seems that there are new black metal bands forming every day. What do you think of black metal's sudden popularity?
Pete: That's really stupid, because there are bands who just put corpse paint on and can't make quality music, and suddenly they are selling thousands of records. But on the other hand, they are also spreading the anti-Christian message more and more, which is good.
CoC: Do you take an active part in any black metal "scene" in your area, or do you keep to yourself?
Pete: Here where I live, there is no black metal scene. But outside of this town, I meet a few people from the other Finnish black metal bands once or twice a year - not very often.
CoC: In your opinion, what are the best and the worst things about today's extreme metal underground?
Pete: Best = good bands. Worst = shit bands. [Hard to argue with that. -- Steve]
CoC: Many black metal musicians that I speak to say that black metal is more than just a musical style - it is a way of life. Is black metal a way of life for you? If so, what are the distinctive features of this way of life?
Pete: Yes, I think black metal is much more than just a musical style. It is elite music, above all other music, and it is a lifestyle.
CoC: When you are not making music, what kinds of music do you listen to?
Pete: I mostly listen to elite Scandinavian black metal, but because I play it too, I also listen to other kinds of bands - otherwise, I'd get bored and uninspired. But what kinds of bands those are, you really don't want to know!
CoC: What are your plans for the future? Will the world be hearing from Diaboli again?
Pete: I have quite a lot of new material recorded already, so wait for the second album to be released in 1997.

Diaboli - Utopian Vision
(from the album 'Invocation' Northern Heritage Records 2010)

Encyclopaedia Metallum:

keskiviikko 19. toukokuuta 2010

Video Picks (part I)

Mortuary Drape - Necromancer - Live in Italy 26.07.1990

Beherit - Satanas (Sarcófago Cover) - Live in Joensuu, Finland 08.02.1992

Profanatica - Final Hour Of Christ - Live in New York 1990

Bethlehem - Veiled Irreligion - Live 25.05.1993

Archgoat - Rise Of the Black Moon - Live 1993

Horna - Örkkivuorilta - Live 25.11.2002

Antaeus - Intravenal Call - Live in Paris 17.05.2003

Peste Noire - Le Mort Joyeux - Live in Toulouse 03.06.2007

Baptism - Morbid Wings Of Sathanas - Live in Lutakko, Jyväskylä, Finalnd 09.11.2007

Morbosidad - In My Blood,Sangriento Sacrificio Cristiano - Live 2007

Enochian Crescent - Thirteen Candles (Bathory cover) - Live in FMF, Finland 2008

Sargeist - Satanic Black Devotion - Live 2009

Xasthur with Nachtmystium - Beyond Light (Twilight cover) - Live 2009

Ofermod - Pralayic Withdrawal - Live in Speyer, Halle 101, Germany 27.02.2010

Kill - Rites of Bestial Impurity - Live in Satanic Ritual Festival, France 2010

tiistai 18. toukokuuta 2010


Armagedda was created in the mind of A in early 2000, but then went by the name Volkermord. Their idea was to create some spiritual disease through music that would infect and destroy human minds. Soon (couple of months later) A spoke with Graav and Phycon about this idea and all were in agreement... A rehearsal tape was recorded, but remained unreleased until 2008. The band entered the studio in mid-2000 for the recording of the Volkermord demo which enjoyed a grim and raw production; released in October, limited to only 30 copies. This demo was to be released on MCD format, but postponed indefinitely. In the very beginning of the year 2001 they entered the studio once again for the recording of the full-lenght debut-album 'The Final War Approaching'.

Armagedda - Deathminded
(from the album 'The Final War Approaching' Breath Of Night / Merciless 2001)

At this time the band changed their name to Armagedda (translates to 'Jehova's Hell'), and soon recorded some rehearsal tracks which were ended up on a split with suicidal Swedish act Svarthymn called 'In Blackest Ruin' and released through the Swedish Underground label, Deathcult Productions. Armagedda was originally signed to American / German cult label Breath of Night Records for CD release in 2002, with a vinyl version licensed to Sombre Records Germany. A new member, Mord, joined the Armagedda horde during early Summer of 2001 to complete the Swedish line-up. This all lasted until 2004, when Graav and A decided to disband and start something new, thus creating Lönndom.

"As you all may know, Armagedda will not bring you any future experiences. We decided after the release of 'Ond Spiritism' that it was for the best to put this phenomenon of ours to the past, we felt that we had achieved everything we needed and seen in our dreams. To continue would have been a move in the wrong direction. Graav has chosen another path in life and is forever gone. But as certain as the end came hand in hand with 'Ond Spiritism' a birth and beginning of something else grew in shape. However, that's another story and it will speak for itself somewhere else". This statement was issued by Armagedda.

Armagedda - Refuse The Blood Of Jesus
(from the album 'Only True Believers' Agonia Records 2003)

Graav - Vocals, Guitar (LIK, Volkermord (Swe), Lönndom)
A - Guitar, Bass (Leviathan (Swe), Lönndom, Volkermord (Swe), Whirling)
(Former members)
Bass - Patrik Högberg (aka Mord) (Demented (Swe))
Drums - Roger "Phycon" Markström (Leviathan (Swe), Maleficium (Swe), Volkermord (Swe)) &
Winterheart (Sterbend, Nyktalgia, Total Hate (Deu), Tairach, Krieg, Marblebog, Hunok, Flagellator (USA), Kataplex, Misery Speaks, Hinsidig, Savagery (Deu))

Volkermord Demo, 2000
In Blackest Ruin Split, 2001
The Final War Approaching Full-length, 2001
Armagedda / Woods of Infinity Split, 2002
Black Metal Endsieg III Split, 2002
Strength Through Torture EP, 2002
Only True Believers Full-length, 2003
In Blackest Ruin EP, 2004
Ond Spiritism: Djæfvulens Skalder Full-length, 2004
Echoes In Eternity Best of/Compilation, 2007
Volkermord - The Appearance Best of/Compilation, 2010

Encyclopaedia Metallum:

Armagedda interview
(Taken from Voices From The Darkside, interview by Frank Stöver, all live pics by NöktrymM)
Ok, let’s go back in time a bit – according to the info sheet of your label it was you who started ARMAGEDDA back in early 2000... But at that time it was basically just a musical vision of yourself (and not a real band yet), wasn’t it? Tell us how everything developed from the basic idea up to the time when you finally started to write your own lyrics and music.
"Well, it was growing and growing inside my head and I couldn't stand it anymore. The beast was unleashed and see where we are now."
I suppose the idea to name the whole project VOLKERMORD was also yours… But VOLKERMORD (or actually VÖLKERMORD) is the German word for genocide, which is a pretty unusual name for a band from Sweden, don’t you think?! So, how did that name come about? Do you speak any German? Why did you pick a German band name instead of a Swedish or English for example?
"First, I don't speak German. Second, why we chose that name is because it has no meaning. As you could see we didn't use the Ö, so the translation cannot be genocide."
Have you been writing and / or performing music previously already? I could imagine that you experienced something very influential at the time, something which impressed you so much that you wanted to start up something on your own... So, what was it – a certain band maybe? Or a song, a book, a movie…?
"I haven't performing anything of intereset before Armagedda. No books, no movies were involved in the creation of Armagedda. Only the ideas of spreading propaganda lead to our origin."
Was it clear for you right from the start that the result definitely had to be Black Metal? What is so fascinating for you about this musical genre?
"Yes, that was the idea from the beginning, to play old school Black Metal with influences from the 90's Black Metal scene in Norway. Bands like Darkthrone, Satyricon and for example Burzum have inspired us alot when it comes to the creation of the music. What's so fascinating? Well, the fanatics! The real worshippers of Black Metal."
At the time when you started, the big media interest in “Black Metal” already began to fade away again. Did you actually follow the “evolution” of Black Metal, from the good old days of early MAYHEM, DARKTHRONE, BURZUM etc. up to the time when most of the bands involved ended up sounding rather stupid and mainly seemed to care for the big success instead of the creation of frightening anti-commercial satanic music?
"No, I did not follow the evolution of the old bands. I stopped listening to MAYHEM after "Wolfs Lair Abyss". I don't know, maybe they are still serious in their believes. I don't know why they want to get big and famous and earn a lot of money. That's their business."
What do you think about bands like IMMORTAL, DIMMU BORGIR, SATYRICON, EMPEROR etc. who all started out very angry and dedicated, but over the years changed towards a more and more easy accessible attitude and musical direction?
"I don't know, I don't care."
Most of the bands also dropped their corpsepaint after a while, calling it a “natural progression” or a process of “growing up”. How important is corpsepaint and the whole visual side for you? Could you imagine to present yourselves without all that as well sometime in the future?
"It is not deadly important with corpse paint. But of course, it is a part of Black Metal. A part of the image and also the spirit. I think there is a big chance that you will see Armagedda without corpse paint in the future sometime..."
When and how did you actually hook up with Graav and Phycon on vocals / guitars and drums respectively? Have they been in any bands previously? Were they involved in any way in the writing of the material which ended up becoming your one and only VOLKERMORD demo tape?
"I knew Phycon since back in '97 or something like that. Me and Graav got in touch with each other some years ago. Both of them did alot of the music on the VOLKERMORD demo tape. They had a band in the late 90's, but that is another story and kind of boring."
Before you went into the studio to record the demo you also did a rehearsal tape, but decided not to release that. What was the reason for that? Which songs would’ve been on there?
"Just the same tracks as on the VOLKERMORD demo."
Why was the studio demo limited to such a small amount of copies? I mean, it’s pretty obvious that it must have cost you a little to record the tape, and I doubt that you managed to get the invested money back by only spreading 30 copies of it…
"That demo was dedicated to ourselves and to close comrades not to this planet."
But a little later you agreed on a re-release through Flagellation Records, who put out that demo again under your new moniker ARMAGEDDA, using “Volkermord” as the demo title... Tell us more about the intention behind this and also some more details about Flagellation Records…
"He wanted to make a re-release and I said ok, it is just that simple. The release was only for the serious people in our movement."
There was also talk about a possible CD version of it, wasn’t it? Who wanted to do that and why did it fell through in the end?
"Ask the guy of Eldritch Wizardry if you can find him. I know as much as you do in that case."
When and why did you go for the band’s name change by the way and what made you use ARMAGEDDA as your new moniker?
"Read question number two. If you ever read the Bible you would recognize Armagedda, Armagedda is a valley in Israel. A valley where Armageddon will come to pass."
The next thing you did was the split cassette “In Blackest Ruin”, which you did together with your country mates from Svarthymn. Which songs appeared on there, how many copies were made and who actually approached you with the idea of this release?
"Tracklist for "In Blackest Ruin": 1. Intro (Fire Walk With Me), 2. Horde Of Demons, 3. Whore Of God, 4. Wrapped By Darkness, 5. Pain and 6. Satan My Master (Bathory cover). This was released in I think around 60 copies by Deathcult Productions (Sweden). The reason why so few copies where spread was that DCP got problems with money and stuff. Though now Carnal Records will continue the release, and it will be available again this autumn. For more info contact Björn at Carnal Records."
I’m not quite sure about the origin of your debut album “The Final War Approaching” then – did you first of all finance / record the whole material completely on your own and Sombre Records licensed and released a limited vinyl version afterwards or was it vice versa?
"Yes, we payed for the studio to record "The Final War Approaching" by ourselves, then I sent a CDR to Opyros of Barbarian Wrath and Akhenaten heard it through him and contacted me. And we made up a deal. Sombre wasn't in the picture at that time, they came later..."
It was just a limited edition, wasn’t it? How many copies did Sombre Records press and distribute and was that a reason why Breath Of Night / Merciless Records stepped into the picture afterwards? What actually was the reason to work with so many different companies?
"The LP was limited to 500 copies."
When did Mord join the band and what is he actually doing in ARMAGEDDA?
"He joined to play the bass, but he left the band in the end of 2001 again. "
Musically I would say you’re trying really hard to deliver Black Metal in its most purest form and I suppose that a band like DARKTHRONE was kind of responsible for your sound. Any other bands that you admire, old or new?
"Katatonia, Katharsis, Clandestine Blaze to name a few."
How about the lyrics then – most of the true Black Metal people connect this music exclusively with Satanic topics. Do you share these thoughts? Why did you only print the lyrics to three of the songs in the booklet of your CD?
"Because we don't want to share all lyrics, some of them are very personal and can be misunderstood when small kiddies read them." In the meantime you must have been in the studio again as a new EP entitled “Strength Through Torture” is supposed to be out through Painiac Records. Tell us a bit more about that? Which songs will be on there and so on. Is it another limited edition release?
"The "Strength Through Torture" EP came out in January 2002, limited in 300 units. It was sold out in just some weeks. The EP consists of 2 tracks. Side A: 'A World Full Of Lies'; Side B: 'Dödens Vind (The Wind of Death)'."
And how about this Armagedda / Woods of Infinity split EP on Sombre Records? What is that all about?
"I have no news about that now."
Unlike many of the older Black Metal bands who often refused to play life, you obviously don’t have any problems with playing live and there’s even a tour in the making with BLACK WITCHERY (USA), MANTICORE (USA) and AVENGER (Czech). So, tell us a bit more about that and why you decided to perform your music on stage as well.
"Oh yes, I have a very big problem with playing live. Because of all the people. But I have never done it and we will do this tour. It will be the only live gigs performed by Armagedda ever. How we will perform it? Well.. if you will be there you will see..." (hmm, the question actually was WHY and not HOW you will perform your music live, but what the fuck... - Frank)
Ok, I guess that’s all for now. If you’d like to add something to this interview that we might have missed out, feel free to do so now.
"Armagedda have signed to the French cult label Drakkar Productions."

Armagedda - Helvetestoner
(from the album 'Ond Spiritism: Djæfvulens Skalde' Agonia Records 2004)

perjantai 14. toukokuuta 2010


Belketre belongs to the French circle of musicians/bands known as the LLN (Les Legions Noires) along with Mütiilation, Torgeist, Vlad Tepes (Fra) and Brenoritvrezorkre.. Formed around 1989 under the name of Chapel of Ghouls the name was changed in '91 to Zelda, then finally in '92 became Belketre. As well as Belketre both members, Aakon Keetreh and Avaethre, took part in many other projects with other LLN members. They also had solo projects most notable of these being Keetrehs self titled project Aakon Keetreh and Avaethres project, (under the name of Vordb Dreagvor Uezreevb), Moevot.

After releasing Petrified 'zine #3 Vlad Tepes/Belketre threatened to kill Jon/FMP because he listed their address and reviewed their material in the magazine. Jon promised The Black Legions if they step foot on his property they would go home in body bags. The Black Legions/FMP feud continued in the second issue of "KILL YOURSELF MAGAZINE" from Finland. They never communicated with each other ever since. Source: FMP.

Aäkon Këëtrëh (Dzlvarv, Torgeist)
Vordb Dréagvor Uèzréèvb (aka Avaëthre) (Black Murder, Brenoritvrezorkre, Dzlvarv, Moëvöt, Susvourtre, Torgeist, Vzaeurvbtre, Zelda, Dvnaèbkre, Chambre Noir)

Belketre - Twilight Of The Black Holocaust
(taken the Demo, Independent 1994)

* Studio Tracks 1993 Demo, 1993
* The Dark Promise Demo, 1994
* Twilight of the Black Holocaust (Studio Tracks 1994) Demo, 1994
* March to the Black Holocaust Split, 1995
* Ambre Zuerkl Vuordhrevarhtre Demo, 1996

Belketre interview from Black Plague
(click the picture for better view)

Belketre - A Day Will Dawn
(taken from 'Belketre / Vlad Tepes - Split - March to the Black Holocaust' Embassy Productions 1995)

Encyclopaedia Metallum:
Myspace (fansite):

Belketre - Guilty
(taken from 'Belketre / Vlad Tepes - Split - March to the Black Holocaust' Embassy Productions 1995)

tiistai 11. toukokuuta 2010


Teitanblood is a death/black metal outfit from Madrid, Spain formed in 2003. Teitanblood’s music is an articulate blasphemy. Labyrinthine disorientation overcomes the listener at times, at other instants focused animosity. Every element is put into place with intent and the effect is an overwhelming cascade of death. Pools of blood boil as trumpets herald the return of the anti-christ.
Teitanblood logo was drawn by Scorn of Katharsis (Ger).

Teitanblood - Necrosemen
(from the Demo 'Genocide Chants to Apolokian Dawn' Self Released 2004)

NSK - Vocals, bass, guitar (Proclamation, Ofermod)
J - Drums (Bloodoline)

(Past members)
Usurper of Eternal Condemnation and Inverted Crucifixion - Guitar (Proclamation)
Tyrant Spear Carrier of Barbaric Blood Sacrifice - Drums (Ragnarok (Esp), Uruk-Hai (Esp), Trasgo, Nazgul (Esp))

Genocide Chants to Apolokian Dawn Demo, 2004
Proclamation / Teitanblood Split, 2005
Teitanblood / Necros Christos Split, 2006
Black Putrescence of Evil Best of/Compilation, 2009
Seven Chalices Full-length, 2009

Teitanblood - Seven Chalices of Vomit and Blood
(from the album 'Seven Chalices' NED / Ajna / Dauthus 2009)

Teitanblood interview. Taken from Voices from The Darkness
(Questions by Jason Campbell, answers by TEITANBLOOD’s guitarist and vocalist Nsk).
Although I am quite sure you are tired of reciting these facts for various interviews, for the sake of those unfamiliar with your history can you describe the various forces and fates that led to the birth of TEITANBLOOD?
"There are no particular reasons for the creation of the band, rather than playing some morbid and downtuned Black / Death Metal primitivism back in 2003. We released one demo tape + 2 split EPs so far. Drummer position was replaced and we recorded our debut album: "Seven Chalices". Guitar player left and now the band stands as a duo."
Many still herald the demo as your finest work. I suspect that you may disagree with that assertion. What aspects of the demo do you think are meritorious and what elements did you consciously set out to improve in the releases that have followed? Was the demo recorded in a studio?
No, nothing has been recorded in a studio. I think the demo is more mediocre than the material that was produced afterwards, but it’s also easier to digest because of its simplicity and raw monotony, and perhaps that’s the reason why it has better acceptance by some people. It’s all about taste I guess. I think we achieved in providing the foundations of a pitch black atmosphere and transmitting rather demonic and sinister vibrations, but it lacked of the crushing, sadistic and oppressive intent that we developed throughout the next releases."
Even at the time that TEITANBLOOD released its demo, there was already speculation of TEITANBLOOD’s imminent impact on the underground Metal scene. What do you think set TEITANBLOOD apart from other bands even at the time when you had only released one demo?
"The scene back then (2002-2003) was rather crowded with bands trying to acquire the same great reputation as WATAIN deservedly gained (attaching themselves to the huge influence that Noevdia bands and first releases unleashed), and bands with rather pointless and frustrated perspectives with their depressed, misanthropic and antihuman “feelings”. In an underground and demo-tape context, I can remember very well that there were released on a reasonably similar timeline the Necros Christos, Goat Molestör and Proclamation demos alongside ours, which I objectively believe that raised back the interest to underground cruel, bestial and obscure Metal darkness. Not that we were the ultimate revelation, but we successfully appeared in the right moment at the right place and manage to create some attention."

Teitanblood - Leviathan Division
(from the Demo 'Genocide Chants to Apolokian Dawn' Self Released 2004)

Following upon the praise generated by the demo, TEITANBLOOD released two split EPs. One with Proclamation and the other with Necros Christos. Were there specific reasons TEITANBLOOD elected to work with these bands or was these collaborations merely a product of chance? Were the tracks recorded for the splits done at the same recording session?

"No, each recording happened in different sessions. Both splits were intended with those bands because of the close relation that I have with them, let alone the high praise and respect I profuse."
I mentioned Proclamation earlier which is another highly regarded band in the Spanish Metal scene and one which has been connected with TEITANBLOOD somewhat in the past. Are there other bands in Spain that you feel are following in the same spirit as TEITANBLOOD? Is there a scene worth mentioning in Spain at this time?
"I’ve not been aware of what’s going on in the local scene since years. I have a good relation to some guys that play in bands, but I don’t think they have much to do with Teitanblood in concept and style."
Has TEITANBLOOD performed live? If so, what do you try to evoke in your live performance beyond that which can be achieved through the recordings? If you have not performed live, is there a reason?
"We have never performed live and we won’t: there’s not a live line-up, I prefer to arrange new stuff and work on new ideas instead of playing the same stuff all the time, and basically, I already fulfill what I try to accomplish the way we do now."
The Greek label Nuclear Winter recently released a CD entitled “Black Putrescence Of Evil” that compiles the demo and all of the tracks released on the split EPs. What prompted you to reissue this material and what generated your association with Nuclear Winter Records?
Teitanblood became more and more known in underground circuits, and I had no more material to provide. Unlike some idiots have suggested, we’ve never intended to make our material limited. Upon the demand, I decided to send for free all the music material to whoever who would ask for it, by burning a CDR + photocopied cover + some flyers or stickers. I asked Anastasis to make those stickers, and when I told him about my intention about it he offered at once to do this release officially. I accepted under the condition of not limiting this release and putting it a convenient price, so, everyone who is interested in the music could have it accessible."
Many people describe TEITANBLOOD as bestial Black Death Metal. Others prefer to simply utilize the more general categorization of Death Metal. While we can probably all acknowledge the pointlessness of belaboring the nomenclature issue, can you describe at least the area of Metal to which you feel most closely akin?
"The point where Death Metal and Black Metal were not differenced."
One aspect of TEITANBLOOD that has always stood out for me is the archetypal elements present in TEITANBLOOD’s music. The most prominent influences on display in your music are those derived from the bands that established the foundations for Death and Black Metal. It seems that TEITANBLOOD prefers to draw on the well-established traditions within Metal and distill them into a pure and effective sound rather than generate a new sound altogether. IS this an accurate assessment?
"Yes it is." Still, there is something unique that one hears when exposed to the music of TEITANBLOOD.
Something emerges from this concoction of building blocks that sound unlike anything else. It is difficult to articulate it exactly, however. What, if anything, do you feel that TEITANBLOOD is contributing overall to the evolution of metal as a whole? Or are you simply making music and letting history decide what relevance TEITANBLOOD will ultimately have?
"I have not thought about such things. We’ve not evolved Metal, we just have just intentionally put some pieces together in a very gross and awry way."

Teitanblood - Infernal Dance of the Wicked

(from the album 'Seven Chalices' NED / Ajna / Dauthus 2009)

Now, turning our attention to the new LP, how long did you work to create the excellent “Seven Chalices” LP?
"Earliest remembrance that I have are a couple of songs that were rehearsed with the old drummer in early 2006. Recordings started in November 2007, and the mixing and mastering was finished in March 2008. Artwork was finished in March 2009."
Do you feel that “Seven Chalices” is an extension of what you were working on with the demo and the split EPs? How do you see the album in the context of your earlier releases?
"Each release is a more evolved version of the previous one in all aspects. I think the album has its own context regardless own releases or any styles to fit."
Message boards and magazine reviewers have all taken stabs at trying to describe the content of “Seven Chalices”. Do you find that the majority of people weighing in on the impact of the album have properly understood it? (I know you even had some disagreements with my own assessment of “Seven Chalices” written for VFTD). What do you think makes “Seven Chalices” such a difficult record to accurately describe? Does it bother you when reviewers and fans seem to miss the point that you were striving for even if they still otherwise praise the recording overall?
“A narrator should not supply interpretations of his work; otherwise he would have not written a novel, which is a machine for generating interpretations.” Umberto Eco -- Postscript to The Name of the Rose (1984). It’s impossible that I could make people to interpret the work the same way as I do, because my experience in creating it cannot be transmitted. I am none to judge other’s capacity to interpret or judge things, so, no, I’m not bothered at all for that. Difficult to describe? Mmmm, yeah well, there are some parts whose influences are incredibly evident, but then, if you try to strictly compare Teitanblood with that influence, or compare those influences among themselves, something weird comes out of that, and I think that’s really a good sign. Regardless of that, there’s a massive agreement in the filthy aura of sheer aggression and cruel darkness."
One line from the review written for the Left Hand Path zine struck me as particularly astute. The reviewer said that “Seven Chalices” was “devotional without pedantry”. Was this a conscious effort on your part to create an album that, while intended to be taken seriously, also strayed away from the often heavy-handed and overbearingly serious fixation on content that many of the other bands associated with labels like NoEvDia and Ajna may be accused of?
"This is a strange question to answer, because what the album features is something done intentionally, but no label deal was done when it was composed so, there were no bands to disassociate with. We just did our thing the way we knew we had to."
What prompted your decision to work with those labels? Musically it seems that TEITANBLOOD has little in common with the majority of bands on those labels’ rosters. What connection do you feel with those label and bands?
"Come on, look around other labels and establish a common musical or even ideological point between them… I see very few bands whom I feel I could have something in common with, but in this case, I’ve been in contact with the guys from Katharsis, Malign and Watain, for about a decade more or less, for example, let alone all the people in common we know. I’ve known C even from the EAL days in the late 90s, so I can tell you that I have quite a lengthy connection and good understanding with them. Regardless those personal connections, Dauthus, Noevdia and Ajna just offered me by far the best deal to release this record. As simple as that."
Have you been satisfied with the attention you have received from NoEvDia, Ajna, and Dauthus? Speaking of Dauthus, perhaps you can elaborate more about this mysterious label? What prompted him to emerge from a period of silence to help bring forth this LP?
"Dauthus didn’t just help to bring forth the LP, it’s all his initiative! About his reasons, you’d have to ask him… on the other hand Noevdia and Ajna’s attention has been more than excellent. I’m absolutely satisfied the way they’ve worked and got involved in this release."
One element of the release that has been consistently lauded is the artwork associated with it. What was your role in generating the art? How is it related to the music and how should one integrate the two?
"As I said, I’m not going to provide instructions about how to interpret the work… just get yourself into it. My role in the artwork has been conceptual, and each piece has been just like rehearsing each song… there’s a shitload of megabytes of correspondence and some good meetings around a beer throughout a handful of pubs across several places of Europe, discussing ideas, analyzing lyrics, and doing weird combinations. It’s really good to work with TK, not only he’s really sharp critic with what he does, but also because we lose control of our plans and something alien takes over all the place!"
Symbols abound within the music and artwork. What is the proper role of symbols in the music of TEITANBLOOD? How important is it for one to gain an understanding TEITANBLOOD’s placement and of symbols within its work? Is the mysteriousness surrounding the music part of the reason that many listeners seem to mischaracterize the album as a whole?
"Well, the music itself is another symbol too. I think that the understanding of some symbols in "Seven Chalices" does help to grow in the listener, but on the other hand, the discovering of all of them would make it to become more uninteresting, but I don’t expect anyone to become that obsessed, so I’m pretty sure that there’ll always remain some hidden and sinister limbs among the complexity and massive layers that built this colossus."
What decisions did you make to obtain the production sound you achieved on the LP? What did you do differently from the demo and the EP tracks to acquire this new sound?
"We just worked a bit more carefully rather than the old stuff, which basically were almost rehearsals, but the equipment used was the same."
You seem to have drawn upon a wide array of occult systems in the creation of “Seven Chalices”. Can you comment upon what role esoteric knowledge plays in the development of your music and lyrics?
"Well, the Occult became very convenient to deploy the concepts I wanted to put in the album due to its symbolism and ability of these to be incredibly open for interpretation, considering that I didn’t want to split lyrics and artwork yet include those on a single piece."
After such a grandiose debut, do you have any fear that future TEITANBLOOD releases will fail to live up to what you have already created?
"I am not afraid of that, but it’s true that the next release will be very demanding and exigent."
Are you personally satisfied with the musical results on “Seven Chalices"? Are you satisfied with the response you have received from the public?
"Yes. I admit that I expected a lesser reaction."
What is TEITANBLOOD currently working on? Do you anticipate any changes to the TEITANBLOOD sound on future releases?
"We have tried to give a different approach with each release, keeping the same solid and unique proposal. There are new songs already recorded, and I’m writing a MCD which will be a comeback to most atmospheric and ritual vibes of the demo days."
Do you have any final comments to make in order to close out this interview?
"Thanks for your interest. People are encouraged to get "Seven Chalices" from or or Black Putrescence… from"

Encyclopaedia Metallum: