12/29/2013

News from this week!


German black/pagan metallers HANGATYR released their new album called "Elemente". You can purchase it via Nocturnal Empire or at the band's store. 

Listen to their music here.

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SUFFERING IN SOLITUDE is an young american band playing death/doom metal with post-rock influences. At the end of this year (31.12) you can purchase their debut album entitled "A Place Apart" (six tracks / 29 minutes of music) via Domestic Genocide Records

Check out their music here.

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News from the belarussian pagan./folk metal bands - Gods Tower:

We did it! GODS TOWER "Raven Tales" boxed set is out now!!!

8xDLP boxed set containing all GODS TOWER full-length albums and demos is released. With your priceless help we worked on this huge release more than 100 days. Here's the result. All those who made the preorder will get their limited sets soon. From today, the regular version of boxset with bonus A2 poster and 24-page biography\photo booklet will be available atwww.possession.ru
Hurry up, only 250 copies left!

Also we present new GODS TOWER 7'' EP "Roll Out" with 2 exclusive brand new tracks. Only 120 copies from 333 left already! Every copy of this EP includes an invite code for World of Tanks game. You can listen to this EP atwww.possessionproductions.bandcamp.com for free.

the boxset price: 139 USD + postages
the EP price: 12 USD + postages

We want to thank everyone who believed and supported our initiative! We sincerely believe that these releases will met your expectations. Wait for your parcels and then listen to amazing GODS TOWER music on vinyl. OYHRA!!!

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Since 6th of December you can purchase a demo of bulgarian blackened doom metal metallers from UPYR. You can buy it as a CD from band's bandcamp or as a limited cassete from Serpent Eve Records.

Listen to their music here.

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Icelanders from Skálmöld released their first DVD/live album called Skálmöld & Sinfóníuhljómsveit Íslands. The band had played there together with an Icelandic Symphonic Orchestra (if I am correct). You can buy it directly from the band (Facebook).

You can also watch a fragment of this concert here.

12/26/2013

Irminsul - "Fäder" (2013)

Irminsul 

"Fäder"

Purity Through Fire

2013



Many people say that a reviewer must be objective in his work. That no matter how much he doesn't like certain genres of music he have to rate band's music by looking at their skills, sensitivity etc. 
Well, I guess that you know why I had written such an introduction. The music of this swedish horde is defenitely not something that I like. Moreover - the tunes that they are presenting belongs to the category called "Damn, not this again...". Partly is is my fault, because I searched this album by myself. I saw a cover, I've listen to a beginning of the first track and said "well, maybe it'll be good." Well, in my opinion it is not. I know that you will call me an internet-warrior, poser etc. But I gave some time to find something interesting here, so I will write what's following. 
The first track is indeed not bad - especially guitar riffs are quite interesting, even if not revolutionery. Yet the first groop that came to my ears were those keyboard-violin tunes in the backgruound. In some places they sound like a more frugal version of Nightwish or some Sonata Arctica thing.
Well, unfortunetely the band seems to really like that kind of playing, because already in the second song they are turning into more power-metal style. When I hear sweet keyboards, female nice vocals and sad riffs mixed with harsh vocals I know that this is not something for me. I even understand the idea of oldschool power metal in vain of Manilla Road, but I can't stand Sonata Arctica-like things mixed with music inspired by older Ensiferum albums. For me it is a pure horror! But a real horror is a track number three, where a singer decides too to do some sweet melodies. And it goes like this for almost whole album - sometimes it's more power metal, sometimes it's more similar to Ensiferum. By the way I am very curious where other reviewers hear on "Fäder" some folk influences. Those sweet-like-hell acoustic guitars and maudlin violin and fluet motifs have nothing bounded with folk music. That's just my opinion, but if a band wasn't promoted as a thing for fans of Falkenbach, Skyforger or Manegarm I propably wouldn't listen to it.
 I must also confess that this is the first album that I couldn't dare to listen integrally - I had to make a break in the mid. This is a good conculsion what I think about this album - for me it is just a waste of time. I hate such a mix of sweetness and brutality. Brutal things should be brutal, and sweet thing should be called pop music. 
If you don't vomit with a rainbow when you hear a music of mentioned below bands, you can check this album. Otherwise stay away from it. BTW I wish Irminsul all the best in the future - but I hope that I won't meet your music in my life anymore. That would be best for us all.

Rate: not-very-high/10
Vladyka

A Youtube "videoclip":


Tracklist:
1. Stupagraven
2. Nattramn
3. Galgaman
4. Hagridden
5. Letters from the Past
6. Bäckakarlens dans 
7. Clades Variana 
8. Ölbänk 
9.  Neverending Story (Limahl cover) 
Total time: 52:15

12/22/2013

Arkona (PL) - new album

New album of polish pagan black metal band ARKONA called "Chaos.Ice.Fire" will be released 30th of December 2013 via Hellfire Records.Contact: mail@arkonahorde.pl
hellfirerecords@gmail.com

Hooded Menace - new EP

Hooded Menace announced that "Labyrinth of Carrion Breeze" 12" EP drops in early January on Doomentia Records.
Until then, keep doom dancing to the sample:
https://soundcloud.com/user376189116
 
 

Kampfar on tour

In support of "Djevelmakt", KAMPFAR are proud to announce the Spreading the Plague MMXIV tour. After a year with one single live appearance the band is eager to launch the new songs in a killer live set that'll also be studded with old hits from their catalogue, and will hit the road in March and April 2014.

For Kampfar this is just the beginning of a year that will see them visit several continents and bring their music to more people than ever before.
With them on this tour will be Polish extreme metallers HATE, who on the tail of their 2013 album SOLARFLESH, have proven again to be in the elite of the current extreme metal scene.

The two bands that complete this offering have toured with KAMPFAR before. US avantgarde black metallers Velnias are again bringing their esoteric and powerful show to Europe, while ISKALD are back with a potent fourth album in "Nedom og Nord" and will hit the stage in fervent form as part of this prime tour package.


12/21/2013

21.12 - Winter Solstice


Today's the first day of winter - Winter Soltice, a longest night in a year! The time when (as pagan people believes) the forces of life are again rising from the darkness, when Shining God is again reborn. This is a magic night, so raise your tankards and drink so that the new upcoming year would be even better than the previous one.
Hailsa! The Sun is rising again!

Learn more - today is:

Slavic holyday of Szczodre Gody (Kolyada)
Germanic holyday of Yule
Baltic holyday of Kučios/Kaledos

12/20/2013

Korpiklaani - "Manala" (2012)

Korpiklaani

"Manala"

Nuclear Blast 

2012



What is Korpiklaani propably every fan of folk metal knows. This is one of the most influencial band on the scene. In circles of grim, cult pagan metalers it is considered as a shame. Yet fortunetely I not one of them, so I can with a clear conscience describe you what "Manala" contains. Some of you may also say that I am a hypocrite, since I very often write how I disguist modern jolly-polka folk metal bands. Yet in my opinion Korpiklaani is something more than only merry glorification of alcohol, and I'll try to show you it in this short review.
The album begins in a very weak style - two first tracks are very bland. Really - no lively melodies, no relish of melancholy - nothing! Luckily after'em we can listen to the best track on this album "Rauta". This pulsatory bass, vivacious melodies and a bit "shamanic" relish makes it a perfect hit for a concert! Also vocals make a good impression - if you have ever heard finnish language you know that it can be so damn catchy! This is how Korpiklaani's music should sound.
Next tracks are not as good as "Rauta", yet they still keep the unique atmosphere of Korpiklaani's characteristic music. Sometimes it is more metal ("Ruumiinmultaa"), sometimes more melancholic (like a great song "Synkka") and sometimes the music turns into more merry fields. So Finns are giving us again more or less the same. There is nothing innovative here, but if somebody likes their previous works he should also like "Manala" (if, as me, hadn't listen to their every album though). Especially that this merry side of their music is now a smaller part, and that's very good in my opinion. And by the way the album is sung only in finnish - I really like that. Finnish language fits such music much more than english. I also appreciate how much this music is filled with traditional folk music of this region - it is so original that you can't mistake it with any other.
Some people say that Korpiklaani is a one, big joke with this merry singing about alcohol and other silly stuff. Yet first of all - that's just one side of the coin. More melancholic tunes are alwas important part of every Korpiklaani's album. And secondly - I think that what Korpiklaani is doing is in 100% authentic. The music recorded for this album is clearly played by people who love doing what they're doing. They claim that they are not pagans, yet their band is more "pagan" than many other true Heathen, Kvlt and Evil Hordes. Paganism is an affirmation of life, both this happier and sadder sides. And on "Manala" the band shows it again. Maybe it is not as good as the genius debut album "Spirit of the Forest", yet it s still quite nice.

Rate: 6+/10
Vladyka

P.S
I could rate it on 7/10 if not those two first tracks, which are horrible.

A videoclip to "Rauta" single:



Tracklist:
1. Kunnia
2. Tuonelan Tuvilla
3. Rauta
4. Ruumiinmultaa 
5. Petoeläimen Kuola 
6. Synkkä 
7. Ievan Polkka 
8. Husky-Sledge 
9. Dolorous 
10.Uni
11. Metsälle 
12. Sumussa Hämärän Aamun 
Total time: 45:48

12/18/2013

Interview - Ereb Altor - Forging a sound with elements of both black and epic metal


Read a review of "Fire Meets Ice" here
Ereb Altor is hailing from Gavle, Sweden. It was founded in 2003 and plays Viking metal highly influenced by a legendary Bathory. Yet this is not their only inspiration, and Ereb Altor's music clearly shows that the band has their own identity. Interested? If yes, read what Mats (Vocals, guitars, bass, keyboards) have to say about his fascinations (both musical and other ones), music and some cultural issues. Fans of epicness in music - this can be something for you!

1.Hailsa! First of all I would like to know how people in the undeground reacted on your last opus "Fire Meets Ice"? Did you receive some negative opinions?
The reactions have been great, better than after our previous albums. Great reactions when it comes to mails from fans and also great reactions from the media, both underground and bigger magazines.

2.We can listen to "Fire Meets Ice" a year after releasing of your previous album, that's kinda fast! Moreover, the material seems to be different than "Gastrike" - it's less black metal, even if there are some black metal influences in your music. Why did you decide to return to this more viking metal style?
Both "Gastrike" and Fire Meets Ice was written at the same time musically. I chose the more harsh songs for "Gastrike" because of the lyrical approach on that album.
I think "Fire Meets Ice" unites the history of Ereb Altor, forging a sound with elements of both black and the epic. It was a challenge to make an album with all these elements but I believe we succeeded.

3. The material is also highly touched by an almighty spirit of Bathory. I know that questions like this one are present in every interview with you, but do you imagine the world without Quorthon'smusic? And how do you think he would comment "Fire Meets Ice" if he was still alive?
Yes, it’s true that he had a great impact on my world of music. It’s impossible for me to imagine how it would be without it.
Quorthon would probably not comment the album at all, or say something weird as he did in most of the interviews.



4. Do you think that this is important to keep the spirit of oldschool viking metal alive, if we are around this subject? How do you personally rate the present scene - it's strong, weak or simply mediocre?
To be honest I don’t listen that much to the viking metalscene, mostly because I can’t recognize it. It doesn’t sound the way at all as it did when I grew up with "Hammerheart" and "Twilight of the Gods".
To me the old school Viking metal is glourious and let’s stick with that.

5. I suppose that Bathory had also started your fascination with norse mythology and history in general. How important are those topics for you? And here's my favourite question to scandinavian bands, hehe: what do you think about those who are worshipping norse gods nowadays? This makes sense in our high-tech societies or not in your opinion?
I am interested in mythology and supernatural things in general. Not only Norse mythology and legends from Scandinavia. But since we have a nordic touch in the music and we are from Sweden I think it suits us very well to deal with such topics.
I think everyone is entitled to worship any religion as long as no one is forcing others to follow their belief. But to me it’s more about inheritance and history, to understand how things were from where we come from.

6. Your lyrics are also inspired by a fantasy literature. You even named your band after a fantasy roleplaying game. It was in your youth, but do you still have an interest in such kind of stuff? Can you name some of your favourite authors?
I grew up playing fantasy games and I grew up with reading Lord of the Rings but I wouldn’t say I am a big consumer of fantasy litterature nowadays. I mostly read historic litterature and books about folklore. I also read regular books about murders and so on but no fantasy. And there isn’tmuch inspiration from fantasy in my lyrics either though it was supposed to be from the beginning but I changed the direction and focused on our inheritance and dark stories from the north instead.

7. In some moments, and especially in "The deceiver shall repent" I hear an echeos of some more traditional music, even if I wouldn't describe it as folk. Some more epic moments remind me a heavier soundtrack to some movie. So what would you say if some director had called to you and proposed to compose music to his new, upcoming epic movie about vikings? Agree or not and why?
Perhaps you are right… I thought the album needed some traditional elements to fulfill the dynamics.
Of course I would say yes, it would be a challenge! I’ve never done such a thing and I belive it would be a good experience.


8. Ha, speaking of movies, I like your lyric-video to "Nifelheim". Can you tell me who's the creator of it? And do you have any plans to record a real videoclip in the future?

It’s done by Luigith Web design (www.luigiht.com).
We have discussed to record a real video many times and I hope we will soon!

9. Modern pop-culture seems to be full of vikings, norse mythology and cliches bounded with them. Why in your opinion we can observe such an excitement about your ancestors' culture? Sadly, too many times a topic is treated very superficially...

The pop-culture touches everything sooner or later but only for a short period of time so it was inevitable that it would come across Norse mythology at some point. Trends come and go and most of the time the research is not the best.

10. OK, back to your music. "Fire Meets Ice" has a strong relish of doom metal, and I know that in the past it was even stronger. Because of that diversity of your musical fascinations, your own music is more diverse itself, and thanks to that more interesting. Am I right, haha? But while listenning to your albums, do you have sometimes thoughts like "Damn, that riff sounds too much like Bathory"? Or the opposite - "Shit, Candlemasshad stolen our riff!".
I’m actually not focusing that much on riffs, I focus on a song entirety. Working with atmospheres.
Even if you still look at one single riff and it might be sounding a lot like for instance Candlemass you can make the music sound different still, working with song harmonies, keyboards, basslines etcetera.

11. By the way, don't you think that closed-minded musicians are a problem for many genres in a modern metal music? I am not saying of course about being desperetaly original at all costs, but about an own identy.
It’s important to have an own identity and I think we have. But trying to be too original often complicate things too much and the most important thing, making good music, can be lost.


12.  You released your new album via Cyclone Empire. Are you happy with it? And why did you left Napalm Records - you weren't pleased with them? As far as I know, your second band Isole is still in Napalm, can you explain it?
Yes, we are very happy co-operating with Cyclone Empire, it was a good and natural step for us. We wanted a label that believe in our music and a label that are dedicated to us. Napalm Records have a lot of bands and a lot of them are much more famous than Ereb Altor so I think we will benefit with a smaller label that put more effort in the band.
Yes, Isole is still in Napalm Records.


13. Speaking of Isole - what's going on in this camp? Do you have any plans of releasing some new material?
We are recording a new album right now. But I want [propably Mats wanted to write "won't" - Vlad.] be giving you any details.

14. OK, now's time for a few short questions not bounded with your band. What is your favourite:
- beer

I don’t like regular lagers that much… I’m more of a Guinness guy.

- band (besideBathory ;])
Opeth

-hockey team?
Don’t like any hockey teams at all… I like soccer… Liverpool!

15. And at the end, please tell us about Ereb Altor's future plans.

In March next year we will go on a European tour with Borknagar, Månegarm and Shade Empire. We will do a release of some new material in one way or another, perhaps a 7” vinyl.
We also have some festivals booked and we are focusing on getting more festivals with ourbooking agency ”Doomed Events”

16. All right, that's everything I wanted to ask. Thank you very much for your time! The last word is traditionally yours.
All Hails to Quorthon !
See you in Valhalla !


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A lyric-video for "Nifelheim" on Youtube: (click!)

Photos: band's archieve.
Interview by Vladyka 2013. Please do not copy this interview without HA'Z permission. Respect the copyrights!

12/12/2013

Grá - "Necrology of the Witch" (2013)

Grá

"Necrology of the Witch"

Unexploded Recs.

2013



Grá is a swedish black metal quartet (or rather horde, ha!) founded in 2010 in Stockholm by the members or inter alia Domgård and Cursed 13. The guys have one longplay on their account and two EPs. One of them, "Necrology of the Witch", they released in march of this year. So this review is not very quick, but fuck it. The music counts the most after all.
Generally speaking, even if the band is from Sweden that doesn't necessarily means that it is under the influence of the swedish scene. Sure, from time to time we can hear some echeos of swedish bands (like Marduk's slower tracks) but I think that more influencial for Grá is Norway, especially Mayhem and Burzum and also something else, yet I cannot remind what. Anyway these are loose associations, because the band has defenitely it's own identity and doesn't copy blindly somebody's work.
The music mostly changes tempo from quite fast to rather slow. Faster parts (like in "Worms and Crowns) are mostly a solid, purely black metal tunes. They sound good, although are not very original. But I suppose that maniacs will not care about such things, will they? Especially that sometimes musicians add some strange sounds in the background, which make those parts more listenable. However most of the album is filled with slower parts, which sometimes sounds really intriguing. Occasionaly it sounds close to mentioned Burzum, especially drum parts on the best track of this album -  Helfärd II. Big usage of cymbals is something that I defenitely like! Also the usage of tremolo picking by solo guitarist, blurred, hypnotic tunes of lead guitar and mentioned slow drumbeats creates a very sinister, and at the same time melancholic atmosphere which in some way can loosely associate with "Filosofem".
Interesting is the usage of several different sounds. An opening "In Cordibus Vestris" is built up from bell sounds and a vocalist singing something with clear voice in latin in a manner of the prayer. It's a really good opening, I admit it even if I don't like such things (mostly they are boring). Also quite interesting is the track "On the Way to Styx" with sounds of raining, water (swimming?) and falling coins. All those who knows well greek mythology should appreciate such kind of metaphorical journey.
The last track is a cover - "Freezing Moon", to be more precisious. To be honest it's propably the worst part of this EP. I mean it's OK, but first of all there are thousands covers of that track. What is the point in doing it again? And secondly - the original version is better (not mentioning a live version from "Live in Leipzig" with Dead on vocals). Though I understand the idea of honoring favourite artist.
So to sum up - "Necrology of the Witch" is a solid portion of tradtional black metal. Maniacs should put it on their list "to buy in the next month" very quickly.

Rate: 7+/10
Vladyka

An official promo-video:

Tracklist:
1. In Cordibus Vestris
2. Necrology of the Witch
3. Οδεύοντας προς την Στύγα (On the Way to Styx) 
4. Worms and Crowns
5.  Helfärd II 
6. Freezing Moon (Mayhem cover) 
Total time: 27:56

12/08/2013

Vin de Mia Trix - "Once Hidden From Sight"

Vin de Mia Trix

"Once Hidden From Sight"

Hypnotic Dirge Recs.

2013



Vin de Mia Trix is an ukrainian doom/death metal band from Kyyiv. "Once Hidden From Sight" is their debut album.
First of all I must flatter their inspirations. There a lot of establishes of such a great bands like early Anathema, Katatonia or Paradise Lost. The tempos are really slow, sometimes it goes even into more funeral doom areas. But the heaviness of music is quite interesting. This is not a revolutionery thing, but it flaws nice. So the two first tracks make quite a good impression that this will be a solid portion of smart death/doom. Unfortunetely later the band turns into more Opeth-like areas. The first problem is that I am not a big Opeth fan. The second is that it's really quite boring. There are two instrumental tracks, composed with usage of piano. I don't want to write that it's a complete crap, but from the other side after one minute I started to loose the contact with a music and gave whole my attention to such an interesting stuff like walls, windows and carpet... The next track, "The Sleep of Reason" returns to more death/doom atmosphere. But sadly the than we have a show called "how indifferent can be minimalistic music played by people who don't know how to create it". It really is pointless, so why the hell had you record it?
Than we have metioned instrumental track ("La persistencia..."), much better than a previous one (and not just because it's shorter) and also the two ending tracks show those more positive side of the band. The riffs are really catchy, yet of course properly heavy. Also clean vocals makes this time a good work, giving this music a bit mysterius sound ("Metamorphosis").
This album should have "Only for a die-hard doom metal fans" sticker on it. I wish well to Vin de Mia Trix, but I don't think that I will return to this material in the future. Yet they have certain skills, so maybe if they'll drop this boring pseudo-atmospheric way of playing and focus on more death/doom style I will appreciate more their future releases.

Rate: 5/10
Vladyka

You can download the album here for free from bandcamp.

Tracklist:
1. A study in Scarlet
2. Nowhere is Here
3. Là où le rêve et le jour s’effleurèrent 
4. The Sleep of Reason
5. Silent World
6. La persistència de la memòria 
7. Metamorphosis
8.  मातृ (mātṛ)

12/05/2013

Woodtemple - new album trailer

I've received such an information, so I am posting it here. You can watch new trailer of Woodtemple and check if their (or better his) upcoming album "Forgotten Pride" will be something interesting for you:


Album will be released in January or February 2014 via Sturmklang Records.

Interview - Carpe Noctem - "In the land of Nod"


Carpe Noctem is an icelandic band, whos debut album "In Terra Profugus" made a really overwhelming impression on me. You can read what I think about it here, and now let the members of the band to introduce you their music as well as their views on several different topics.


1. Greetings. First of all I'd like to know how the underground reacted on your debut album - "In Terra Profugus". Are you generally pleased with the feedback that you had received?
Overall the feedback we have received has been positive. When you work on creating something for years, it is of course better to receive positive feedback rather than negative. But it’s important to remember not to get too occupied with how the audience will react and not to go chasing after that. You have to trust yourself and your vision first and foremost.

2. I don't want to ask you a boring question about band's history, because it can be easily found by the fans on the internet. So here's a shorter one - how in a few words would you describe your music to the person who has never heard about Carpe Noctem?
For me it feels like a fever dream, a constricting nightmare both disturbing and profound. Ritualistic in its channeling of forces that speak of creation through destruction. At its core it is a conflict of opposites – structured chaos, lawless order.

3. To be honest I haven't heard many of your previous material, so can you tell me how much had your music changed on your latest full-length album comparing to the previous materials?
This is hard to properly describe, as for us the evolution has felt very natural as well as chaotic. We always strive to push ourselves further, to not get stagnant.


4. And about changes - do you more like bands which are seeking for something fresh on their every single release, or do you prefer when a band doesn't change their style too much? The first category seems to be more controversial in the conservative metal underground, I may add. Why, in your opinion?
I think this is more related to a basic human instinct of fearing change, and the tendency of some to seek conformity. This is no different with black metal listeners. They don’t want new things because they make them uncomfortable. They want to seem trve and kvlt because they want to conform, so they make up rules as to what falls under that and what doesn’t. It’s both ridiculous and stifling to the very nature of black metal – it must be always changing, never comfortable.

5. OK, but back to your camp. "In Terra..." is a fresh combination of your own ideas and some different influences. The sound is very massive, yet here and there I can hear that you like to listen to old Gorgoroth, Darkthrone, Mayhem or even ancient gods from Celtic Frost. Am I correct, haha? How would you describe your current musical influences by yourself, and how much had they changed since the moment of band's foundation?
Of course we’ve listened to those bands and some of them have definitely influenced us. Naturally we all listen to black metal and we clearly work within that tradition of music, however, all of us have very different musical tastes and as such we draw from various inspirations. Some of which are categorized as being drone, doom, death metal, ambient, classical and contemporary music. But that’s just the tip of the iceberg and our influences are ever changing. 

6. Your music is also highly (in my opinion) touched by some kind of psychedelia. Why did you decide to choose this path? You know, I am asking because many bands from Iceland have some psychedelic relish in their creativeness - or at least the bands I know. Do you think that can be some kind of distinctive character for the scene from your homeland?
It might be, but that’s really something for critics and listeners to analyze. Overly analyzing one’s own work can be an exercise in futility. Yes, you must be conscious of what you are doing, you must have vision, inspiration, intent. But when it comes to the aftermath, to the analyzing, you simply stand too close to the heart of the matter. There is much in our work that comes from personal experience as well as the unconscious. That is part of what we are trying to explore in the music, lyrics, overall concept: the Id, and the gods and untold dimensions that lie within there.

7. Your debut album is full of distressing sounds hidden in the background, and this atmosphere doesn't change no matter if the tempo is slow or is it extremely fast. How much and in what way is this horrific, monumental element bounded with the concept of your art? I mean not only music, but also the lyrics.
In this we look at everything as one: Music, lyrics, artwork. The same nightmarish sense of dread, of the monumental terror when facing the abyss, of the enlightening and transformational elements found there within, can be found just as much in the music as in the artwork and lyrics.


8. What I have noticed from the descriptions on your label's site and from some other sources you loosely put many elements into your lyrical concept. We have here biblical Cain, Norse mythology and some occult texts. Can you tell me why did you decide to use ideas from so many sources? And can you name those mentioned occult writings?
The quotes or references found in In Terra Profugus are not picked because of some reverence to the original material, in fact it is with a healthy dose of disrespect that I approach these writings. It is not because of some reverence to Odin or the viking ways of old that we quote the Prose Edda, for example. The references are picked because of certain elements and ideas in them that can be used in the lyrics. As a thematic example, the album clearly references Kain’s exile, but it is no way a literal retelling of that myth. Instead it is rather used as a tool to express some core ideas in the album, the concept of denying god, of seeking exile and through that, learning difficult truths. The quotes have more often than not been altered, warped from its original state, sometimes to the opposite of their original meaning.

9. I have translated for myself the titles of each track. It seems that tracks numbered IIs are more or less about dying, IIIs are about hatred towards humanity/life, and I is the core of everything, a transformation of some kind. However the main title is bounded with biblical Nod - a place of wandering, where people are walking different than the God's path. I don't want to share my interpretations here, as I know you don't like explaining everything straight in the face. But let me ask you this - is individualism in your opinion better than following by crowd's way of thinking? Do you think that it's completely possible to follow your own morality and at the same time living in our modern society?
This is all dependent on how far you are willing to take your individualism – and where it goes against the morals of society. There are certain points of morality that are really beyond the acceptance of society and therefore won’t work within it. But to grow into your individuality and express it you need to put aside society’s limits and find what works best for you. Taboos are only temporary and society keeps changing so just because the masses think something is right doesn’t mean you should. To live in modern society you do need to be aware of its conventions but you don’t necessarily need to follow them.


10. While all the titles are written in Latin, lyrics are written in your native Icelandic tongue. I find it a bit ironic, because when Latin appeared on your island with Christian monks it was one of the symbols of freedom that you had lost since the heathen times. But from the other side - thanks to the same Latin we can read now Norse sagas and other valuable texts. Ironic, isn't it? What's your opinion about that subject?
Modern Icelandic hasn’t changed much from Old Norse so Icelandic speaking people can actually understand most of the old sagas and other texts in their original language. Therefore, Latin is no savior when it comes to old scripts. Danish and Latin were sometimes used in certain situations. Latin was mostly used for medical and religious writings so it’s very relevant as a reference to old writings and Iceland’s communication with the rest of the world. There is definitely a bond between Latin and the Christianization of Iceland in 1000 AD, but that is only one example of its usage. 

11. "In Terra..." is not only a great music and deliberate lyrics, but also an amazing artwork. I am sure that you're completely pleased with it, but can you tell me where did you get the idea of using a talent of Antti Salminen? How big is his contribution into this graphic concept?

We spoke with a few artists whose work showed a connection to our concept and we soon realized that Antti Salminen was our man. His illustrations for Gullveigarbók convinced us of his skills and when we shared our concept with him and the details of what we wanted he proved to be very helpful in portraying them. It was great working with him and we were happy with his dedication to the album and the concept.

12. You released a debut album via Code666 - a label known from supporting everything what is original, dark or weird. No offence, but you fit there perfectly ;]. But seriously - are you generally happy with them, or were your expectations bigger?

When we contacted Code666, the label immediately showed interest in our work and the people there have been very helpful. We are happy to be working with them.

13. Next question is simple: what are your current plans for the future? Do you think about some live gigs?
Currently we are writing new material and planning live performances in Iceland, as well as considering playing abroad.

14. OK, and at the end I would like to ask you few non-musical questions. Whether we like it or not, Iceland is often associated with Norse mythology. It is also a home of modern Neo-pagan Asatru movement. How do you see this? Do you think there is a point in reconstructing those old beliefs in our modern days?
Almost everything of ancient heathen practice is completely lost to us. It can never be reconstructed in its original form. However, the modern approach and practice of what we have remaining has a right to exist as a protector of old traditions and a way for people to express their heritage.

15. As I am writing these words, tomorrow is coming Day of the Deads (as we called polish version of Halloween). Do this holiday means any special to you?
Nothing more than a reminder of certain aspects of life and death. We don’t need a specific day for that as they are a part of our daily lives.


16. And at the end I'd like to ask you something nice and easy. Name last album that you have been listening to, and last alcohol that you have been drinking.
Alexander: In the Court of the Crimson King by King Crimson, and Asahi beer.
Andri: I’ve been listening to Windhand’s new album, Soma, and drinking Tyskie beer from Poland along with liqourice flavoured vodka shots from Iceland called Tópas.

17. OK, that was my last question. Thank you very much for your time and patience in waiting for this interview. If you have anything more to add, feel free to do it. Cheer
Thank you for a very well constructed and contemplative interview. It was a very refreshing change to the borderline spam some others feel is acceptable.

---
Watch a single on Youtube here.

Photos: band's archieve.
Interview by Vladyka 2013. Please do not copy this interview without HA'Z permission. Respect the copyrights!

11/30/2013

Pagan society - part III - women


Note: this article describes only women's position in pagan societies, mainly in the context of local laws. I skip here the situation of roman and greek women ('cause everybody learns about it in school. At least here in Poland...) and will focus on germanic, slavic and baltic people. Their laws were very similar, so there is no point in dividing this topic unto three different parts. 
About celtic women you will read in an article describing the role of female element in celtic myths.

Mund
Mund (old germanic mundo, or latinized mundium) was a privilage of the head of the family. It litteraly means "protection", and it belonged to the oldest male member of the family (understood as all persons related by blood). The men who had mund over the other person (children, wife etc.) had a right to decide for him about marriage, his political actions etc. This power wasn't absolute (as many people think), but was of course limited by the law. Moreover, this privilige was also a kind of duty - to protect the family against all problems and dangers. It was indeed a matter of honor, but also the law. 
The institution of munduol was inherited. So for example when a father of the family dies, his oldest son take care of it. When he also dies, and there is no adult heir, the brother of the father take care over the family. Et cetera. 
There was also many kinds of mund. Other was mund under your own child, other under a wife and other under your mother-widow. 
Now, when this typically barbarian law is known to you, let me describe the situation of women. 


Their situation
Woman of those times (and I mean something around VIII-XII century) was always under protection of man, whether they wanted it or not. The society was than very patrarcharne, which means that it was dominated by man. It was beginning since the girl's birth day. The father were deciding if he accepts her as his daughter or not. And sometimes he actually didn't - if he suspected that his wife was cheating him with another man. In such case the girl was left in a forest, and a wife was sent back to her father (or oldest brother/son). 
The girl was raised only by mother (even with in those times father could spent quite many time with his children). Under her protection she was learning farm management, weaving, cooking. singing and of course how to influence men ;] Sometimes she was also learning how to fight, due to the fact that man (as a warrior) quite often was leaving his farm to raid some lands, or protect the tribal land. Eventually she could even became a shieldamaiden - a woman who decided to be a warrior (of course by a permission of her munduol). Altought it wasn't very popular (as pagan men weren't very happy to see women taking care of their traditional male activities) sometimes it happened - but only in the land of norse and russian people.
Most of the women became wifes. Icelandic family sagas show us clearly that very often a women were choosing husbands for their own. However sometimes father were urging them to get married with particular men. Just remember - the woman could refuse it. Forcing women to marriage was recognized as a big stain on the honor.
A marriage was a happy moment especially for the slavic fathers - because they were getting a big amount of wealth (or money, or land) for mund of his daughter. It is also important - a new husband was buying a mund from his wife's father, and not a wife as a person! It means that he was becoming a new protector of a woman. And by the way - a woman was also receiving her bride price just for her, as her own property. It wasn't a small thing - norsemen were able to give for example equivalent of annual profit of local forges. I don't have to mention that blacksmiths were one of the richest persons in such societies?
The women hadn't - of course - any political rights, but quite often they had a big influence on their husbands. Norse sagas describe many situations when men (like Sigurd) were taking advice of their wifes, or when woman had quite a big power and prestige in a whole scandinavian world (like Sigrid, a sister of polish prince Mieszko I).


But what happened when woman was abused in her home, she got raped by her husband or her spouse was insolvent? Well, she could ask her relatives to prosecute prepetrator of her misey on a local thing. She couldn't do it for herself, but a family was supposed to defend her in such situations. If he won a trial, she was free to go under a mund of her father/brother/oldest son. As a widow/divorcee she was receiving a right of re-marriage - from this time she could got married with whoever she wanted to. SHE was a side who was negotiating marriage, and not her munduol.
So to conclude - the position of women in pagan societies was different than most of people think nowadays.  In his work "Germania" Tacitus, a roman historian (56-117) was astonished how much freedom had germanic women (comaring to the situation of roman ones). The rights of pagan women were old, and well preserved through ages. Because pagan men, even if they were dominating in the society, understood very well how important to them were their daughters, wifes and lovers. 

Books:
K. Modzelewski - "Barbaric Europe" ("Barbarzyńska Europa")
Icelandic family sagas (click!)
Germania by Tacitus

Links:

Vladyka, written in the year 2013

11/27/2013

Jarun - "Wziemiozstąpienie" (2012)

Jarun

"Wziemiozstąpienie"

[Self-released]

2012



Jarun is a polish black/folk/progressive band founded by Zagreus in 2008 in Nowy Sącz. "Wziemiozstąpienie" (try to say it fast, huh!) is their debut album. A very tasty debut album, I must admit. I've heard many good opinions about this young horde, but the music that their bring us pass all my expectations. But ab ovo.
The core of the whole music is here black metal. If the band wants they can create good aggressive riffs, like they purpose was destruction of everything (parts of the opening "Wziemiozstąpienie" or "Niech moje słowa będą ogniem"). But black metal represented by Jarun is for most of the time more atmospheric, with big usage of acoustic themes and calm, muted parts. Evey track is full of such parts, so that it is hard to count which one would be a good example of such kind of playing (maybe "Deszcz", with the sounds of raining in the background?). Generally speaking the music is very dynamic, it changes quite often from one mood to another so that it's hard to get bored with that. That's the merit of a bit progressive approach. In such moments prevails calmer parts, giving a good oportunity for bass player to show that his instrument can be used in very interesting way. Such kind of playing reminds me some of "atmospherical" bands, especially polish Furia. 
The last element which gives Jarun very unique, original character are folk references. I would say that if at the beginning this "folkish" attitude is a bit hidden behind progressive and purely pagan metal kind of playing, than since the track "Przebudzenie" it prevails. To be honest it sounds amazing when progressive parts (raised from classic rock!) mix with folk tunes and black metal vocals ("Powrót"). Of course this effect is achieved only with usage of riffing - there are no traditional instruments in Jarun's music.
I am bought. Really - the creativeness of this black-metallers is so fresh and non-trivial that it is a must-have for every fan of a bit progressive, atmospheric music as well as fans of pagan metal. And good music in general ;] And about rating - it is so high inter alia because it's only a debut! Personally I hope that their another material will be at least as great as "Wziemiozstąpienie", if not better.

Rate: 10/10
Vadyka

Music "video" to "Zamieć":

Tracklist:
1. Wziemiozstąpienie
2. Deszcz
3. Prawdy ulotne
4. Przebudzenie
5. Niech moje słowa będą ogniem
6. Powrót
7. Zamieć
8. I znowu zima...

11/24/2013

Paper edition of the Heathen Altar Maga'Zine

 
The limited paper edition of the first Heathen Altar Maga'Zine issue will apear in 2014 - around February or March. It will contain every interview and all of the reviews from this site + some articles about paganism and history. Possibly you will find there also some extra adds. If you have any suggestions - contact me: heathen.altar@gmail.com 
BTW - I will be propably looking for somebody who is skilled in drawing. If you want to help me - you know how to find me. 
 
More info soon... Here.
 

Percival - "Slava!" (2012)

Percival 

"Slava!"

[Self-realeased]

2012



Percival is a side-project of folk metallers from Percival Schuttenbach. This polish band released in 2012 an album entitled "Slava!", which will be a part  of slavic trilogy. This album is focused only on the traditional songs of South Slavs (click to learn more).
Hmm, and what can I say? The previous album album was good. Maybe it wasn't a revelation, but it was a good piece of music inspired by the early Middle-Ages' tunes. But sorry to say, "Slava!" is worse. Moreover - in some moments it's indistinct. Let's take, for example, the second song "Delberino". The song is not very dynamic, instruments are not outstanding in this track and the vocalists sing like if they do not wanted to do it. Tragedy. There are though here some tracks that are interesting like e.g. "Gusta" or "Karanfile" with a bit mysterious atmoshphere. But most of the tracks are mediocre. Yes - not bad, but also not good. Just mediocre. I know some of these tracks in other arrangement by artists from Balcans - and they have much more power and energy than Percival's versions. I don't know why - maybe because of the southern temperament, maybe because people from Balcans know better their own culture. But anyway they are better in performing this kind of music.
The other case are instruments. In my opinion - if you want to play a music from certain region, you should use instruments from this region. However Percival is just using their own instruments, inspired by Middle-Ages stuff. Sorry to say, but I don't like it. It was OK on the previous album, but here it doesn't fit the music at all.
Generally speaking if you are doing something, and you want to listen to some uncomplicated music this album will be a nice soundscape. But if you want to listen to some real, energetic folk music let better seek for something else. There are much better balcan folk albums than this. What a shame that this one sounds so poor, but I hope that the next Percival's album will be better. There are no many talented folk musicians here in Poland, and these guys are one of them. I wish they won't waste their talent.

Rate: 5+/10
Vladyka

Music video for "Gusta":


Tracklist:
  1. Gusta (Serbia)
  2. Delberino (Bulgaria)
  3. Karanfilče (Serbia)
  4. Vrsuta (Montenegro)
  5. Lazare (Bulgaria)
  6. Korita Ivanova (Montenegro)
  7. Ne orji, ne sejaj (Slovenia)
  8. Naranča (Croatia)
  9. Žali Zare (Serbia)
  10. Ljubav se ne trži (Croatia)
  11. Šta to radiš (Serbia)
  12. Karanfile (Bosnia)
  13. Dve nevesti (Macedonia)

11/21/2013

Maras - "Mienje Na Svetcite" (2012)

Maras

"Mienje Na Svetcite"

[Self-released]

2012



OK, this review will be short, because "Mienje Na Svetcite" is just a single with only one track. It was recorded by macedonian band Maras - you must admit that it sounds kinda exotic, huh?
The music bases here on slow, guts crushing doom riffs with black metal feeling and very condensed, stifling production. One of the better elements here is surely a vocalist - the guy is spitting out deep, stertorous growls like some possessed demon (yeah, I know, veeeery original comparison). The music sounds quite powerful, and later it turns into a bit cacophonous-tribal areas. That's because of traditional balcan instrument - zurla - which creates very strange, disturbing atmosphere. If you can't imagine it you should know that it sounds similar to what you could hear on Rotting Christ's last albums (I mean this kind of trombone). The whole composition creates quite an interesting atmosphere. It works very well in a small dose of single, yet I am a bit affraid that in the long run of LP it could be tiring.
And that's it. You can check for yourself if this track is worth your attention or not. Personally I liked "Mienje..." well enough to wait for the upcoming full-lenght album (coming soon at the beginning of 2014).

Rate: 7/10
Vladyka

Click here to download the official single for free from Bandcamp.
Official single on Youtube:  

11/17/2013

Ereb Altor - "Fire Meets Ice" (2013)

Ereb Altor

"Fire Meets Ice"

Cyclone Empire

2013



Ereb Altor is hailing from Sweden, they have lyrics about vikings and norse mythology and plays epic viking metal. Guess what is their main inspiration than, hehe.
Yes, as you might already know it is Bathory. Everyone who love such the epic albums as "Hammerheart", "Blood On Ice" or "Nordland" will defenitely know what to expect from "Fire Meets Ice". I must admit that I was a bit sceptical while I was turining on my music player containing this album for the first time. But as the music was flowing I realized that it is not just a lame immitation of Quarthon's genius. Sure, all those choirs, pathos and riffing (especially in the first tracks) can be associated with Bathory. Even the clean vocals have a bit something to do with it. By the way, they are so damn heroic and poignant that listenning to them is a pure pleasure. If a vocalist is performing his skills in some other bands, than I will defenitely check them out.
But returning to Ereb Altor - so from one side we have a Bathory fascination, but from the other side Ereb Altor has also it's own spirit. Much of it. First of all it sounds that Ereb Altor in the past was more inlfuenced by doom metal. Thera are quite many slow, heavy riffs that can be associated only with this style of playing. It is also obvious that the creativeness of swedes is inspired by black metal - it can be heard in harsh vocals, as well as in some riffs and blast beats like in a track "Helheimsfard" or purely black metal "Post Ragnarok". There are also more nostalgic moments, with a big usage of acoustic guitars like in "Sacrifice", "Our Legacy" and especially "The Deceiver Shall Repent". They very much reminds me the traditional epic songs from Scandinavia and British Islands. And what can I say - they flow very fast, giving a listener a great portion of viking metal. The music is complemented by a good production and the amazing cover artwork and layout. A pure feast for the eyes.
Put it all together - "Fire Meets Ice" is a highly listenable piece of music. This mixture of many mentioned influences gives us a high octane music, which should be like a fuel for all those who love epicness in metal.

Rate: 8/10
Vladyka

A lyric-video for "Nifelheim":


Tracklist:
1. Fire Meets Ice
2. The Chosen Ones
3. Nifelheim 
4. My Ravens
5. Sacrifice
6. Helheimsfard
7. The Deceiver Shall Repent
8. Post Ragnarok
9. Our Legacy

Oldschool Folk Metal

Today I would like to present some oldschool folk metal bands, which should be very influencial for the genre and which are (more or less...) forgotten. It should be interesting especially for the younger fans - however old maniacs can reminisce :)


Sabbat (UK)

Actually it is not a typicl folk metal. But first of all - this is the band that was an fundament for creating Skyclad. And secondly - it has some folk relish.
Founded in 1985
The band doesn't exist anymore
Metal Archives



Skyclad

Is considering as a first folk metal band ever exist. It's defenitely something that every fan of this genre should at least briefly know.
Founded in 1990
The band is still active.



Otyg 

The band is from Sweden, and their music bases on traditional swedish folk songs. Lately Vintersorg (from Borknagar) stated that his going to release new Otyg's album - I hope for something good!
Founded in 1995
Reactivated in 2012.



Isengard 

This was a side-project of Fenriz from Darkthrone. The music had more black metal relish, yet it was inspired by traditional scandinavian tunes. Especially interesting is an album "Hostmorke"
Founded around 1989
Inactive today.



Storm (Nor)

Another project of Fenriz, founded together with a singer Kari Rueslatten and Satyr from Satyricon. They released only one album "Nordavind" - yet very interesting in it's musical form!
Founded in 1993
Inactive today.


Written by Vladyka in the year 2013