Towering Interview

1.For those that have never heard of you before, can you tell us a little bit about the band?

Towering started around late 2013 when Christnacht and I joined forces after hearing some Old School Death Metal early recordings I made. We then were joined by Wargod on the drums in 2014, and immediately began rehearsing and writing new material. In 2015 bassist Necrovorator joined us to complete our first official line-up, allowing us to play our first show and eventually to record and release our first demo "Towards Fate" in 2016. Mortem replaced Wargod on the drums in early 2017, marking the beginning towards a darker and more complex music.


2.You have your first full length coming out during that end of May, musically how does it differ from your previous demo and promo?

Starting as an Old School Death Metal band, Towering has a very rich variety of influences amongst its members. This led us to develop darker and heavier ambiances as well as more refined structures. We also took time to work on our sound and what we wanted to create on 'Obscuring Manifestation', and  we are really proud of it!


3.What are some of the lyrical topics and subjects you have explored so far with your music?

Death has always held a central part in Towering, as it guides every living being throughout its existence. Being a certainty, it also raises interrogations, fear, belief or rejection. Some can experience it in different ways, finding answers in cults and rites, others by resolutely awaiting the great void. It is something we can feel over our lives, a burden we carry through the ages, dominating us. Our lyrics focus on these aspects, and much more, but I'll let the listeners finding out by themselves!

4.What is the meaning and inspiration behind the name 'Towering'?

It is in direct relation with our lyrics and the atmosphere we try to establish, both musically and visually. Something greater, darker; an undefined presence lingering over our lives, silently awaiting for our end, affecting us from birth to death. A monument symbolizing the emptiness of our hollow lives as a whole, erected as the testimony of what led us to our extinction.

5.Can you tell us a little bit more about the artwork that is presented on the new album cover?

We wanted 'Obscuring Manifestation' to be a whole entity, from tracks to lyrics and visuals. SeelsOvBlackening managed to gather every aspect as one unified representation. It brings back to our name but also the lyrics I mentioned above, becoming the dominating presence watching us silently through the ages as a monument to our failure.

6.What are some of the best shows that the band has played so far and also how would you describe your stage performance?

Every show was unique in its own way, being from its energy or for what it symbolized at that time. We can't forget our first show with Mortem, opening for Phrenelith and Funebrarum in 2017. But one of the most intense and fulfilling live experience was our early-April mini tour with Belgian label-friends of Storm Upon the Masses in Lille and Ghent. It was both our first show out of France and one of our most attended and intense show.
Which is, to answer your latter question, the word that we hear the most often after our show to describe us: 'intense'. We put everything we have in ourselves on the stage, never slowing down.

7.Do you have any touring or show plans once the new album is released?

At the moment, several opportunities are showing up, but it is still in discussion, but we sure are looking forward to play abroad!


8.Te new album is coming out on 'Dolerem Records', how did you get in contact with this label?

It was quite unexpected, as its owner contacted us for an old-school Death Metal release since the only material we had at that time was our demo. We replied by indicating our music had evolved and sent him some home recordings, saying we perhaps weren't what he was looking for. But Alex really liked it and was eager to sign us up with our current material. Our collaboration was excellent, and we're really happy to be part of Dolorem to say the least!

9.On a worldwide level how has the reaction been to your music by fans of black and death metal?

So far "Obscuring Manifestation" has been really well-received, getting awesome reviews and great feedback, in France of course but as well as in the rest of Europe and North America.


10.Where do you see the band heading into musically during the future?

Currently Towering is heading towards an ever more refined and heavier music, with more complex structures and variations, closer to tracks such as "Monuments to Our End" and "One With the Black Earth".

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Our influences and daily listenings regroup a large variety of bands such as Azarath, Misþyrming, Vader, Amenra, Dissection, Bolt Thrower, Ulcerate, Emperor...

12.Does Occultism play any role in your music?

It does, mainly in our lyrics, as it is a perpetual search for answers using unconventional means.

13.Before we wrap up this interview, do you have any final words or thoughts?

Huge thanks for giving us the opportunity to make this interview possible, and to everyone who read it!

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I, Apokalypse/Destroyer Of Worlds/PRC Music/2019 CD Review

  I,  Apokalypse  are  a  band  from  Quebec,  Canada  that  plays  a  blackened  form  of  death  metal  and  this  is  a  review  of  their  2019  album  "Destroyer  Of  Worlds"  which  was  released  by  PRC  Music.

  A  very  dark  and  epic  sounding  intro  starts  off  the  album  before  going  into  a  heavier  musical  direction.  A  decent  amount  of  melody  can  also  be  heard  in  the  guitar  riffing  while  the  solos  and  leads  are  also  done  in  a  very  melodic  style  and  when  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard.

  Vocals  are  mostly  death  metal  growls  along  with  the  songs  also  adding  in  a  decent  mixture  of  slow,  mid  paced  and  fast  parts.  Elements  of  black  metal  are  also  utilized  quite  a  bit  throughout  the  recording which  also  shows  up  in  some  of  the  tremolo  picking  and  screams  when they  are utilized.

  All  of  the  musical  instruments  have  a  very  powerful  sound  to  them  and  as  the  album  progresses  a  brief  use  of  spoken  word  parts can  be  heard  as  well  as  the  closing  track  being  long  and  epic  in  length.  The  production  sounds  very  professional  while  the  lyrics  cover  death,  darkness  and  violence  themes.

  In  my  opinion  I,  Apokalypse  are  a  very  great  sounding  blackened  death  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Of  Terror  And  Torment"  "Black  Death"  and  "Flaying  Living  Disgrace".  8  out  of  10.

https://prcmusic.bandcamp.com/album/i-apokalypse-destroyer-of-worlds-cd     

Sulgogar Interview

1.Can you give us an update on what has been going on with the band since the recording and release of the new album ?

R =) At the moment we are very focused on the promotion of Cannibal-Toon and the video clip of the single "En el Olvido". However, also this we’re thinking about our next projects, so we’re likely to get to work in a new production if our time and circumstances become more favorable.

2.Recently you have released a new album , musically how does Item differ desde your previous ep ?

R =) Compared with Science of Beyond we could say that Cannibal-Toon is a much more aggressive album. It’s just enough to listen to the intro to know that this new production does not forgive anything or anyone. In addition, Cannibal-Toon is more focused on social criticism and protest, while Science of Beyond was closer to the wave of aliens and other crazier issues.

At the musical level, we can say that this second album is more melodic and also includes more songs than the previous one . Note the collaboration we did with Yesica Castelo for the song “En el Olvido” (In Oblivion), where the thing becomes more melodic than usual. In summary, there are clear differences between both productions, it is only necessary to listen to them with special care to realize it.

3.What are some of the lyrical topics and subjects the band explores on the newer release and also how would you describe your progress   as songwriters over the years ?

R =) In this new release we explore the pure and rude social criticism. We evolved a bit in regards to the composition of the lyrics, because the message is much clearer and accumulated experience seems to be paying off.

4.On your previous recording you also covered UFO's and some of the writings of Richard Dawkins on your previous ep , can you tell us a little bit more about your interest in these topics ?

R =) Weiss Sting's interest in UFOs goes back to his childhood. From a very young age he dedicated himself to researching this subject and proposed that the band take that type of stuff as a source of inspiration. As for the writings of Richard Dawkins, Sting Weiss wanted to play around with the idea of ​​the " selfish gene " while writing the lyrics for the song " Femi- Nazis". Although we may borrow other ideas from Mr. Dawkins to include them in future songs.

5.Can you tell us a little bit more about the artwork that is presented on the new album cover /

R =) That brutal piece of art was created by BJ Manchester, a great friend of the band who has more than once expressed his interest in continuing to produce sick drawings for Sulgogar . We actually came across the design of the cannibal cartoons by accident. BJ Manchester showed it to us along with other drawings from his portfolio and we immediately asked him to sell it to us. The rest is history.

For us, the Cannibal-Toon's cover art represents what is currently happening in Venezuela: a political and social cannibalism, where all the characters in this show of bad taste seem to be taken from cartoons. Especially all the infamous people who are in the government.

6.What are some of the best shows That the band has played over the years and how would you describe Also yo ur stage performance?

R =) So far we have only played in a small event that took place at the end of last year. We hope to be able to play in metal concerts soon when things improve around here, because it is not easy at all.

We like to play the songs much faster than normal and in lower tunings. So people can notice that everything sounds more brutal at live.

7.Do you have any touring or show plans for the new album ?

R =) at the moment we have no planned tours or concerts. Maybe for a few months we can do something about it, as long as the circumstances around us allow it.

8.Currently you are unsigned , are you looking for a label or have received any interest ?

R =) Well, currently we are part of the Machine Man Records roster and we are very happy for this great achievement. Although who knows if later we can free up some new material with a bigger label. Let's wait and see what happens.

9.On a worldwide level how has the reaction been to your music by fans of extreme metal?

R =) as far as we know the people says that our songs are very good. We already have a very important fan base in Venezuela and in different parts of the world that is always felt. Since Science of Beyond came out, many people have written to us saying that they like our style a lot and that they expect us to continue producing more material. So if there is a good feedback In all this, it means that people like what we do and that motivates us to move forward with our project.

10 .Are any of the other band members currently involved with any other bands or musical projects these days ?

R =) Sting Weiss is also the leader and keyboardist of Anfítrite, an international symphonic metal band that is currently producing their second studio album. Although he is also the keyboardist in Dragón Blanco and is recording with them as well. Steve Kaiba is working on his solo project and on the next Dragón Blanco album. For her part, Svetlana Sevostianova is almost always busy helping other bands as she is a session drummer in her country.

11 .Where do you see the band heading into musically during the future ?

R =) we see ourselves producing more music for our fans and looking for ways to play in metal concerts. 

12 .What are some of the bands or musical styles that have had an influence on your newer music and also what are you Listening to nowadays ?

R =) our main influence is Impaled Nazarene. Although we also like to listen to others bands. We really like Municipal Waste, Thrash or Die, Violator and all those things.

13. What are some of your non musical interests ?

R =) Each one of us is dedicated to other things besides metal. For example, Sting Weiss is a writer and screenwriter, and he also dedicates himself to the good job of game tester for an important company in the field of video games. Steve Kaiba gives guitar lessons and Svetlana devotes a lot of time to his university studies.

14 .Before we wrap up this interview, do you have any final words or thoughts ? 

R =)   Thank you very much everyone for reading this interview. We are very pleased to know that our music is being listened to all over the world and that all this has allowed us to launch a second production. We thank everyone for the support and especially the BlackenedDeathMetalZine team and the staff of Machine Man Records who are always very attentive to Sulgogar.

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Imperator Interview

1.Can you give us an update on what has been going on with the band since the reunion?

Well, the reunion itself probably took place the moment I decided to resurrect IMPERATOR in December 2017. So since that moment I collected the line-up, practiced like hell throughout 2018 and had 3 gigs in December 2018. The rehearsals were really intense cause I practically had to learn to play the guitar again. Between 1995 and 2017 I picked the guitar only on a couple of occasions so it was a real challenge to agree to perform alongside Behemoth at Merry Christless’18. Some people don’t believe I didn’t use the guitar for more than two decades. Well, it’s true, hahaha…But, as I say it involved almost 200 rehearsals in 2018 to regain what was lost! This year we have been rehearsing the rest of the material and 2 weeks ago played a pretty good gig with the Hungarian Tormentor, Nun Slaughter and Iron Angel. Twas a very good hang out as well, you might imagine…

2.Your material had a sound that was in between early black and death metal, do you feel you have had an influence on both of the genres with the later bands that came out after the first album?

Never gave it much thought, but heard in those 20 plus years such comments. Couple extreme metal scene people remarked that we must have had some influence on a number of bands judging by their music or even album cover artwork. I also got a lot of letters and then mails between 1995 and 2017 from different bands worldwide saying that we were their inspiration. Nice as it may seem it does not especially make me be ready to boast about it. Am simply grateful for such an energy flow. And wish all those bands all the best!

3.I have read that the band at one time was going to release an album on Deathlike Silence before being released on a different label, can you tell us a little bit more about what happened during that time?

It’s been commonly known that I had a pretty good contact with Euronymous and Dead from MAYHEM. And there were some really advanced plans to issue IMPERATOR as Anti-Mosh 002 by Euro’s ‘Deathlike Silence’, but we finally didn’t do it. We were back then in Poland still deeply rooted in the communist reality and it was so fuckin’ hard to swiftly prepare everything on time. Plus the problem of sending the money from the label onto the Polish bank accounts (cause it was not easy in Poland, sometimes impossible), the circus with finding a proper recording studio, getting contact with any appropriate sound engineer and so on and so forth. I remember talking to Euronymous on the phone a lot and trying to find a solution, but it wasn’t easy back then behind the fuckin’ Iron Curtain. So all those factors badly delayed the album’s release and finally I didn’t want to wait forever and decided to jump at a local chance in Poland and recorded it in 1990. Then we released it in 1991.

4.Your lyrics had a good amount of references to the 'Necronomicon' 'Ancient Grimoires' and the writings of Agrippa and Crowley, can you tell us a little bit more about your interest in the occult?

I was really fond of those topics while writing the lyrics. In the mid and late 80’s (those were the years when the material for the demos and ‘The Time Before Time’ was written) you couldn’t find in Poland anything about the occult. Or almost anything. There were a few people I had contact with who were part of a pretty hermetic circle and I used to gain inspiration from our rare yet regular meetings. This is as much as I can tell you, I guess…

5.What is the meaning and inspiration behind the name 'Imperator'?

I remember sitting at a history class in the late 1983 or early 1984 and that history teacher was saying something about Saint Petersburg and the way it was built. In the middle of the lesson I got instantly awoken by what I heard. Namely; Peter the Great (tsar and later emperor of Russia) captured the Swedish fortress on May 12th 1703 (and May 12 is my birthday, hahaha), which later turned into a big city; Saint Petersburg. What I found morbid and stunning was the fact that tens of thousands of people died while building the city! And emperor in Polish means IMPERATOR, so I guess I had a perfect name for the band which literally didn’t even exist. I came up with the name of the band first, then there was a first logo and only then did I start even thinking who to play with. I knew that I wanted to play the guitar and that I wanted to play metal. At first sth more like AC/DC. I remember I even wrote a song called ‘Petersburg’, which had some lyrics like; ‘People are building and people are dying’. Then I heard ‘Show No Mercy’ and I no longer wanted to play like AC/DC, neither like SLAYER though hahaha…

6.Between 1991 and 1999 there was only one demo released after the first album, can you tell us a little bit more about what was going on during that time frame?

This demo was recorded by a bunch of guys who simply stole the name of the band from me! Period. I do not consider it an IMPERATOR demo and has already settled the case with the guys. Unfortunately in some sources you can still find it as an official IMPERATOR release, which IT IS NOT!

7.The band was broken up for 18 years, what was the cause of the split and also the decision to reform?

John, the band was practically broken for 24 years (not counting the summer of 1995 when I tried to resurrect it with some musicians, one of whom – Chris – is currently the band member). I decided to hibernate IMPERATOR at the end of 1993 cause we were playing too slow and not the way I wanted. It coincided with my moving to London for half a year, after which I didn’t want to play the tracks that we composed throughout 1993. We played them live and so on, but I guess deep in me I never accepted this slow IMPERATOR. And I was getting gradually fed up with the style of our music. In 1993 all around us the bands were playing fuckin’ faster and faster and we were heading towards different horizons and I hated that! Some songs which were written in 1993 were to some extent the whole band’s ideas, not only mine as with the demos and TTBT album, and I simply had another artistic vision. I couldn’t work this way any longer. In December 2017 Nergal and Orion invited me to play with BEHEMOTH during Merry Christless 2018 gigs. They suggested I resurrect IMPERATOR and be a special guest at the following year’s concerts. It was the spark that made me pluck up the courage, think and analyze. It was a fuckin’ hard decision to make. I risked a lot, probably the whole image of IMPERATOR that in some circles had by then become cult. But I felt I had to do it and I started to look around for musicians and the things rolled on…

8.Out of all of the shows the band had played in the past, which one stands out the most?

Many. We used to have a really wild reception during the shows. Some people say we (maybe along with the Hungarian TORMENTOR) opened the Eastern European extreme metal scene to the world, and I guess there’s much truth in it. So in the second half of the 80s we gained some recognition and those gigs were really memorable. Hard to name them all. I can only say that we were also pretty rough after the gigs so the hotels suffered and the bookers were often afraid of what we might leave behind, hahaha…twas madness!

9.Do you have any touring or show plans for the future?

We’re playing a pretty big 3 day festival in September and an exclusive gig with PROTECTOR in October. We were invited to headline one of the days at Destroying Texas metal festival this year, but the US is probably the last country we still need to have visas to, and we didn’t manage to arrange the visas for all the band members in time. I am in touch with the organizers and they are still interested in flying us into US in 2020, so I hope it’ll work out. Am also negotiating the terms of some European festivals in 2020…

10.Recently Nuclear War Now! Productions re-issued your 1991 album, how would you compare working with this label to your older label 'Nameless'?

I guess Yosuke is a pro! So far there hasn’t been any problem in communication and I hope it’ll be distributed the proper way. By the way, ’Nameless Productions’ was the name I came up with. The guy who paid for the studio and pressing of the vinyls back then had no idea whatsoever about music releasing and promotion. And he didn’t even have any such thing like a record company, label or whatever. That’s why my improvised name “Nameless Productions’…

11.On a worldwide level how has the reaction to your music back in the days by fans of underground metal?

As I already mentioned there was a lot of good energy flowing from fans all around the world in the late 1980s and early 1990s…Once I counted, back then, and it turned out I got letters from around 80 countries!

12.What is going on with some of the other bands or musical projects these days that some of the band members are a part of?

Novock and his band DEVILPRIEST are active and play some shows this year, the same with Richter and his band TRUCHLO STRZYGI. I don’t know their exact plans and they don’t interfere with IMPERATOR’s itineraries. So everything’s just fine!

13.Is there going to be a new album released in the future?

The process of my putting the riffs together isn’t too rapid and it has to take some time, but ideally I would like the world to hear some new tracks from IMPERATOR next year! Guess it’s more than possible…

14.Back in the day what where some of the bands or musical styles that have had an influence on your music and also do you still keep up with current metal releases?

It’s a tough question cause as honest as I can be with you I always discarded any similar riffs, sequences of tunes etc that I realized might have sounded like something already existing. And that used to be my strict code of ethics while composing any material. Of course we never knew what was simultaneously going on in the West cause, we couldn’t instantly catch up with the novelties. For the majority of our existence we were trapped behind the Iron Curtain and it pretty effectively isolated us from the rest of the world. Ask anybody that really knew/knows me and they will probably confirm that I didn’t accept anything that sounded like any other band. So if there are some analogous associations you might think off they must have been woven into IMPERATOR by chance, without my awareness of the other thing being already in existence. Then again I can say what I used to listen to, and if there were links that you could follow and find some resemblance it was purely coincidental. And there were dozens of bands I enjoyed and still enjoy listening to. In random order: VENOM, BATHORY, MERCYFUL FATE, CELTIC FROST (from ‘MT’ to ‘ITP’), SODOM (only ‘In The Sign Of Evil’, oh and ‘Expurse of Sodomy’), POSSESSED (only ‘Seven Churches’ – a masterpiece), ASSASSIN (only demos), MORBID ANGEL (demos and the gem, which is ‘Altars of Madness’), IRON ANGEL (only demos), AC/DC (mostly with Scott), INFERNAL MAJESTY, DESTRUCTION (EP and the first LP), SLAYER (from ‘SNM’ to ‘SITA’ – excluding ‘RIB’, which I don’t find overexciting), SEPULTURA (EP and the first LP), SCHIZO (demos), PROTECTOR (demo), KREATOR (from ‘EP’ to ‘FOH’ EP, with the mighty ‘PTK’ album ‘fcourse), VOIVOD (‘War And Pain’), TERRORIZER (assorted tracks), NAPALM DEATH (assorted tracks), EXTREME NOISE TERROR (assorted tracks), AGNOSTIC FRONT (assorted tracks), PANTERA (‘Vulgar Display Of Power’), THE RAMONES (assorted tracks), ATHEIST (the mighty ‘Piece Of Time’) and many, many more. I know once I send it to you I’ll realize I’ve just forgotten some big things… ;) And as for the second part of your question, I suppose, I am not a keen follower of the current metal releases, but I guess I’ll have to take a little closer look at the things now that we’re again part of the scene…

15.Before we wrap up this interview, do you have any final words or thoughts?

Thanx for your interest in IMPERATOR John and keep up the good job! I have this strong feeling that we will strike forcefully in 2020. So I hope we’ll see some of you who are just reading it during one of our future shows! God lack to you all, Bariel.

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Arkhaaik Interview

1.For those that have never heard of you before, can you tell us a little bit about the band?

The musical foundation for what was to become Arkhaaik, as well as the conceptual underpinnings, were created by M. and myself in late 2015 or early 2016. We initially worked on material as a two-piece, but considering that my drumming abilities are limited to put it mildly, V. joined the fold and his earth shattering barbarity behind the kit has proved to be essential to our sound. As for the project, Arkhaaik is the excavation of rites long forgotten, of primitive worship and ancient deities that ruled long before man dominated and soiled the earth. These sounds explore Europe's bronze age and encompass the very essence of said rites that were extinct long ago, told in the Indo-European tongue that was used at the time and is now long lost to the ages, its utterance strange to the modern ear.

2.You have your first album coming out in July, can you tell us a little bit more about the musical style you went for on the recording?

I'd prefer if people actually listen to the music rather than read me describe what the music sounds like. Suffice to say, our intention is to unleash primal barbarity.

3.Your lyrics cover  the  long  forgotten rite,  primitive  rites  and  ancient  deities  of bronze age era Europe, can you tell us a little bit more about your interest in this topic and also do you feel that history for the most part ignores this era since it is not something you normally come across?

In fact, I think that many musical projects, particularly from the Helvetic Underground Committee, demonstrate an interest in history in general and have created conceptually based releases resulting in a more complete artistic creation as a result. Our interest in this topic seems rather self evident, as it is a time that is rarely explored in a musical context, at least not the the extent of attempting to recreate ancient visions of pre-historic horror.

4.What is the meaning and inspiration behind the name 'Arkahaik'?

It's spelled "Arkhaaik". The name is meant to be harsh on the ears and harsh on the eyes, a fictionalization of the word "archaic", resulting in a starker immediate pronunciation and reading of the word.

5.Can you tell us a little bit more about the artwork that is presented on the new album cover?

The artwork was created by R., friend of ours from Zürich, Switzerland. Interestingly, it was not commissioned for this release. Rather, M. discovered it while being showed a few of R.'s more recent creations and (quite accurately) found it would perfectly fit as a visual representation of the music contained on our album. We were initially unsure as to how to approach creation of the artwork for this release, so it was a rare blessing that this creation fell into our hands, more or less, and R. was generous enough to allow its use.

6.Has the band done any live shows or is this strictly a studio project?

No live shows and none are planned. We have many other commitments in other projects which make regular live activity in multiple projects rather difficult.

7.I have noticed that there is very little information available abut the band online with no metal archives page or facebook, do you feel it is very important for the style of metal that you play remains underground?

I don't think its important at all to conceal or reveal additional information. We have come to the realization that for our purposes, it is most efficient to allow information to be spread from a centralized source, for us the social media presence of the Helvetic Underground Committee, curated by the ever competent Nysrock, as well as our blog site. For certain other H.U.C. affiliated entities, like Ungfell and Dakhma a segregated, additional individual presence has been deemed fruitful, so it comes down to personal preference. Regarding metal-archives, once the album is out I'm sure someone will make an entry for Arkhaaik, as pretty much every band that plays what the site moderators consider "metal" music is listed there. That's out of our control and not of particular interest to us.

8.The new album is going to be released on 'Iron Bonehead Productions' which also has a few other bands from the Helvetic Underground Committee, do you feel this label has done a very good job getting yours and your counterparts music out there heard?

We are definitely satisfied with the work IBP has done for Dakhma and DVT, which is why I reached out to Patrick to gauge his interest in releasing the Arkhaaik debut. Certainly, the collaboration has been fruitful and has resulted in high quality releases we are satisfied with.

9.On a worldwide level how has the reaction been to your music by fans of black and death metal?

I actually have no idea, as I haven't been sent any reviews or anything. I have heard direct feedback from some individuals who enjoyed our music.

10.Where do you see the band heading into musically during the future?

We have recorded a new song for a special release that I will not divulge any further information on at this point. We intend to forge further in developing our craft and exploring the depths of pre-historic man and spirituality, as well as providing punishing, barbaric riff savagery that will pound the listener with a rage long forgotten by modern society.

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

I listen to all kinds of music, recently I've been taking a break from my steady diet of ancient black/death necromancy and checking out some obscure rock acts from the 1970s that M. has shown me. I thoroughly enjoy country music from the late 60s and 70s as well. As for influence, I prefer that listeners go into our music uninhibited by any preconceived notions of what it "should" sound like.

12.Before we wrap up this interview, do you have any final words or thoughts?

Thanks for your questions.

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Golgothan Remains/Perverse Offerings To The Void/Sentient Ruin Laboratories/2019 Vinyl Re-Issue Review

  Golgothan  Remains  are  a  band  from  Australia  that  plays  a  very  dissonant  form  of  blackened  death  metal  and  this  is  a  review  of  their  2018  album  "Perverse  Offerings  The  Void"  which  was  re-issued  on  vinyl  in  2019  by  Sentient  Ruin  Laboratories.

  Dark  soundscapes  start  off  the  album  along  with  a  brief  use  of  horror  movie  style  synths  before  going  into  more  of  a  heavier  and  technical  musical  direction.  When  the  music  speeds  up  a  great  amount  of  brutal  sounding  blast  beats  along  with  the  vocals  being  mostly  death  metal  growls.

  At  times  the  music  gets  very  dissonant  sounding  along  with  some  black  metal  screams  also  being  added  into  some  parts  of  the  songs.  Throughout  the  recording  you  can  also  hear  a  great  mixture  of  slow,  mid  paced  and  fast  parts  as  well  as  the  riffs  also  adding  in  a  small  amount  of  melody  at  times.

  Elements  of  doom/death  metal  can  also  be  heard  in  the  slower  sections  of  the  music  while  one  track  is  also  an  instrumental  and  also  introduces  clean  playing  onto  the  recording  before  returning  back  to  a  heavier  direction  on  the  following  tracks  and  at  times  the  growls  also  get  very  cavernous  sounding.  The  production  sounds  very  professional  while  the  lyrics  cover  darkness  and  occult  themes.

  In  my  opinion  Golgothan  Remains  are  a  very  great  sounding  dissonant  blackened  death  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  re-issue.  RECOMMENDED  TRACKS  INCLUDE  "From  Chaos  it  Has  Come"  "Phantom  Earth"  "Looped  Depraved  Spell"  and  "Flagellation  (Torrid  Tongues)".  8  out  of  10.

BANDCAMP RELEASE

    

Sulgogar/Cannibal-Toon/2019 Full Length Review

  Sulgogar  are  a  band  from  Venezuela  that  plays  a  mixture  of  black,  death  and  thrash  metal  and  this  is  a  review  of  their  self  released  2019  album  "Cannibal-Toon"  which  will  be  released  on  June  28th.

  A  cartoon  orientated  intro  starts  off  the  album  before  going  into  a  heavier  musical  direction.  A  great  amount  of  thrash  metal  elements  can  also  be  heard  quite  a  bit  throughout  the  recording  while  the  faster  sections  of  the  songs  also  bring  in  a  great  amount  of  blast  beats  and  the  vocals  are  mostly  death  metal  growls.

  Melodies  can  also  be  heard  in  the  guitar  riffing  while  all  of  the  musical  instruments  have  a  very  powerful  sound  to  them.  When  screams  are  utilized  they  bring  elements  of  black  metal  onto  the  recording  along  with  the  solos  and  leads  remaining  true  to  an  old  school extreme  metal  style  when  they  are  utilized  as  well  as  having  there  melodic  moments.

  A  lot  of  the  music  is  very  heavily  rooted  in  the  80's  and  90's but  also  sounding  very  modern  at  the  same  time.  Tremolo  picking  can  also  be  heard  in  some  of  the  faster  riffing  and  as  the  album  progresses  a  brief  use  of  synths  can  be  heard  before  returning  back  to  a  heavier  direction  and  one  track  also  brings  in  a  brief  use  of  female  vocals,  a  couple  of  the  tracks a re  instrumentals.  The  production  sounds  very  old  school  while  the  lyrics  are  written  in  Spanish  and  cover  political  themes.

  In  my  opinion  Sulgogar  are  a  very  great  sounding  mixture  of  black,  death  and  thrash  metal  and  if  you  are  a  fan  of   those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "Cannibal-Toon"  "Ninos  Muriendo"  and  "Republicia  Criminal".  8  out  of  10.

 

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