Opium Warlords 'We Meditate Under..' review

OPIUM WARLORDS
'We Meditate Under The Pussy In The Sky'
(Svart Records)

The one-man project (of none else but Sami Albert Hynninen, one of the bizarre reverends - ED) Opium Warlords from Finland released its second full-length album under the provocative title 'We Meditate Under the Pussy in the Sky'. The opening track "Sxi-Meru" is a compilation of grotesque noises that despite their sickness manage to draw the listener’s attention. "Slippy" begins with a doomy and epic mix of various instruments to continue with an attack of growling vocals and harsh guitars and drums just to end up to a soft, relaxing, harmonious and melodic sound. However, the song doesn’t leave room for relaxing, since it ends with a blast of drums and almost ritualistic music. 
Despite these almost good songs that create in you the desire to listen carefully what would come next (at least to some extent), the rest of the album is rather disappointing. The slow doom riffs at the beginning of "Lament For The Builders Of Khara Khoto’ reveal a dark atmosphere, which is further enhanced by the dull growling that slowly come to the surface, and the distorted riffs that continue to lay heavily upon the whole depressive atmosphere which creates a cold and lonely scene. In the middle of the song the sound changes to a more "black-funky" sound, just to end up in a melancholic mood. The final track ‘Satan Knew My Secret Heart’ is just a song of distorted guitars with a monotonous and subdued melody, simply leaving you with the question "Why has this song been written?".
Overall the album is a mix of sounds, many of them without a logic and continuity, with the use of some kind of sick psychedelic sounds. Nevertheless, the album should be heard more than once in order to capture at least to some extent the nonexistence of the inner soul, which is the final outcome of this hearing (according to my opinion). [5]
Dark Alice's nightingale

Opium Warlords MySpace
 

Warseid 'Where Fate Lies Unbound' review

WARSEID
'Where Fate Lies Unbound'
(Self-released)

It is very strange for a band from Wisconsin, U.S.A. to deal with Norwegian mythology. However, Warseid is one of these bands that not only has Norse mythology as its main lyrical theme, but is also succeeds in mixing in an amazing way folk with symphonic black metal, creating its unique sound.
'Where Fate Lies Unbound' is the new EP for the five – member band from Madison after 'Sentry' which was released in 2010. "Shackles Through Sand" starts with a soft acoustic guitar before the appearance of an extremely melodic lead guitar that can be easily imprinted into your mind. The continuous passages from black harsh to more gentle and clean vocals and from stormy riffs again to acoustic guitar melodies are enough to appreciate the abilities of this band. The last song "Farewell" reveals a rather melancholic mood at the first part while it can be considered as the most melodic and the song which definitely reveals the features of Warseid’s music. Without doubt all the musical compositions show a maturity and a well-cared job, which perhaps is the outcome of the musical background of all members of the band. All the instruments are played as they should, so as to achieve an acoustic balance. Despite the length of the album, although it has only four songs, it should be definitely heard more than once. Only one word for this album: challenge. [7,5]
Dark Alice's nightingale 


 

Maveth 'Coils Of The Black Earth' review

MAVETH
'Coils Of The Black Earth'
(Dark Descent Records)

Finland's Maveth are a new band to my ears and I'm glad I got a hold of their debut full-length on the great Dark Descent label. 'Coils Of The Black Earth' showcases this young band's power and dark violent sound. The band mixes in mid nineties death metal with some of their own sick twisted ideas. The guitars have some really well played complex riffs / patterns, without loosing any of the heaviness, they are done back and forth going from extremely fast with non-stop riffs but without warning come to a nearly slow/ mid paced crawl. The vocals are vicious, angry and just insane. Maveth might sound just like any other death metal band with this review, but believe me, they are so much more with their music that has a very dark atmosphere intertwined within the band's brutal sound. This is one hell of a great debut and well worth checking out if you enjoy dark, brutal death metal.
Patrick 

Maveth Facebook 

 

Paroxsihzem 'Paroxsihzem' review

PAROXSIHZEM
'Paroxsihzem'
(Dark Descent Records)

I don't know where Dark Descent finds their bands but so far I think just about every band I have heard from this label has been great and that's pretty rare these days. But you can add Paroxsihzem to the roster of Dark descent bands that are great and definitely worth checking out. Paroxsihzem come out of the Canadian underground and has released an amazing debut full of morbid, dark heavy death metal. Raging fast guitars, thick heavy bass mixed with deep, low growls. The band plays death metal the way it was meant to be played: no gimmicks, no over-the top technical riffs / solos - just dark, nasty heavy riffs. If you are a "fan" of dark, bass / guitar heavy death metal then you should definitely enjoy Paroxsihzem.
Patrick 

Paroxsihzem Facebook 



 

Stagnant Waters 'Stagnant Waters' review

STAGNANT WATERS
'Stagnant Waters'
(Adversum)

Stagnant Waters is a new musical trio that definitely thinks outside the musical box when creating music. The band does have some black metal influence but that is definitely not its main influence as Stagnant Waters seems to draw and use influence from industrial, techno (not the trendy / happy shit techno but more eerie / haunting style) mixed with with a lot of random spaced out soundscapes that somehow seem to blend together within a dark realm of industrialized metal and just plain insanity put to extreme music. While other tracks are more influenced by ambient, noise, and industrial - in other words, Stagnant Waters are a band that have no boundaries when it comes to their music and I have to definitely respect that. Personally this is something that is a release that not going to be for everyone but I would definitely recommend it to those who enjoy extreme metal / music with no boundaries.
Patrick



Tsar Bomb 'Neowarfare' review

TSAR BOMB
'Neowarfare'
(badGod Music)

This is a very impressive debut from Spain's blackened death war metal machine Tsar Bomb. Unrelenting, uncompromising barrage of blasting drums mixed with razor sharp guitar riffs and harsh, raw screams of pain. While each song is a violent and aggressive in it's delivery there is a unique sound and style that gives life to each track as well. A lot of bands playing this style usually get over looked for whatever reason but I would definitely urge any fans of blackened death to check out Tsar Bomb as soon as possible and add this band to your CD collection. I really think this band will be around in the underground scene for quite a few years and i for one can't wait to hear their next attacks!
Patrick



Die Hard 'Conjure The Legions' review

Die Hard Facebook
DIE HARD
'Conjure The Legions'
(Agonia Records)

Sweden's Die Hard are back with their brand of catchy yet aggressive old-school death metal. Fast, thrashing guitars with some really intense and insane riffs and solos put in the mix. Drummer is just as chaotic and all over the place going from the hyper-speed thrashing to a more mid-paced beats but the drumming is very well done and played to perfection. The vocals are a mix of gruff growls and screams - this is definitely a worthwhile purchase for any and all fanatics of old-school thrashing mayhem.
Patrick 



Deadly Remains 'Severing Humanity' review

DEADLY REMAINS
'Severing Humanity'
(Deepsend Records)

Deadly Remains play straight forward and do it well!!! On 'Severing Humanity' the California band really impressed me with me with their sheer brutal heavy sound and mix of mid nineties and some modern death metal for a good solid release. Heavy mid-paced guitars with some killer riffs and solos but the band does know how to break loose with fury with some faster guitars and drumming patterns when the time is right. This is a band that brutal death metal fans sure will not want to miss out on so order your copy today!
Patrick



Decline Of The I 'Inhibition' review

DECLINE OF THE I
'Inhibition'
(Agonia Records)

During the last years France has proved that it can be counted among the leading countries in the avant-garde / post-black metal scene - Peste Noire and Blut Aus Nord being only couple of the examples. From now on, France can be also be proud of Decline Of The I
The band describes its work as something between Burzum, Code and Neurosis, and not unfairly. The band is the idea of the musician A.K. (vocals/ guitars/keyboards/programming/samples), who was previously released various underground metal works, including Malhkebre, Neo Infermo 262, Diapsiquir and Vorkreist. The concept of the album is based on a trilogy inspired by the works of the biologist Henri Laborit, about aggression in the world and the effort of humans to stand up and fight to this aggression, gaining its freedom. In this process there are three stages: suffering (“Inhibition” – oppressive and heavy), rebelling (“Rebellion” – fast and violent) and finally avoiding (“Escape” – cold and industrial).
'Inhibition' is characterized by its rhythmic sessions, psychedelic noises, spoken French word sessions, female operatic vocals, badass bass that fits to the musical compositions and drums that keep up excellent with the rhythm. The passages from the melodic rhythm guitars to the melancholy riffs, turned to more oppressive sound and reaching a buzzing scratch of the chords, reinforce the depressive, dark and psychedelic atmosphere of the album, that manages in hypnotizing the listener and travel him to a completely ecstatic state of mind. Overall the band stands for the creation of a totally unique sound under the labels ‘post-black metal’ or ‘avant-garde metal’, which may not be captured only from the first hearing.[8]
Dark Alice's nightingale



Riti Occulti 'Riti Occulti' review

RITI OCCULTI
'Riti Occulti'
(Epidemie Records)

A very interesting and extremely atmospheric first full-length album from Riti Occulti formed in 2011 in Lazio, Rome. 'Riti Occulti' offers us a sample of stoner black doom metal mixed with the psychedelic sound of the '70s. Heavy and suffocating bass riffs, slow and mid-tempo drums, and fuzzy groovy guitars are the characteristics of Riti Occulti’s sound. The depressive melancholy of the bouzouki in "Desert of Soul" transfers the listener to oriental paths, while the haunting flute in "Bitter Awakening" along with the rhythmic drums calls for a trip to the depths of mystagogue. The pure black growling vocals full of desperation and anger along with the background operatic female vocals and the spoken words in some of the songs make the album all the way more atmospheric. All these are blended with a ritual sound referring to a sacramental journey towards darkness and occultism. Overall, the dense musical compositions of 'Riti Occulti' perhaps deserve a second hearing so as to be better appreciated. [8]
Dark Alice's nightingale



Demonic Death Judge 'Skygods' review

DEMONIC DEATH JUDGE
'Skygods'
(Inverse Records)

If one blends the music of Orange Goblin with the growling vocals of a black metal band, then one has the impressive second album of the four-member band from Kymenlaakso, Finland. Demonic Death Judge offers us one of the best albums in sludge metal, touching the limits of the psychedelic stoner doom of the '70s mixed with Heinonen’s black grouching vocals. The eight tracks of the album reveal an emotional dynamic and call the listener to a journey from birth to death and again to rebirth. Hearing the powerful and mid-tempo groovy riffs changing to strumming guitar chords is like whirling in a vortex of consciousness and unconsciousness. Hakyli’s sludgy doomy riffs give their position to psychedelic jam guitar sections, which are carefully and well-planned mixed with Hakuli’s heavy roaming badass bass. On the other side, the energetic drums of Pikka with their passages contribute either to the calm or the tempestuous sound. The acoustic guitar interlards with the rest musical compositions and overall the album stuns the senses and captivates the mind with its intense and heady aura. The percussion just intensify the gloomy atmosphere of this work. “Pilgimage” is a masterpiece, perhaps the epitome of the whole album, indicating the tremendous improvement of the band from its previous work and proving what Demonic Death Judge is capable of. [9] 
Dark Alice's nightingale 


 

Dynfari 'Sem Skugginn' review

DYNFARI
'Sem Skugginn'
(Code 666)

A journey through the cold endless landscapes of Iceland would be enough to describe the second full-length album of the two-member band from Reykjavik. Absolutely dark, depressive and emotionally aggressive, the sequel of 'Dynfari' will excite the fans of Myrk, Wolves in the Throne Room and Austere, since it touches the limits of SDBM. Death, loss, pain and hope are the main lyrical themes of this band that screams "Pull me under!". From the opening song “Glötun” till the closing track “Svartir Himnar”, Dynfari pull slowly and effortlessly the listener to a placebo-state of unconsciousness, to a hopeless world of despair and desolation. Through the music that captures the ear and the mind, the band expresses its deeper and internal feelings which are imposed on the listener throughout the whole album. Despite its length, the band succeeds in keeping undiminished the attention of the listener through its careful work and the well-written material, although the band was formed only two years ago.

The old school Norwegian-style guitars and the heavy percussion of Emil, along with the desperate growling vocals of Őrn, although used sparingly and carefully, as well as the doomy tempos at some points of the album mixed with folk and progressive passages, promise a fall to one’s inner state of dark feelings, where no one can be saved. Undoubtedly the pure atmospheric / post-black metal at its best from a band that respects this genre, itself and its fans. Just let the experience begin…

Rating: 8/10 (Only because I believe the band is very promising and has more to give us)
Dark Alice's nightingale


Dark At Dawn 'Noneternal ' review

DARK AT DAWN
'Noneternal'
(Self-released)

After five years of silence the German band  is back with an energy laden four-track mini album. The flute intro, which reminds of Chinese folk music, of the opening song "Coming Home" followed by the Falconer-style guitars full of melody, perhaps appropriate for a Western movie, is a sign that the listening of this album will be a pleasant one. That's the case indeed, as the highly melodic - and at the same time extremely powerful - “Arabian Fights”, which starts with an oriental touch of "Morocco Night", is followed by the beer-time party-song “Firedrunk” with its catchy and easy to memorize refrain, similar to the feeling one has when hearing Korpiklaani’s songs. “Taking my time” is the last song of this brief but promising comeback of Dark At Dawn to the power metal scene. Of course the characteristic rough voice of Thorsten "Buddy" Kohlrausch is one of the major advantages of this band. Great news that in 2013 the band will release its next album to celebrate their 20th anniversary. Looking forward to hearing from them again. [9]
(Dark Alice nightingale)

Wanderer 'Bypassing The Abyss' review

WANDERER
'Bypassing The Abyss'
(Dunkelheit Produktionen)

First full-length album for Mysterion (vocals/lyrics/artwork) and Dragonheart (back vocals/all instruments) from Donetsk, Ukraine. The black metal album 'Bypassing The Abyss' was originally released in 2004 under the title 'Passing The Abyss' by the Russian label Magic Art. The company, however, was closed and the album was not accepted by the public as it would deserve to, since there was no promotion. After than, the two-member band decided to release the album again after eight years and it's available now thanks to the German label Dunkelheit Produktionen. All songs remain the same as in the first recording - the reason for this was that the re-recording of the songs would be extremely difficult, since the original recording took place in a forest and a cave near Slavyanogorsk, Ukraine, so as the natural resonance of the voice can be heard. [Delved myself deeper into this bit to find out that this possibly applies only to some vocal parts, plus quite enjoyed the image of them recording the drums into their living room...the poor neighbours, hah. - ED] 
The band succeeded in keeping the raw black metal aesthetics of the early 1990s: slowly-crawling and almost predictable guitar riffs, imposing drums, stormy bass and agonizing vocals are the main characteristics of the album, consisted of eight songs. After the "Intro”, "Disappeared in the Mist" puts the listener from the beginning into the atmosphere of the album. Although "Leaving the Abyss" is very good, "Angel Bury" is perhaps the best song on the whole album. All the musical compositions reveal a cold, misanthropic, brutal depressive and claustrophobic atmosphere, which is further enhanced by the lyrical themes of the nature’s superiority over the human materialism. Although it is another black metal album which reminds us a little of the old Darkthrone, Wanderer has put its own twist on the sound and the vocals, offering one interesting album in this genre.[7]
Dark Alice's nightingale


 

Monads 'Intellectus Iudicat Veritatem' (dual) review

MONADS
'Intellectus Iudicat Veritatem'
(Ordo MCM)

54 minutes of a tiring five-song demo for the band from Belgium. Another funeral doom album without anything new to exhibit to the listener. Extremely slow tempos, drums that still needs a lot of work, tiring lead guitar solos combined with slow growling. Perhaps the description sounds interesting, but it is not so good as it seems. There are times where the musical compositions touch the limits of death/doom, as at the end of ‘Absent As In These Veins’, lacking any connection with the entire song. Although ‘Intellectus Iudicat Veritatem’ can be regarded as ‘very good’ from some fans of this genre, this does not mean that it is not one-of-the-same, without any inspiration and without a spark. Despite the fact that it is a heavy, melancholic and atmospheric demo, it does not offer a great listening experience. [6] 
 Dark Alice's nightingale

We're opinionated bunch here at Dead Void Dreams, or else we wouldn't be doing this, right? This was bound to happen - and while I do respect Alice's opinion and am thankful for all the hard work and passion she has injected in the zine since joining - here's my take on Monad's album. Cool, you get another review...and another opinion, at no extra charge, hah!
 

I've nothing but applauds to Ordo MCM for picking up the band and re-releasing this on CD. For what's in fact a debut outing 'Intellectus...' is more than simply "good" and it's certainly a promise for what's yet to come from Belgium's most wretched and wicked weirdos. Yes, it requires a good few listens, not to mention a particularly bleak and introvert state of mind, to fully sink in, but once that happens and you've taken the trip there's a realization that Monads are here to stay - and haunt your subconsciousness. In terms of harshness and fuck-your-mind-for-good hypnotizing ambience this stuff seemingly owes as much to bands like Merzbow and Corrupted as it does to Esoteric and Mournful Congregation, which undoubtedly gives the band broader canvas to work with, a thing that can only enrich the impact of those five dirges on offer. The beauty is in the eye of the beholder and all but it's a safe bet that those who like it slow, bone-chilling and full of anguish will be glad to add this to their collections. [8,5]
Vladimir Petrov




Voidcleaning - reviews part 3

Short and to the point. Let the review madness continue!
 All reviews by Vladimir unless otherwise noted.


WÖMIT ANGEL – 'Sodomatic Rites of I.N.R.I.' (Inverse Records)

Black metal moving from underground and punk to black and death, without anything new to offer. This could be briefly the description of ‘Sodomatic Rites of INRI’, the first full length album of the Finnish Wömit Angel. Relentless and merciless drums that never stop, clichéd growling vocals that remind of Donald Duck, fast and furious guitars, banal lyrics about sex and Satan - this may satisfy only the newcomers to the genre. The artwork of the album is brilliant, the production is very good and the three-member band undoubtedly enjoyed what they did. However, this is not enough. [5]  -Dark Alice nightingale-

OBSCENITY - 'Atrophied In Anguish' (Apostasy Records)

I had a soft spot for this German death metal band during their Morbid Records era in the late '90s and the early noughties, great to see them back in action. This is just what the doctor ordered - tight, fast and brutal death, blending elements of both the US and Scandinavian school, arranged and played by musicians who have been doing this for well over two decades. Blastbeats, intensity, solid growling vocals, blazing guitars - everything you need from a punishing death album is here. Obscenity have also made these songs pretty memorable, which is good news and highly required for your album to stand out from the fierce competition - and 'Atrophied In Anguish' does just that. Good job, you old bastards! [8]

ARKHAMIN KIRJASTO - 'Torches Ablaze' (Ektro Records) 

The Finnish folks all have heavy metal in their blood, we got that already. If you've ever heard Circle, the main band of one Jussy Lehtisalo you'll know what I mean when I say that Arkhamin Kirjasto is quite a departure, in terms of sound and style, for the man.. He's one of eclectic taste for sure, plus it makes perfect sense that the other member of AK, Samae Koskinen, plays in Xysma - the band that single-handedly invented grind rock. AK is pretty much trying to achieve the same in context of metal, as evident by this quote from the accompanying press release - "Would the guttural power of Autopsy and Nihilist work well with the sheer melodiousness of early Iron Maiden and Angel Witch?" Not by a stretch, frankly. This sounds like an uninspiring death band covering some long forgotten heavy metal semi-classics, with the vocalist let loose having fun slaping his growled vox on top of the tunes. I do get the DYI "Piss off, this is our little thing!" vibe present by these songs but other than that there's nothing that really stands out. [4,5]

STENCH OF DECAY - 'Stench Of Decay' (Ektro Records) 

Now this is more like it! The CD compiles all Stench Of Decay material released to date, so in case you love your death metal being of the morbid variety and missed out on this band - the time has come to rectify the glitch. In case you're familiar with the quirky Finnish death metal sound from the early '90s, Stench Of Decay is the band that would get your pants in a jump - the glory days of Disgrace, Demigod and Abhorrence (there's a cover of "Vulgar Necrolatry" in here) have not simply been rehashed but by adding bits and pieces drawing from the likes of Grave and Asphyx this band makes themselves quite the choice old schoolers to keep dear to their rotten hearts. These songs just ooze the right atmosphere of death and decay, the playing is superb for the style and this whole affair feels like someone smashing your head against a piss-soaked concrete wall in 3 AM on a windy, foggy night. You've been warned. [8]

Dawn Of Winter 'The Skull Of The Sorcerer' review

DAWN OF WINTER
'The Skull Of The Sorcerer'
(Cyclone Empire)

Remember the tail end of the '90s? Remember that time when "true" power / heavy metal (Nuclear Blast / Massacre Records - style) was in vogue and millions of bands wished they were Hammerfall? Yup, grim and dreadful days those, unless you were born and bred moustacheoid and / or German and the first ever words to fall out of your mouth have been "Helloween" or "Manowar". It's madness thinking that's been 15 years ago - and I'm still recovering from the dross that used to abuse my ears and mind back then. See, I was a co-owner of this hole-in-the-wall metal store in those days. Nobody of the customers was interested in me recommending Candlemass or Bathory or - god forbid!, Pentagram to them. Why would they when there were albums by such luminaries as White Skull, Defender and, ahem, Sacred Steel up for the grabs? How this rant links to the review you might ask? Both Sacred Steel and Dawn Of Winter share the same vocalist, that's how. Plus, both those bands are the living equivalent of "generic and non-eventful" in their chosen genre. Supposedly, by releasing this four-song vinyl 12" Dawn Of Winter are celebrating their 22nd anniversary - cheers guys, congrats! Didn't know 22 had any magical power / meaning / significance behind it, sorry. Have your fun and all but the next time I'm in an arty and meaningful doomy mode I know I'll stick to 'Epicus...', 'Nightfall', or the godly Procession. No offence, just keep that sorcerer's skull in your possession and away from me, OK? Nice cover art, though. [5]
(Vladimir Petrov)




Interview with John Gelso (The Royal Arch Blaspheme)

The Royal Arch Blaspheme?

 Not a band for the mainstream metal public, let me tell you. 

Things are different here at Dead Void Dreams and when Patrick interviewed band's founder John Gelso I knew this is gonna be a great reading for all you cursed souls out there. Do you agree?

Originally published on Winter Torment Zine


DENIAL OF THE HOLY SPIRIT

 

Patrick: Hails John! Thank you for taking the time to fill out this interview! Please introduce yourself to the readers.

John Gelso: Greetings, it all began in 1986 when Paul Ledney and I disbanded a punk project to begin the death/black metal band Toten. Since then, I’ve played guitar in a handful of bands. The only noteworthy ones I care to mention would be Profanatica, Contrivisti, and The Royal Arch Blaspheme.

Patrick: When did you and N.Imperial first meet? What gave you guys the idea to form The Royal Arch Blaspheme? How did the two of you choose the name of the band? How would you describe the band's music for the readers who have never heard The Royal Arch Blaspheme?

John Gelso: I met N. Imperial in Texas at the 2009 Sacrifice of the Nazarene Child Fest. I created RAB as a side project while Paul worked on Havohej in the autumn of 2008. The name was taken from Aleister Crowley’s “Energized Enthusiasm: A Note On Theurgy“ written in 1913. After creating the majority of the hymns, I needed someone with a strong voice to complete the work. I thought of asking Ledney, but felt the album would be viewed as an odd Profanatica album. In addition, I wanted RAB to be its own entity. At Sacrifice of the Nazarene Child Fest, N. Imperial gave me a copy of March Into The Sea. After one listen, I knew he was the perfect fit for RAB
I would describe RAB as dark, inward, haunting, and powerful. Both N. Imperial and I pen the lyrics that vary on themes from self-empowerment and ancient truths, to the disgust of religious hypocrisy and it oppressive nature. 

Patrick: Originally the band was just yourself and N.Imperial but for the new release 'II' you decided to add more members for a full-band. Why did you guys decide to add more musicians? Are you happy with the decision so far? Please introduce the new members of the band.

John Gelso: It was my idea to expand RAB, I encouraged everyone to contribute to this album. I’ve worked with Alex and Blake while recording Profanatica’s 'The Grand Master Session'. There is strong chemistry between us when we perform. Everything comes together very quickly. They are both part of the RAB going forward.
Alex and Blake are both previously from Demoncy. In addition, they have both done live session work with Profanatica. Alex also runs and operates Negative Existence.

Patrick: Are you all interested in playing any "live" shows/fests/tours in the future, or would you prefer to keep The Royal Arch Blaspheme a studio-only band?

John Gelso: I would be interested in doing a few live performances with RAB, preferable a fest. I’m more interested in working on the next album.

Patrick: The band recently released their second CD 'II' through Hells headbangers Records. How long did it take to write and record the songs for this release? Which usually comes first in the writing process - the lyrics or the music?

John Gelso: Music comes first, then titles, then lyrics. This album is a bit unique when it comes to the writing of it. I’ve purged ideas I’ve been holding on to for a while. The first riff you hear in “Vama-Marga” was written in 1987. It was taken from a Toten hymn titled “Dreary Proximity.” It was never recorded, but the riff remained in my memory over the years. "Resurrection of Depravity" was written in 2004 in homage to Quorthon. The song “Call from the Grave” inspired the vocals style and is meant as a tribute. 

Patrick: Everyone has their own ideas/opinions on what black metal means/stands for, so I was interested in what you what yours were. What does "black metal" mean to you?

John Gelso: In my opinion, black metal began with Venom. It’s a true dishonor to them when people say it was stared in Norway. To me it’s all about the music and the feel. Its roots are in punk music. While punk is against the establishment, black metal is against religion and what is perceived to be moral. They both have rage within it core. 

Patrick: I know you have been a part of the black metal scene for many years now. How do you feel the scene has changed over the years? Do you feel it has gotten better or worse over the years?

John Gelso: It can never be the same. While there are a lot of great artists out there, and a greater amount of people that truly appreciate the music, the newness of it can never return.

Patrick: I also remember in the early/mid 90's the USBM scene was not really respected or taken very serious from the Europeans. Do you see much of a change in this over the last 10-15 years?

John Gelso: For USBM in general, I feel it’s changed a little. Some bands are getting more respect, though Profanatica still remains possibly the most passionately hated within Europe and the US, especially amongst critics.

Patrick: What is your personal opinion of the scene in the US? Who are some of your all-time favorite USBM bands? Are there any new bands you feel will make an impact and people should watch out for in the near future?

John Gelso: There are many great bands in the U.S. All time favorites: Demonic Christ, Demoncy, Black Witchery

Patrick: How do you feel about the black metal bands that use keyboards, synths and female vocals etc. to add "atmosphere" to their music?

John Gelso: I’m not into keyboards or synths in black metal. While its not something I would choose to do, I don’t mind if its in an intro or outro. Overall, black metal should have a more punk feel. I like female vocals. Fuck, Demonic Christ is killer!

Patrick: If you don't mind a few personal questions I had wanted to ask - would you consider yourself a Satanist or just anti-all religion? At what age did you really start to question religion and god etc.?

John Gelso: I started questioning religion at a very early age. I was around 4 or 5 old when I started attending C.C.D (Confraternity of Christian Doctrine), not by my choice. From the beginning I saw many flaws in Catholicism. I quickly developed a true hate for all the ignorance and hypocrisy that I was being "taught.” Catholicism is a plague of misogyny, paedophilia, fear, and destruction of self will. It was created to enrich a few and lure the sheep by providing a false sense of security. Throughout my life I’ve studied other world religions and found the same shit.

Patrick: Who are some Satanists/Occultist you study and follow the most? Do you have any kind of philosophy you try to live by?

John Gelso: I’ve studied Anton LaVey, Aleister Crowley, and Helena Blavatsky to name a few. Years ago I did some work for Tracey Twyman and Boyd Rice, helping them with a website. It provided me with access to a healthy amount of compelling articles and spoken word audio files they created. I have much respect for the amount of knowledge they’ve gathered over the years.

Patrick: How do you feel the world would be different if the religion of any kind (Christianity, Satanism, Paganism etc.) was never introduced to humanity?

John Gelso: Our species would be much farther evolved. Or we would have annihilated ourselves.

Patrick: Coming back to music besides The Royal Arch Blaspheme you are also a part of the legendary Profanatica! Whats new with Profanatica - any band news/updates you would like to share at this time?

John Gelso: There’s should be a new Profanatica album coming out later this year. We finished recording it about a year ago. I’m not clear on why it hasn’t been released yet. Last I hear, Hells Headbangers where waiting for Paul’s artwork. It has 9 new songs, our best effort yet.

Patrick: We have reached the end the of interview,thank you for taking time to fill this interview out. do you have any final words for the readers?

John Gelso: Praise to those who support. 


NunSlaughter 'Devils Congeries Vol.I' review

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