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idiotcoward · 9 months

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Agriculture - Agriculture Well here it is! The long awaited first release from the LA based black metal project Agriculture. Agriculture has been building up steam from pre-release reviews and commendations from metal blogs, critics, magazines, the whole lot. This album, at least in my circles, had a lot of hype. Even had a whole meme associated with the band: "I love the spiritual sound of ecstatic black metal by the band Agriculture" and it's pretty good! First off, a lot of black metal fans will shit on anything blackgaze-esc. Anything that even has the smallest whiff of Deafheaven or Liturgy is considered "Not Kvlt" or "poser shit" and frankly a lot of those people think that way because they're more invested in the aesthetic of music, how it makes them look to others, how it makes them feel, then they are about pushing forward the genre. Listening to the same four Norwegian black metal bands from the 90's isn't KVLT. Listening to endless repeats of the same tired BM tropes just reminds me of a Satanic version of Greta Van Fleet, and that is an ATROCIOUS thing to be similar to. Not too mention, all too often, these "TRUE BLACK METAL KVLT BANDS" are just Nazi Black Metal. From Burzum to Deathspell Omega. It's just Nazi shit. Agriculture on the other hand really dives deep into the blackgaze genre. Really pushing against what people expect when they turn on a black metal album. There is an interlude that is just a man singing over guitars. There are trumpet and jazz-esc sections. I mean there's still a shit ton of tremelo picking and high pitched screaming but it's black metal you know. There are definitely moments where it all works and it all felt so incredibly epic. Those emotional highs that I got listening to Liturgy or Deafheaven, but, at least on the first listen, I came away thinking "Yup. Kinda what I thought it would be." Not that that's a bad thing just, I wasn't blown away. The instrumentation was good, the singing was good, just... maybe it just didn't click for me. I'm excited to give it another listen and see if maybe I'll pick up on more nuances in a different context or mood. If so maybe I'll revisit my thoughts. But for now I think it's fine. If you really like this kinda music you'll absolutely love this, but for me, I'll probably just listen to some more liturgy.

#now listening #album recs #metal #Shoegaze #Blackgaze #Black metal #Experimental Metal #Experimental Black Metal #Metal Recs #New Metal #New Music #Music Review #Alternative Music #Agriculture #Post Metal #Avant Garde music #Avant Garde Metal

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the-vibing-ghoul · 3 years

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Topsters for today

Me and all sorts of DSBM or Black Metal in general go way back. Since I was a shitty pre-teen with internet access I listened to shit like Burzum and Behemoth which quickly devolved into more emotional shit like Xasthur or Make a Change... Kill Yourself as I slowly started to learn english and look for something that resonated with what I felt at the moment.

Again, not a music critic or somebody who even has an idea of what they are talking about. I have gotten unreasonably under influence so here's a bunch of my faves (that even a word?), enjoy!

1. Thy Light - Suici.De.pression

2. Hypothermia - Svartkonst

3. Nocturnal Depression - Spleen Black Metal

4. Ghost Bath - Moonlover

5. My Useless Life - On The Edge

6. Xashtur - To Violate The Obvious

7. Leviathan - The Tenth Sub Level Of Suicide

8. Forgotten Tomb - Songs to Leave

9. Silencer - Death - Pierce me

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dustedmagazine · 3 years

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Xibalba — Ah Dzam Poop Ek (Nuclear War Now!)

Ah Dzam Poop Ek by Xibalba

There’s a popularly accepted, nigh-canonical capsule history that claims to account for the emergence of black metal: a few NWOBHM bands made some important records; the Swedish death metal and kängpunk scenes pricked up their ears; and then a pack of misanthropic, disaffected Norwegian kids cross-pollinated the musical forms with some decidedly sketchy politics and a penchant for arson. It’s a compelling story, replete with suicide, homicide, Satanism and hate, and its Northern European geography fits the music’s conventional attractions to cold riffs and even colder flesh. But when you look beyond Europe, the story gets more complicated. The visual aesthetic that Brazilian band Sarcófago established on the cover of I.N.R.I. (1987) likely exerted as much influence on black metal’s sensibility as King Diamond’s Mercyful Fate-period antics. From Brazil’s Belo Horizonte, travel north again, but this time to Mexico City. The records that Xibalba (now known as Xibalba Itzaes) made in the early 1990s were contemporaneous with the storied and seminal sides laid down by Darkthrone, Immortal and Burzum. Norway may have been central to black metal’s development, with Oslo functioning as its metropole, but there were interesting things going on in the periphery. Xibalba’s Ah Dzam Poop Ek, reissued on vinyl by Nuclear War Now!, is a reminder of the genre’s varied points of emergence.

Some more current info should be clarified: Xibalba has added the “Itzaes” to their band’s name, perhaps in order to distinguish it from that other Xibalba, the Pomona-based hardcore-and-death-metal hybrid that has released some very well received records over the past decade. That band makes seriously heavy sounds, downtuned and deep-rumbling. The older, Mexican Xibalba’s Ah Dzam Poop Ek, originally released in 1994 (two years after a demo, In Lucescitae Tristis Hiei), is a black metal record in the now-orthodox sense. Marco Ek Balam’s guitar riffs are scabrous and brittle, and they grate and rasp to strong effect; his vocals croak and bawl with the sort of performativity that Isahn and Abbath Doom Occulto were busily installing in Scandinavia as a stalwart style. The percussion, provided by Jorge Ah Ektenel, is much simpler than the manic blasting of Fenriz or Faust, but it’s compatible with the raw sound and structures that inform most of Xibalba’s songs — see “Vuch” and “Sign of Eastern War” for especially strong examples of the record’s dominant tones and pacing.

Xibalba is comparable to their Pomona namesake in a very significant way: both bands share strong interests in Mesoamerican mythic systems and ancient cultures. On Ah Dzam Poop Ek, “Itzam Cab Ain Katun” draws on a Yucatec myth of a world-destroying flood, and “Bolontiku Vahom” concerns a group of nine deities that figure in the complex underworld of Xibalba, the Mayan realm of the dead. The band works those pre-Columbian references into its lyrics, but only sporadically integrates Mesoamerican music into the songs’ sound. The pipes and percussion that begin “Carchah,” for example, are rapidly displaced by more conventionally black metal instrumentation and riffs. The rhythm of “Bolontiku Vahom” provides a more prolonged engagement with Xibalba’s socio-cultural roots, and one wishes the band had worked that relationship more; it’s the most interesting song on the record.

But one can understand the relative dearth of culturally located musical atmospherics. In the early 1990s, black metal had a modish, seductive currency. The guys in Xibalba already understood their own history, and were likely much more interested in exploring black metal’s unfamiliar terrain. For many current listeners (like this reviewer), the inverse is true. It’s useful that Nuclear War Now! has reissued Ah Dzam Poop Ek, so we can hear black metal’s inherent diversity (a necessary intervention in the genre’s sustained commerce with fascism), and to tune us into even more ancient signals from subterranean spaces.

Jonathan Shaw

#xibalba #Ah Dzam Poop Ek #nuclear war now #jonathan shaw #albumreview #dusted magazine #black metal #metal

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bubblesandgutz · 4 years

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Every Record I Own - Day 549: Hellhammer Apocalyptic Raids

When the lore surrounding the second wave of black metal finally reached the punks in the Pacific Northwest in the mid-’90s, there was this conflicted allure surrounding it. On the one hand, anything that extreme and taboo is bound to appeal to young adults who are already interested in the underground, and the scene’s lo-fi approach, ham-fisted execution, rapid-fire tempos, and caustic sounds were perfectly tailored to kids that were already listening to crust punk, grind, and powerviolence. On the other hand, there were the hate crimes and flirtations with fascist ideologies. It was the pre-internet era, so it was hard to confirm which bands were shitbags and which bands were just generally misanthropic. But the notoriety of bands like Mayhem, Emperor, and Burzum also elevated the profile of the bands that laid the framework for their sound: bands like Venom, Bathory, Celtic Frost, and Hellhammer. And those bands didn’t have the baggage of extreme right-wing politics.

In 1995, Hellhammer was the most elusive of all the first wave black metal bands. The last authorized pressing of Apocalyptic Raids had come out in 1984, so unless you were mail ordering bootleg copies out of Eastern Europe you weren’t able to hear it. It became one of those mythical records. The only copy I ever saw of this record prior to its 2008 reissue was a beat-to-shit copy at a radio station in Long Beach.

Hellhammer had their fans, but they also had their detractors. And the scathing reviews from the bigger metal press outlets likely had a lot to do with guitarist/vocalist Tom G. Warrior trying to distance himself from the band after he moved on to form Celtic Frost. And to be fair, Apocalyptic Raids is a very rough record. It’s staggeringly sloppy, with the guitars and drums constantly slipping out of sync with each other. But for whatever reason, when I finally heard Hellhammer, it sounded exactly like what I expected. And even though the performances are abysmal and the recording is crappy, its raw energy and flagrant assault on conventionally “good” sounds gives it a certain magic. I can totally understand why a bunch of sullen Norwegian teenagers with rudimentary skills latched onto this sound and ran with it.

#hellhammer #everyrecordiown

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black-metal-artists · 5 years

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🔥BLACK DEATH PRE - DARKTHRONE 🔥86/87 Iván Enger, Gylve Fenris, Ted Arvid Ekjellum, Dan Nilsen. 👹🤘🏿👺🤘🏿🔥 #immortal #burzum #mayhem #darkthrone #emperor #carpathianforest #darkfuneralofficial #watain #behemoth #naglfarofficial #blackmetalvinyl #blackmetalmusic https://www.instagram.com/p/B0lwCS6gycz/?igshid=qjoemk1bo0vr

#immortal #burzum #mayhem #darkthrone #emperor #carpathianforest #darkfuneralofficial #watain #behemoth #naglfarofficial #blackmetalvinyl #blackmetalmusic

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blackaltarapparel · 5 years

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Unisex BURN YOUR LOCAL CHURCH vests will be available to pre-order tonight at 6pm GMT! Model: @holly_inked WE SHIP WORLDWIDE🔥⛪️ www.blackaltarapparel.com #blackaltarapparel #blackaltar #burnyourlocalchurch #burningchurch #churchburning #churchburner #blackmetal #blackmetalchick #blackmetalgirl #lordsofchaos #truenorwegianblackmetal #norwegianblackmetal #metalhead #metalchick #metalheadgirl #mayhem #burzum #vargvikernes #grunge #grungestyle #grungeclothing #gothgirl #grungegirl #tattooedgirl #gorgoroth #batushka #atmosphericblackmetal #sinner #sinnersarewinners (at United Kingdom) https://www.instagram.com/p/B0oBNZlAS-a/?igshid=1ipgx98kpdx6a

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witnesstruesorcery · 5 years

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HÁVAMÁL from The Poetic Edda read by Sveinbjörn Beinteinsson

http://northvegr.org/old%20icelandic%...

Sveinbjörn Beinteinsson (July 4, 1924 – December 23, 1993), a native of Iceland who was instrumental in helping to gain recognition by the Icelandic government for the pre-Christian Norse religion. The Ásatrúarfélagið ("Fellowship of Æsir faith"), which he founded in 1972, and for which he acted as goði (priest), was officially recognised as a religious body in 1973. Sveinbjörn lived his entire life in West Iceland. From 1944 on, he was a sheep farmer while also pursuing literary interests on the side. He published a book of rímur in 1945, a textbook on the verse forms of rímur in 1953, two volumes of his own verse in 1957 and 1976, and edited several anthologies. Sveinbjörn is regarded with much respect and affection amongst Ásatrú. Not only was he a well known rímur singer, or kvæðamaður, in Iceland, he also gained an audience and followers in Europe and North America. He sometimes performed at rock concerts and is the opening act in the film Rokk í Reykjavík, directed by Friðrik Þór Friðriksson. Sveinbjörn can be heard singing on the bootleg album "Ragnarok (A New Beginning)" by Burzum, on the last track of the album entitled "Havamal". Sveinbjörn can be heard performing Ásatrú marriage rites for Genesis and Paula P-Orridge (now Alaura O'Dell) on Psychic TV's LP Live in Reykjavik and on the double LP entitled Those who do not. In 1982 Sveinbjörn released an album, Eddukvæði (Songs from The Poetic Edda), in which he recites in rímur style 75 stanzas from Hávamál, Völuspá and Sigrdrífumál. The album, on the Gramm label, included a booklet of the poems in Icelandic, with translations into English, Swedish, and German. Additionally, former Psychic TV member David Tibet (né David Michael Bunting) released a CD of Sveinbjörn performing his own rímur and reciting the traditional Poetic Edda under the title Current 93 presents Sveinbjörn 'Edda' in two editions through the now defunct record company World Serpent Distribution.

#havamal #edda #Sveinbjörn Beinteinsson #old norse #iceland #snorri sturluson #magic #galdr #rimur #rímur #icelandic sorcery #runes #the high one #odin #oden #woden

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les-legions-noires · 6 years

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Les Légions Noires (The Black Legions), was an important part of 1990s underground black metal, that originated in France in the early 1990s, shortly after Norway’s black metal explosion, when a small group of socially alienated teens fueled by hopeless anger among other frustrated emotions shocked the metal scene and their local communities with absurdly raw, maniacally misanthropic music and a rash of ideologically-manifested crimes. Les Légions Noires, for their part, represented a more deranged and bizarre perspective that further disoriented metal’s conventional aesthetic and philosophical standards. Theirs was a sound festering in demonic decadence directed towards a grave destiny by a self-destructive sense of existential oblivion. The aesthetic was a vision of life stripped to shreds, twisted and evil; rather than inspire with familiar musical aspirations, they sought to disturb with terrifying expressions of their unholy visions. Black metal descended further into the depths of inner torment and black despair. Les Légions Noires represented the ultimate response to Norway’s black metal revolution, exaggerating the destructive tendencies of Mayhem and DarkThrone with an unsettling sense of and ludicrous delight in morbid insanity.

Les Légions Noires was more about the will to existential disintegration than noble spiritual transcendence. The recordings, a large majority of which were strictly limited obscure demo tapes, were made at a time when black metal was nearing the end of its classic era, and the trend of slickly produced keyboard black metal albums was on the horizon. They came as if to announce and celebrate the death of black metal, with gloomy and haunting ambient recordings that sounded like black metal’s tortured ghost summoned in bizarre ceremonial rituals in dilapidated castles. In this fashion the bands of Les Légions Noires were like black demon-shadows ascending from the depths of Hell to take black metal back where it belongs, as music labels swooped in to commercialize the style.

"Black Metal doesn’t mean anything any longer. It has become the shame of Satan, undermined in it’s very essence by all those pathetic worms, false Satanists, traitors and bastards of all kinds, have gathered to insult our art, and the less one can say is that they really succeeded in making it pure shit, a simple and only matter of image, money, publicity."

Les Légions Noires belonged to black metal’s second wave, which formalized itself in the early 1990s. The French bands were never as technically accomplished as their Scandinavian influences, though they never made it a point to be so, preferring to emphasize atmospheric mood, imagination and aesthetic over musical sophistication. Undoubtedly skilled in atmospheric composition, much of the effect was due to the absurdity of the expression and the extremely raw nature of the sound.

This was a true underground phenomena that vehemently opposed the commercial tendencies that a few of black metal’s major proponents would find themselves indulging later in their careers, seemingly determined to fulfill its own pre-ordained destiny of total self-annihilation.

Musically, what distinguished Les Légions Noires from their Norwegian inspirations was the severity of their dissonant emphasis, which possessed the sound of a more violent and evil aspect, and the irregularity of their rhythms, typically embellished by the often clumsy drumming performed by musicians who either didn’t care about instrumental proficiency or outright rejected it as an aesthetic imperative. They were intent on invalidating black metal as a commercial prospect, largely eschewing the conventions of record labels and interviews as an ideology of the purity of obscurity, which shrouded the entire scene in mystery. They were able to intensify the raw sound and misanthropic spirit of black metal, and channel it through a unique creative identity rooted in the morbid decadence that permeates much of French philosophy and art. In this way, they invented an individual style and cryptic mythology (complete with the invention of an unpronounceable language), while expressing a nihilistic drama of the absurdity of meaningless suffering and torment within the context of an anguished will to emptiness. They were better dramatists and aestheticians than instrumentalists, possessed of an intuition of ghoulish mystiques with an artistic vision and expressive objective that was more oriented to fulfilling self-prophecies of oblivion than advancing musical technique.

On purely musical terms, most of the Les Légions Noires material is of dubious value, and because it is ultimately this that determines endurance and artistic significance in this medium, the cultural, aesthetic and philosophical adaptations of these bands appear trivial to many. However, the few examples of musical validation provide enough substance to treat the French scene with serious consideration as an artistic phenomenon. The confirmation is melody, best exemplified on Mütiilation’s Vampires of Black Imperial Blood and Remains of a Ruined, Dead, Cursed Soul, both of which exhibit Burzum-style wandering melodies with a romantic sense of exquisite melancholy, with Black Murder’s melodic diversity and Aäkon Këëtrëh’s brooding ambient melodic meditation offering further demonstrations. Vlad Tepes, who displayed the most impressive musical consistency of this collective, wrote distinctive songs developed out of perceptive melodies in a somber interpretation of the epics of Bathory and Celtic Frost, only more dissonant, violent, and atmospherically obscure.

"Currently any fucker that has nothing to do with our beliefs can get BLACK METAL releases, in record shops, because of those treacherous labels that have made the unfortunate and unpardonable mistake of not understanding what true BLACK METAL is . That is was born in darkness . Where it shouldn’t have come out of, and where it will return soon. BLACK metal has become the music of everyone, which is the total contrary of what it intended to become at the time of it’s genesis. All the structures, labels, zines, even worse, the bands themselves have exhibited as any other human musical style such as “Death Metal”. The bands betray themselves one after the other getting into ideologies that have nothing to do with Satanism ( Nazism, Viking Culture) missing up the original BLACK METAL style in all sorts of stinking and intolerable mixtures!!"

Their legacy is a phenomenon of an almost mythological quality, though it seems that most are acquainted with the scene through their occult-oriented obscurity and monochromatic cut-and-paste punk-style visual aesthetic rather than the actual music. The variety of offshoot noise projects and their goofy exaggerations have resulted in their more substantial efforts being discounted by less-informed metal fans.

Each band/project possessed a distinctive atmosphere manifested in what seems to be a shared compositional vision of perceptive harmony; pure and lucid dramatic sequences unfold as songs or soundscapes take form according to the experiential context of a particular mood, impressing upon the listener a deep feeling of wandering through dark and cryptic scenes. While this is a general concept of black metal songwriting, the French bands expressed within this fundamental idea an unparalleled caliber of inner-dark penetration and emotional catharsis, including reveling in an inherent degeneracy, the perversion of dark desires, and libertine justifications for self-destruction and spiritual deviance.

The bands of Les Légions Noires underwent through their music a ceremonial process of purification towards individualized definition, a descent into the abyss of inner darkness in demonic celebration of all the depravity and luxuria swirling within as a liberation from the constraints of the conditioned self, and out of which rises the nihilistically invented truth and freedom of an independent spirit, albeit shrouded in occult mysticism.

The central bands of the Les Légions Noires were Mütiilation, Vlad Tepes, Torgeist, and Belketre. The bizarrely-named members involved in these groups recorded other music in different incarnations, some of which were solo ambient/noise recordings.

#les legions noires #lln #black metal #france #mutiilation #vlad tepes #belketre

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sigfriedsays · 5 years

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This is my first time back at my home studio setup since the first track was recorded and posted. The past couple of weeks, I was battling a bad cold (thank goodness it wasn’t the flu) – and having an even more irritating battle with my doctor’s office. One of the nurses there is a bit on the lazy side, apparently, but another nurse from the same office went to bat for me and I finally got the meds I needed (just an antibiotic and some cough syrup) so that I can get the rest of this shit out of me.

There’s no lyrics to this track yet - I’ll be writing them while I carry the rough WIP mix of this song with me on my iPod - but I like the music enough to share it. The drums remind me of “Ea, Lord Of The Depths” by Burzum (yeah, I pick on the man for his preposterous viewpoints, but his pre-prison albums are still crucial listening). I wanted to use some keyboards on some of the FOOTS tracks so this second track was a good place to start. I like the atmosphere. I hope you like the song. I do.

Studio One Professional is a dream to work with as far as DAWs go. I may rerecord “From Out Of The Skies” using that before I call the demo EP finished. (The original version of the song was done on Garageband!).

#From Out Of The Skies #United States Black Metal #American Black Metal #USBM #Black Metal #Norwegian Black Metal #True Black Metal #Mayhem #Emperor #Burzum #Dark Funeral #Marduk #Caparthian Forest #Immortal #Abbath

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metalbuzz-net · 5 years

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The Devil’s Blood: A Quick Chat with Guitarist Selim Lemouchi

While Selim Lemouchi, the guitarist for satanic rockers The Devil’s Blood, who goes by just SL, opted not to answer a handful of questions pertaining to songs on ‘The Thousandfold Epicentre’, and another couple were abruptly answered with “No,” I did briefly engage him on subjects such as his writing process, F’s voice, Satan, the lack of protesting bible thumpers and Guns N’ Roses as rock n’ roll inspiration. Plus, I got a long ass list of music that he’s into. Sweet!

Ken Kopija: Hello SL. It’s Ken over at METALBUZZ in Chicago. We are the Internet’s number one source for real metal news, reviews, interviews and more. First off, I am a huge fan & supporter of The Devil’s Blood, which has graced the digital pages of METALBUZZ off and on now for several years. SL: Thanks for your time and energy so far.

How are you doing today? Today is a good day, the weather is quite downcast and grey which makes for a good walk in the forest.

I spoke with you about a year and a half ago, right around the US release of ‘The Time Of No Time Evermore’. That is the album that introduced me to and got me hooked on The Devil’s Blood. How do you feel the band has progressed musically from ‘The Time Of No Time Evermore’ to ‘The Thousandfold Epicentre’? I feel that, as a band, we have become better at performing and better at recording, perhaps that might not seem like much, but that is the kind of progress that allows a band to stay evolving. When it comes to the creation process of the material, nothing has changed.

‘The Thousandfold Epicentre’ was released on 11-11-11 in Europe. Is there any signifigance to it being released on that date? 11 is our most significant numerological correspondence and we always try to gather as many of them around as possible, in the artwork, in the music, in the lyrics, in the number of minutes and seconds, volume differences etcetera, etcetera. It signifies Chaos, renewal, freedom and at the same time, it signifies the structure of Satan and Death to us.

And the album dropped in the US via Metal Blade on January 17th. Do you have any special rituals that you followed on release day? To be honest, no, I have let this record “go” already. The release date in Europe was for me the ultimate moment and our Ritual at Groningen’s Vera Club was our perfect way of celebrating our Child’s birth into this “world of gravity gone mad.” For the glory of our first official American release, we shall wait with rituals and rites until we are on American soil again.

As I understand it, in addition to being one of the bands guitarists, you are also the primary songwriter. How much of the songwriting were you involved with on ‘The Thousandfold Epicentre?’ All of it. With the exception of the lyrics of “Fire Burning” and the last guitar part of “Everlasting Saturnalia,” which were done respectively by Tommie Eriksson (Saturnalia Temple) and Rob Oorthuis (NOX/Centurian).

That being said, other than topics like Satan and the occult, what other subjects or entities were your inspiration for the new record? All of it can be caught within the three principalities of Adversity; The Death, The Chaos and The Satan. There is nothing more to me.

Which comes first, the music or your words? Usually at the same moment, sometimes months apart, in which case music usually pre-dates the words. I guess this has to do with the fact that my instinctual understanding of music is still stronger than my understanding of language.

Can you elaborate a little on the whole writing process? There is not much to say, you have an idea, you pick up a guitar and a pen, you don’t stop till you are done.

Your sister, ‘F’, the bands lead singer, sounds a little more produced this time around. Was a different approach taken with the recording of her voice? Funny you should say that as she was most certainly less produced. We simply let her sing the song and apart from that nothing, except some choir parts, were doubled or added. This is as close to absolute purity as we could come this time around.

In my opinion, it sounds like The Devil’s Blood have re-invented themselves on ‘The Thousandfold Epicentre’, while at the same time maintaining that definitive sound that is unique to the band. Would you agree with that statement? We simply have done what we could, no more and certainly no less. We ourselves were quite surprised and of course immensely proud with what manifested itself, but to claim any kind of control of what the outcome came to be would be grossly overstating the importance of the musician in the creative process.

As far as I know, The Devil’s Blood have never done a concept video. Is that true? Yes it is.

Are there any plans to do a video(s) for ‘The Thousandfold Epicentre’? We would love to do that of course, it is mostly a financial thing. These things costs money and we have none.

Along with several European dates in the spring, I see that the band is scheduled to play ‘Maryland Deathfest X’ May 24th – 27th. Please tell me that those are not your only US dates this year? They are not.

Is a US tour planned? We will be doing a full North American tour which will be officially announced very soon.

The Devil’s Blood has played with the likes of Watain, Pentagram, Root, Venom and Tryptikon. Are there any bands that you’ve never toured with that you would really like too? Not any that jump to mind immediately.

I have never been to one of your live shows, or “rituals” as they are referred to, but I’ve watched videos online of the band performing live. There seems to be a lot of sweat and blood. Can you describe your live show to someone who has never witnessed it before? Explanation is empty, it is better to withhold all information and allow each individual the chance to experience freely and without priorly enforced parameters of expectation.

I know that there are a lot of bible thumpers out there who would probably jump at the chance to protest one of your shows. Do you every get those types hanging around your gigs? To be honest it has not happened yet, which is a shame of course.

The Devil’s Blood is based out of the Netherlands. What is the metal scene like there these days? I don’t really know, apart from a handful of bands and people I am personally in contact with. I am terribly uninformed about these things. I no longer read magazines and I rarely go to concerts and have no real desire to be on top of things any more.

The Metal Blade website has the following listed for band members: SL/TDB/A-O and F/TDB/MOS. Can you please tell me a little about what this means and who all of the members of the band are? No and no.

Well alrighty then. Have you ever put on headphones and listened to any of your music on vinyl? Of course.

Who or what inspired you to start playing music? If I had to name one person who has that dubious honour it would have to be Slash and Axl Rose of Guns ‘n Roses. That band really showed me the power of rock n’ roll and its insidious flair for rebellion and independence. And Slash’s personal style of playing and his careful ear for sounds and harmony combined with Axl’s uncanny talent for writing anthems is something that has definitely found its way into my music at various levels.

What is your favorite guitar to play? At the moment, it is a Haar Stratocaster, a custom built machine that seems to fill my needs wonderfully. But it does change from time to time.

Assuming you have one, if I got a hold of your iPod, what would I find on there? Danzig, Morbid Angel, Pentagram, The Doors, Merciless, Death, Judas Priest, Jimi Hendrix, Iron Maiden, Entombed, Slayer, Aphrodite’s Child, Slayer, Autopsy, Nick Cave, The Who, Root, Dr Feelgood, Nazareth, Aerosmith, MC5, Iggy and The Stooges, Mercyful Fate, Uriah Heep, The Byrds, The Rolling Stones, Bathory, Type O Negative, Charles Manson, The Beatles, Blue Öyster Cult, Coil, Joy Division, Ministry, Sepultura, Tiamat, Roky Erickson, GG Allin, Carnivore, Led Zeppelin, AC/DC, Jefferson Airplane, Blood Axis, Hawkwind, Motorhead, Cro-Mags, Mayhem, Pink Floyd, Black Sabbath, Burzum, Kiss, Alice Cooper, Velvet Underground, In Slaughter Natives, Samael, The Pretty Things, The Golden Earring, ZZ Top, Master’s Hammer, Shadows, Thin Lizzy, T. Rex, Guns ‘n Roses, Bobby Beausoleil, King Crimson, Bolt Thrower, Dissection, Wishbone Ash and many, many more.

We have time for one more question, and it’s from a fan… Fred from St. Germain wants to know… “I grew up listening to a lot of Mercyful Fate and King Diamond. Would you consider them/him an influence on your music and are you a fan?” I consider Mercyful Fate to be one of the most important heavy metal bands that ever existed, apart from that I am not sure how much they actually inspired me, it is hard to say how these things work.

Once again, SL, thanks for taking time out of your busy day to chat with METALBUZZ. It has been my pleasure talking to you and I look forward to seeing The Devil’s Blood in Chicago soon. Thanks for you attention.

(с) Ken Kopija

#the devil's blood #metal #black metal

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