Monday, November 7, 2011

Esoteric - Paragon of Dissonance

Full Length, Season of Mist 
November 2011

Funeral doom is a genre which is often looked on with skepticism by the general metal crowd. It is certainly an acquired taste and is meant only for the one’s who carry an appreciation for slow and tormented sound-scapes which portray woefulness and disgust. It really is the ‘underground of the underground’ and only a handful of such entities are actually able to portray these somber emotions through their music.
The mighty Esoteric from Great Britain is one such entity which has been delivering ground breaking albums, instrumental in forming a stellar backbone of extreme doom metal from the last two decades. Delivering such quality music without compromise for such a long time is no joke, lads. They were influenced by the sepulchral aura which bands like Autopsy, Winter or Cathedral possessed but their personal wish was to create something more experimental and dark which shall never conform to any established boundaries. Ever since the release of their colossal debut ‘’Epistemological Despondency’’, Esoteric have been churning such experimental and extremely well carved releases for doom metal aficionados all over the globe.
‘’Paragon of Dissonance’’ is the band’s sixth studio full length and it will be released by the reputed Season of Mist records as a double CD feature, like most of their albums with the exceptions of  ‘’Metamorphogenesis’’ and ‘’Subconscious Dissolution Into the Continuum’’. It was one of my most anticipated albums this year and I am glad that my patience bore such a sweet fruit. I didn’t knew what more to expect after the massive ‘’The Maniacal Vale’’ left such a lasting impression on me. I owe a lot to that album for keeping me sane during an abominable period last year, where I had to deal with the unexpected demise of my father. That turbulent phase would have killed me from within if I didn’t have ''The Manical Vale''’s oppressive cacophonies extinguishing those scars which were marked forever on my soul.
I was astounded to see how the music reflected the exact feelings which I had at that time and it clearly left a lasting imprint on my existence. It left me asking for more and since then I started counting days for the release of ‘’Paragon of Dissonance’’.
After all the wait, I felt extremely ecstatic when I finally I received it from Greg and hurried to push the play button on my system. Lo and behold! The album opener called ‘’Abandonment’’ started with a massive riff whose heaviness could shy any death metal band around. I couldn’t believe what I heard as those psychotic guitar leads created a psychedelic miasma of impending gloom in my brain. It was such a monstrous cohesion of majestic leads and terrifying rhythms that my head shook in disbelief. My puny brain pondered a deep thought and asked a question from myself which read – ‘’How could something like this be even created?’’
Seriously, it left such a profound impact on me that I had to push the repeat button several times to ‘believe’ that my brain was ACTUALLY reverberating what was being played by my music player. This track itself consists of so many monumental sections, that you could easily start calling the album as a masterpiece without even waiting for the rest of it to follow. The dissonant yet melodic lead at the 6:00 minute mark might be one of the best moments in music which I have heard yet. Enter 10:00 and you get yet another stellar transition which envelops your mind with a double bass/lead laden frenzy and exits horrifyingly with a noisy outro which lasts for more than a minute. And this was only the first song!

‘’Loss of Will’’ started with a mournful piano introduction backed with slow martial drumming and wailing guitars. It was a subtle transition from the bombastic sounds which ‘’Abandonment’’ had unleashed. But it still painted a sorrowful image with its monochromatic and despondent nature.
‘’Cipher’’ started beautifully with a dexterously crafted lead which continued further to merge with an intense mid-paced section which boasted of hypnotic palm muted riffs and a crunchy double bass drum pattern to complement one another, before merging into another melodic lead. The rest of the track slowed down with the lead on 5:00 doing the talking for the rest 3-4 minutes, until it got devoured by a magnificent noisy ambiance which brought a grand closure to this stupendous track.
Three tracks down and ‘’Paragon of Dissonance’’ had already announced itself a worthy successor to ‘’The Maniacal Vale’’. After this, I couldn’t fathom what the rest of this opus had to offer.
If I wasn’t already exhausted with the combined might of ''Abandonment'', ''Loss of Will'' and ''Cipher''; ‘’Non Being’’ furthered my butt-kicking with an absolutely surreal introduction. A cosmic ambiance had enveloped my brain as the grandeur of its opening three minutes created a sorrowful atmosphere with the signature wailing of the lead guitars and ambiance. The next few minutes were encompassed with the guitars shredding mournful leads, something which is rather unheard of in a ‘funeral doom’ album. But then, Esoteric never restricted their art to the conventions of this genre. It felt as if I was listening to a guitar virtuoso playing the most depressive and haunting leads ever.
The rest of the track followed with mid-paced atmospheric rhythms until the incessantly heavy segment at 11:40 appeared. The triple guitar attack acted effectively in crafting an unfathomably heavy and down-tuned riff which plodded for the next few minutes. It felt as if I was being dragged into a maelstrom of sounds which were coming from deep within the earth, waiting hungrily to devour me as a whole. I had to put this track on repeat especially to experience the unbelievable last few minutes.
‘’Aberration’’ began with a sinister and dissonant guitar lead which was very abrasive in nature. It paved way for more progressive leads, whose intense nature reminded me of ‘’Caucus of Mind’’ from ‘’The Maniacal Vale’’. The later half of the track displayed more enrapturing leads which this album revels in. I was somewhat reminded of ‘’Ignotum per Ignotius’’ during the last half and was intensely satisfied with the surreal songwriting prowess which these lads had unleashed so far.
‘’Disconsolate’’ turned out to be yet another juggernaut of all the worthy ingredients which this colossal album had already explored. It started with a soothing atmospheric lead, backed with a gracious ambiance and then changed its tempo to a more mid-paced death/doom juncture. The guitar work has been extravagant here and it is even more varied and intense than ''Abandonment''. I couldn’t even gasp for air, while my jaw was being dropped after every passing moment on this whole track. This hallucinating experience was increased manifolds when the tremendous outro, reigning in a prodigious solo a la ‘’Circle’’ appeared.

Finally this epochal album neared its grand finale with ‘’A Torrent of Ills’’ which turned out to be the perfect choice for finishing the proceedings on ‘’Paragon’’. It was instrumental in evoking a doleful sound which could be easily complemented with ‘’The Scream’’ by Edward Munch as both these wonderful pieces of art depict a cathartic display of human emotions being ravaged by scene’s of chaos and desolation.
It took me a while to feel my pulse again after feeling like a lifeless embodiment of mortal horrors once I had finished my first listening experience of this monumental album. My whole body shivered with the feverish chills which had accumulated after this pensive apprehension. Words might not be able to describe what I had felt and it took me almost three weeks to get into the helm of this magnum opus and only now I felt in a position to jot this assessment for you all.
Esoteric have proved to be the flag bearers of extreme doom metal once again with this release and it would take several aeons for any band to come close to their might. They have been an example for many but only a few could actually dare to embark on a similar journey as them; a journey which goes far beyond the realms of infinity and explores such cryptic horizons which can only be deciphered and relished by a chosen few. There is only one astute entrance into this continuum where your sanity shall be crumbled and there is no escape from the cosmic horrors which constitute it.
If you happen to be among those who want to experience an unwholesome and spiritually altering aural voyage, then this is where you should begin. 


The Band:
Greg Chandler - Vocals, Guitar
Mark Bodossian - Bass
Joe Fletcher - Drums
Jim Nolan - Guitar

Official Website:

Monday, October 31, 2011

AVICHI: Hell, Absolute

AVICHI’s 2007 debut ‘The Divine Tragedy’ was certainly a monumental release. Four years later, in 2011, ‘The Devil’s Fractal’ reveals an even greater depth to Avichi’s soul entity, Aamonael’s great work. It is a journey through Aamonael’s own divine hell; where he is both God and the Devil, the light and the dark, the all and the nothing, the Absolute. Infernal Dominion’s Clavdia Adimiron recently conducted an interview with Aamonael. In his own words…

Greetings Aamonael. Are there any books, artists, or musicians that are currently keeping your interest?

I’ve been reading some books by Yogi Ramacharaka which deal primarily with occultism, the seven principles of man, and eastern mysticism. These books aren’t specifically focused on the dark arts but are written from a more all-encompassing view of the Absolute. Much of it stems from the foundation of Yoga and its teachings. However, I believe anyone from any walk of life can use them for his or her own self or selfless interest. The power of the will is real magick.

So I’ve been reading some of that, but honestly, I don’t read as much nowadays as I used to when I was younger. I don’t really have the time, and let me be honest, I am a man of the world and enjoy experiencing it! An interesting note is apparently the books by Ramacharaka were never written by the stated author but were instead the written collaboration between the author’s pupil, Baba Bharata, and a lawyer turned yogi, William Walker Atkinson. These books were written two centuries ago which might lend to its ‘occult’ value.

Adding to this eastern Indian flair, I’ve also been listening to some Ravi Shankar and stuff with Indian female vocals. Ragas have a beautiful expressiveness to them. My knowledge and understanding of Hindu music isn’t as broad as the music of the west. I’m sure what I know is just the tip of their iceberg. Of course being a composer, I can still hear the subtleties of their sound and how moods are created through it. Regardless of my current knowledge, there are many elements from the Hindu musical culture I wish to incorporate into future songs for Avichi.

Lately I’ve also been re-appreciating the mechanical and futuristic vibes from Skinny Puppy. Dark and ominous. As for metal – I’m really into this new Craft album ‘Void’. The power of the riff baby. The essence is so fucking there it’s almost tangible. Seriously this album is amazing. The album cover perfectly depicts how I felt when I woke up this morning…

What is the philosophy behind AVICHI?

Avichi is a spiritual hell brought about by various passions if there exists an attachment to such passions. Sometimes even a hell consciously embraced if need be in the refusal of absolute connection. I’m totally fine with there being a gulf of space between me and my neighbor. The eastern monk might say your fellow human beings are a reflection of you, if perhaps at a lower spiritually evolved state. I still have a problem with seeing the shit of the world reflected in me.

But maybe it is true and we are all connected to one another – each a grain of sand in the infinite desert. It seems pretty shitty to me because there’s so much hideousness and ridiculousness in the world. But I guess if you’re going to have the infinite, you’re bound to end up with what there currently exists at some point. Total chaos sounds like a more desired option to some organized absolute, but even then - who is the Instigator?

From what I’ve recently read, the Absolute, which is The ALL – eternal and all-knowing, has always been and was never the result of a cause. Nothing instigated it. It lies behind the veil of everything, but it is also the veil itself. The mind of man may be able to intuitively perceive of eternity beyond the Universe, but the intellect cannot conceive of it. Thought creates the reality in the Relative – the thoughts of all of us and of course the Universal Mind which is not the Absolute itself but an emanation of it. The Great Mystery is Why the Absolute would so manifest itself to let the universe play out as it so does with you and me in it. I have no answer and neither did the book, but I enjoy the provoking idea.

As there seems to be an upward trend of discarding the conditional, Matter, and embracing the unconditioned, Spiritual, there is the idea that everything is moving in an upward trend back into the Great Flame, a Sun from which each thing is just another ray of light, but all part of the one.

Let’s talk a bit about light. You have the pure white light of understanding and compassion which is what people tend to associate God with. You also have light of a different nature which is the fire created through passions and desire. In all likely-hood they’re probably just opposite sides of the same coin. Both have the potential to dissolve the individual in the end. It’s a great play, and you’re right in the fucking middle of it. Have fun.

This is all just some interesting food for thought. No more. No less. It could be everything I just mentioned is all a lie, there is no Absolute which holds the truth of it all, and everything is just a lie given breath by a lie. I will continue to play my part in life’s drama as I see fit, indulge in what exists thoughtfully, and continue making music however possible regardless. It’s what I do, and what I like to do. You asked me what the philosophy of Avichi is; this is the type of shit I deal with when it comes to Avichi.

How did you decide upon the name AVICHI? In what way did it call to you when searching for the name to represent your expression?

It represented exactly where I was and how I felt during that part of my life.

Profound Lore recently released your newest album, "The Devil's Fractal". What is the significance of its title, and what are some of the themes present within?

I’ve been asked this question a few times already. I’m not sure if my previous answers will match up to this one, but here it goes. It deals with some of the archetypes of Satan, and it emits a strong Luciferian outlook from start to finish. It is about the ego, beaten down, willing to sacrifice and destroy everything in order to preserve itself. Salvation by salivation.

I personally found your first release "The Divine Tragedy" more abstract in nature, where as the "Devil's Fractal" seems to take on a systematic chaos while still retaining that AVICHI style. Was this the result of a natural development, or did you purposely bring the music into a different sphere for this release?

I wished to pay homage to the devil, and I did so as best as circumstances allowed me to.

Do you use any specific techniques when channeling your art; such as meditation, hallucinogenics, or other mild-altering processes or substances?

I read many books dealing with the history of the devil, various personifications of evil, and of course used my own thoughts and experiences from this life. I’ve done my share of hallucinogens when I was younger, but it’s been many years since. I don’t feel they have anything new to show me anymore. The only time I can really picture myself doing some kind of hallucinogen again would be peyote in the desert, or taking the Ayahuasca formula in the Amazon rainforest. If such an experience took place, I would see it as a necessary experience. Honestly, I feel I have the ability to see the truth within without such exterior methods.

I do practice a bit of meditation and yoga breathing exercises. As I was saying, I try not to rely on things outside of me for power.

I recently learned that AVICHI will never perform live. Is this something you might reconsider for the future if the right people were to come along, or are you firm in your resolve to keep Avichi exclusively a recording act?

I’m the only right person. I’m more interested in creating a work of art, pausing briefly, and immediately moving on to a new piece of art. I was always extremely attached to my music in the past, but I’m finally getting over the feeling. This attachment has always been so performance limiting. The quicker discarded the better. I’m open to having guest appearances on the next recordings.

What effect do you hope for AVICHI to have upon those who listen with intent?

I hope to reveal something within themselves they never wished to realize. Or maybe perhaps something they always wished to realize.

At what point in your life did you realize you were drawn to the darker realms of existence?

The moment I eagerly suckled my first breast.

Is there a specific ancient culture, its mythology and/or teachings that fascinate you?

Sorry, I can’t think if anything specific. I see something of myself in all cultures, and that is fascinating unto itself. One thing I would like to add though – we should bring back the gladiatorial age and erect a new Coliseum out of stone. I’d buy season tickets to that.

Thank you for granting me this interview. Any closing remarks?

And now back to drumming…


Thursday, September 29, 2011

Interview With Ryan Henry (Reclusiam, Necare) - American Funeral/Death Doom

Infernal Dominion presents an exclusive interview with Ryan Henry - the talented force behind Reclusiam and Necare. After being active in the underground doom metal scenario for more than a decade, Ryan created his solo project 'Reclusiam' to unleash dark and macabre sounds which he could not work with while serving his duties in Necare. He has released one demo under this moniker so far and it got great reviews in the doom metal underground. After 7 years of its release, Ryan has now re-pressed the demo again for close friends and fellow doom metal maniacs. So now here is an opportunity to get familiar with this true artist and read about his experience and musical journey so far.

Thanks for giving the interview, Ryan. For the few people who don’t know about your band, could you tell us something about Reclusiam? How it came about and where it stands now?

Reclusiam began in 2004 after I had spent a few years listening to Evoken, Shape of Despair, Thergothon, Skepticism, Esoteric – basically, the giants of funeral doom. I decided that I wanted to create something darker than the work I was doing with Necare (my doom/death metal band) at the time. Something less complicated structurally but more visceral and heavy. I didn’t want to limit myself by writing verse/chorus patterned songs – I simply wanted them to meander along and build in intensity. I also wanted to incorporate more abstract dark ambient into the music. As of now, the project stands where it did upon the release of the debut album. There is no new material recorded, but there are songs in the works.

It has been 7 years since the release of the brilliant ‘’Reclusiam’’ but we haven’t had the pleasure of hearing anything from your project afterwards. What were the causes which led to this period of dormancy?

After the release of the 2004 self-titled album, I felt I had “said all that I wanted to say” with Reclusiam. A year after the CD was released, I moved to a city five hours away from the studio where Reclusiam was produced. If the project is to continue, I have to work with an engineer who knows exactly what I want, sound-wise. That engineer is Jhon Ackerman, who recorded the debut. Honestly, I’ve spent the past few years just being a metal fan and not an active songwriter/musician per se. Over the past few months, though, I’ve been working on ideas for more songs and attempting to write new material. But I won’t release anything else until the time is right and the music is as good as or better than the debut.

It is great that you have planned to re-issue your only release for fellow fans and friends who somehow missed the opportunity of owning the first press. What is different in the new repressed CD? I read somewhere that you planned on covering 'Doden' by Nortt. Are you planning to record any new music for the new CD?

This second pressing is identical to the original pressing, save for an improved rear traycard print. There is no new music on the CD. It is, for all intents and purposes, the same as it was in 2004. I would love to cover Nortt’s “Doden,” if I can work out the royalty side of things with the artist and his label. That’s something that will hopefully happen down the road on a future release.

Reclusiam' was an independent release. Are you planning on approaching any labels for any help in releasing the CD?

I have actually had offers from labels to release the album. To this day, I prefer to keep the 2004 self-titled release and any other music I record as Reclusiam completely independent. This way I retain creative control over the music, art, and media exposure. I can offer free downloads and share the music any way I’d like if I remain independent. There are pros and cons to having a contract with a record label, obviously. So if production of the album exceeds my personal financial capabilities, I might have to seek label support.

What formats are you planning on re-releasing ‘’Reclusiam’’ in? Is it only to be repressed on a CD or in vinyls, or maybe even cassettes?

“Reclusiam” will be re-released as a CD only.

I personally think that your self-titled release was one of the best works in funeral doom which I have ever heard. The somber and highly captivating atmosphere of the music creates a feeling of dread and despair within me whenever I listen to it. What inspired you to create such intense music?
I definitely appreciate the praise for the Reclusiam CD, and am extremely glad that it has affected a few listeners in a positive way. My inspirations were born out of a rather dark period that was beginning in my life. I was confused and anxious and music was my only outlet for these feelings. Rather than pour out dark, personal emotions lyrically, I simply put the negativity and hopelessness into the music. I left the lyrics somewhat abstract and open to interpretation.

After this release, where do things stand with Reclusiam? Would you be willing to ever play live?

Again, I am in the planning stages for a follow-up release to the 2004 album. Also in the works is a possible split CD with Utah doom/death metal band Nevertanezra, with new Reclusiam material. If you haven’t heard Nevertanezra, I highly suggest seeking them out. Their vocalist is Rick McCoy, formerly of Avernus, and he has expressed interest in taking over vocal duties for Reclusiam – at least for that release. Avernus’ “Sadness” demo is one of the reasons I am playing doom today, so that would be an incredible honor. As for playing live, I don’t foresee that ever happening.

Tell us about your previous Death/Doom band called ‘Necare’. It was another brilliant band, and I wish you guys had made more music. What were the reasons for Necare splitting up? Are there any unreleased tracks that you might release in the future?

Necare split for many reasons, one of which was to allow G.C. to concentrate on his work in progressive metal Vanquish -- and for me to work on Reclusiam. Recording the album “Ruin” for Firebox Records was exhausting, to say the least, and I think both of us were burned out on Necare. As for unreleased tracks, there really isn’t anything that the general public hasn’t heard. We did a couple of covers for fun in the studio and on the four-track in our rehearsal space, but those are long gone.


What is your opinion of the Doom metal scene nowadays? Do you still feel the strong sense of identity as you could when you were first making music, or has your interest somehow dulled over the years?

I’m very detached from the doom metal scene. I still correspond with friends in Evoken and Pantheist, for example, but I don’t actively follow modern metal scenes of any kind. I never really fit in to the doom scene when I was an active part of it. There were great people and musicians involved with playing doom, but I always felt like I was lurking along the periphery. Still, I made some great friends and met some good people.

Both Necare and Reclusiam have had some great cover art which perfectly fits the abysmal atmosphere of the music. Who were the artists which were behind the artworks for ‘’Ruin’’ and ‘’Reclusiam’’ and what were the concepts which they had incorporated for creating them.

Necare’s “Ruin” had cover and interior/traycard photography by David Penprase, who is probably best known for the cover of Anathema’s “Serenades.” He’s a hell of a guy and 100% supportive of struggling underground musicians. Reclusiam’s cover was rendered by a UK artist named Alice Duke who I discovered through deviantART. I liked her illustrative style and she was completely professional to work with. I’m not sure what she is doing now. The concept for Necare’s cover was abstract, really. For Reclusiam, I wanted a picture to go with the theme of that spoken verse in “Litanies of Rust and Decay.” I had the artist depict a chanting priestess reading from a book of chaotic verses, standing before a barren industrial backdrop.

Besides your doom laden musical shenanigans, you are also indulged with literature and have penned a book on Zombies. Would you like to shed some light on this work of yours? Were there any specific reasons which led you to work on a topic which has already been exploited an umpteenth number of times?

I feel that most zombie literature and film focuses on gore and splatter rather than the personal struggles faced by survivors fighting to stay alive. I wanted to do something different. My book “Six”, available for download at, concentrates on a group of survivors trying to make their way across a dangerous countryside. It starts with six characters, and, one by one, they die off until there is one left. So it’s not a matter of who dies, but how he or she dies. It is a gruesome tale. Killing the undead and the living, however, is never glorified or depicted as easy. Every action has a consequence; every mistake ends in a dire result.

Coming back to music, which albums have you been spinning a lot these days? Any favorites among this year’s releases?

Mostly old stuff, actually. In the realm of Funeral Doom, there have been some newer bands that have caught my interest over the past few years. I find Ahab, Nortt, Black Wreath, and Catacombs to be enjoyable and atmospheric. Outside of the doom circle, I’m digging the work of French bands like Alcest and Les Discrets. I can tolerate some DSBM – namely Forgotten Tomb, Leviathan, and some of Xasthur’s mid-period work. On the non-metal side of things, I enjoy dark ambient like RAAN, Atrium Carceri, and Darkened Soul. As for this year’s releases, Disma’s “Towards the Megalith” and the new Exhumed album “All Guts, No Glory” are currently kicking my ass.

Thanks a lot for spending your precious time and answering these questions Ryan! The last space is all yours. If you have something to say to your fans or doom metal aficionados in particular, then go ahead!

I’d like to thank you for the interview. I enjoyed answering your questions immensely. As for all the doom fans out there, if you haven’t heard the Reclusiam album, you can download it for free in .mp3 format at – if you like what you hear, buy a CD! They will be available through me directly; through PsycheDOOMelic in Europe, and Deserted Factory in Asia. Doom or be doomed!

Interviewed by Gautam Shankar and Ankit Sinha. 
Check out Infernal Dominion's review for ''Reclusiam'' here -

You can download Reclusiam's music officially from Ryan's personal website here -
Buy the album if you like his work! 

Monday, September 26, 2011

Katharsis - VVorldVVithoutEnd

Full Length, Norma Evangelium Diaboli


Germany's Katharsis are no strangers to the pumelling underground black metal phenomenon which has been increasing incessantly since the past decade or so. The band was formed in 1994 but it wasn't until the advent of the new millennium that they actually unleashed their first full length, which was suavely titled as ''666'' in pure satanic devotion. Their blackened satanic noise has been pissing on all modern trends ever since then and the release of their third full length ''VVorldVVithoutEnd'' is no exception. This is such a crazily structured album title, which I suppose was the result of a missing 'W' on their keyboard. Jokes apart, 'VV'' sounds/looks more kvlt than 'W' so they already score a win point here.
Now the next win point would go absofuckinglutely for the sonic assault which this album emanates. If you feel that you have been already exposed to the vilest and most chaotic black metal assaults from the second wave BM luminaries, then I am sorry to prove you wrong. This album has taken conventional black metal to the escalating heights of atonal chaos. It unleashes such cavernous sounds upon your ears that you would be compelled to yell - ''wtf did I just hear?''
Its totally an adrenaline surge on your veins and specially your ears. The highly treblish and atmospheric production value of the album makes me feel that it was written in the devil's studio itself, buried 666 feet below an ominous German concentration camp with cries of incessant torture resonating around. 
Its fierceness could be described as nothing but a sledgehammer cutting through your flesh and ripping each and every single vein inside. The riffs are extremely chaotic but they still manage to remain memorable. 
They have simply taken their evident Darkthrone influences from the early releases to a more atmospheric and dissonant level. The tracks are long and have been structured very nicely to keep one's ears busy. Unlike a typical Norsecore album which gets tedious due to the monotone of the musical structures, VVorldVVithoutEnd thrives a little more on focused songwriting instead of simply being a sloppy, bed room black metal album. Drakh's piercing vocals are a very important constituent of this album. The cavernous reverb on his already menacing vocals adds a very fiendish atmosphere to the essence of the music.
His guitar duties along with those of Scorn are the pivotal elements behind the creation of an album as ominous as this. As I said above, they have taken their early influences to newer heights by creating a very atmospheric dissonance, more like a 'buzzsaw' sound which is capable of piercing the listener's ears. 
M.K.'s drumming is also a tad varied than a lot of typical BM albums where the drummer is mostly busy blasting and hence creating a snore fest for the listeners. His drumming here is very good and suitable for the string onslaughts of Scorn and Drakh. He switches from blast beats to slower beats and relies on delicious cymbal work for crafting a praiseworthy percussive performance. 
I must say that VVorldVVithoutEnd is not meant for everyone and it demands a lot of labor from the part of the listener. It might take sometime for you to get into it, but trust me it only gets better after each passing listen. The cacophonous ambiance of the album is something which you won't easily get to hear. I am often reminded of the notoriety which an album like ''Salvation'' by Swedish masters Funeral Mist had achieved. So if you are still interested in listening to the album after reading this description, then waste no time in getting your hands on it. 
Maybe take a preview of certain tracks like ''Eden BeloVV'', ''Wytchdance'' or the amazing self titled ''VVorldVVithoutEnd'' and see for yourself. For me, this album is a certified masterpiece and I highly recommend it to everyone who enjoys chaotic yet compositionally adept black metal.

Final Verdict - 8.5/10

Wednesday, September 21, 2011

Dissection - Storm of The Lights Bane

Full Length, Nuclear Blast Records

Here I am reviewing an album that has been reviewed countless times. Majority of metal heads own this album, or at least they should. I picked this album for my second review because this album has always meant a lot to me as growing up and even still it is flawless and a masterpiece in my eyes. There is so much to say about this exquisite mixture of black and death metal.

Dissection formed in 1989 in Strömstad, Sweden and released 3 full length albums and numerous eps, live albums and demos earning themselves easily one of the most well known Swedish metal bands. Frontman Jon Nodveidt was convicted of murder in 1997 for which he had to serve 7 years in prison. Shortly after his release from prison in 2004, he resurrected Dissection with a new line-up and went on to create their last album 'Reinkaos' which was released in 2006. Reinkaos was a very different musical offering and it received a mixed reception from fans and critics alike. Just a few months after its release, Jon Nodveidt committed suicide in his Swedish apartment. It is said he killed himself because he completed all he wanted to achieve in life. In a way I agree with him because the two master pieces he created: The Somberlain and Storm of Lights Bane. Though the world of extreme metal lost a genius and a legend, his glory shall rest forever in our hearts.

It was an arduous task for me to pour my unending love for one of my most favorite albums in mere words but I somehow mustered the courage to do so. This colossal masterpiece entitled as 'Storm of Lights Bane' opens with a dark yet beautiful and haunting instrumental waltz intro "At the Fathomless Depths". It prepares you for the magnificent "Nights Blood" which begins with a perfect tom rolling drum while the guitars start off with a thrashy Slayeresque riff juxtaposed with melodic guitars which are reminiscent of traditional heavy metal a la Iron Maiden. Jon's lyrical brilliancy is another factor to praise with dark poetic lines like "I drown in the colour of your eye for a black heart will only find beauty in darkness" that will never leave your memory after hearing this song. His vocals are poisonous and scathing whilst being extremely soulful and decipherable. They blend perfectly with the guitar melodies and create a stellar and hypnotic effect on your senses. Another noteworthy factor is the implication of majestic acoustic guitar sections which creates a mystical atmosphere and relaxes you in the middle of the song while the tempo slows for the rest of the song. The most memorable song off the album “Soulreaper” is an icy and cold melodic blackened death masterpiece. Albeit the entire album is extremely memorable, 'Soulreaper' remains my favorite.
“Where Dead Angels Lie” is perhaps one of Jon's most epic creations. It's slow and mournful mood compels the listener to get lost in the arcane atmosphere which it weaves around oneself. "No Dreams Breed in Breathless Sleep" by Alexandra Balogh leaves to content and wanting to hit repeat on this beautiful, mournful piano piece.

I could seriously go on and on with these descriptions but then as I wrote earlier that describing a timeless classic like this in mere words isn't really possible. Their music is like a drug which hallucinates you and enslaves your senses with its grandeur. Nothing else would come closer to this magnum opus, ever.

The legacy lives forever.

Written by: Ruthless
Score: 10/10

Tuesday, August 23, 2011

Interview with MKM from Antaeus and Aosoth (French Black Metal)

Infernal Dominion, India presents an exclusive and extensive interview with the maniacal MKM from the legendary French underground black metal horde ''AntaeuS'' and also ''Aosoth''. AntaeuS recently got active for the Deathkult Open Air Fest and would be invading US soil this December at the esteemed Rites of Darkness 3 Festival. Read below to get an insight about the band's history through MKM's words. 

ID: Greetings MKM. How has 2011 been for you so far?
MKM: So far : exhaustive but in a constructive/destructive way. Numerous highs & lows. Still some months till it’s over and what better way can I have to end this year than being at the rites of darkness in Texas with Antaeus.
ID: The diabolical entity named AntaeuS was conceived by your devious minds way back in the 90's  and it has been pumelling the underground black metal masses ever since with its gritty and maniacal onslaughts. Hence it would be intriguing to hear an in-depth insight about the band's conception and your experiences all throughout this unwholesome ride.
MKM: Good thing I do like to answer interview in reverse otherwise I would have stopped there. I’ll let you wonder more about this, since out of negativity and chaos : there is nothing else to expect than Chaos itself. That could sum up all that did happen since the early 90s up to now.  
                                                                  MKM at Deathkult Open Air 2011
ID: The mid 90's was the time when you guys were busy  laying the foundation of AntaeuS' militant satanik black noise and that era is also infamous for the notorious ''Les Légions Noires'' who were gaining momentum in France and across Europe. What do you think about that so-called French ''Black Metal Inner Circle'' and did you have any personal experiences with them?
MKM: I’d start with “Black legions” & not “Les légions noires” since I barely ever heard that french translation until the early 2000... Guess it was meant to be more exotic or so, or french sounding whatever... Yes got a few death threat back then, more or less the only contacts we had. The french scene was quite easy to divide : either you were NSBM and you had the support from zine and the audience, or you were part of the black legions and you had that “cult” aura... Since Antaeus was a band from Paris, not performing nsbm nor “scandinavean black metal” with all its cliché, we did not fit anywhere, yet we never did change to adapt. The only one I got to meet and spend more time with : Will from Mutiilation & now in Hell Militia, a great fucked up guy, Hail to him
ID: Enlighten us about the significance of the name ''AntaeuS'' and how was it created.
MKM:  Antaeus was created by the main guy behind Tragos Adein. The band was just meant to be a side project of him nothing more. I took the command at some point, all the earlier works of A are rather embarrassing to me, but knew there was something  to create through this entity.... I do consider the “worthy” era of the band starts with the release of that split tape with eternal majesty.  The name was taken from a local tale that would describe a curse, turning a family into werewolves when in touch with other humans. Not related to the greek god then, unlike what many did think.

ID: AntaeuS' visual and aural propaganda revels in chaos, hate and self mutilation. The slogan 'Anti God, Anti Music, Anti You' gives an idea of the misanthropic and hateful ideologies of your band. However, topics of mutilation, misanthropy and satanism have become extremely cliched in the black metal scenario. Albeit AntaeuS seems to be an entity which believes in the term ''practice what you preach''. What are you opinions about this?
 MKM: Almost forgot about this sentence...  Am even wondering if that came from us or was a description we had on some zine and that did stick at some point?!  If you do check the lyrics of Antaeus, I do doubt we really fit in the “clichés” of the genre... Always have been written in a weird way, all are meant to expose something at a special time, and provide an aura of themselves. Different personalities, all into one. If we had a few sentences which ended up in being catch phrases and “cliché” as you did mention, then too bad for us if that’s all you would remember. Yet the goal was to expose something genuine and let it burn out, in audio format.

ID: It is apparent that AntaeuS is a portal for your innermost feelings of remorse, beliefs and a rejection of naive, orthodox ideals which have plagiarized the world since time immemorial. Black/death metal is the perfect form of sonic chaos which can express these ideas but not many bands achieve the level of self expression. What do you feel about this? How has AntaeuS shaped or changed your personality over these years of playing satanik aural chaos?

MKM: We are One. Simple, I do consider myself being in communion with Antaeus and somehow the band will really stop when the core will die, either the guitar player or myself. I did evolve at the same time as the band and my devotion to it went beyond limits.
ID: What does spirituality and philosophy hold for you? Do you seek wisdom from any esoteric texts or groups?
MKM: At each age its own new step, turning 36 soon, I can see the change in me through the years, with new experiences, confrontations, visions... Since a reclusive way of life has been choosen, reading and self reflection did indeed take an important part of my life. It was needed. Am I in  contact with groups of any genre : not anymore. Was 15 years ago or so, still have numerous books & scriptures, essays... I happen to reread some and see a different side of it, then I know that the writer had something to offer since it wasnt one dimensional but could extend to more insights.

ID: What is your opinion on theistic or ''orthodox'' satanism, a belief which has been propagated quite profoundly in underground black metal circles since almost a decade now.
MKM:  I do consider that this should have been the one & only path for the genre. Having to “add” the orthodox term in itself did prove that the scene was lost in its core. Black metal : Satan.

ID:  It's a matter of fact that AntaeuS' audio terror is meant for a limited audience which can connect to your music and thoughts in the most righteous manner. But I personally feel that AntaeuS is still a very underrated act and not many give you the credit which your influential and experienced horde actually deserves. I assume that there have been quite a lot of turbulence's within your horde and the music business, which of course is shitty. What do you have to say about this?
 MKM: If we were a German or a Swedish band, things would have been really different. Yet with all our hard works and the years of devotion, we did manage to have the respect of some diehard supporters and comrades we can rely on. After that, this is what matters the most. Of course it would have been better to have more “average” conditions and not always been seen like shit from most zine/promoters/labels... but those who did dare work with us, they all had to face problems and yet, at their own levels, this was already something that many bands barely ever have. Norma Evangelium Diaboli has been the label that somehow saved us and made “Blood Libels” possible, otherwise we would have stopped after “De Principii Evangelikum”, there were so many tensions within the band back then, we had a major split line up wise, but still had the rage to go on & we knew we had the support of the label, so we went on. Though having to face a drastic situation again, we just couldn’t restart once more at that point + we already had tried nearly ALL the possibilities of line up possible in France & nearby countries... we even tried a drummer from Estonia... but since we couldn’t pay any musicians session : we had to stop the live performance aspect. This + being exhausted of having sacrificed so much, distance was needed.

ID:  Why is there a frequent usage of the alphabet ''K'' instead of ''C'' on your album names/song titles? The same could be said for your peers Katharsis. An obsession with Sadistik Exekution's ways I assume?
MKM:  That used to be used from my fanzine/distribution era, just for the impact in the spelling & bringing back magiK in words. Also z instead of s and so on, but all that turned into a gimmick after a while, it’s been years... weird to get a question now about a subject which is somehow dead. But yes, Sadistik exekution have been an amazing discovery back then, yet anything done after kaos, any live show or project they had : not my thing. About Katharsis : I cannot answer to that since as said just before I never really paid much attention since it never was of any importance, just a way of typing/deformation at some point.

 ID: Talking about Katharsis, they released a split 7'' with your band in 2009 which was the last release from your end. Apparently there are some line-up troubles which have marred the AntaeuS camp and you have put the band on hold. But are there any chances of another album in the making?
 MKM:  We had a split 7” with them, thus one track only. And that got out while it had been talked about for years. Just took long to have it done, such releases are not an easy task – making sure both acts would have material available and exclusive somehow. The Katharsis side is really intense and fucked up, just as their album out at the same time, I do assume it’s from the same recording session. Our side : we did not even meet each at all since the tour in late 2006. We did not see each other in studio either, the others went on their own to do their part, BST found a session drummer & I did my vocals afterwards.  Any chances about another album : no idea. Most likely not, since nothing has been composed nor did we see each other apart from reh’ and that Deathkult performance.
                                                                                AntaeuS/Katharsis Split 7''
ID: There seems to be a good connection between AntaeuS and Katharsis which are two of the best underground black metal groups in Europe. Both the bands were formed around the same time and also released their debut LP's during the same year as well. What are your comments on this unholy union?
 MKM: I am not in touch with Katharsis anymore, I respect the band fully and they did achieve something close to a masterpiece with Fourth Reich. Often gets to play some older demos from them, just too bad the chanteloup creations versions were dubbed on such lame tape...  We did physically meet less than 5 times in total I guess since we’ve first been in touch a decade ago.
ID:  AntaeuS have never been an extensively touring band, if I am right? Is there a specific reason behind this or has it mostly been a rather unjustly affair on the part of promoters who didn't really live up to your potentials? Which gigs would you count as your best and worst out of the ones which you have done?
 MKM:  Never been a touring band? Mmmm what do you mean. Thought we did perform live way too much myself... and doing two tours was more than enough. Xmass fest in 2003 for DPE & the tour with Secrets of the Moon for Blood Libels.  The first tour was a tour support, so at our own cost (through our label) thus quite expensive and indeed difficult conditions. Second was a mistake but on personal level and the worst line up we ever had to perform live.
 Worst : the list would be too extensive, guess nearly 90% of the gigs outside Paris were not worth being remembered, unless for the souvenirs you could get from events turning bad : hard to go through at the time & after some years, you just get to recall that, indeed, such shit can happen and you can get over it. Very good gig : Athens, with Dead Congregation & nearly all in Paris. Different crowd for us there obviously, anywhere else in Europe, it’s usually a very dead audience, lame conditions on stage. And since we couldn’t afford paying a sound guy to come with us, each time the local guy was doing whatever he felt like doing, never paying attention to the band’s request : thus impossible to go through performance. I’d say that 1 gig out of 20 I would hear on stage what was going on. Trust me, I could never thank enough when a sound engineer would just do his work.
About the Rites of Darkness Fest : very much looking forward to it, but being the last band or so to perform on that fest implies a lot of pressure – and considering my issues with being in a social situation... stress/alcohol/fucking things up...

ID: How was your LIVE experience at the recently concluded Deathkult Open Air Fest?
MKM:  Deathkult was an interesting event, managed to see new bands that really got my interest : Thorybos, Essenz for instance. On the first day, all the bands had to experience a very horrible sound on stage, did listen to a few standing not too far from the drummer and that got me suspicious about the gig we would do on the following day. Yet starting from Hell militia’s performance : sound turned out really good, Dead Congregation were massive, Necros Christos & Archgoat were a perfect ending to that underground fest. Small fest, I guess 400 people or so, which would be the average audience a small gig would get in late 90...  But thks to the promoter : it has been very risky to set up such fest with so small underground bands !

ID: AntaeuS are going to invade American soil during December 2011 for the Rites of Darkness 3 Fest which might be the best underground extreme metal festival in US since years. Any personal favorites from that impeccable line-up?
 MKM: Demigod : the must watch band for me. Also looking forward to see Weapon, Funebrarum, Urfaust... seriously cannot name them all since the whole fest in itself is covering a wide spectrum of the extreme underground scene. Also glad that Hell Militia are making it as well now. I guess I’ll be watching nearly all the bands from the distance. And hope to meet up with some contacts I haven’t seen in years, jeff from Averse Sefira for instance, great guy and curious about his new band !

ID: Tell us about your record label Spikekult Records? When was it found and is it still active? What were your associations with Norma Evangelium Diaboli?
MKM:  SPK is active again... it somehow did start around 94 or so when was doing a distribution of demos from foreign bands in the Paris area, at gigs and so on... and then did start to release my own demos and mcd, vinyls and so on. To be honest, since all the shit and issues with releases meant to be out & then cancelled, I sometimes even forget I would have had this release out. And I do consider some releases being mostly SPK ones while the name was not on it, like the Antaeus/Eternal Majesty split tape – since out of the 700 covers or so, I must have spread 90% of it.   Implications with NED : providing some help and contacts at first and helping the start, then couldn’t have the time & means necessary, also we do live very far away from each other.

ID: You were also doing a zine called as Impaired Zine? Is it still around?
MKM:  No, I only did three issues myself, then the second editor kept on doing it for a while, but he was mostly into grindcore then. Thus not really my field of interest. That zine has just been one side of my implication within the scene, when it made sense for me to do my best to support some bands. Yet you get to learn that most people backstab you afterwards anyway. Small print run each time, around 300 copies, xerox & cut and paste lay out. First issue took me forever though, since first interviews were sent in 1990 & 1991...

ID: I absolutely love the frenetic militant approach which your first two albums ''Cut Your Flesh and Worship Satan'' and ''De Principii Evangelikum''. The brutal, war-like and hatred surged atonal chaos sets your horde apart from many wankers and manifests a feeling of pure misanthrophy and destruction. How do you personally assess these two terrific works of sonic blasphemy?
MKM:  Since I cannot stand listening to my voice and am not among those artists being always self praising : I didn’t even own those albums myself nor would I ever play them again. Though for the Deathkult fest, prior to it, I ended up re-listening to them.... really something I cannot stand. But I can understand that outsiders can find the violence they do seek. CYFAWS was, as most first album done by any band, a collection of earlier demo tracks, covering more or less five years, and had the “first time” recording approach : tracks mostly composed on impulses, basic straight in your face approach. DPE was mostly composed while I was away from France, and the drums on the album got changed in last minute by the drummer we had then – that somehow fucked up many parts... That’s why DPE is the most linear album we ever done, drum wise. He did change all yet had no inspiration so he just did the same pattern over and over again.

ID: On the other hand, ''Blood Libels'' was a slightly different and a more evolved output from you guys. It was extremely brutal and hateful like the first two records but with a tad different flavor this time. One could actually put a band as chaotic as Marduk in comparison after hearing this great album. Everything from the production to the compositions are top notch and charged with an aura of sickness. What are your thoughts about this album? Tell us about the conceptual and musical evilution which were employed here.
 MKM: Sorry but I have been really talking over and over about “Blood Libels”, up to the point it gets me sick now, this must be the most fullfilling record of Antaeus for me, yet the most destructive and having had such a bad surrounding to it. Yet “Marduk”? I do respect Marduk, even more since Arioch/Mortuus did join, but the guitar riff & structures are really very different, also Antaeus has way less melodies. 
(The comparison with Marduk was put merely due to the amount of sonic chaos their albums manifest and it is no ways similar to AntaeuS, albeit being on a same nihilistic and war-like black metal plane)

ID: You have also done vocals for yet another amazing band called as ''Aosoth'' which has Baal Shem Tov from Balrog, VI and Genital Grinder on guitars, bass and drums. I must say that your latest release ''III'' has been one of my most favorites of this year and it has raised the bar for dissonant, unorthodox and chaotic black metal. How did this band come into being and how has your experience been so far?
MKM: Aosoth has been my side project since 2002. We’ve had different band members in the past & also very distinct era sound wise, while the first split with Antaeus was basic black metal with mid tempo patterns drum wise, we then went on with a more raw approach (which got reedited on the split cd version released by Battleskrs), then did come a demo time which was mostly industrial ambiant & screams (no guitars) – when we got to record blood libels in 2006, we did discuss with Bst, about again doing a band together (we were also in the same band back in 99 or 2000, can’t recall exactly + we’ve known each other for years) thus we did do two splits ep with Aosoth and got the deal to have an album out through Total Holocaust Records. At first we were not meant to perform live and Aosoth was to remain a studio project – yet he convinced me to go back on stage, but since my latest experiences with Antaeus wouldn’t really get me to be willing to go through such events... i was skeptical; yet our first gig in paris (with Nehemah & others) ended up really good and we went on. In the past years we had maybe 5 to 10 different band members I guess, there is nothing “fixed”. Only INRVI did join as permanent for this album.

ID: The eerie piano parts and the overall oppressive atmosphere on ''III'' was highly commendable and it worked wonders for the album. Who composed the piano parts? You have also used some ambient intros for AntaeuS, some of which had inputs from Diamanda Galas' works. Any special reasons behind it?
MKM:  BST is responsible for all those elements on this III recording which he achieved with Hostis's collaboration. They both did a very good job which was truely fitting. As far as Antaeus goes : we had numerous “guest” for that matter through the years, sometimes it was our drummer achieving those sounds, other time my guitar player or different individuals with whom we worked, Hostis, Melek tha... Diamanda Galas has been a key in the Antaeus world, her “sono l’antechristo” was included in the devotee intro/live intro (so early works) and as a closure to the blood libels album.  Am a die hard collector of her early works and got the chance to witness her live performances, sadly not at the right time... Still quite an experience, seems like you can perceive demons coming out of her voice & taking shapes in audio wave caressing you.

ID: Aosoth is a dark female entity in the pantheon of ''Order of the Nine Angels''. Is the band associated with that cult and preaching their ideas in your lyrical themes?
MKM: The first recording done in late 2002 was solely composed of rituals from the ONA. The first album kept strong connection lyric wise, yet anything after has barely not many obvious links. Nor do we consider ourselves as a representative of the Order, we just have similar points of views.

ID: The Aosoth logo and the artwork for ''III'' was designed by Erik from Watain and it looks very sinister indeed. How and why did you choose him to work on the graphics?
MKM:  Erik did the logo from Aosoth, that is correct. No he did not do the layout. I did, upon my visions & the concept related to Aosoth. Also the vinyl version, first album : black cover black wax, second album black cover white wax, third album white cover, transparent vinyl.  Erik did the logo in 2002 and you can recognize his grat graphic work easily, a very skilled man, but it has really nothing to do with the kind of lay out we went for. Yet I wish we could afford having a lay out done by him in the future, but considering his costs and MOSTLY his agenda... doubt it would ever be possible.

ID: How has the reception for ''III'' been so far? Have you been playing LIVE with Aosoth often these days?
MKM:  Media wise : very good, almost unexpected... considering the kind of reviews we got for the previous albums and the constant ghost of Antaeus being mentionned... now that Aosoth did gain its own identity according to those who did finaly got to see the band as an act on its own and not the follow up to a band that is not dead either, that made us gain more respect. Does that change anything else when it comes to our conditions or the sales : of course not. Only noticeable thing : it was very easy to find many ways to download the album, which is a good sign : means there is an interest, and even less sales than the previous album. So better reviews : more download – more failure for the label.
And no we haven’t played live since that tour in february/march and there are no plans for any future gig with the band either, not that I know of. Anyway considering there is a vacant position for : drummer & second guitar player and a lack of time/money to fix that. Guess that no gig would have happened for the III era. Impossible to perform most of the tracks from ashes of angels & all the tracks of III without a second guitar player.
This situation is ok for me though, the last 18 gigs we did were not worth it, apart from the one just after the tour, opening for Urgehal : better audience for us and more violent sound on stage. 
                                                                         INRVI - Aosoth 
ID: Is it true that ''III'' would be released as an instrumental album sometime soon? When and which label? 
MKM: Yes, correct and should be at the pressing plant by now and out in September 011. This will be done on my own label (Spikekult) since it has been my desire to have this version out. Once again I will point out that this was not a decision of the band, but my OWN. The lp will be pressed under 300 copies (initialy meant to be 100 copies but as always, many problems did occur) and on vinyl only. So no : this is not meant to generate profit or anything. Aosoth is not a band that sells enough to cover its own cost so FUCK OFF to those morons thinking they are smartasses with such comments. Having been mostly listening to the working tracks prior to the recording, I can assure you that an instrumental version of III is an interesting audio experience, giving it a different texture and allowing mind wandering.
                                                                  BST - Aosoth/AntaeuS/VI/Balrog etc. 
ID:  What are your opinions about the current French and European black metal scenario? Given the fact that you are a veteran, it is important to understand your view points on what the scene of today means to you.
MKM: Couldn’t care less... as simple as that. It’s somehow the same 2% of great bands done by great individuals and the rest. I prefer to support fully a limited selection of individuals in labels/bands/zine than having to mention the countless wankers around that will end up anyway in fading away from the scene or just fuckin backstab us.

ID: This is a clichéd question but I'd still love to know about the most influential extreme metal records for you.  Which albums/bands compelled you to embark the path of black metal for your life?
MKM:  Who knows? Bathory “Under the Sign of the Black Mark”, Mayhem (Dead vocals), DarkThrone, all up to Panzerfaust, Nuclear Death, Beherit up to drawing down the Moon... Blasphemy, Diamanda Galas haunting chants... Fields of the Nephilim aura, early 90s death metal like Rottrevore, Funebre, Traumatic, Immolation, Incantation, Goreaphobia... And apart from its lyrical content, the first Brutal Truth album has the kind of production which I did find violent when it came out. There is no album that would be considered as “the one that made me go this way” yet if I would have to pick up must have from the past years, I’d go with Funeral Mist “Salvation”, DsO & their mass grave aesthetic track, Katharsis and “Fourth Reich”.

ID:  Are you also interested in other forms of music outside metal?
MKM:  Considering I do not listen to “metal”... then yes. Black metal and death metal are really the only metal genre I would have in my collection, traditional heavy/speed/hard rock and so on : never been into that even as a kid. As many : got to listen to those bands for a start but they never did provide me what I was seeking through music. BST & INRVI being more “guitar players” at first, they would mention numerous bands. I guess that not being a musician, my approach is different. Do see it as a minor Art that yet captures my attention and can provide the audio violence or sickness I would need. Most of the acts I have been listening to lately, Whitehouse (powerelectronics), Karjalan Sissit, Brighter Death Now, Sophia, Genocide Organ, Der Blutharsh (early period), Grey wolves... AmenRa is a more “saturated” guitar genre...

ID:  What does the future behold for both AntaeuS and Aosoth?
MKM:  One thing I did learn from all of this : nothing is ever to be planned. Nothing is stable, all is chaotic so there is nothing I can really tell. 90% of today’s plan could be destroyed in the coming days or weeks or months. Until one thing has been done, processed & is behind us : then yes I would believe it did happen, otherwise : nothing is for sure. No comfort here, no support whatsoever, only problems to face, one at a time.
ID:  Last but not the least, I would like to express immense gratitude towards you for taking your precious time off to answer this in depth interview. Infernal Dominion and its followers would certainly wish for more torments from your sinister hordes in the near future. You may express your final words for the interview now.
MKM: Hails to you for the support and this interview that did cover a bit too much of history for me !!!

 Official Aosoth Page -
LIVE Pictures from Deathkult Open Air, courtesy Somnyum -