Since last year, part of the Ukrainian band Sectorial has been defending our country in the ranks of the Armed Forces, at the frontline.

We have finally collected all that is left of the band's merch for a 100% charity fundraising — we will help the boys and their unit in this difficult and important task (mainly for drone components, additional batteries, antennas).

We will be very grateful for your support. Buy merch or just donate to the Monobank jar. The full report will be published on the official pages when the jar is closed.

Monobank Jar

Link to the jar: https://send.monobank.ua/jar/59LpxE1tZR

Jar card number: 5375 4112 0656 9837

For Ukraine: after making sure we have the item/size you can just send money to the jar and send us a screenshot + address for shipping.

Sectorial's official Bandcamp

You can track availability and buy with international shipping on the band's Bandcamp.

When you buy merch or music on Bandcamp, you'll also get the music from the corresponding album in lossless format.

International and local delivery

Special prices are available to Ukrainians within the territory of Ukraine, everything is sent by Nova Poshta at the expense of the recipient. To clarify the availability and size, please first write to us somewhere in the social network.

Orders will be shipped approximately once or twice a week.

Minimum prices within Ukraine (you can, of course, add as much as you want):

• CD VYR / WATRA — 250 UAH
• Limited Box VYR — UAH 1,666
• VYR T-shirt — UAH 500
• Exodus of the Winter T-shirt — UAH 500
• T-shirt Exodus of the Winter digital print — 450 UAH
• WATRA T-shirt — UAH 500

You can see what and how it looks on the band's Bandcamp at the link above.

For your strong support, we also have three bonus Sectorial 'E.A.R.T.H.' mugs that you won't find anywhere else :)

Glory to Ukraine!

P.S. All proceeds from the sales of anything on the Noizr label since the start of the full-scale invasion (and everything we've had in our account at that point in recent years) was donated to support the military and verified foundations. Sectorial merch aid will now be sent specifically to the unit where the boys serve.

For the first time ever, Ozzy’s and Lemmy’s voices appear on the same version of the “Hellraiser” track. So, this is almost a “duet” with a Motörhead legend Lemmy Kilmister and the mash-up combining Ozzy’s original and the re-recorded ’92 version.

“I hope everyone enjoys the song,” says Ozzy Osbourne in a press release in September. “This is just a small way to honour my friend Lemmy. Sharon and I talk a lot about how much we miss him.”

New full-length album "Witness" from the Danish progressive metal band is the eagerly-anticipated follow-up to 2018’s "Applause of a Distant Crowd" is released today via Mascot Records.

Tracklist

1. Straight Lines
2. Head Mounted Sideways
3. 24 Light-Years
4. These Black Claws (feat. SHAHMEN)
5. Freak
6. Napalm
7. Future Bird
8. Stone Leader Falling Down
9. Inside Your Fur

Line-up

Asger Mygind (guitar & vocals)
Nicolai Mogensen (bass)
Martin Werner (keys)
Adam Janzi (drums)

Credits

Music and lyrics by VOLA
Lyrics to These Black Claws by VOLA & SHAHMEN
Produced by Asger Mygind
Drums engineered by Jakob Herrmann at Top Floor Studios
Mixed & mastered by Jacob Hansen at Hansen Studios

Cover artwork based on 'The Eye' by Gregor Huber
Artwork layout by Roy Koch
Photos by Nikolai Linares

New track "Debemur Morti" is the first single from upcoming release (out June 25) which contains 2 tracks in total. EP is dedicated to band's label Debemur Morti, which has reached release number 200.

To commemorate 18 years’ hard work and dedicated passion for the Dark Arts we are issuing "Debemur Morti", a special 2 track 10" vinyl/CD/digital release from the singular Ukrainian Black Metal experimentalists WHITE WARD, a band that have been growing with the label since their debut and whose adventurous sound is the perfect way to celebrate the past and look to the future.

Full stream premiered May 2, 2021 and now EP is available on YouTube (with a video from studio performance), Bandcamp, Apple Music, Spotify and other platforms.

After talking about writing music together for years, never having the time, due to our respective bands and busy schedules. In February '21 the opportunity arose to get in a room together, so we jumped on it. In the midst of a national lockdown, we spent 2 days of writing and 1 day of recording at Brighton Electric. What resulted is an EP of three songs we are so happy with!

Credits:

• Guitars — Rabea Massaad
• Drums — Liam Kearley
• Bass — Rabea Massaad
• Synth — Rabea Massaad

Recorded at Brighton Electric Studios. Engineered by Alex Gordon & Rabea Massaad. Mixed by Rabea Massaad. Mastered by Mark Roberts.

Video Shot, Edited & Produced by Rory McLean.

Red Fang returns after five years with a new full-length "Arrows", out June 4 via Relapse Records. Release will contain 13 tracks, you may check details with you favourite service via this link.

The "Arrows" video clip was directed by Whitey McConnaughy and already has arrived to label's official YouTube channel.

The new single "Murderous Rampage" has arrived and for sure it is a good news for the fans. Even better is that fifteenth full-length album "Violence Unimagined" is set to be releases soon, April 16.

The group released a NSFW music video for their track “Inhumane Harvest” in February. The horror-filled video is not for the faint of heart, delving into the human organ trade and directed by David Brodsky.

Gojira continues releasing videos on singles from the upcoming record "Fortitude", out April 30th. New single “Amazonia” arrives along with a music video, which was shot in France and various locations in Brazil.

Previous single "Born For One Thing" was released February 17th, also along with a video-clip (where action takes place in a natural history museum). Both videos directed by Charles De Meyer.

First single for the upcoming album was "Another World" (released in August 2020), came along with animated video.

Architects have released the orchestral version of "Animals", the main single from recently released full-length album "For Those That Wish To Exist".

The re-imagining of the track was performed and recorded at London’s Abbey Road Studios, and has been released as an Amazon Original available exclusively on Amazon Music, but a video performance has also been shared on YouTube:

“This was an amazing opportunity to reimagine ‘Animals’ entirely. We took away the jagged synths, replaced them with an orchestra and recorded it in the world- famous Studio 2 at Abbey Road Studios. The result is unlike anything we’ve ever done before. We hope you enjoy it.”

The new Wardruna released fifth full-length album "Kvitravn" on January 22nd through Sony/Columbia (worldwide) and Norse Music (USA/Australia) and is available on all major music services and official website.

With their fifth album Kvitravn, or White Raven, Norwegian folk troupe weave tales of sorcery, spirit animals and ancient mythology.

This time, Wardruna founder Einar Selvik is joined by a group of traditional singers led by Kirsten Bråten Berg, who is regarded as one of the leading custodians of Norwegian traditional song.

Incorporating a wide range of traditional and historical instruments like soot-harp, lyre, bronze lur and goat-horn, Selvik creates the kind of stirring and richly atmospheric songs that have landed Wardruna more than 60 placements on the History Channel’s hit series Vikings.

“The album is very much about animism, our relation to nature and to something bigger than yourself,” Selvik tells Apple Music. “And of course, as the title suggests, the white raven is a recurring theme throughout the album because it’s a central and important animal within the Norse tradition.”

Below, he tells Apple Music the stories behind each song.

Synkverv
“This translates to ‘Turn-Sight’. The song goes very much into Nordic folk beliefs about luring forces of nature that either by use of song or other things lure you into the mountains and places like that. The tonality of the song is very traditional and quite closely inspired by the tonality of Norwegian folk music or traditional music, with the main instrument being the lyre.”

Kvitravn
“This is the White Raven, and it’s about the tradition of spirit guides or animal guides that have been in animistic traditions as messengers or bridges between worlds. This animal guide is connected to another recurring theme on the album, which is the skugge, which means shadow or follower. It’s primarily related to death warnings and so on. But it also dives into this idea that when seeking knowledge outside yourself, you sort of reflect inwards at the same time.”

Skugge
“It’s basically a song that tells the story of a conversation between a man and his shadow. It kind of questions our modern Western ideas that knowledge and confirmation is something predominantly acquired externally instead of internally. The story is basically: A man is asking his shadow a question and gets no answer. Then the sun goes down and of course his shadow disappears—into, in this case, a mountain. And then the man starts shouting at the mountain and the shadow replies in echoes with his own words. So the answers are within.”

Grá
“The title means ‘Gray’ and this song reflects on how our relation to wolves and predators in general has developed through time. And it doesn’t paint a pretty picture to romanticise this issue. I know a lot of countries are struggling with these conflicts between farmers and wildlife—predators in the wild, basically—and I understand that these issues are complicated, but the song acknowledges that the cost of having predators around has a value. And anything of true value in this world has costs. I don’t think killing a species or destroying an entire ecosystem is the right answer.”

Fylgjutal
“The literal translation is ‘Companion’, but it also means ‘Speech of the Fetch’. This goes more in depth with the tradition of followers from the song ‘Kvitravn’. Sometimes these followers are ancestral figures that sort of warn you or tell you when you arrive somewhere. They can be in animal shape, and they often reflect your personality as well. But I like to keep my lyrics very open-ended, so this is more in the form of asking questions, not preaching truth.”

Munin
“This is another song about the raven—in this case, the ravens of Odin. He has two: Hugin, which means ‘thought’ or ‘mind’, and Munin, which means ‘memory’. They roam the world every day, and Odin expresses fear that Hugin will not return, but even more he fears for Munin. So this song questions, why does he fear most for losing Munin, or memory? Of course, it’s impossible to think without memory—man has a consciousness, which always bears the past within it. We think and speak with historical references, and our culture is basically a memory. So I’m trying to decipher what this myth tries to tell us.”

Kvit hjort
“This is the song of the ‘White Deer’ or ‘White Stag’. It is of course partly applicable to the ‘White Raven’ song because it goes into how these traditional white animals we see are almost a global phenomenon. In many cultures around the world, we have these mythical, prophetic white animals. It doesn’t have to be ravens or deer—it can be an elephant, a moose, a serpent, et cetera. They very often represent being a bringer of change, of something new.”

Viseveiding
“It means ‘Hunting for Songs’. This goes back also to animistic ideas that every chatter, sound or frequency has a song connected to it. The concept is that there is a potential to learn these songs. For instance, in the folk medicine or healing traditions, if you wanted to cure snakebites, you would need to learn the song of the snake. This goes on and on: Each mountain has its own song, each river has its own song, et cetera. This is a concept that I implement in my own creative work as well—there’s this idea of trying to sense frequency, to ask for these kinds of songs.”

Ni
“This means ‘Nine’, and it is the ninth song of the album. In Norse tradition—and many traditions—nine is a sacred number that very often recurs in different myths and esoteric practice, whether it’s sorcery or healing or anything like that. And I would call this a medicine song. It goes into specific traditions of using a nine within folk medicine, and the core purpose of the song is to sort of guide you through this old tradition.”

Vindavlarljod
“This word is a mouthful, but it basically means ‘Song of the Wind-Bred’, like born out of the wind. It’s very much a song about sorcery and kind of reflects all these nerdy details about the two different ways one becomes a sorcerer. This is actually a very old song, and I have been performing it acoustically with just one instrument for many years in my solo concerts. A slightly different type of it was released on the Skaldalbum as well, but here it’s more elaborately produced.”

Andvevarljod
“This is the ‘Song of the Spirit Weavers’. It goes into how certain parts of our species is connected to wind, and this whole idea that a person could conjure up the wind that was blowing the day you were born. So it’s also a song about birth. There’s a part of the song about the mythical beings that spin a person’s life thread. It’s also very much connected to this tradition regarding the wind in the previous song.”

S&M2 is the live concert film from Metallica & The San Francisco Symphony recorded October 9, 2019.

The record features 20 songs (over 2.5 hours of music) from the two-night event that opened San Francisco’s new Chase Center, with many Metallica fan favorites and two unique classical songs chosen by San Francisco Symphony Music Director Michael Tilson Thomas. It is newly re-edited by the band with remixed and remastered audio.

Besides the trailer, two tracks are already available on YouTube: "Nothing Else Matters" & "All Within My Hands".

As usual, Metallica offers a huge variety of merch and release formats (link below).

Jared Dines just presented the result of collaboration with 12 well known artists titled "Shred Feast" EP, featuring Stevie T, members of Trivium, Born of Osiris & more.

The full list of artists participated in a record (alphabetical): Alessandro Zilio, Andy James, Angel Vivaldi, Berried Alive, Cole Rolland, Ichika Nito, Jared Dines, Lee McKinney (Born of Osiris), Matt Heafy (Trivium), McRocklin, Rudy Ayoub, Saxl Rose and Stevie T.

Tracklist:

1. Collee Swollberry (feat. Cole Rolland, Lee Mckinney & Berried Alive)
2. Mandy Vivaldines (feat. Matt Heafy, Andy James & Angel Vivaldi)
3. Mczilio DinesBerry (feat. McRocklin, Alessandro Zilio & Stevie T)
4. Richika Anuba (feat. Rudy Ayoub & Ichika Nito)
5. The Saxy Djent Song (feat. Saxl Rose)

Available on YouTube, Spotify, Apple Music, Deezer and other streaming platforms.

Couple days ago Spotify has announced its launch in 13 more countries (bringing the total number of markets to 92 now). Along with Ukraine it comes to Albania, Belarus, Bosnia and Herzegovina, Croatia, Kazakhstan, Kosovo, Moldova, Montenegro, North Macedonia, Russia, Serbia and Slovenia (a door for nearly 250 million fans).

Notable points include 50 million tracks, 4 billion playlists, and localized music personalization features:

• The Spotify for Artists platform, which offers tools that help artists, managers, and labels track real-time statistics for new releases, understand their audience, connect more deeply with fans, and run their business
• A room for billions of creator- and fan-built playlists to be added to the mix so listeners can find a playlist for any mood or moment
• Both ad-supported Free and Premium plans (plus, the Premium Family plan is available for up to six family members living under one roof, Spotify Premium DUO is available for couples, and Spotify Premium for Students rounds out the mix for the more studious types in eight of the 13 markets)

Check out our artists on the platform: Chernaa, Sectorial, Sleep in Heads, Nabaath, Rutarp.

A new video "Jettegryta" by Enslaved came out, on a single from the upcoming full-length "Utgard", out October 2 via Nuclear Blast Records.

Video by Gaui H Pic
Co-producer — Marita Joensen
Actors — Ziva Ivadottir and Kolbeinn Þór Þorgeirsson Heiðdal

Canadians Seventh have just released their second full-length album "Vacarme", which is available for streaming and purchase on all major platforms. CD and vinyl LP are available on Bandcamp.

Tracklist:

1. Synthèse
2. Echoes
3. Hundred Winters
4. The Gift of Death
5. Bloom
6. Lust
7. Disheartened
8. Collapse
9. Through the Flesh

Recorded by François C. Fortin, Petethebeast and David Lizotte
Mixed by François C. Fortin
Mastered by Raphaël Malenfant
Artwork by Philippe D'Amours

Canadian death metal band Kataklysm releases official music video on track "The Killshot" as the first single from upcoming album "Unconquered" which is planned to be released on September 25, 2020 via Nuclear Blast Records.

The upcoming full-length will become fourteenth in band's discography. Previous studio album "Meditations" was released in 2018 and was well received by both audience and critics.

Video Directed by Scott Hansen of Digital Thunderdome.

Noizr Productions proudly presents new lyric video for the song “As I Succumbed” from the debut album by Czech post-black metal act Chernaa, titled "Empyrean Fire".

With “As I Succumbed” we tried to reproduce the calm melancholic feeling of acceptance of being agonised without the resist, both in real and in mental worlds. Tranquillity, succumbing, extremity.

The album has a great atmosphere, quality sound and strong mood from beginning till the end of the record. “Empyrean Fire” received rave reviews from critics and fans alike:

— "Chernaa’s ability to meld aggression and melody, all with a singular personality, is what sets them apart from the pack", — Metal Hammer (UK)

— "…excellently executed making the entire release something to truly behold”, — Cadaver Garden

Official live video from The Order Of Apollyon's performance at Ascension Festival 2019 in Iceland. The song comes from the album "Moriah", out now on Agonia Records.

Check album review and full stream on our Zine

Video credits:

• Camera crew: Sylvain Lécuyer, Vincent Lécuyer, Myriam Reggab
• Editing: Sylvain Lécuyer
• Audio mastering: BST Studio

Ulcerate presents its long-awaited studio album "Stare Into Death and Be Still". Full-length was released April 24 via Debemur Morti Productions.

The unmistakeable sound of ULCERATE finds its emotional apex on 6th album “Stare Into Death and Be Still”, as the band emerge from the claustrophobia and dissonance of their recent past to present a next-level exploration of melody, harmony and power.

The band’s signature ultra-atmospheric blend of highest order unorthodox Death Metal with the texture of futurist Black Metal is here pared-down with the consummate hand of experience, giving stunning credence to the riff, the song and the meaning.

The album is available on digital platforms, as well as vinyl and CD.

Order of Orias releases second full-length "Ablaze" on April 30 via W.T.C. Productions. Previous full-length "Inverse" was released 9 years ago.

While orthodox black metal has largely been a sleeping beast to these many years, it sometimes falls to yesteryear's mavericks to awaken and shake the firmaments — and that's exactly what ORDER OF ORIAS do with Ablaze. And with Nocturnal Graves' Jarro Raphael on session drums and mastering by Order of Apollyon's BST, they're certainly in good company. The flame still burns!

The album is available on digital platforms, as well as on Gatefold LP and CD.

Noizr Zine’s selection of documentaries about extreme metal music, regarding heavy metal, death metal, thrash metal, black metal, and movies dedicated to multiple genres which are worth watching at home and forgetting the chaos outside.

"Metal: A Headbanger's Journey" (2005)

The film directed by Sam Dunn is perhaps one of the best documentaries about metal music. "Metal: A Headbanger’s Journey" is done so well and features lots of interesting information from the musicians themselves that it can captivate even those who are not really interested in heavy and extreme metal.

"Metal Evolution" (2011)

Another creation of Sam Dunn: a documentary series that includes 12 episodes which study the origin of metal, its development in the USA and the UK and its further evolution into subgenres (new wave of British heavy metal, glam metal, thrash metal, grunge, nu metal, shock rock, power metal, prog metal, and extreme metal).

"God Bless Ozzy Osbourne" (2011)

An honest story about a heavy metal icon. "God Bless Ozzy Osbourne" tells about the musician’s first fame and success within Black Sabbath, his solo career, and his fight against alcohol and drug abuse.

"True Norwegian Black Metal" (2007)

Documentary by VBS/Vice Magazine. "True Norwegian Black Metal" mostly focuses on aspects of the life of black metal vocalist and satanist Gaahl, renowned for his work with Gorgoroth.

"Black Metal Satanica" (2008)

A detailed documentary that explores the origins, foundations, and philosophy of the Scandinavian black metal scene.

"Until the Light Takes Us" (2009)

The film tells the story of the black metal music genre using a video interviews with Norwegian musicians, including Gylve "Fenriz" Nagell (Darkthrone), Varg "Count Grishnackh" Vikernes (Burzum, Mayhem), Jan Axel "Hellhammer" Blomberg (Mayhem), Olve "Abbath" Eikemo (Immortal), Harald "Demonaz" Nævdal (Immortal), Bjarne Melgaard (visual artist), Kristoffer "Garm" Rygg (Ulver, Arcturus), Kjetil "Frost" Haraldstad (Satyricon, 1349, Keep of Kalessin), Bård "Faust" Eithun (Emperor).

"Death Metal: A Documentary" (2003)

Who can tell about the musical genre better than its representatives themselves? "Death Metal: A Documentary" abound with interviews from bands such as Mortician, Immolation, Amon Amarth, Seance, Malignancy, Brutal Truth, Suffocation, God Dethroned, as well as musician Peter Steele.

"DEATH by Metal" (2018)

A documentary about one of the most important death metal bands and its creator, Chuck Schuldiner. The film features exclusive interviews that give a great impression of the cult musician and his heritage.

"Get Thrashed: The Story of Thrash Metal" (2006)

American documentary filmed by Rick Ernst which tells the origin and formation of the thrash metal genre and features interviews with Lars Ulrich (Metallica), Sully Erna (Godsmack), Frank Bello (Anthrax), Death Angel, Dave Mustaine (Megadeth, ex-Metallica), and many others.

"Metallica: Some Kind of Monster" (2004)

A documentary about the most well-known metal band in the world, Metallica. In addition to the story about the creation of the album "St. Anger" (the film is named after one of the record’s song), "Metallica: Some Kind of Monster" also shows a lot of studio rehearsals and footage of the band's concert performances. The documentary won the Independent Spirit Award for Best Documentary Feature.

By Anastezia G.

After five years of its existence, the Kyiv's MonteRay Live Stage is to be closed along with MonteRay Club. The concert venue, which hosted Noizr Fest in 2015, will cease to exist on April 1, 2020, according to the official post on Facebook.

All events planned for April are to be transferred to other locations. One of the last gigs held at the club was a concert of Misþyrming. The remaining events, which were supposed to be held at the venue in March, were canceled due to the fear of the spread of coronavirus.

Main pic — Robust Gig by Yurii Somov

Misþyrming, a young but already well-known Icelandic black metal act, signed to the cult label Norma Evangelium Diaboli (Antaeus, Deathspell Omega, Funeral Mist, Malign), first performed in Kyiv on Wednesday, March 11.

The gig in Kyiv took place in support of the band's latest album "Algleymi", for the mastering of which was responsible producer Jamie Gomez Arellano (Sunn O)), Ghost, Paradise Lost). In addition to Misþyrming, the event also featured the sets by Nornahetta (side project of Misþyrming's members) and the Kyiv-based act Wolftomb, who performed live for the first time. You can check out photos from the gig, captured by Mila Immortality, above.

Nornahetta (Iceland, Black Metal)

Wolftomb (Ukraine, Atmospheric Black Metal)

Misþyrming (Iceland, Black Metal)

Noizr Zine thanks Death Worship Committee for the accreditation

Misþyrming, a young but already well-known Icelandic black metal act, signed to the cult label Norma Evangelium Diaboli (Antaeus, Deathspell Omega, Funeral Mist, Malign, Teitanblood), will visit Kyiv with a live show for the first time. The gig will take place on March 11 at the Monteray LiveStage Club.

The concert in Kyiv will be held in support of Misþyrming 2019's album "Algleymi" which was mastered by Jamie Gomez Arellano (Sunn O)), Ghost, Paradise Lost). As part of Seeds From Lifeless Soil tour, musicians, in addition to Ukraine, will also perform in Lithuania, Belarus, and Russia.

Buy tickets for Misþyrming's show in Kyiv:

• 650 UAH — until March 10
• 950 UAH — VIP ticket
• Electronic tickets: concert.ua
• Physical Ticket Sales: Core Metal Shop and Necropolis

Event on Facebook

Read also: "Never stop the madness": Interview with Misþyrming

Ukrainian post-black metallers White Ward have announced European tour dates which will be held in support of their new album "Love Exchange Failure". The gigs will take place in Hungary, Austria, Switzerland, Netherlands, Poland, etc.

Recording process of the 7-track "Love Exchange Failure" featured a few guest musicians, including Sectorial's vocalist Ivan Kozakevych, who performed the part of clean vocals for the track "Uncanny Delusions". The album is currently available for order in Europe, North America, and Bandcamp.

Read also: Photo report from Reka, White Ward, and Mother Witch & Dead Water Ghosts gig in Kyiv

"Love Exchange Failure" came out on September 20, 2019 via Debemur Morti Productions, becoming the second full-length release of the Odesa-based act White Ward. The band’s debut record "Futility Report" was released in 2017 and hit the TOP 5 best Ukrainian metal albums of the year according to Noizr Zine.

Welcome back to a new series for Noizr — Inside the Producers' Studio. In this series, top producers from across extreme metal will share their knowledge and wisdom about recording and production. We’ve hand-picked some of the best and most interesting producers; some from large studios others from more niche circles, whatever their situation, you’ll be sure to pick up tips and get an insight into the minds that are shaping metal in the current era.

The first article was dedicated to studio set-up, the second one was about pre-recording, the third one – about recording drums, the forth one — about recording bass, the fifth one — about recording guitars, the sixth one — about recording assorted instruments, the seventh one — about recording vocals, the eighth one — about mixing.

The 9th article in our series is focused on how different producers approach the mastering process.

Experts

Colin Marston is a prolific musician, playing in numerous bands such as Krallice, Gorguts and Dysrhythmia. His credits for production with his studio The Thousand Caves is staggering, having worked with bands like Agalloch, Altar of Plagues, The Howling Wind, Deiphago, Imperial Triumphant, Liturgy, Panopticon and Mitochondrion. Contact: thethousandcaves.com

Thomas Eberger is the co-founder of Stockholm Mastering, along with Sofia von Hage they have helped master hundreds of records. Thomas’ metal mastering credits include bands like Amon Amarth, Sarke, Meshuggah, Behemoth, and Opeth. Contact: stockholmmastering.se

Mastering

How do you approach the mastering process initially?

Colin Marston: The first thing I do is listen to the unmastered mixes. if I've also recorded and mixed the project, then I've been listening to it for days and usually have a pretty good idea of what mastering processing might help or hurt the mixes. If I'm only mastering (not also recording and/or mixing) I usually listen through multiple times to familiarize myself with the sound and musical content before doing anything. Often if it's the first time I've worked with a band, I'll also familiarize myself with their older records. Once I feel like I have an abstract idea of how the mixes could be improved, I'll start spacing the tracks in the sequence of the album and deciding on the transitions between songs (if the band hasn't already told me specifically how they want things paced). During this phase, I'll also adjust the relative general levels from song to song if certain mixes are awkwardly quieter or louder than others. Then I move on to processing the mixes in terms of eq, dynamics, and stereo characteristics.

Thomas Eberger: If it's an album, I place all the songs in order in a project. Then I listen briefly to all the songs and roughly set the relative levels between the songs if needed, either by ear or by a LUFS-script. This is just to get everything in the ballpark, the levels will be tweaked later anyway. I usually begin working on a track that grabs my attention in any way. Since I'm all digital, I can dive in anywhere, and jump around between the songs and work in a non-linear fashion. Then I work with every song until everything sounds great. If I lose focus for some reason, I might open another project and work on that for a while, or begin to edit head and tails, set pauses and enter metadata. There's always something to do that matches my current enthusiasm and energy level. I only do unattended mastering much for this reason, to be able to always do my best work whatever it is that I'm doing at the moment.

Which is the best mastering software that you have used?

Colin Marston: Back when I first started mastering, I used a program specifically designed for that. But I quickly realized that using a normal DAW provides the engineer with much more flexibility (especially in terms of laying out the flow of a release). I've gone from Digital Performer to Pro Tools, and now have been using Logic for roughly the past 9 years. These days most of the processing I use for mixing and mastering comes from UAD2 plugins, with some PSP plugins.

Thomas Eberger: We use Reaper from Cockos Inc for all processing, editing and some of the exports. It's a fantastic DAW and we have tons of custom scripts and macros to help with our workflow.

As for processing, we have plugins from DMG Audio, TDR Labs, Brainworks, Waves etc. We also use some plugins that we have developed ourselves, for example a compressor that I almost always use when compression is needed, and also a monitor controller for easy level matched A/B listening.

For restoration we use iZotope RX, and for exports we have various programs from Sonoris, Hofa etc.

Recording, mixing, mastering by Colin Marston

What effect, if any, has the 'loudness war' had on your mastering process?

Colin Marston: The biggest effect the loudness war has had on my process has been the amount of time I spend talking to bands about what "loudness" really is, and how it's different from "dynamic range". I'm a strong advocate of never seeking a specific destination level for audio, or engaging in loudness comparisons between different records, so when musicians say things like, "The mastering sounds perfect! We want it to sound this good but also appear louder when compared to other records at the same listening volume," I feel obligated to take as much time and effort as is necessary to help them understand how those desires are mutually exclusive, and, more importantly, how the idea of loudness is relative and fundamentally out of their control. the audience decides how loud to listen no matter what the format is: no band, recording engineer, or mastering engineer can make you listen at any particular volume. So my philosophy is, you might as well disregard that and just focus on making the audio sound as good as it can, and have a dynamic relationship that suits the music contained on the recording.

Being right in the middle of the "loud mastering" thing for so long has really made me think long and deeply about it, wondering why people seem to hell-bent on sacrificing quality for the sake of something totally out of their control to begin with. The conclusion I've come to, is that most people have trouble understanding the difference between apparent loudness and dynamic range (which isn't surprising since those concepts are not as straightforward as is convenient), but worse than that, they have a fear of appearing weak or not being taken seriously which breeds a competitive spirit that I find no place for in the arts. Maybe that competitive desire fits into sports or business, but isn't music and art in general sacred because it's fundamentally self-expression, unbounded by the quantifiable?

Thomas Eberger: Nowadays the loudness war is less of a problem than it used to be. Mostly because there is less demand from clients for loud masters, and also because the current tools are better at letting more music through despite silly levels.

Is all of your mastering done digitally?

Colin Marston: Yes.

Thomas Eberger: Yes, since 3-4 years. Before that I used a hybrid approach with some processing in analog, and some in digital. For me, staying all digital simply sounds better, and I get better results.

Mastering by Thomas Eberger

How often do you use limiters on individual tracks or busses?

Colin Marston: I almost never using limiters to compress audio in any kind of noticeable way. When I master, I usually have a limiter at the end of the chain, but if it's kicking on, it might only be taking out a fraction of a dB very occasionally, and never during a moment of loud impact. I usually set the most impactful transient moment of the record to -.1dB and let all the quieter moments be quieter. If the limiter does engage, chances are it will be at a moment that doesn't sound like it should be louder anyway, so might as well contain the dynamics so that an inconsequential moment isn't actually the loudest part of the record. Once again, we're usually just talking about .2 db of reduction here and there.

Instead of limiting I much prefer tape saturation/simulation when I want very fast high ratio compression. When I track, I used to record onto 2" tape and then transfer the multitrack and mix in a DAW. now I use an emulator of the same 2" machine I used to have: the Studer A800 MKIII. So there's usually some amount of tape compression or the individual tracks of one of my mixes. Even though I hate amp simulators and find them to be no replacement for the real thing, I've come to really like the sound and flexibility of tape simulation for tracking, mixing and mastering (and special effects sometimes!).

Thomas Eberger: In the normal case, I work on stereo material, so there will be only one track/bus. When I receive stems, I usually just sum them to stereo and only make adjustments within the stems if absolutely needed. I have a clear policy regarding stems that the sum of the provided stems at unity gain should be the approved mix. Otherwise it will be another type of job, bridging mixing and mastering, which I occasionally might do as well.

What are the biggest mistakes you see more inexperienced producers (or even yourself in the past) make when mastering songs?

Colin Marston: Unfortunately, I think most of the mistakes are being made by the MORE experienced engineers. The obsession with loudness has completely ruined the mastering industry. Is that too harsh? I'm not convinced it is! In the past, I've had recording engineers, whose work I respect, ask for me to master one of their recordings for "competitive loudness" — someone who understands exactly what kind of sacrifice that might entail. I've also worked with and been horrified to notice mastering engineers who actively encourage bands to compare volume levels of their record to others.

As long as the people who actually understand this topic still encourage musicians to misunderstand it and allow their insecurities to guide them towards pointlessly unfortunate decisions, the industry will continue to be in a state of ruin.

The good news is that because so much music is being listened to through auto-leveling algorithms (YouTube, Spotify, iTunes soundcheck to name a few), more compressed masters are simply tuned down to seem about the same loudness as more dynamic masters. So most of the time these days "loud" masters don't even get to be loud in that split-second switch from one recording to another.

Thomas Eberger: I think one of the keys to both mastering and mixing, is to keep working until you and the rest of the people involved are 100% happy with the sound. Listen to your mix (or master) everywhere, get feedback from others, listen to other music, reference your stuff against other great stuff. Keep working until you get there, or at least until you know you won't get any further.

Also, make sure that you are focusing on the right things while you mix or master. Identify the 3-5 elements that are essential to the song and drives the song forward, and give them top priority. Try to find ways to make these essential elements sound great in the context of the mix. Often it's the lead vocal at the top of the list, then whatever instruments that make the song and groove happening around the vocals. These elements are what most listeners focus on, and they are crucial for making the listener feel connected to the music and performers.

What is your top tip for getting a master to sound the best it possibly can?

Colin Marston: Sometimes not making a change sounds better. I think it's important for mastering engineers to constantly ask themselves, "Am i really improving this, or just making it different?"

Thomas Eberger: The most effective way to make a recording sound like a demo is to bury the essential elements in the background or make them sound out of place. If, on the other hand, these elements are fronted and great sounding, then the mix will fall into place much easier. The mastering stage will then usually be about the final polish needed to take the mix from great to fantastic.

By Dan Thaumitan

American singer Chelsea Wolfe has released a new music video for the song "Highway" from the newest album "Birth of Violence".

Earlier, Chelsea Wolfe has presented the music video "Deranged for Rock & Roll" for one of the songs of the release of "Birth of Violence", which came out on September 13, 2019 via Sargent House. The dates of the upcoming spring tour of the singer can be found below:

March 11 — Czech Republic, Prague @ Archa Theater
March 12 — Germany, Berlin @ RBB Sendesaal
March 13 — Germany, Leipzig @ Paul Gerhardt Kirche — SOLD OUT
March 14 — Germany, Bochum @ Christus Kirche — SOLD OUT
March 16 — Netherlands, Utrecht @ TivoliVredenburg — SOLD OUT
March 17 — France, Paris @ La Gaité Lyrique — SOLD OUT
March 19 — United Kingdom, Manchester @ Stoller Hall — SOLD OUT
March 20 — United Kingdom, Glasgow @ Saint Luke’s
March 21 — United Kingdom, Coventry @ Coventry Cathedral
March 22 — United Kingdom, London @ Alexandra Palace Theater
March 23 — Belgium, Antwerp @ Bourla
March 25 — France, Lyon @ Chapelle De La Trinité — SOLD OUT
March 26 — Switzerland, Pully @ Theater de L’Octogone
March 28 — Germany, Munich @ Kammerspiele
March 29 — Germany, Hamburg @ Gruenspan
March 30 — Denmark, Copenhagen @ Koncerthuset — Studio 2
March 31 — Norway, Oslo @ Kulturkirken Jakob
April 1 — Sweden, Stockholm @ Nalen

Chelsea Wolfe — "Birth of Violence"

See also: Chelsea Wolfe releases video "Spun" with explicit scenes

New Zealand death metal act Ulcerate has released the title track of their upcoming sixth album "Stare Into Death And Be Still". The new full-length record will be the band's first release via Debemur Morti Productions (Archgoat, Blut aus Nord, Infestus, White Ward).

"Stare Into Death And Be Still" will come out on April 24, currently the album is available for pre-order via Bandcamp.

Read also: Unrelenting atonal insanity from Poland. Review of Outre's "Hollow Earth"

This spring, Ukraine will host many great gigs of rock and metal bands. For this article, we picked the most interesting events that you definitely should not miss!

If you think we’ve missed out events that are worth visiting — let us know in the comments below! We will also be happy to find out which of the gigs that we mentioned you’re planning to attend.

March 5 — Sons Of Apollo

Sons Of Apollo is a project founded by ex-Dream Theater members Mike Portnoy and Derek Sherinian, which also features Mr. Big and The Winery Dogs' Billy Sheehan, Journey's vocalist Jeff Scott Soto and former Guns N’ Roses' guitarist Ron Thal. The gig will take place at the CCA of NAU. Tickets are from 790 UAH.

March 6 — Lindemann

Lindemann, a project of Rammstein's frontman Till Lindemann and multi-instrumentalist Peter Tägtgren (Pain and Hypocrisy), will play the show in early March in support of their new "F&M" release. Tickets are from 2190 UAH.

March 6 — April 11 — Morphine Suffering

The farewell tour Ukrainian metalcore act Morphine Suffering kicks off this March. In total, the band will play 20 gigs in different cities of Ukraine, including the biggest cities.

March 10 and 11 — The 69 Eyes

Finnish gothic rockers The 69 Eyes are bringing to Kyiv a new album as a part of the band's anniversary tour. The 69 Eyes will celebrate its 30th anniversary on March 10 in Lviv and March 11 at the Atlas club in Kyiv.

March 11 — Misþyrming

Misþyrming, a young but already well-known Icelandic black metal act, signed to the cult label Norma Evangelium Diaboli (Antaeus, Deathspell Omega, Funeral Mist, Malign, Teitanblood), will visit Kyiv with a live show for the first time. The gig will take place on March 11 at the Monteray LiveStage Club.

The concert in Kyiv will be held in support of Misþyrming 2019's album "Algleymi" which was mastered by Jamie Gomez Arellano (Sunn O)), Ghost, Paradise Lost). The concert will be supported by the Ukrainian acts Ulvegr and Wolftomb. Buy tickets for ~18 euro here.

March 12 — Eyehategod

New Orleans sludge metallers Eyehategod will play their only concert in Ukraine at the Kyiv's MonteRay Live Stage club. Tickets are from 399 UAH.

March 18 and 19 — Malevolent Creation

American death metallers Malevolent Creation will perform two gigs at the More Music Club in Odesa and Volume club in Kyiv. In Odssa, the concert will be held with the support of the Ukrainian acts Sectorial and Panzerlied. Tickets are for 400 UAH (Odesa) and 500 UAH (Kyiv) can be bought by following the links.

March 21 — Submarina Live Rockets

Internet radio Radio Submarina will host the Submarina Live Rockets event, featuring Ukrainian bands MegamasS, Osnova, Septa, Cherry-merry, MIND:|:SHREDDER, Esquizet, Grandma'pick and Regulatory. The event will take place at the Bingo club in Kyiv, tickets are for 220 UAH.

March 28 — Tin Sontsia

The rock act Tіn Sontsya will play a big solo show in Kyiv at the MonteRay Live Stage. Tickets are from 250 UAH.

April 1 — Necronomicon

This spring, German thrashers Necronomicon will perform in Kyiv with the support of New Zealanders 3000AD and the French act Stonecast. Tickets are for 250 UAH.

April 3 — Belphegor

Austrian black/death metallers Belphegor are returning to Kyiv to play a concert in support of their new "Totenritual album" at the Atlas club. Tickets are from 640 UAH.

April 7 — Emmure

American metalcore act Emmure will play its only concert at the MonteRay Live Stage in Kyiv. Tickets are from 700 UAH.

April 14 — Eluveitie

Swiss Eluveitie, who masterfully combine melodic death metal with folk instruments and the ancient Gallic language, are returning to Kyiv this spring. The concert will be held at Atlas Club. Tickets are from 590 UAH.

April 18 — Holy Death Over Kyiv festival

The 7th Holy Death Over Kyiv festival will be held this spring at the Bingo club in Kyiv. The event will feature a performance from the cult Swedish black metallers Marduk who will celebrate the 30th anniversary of their career in Ukraine. The Swedes will be supported by Ukrainian acts Infernal War, Burshtyn, Grave Circles, Kaosophia, and Goatreich. Tickets from 900 UAH (30 euro) can be bought here.

April 20 — Asking Alexandria

This spring, Asking Alexandria will perform in Kyiv with the returning vocalist Danny Worsnop. The concert will be held in support of the band's new album "The Violence" at the Stereo Plaza club. Tickets are from 999 UAH.

April 25 — Tankard

This April, the German thrashers Tankard will perform for the first time in Kyiv. Tickets from 690 to 990 UAH are already available for sale.

May 12 — Behemoth

Legendary Polish black/death metallers Behemoth will play a show at Kyiv's Stereo Plaza club. Tickets from 1050 UAH are already available for sale.

May 14 — Dead by April

Swedes Dead by April, combining elements of symphonic rock, techno, nu metal, melodic death metal in their work, will perform at Atlas club in Kyiv. Tickets are from 700 UAH.

May 16 — Red

American alternative rockers Red will play a show in Kyiv in support of their fresh EP "The Evening Hate" and in anticipation of the release of the new full-length record. The concert will take place at Bel Etage Music Hall. Tickets are from 840 UAH.

May 20 — Machine Head

American groove metallers Machine Head will celebrate in Kyiv the 25th anniversary of their debut album "Burn My Eyes". Tickets are from 1090 UAH.

May 25 and 26 — Slapshot

American punk hardcore act Slapshot will give two gigs in Ukraine this spring: on May 25 in Odesa and May 26 in Kyiv. Tickets are from 350 and 450 UAH, respectively.

May 26 — In Flames

A year after the concert, during which the band presented material from their latest album "I, The Mask", the Swedish melodic death metallers In Flames are returning to Kyiv again. A new performance of the group will be held on May 26 at the CCA of NAU.

According to the organizers of the show, In Flames has been and remains a landmark group for Sweden and for the melodic death metal genre as a whole. Over 30 years of their career, musicians have recorded 13 successful albums. In Flames has been working on the latest studio album called "I, The Mask" throughout 2018. A truly “star” team gathered for work — a Grammy-nominated producer Howard Benson and its laureates Chris Lord-Alge and Ted Jensen, who handled the album's mixing and mastering.

Despite the fact that the new bassist and drummer worked on the record, they fully made the cut. Where necessary, they competently conduct the listener with deep melodies or speed up rhythms for the powerful sound of desperate lyrics. Although, In Flames' modern sound is much calmer and more balanced than it used to be, but be sure these guys still have more than enough rudeness and energy to give you an unforgettable experience from their live show. We all will be able to see it in May!

You can buy tickets and Meet'N'Greet for In Flames' show in Kyiv here. Event on Facebook.

May 29 — Nightwish

In late May, Stereo Plaza club in Kyiv will host a big show of the legendary Finnish act Nightwish. Tickets from 1350 UAH are already available for order.

Read also: Metal East: Nove Kolo 2020 announces full line-up

In the background of a great American dream, there is always some kind of renegades and outcast philosophers who tell of its dark and hidden side. Johnny Cash, Bob Dylan to a certain degree, Tom Waits, and Mark Lanegan further down the line whose works and artistic manners obviously inspire another singer and songwriter from Seattle — TJ Cowgill, better known as King Dude.

On March 13, Van Records is going to release the Cowgill’s eighth studio album "Full Virgo Moon" which will become a reference to his early works. Is this a good idea? Perhaps, yes and no at the same time. To understand why let’s reveals some details of the backstory.

King Dude began his solo career as a country-folk performer in 2010. Being inspired by the artists of the '50s, the musician bit by bit collected all those dark and 'dirty' things in American music. He added some noise and sound effects to his low hoarse voice and pretty simple parts of an acoustic guitar and began to stamp the albums one by one, recalling the eternal things — light and darkness, sins and salvation, freedom and fear.

All these releases were fine and dandy, but they didn’t show anything new. Especially today, in the digital era, when it’s more and more difficult to stand out every day, and there are fewer and fewer fans of singer-songwriting. It’s great to hear Townes van Zandt’s songs in the "True Detective" series but at the same time, for example, a quite interesting solo project by Neurosis’ Steve von Till remains a niche product.

Such a thing also happened to King Dude’s early records. Critics began to pay some attention only in 2012 with the release of "Burning Daylight". Even more reviews were devoted to the subsequent "Fear" (2014), "Songs Of Flesh & Blood — In The Key Of Light" (2015), and "Sex" (2016). While working on those albums, Cowgill got on board some session musicians and started his experiments with the sound. His lonely acoustic guitar was complemented by keyboards, violin, percussion, and tambourines. Sometimes the musicians even began to add some elements of punk and gothic rock.

There was no breakthrough in Cowgill’s career, however, people began to talk more about his works. Moreover, during that time the musician released two collaborative EPs with Chelsea Wolfe — "Sing Songs Together..." (2013) and "Sing More Songs Together..." (2014), and shortly after that Wolfe began to gather crowds many times larger than all audience of King Dude. Why? You know the answer.

The new minimalistic "Full Virgo Moon", as it was mentioned above, is going to recall the musician's early works and the period, when Cowgill worked alone. These are nine new rather mediocre tracks in which you gonna hear just his acoustic guitar and some modest sound effects. Two of them, "Forgive My Sins" and "A Funeral Songs For Atheists", will distract you from the general sound with the pleasant keyboard parts (if only the languid and flabby vocals won’t make you sleepy) but that’s it.

And here is the question, is it a good idea to slow down? To return to the format that used to be unnoticed? Perhaps, it’s some kind of a gift to the most loyal fans of King Dude's 10-year solo career? Well, yes, it can be so. After all, the album will surely remind them of "Tonight’s Special Death" (2010) and cause a rejoicing feeling of nostalgia. By the way, the album was written, recorded, and mastered by Cowgill on his own that makes "Full Virgo Moon" an entirely authorial product. So it can be a great surprise to the lovers of King Dude's discography. Otherwise, there are no more visible advantages.

Starting from March 2, "Full Virgo Moon" will be performed in Europe. King Dude’s spring tour will last until the end of April, capturing several cities in France, Germany, Spain, Romania, and Russia. Depending on how successful will be this tour, we'll get the answer to the previously asked question.

King Dude's "Full Virgo Moon" will be released on March 13 via Van Records. The album is available for pre-order here.

By Yurii Somov

Welcome back to Inside the Producers' Studio. In this series, top producers from across extreme metal share their knowledge and wisdom about recording and production. We’ve hand-picked some of the best and most interesting producers; some from large studios others from more niche circles, whatever their situation, you’ll be sure to pick up tips and get an insight into the minds that are shaping metal in the current era.

The first article was dedicated to studio set-up, the second one was about pre-recording, the third one – about recording drums, the forth one — about recording bass, the fifth one — about recording guitars, the sixth one — about recording assorted instruments, the seventh one — about recording vocals.

This new 8th article in the series is focused on how different producers mix their projects.

Experts

Dan Swanö… you know I can’t really say that I’ve ever heard of this guy, apparently he’s from Sweden and recorded a few bands. Who are we kidding!? One of the most well known producers in metal, Dan has worked with bands like Dawn, Dissection, Opeth, Marduk and Katatonia to name a select few. Contacts: unisound.se, facebook.com/unisoundmixandmastering

Tom Kvålsvoll has worked with some of the biggest names in black metal, acts such as Dimmu Borgir, Emperor, 1349, DHG, Darkthrone, Zyklon and Virus to name just a few. He runs Kvalsonic Lab in Norway and also plays guitars for Sarkom. Contact: facebook.com/kvalsonic

Christian 'Moschus' Moos has been in the recording game for many years, he has recorded and worked with a variety of bands in both metal and other genres like Avulsed, Haken, Pestilence and Delain. Christian has also worked with Dan on a number of projects and re-masterings! Contact: spacelab-mixing.com

Mixing

Which frequencies/instruments do you find most challenging to deal with?

Dan Swano: I find that instruments with so much energy around 3 to 5 kHz is the nastiest stuff. Distorted rhythm guitars with too much "all strings at once" action and cymbals can be a real bitch to get to that point where it is still "edgy" enough to give you that raw 'n' real vibe, but not fuck up your eardrums. Some vocalists have nasty peaks around 3-4 kHz (myself included) when they sing in a higher pitch, and before there were tools like Spectral Dynamics or Soothe, it would drive me fucking mental!

Tom Kvalsonic: Is it wrong to say none? In the past I might have had difficulties deciding just how much of the harshness from 2,5-3,5 kHz was needed in a full-blown extreme metal mix, but not anymore. I am 100% confident with my monitoring, and I know how to avoid ear fatigue. That mentioned area is also very differently utilised from band to band, while an organic death metal band such as Execration needs a warmer sound and not too much in the harsh areas, more black metal-related bands such as Evighet and Sarkom will want more of that. How much, is a combo of what I suggest and what the band tells me they prefer after the initial mix. Much of this can be further honed in during mastering, as long as the balance in the mix is right.

Christian Moos: Hi mids around 4-5k where the guitars are killing everything else. Also, treble/presence (cymbals!) because after a while the ears get tired and you tend to lose objectivity here, that’s why you should mix at low levels.

What is your best tip for getting the easiest mix to work with?

Dan Swano: Know your speakers! If you are at a new studio, make sure to A/B to a really good sounding record, one that you know the sound of, each time you need to set a new sound. Just make sure what you consider being "album quality tones" is somewhere in the ballpark of a "ready CD" in terms of the amount of treble etc. The more everything sounds like a mixed record already at tracking, the less unnecessary overdubs will need to be made to compensate the fact that the band doesn't get a boner from what they are hearing with the basic drums/bass/guitars thing. It's also easier to set a bass and lead sound that works with the guitars if the guitars really sound super-close to what you want as a final sound. 99% of the time the rhythm guitars have too much low-mids and not enough treble than the band later want for their mix.

Tom Kvalsonic: Please clean up your tracks before sending them to me. Remove what's not supposed to be there. The exception is hiss. If you have a constant hiss on some tracks, leave it there so that I can clean that up. Don't clean up the drums. I prefer to do that. Probably needless to mention, but anyways: All tracks must have the same starting point. If you have particular ideas about the mix and effects, send some wet tracks with your suggested ideas and even a rough mix if possible, makes communication and a shared vision easier.

Christian Moos: It’s not the mix that makes a song a hit. It’s the song! Anyway — in case you record everything yourself, just make sure to always track parts as perfectly as possible, especially the more complicated it gets. Many bands record very sloppy tracks — and in the end, when everything comes together it’s a complete mess. BUT, don't over-correct everything: try to keep your song alive!

Mixed and mastered by Dan Swanö

How much of your mix do you do in mono?

Dan Swano: I constantly flip to mono and also listen to the "side" only, using my TC BMC-2 controller thing. I have a pair of small, passive, one-way, Yamaha Hi-Fi speakers standing next to each other, which is like a "super small stereo", that helps me to emulate that new "Bluetooth speaker" thing where you have stereo, but in a very short space. I sometimes also listen to the mix in mono in my phone's built-in speaker. Gotta love the low-end punch in those things...

Tom Kvalsonic: Many engineers say that to get a balanced mix they prefer to do most of the initial mix in mono then spread it after the mono signal is coherent. I can understand that, but I actually rarely do this. After getting a general impression of all the tracks featured in a song, I prefer to set up a soundscape in my mind and mix from that. I have a vision of where I want to go quite early in the process. So if I want a certain guitar to be, say 65% left, I first get the sound of it in mono then place it where it should be immediately after that.
I do of course check mono compatibility and try to avoid the "big mono" syndrome.

Christian Moos: I barely use the mono button, because I actually know how it should sound in stereo to also work in mono. I have to say that I only mix on monitor speakers and never on headphones. I actually hate headphones — contrary to Dan Swanö for example (hi Dan!). But I may use them at the very end of a mix just to make sure that there are no problems regarding the left-right balance of certain signals, but only for that short moment.

When starting a mix which instrument do you start with?

Dan Swano: It depends. There have been times when I have started with the drums, but lately, I have been working a lot with finding the perfect rhythm guitars + bass "wall" and then make the drums "sit" in (or maybe on) that wall, because drums tend to sound one way when soloed and completely different when "filtered" through pretty much a hi-cut, slightly scooped white-noise wall of sound! The amount of EQ and compression you need to make drums sound cool in the "environment" is sometimes insane, but after watching Chris "God" Lord-Alge mixing his drums with really nasty boosts and spanks, I felt like..."Oh, so that is how he does it too, then I guess I am not completely lost after all!" ;)

Tom Kvalsonic: The drums are the skeleton, and the instrument which takes the most time to mix. I start with them and other percussive instruments, then it's the bass. Then I move on with guitars, synth / piano / keys / strings / brass / other instruments before I do the vocals.

Christian Moos: Doing a mix is like building a house for me: I start with the cellar (drums), then comes the first floor (bass) and so on. Then I add either keys or rhythm guitars — depending on the style of music. When the basics are done I add lead guitars; solo stuff and vocals come at the very end. Of course, I always tweak older elements as new instruments are introduced.

What tips would you give aspiring producers trying to get the best sounding mix they can?

Dan Swano: Get a pair of Yamaha NS10m Studio and set them up in a way where most records sound good through them. I use my NS10's standing up, and I sit pretty close to them, which works best for me. A subwoofer that can be turned on or off to check what's going on below 100hz is a good thing, but try to get your mix to sound mega-awesome without a sub first. These speakers make you focus on let's say 160 to 8khz. Some of the super subs and that super shiny treble will fool you to believe that a sound is super ready when it really isn't. I just love the positive shock I get whenever I have a mix going in the NS10 and switch to my very Hi-Fi sounding headphones, and it just sounds so much better than I ever thought possible. Never really had that experience working with "friendlier" monitors.

A/B a lot to make sure you are close to a reference album in terms of overall EQ balance. It's easy to mix with too much bass in NS10's at first. It's also good for letting the ear hear something else than your mix. Kind of "erase" the aural memory a bit and when you return to the mix, it sounds different and you hear new things to fix. And of course, tune the instruments before recording. Make sure it is as tight as can be. Any clashing notes or bad playing technique (such as the ringing of "the wrong string" during palm-muted etc.). I could go on forever…

Tom Kvalsonic: Be humble. Learn. Practice, practice. Be critical. If you get stuck, try a different approach, maybe try find some clues to how others are doing things.

Christian Moos: Forget that saying "we'll fix it in the mix". Just try to record everything right from the very beginning of your recordings. If a take is crap, delete it. Don't keep every bad part just for the sake of it or "just in case". Learn to make decisions! Judge a mix on the next day, because when you hear it with fresh ears, you will find some issues instantly!

Recorded, mixed, and mastered by Tom Kvalsonic

Which instrument do you think is the most problematic to fit into a mix with extreme music? And what are your tips for resolving it?

Dan Swano: In extreme music the drums are a bitch because they tend to go from "let's hit this one super hard" during the heavy parts "and let's hit it as soft as possible" during the blast. No other genre has so much difference in the volume coming from the drums.

Before I start triggering stuff, I try to get the acoustic sounds to behave and have a good punch and pretty much sounds like they were samples, but with all the life and vibe of an acoustic drum. One trick I can share is to split f.e. the kick drum into 6 groups.

Each has a multiband with a "non-ringing" cross-over on it. I use the DMG Limitless for this. I find that crossover mega! Then you set it up in bands like lowest rumbling bass, chesty punchy bass, ugly low mids, ugly mids, low click area (2-5k) and high click area (5-12k).

First, just view the energy of the various frequency bands and try to set a cool balance, using the faders as an EQ, then insert a noise gate on each band, each triggered from the same "mother kick" using side-chain, set the release time to around 300 ms for the "non spill stuff" and the top frequency bands can have a really short release and hold time; like 5-10ms, then insert a DrumLeveler from SoundRadix on each band and after a while, you have found a way to limit the dynamics of each band so it cuts through the mix and "stay the same" for pretty much whatever the drummer is playing. Excellent for "ironing out" inconsistencies between left and right foot on one kick with a double pedal. You clearly see the difference in volume between the left and right foot in the "treble bands" of the setup and the smart thing about the drum lever is that you can choose to only raise the volume of the softer hits to the level of the harder ones, without actually "touching" the hard hits at all! Not many compressors can do just that! This trick works fine for snare and toms too, even for cymbals!

Tom Kvalsonic: Ideally, none. The challenge with extreme metal can sometimes be that there are a lot of elements "fighting" for space. Make room. Have a vision and go from there. I have received raw tracks from bands that wanted me to do the mix, and in one of these, their original mix engineer told the band, "This synth has to be removed because it's frequencies argue and get in the way of the guitars". Nonsense. Humbug. Separation is the key. Stereo placement. Width. And, of course, frequencies. Although many of these frequencies were indeed almost in the same places, I found it easy to get this particular synth separated and at the same time fit naturally in the mix. My starting point: The very timbre of a synth is quite different from any guitar, be it distorted or not. I was already pleased with the guitars, so I did not change the guitars one bit to accommodate the synth. (OK, maybe, I don't remember, but maybe I lowered some guitars a dB or max 2, but no eq changes, no more compression). I ran the synth through various saturation, tubes, gave it a unique place in the stereo field, and voila. No problem.

To further elaborate on this question, any "mellow" instrument (viola, cello, a soft female voice) requires special attention in a metal mix. I don't want to drown these elements, but it's also important to make sure these elements don't sound artificial, over-processed or simply louder than they should be: They should be audible and have their unique soundscape, but never challenge guitars, drums, and extreme vocals volume-wise.

Christian Moos: Haha, drums! In case you use all midi, most people quantize everything or program ridiculous patterns or fills, it sounds like a machine in the end (I am a drummer so I hate drum machines anyway).

When people record a real drum kit (and they always should prefer this), it boils down to 3 questions:

1. is the drummer capable to play everything tight
2. can you tune a kit and do you know shit about drumheads
3. how to set up drum mics.

You have to know how to use compressors, limiters, reverbs and sidechain compression to make a drum kit sound cool. Not to mention, that an acoustically treated professional recording room will always beat your (muffled) rehearsing space.

Record the (acoustic) drums at a good studio, and also have them edited there (timing correction, sound). Use drumheads that fit the music you play! Tune them perfect, take your time for the mic setup, because it they turn out crap, you have to replace them with samples later…

How do you pan the guitars in the mix?

Dan Swano: Usually Full L and R when both are playing, and when there is a break with a single guitar in one speaker, I like to back off a few % so there is a little bit of guitar also in the other ear when you listen in headphones.

Tom Kvalsonic: How many guitars? A mix can have anything from 1 to 50 guitars. Roughly speaking, if there are two rhythm guitars, I prefer to balance them to the sides. Never hard left and hard right. Remember phase issues and mono compatibility. Leads closer to the center, not always dead centre. Sometimes the mix will sound more interesting if a lead is leaning slightly to one side. The way I stereo enhance guitars is also important. I do that with (almost) all guitars, even the ones that are panned, to make them fatter. With leads I might even have an LFO going on the stereo to make it come more alive.

Christian Moos: I always refer to PAN positions according to knobs on an analogue desk: hard left is 07:00hrs and hard right is 17:00hrs. I never use % or something here because my mix happens analog on a desk and that's where I define the pan positions. Do the math yourself :)

In case there are 2 rhythm guitar tracks I pan them 09:00 and 15:00. If there are 4 tracks, I keep 2 on 100% left and right. The other 2 I pan 10:00 and 14:00 and dial them in to make everything sound more mono again. These are rules of thumb and I never work within fixed parameters.

That's the perfect moment to check with a mono button or headphones! Try to use the same amp sounds for left and right, to avoid problems on the headphone. But you may blend different amps of course. But avoid phase issues!

Engineering, mixing, producing by Christian Moos

How do you bus your tracks?

Dan Swano: I usually end up with 1 bus for each drum and then 1 bus for all of those buses.

Sometimes a bus for parallel compression, if none of the compressor plug-ins with a "mix" is doing what I want it to do. Then I have rhythm guitar buses, and all of those get one "all rhythms" bus, bass has a bus too. Solos have a bus too, and I usually side-chain the rhythms to be a bit lower during the solos. The fx of the guitars have their own FX sends, so the tails are not triggering the side-chain ducking. Vocals have buses too. One clean and another for growl (if that is the musical case). I very rarely have anything on my master bus. When I do, a soft touch of M/S compression with Voxengo Soniformer in a 50ms attack/500ms release 1.5:1 ratio setting, just shaving off a dB or two when things get really busy! If the band send a reference CD with a very "pumping" bus compressor approach, I join in and slap a UAD Fairchild 660 and a UAD FatsoSr, both with very high values on the sidechain filter so it works more like the ear and the snappy attack of the Fairchild and a slow attack around 30m (on the Sr Plug version that is possible) and both just working a bit, it really pumps stuff up in a super cool way. I set the Fairchild in the LAT Vert mode for a relentless smack in the Center channel. Doesn't work on all music, but when it does, it's amazing!

For some albums with a lot going on, I tend to group "the hard rock band" and "the orchestra+synth band" separately and the vocals also separately so I can sidechain compress certain things with other things to create sonic space for stuff to work better in.

Tom Kvalsonic: Varies from project to project. Often I bus the rhythm guitars and lead guitars to separate busses. Depending on how much the audio spectre is filled, I might even split that up more. Drums: I never run all of the drums through a single buss for compression and eq, only for gain staging. I have a firm conviction that many albums would sound a lot better if mix engineers would refrain from using buss compressors on every buss! That is ruining it for the mastering, it can ruin an otherwise great mix. Maybe I am being this critical to compression because of my background: I have been mastering for over 20 years, and I know what I am talking about when I say that buss compression often does more damage than good. If you cannot balance and make impact with the drums without a bus compressor, you are novice. Back to school with ya. And by that I don't mean school. By that I mean every engineer is best served figuring out things for himself. You can get so much wrong advice at schools, it's insane. I do, however send all the toms to one buss and process that as a unit. Same with overheads, ride and snare. The kick and snare I never buss with anything. I have better ways of making them fit in the mix.

Vocals: varies. If it's just a few tracks, all in one buss. But 90% of the processing is already done on the strips themselves. If there are backing vocals, clean vocals, those go to separate busses.

Bass: on its own. I sometimes make one "clean" and one dirtier or distorted and blend these accordingly.

Christian Moos: I am old, I’m coming from the analogue days! So I work very old-school!!! All digital tracks are partially summed in the DAW and then assigned to 24 DA converters; these are routed to my analog desk.

Summing happens all analogue. Like this, I can use some very nice 19-inch analog devices like Urei 1178, SSL X-Logic Bus-Comp, Klark Teknik DN500, and some SPL made analog stuff.

2 Lexicons are in use (PCM80 and LXP15-II) as well as a t.c. M3000. All Drums are mixed from 6 analog channels (coming from the DAW). I do parallel compression on the drums using the 1178.

On the desk I have my channels organized like this:

Drums: 1x kick-bus, 1x snare-bus (just mono busses panned to center) 1 stereo bus for all toms, 1 stereo bus for all overheads/cymbals. I also route the entire kit to a stereo bus on the analogue desk where I add the parallel compression using the 1178 on 20:1 (compressed-to-fuck).

Bass: 1 mono bus

All rhythm guitars: 1 stereo bus

All lead guitars: 1 stereo bus

All clean guitars: 1 stereo bus

All keys & orchestrations guitars: 1 stereo bus

Plus 2 stereo choir busses, one special mono bus only for lead vox, 1 stereo buss for DAW fx (like reverbs or delays). Then there is the master output from the DAW on the last stereo bus. Makes 24 altogether.

So a mix is not "rendered" in-the-box because it happens all analogue in realtime and is recorded using my RME’s. And the mix is sightly processed with the SSL before its digitized. That adds some "glue".

By Dan Thaumitan

Norwegian neo-folk act Wardruna has unveiled a new video, "Grá", filmed for a song from the upcoming album "Kvitravn". The video, which was shot in Finland, features the band's founders Einar Selvik and Lindy Fay Hella, as well as a rescued wolf Tihu. The animal has appeared before in another Wardruna's video "Voluspá".

"Kvitravn" will be released on July 5, 2020. In support of the new album, the band will go on a European tour, the dates of which can be found below.

See also: Photo report from Einar Selvik (Wardruna) show in Bergen

British musician Ozzy Osbourne due to the release of his new album "Ordinary Man" has registered on ta social news aggregation Reddit, answering readers' questions. In particular, the singer announced plans to record another album.

Osborne’s twelfth studio release, "Ordinary Man", came out on February 21, 2020, via Epic Records. The album features guest performances from musicians, such as Elton John, Slash and Duff McKagan (Guns N 'Roses, Velvet Revolver), guitarist and producer Andrew Watt, Red Hot Chili Peppers’ drummer Chad Smith, Tom Morello (Rage Against The Machine, Audioslave, Prophets of Rage), and Post Malone.

Follow the link to listen to "Ordinary Man" album.

Read also: Ozzy Osbourne shocks fans with health update

Me and That Man, the project of Behemoth's frontman Adam 'Nergal' Darski, has unveiled a music video for the single "By The River". The song was recorded with the Norwegian musician Ihsahn (Ihsahn, Emperor).

Together with the previously released songs "Męstwo" and "Surrender", "By The River" will appear on the band's new album New Man, New Songs, Same Shit, Vol.1", which will be released on March 27 via Napalm Records.

Read also:

• From priest abuse to church burning: Me and That Man releases new video
• Behemoth to play gigs in Ukraine and Russia in 2020

Main photo by Grzegorz Gołębiowski

Kyiv-based progressive neoclassical rock act Obiymy Doschu has unveiled its first music video in 9 years, "На відстані" ["Na vіdstanі" — at a distance]. The clip was directed by Andrey Korotich, who has previously worked with Aghiazma, Jinjer, and Tyler Milchmann.

"На відстані" was mixed by The Pineapple Thief 's founder and keyboardist Bruce Soord, mastering was handled by Steve Kitch.

Obiymy Doschu will hold a live presentation of the video on February 22 at the MonteRay Live Stage club in Kyiv. Tickets for 150 UAH are already available for sale.

Read also: Obiymy Doschu releases album "Son" mixed by Katatonia’s former live guitarist

Norwegians Ulver have announced the European tour dates for this spring along with the release of the music video for a new single "Russian Doll". The video was filmed in Thamesmead, London, where "A Clockwork Orange" and Aphex Twin’s "Come to Daddy" were filmed. It stars the dancer Annija Raibekaze.

"Although this is pop music in our heads, the images and connotations in the lyrics are probably far away from what one usually associates with this genre. It actually began with some images and memories from the movie "Lilja 4ever" by Lukas Moodysson, which arrived in the early 2000s, and hit us like a brick. A dark and disillusioning film about human trafficking in the Baltic" explains Kristoffer Rygg. He continues, "Russian Doll" refers to the babushka, we began to think about this figure in the extension of "Lilja 4ever" and Eastern Europe. The doll became an object, an object of desire, which we mixed with mise-en-abyme – a composition technique that places pictures, or stories for that matter, inside each other. In this context we see it as a kind of vicious circle, unfolding inwards."

The song was mixed by Michael Rendall and Martin 'Youth' Glover, in London, who the band worked with on the previous album "The Assassination of Julius Caesar", 2017.

Also listen to: Ulver "ATGCLVLSSCAP" full album stream

Ulver's Flowers Of Evil tour

"Russian Doll" cover

Danish multi-instrumentalist Myrkur has released a new music video "Leaves of Yggdrasil". Together with the previously released single "Ella", the song will appear on the singer's upcoming album "Folkesange".

Myrkur's new record is reported to be produced by Christopher Juul, the founder of the neofolk act Heilung. The release of "Folkesange", which includes 12 tracks, is scheduled for March 20, 2020 via Relapse Records.

Read also:

• Myrkur release title track of upcoming EP "Juniper"
• See "Dark Crimes" movie trailer, feat. Myrkur song and Jim Carrey as a lead actor
• Myrkur, Entombed A.D., and a bright set of Nokturnal Mortum: How Kilkim Žaibu XIX was held

Swedish act Katatonia has announced a new album, "City Burials", with the release of their branded new single, "Lacquer". The band's upcoming 11th record will come out on April 24 via Peaceville Records.

Read also: Obiymy Doschu releases album "Son" mixed by Katatonia’s former live guitarist

The 11-track "City Burials" is now available for pre-order on several online platforms. Follow the link to watch the video "Final Light" from the project Thenighttimeproject formed by ex-Katatonia members.

Tracklist:

1. Heart Set To Divide
2. Behind The Blood
3. Lacquer
4. Rein
5. The Winter Of Our Passing
6. Vanishers
7. City Glaciers
8. Flicker
9. Lachesis
10. Neon Epitaph
11. Untrodden

"City Burials" cover art

This year, under the heading "Dark Art", we continued to select releases in the genre of black metal with the most interesting artworks. The previous material was posted last August. Since that time, there have been many albums with excellent covers that we want to share with you.

The new selection includes album covers released from August 2019 to January 2020, from designers from France, Italy, Poland, Serbia, Croatia, Switzerland, Austria, Ukraine, Russia, the United States, Chile, and Indonesia. If you like any of the presented works or you think that we've missed some interesting covers in this selection — feel free to write about it in the comments below.

The title picture for the article used art for the fourth album "Age of Excuse" by the Polish act Mgła. The author is musicians' compatriot Zbigniew M. Bielak, best known for his collaboration with the Swedes Ghost.

The cover art of the self-titled EP of the American act Oneiric Eclipse. The author is Chilean artist and musician Daniel Hermosilla.

The cover art of the album "Mors Vincit Omnia" by Americans Crimson Moon. The author is the well-known Italian artist Daniel Valeriani, who also collaborated with Dark Funeral, Lucifer's Child, and Mayhem.

The cover art of the fourth album "Anorexia obscura" by Italian act Tenebrae in Perpetuum. The author is a Mexican musician and artist Antithesis, who has previously collaborated with Acherontas and Nightbringer.

The cover art of the album "Age of Darkness and Frost" by the American solo project Moon and Azure Shadow. CD artwork is done by M Dot Strange, artwork for cassettes by Igor Mugerza.

The cover art of "There Is No Truth but Death" album by American band Sleeping Ancient. The author is the Ukrainian artist Anna Levytska.

The cover art of the album "Cairn" by the American band מזמור. Created by Mariusz Lewandowski, who worked on a artwork for Bell Witch's "Mirror Reaper".

The cover art for Anifernyen's album "Augur". The author is the Portuguese artist Credo Quia Absurdum.

The cover art Daemoniacal Terror's album "Thy Rites". The author is not specified.

The cover art of "Dawn of Infinite Fire" by all-female band Asagraum. The author is Indonesian Bahrull Marta, who has previously worked on Aoratos' debut album "Gods Without Name".

The cover art of the album "Spiritual Resonance" by the Italian act Darkend. The author is the band's vocalist Luca 'Animæ' Gregori.

The cover art of the album "Funeral Pyre" by the Spanish band Ancient Emblem. The author is not specified.

The cover art of the album "The Beyond One" by the Russian band Y'ha-Nthlei. The author is not specified.

The album cover of "Hallucinogen" by the French act Blut Aus Nord. The author is a French artist and musician Dehn Sora, who has been collaborated with the band for a long time.

The cover art of the album "Love Exchange Failure" by Ukrainians White Ward. The author is Austrian photographer Luke Pownall.

The cover art of Behemoth's EP "O Pentagram Ignis". The author is Bartosz Rogalewicz, who created the artwork for the band's latest album "I Loved You at Your Darkest".

The cover art of "Cursed Seeds" by Horror God. The author is Russian artist Kirill Semenov.

The cover art of the album "Iluntasuna besarkatu nuen betiko" by the Spanish act Numen. The author is an Indonesian artist and musician Aghy.

The cover of the EP "... Symptoms II..." by the German act Maladie. The author is a French artist and musician Remy Cuveillier (Headsplit Design), who has repeatedly collaborated with the band.

The cover art of the EP "Aevum" by the American band Vukari. The art is created by Dawid Figielek.

The cover art of "The Infernal Pathway" by Norwegian act 1349. The author is an American musician and artist Jordan Barlow, who has also worked with Goatwhore and Saint Vitus.

The cover art of the album "Worse Weather to Come" by Italians Frostmoon Eclipse. The author is View From The Coffin.

The cover art of the album "The Onset of Chaos" by the Argentinean group Blemias. The author is not specified.

The album cover of Mayhem's "Daemon". Its author is artist Daniel Valeriani, who has also worked with Dark Funeral, Lucifer's Child, and Crimson Moon.

The cover art of the album "Versus All Gods" by Singaporean act Impiety. The author is the Indonesian artist Jenglot Hitam.

The cover art of the album "Gentle Illness" by the British duo Caïna. The author is an American artist Mow Skwoz.

The cover art of Kob's album "The Breath of the Chthonic Depths". The author is not specified.

The cover art of the album "Bright Euphoria" by Serpens Luminis. The author is a Swiss artist Pierre Pierre Perrichaud.

The cover art of the EP and its instrumental version "Dødsblikket" by Tømhet. Its creator is a Russian art project Rotten Fantom, who has previously created the artwork for Arkona's "Khram".

The cover art of Tragediens Trone's self-titled album. The author is not specified.

The cover art of the album "Vestige" by the French act Pénitence Onirique. Illustration and art director: Aurore Lepheliponnat and Hubert Pablo.

The cover art of the album "Secret Ambrosian Fire" by the German band Mosaic. The author is artist and musician José Gabriel Alegría Sabogal, who has previously worked with Inferno.

The cover art of the album "Mountains and Darkness" by American symphonic black/death metallers Northwind Wolves. The author is not specified.

The cover art of the EP "Sentinel" by the British band Horrified. The author is an American artist and musician Adam Burke, who has previously worked with Sólstafir, Thy Art Is Murder, and Vektor.

The cover art for Vesperian Sorrow's album "Regenesis Creation MMXIX". The author is an American artist and musician Caelan Stokkermans.

The cover art of the album "Divlja vatra" by the Serbian act Svartgren. The author is Gorgoroth's vocalist Stefan Todorović.

The cover art of the album "Чернобог" by Mor. The author is the Russian artist Shvnvn.

The cover art of the album "Frost and Ruin" by the British band Wolves in Exile. The author is Adi from Dechristianize Art.

The artwork of Skogmark's album "Æra av ensomhet". The creator is Mayhem Project, who has previously worked with Khors and Paganland.

Karg’s discography has never been distinguished by cheerful lively releases, and in 2016 the solo project of Harakiri for the Sky’s vocalist was replenished with a particularly personal and therefore dark album. The dense, full of melancholy "Weltenasche" sounded more confident and powerful than its predecessors, but at the same time, it got even more anguish and emotional depth. Anxiety, the sense of uncertainty and despair that has settled inside J.J. has flooded, giving the album a very viscous atmosphere that allows you to feel what does it mean to be "on the edge".

Was it conceived or not, but in the end the project released an entire trilogy following this style — J.J’s demons were breaking loose, taking the form of the new no less complex and personal songs, which have noticeably stepped towards the melodic post-metal. In 2018, "Dornenvögel" came out. Spiritually, it was very similar to 2016’s "Weltenasche", and two years later Karg is preparing to release the third and the final part of such a peculiar cycle — "Traktat" which comes out on February 7 via AOP Records.

Has anything changed globally? No, at least technically; and in this situation, it’s definitely an advantage, as the fans of the genre and the previous two albums will get kinda the same very solid collection of depressive post-metal, featuring black metal aesthetics and shoegaze elements. "Traktat" retained its former atmosphere in which the continuous tandem of melodics and aggressive vocals, that rather sounds like screams of a madman, also plays a big part. Yeah, such a singing style is not to everyone's taste, but in the case of J.J. it’s nothing more than a metaphor for hopelessness and a critical desire to convert those emotions into something more than just confession.

As for the emotional content, the trend of deepening, which we can observe throughout the trilogy, is also not violated. "Traktat" is rooted in the very depth of its author’s emotional experiences, and probably, therefore, J.J. called this album his "own private autumn". The list of strengths also includes the accents made on the peaks of emotional tension. Such moments are gracefully emphasized by the appearance of convulsive blast beats and some distorted guitar riffs.

In general, the album’s tracklist includes 8 very capacious and assertive songs which require time and attention, desire to listen to and to hear more than just drumming or screaming; and after an hour or so, you will surely be drawn to relisten to it or to take some time for thinking about the eternal.

Karg's "Trakat" is set to release on February 7 via AOP Records. It's now available for pre-order in Europe and US.

Read also: Interview with J. J. from Harakiri for the sky on "Arson" and depression

By Yurii Somov

A year after the concert, during which the band presented material from their latest album "I, The Mask", the Swedish melodic death metallers In Flames are returning to Kyiv again. A new performance of the group will be held on May 26 at the CCA of NAU.

According to the organizers of the show, In Flames has been and remains a landmark group for Sweden and for the melodic death metal genre as a whole. Over 30 years of their career, musicians have recorded 13 successful albums. In Flames has been working on the latest studio album called "I, The Mask" throughout 2018. A truly “star” team gathered for work — a Grammy-nominated producer Howard Benson and its laureates Chris Lord-Alge and Ted Jensen, who handled the album's mixing and mastering.

The inspiration for "I, The Mask", according to frontman Anders Friden, was his life and world, which is constantly changing due to controversial events.

Despite the fact that the new bassist and drummer worked on the record, they fully made the cut. Where necessary, they competently conduct the listener with deep melodies or speed up rhythms for the powerful sound of desperate lyrics. Although, In Flames' modern sound is much calmer and more balanced than it used to be, but be sure these guys still have more than enough rudeness and energy to give you an unforgettable experience from their live show. We all will be able to see it in May!

You can buy tickets and Meet'N'Greet for In Flames' show in Kyiv here. Event on Facebook.

Me and That Man, the project of Behemoth's frontman Adam 'Nergal' Darski, has unveiled a music video for a new Polish song "Męstwo". The clip was produced by Grupa 13, which has previously shot "Surrender" for MTM.

The song "Męstwo" appears on Me and That Man's new album "New Man, New Songs, Same Shit, Vol.1", which will be released on March 27 via Napalm Records.

Read also:

• From priest abuse to church burning: Me and That Man releases new video
• Behemoth to play gigs in Ukraine and Russia in 2020

Heavy metal legend Ozzy Osbourne, 71, revealed in an interview on TV show "Good Morning America" that he is fighting Parkinson's disease.

Black Sabbath's former frontman said that he has a "mild form" and found out about it after suffering a fall last February. According to Ozzy, he felt guilty for holding back the diagnosis from his fans.

The musician's wife and manager Sharon Osbourne told, "It's not a death sentence but it affects certain nerves in your body".

Previously, due to illness, the musician had to postpone the concert activity for a year, rescheduling the tour dates. Currently, there's no information on Ozzy's official resources about the cancellation of the upcoming tour, which will kick off in late May 2020, in the United States.

In early January, Osbourne unveiled the title track of his new album, recorded with Elton John.

Read also: Dave Mustaine is back: Megadeth played first gigs in Europe (video)

Dave Mustaine, the leader of American thrash metallers Megadeth, is back after a successful cancer treatment. The band is currently touring Europe along with Five Finger Death Punch.

On January 15, 2020, Megadeth posted a few photos on Facebook from the band's rehearsal ahead of the European tour with FFDP. A few days later, a photo of Mustaine appeared on the page with a short comment, "I'm back."

Below is a video featuring Megadeth's first 2020's gig in Helsinki, which took place on January 20. In total, 20 performances are planned as a part of the current tour, including shows in Sweden, Norway, Denmark, Germany, the UK, and other European countries.

1/20 – Helsinki, FI // Hartwall Arena
1/22 – Stockholm, SE // Hovet
1/23 – Oslo, NO // Spektrum
1/24 – Copenhagen, DK // Royal Arena
1/26 – Amsterdam, HL // AFAS Live
1/28 – Paris, FR // Zenith
1/30 – Cardiff, UK // Cardiff Arena
1/31 – London, UK // Wembley Arena
2/3 – Berlin, DE // Max-Schmeling Halle
2/4 – Hamburg, DE // Sporthalle
2/6 – Frankfurt, DE // Festhalle
2/8 – Oberhausen, DE // Koenig-Pilsener Arena
2/9 – Stuttgart, DE // Schleyerhalle
2/10 – Munich, DE // Olympiahalle
2/12 – Warsaw, PL // Torwar
2/14 – Prague, CZ // Tipsport Arena
2/16 – Milan, IT // Alcatrazz
2/17 – Zurich, CH // Hallenstadion
2/19 – Vienna, AT // Stadthalle
2/20 – Budapest, HU // Budapest Sportarena

In June 2019, Dave Mustaine announced that he had been diagnosed with throat cancer. Due to this, Megadeth were forced to cancel the upcoming performance, which was supposed to be held on July 4 in Wisconsin, USA. Last October, the band's co-founder and band bass player David Ellefson revealed that Mustaine successfully completed his treatment.

Polish industrial death metallers Thy Disease have released a music video "Infrasonic Noises", produced by Grupa13, who have previously worked on Behemoth's clip "Rom 5: 8".

"This music video is a bit different than the other ones we did in the past. We decided to emphasise all the visual effects and VFX much more than usual, but eventually, it looks great and we're really happy with the result! 'Infrasonic Noises' is definitely one of the highlights in our setlist and also one of our favorite songs to play in general, so be sure it will appear in our live set soon!"

The track "Infrasonic Noises" was taken from the band's latest record "Transhumanism", which was released on December 19, 2020 via Creative Music Records. You can check out its full album stream below.

Thy Disease — "Transhumanism"

Read also: "This is your kingdom!": Concert review of Vader, Hate, and Thy Disease in Kyiv

Canadian brutal death metallers Beneath the Massacre have released an animated video titled "Rise of the Fearmonger", created by renowned Romanian artist Costin Chioreanu.

"Rise of the Fearmonger" along with the previously released track "Autonomous Mind" (see below) will appear on Beneath the Massacre upcoming album "Fearmonger", which will come out on February 28 via Century Media Records.

See also: Extremity in pictures: Most shocking NSFW videos [18+]

Photo source: invisibleoranges.com

Karg, a solo project by Harakiri for the Sky's vocalist J.J., has unveiled the music video for the emotional song "Tod, Wo Bleibt Dein Frieden?". The track will appear on the upcoming 7th record "Traktat", which will be released on February 7 via AOP Records.

The musician describes "Tod, Wo Bleibt Dein Frieden?" as follows: "This song may be my own private autumn. It feels beautiful, yet everything is dying…"

The project has previously revealed a lyric video "Alaska", and a single "Irgendjemand wartet immer", describing the upcoming album as "some sort of manic depression, which has its ups and downs". "Trakat" is available for pre-order in Europe and US.

Read also: Interview with J. J. from Harakiri for the sky on "Arson" and depression

In support of the new album, Karg will go on a joint tour with The Spirit, Firtan, Groza, and ANCST next February.

Feb 7 — Oberhausen, Germany — Helvete
Feb 8 — Erfurt, Germany — From Hell
Feb 9 — Hamburg, Germany — Bambi Galore
Feb 10 — Berlin, Germany — Nuke Club
Feb 11 — Nürnberg, Germany — Golden Nugget

"Trakat" tracklist:

1. Irgendjemand wartet immer
2. Jahr ohne sommer
3. Stolperkenotaphe
4. Alaska
5. Abgrunddialektik
6. Alles was wir geben mussten
7. Grabcholerik
8. Tod, wo bleibt dein Frieden?
9. Nichts als Schatten (Bonus Track // Bonnie Prince Billy Cover)

"Trakat" cover art

Danish multi-instrumentalist Myrkur has announced a new album, "Folkesange", with the release of the single "Ella". The record is reported to be produced by Christopher Juul, the founder of the neofolk act Heilung.

The release of "Folkesange", which includes 12 tracks, is scheduled for March 20, 2020 via Relapse Records.

Read also:

• Myrkur release title track of upcoming EP "Juniper"
• See "Dark Crimes" movie trailer, feat. Myrkur song and Jim Carrey as a lead actor
• Myrkur, Entombed A.D., and a bright set of Nokturnal Mortum: How Kilkim Žaibu XIX was held

Swiss melodic death metallers Eluveitie are going to give a new show in Ukraine. Musicians will give a concert on March 14 at the Atlas club in Kyiv. Tickets from 590 UAH are already available for order.

The band will perform in Kyiv in support of their new record "Ategnatos", which was released in April, 2019. Follow the links to watch Eluveitie music videos for the album's singles "Ambiramus" and "Ategnatos".

Read the interview: Christian Glanzmann talks about "Evocation II" release, frequent line-up changes and Eluveitie status in Switzerland

WATCH NOIZR PRODS VIDEO

Spotify, an online streaming audio service, is now partially available in Ukraine. Now registered users can visit the web version of the application (open.spotify.com) and listen to music without using a VPN.

However, it's still not possible to create officially an account in Ukraine, and Spotify's main page reports that "the service is currently not available in your country". You also can’t download the service’s mobile app through Google Play or App Store.

It’s assumed that the opening of Spotify’s web version is a hint that the music platform is coming to Ukraine, as was speculated back in 2019.

Read also:

• 7 main services for musicians
• Month of Media in Ukraine: Apple Music + 3G

Icelandic black metal festival Ascension presented the second trailer for the upcoming Ascension MMXX event, which will be held from May 21 to May 23, 2020 with shows performed by Auðn, Mgła, Sinmara, Ved Buens Ende and other bands.

Ascension MMXX will be held at the Hlégarður in Mosfellbær, Iceland. Among the announced bands are:

Almyrkvi (IS)
Andavald (IS)
Auðn (IS)
Grave Pleasures (FI)
Hexvessel (FI)
Kaleikr (IS)
Kælan Mikla (IS)
Malokarpatan (SK)
Mannveira (IS)
Mgła (PL)
Nexion (IS)
Sinmara (is)
Slidhr (IS / IRL)
Trepaneringsritualen (SE)
Ved Buens Ende (NO)

Tickets for the festival are already available for purchase: 5000 — 18900 ISK (around $40-154)

You can buy tickets for Ascension Festival at this location. Event on Facebook.

The previous Ascension festival was held on June 13-15, 2019, with Antaeus, Gost, King Dude, Bölzer, Misþyrming, Sinmara, Solstafir, Zhrine and others as performing bands. In addition to performances by musical acts, the festival also hosted exhibitions by French artist and designer Dehn Sora (Amenra, Blut aus Nord, In the Woods..., Merrimack, Sektarism) and German photographer Void Revelations (Misþyrming, Whoredom Rife, King Dude, Chelsea Wolfe).

Read also: Interview with one of the main catalysts in the Icelandic scene Stephen Lockhart

Polish black/death metallers Behemoth have released a new video for the song "Rom 5: 8" from their latest album "I Loved You at Your Darkest". The clip was produced by Grupa13, which was previously engaged in video production of Behemoth's "Sabbath Mater".

In "Rom 5: 8", Behemoth used standard images for their video works: a church, inverted crosses, naked and sometimes disfigured bodies covered in blood.

Read also: I enjoyed you at your lightest. Review of Behemoth’s "I Loved You At Your Darkest" with full album stream

The band's 11th LP "I Loved You at Your Darkest" came out on October 5, 2018, being mixed by Matt Hyde (Slayer, Children of Bodom) and mastered by Tom Baker (Ministry, Nine Inch Nails, Marilyn Manson).

In 2020, Behemoth will play concerts in Ukraine and Russia. Follow the link to watch the music video by Me and That Man (the project of Behemoth's leader Adam 'Nergal' Darski) for the song "Surrender", recorded with Volbeat's guitarist Robert Caggiano.

Neil Peart, drummer and songwriter for Canadian rock act Rush, died of brain cancer at the age of 67, reports bbc.com.

The musician, who is considered one of the greatest rock drummers, passed away on January 7 in Santa Monica, California. Surviving members of Rush, where Peart has played for 45 years, confirmed the death of a colleague on Twitter days later. The statement said that Peart had suffered from brain cancer for three and a half years.

"It is with broken hearts and the deepest sadness that we must share the terrible news that on Tuesday our friend, soul brother and band mate of over 45 years, Neil, has lost his incredibly brave three-and-a-half-year battle with brain cancer," the band says.

Ranking fourth in the list of the best drummers of all time according to Rolling Stone magazine, Peart was well known for his technical proficiency and animated live performances.

He joined Rush in 1974, drawing inspiration from hard rock, jazz, and heavy metal. In 2015, he left the band after its final tour, saying that it was time to take himself "out of the game".

The band, which also featured bassist/singer Geddy Lee and guitarist Alex Lifeson, is known for such hits as "The Spirit Of Radio" and "Tom Sawyer". The band was inducted into the Rock and Roll Hall of Fame in 2013.

In early December, the Japanese post-rock act Mono played a gig in Kyiv, Ukraine. The performance took place as part of the European tour of the band in honor of their 20th anniversary. The show was opened by Ukrainian rock band Way Station.

See also: Photos from gig feat. Sleep in Heads, Sleeping Bear, and Way Station

Due to the celebration of the anniversary, Mono played at the concert not only songs from their latest album "Nowhere Now Here", but also their classical hits. Above and below — a photo from a concert from Olga Abrisad.

Mono, Japan

Way Station, Ukraine

Mono's setlist:

1. God Bless
2. After You Comes the Flood
3. Breathe
4. Nowhere, Now Here
5. Death in Rebirth
6. Dream Odyssey
7. Sorrow
8. Meet Us Where the Night Ends
9. Halcyon (Beautiful Days)
10. Ashes in the Snow

Encore:

1. Com(?)

See also: Alcest, Daughters, and Deafheaven: Photos from the Spanish AMFest

Noizr Zine thanks organizers for accreditation

British black metal act Lychgate has announced the release date for their new album "Also sprach Futura". The band’s fourth LP will be released on March 13 via Debemur Morti Productions (Archgoat, Blut aus Nord, In the Woods...).

Recording, mixing and mastering "Also sprach Futura" was handled by producer and band's lead singer Greg Chandler (Esoteric) at Priory Recording Studios (Esoteric, Fen). The album's cover art painting, illustrations, design and layout were done by Khaos Diktator Design.

According to the press release, "thematically, "Also sprach Futura" examines nightmarish, all-too-real concepts which include transhumanism, simulacra and simulation, post-humanity, the uncanny valley, Pygmalionism and the fictional machine Golem XIV, which exceeds human intelligence".

Follow the link to read our review of Lychgate's 2nd album "The Antidote For The Glass Pill".

Tracklist:

1. Incarnate
2. Progeny of the Singularity
3. Simulacrum
4. Vanity Ablaze

"Also sprach Futura" cover art

Ozzy Osbourne has released a title track of his new album "Ordinary Man" featuring Elton John, who did the piano and vocal parts for the song.

Ozzy’s upcoming 12th record "Ordinary Man" is reported to feature many famous musicians, including guitarist Slash and bass player Duff McKagan (Guns N 'Roses, Velvet Revolver), guitarist and producer Andrew Watt, Red Hot Chili Peppers’ drummer Chad Smith, Tom Morello (Rage Against The Machine, Audioslave, Prophets of Rage), and Post Malone. "Ordinary Man" will be released on February 21 via Epic Records.

Earlier, the musician has released a semi-autobiographical video, "Under the Graveyard", which shows how young Ozzy fights for sobriety and finds his love.

Read also:

• Ozzy sings amid fierce protests in new video "Straight to Hell"
• "The End Of The End". Review for a film about Black Sabbath’s final show

Me and That Man, the project of Behemoth's frontman Adam 'Nergal' Darski, has unveiled a music video for a new song "Surrender". The clip was produced by Grupa 13, which repeatedly shot videos for Behemoth.

The song "Surrender" features Volbeat’s guitarist Robert Caggiano and will appear on Me and That Man's new album "New Man, New Songs, Same Shit, Vol.1", which will be released on March 27 via Napalm Records.

Read also:

• From priest abuse to church burning: Me and That Man releases new video
• Behemoth to play gigs in Ukraine and Russia in 2020

British doom metallers My Dying Bride have released their first song in 5 years. The video for the song "Your Broken Shore" can be watched above.

According to the vocalist Aaron Stainthorpe comments: "The first song from My Dying Bride for five years comes laced with passion, power and their unyielding desire to create the most thoughtful and heavy music possible".

"Your Broken Shore" will appear on the band’s upcoming 14th record titled "The Ghost of Orion", which will be released on March 6, 2020. The album is already available for pre-order via Nuclear Blast Records.

Read also:

• New project of My Dying Bride’s drummer presents song "Sacred Soil"
• Marvelous doom to 25th anniversary of My Dying Bride

British singer Ozzy Osbourne has released a new music video for the single "Straight To Hell" which features guitar parts from Guns N' Roses' Slash.

In a new video clip, Osborne sings amid street protests demonstrating violent clashes between people from the crowd and security officers.

Earlier, the musician has released a semi-autobiographical video, "Under the Graveyard", which shows how young Ozzy fights for sobriety and finds his love.

Read also: "The End Of The End". Review for a film about Black Sabbath’s final show

The bassist of the Swedish black metal act Marduk Magnus 'Devo' Andersson leaves the band. The musician reported this on the band's official resources.

Magnus 'Devo' Andersson was a member of Marduk from 1992 to 1994 as a guitarist and from 2004 to 2019 as a bass player, also being an engineer and album producer for the band since 1996. Click here to read our article, “Inside the Producers' Studio. Studio set-up”, featuring an interview with Magnus Andersson.

Read also: Review of Marduk’s "Viktoria" with full album stream

Me and That Man, the project of Behemoth's frontman Adam 'Nergal' Darski, presented an animated clip for the new song "Burning Churches" which shows the transformation of a teen seduced by a priest into an avenger setting churches on fire.

The main vocal part in "Burning Churches" was performed by British singer Matt McNerney, a former vocalist of Dødheimsgard, Code, and Void.

Me and That Man's debut album "Songs of Love and Death" was released in 2017. A year later, the project's line-up was joined by Ukrainian musician Sasha Boole.

Me and That Man gigs for 2020

Read also:

• Behemoth’s frontman releases video "My Church Is Black" of his blues project Me And That Man
• Behemoth to play gigs in Ukraine and Russia in 2020
• New Batmetal video feat. Dethklok’s song and tones of pop culture references

Photo by Grzegorz-Gołębiowski

Ozzy Osbourne released a semi-autobiographical music video for the single "Under the Graveyard". The clip was directed by Jonas Akerlund, known for a film about the early Norwegian black metal scene, “Lord of Chaos".

1979 year. Young Ozzy (played by Jack Kilmer) gets stuck in a hotel in West Hollywood, plunging into the abyss of drugs, alcohol, and sex from which he's being rescued by Sharon Arden (Jessica Barden). The video shows how young people leave the hotel together, and then it ends with a photo of the Osbournes on their wedding day.

The single "Under The Graveyard" was released on November 8, 2019 via Epic Records, becoming the first song by Osbourne in 9 years. In November, Ozzy unveiled another song called "Straight To Hell" which was recorded together with Guns N’ Roses' guitarist Slash.

Read also: "The End Of The End". Review for a film about Black Sabbath’s final show

The organizers of The Best Ukrainian Metal Act announced the winners of this year's award in the categories "Best Metal Band", "Best Metal Album", and "Best Metal Video".

Best Metal Band — Motanka

2nd place — Chumatsky Shlyakh
3rd place — Septa
Nominees: Bojevilla, Chasing Embers, Hell:on and VOVK.

"Best Metal Album" — White Ward "Love Exchange Failure"

Nominees: "Backchat" by Backchat, "Macro" by Jinjer, "Motanka" by Motanka, "Bitten by the Serpent of the Kingdom of the Spirit" by Septa and "Lair" by VOVK.

"Best Metal Video" — Space Of Variations "RAZORBLADE"

Nominees: "C’est mon dernier pigeon" by 1914, "On the Top" and "Perennial" by Jinjer, "Verba" by Motanka and "Vasyl" by The Nietzsche.

The winner of "Best Metal Band" award was chosen by the visitors of the past The Best Ukrainian Metal Act event, held this Saturday, on December 21, at the Bingo club in Kyiv, Ukraine. According to the organizers, the winners in two other nominations were determined by music journalists and clip makers.

Read also: Winners of The Best Ukrainian Metal Act 2018 are announced

Karg, a solo project by Harakiri for the Sky's vocalist J.J., presented the lyrics video "Alaska". The track will appear on the upcoming 7th album "Trakat", which will be released on February 7 via AOP Records.

The project previously unveiled the single "Irgendjemand wartet immer", describing the upcoming album as "some sort of manic depression, which has its ups and downs". "Trakat" is available for pre-order in Europe and US.

Read also: Interview with J. J. from Harakiri for the sky on "Arson" and depression

In support of the new album, Karg will go on a joint tour with The Spirit, Firtan, Groza, and ANCST next February.

Feb 7 — Oberhausen, Germany — Helvete
Feb 8 — Erfurt, Germany — From Hell
Feb 9 — Hamburg, Germany — Bambi Galore
Feb 10 — Berlin, Germany — Nuke Club
Feb 11 — Nürnberg, Germany — Golden Nugget

"Trakat" tracklist:

1. Irgendjemand wartet immer
2. Jahr ohne sommer
3. Stolperkenotaphe
4. Alaska
5. Abgrunddialektik
6. Alles was wir geben mussten
7. Grabcholerik
8. Tod, wo bleibt dein Frieden?
9. Nichts als Schatten (Bonus Track // Bonnie Prince Billy Cover)

"Trakat" cover art

Arkona despite having existed for 20+ years are a band who have never really found acclaim to the same degree that other Polish bands of similar heritage have. Perhaps it’s because Arkona have never managed to strike a sound or feeling that feels entirely their own, "The Age of Capricorn" is an album that whilst having plenty of merits struggles to elevate itself to a position of individuality.

Firstly I have to say the album sounds incredible, the production on the album is great, it’s thick and powerful, each instrument is present and ultimately the album feels impactful because of the might of the mix. Listening to the album I was reminded greatly of fellow countrymen Blaze of Perdition’s most recent album or Shrine of Insanabilis.

The challenge with "The Age of Capricorn" is that it does just enough to be ahead of most of the pack but not enough to be an essential listen. Tonally it is very much in the vein of 'modern' black metal, sounding similar to the aforementioned bands and others like Chaos Invocation or Acrimonious. What the album never does however is produce songs that leave a lasting impression, I’ve listened to the album countless times and the only section that I can recall is a brief piano fill at the start of the second song. The album manages its way through 6 tracks and whilst it is never unpleasant listen it doesn’t do much to grab the listener. It is an album that feels like it’s trying to sound relevant but doesn’t have anything new or revelatory about it to draw the listener in.

"The Age of Capricorn" is frustrating in some ways because it is an album that is incredibly close to crafting something great but just doesn’t quite make it there, as I mentioned before the whole time I was listening to this album I was constantly reminded of "Conscious Darkness" by Blaze of Perdition, they’re very similar albums in so many ways but "Conscious Darkness" managed to achieve something special and whilst not original or unique it was compelling in its use of dynamics, song structuring and composition. "The Age of Capricorn" just misses that 'X Factor', the songs are well put together, it sounds aggressive, it sounds like a 'current' and 'competitive' album with bands that are their peers but it falls short of the mark.

It is an album that I’m sure people will listen to and enjoy, it has the right sentiment behind it, its production is fantastic and it has evidently had a lot of time poured into it, just a few more compelling riffs here and maybe some different composition there and this would have been a stellar release. As it stands it’s good… just not great.

Read also: "Buy the ticket, take the ride": Review of Blut Aus Nord’s "Hallucinogen" with full album stream

"Age Of Capricorn" was released on December 13 via Debemur Morti Productions on digipak CD, gatefold 12" LP, a special edition gatefold 12" LP limited to 100 copies, and all digital platforms. The album is available for order via online stores in Europe, North America, and on Bandcamp.

Reviewed by Dan Thaumitan

On December 13, the French label Norma Evangelium Diaboli (Antaeus, Deathspell Omega, Funeral Mist, Misþyrming) released the debut album of the new-formed black metal project NEDXXX. The full stream of the band’s self-titled release can be found above.

NoEvDia says: "From the vortex of timeless chaos, a journey that will sink you to the depths of death. Devil-music for the end times!". "NEDXXX" is currently available for order on CD and vinyl.

Read also: Misþyrming unveils "Algleymi" full album stream

Icelandic black metal festival Ascension has announced new bunch of bands for 2020's event. Among the announced performing acts are Amenra, Abominor, Rebirth of Nefast, Dødheimsgard (DHG), Kollaps, Soft Kill, Shrine of Insanabilis, Forsmán, Fleshworld, :Of The Wand & The Moon:, Svartidauði, and Zhrine.

A list of all currently confirmed bands can be viewed above. Ascension MMXX will be held from May 21 to May 23 at the Hlégarður in Mosfellbær, Iceland.

Tickets for the festival are already available for purchase:

Phase I Early Bird — Sold Out
Phase II Early Bird — 16,900 Kr (Approximately €124 / $136)
Phase III Early Bird — 17,900 Kr (Approximately €131 / $144)
Phase IV Early Bird — 18,900 Kr (Approximately €139 / $152)

You can buy tickets for Ascension Festival at this location. Event on Facebook.

The previous Ascension festival was held from June 13-15, 2019, with Antaeus, Gost, King Dude, Bölzer, Misþyrming, Sinmara, Solstafir, Zhrine and others as performing bands. In addition to performances by musical acts, the festival also hosted exhibitions by French artist and designer Dehn Sora (Amenra, Blut aus Nord, In the Woods..., Merrimack, Sektarism) and German photographer Void Revelations (Misþyrming, Whoredom Rife, King Dude, Chelsea Wolfe).

Read also: Interview with one of the main catalysts in the Icelandic scene Stephen Lockhart

Ukrainian festival Metal East: Nove Kolo, which will be held from May 29 to May 31, 2020, announced the full lline-up. Among the headliners are Arkona, Asphyx, Kampfar, Primordial, and Nokturnal Mortum, who will perform at the event for the third time. The Kharkiv's black metallers are reported to perform a special set at the festival, playing 1996's demo "Lunar Poetry" in full.

Metal East: Nove Kolo 2020 line-up:

Primordial (Ireland)
Nokturnal Mortum (Ukraine) with an exclusive "Lunar Poetry" set
Kampfar (Norway)
Asphyx (Netherlands)
Sinister (Netherlands)
Desaster (Germany)
Master (USA)
Månegarm (Sweden)
Aeternus (Norway)
Warhammer (Germany)
Rippikoulu (Finland)
Pagan Altar (England)
Sarkrista (Germany)
Totalselfhatred (Finland)
Mayhemic Truth (Germany) with an exclusive show
Gehenna (Norway)
Arkona (Poland)
Colotyphus (Ukraine)
Desiderii Marginis (Sweden)
Violent Omen (Ukraine)
Stryvigor (Ukraine)
Orbstruct (Ukraine)
Lik (Sweden)
GreyAblaze (Ukraine)
Necrom (Ukraine)

Metal East will traditionally be held at the art factory "Mechanica" in Kharkiv, Ukraine. Tickets for the festival can be order on its official website for 1500-4000 UAH (appr. $62-167).

Reas also:

• Metal East 2019 fest review: Bands, atmosphere and everything in between
• Weekend at Ragnard Reborn Nove Kolo: Report from two festival days
• "The main thing is freedom and opportunity to say everything that excites you": Interview with Nokturnal Mortum’s leader Varggoth

The organizers of Brutal Assault announced new bunch of bands for next year’s anniversary festival, which will be held in the Czech Republic from August 5 to 8, 2020. Among the newly announced acts are As I Lay Dying, Benighted, Blood Incantation, Bloodbath, Butcher Babies, Devin Townsend, Excrementory Grindfuckers, Mayhem, Sacred Reich, Soen, The Agonist, and Uada.

Brutal Assault previously has announced Cattle Decapitation, Fever 333, Fueled By Fire, Imperial Triumphant, KatatoniaArcturus, Cradle of Filth, Kvelertak, and 1914 among bands' update for 2020's fest and shared the aftermovie from this year's event, launching tickets presale.

Read also: 5 reasons to visit Brutal Assault festival

In 2020, the 25th Brutal Assault festival will be traditionally held in the Josefov military fortress in the city of Jaromer, Czech Republic, from August 5 to 8. Among its headliners are Asphyx, Dark Funeral, and Myrkur. Tickets for 98 euros are available for pre-order here.

List of confirmed acts so far:

1914, ARCTURUS, AS I LAY DYING, ASPHYX, ATARI TEENAGE RIOT, AUTHOR & PUNISHER, BENIGHTED, BEYOND CREATION, BLOOD INCANTATION, BLOODBATH, BUTCHER BABIES, CATTLE DECAPITATION, CRADLE OF FILTH, DARK FUNERAL, DESPISED ICON, DEVIN TOWNSEND, DRACONIS INFERNUM, EVOKEN, EXCREMENTORY GRINDFUCKERS, FEVER 333, FRONTIERER, FUELED BY FIRE, HAVOK, HENTAI CORPORATION, IMPERIAL TRIUMPHANT, KATATONIA, KVELERTAK, LIFE OF AGONY, MANES, MASS INFECTION, MAYHEM, ME AND THAT MAN, MYRKUR, MYSTICUM, NECROPHOBIC, NOCTURNUS AD, OTTONE PESANTE, PENSÉES NOCTURNES, PHILIP H. ANSELMO & THE ILLEGALS PERFORMING A VULGAR DISPLAY OF PANTERA, PSYKUP, RAZOR, RING OF SATURN, SACRED REICH, SHADOW OF INTENT, SIGH, SOEN, STATIC–X, THE AGONIST, TOXIC HOLOCAUST, UADA, VADER, VENOM, WHILE SHE SLEEPS, WORMROT

Read also: Brutal Assault 2019's photo and text report

Polish black/death metallers Behemoth will give concerts in Ukraine and Russia in 2020. One performance will take place on May 12 in Kyiv, and two shows will be played in Moscow and St. Petersburg on May 15 and 17, respectively.

In the spring of 2014, Behemoth played 3 concerts out of 13 planned in Russia, being forced to cancel the rest of the tour due to its arrest caused by "visa's issues". As a result of this incident, the band canceled the followingconcerts in Minsk and Kyiv. The last time the band performed in Ukraine in the summer of 2014 at the Carpathian Alliance Metal Festival.

Tickets for the upcoming concert in Kyiv are already available from 999 UAH.

Follow the link to read the article "Inside the Producers' Studio. Pre-Recording", including an interview with Behemoth’s producer Arkadiusz 'Malta' Malczewski.

Read also:

• Behemoth release new video "Ecclesia Diabolica Catholica"
• Power of veto: Forbidden bands in Russia
• They've got balls: Metalheads, who gave a show in Kyiv in early 2014

Photo by Grzegorz Gołębiowski

This winter, many good rock and metal gigs are going to take place in Ukraine. For this article, we picked the most interesting events that you definitely should not miss!

If, in your opinion, we’ve missed some worth visiting event — write about it in the comments below. We will also be happy to find out which of the gigs that we mentioned you’re planning to attend.

December 1 — Combichrist

The American aggrotech metal project Combichrist will play a concert in Kyiv, Ukraine, in support of the band's newest album "One Fire". The performance will take place on December 1 at the Bingo club, tickets are already available for purchase here. Event on Facebook.

December 7 — Oskorei Festival

On December 7, the one-day indoor festival Oskorei will be held in Kyiv, Ukraine, featuring Shining (SE), Tyr (FO), Finsterforst (DE), Martyrium (MT), Natural Spirit (UA), and Stryvigor (UA). Tickets from 950 to 1440 UAH are available here. Event on Facebook.

December 8 — Heilung

In December, the capital of Ukraine for the first time will be visited by the neofolk band Heilung. The band, using the Old Scandinavian texts in their work, will present in Kyiv their latest album "Futha". The concert will be held at CCA NAU, tickets are from 890 UAH.

See also: Fascinating spectacle. Heilung 76-minute concert video "Lifa" released

December 20 — White Ward

Odesa-based act White Ward are to perform a show on December 20 at the Teatr. Club in Lvi in support of their second album "Love Exchange Failure", which was released this fall via the cult French label Debemur Morti Productions.

December 21 — The Best Ukrainian Metal Act

Traditionally, The Best Ukrainian Metal Act award will be held for the 7th time in December in Kyiv. Once again, the organizers will mark the best Ukrainian metal bands in the categories "Best Metal Act", "Best Metal Album" and "Best Metal Video". Among the announced nominees for the main award are Hell:on, Chasing Embers, Motanka, Vovk, and Septa who has recently released its new album "Bitten By The Serpent Of The Kingdom Of The Spirit". The special guest of the event will be Velikhan, the last year’s winner in the nomination "Best Metal Band". Tickets from 250 UAH are already available for order.

Read also: Editor's choice. 5 albums for BUMA

January 12 — Mayhem

In January, the cult Norwegian black metal act Mayhem will perform in Kyiv. The concert will be held in support of the newest album "Daemon" at the Bingo Club. Tickets are from 890 UAH.

January 14 — Five Finger Death Punch

In Kyiv, Americans 5FDP will perform their the most well-known songs and tracks from the latest album. The concert will take place at the Sports Palace. Tickets are available from 990 to 6990 UAH.

Read also: "I was also on my way to kill Euronymous". Interview with Necrobutcher gave rise to new meme

February 7 — Paradise Lost

British metallers Paradise Lost will give a concert in Kyiv, Ukraine, on February 7, 2020. The performance will take place at the Bingo club in support of the band’s latest album "Medusa". Tickets from 700 UAH are already available for purchase. More details can be found here.

Check out also: Paradise Lost’s track "The Longest Winter"

February 7 — Uriah Heep

Legendary rockers Uriah Heep, authors of such imperishable films as "Lady In Black", "July Morning" and "Free Me", will perform their show in Kyiv next year. The show will take place in the concert hall "October".

February 29 — Hammerfall

In February, the Swedish power metal band Hammerfall will perform in support of its new album "Dominion". The show will take place at Atlas Club in Kyiv.

On Sunday, January 12, a concert of key representatives of the early Norwegian black metal scene, Mayhem, will be held at the Bingo club in Kyiv, Ukraine.

The performance will take place 11 years after the first Mayhem show in Ukraine and in support of the new album "Daemon". Follow the link to watch the music video for one of the record's songs "Falsified And Hated".

Buy tickets for Mayhem's show in Kyiv here.

See also: "I was also on my way to kill Euronymous": Interview with Necrobutcher gave rise to new meme

Extremity is something that gets spoken about fairly often within the metal community, especially once a fan starts to delve into genres like death, grindcore & black metal. So often I have heard, "Well, if you think that’s "heavy/extreme", check this band out". Interestingly, however, when it comes to creating a visual representation of music, extremity and intensity becomes fair game to everyone, it doesn’t matter how many blasts there are, how guttural the vocals can be or how atonal or brutal the riffs are.

True horror is in the eye of the beholder and it’s fair to say that regardless of genre, there are some minds out there that have created some truly disturbing visuals to accompany their music, whether the band is hard rock or brutal death metal.

We have collated below, for your viewing pleasure, dear audience, some of our favourite and most disturbing music videos, in no particular order we present to you Noizr’s selection!

Danzig "It’s Coming Down"

Whilst Danzig may sound like relatively easy listening, one only needs to look at his legacy to know that this is a man who has visions of incredibly dark things, and has always been invested in violence and things that are on the fringes of human society; whether that be the infamous fights that occured at Misfits’ shows, his next band Samhain, routinely playing covered in horses blood or his music videos for Danzig.

MTV has refused to play a large number of his videos whether it be the original one for "Mother", his uncut Giger crafted video "How the Gods Kill" or the video below for "It’s Coming Down". A hard to find video that was only released on a DVD anthology a few years ago, here it is in all it’s unfiltered glory. From the EP "Thrall: Demonsweatlive" — "It’s Coming Down".

Head to this location to watch the totally uncensored version of the video.

Antaeus "Blood War III"

From a band whose motto is "I hope you die", an album title of "Cut Your Flesh and Worship Satan" and a vocalist who drank bleach on stage and then proceeded to vomit the bloody concoction on stage and into the crowd, would you really expect their one music video to date to be an easy watch? A flagship song of Antaeus, taken from the album "De Principii Evangelikum" — "Blood War III".

Shining "Vilja & Dröm"

Shining have long been known for courting controversy, whether that be through their live gigs (the infamous Atilla, Maniac, Ghoul (Kvarforth), razor blade episode is now the stuff of black metal legend), their seemingly more accessible music coupled with their lyrics, Kvarforth’s philosophy, and of course this video below, taken from their ninth album "IX — Everyone, Everything, Everywhere Ends" — "Vilja & Dröm".

Nine Inch Nails "Closer" and "Happiness in Slavery"

Many people’s initial exposure to "disturbing videos" would surely have come in the form of one of the next few videos.

NIN have been a band that in their early years created some truly challenging videos, before Trent cut his hair and started doing movie scores and evolving into a seemingly far less controversial figure. Their video for "Closer" was never aired by MTV until 2002, nearly 10 years after the video was first created. Taken from "The Downward Spiral" — "Closer".

And an honourable mention goes to Bob Flanagan for appearing in two videos, the Danzig video above and NIN’s "Happiness in Slavery" which received very little airplay due to its content. I wonder why? Taken from the EP "Broken" — "Happiness in Slavery".

Marilyn Manson "(s)Aint"

In a similar way to how Trent Reznor has become accepted as part of the metal community and has seemingly mellowed in recent years, it’s worth remembering why Marilyn Manson got so many parents up in arms when he started becoming popular. His music was accessible and incredibly unchallenging but the visuals that accompanied his music certainly created an aura of outrage. Self-harm, drugs and sexual content created an un-holy trinity around this track, with the label distancing themselves from it and wanting nothing to do with it. "The Golden Age of Grotesque" — "(s)Aint".

Cradle of Filth "From Cradle To Enslave"

As much as Cradle of Filth may be disregarded by many in the metal community, they’re another band whom have done their fair share to draw negative attention to themselves, whether that be their infamous "Jesus is a Cunt" shirt or the imagery that they’ve created. Yes, we all know Dani Filth is the king of cringe (although he does have a few rivals *cough* Shagrath *cough*) but to give credit where it’s due, this next video (similar to the 2 videos above) rightfully gave parents a reason to be worried about what media their progeny were listening to.

Cattle Decapitation "Forced Gender Reassignment"

Of course no list of videos would be complete without allowing some grindcore bands into the fold. For a bunch of liberal vegans, Cattle Decapitation have routinely shown their disgust for humanity by creating videos that are solely focused on conveying this sentiment. And perhaps none more so than this video from their 2012’s album "Monolith of Inhumanity" — "Forced Gender Reassignment".

Cephalic Carnage "Ohrwurm"

Not to be outdone in the realms of "Torture Porn" style horror movies is Cephalic Carnage. I think there is a fair argument to be had when talking of extremity in "Does imagined horror and it’s faked images, really compare to the images of real depravity? Whether that be sexual or violent?" Either way one thing is for certain this video is definitely NSFW and for those of you who are squeamish… enjoy! Taken from "Misled by Certainty" — "Ohrwurm".

Slayer "Repentless"

Whilst we’re on the subject of "imagined horror" we have to acknowledge Slayer, without whom many of these more "extreme" bands and their dark lyrics would never have existed! After the two preceding videos it may not be the most graphic but this band will forever be recognised for pushing the boundaries on extremity and being one of the most popular bands in metal ever! From their 12th studio album "Repentless" — the title track of the same name.

See also: Slayer complete "Repentless" trilogy with a bloody video "Pride In Prejudice"

GG Allin

Punk’s favourite coprophiliac! GG Allin’s video may seem weak in comparison to some of the other videos, however let’s not forget the time in which this video appeared and it may not seem that "out there" in 2019, but as a product of its time, "Kill the Police" is up there with one of the most provocative videos of its era. Taken from "Murder Junkie" — "Kill the Police — Destroy the System".

Diapsiquir "A.N.T.I"

Finally it is my utmost pleasure to reveal to you a video that was removed from the internet and until now unavailable for your enjoyment. The manic french duo Diapsiquir; they have now moved away from their debauched past, and both musically and philosophically have distanced themselves from this video, as they have both now found Jesus (yes, really!) but as you’ll see from this video created as a promo for their 2011 album "A.N.T.I", they’ve got a whole lot of repenting to do before their God lets them into his everlasting kingdom.

So there we go! Let us know in the comments below which videos you think we’ve missed, which one was your favourite and, of course, tell us how wrong we were in our selections!

See also:

French sludge metallers Black Box Warning release NSFW video "5 mg"
Kreator present grim NSFW video "Gods Of Violence"
Lindemann's video "Praise Abort"

By Dan Thaumitan

The three main members of the Finnish melodic death metal band Children of Bodom announced their desire to leave the band. At the same time, the only remaining as well as original member of COB, vocalist Alexi Laiho, probably will not be able to use the band’s names, Blabbermouth reports.

Earlier in November, drummer Jaska Raatikainen, bassist Henri "Henkka T. Blacksmith" Seppälä and keyboardist Janne Wirman issued a statement saying that they would play their final show with Children of Bodom in December.

"After almost 25 years with Bodom, thousands of shows and 10 albums, it is time for Henkka, Janne and Jaska to step back and change direction within their lives," the group stated.

However, according to Finnish music magazine Soundi, it has since been revealed that the rights to the Children of Bodom name are held by AA & Sewira Consulting Oy, the company owned by Raatikainen, Seppälä and Wirman. On June 28, the trio filed an application with the National Board of Patents and Registration of Finland, and their application was subsequently granted for a five-year period starting on October 1. As a result, Laiho, who is Children of Bodom's singer, guitarist and main songwriter, isn't authorized to use the band's name without permission from Wirman, Raatikainen and Seppälä.

Laiho admitted to Helsingin Sanomat that there have been tensions in the Bodom camp for quite some time.

"The original decision [to end the band in its current form] came when the other guys said they just couldn't do it anymore," he said. "There were family reasons for it. I respect their decision. I myself have a wife and stepdaughter in Australia, and my wife understands my lifestyle. I'm pretty much gone [most of the time], but always I come back and I give them my all. Nothing is more important to me."

According to Laiho, things went awry when Children of Bodom performed in Russia this October.

"We fought a lot within the band, and I can honestly admit that those fights were mainly my fault," he said. "They always started with some misunderstanding."

At the end of the tour in Russia, three members of the band decided that the upcoming performances in Finland would be their last. Laiho admitted to Soundi that "it might not be a good idea" legally to continue with the Children of Bodom name.

"It may be that the name of our new lineup needs to be tweaked a bit in some direction. Or maybe it could be just Bodom or the name of one of our songs. But it must be a name that suggests that it is the same [group]."

Laiho and rhythm guitarist Daniel Freiberg are reported to have already chosen a new drummer and bassist, whom Laiho described to Soundi as "incredibly talented young guys who look very good on stage." He also said that the new band will likely start gigging next spring. "The new lineup will be a fresher version of the current one," he told Helsingin Sanomat.

Children of Bodom's latest album, "Hexed", came out in March, 2019, via Nuclear Blast Records.

Read also: Batushka or Bartushka. What’s happening with the Polish project

A new selection of releases from famous metal and rock artists, including a fresh single from British rock legend Ozzy Osbourne, recorded with Guns N’ Roses’ guitarist Slash, a cover version of one of the main hits of The Doors performed by Marilyn Manson, and a new video "Frau & Mann" by Lindemann (a project by Till Lindemann and Peter Tagtgren), featuring Ukrainian pop star Svetlana Loboda (who, according to numerous rumors, is a mother of Lindemann's new born daughter Tilda). In honor of a new album "F&M" release, Lindemann will perform on March 6 in Kyiv, Ukraine.

See also:

• Ozzy Osbourne releases first song in 9 years
• Marilyn Manson releases his version of famous folk song
• Peter Tägtgren on Pain, Lindemann, Hypocrisy, and work at studio

From 10 to 13 October, AMFest took place in Barcelona, Spain. The event brought together fans of post-rock and experimental music, who during four days were able to enjoy the performances of Alcest, 12Twelve, Daughters, Deafheaven, Tides From Nebula, Zeal & Ardor and many other artists. Above, you can check out a photo report from the festival provided by Noizr Zine's photographer Olya Abrisad.

12Twelve

Ainara LeGardon

Alcest

Cocaine Piss

Daughters

Deafheaven

Foscor

Puput

Tides From Nebula

Zeal & Ardor

Noizr Zine thanks AMFest for accreditation

In December 2016, Septa’s latest record "Sounds Like Murder" got The Best Ukrainian Metal Act award and was called the best among Ukrainian metal releases of that year. And it was quite right, because their third LP turned out to be successful in all aspects. The dense and very fresh CD became the point, to which the band moved through the jungle of post-hardcore, alternative metal, mathcore and other experimental techniques, that were used on the first two records The Lover and Destroyer.

Being inspired by the sound of Tool, Mastodon, Deftones and Faith No More, Septa members searched for their sound and style. Trying to find something worthwhile and expressive, they simply violated some rules and principles, and did not hesitate to show it. They were also searching themselves while working on "Sounds Like Murder". And when it came out, it seemed that they found. Desperate brutal romantics gathered all the missing puzzles into one full-fledged work, which became the most elegant in their collection, and what is the most important here — that time it fully corresponded to the band. A combination of aggression and melody, vocals, moderately assertive drums — it was poke in the eye. Even artwork and overall design of the album. But after all this laudatory words, it’s worth returning to the main one — it seemed.

Check it out: Full stream of Septa's new album and interview with band’s leader

It could seem to us as listeners, but three years later Septa decided not to stop and continue searching. Led by their creative frontman Eugene Tymchyk, the guys began to move on, and what is curious — in a completely unexpected direction for them (and for everyone by the way). While listening to BBTSOTKOTS for first time, you began to think that some of them spent too much time using the image of Queen musicians during their costumed performances with the side project The Nietzsche. Because this time Septa is playing with something like opera. Yeah, theatrical drama and absolutely new manner of singing.

Is it good? It depends. If we talk about that point, that the band tried not to repeat their previous CD, tried be unpredictable (and this is precisely in their style), then we definitely say yes. Such things are always commendable, and especially today. But if we talk about overall sound — here we should say each to his taste.

Certain parts of the tracks on BBTSOTKOTS really resemble kinda narrative songs about some heroes and spectacular battles from ancient legends. The band is still playing in the genres listed above, but now it has been noticeably carried away by the synthesizer and uncharacteristic string parts, which are very popular among folk or medieval metal performers. From time to time while listening you can easily imagine Tymchуk with a beard and armor.

The overall sound has become richer and darker, guitars and bass — heavier, more aggressive. Vocals still range from pure singing to the branded extreme vocals, while in some places the frontman now takes higher notes, in some moments even accompanied by the choir. The album sounds very unusual. And perhaps this is the only thing that confuses in the new BBTSOTKOTS.

Yeah, is noticeable that for Septa this direction is also new, but this did not affect the quality of the record and its originality. Among those nine fresh tracks (with a pleasant overall timing of 34 minutes) there is even an acoustic ballad with a very penetrating harmonica. You gonna say, that hardcore artists don’t sing like that? Post-hardcore metallers don’t play like that? Probably you’re right, but now we are talking about Septa, and this guys from Odesa has never ranked themselves to one specific style from these genres. The experiments, albeit not always successful, the craving for self-expression and the next attempt to find something new for their discography — this is the main trait of the band. And here it is — "Bitten By The Serpent Of The Kingdom Of The Spirit" in all its glory. It is just interesting to find out by what this sudden interest in opera motifs was inspired. And we definitely gonna check it out.

Read also: Interview with Eugene Tymchyk on literature and its role in the work of The Nietzsche

Noizr: Order Septa's new album "Bitten By The Serpent Of The Kingdom Of The Spirit" via Bandcamp.

By Yurii Somov

The organizers of Brutal Assault announced new bunch of bands for next year’s anniversary festival, which will be held in the Czech Republic from August 5 to 8, 2020. Among the newly announced acts are Cattle Decapitation, Fever 333, Fueled By Fire, Imperial Triumphant, Katatonia, Life Of Agony, Mysticum, Psykup, and Shadow Of Intent.

Brutal Assault previously has announced Arcturus, Cradle of Filth, Kvelertak, and 1914 among bands' update for 2020's fest and shared the aftermovie from this year's event, launching tickets presale.

Read also: 5 reasons to visit Brutal Assault festival

In 2020, the 25th Brutal Assault festival will be traditionally held in the Josefov military fortress in the city of Jaromer, Czech Republic, from August 5 to 8. Among its headliners are Asphyx, Dark Funeral, and Myrkur. Tickets for 98 euros are available for pre-order here.

List of confirmed acts so far:

1914, ARCTURUS, ASPHYX, ATARI TEENAGE RIOT, AUTHOR & PUNISHER, BEYOND CREATION, CATTLE DECAPITATION, CRADLE OF FILTH, DARK FUNERAL, DESPISED ICON, DRACONIS INFERNUM, EVOKEN, FEVER 333, FRONTIERER, FUELED BY FIRE, HAVOK, HENTAI CORPORATION, IMPERIAL TRIUMPHANT, KATATONIA, KVELERTAK, LIFE OF AGONY, MANES, MASS INFECTION, ME AND THAT MAN, MYRKUR, MYSTICUM, NECROPHOBIC, NOCTURNUS AD, OTTONE PESANTE, PENSÉES NOCTURNES, PHILIP H. ANSELMO & THE ILLEGALS PERFORMING A VULGAR DISPLAY OF PANTERA, PSYKUP, RAZOR, RING OF SATURN, SHADOW OF INTENT, SIGH, STATIC–X, TOXIC HOLOCAUST, VADER, VENOM, WHILE SHE SLEEPS, WORMROT

Read also: Brutal Assault 2019's photo and text report

Ukrainian post-hardcore act Septa is going to release their new 4th album "Bitten By The Serpent Of The Kingdom Of The Spirit" on November 22, 2019. The album was recorded at Vault Audio, while mixed and mastered by Lewis Johns at the The Ranch Production House in England.

In anticipation of the release, Noizr Zine shares a full album stream of the upcoming record, as well as a short interview with the band’s leader Eugene Tymchyk.

What’s the meaning behind your new album’s title "Bitten By The Serpent Of The Kingdom Of The Spirit"? Tell us about its lyrics.

Eugene: It’s a quote from the expressionist masterpiece by Gustav Meyrink. The album is actually based on this novel. The quote is used in the novel in the context of deviant behavior, but for me it means something else that I can’t even explain, but when I read it, I knew right away that this will be the title of the album. It took me quite a long time to write the lyrics and the story, which is embedded in it, acquired every time with new details, and as a result, it all became more like an opera or musical, and that’s how such an unusual for us aesthetic was born: rather hard music with deliberately melodic and almost theatrical narrative. The whole plot allegorically revolves around the concept of free will and the preservation of life. And in its essence, it’s a dialogue between the creator and creation, in which are tracing allusions to us as a band and to this album in particular. In short, this is a big self-reflection.

Feels like the new album has a more progressive sound compared to its predecessor "Sounds Like Murder". What are the reasons for these changes? What or who gave you inspiration to write songs? How did the working process on the album look like? How long did it take to write, record, and then mix and master the album?

Eugene: I can’t say that we somehow consciously did, or planned to change our sound, it just happened. At some point, we just began to write these particular tracks, and as soon as I noticed this, I began to gradually put them all together into one album, and then we finished everything that was needed to complete it. We always had a soft spot for prog, just this time we gave more freedom to our desires, and at the same time we limited a bit our hardcore appetites. A year ago, I thought that this would be only EP, but in the end its concept grew to a full album, and I’m very happy about it. We recorded it at the end of this August, we spent a week on everything else, and for the same amount of time it was mixedt. I didn’t want to spend too much time on it, I didn’t even come up with any promo campaign, we didn’t shoot videos, didn’t release singles, because one will say again that all album’s merits were achieved only thanks to marketing, so let there be only music.

You’ve once called "Sounds Like Murder" a "postmatured child". How would you characterize a new release?

Eugene: Swift. It seems to me that musically it turned out to be the same — a flash, bright and fleeting. It will definitely leave a mark in the sky, and may even eventually turn into a star. But we won't be fixed on it, we'll move on, so what I mean is that’s not our final sound at all. That’s the whole point. Constantly changing and trying something new.

Like the previous record, you produced this album by yourself. How difficult is it, being a producer of your own music, to step back and look at the album with a fresh pair of eyes?

Eugene: We're very synchronized now in the band, so the production in this case is more edification, organization, and giving the material its final form. Also, it’s especially pleasant and exciting for me that the album opens with a song that I wrote, because usually I only write electronic tracks on my own, and now there’s a real guitar composition which, of course, required some improvements.

Why did you decide to ask Lewis Johns to handle mixing and mastering of a new record?

Eugene: I’ve been working with Knob [the mixing and mastering engineer of "Sounds Like Murder" — Noizr] on different projects for more than five years I think, and I will continue further, but this time it somehow coincided that our schedules did not allow us to work together again, and also we wanted to try some new sound. As a result, everything turned out to be very cool and unusual, the album sounds at the same time hard and somehow soft, doesn’t tire the listener, the sound is harsh and it would not be appropriate for the listener to receive aesthetic pleasure.

Read also: Interview with Eugene Tymchyk on literature and its role in the work of The Nietzsche

Noizr: Order Septa's new album "Bitten By The Serpent Of The Kingdom Of The Spirit" via Bandcamp.

Interviewed by Anastezia G.

Karg, a solo project of Harakiri for the Sky's vocalist J.J., presented a new single called "Irgendjemand wartet immer". The track will appear on the upcoming 7th album "Traktat", which will be released on February 7 via AOP Records.

The project founder J.J. comments: "When I began writing "Traktat" I was about to explode. Things started falling apart at the very beginning of the year, what left me distracted and anxious till the end of summer. And when doctors tell you that a depressive episode like this will last around or more than six months, without a treatment, then I’ve to agree with them, they are totally right. This, and the circumstance, that I travelled quite a lot this year, trying to run away from a distemper I couldn’t control anymore, is what makes "Traktat" a very personal album, musically as lyrically. That’s also the reason I wrote much of it on the road. I wouldn’t say that the previous Karg releases were less personal, but this one holds a special place in my heart. Also, it’s the last part of some kind of trilogy, which started with "Weltenasche" nearly for years ago and continued with "Dornenvögel" in summer of 2018. To me "Traktat" is some sort of manic depression, which has its ups and downs, loud and quiet at the same time and with a tailspin like every second minute. Quite a lot to bear, and full of emotions I desperately had to get rid of, as I was exploding anyway"

Read also: Interview with J. J. from Harakiri for the sky on "Arson" and depression

In support of the new album, Karg will go on a joint tour with The Spirit, Firtan, Groza, and ANCST next February.

Feb 7 — Oberhausen, Germany — Helvete
Feb 8 — Erfurt, Germany — From Hell
Feb 9 — Hamburg, Germany — Bambi Galore
Feb 10 — Berlin, Germany — Nuke Club
Feb 11 — Nürnberg, Germany — Golden Nugget

"Traktat" tracklist:

1. Irgendjemand wartet immer
2. Jahr ohne sommer
3. Stolperkenotaphe
4. Alaska
5. Abgrunddialektik
6. Alles was wir geben mussten
7. Grabcholerik
8. Tod, wo bleibt dein Frieden?
9. Nichts als Schatten (Bonus Track // Bonnie Prince Billy Cover)

"Traktat" cover art

Odesa-based post-hardcore act Septa released a new track "Golem", which will appear on the band's upcoming fourth album. The release of the record is scheduled for November 22.

The album was recorded at Vault Audio, mixed and mastered by Lewis Johns at the The Ranch Production House in England. The cover art for the single "Golem" was created by Sergey Gula. On November 20, two days before the album's release, there will be an open listening of the record at the More Music Club in Odesa, Ukraine.

Septa's previous album "Sounds Like Murder" took first place in the top 5 of 2016's best Ukrainian metal releases according to Noizr Zine's editor.

Read also: Interview with Eugene Tymchyk on literature and its role in the work of The Nietzsche

On November 12, American hardcore Agnostic Front will give a concert in Ukraine, in honor of the 35th anniversary of the band’s debut album "Victim In Pain", songs from which were later covered by such venerable representatives of extreme music as Fear Factory, Hatebreed, Napalm Death, Biohazard, and Pantera's Phil Anselmo. The performance, organized by HMG concert agency, was held at the local club in Kyiv.

You can find out how the concert of the legendary New York act looked like from our photo report provided by Yurii Somov.

Info. Agnostic Front is an American hardcore punk band from New York City. Founded in 1980, the band is considered an important influence to the New York hardcore scene, as well as for pioneering the crossover thrash genre.

Icelandic black metal festival Ascension presented the first trailer for the upcoming Ascension MMXX event, which will be held from May 21 to May 23, 2020 with shows performed by Auðn, Mgła, Sinmara, Ved Buens Ende and other bands.

Ascension MMXX will be held at the Hlégarður in Mosfellbær, Iceland. Among the first announced bands are:

Almyrkvi (IS)
Andavald (IS)
Auðn (IS)
Grave Pleasures (FI)
Hexvessel (FI)
Kaleikr (IS)
Kælan Mikla (IS)
Malokarpatan (SK)
Mannveira (IS)
Mgła (PL)
Nexion (IS)
Sinmara (is)
Slidhr (IS / IRL)
Trepaneringsritualen (SE)
Ved Buens Ende (NO)

Tickets for the festival are already available for purchase:

Phase I Early Bird — Sold Out
Phase II Early Bird — 16,900 Kr (Approximately €124 / $136)
Phase III Early Bird — 17,900 Kr (Approximately €131 / $144)
Phase IV Early Bird — 18,900 Kr (Approximately €139 / $152)

You can buy tickets for Ascension Festival at this location. Event on Facebook.

The previous Ascension festival was held from June 13-15, 2019, with Antaeus, Gost, King Dude, Bölzer, Misþyrming, Sinmara, Solstafir, Zhrine and others as performing bands. In addition to performances by musical acts, the festival also hosted exhibitions by French artist and designer Dehn Sora (Amenra, Blut aus Nord, In the Woods..., Merrimack, Sektarism) and German photographer Void Revelations (Misþyrming, Whoredom Rife, King Dude, Chelsea Wolfe).

Read also: Interview with one of the main catalysts in the Icelandic scene Stephen Lockhart

Sinmara photo — Woda i Pustka

British rocker Ozzy Osbourne presented the first song in 9 years. A single called "Under The Graveyard" was released on November 8 via Epic Records and is currently available on all streaming platforms.

The musician's latest album, "Scream", was released in 2010 on Epic Records.

Osborne’s plans include performances as part of No More Tours II, the second part of the farewell No More Tours Tour, which was first held in 1992. Due to the poor health of the musician, all concerts in 2019 were canceled or rescheduled for other dates.

See also: Video: Ozzy Osbourne performs with Zakk Wylde for the first time in many years

According to Live Nation Sweden, the new European tour will now take place in the first half of 2021. It was previously reported that the musician’s farewell tour will end in 2020.

Read also: "The End Of The End". Review for a film about Black Sabbath’s final show

Norwegian black metallers Mayhem have released their first music clip for a 35-year career. The video "Falsified And Hated" was directed by Johan Bååth who has previously shot the concert film "Watain: Opus Diaboli".

Read also: "I was also on my way to kill Euronymous". Interview with Necrobutcher gave rise to new meme

The track "Falsified And Hated" was taken from Mayhem's recently released full-length record "Daemon", which came out on October 25 via Century Media Records. The producers of the album were Tore Stjerna, who also handled the album's mixing, and the band's guitarist Teloch. The record was mastered by Thomas Johansson.

Read also: Inside the Producers' Studio. Recording guitars feat. Tore Stjerna

Mayhem is currently on European tour in support of "Daemon" along with bands Gaahls Wyrd and Gost:

7.11 Toulouse, France — Metronum
10.11 Lyon, France — CCO
12.11 Milano, Italy — Magazzini Generali
14.11 Vienna, Austria — Szene
15.11 Prague, Czech Republic — Meet Factory
16.11 Berlin, Germany — Astra
17.11 Lille, France — Tyrant Fest
19.11 Kassel, Germany — Musik Theater 130BPM
21.11 Mannheim, Germany — MS Connextion Complex
22.11 Antwerpen, Belgium — Trix
23.11 Oberhausen, Germany — Turbinehalle
24.11 Copenhagen, Denmark — Pumpehuset
26.11 Tampere, Finland — Pakkahuone
27.11 Helsinki, Finland — Tavastia
29.11 Stockholm, Sweden — Fryshuset Klubben
30.11 Gothenburg, Sweden — Pustervik

Read also: Mayhem release video "Watchers"

Polish black metallers Arkona unveiled the first track from their new album "Age Of Capricorn". A song called "Alone Among Wolves" can be heard above.

"Age Of Capricorn" will come out on December 13 via Debemur Morti Productions, 3 years after the release of their latest album, "Lunaris". The recording, mixing and mastering of the new 6-track record took place at Impressive Art Studio in Poland. The album's cover artwork and layout was done by the Church Of Chaos Multimedia.

Read also: Review of Bölzer’s latest EP "Lese Majesty"

"Age Of Capricorn" will see release on digipak CD, gatefold 12" LP, a special edition gatefold 12" LP limited to 100 copies, and all digital platforms. The album is available for pre-order via online stores in Europe, North America, and on Bandcamp.

Arkona will go on tour supporting "Age Of Capricorn". At the moment, among the band's concert dates are a performance at Metalowa Wigilia 2019, along with Sólstafir and Primordial, as well as a show at the Under The Black Sun Festival 2020, along with Naglfar, Mystifier, etc.

Tracklist:

1. Stellar Inferno
2. Alone Among Wolves
3. Age of Capricorn
4. Deathskull Mystherium
5. Towards The Dark
6. Grand Manifest of Death

"Age Of Capricorn" cover

Ascension MMXX, which is one of the highlights of the year's events for black metal fans, will be held in Iceland from May 21 to 23. The three-day event will feature more than 20 performing acts, including Auðn, Mgła, Sinmara, Ved Buens Ende, Svartidauði, etc.

Ascension MMXX line-up

Abominor (IS)
Almyrkvi (IS)
Amenra (BE)
Andavald (IS)
Auðn (IS)
DHG/Dødheimsgard Official (NO)
Fleshworld (PL)
Forsmán (IS)
Grave Pleasures (FI)
Hexvessel (FI)
Kaleikr (IS)
Kælan Mikla (IS)
Kollaps (AU)
Malokarpatan (SK)
Mannveira (IS)
Mgła (PL)
Nexion (IS)
:Of The Wand & The Moon: Official (DK)
Rebirth of Nefast (IRL/IS)
Shrine of Insanabilis (DE)
Sinmara (IS)
Slidhr (IS/IRL)
Soft Kill (US)
Svartidauði (IS)
Trepaneringsritualen (SE)
Ved Buens Ende (NO)
Zhrine (IS)

Ascension MMXX will be held at the Hlégarður in Mosfellbær, Iceland.

Tickets for the festival are already available for purchase: 5000 — 18900 ISK (around $40-154). You can buy tickets for Ascension Festival at this location. Event on Facebook.

The previous Ascension festival was held on June 13-15, 2019, with Antaeus, Gost, King Dude, Bölzer, Misþyrming, Sinmara, Solstafir, Zhrine and others as performing bands. In addition to performances by musical acts, the festival also hosted exhibitions by French artist and designer Dehn Sora (Amenra, Blut aus Nord, In the Woods..., Merrimack, Sektarism) and German photographer Void Revelations (Misþyrming, Whoredom Rife, King Dude, Chelsea Wolfe).

Read also: Interview with one of the main catalysts in the Icelandic scene Stephen Lockhart

French DSBM act Nocturnal Depression has announced the release date for its ninth album "Tides of Despair". The upcoming record marks the return of one of the band’s founders Herr Suizid, who left Nocturnal Depression in 2012.

"Tides of Despair" recording process also featured guests from different bands, including Psychonaut 4, Sarkrista, Tulpa, Darkend, and Selvans. The album’ was mixed and mastered by Alessandro 'Algol' Comerio, best known as a member of Forgotten Tomb and Hiems.

The release of "Tides of Despair" will take place on November 25 via Sun & Moon Records. The album is currently available for pre-order here.

Tracklist:

1. Drowning Myself
2. Tides of Despair
3. Living in a Mass Grave
4. Solitude and Despair Again
5. Slit My Wrists
6. Farewell Letter
7. Muse of Suicide
8. Reveries

"Tides of Despair" cover

WATCH NOIZR ZINE VIDEO

Welcome back to Inside the Producers' Studio. In this series, top producers from across extreme metal share their knowledge and wisdom about recording and production. We’ve hand-picked some of the best and most interesting producers; some from large studios others from more niche circles, whatever their situation, you’ll be sure to pick up tips and get an insight into the minds that are shaping metal in the current era.

The first article was dedicated to studio set-up, the second one was about pre-recording, the third one – about recording drums, the forth one — about recording bass, the fifth one — about recording guitars, and the sixth one — about recording assorted instruments.

This new article is focused on how different producers record and capture vocal performances, and how they integrate them into metal mixes.

Experts

Andy Classen has years of experience producing bands at Stage One Studio in Germany, in his long and illustrious career he has worked and recorded with bands like Tankard, Krisiun, Legion of the Damned, Rotting Christ, and Nagelfar to name a select few. Contacts: stage-one-studio.com, facebook.com/stageonestudio

Herr Krauss is the owner of Vamacara Studios, a seasoned veteran of the underground French scene he has worked on albums by Dagoba, Vorkreist, The Order of Apollyon, Loudblast, and Livarkahil. Contacts: facebook.com/vamacarastudio, vamacarastudio.com

Arkadiusz 'Malta' Malczewski is based at Sound Division Studio in Poland. Constantly working on Behemoth's records, and doing live sound during the band’s tour in support of "I Loved You at Your Darkest", Malta has also produced albums from Decapitated, Hate, and Thunderbolt. Contact: facebook.com/sounddivisionofficial

Recording vocals

Which is your favourite microphone for recording harsh vocals?

Andy Classen: I really prefer using my EV RE 20 for vocals, no matter if it's harsh or clean, this mic always give a natural and warm sound — in some cases I also use the AKG 4050, this one adds a little more high end and for some voices it sounds perfect.

Herr Krauss: Well, I've tried a lot of microphones and I think that SM7B from Shure is the best mic for harsh vocal. I plug it into a Neve preamp and 1176 and that's all. I always get what I need. A huge and powerful vocal track.

Arkadiusz Malczewski: I have no favourite microphone regarding this specific style of singing. If one has enough time and mics to choose from, they should try all available vocal microphones and test them with that particular singer. I like Shure SM7 combined with a large-diaphragm condenser microphone. Shure makes it sound „live” and the large-diaphragm mic adds width and depth.

Mastering, producing, mixing, recording by Andy Classen

Which is your favourite microphone for recording clean vocals?

Andy Classen: Already answered in the first question, for clean vocals RE 20 is my favorite mic.

Herr Krauss: I love the KSM32 from Shure. But I think that the "mind-blowing" mic was the Aston mic Spirit. So yes. Aston mic spirit is the real deal.

Arkadiusz Malczewski: It is also difficult to give a straightforward answer here. There are many (often expensive) vocal microphones available out there. I usually use what I have available. When it comes to Sound Division, I currently use Peluso P87 – made after the legendary Neumann U87. I also like Neumann TLM 103.

It happens that the microphone does not go well with a particular singer and "colour" of his voice. Then I switch to the microphone set by Steven Slate and use one of their software modulations made after world’s most famous classics.

What is your approach to recording extreme vocals?

Andy Classen: To me, the most important part of vocal recordings is to make sure that the singer has a perfect sound on his headphone

Herr Krauss: I take the time to know how the vocalist wants to record. A lot of extreme vocalists don't like to record their parts with a mic on a stand. They prefer to take the mic in their hands. So I always try to find a way to make them comfortable and to get what I need: great-sounding tracks.

I love to use the natural saturation of my Neve 1073 preamp to add some punch. Of course I compress a bit with an 1176. Medium attack, fastest release and 4:1 ratio.

Arkadiusz Malczewski: There is no single method. Each man is different and requires an individual approach. Such a way of singing is a huge strain for each performer. I try to split the recording session into slots and spend no more than three hours a day on recording vocals. I usually record the vocal parts shortly after tracking the guitars to the first songs. In this way, I spread the vocal session across quite a few days, even up to two weeks but without delaying the whole session. Whenever I hear that on a particular day the singer is not doing too well, we stop and spend the rest of the day tracking guitars or bass. With such workflow, we do not waste the studio hours and the singer is not exhausted when it does not make sense to push them.

Recording, mixing, mastering by Herr Krauss

What tips can you give to ensure the best vocal performance is captured?

Andy Classen: I did backing and lead vocals on some albums and I know about the recording situation for a singer in the studio, it's so different from singing in the rehearsal room or on stage because of the use of a headphone, a singer cannot simply change his strings or tune his voice, the feeling while recording is very important and has a big effect on the result always!

Herr Krauss: Well, it's a difficult question. I assume that a great vocal performance is a perfect mixture between great vocalist and good gear.

So when the feelings are captured with a good mic and a good preamp... I think it's a good take!

Arkadiusz Malczewski: It is important to give the singer the best recording environment possible. Firstly, they need to hear themselves, in stereo and at well-balanced proportions. If they ask for a slight delay or reverb, they should be able to get those. Each singer has different working habits and one has to listen, feel and understand what they need. There must be no stress or working under pressure. I also believe ambience of the studio interior, recording booth are vital. If one wants to sing surrounded by candles because that gives them the best vibe and inspiration – they should be able to get that.

When recording vocals what treatment process do you usually apply to the captured performance?

Andy Classen: Vocal tracks need compression always, in some cases I also use some de-essing, EQ if necessary and of course I use the option to tighten the timing by editing but I don't use any autotune (in case of harsh vocals there's no use for autotune anyway but also for clean vocals I don't like
the autotune-effect, I prefer good performance with it’s natural tuning…)

Herr Krauss: High end preamp, a bit of compression and sometimes eq to remove some nasty frequency. And... That's all!

Arkadiusz Malczewski: I usually use equalisers and quite heavy compression from the very start during the recording process. But if someone has a weak voice there is nothing you can do in the studio even using the most expensive gear. You can always enhance it while mixing but the result will never be amazing.

Engineering, backing vocals by Arkadiusz Malczewski

What are your thoughts on pitch-correction software?

Andy Classen: Already answered in last question, I don’t like these autotune effects, in some cases I use a pitch shifter to correct parts or single words but mainly I always try to push the performance instead of any auto-correction.

Herr Krauss: It's a tool. Depends on how you use it. Could be great or it could be bad! I use it sometimes just to help clean vox to stay perfectly in tune. Especially when there are some keys or brass...

Arkadiusz Malczewski: For growls and harsh vocals such software is not very effective. But it can definitely help with clean parts. Especially at a point of no return. The obvious solution is always to record the best possible vocals and use the software as little as possible.

Do you record harmonised parts or multi-layered harsh vocals differently to the 'main' performance captured?

Andy Classen: Depends, in some cases I do, sometimes I use just one single lead vocal-track, it's the question of "what you're looking for" but I started the producer's job in times when there was no computer in studios. Sometimes we double the lead-vocals but also in some cases I use a harmonizer to feature the lead track with a doubled track just a little bit pitched up or down or even both.

Herr Krauss: No. Exactly the same.

Arkadiusz Malczewski: I usually use the same or similar setup as for the main vocals. It depends on the artistic approach whether those are only small add-ons to emphasise the main voice or rich parallel harmonies. I do not like to "over produce" with a huge number of tracks.

Read also: Inside the Producers' Studio. How Arkadiusz Malczewski and other producers prepare for recordings

Interviewed by Dan Thaumitan

The bassist of Norwegian black metal band Mayhem, Necrobutcher, told about his plans to kill the band’s founder Øystein 'Euronymous' Aarseth in a recent video interview. The musician claimed he was on his way to murder Euronymous when he heard Varg Vikernes had killed him.

"When it happened, I just saw the morning paper, thinking ‘Fuck, I gotta get home to my place and get out all the weapons and drugs and shit I had in my house, because they’re coming to my house because I’m probably going to be the number one suspect for this", Necrobutcher.

After the interview was released, one created a frame on Facebook, saying "I was also on my way to kill Euronymous", which can be added by user to his profile pic.

Read also: Mayhem unveils single "Worthless Abominations Destroyed"

According to Necrobutcher, one of the reasons for the murder of Euronymus was his behavior after the suicide of Mayhem's singer Per Yngve Ohlin, more known as 'Dead' — in particular, taking photographs of dead Ohlin.

On February 8, 2019, there was a premiere of "Lords of Chaos", a film about the early Norwegian black metal scene, which also tells about the murder of Euronymus. Head to this location to watch the trailer and the scene from the film, featuring Varg Vikernes (played by Emory Cohen) and Euronymus (Rory Culkin).

Photo is taken at loudersound.com

On October 19, 2019, death/black metal act Bölzer gave a show in Kyiv, which became the first performance of the Swiss duet in Ukraine after several unsuccessful attempts of local promoters to organize their gig.

In addition to Bölzer, two Ukrainian acts Sectorial and Kaosophia also performed at the event. Above is the photo shoot from the gig by Noizr Zine’s photographer Mila Immortality.

Read also: Review of Bölzer’s latest EP "Lese Majesty

In April, Bölzer were supposed to perform at the Holy Death Over Kyiv DCLXVI festival, however, on the day of the concert, the Swiss duo announced the cancellation of its arrival due to problems with documents.

Kaosophia

Sectorial

Bölzer

Read also: Misþyrming to give show in Ukraine

Noizr Zine thanks Death Worship Comittee for accreditation

The organizers of Brutal Assault announced new bunch of bands for next year’s anniversary festival, which will be held in the Czech Republic from August 5 to 8, 2020. Among the newly announced acts:

1914, ARCTURUS, AUTHOR & PUNISHER, BEYOND CREATION, CRADLE OF FILTH, DRACONIS INFERNUM, FRONTIERER, HAVOK, KVELERTAK, MASS INFECTION, ME AND THAT MAN, NECROPHOBIC, OTTONE PESANTE, PENSÉES NOCTURNES, NOCTURNES, NOCTURATES, NOCTURNES, NOCTURATES, NOCTURATES, TOXIC HOLOCAUST, VADER and WHILE SHE SLEEPS.

Brutal Assault previously has shared the aftermovie from this year's event and launched a presale of tickets for 2020’s festival.

Read also: 5 reasons to visit Brutal Assault festival

In 2020, the 25th Brutal Assault festival will be traditionally held in the Josefov military fortress in the city of Jaromer, Czech Republic, from August 5 to 8. Among its headliners are Asphyx, Dark Funeral, and Myrkur. Tickets for 98 euros are available for pre-order here.

List of confirmed acts so far:

1914, ARCTURUS, ASPHYX, ATARI TEENAGE RIOT, AUTHOR & PUNISHER, BEYOND CREATION, CRADLE OF FILTH, DARK FUNERAL, DESPISED ICON, DRACONIS INFERNUM, EVOKEN, FRONTIERER, HAVOK, HENTAI CORPORATION INFORMATION, ME, , MYRKUR, NECROPHOBIC, NOCTURNUS AD, OTTONE PESANTE, PENSÉES NOCTURNES, PHILIP H. ANSELMO & THE ILLEGALS who will perform PANTERA’s album "Vulgar Display of Power", RAZOR, RING OF SATURN, SIGH, STATICAD XOR, TOATICOL X TO VENOM, WHILE SHE SLEEPS, WORMROT

Read also: Brutal Assault 2019's photo and text report

American shock rocker Marilyn Manson has released his version of the famous American song "God’s Gonna Cut You Down".

"God’s Gonna Cut You Down" is a traditional folk song which has been recorded by numerous artists representing a variety of genres. The lyrics are a warning to sinners that no matter how hard they try, they will not avoid God's judgment.

The song is known both as "God's Gonna Cut You Down" from the last line of the chorus, and as "Run On for a Long Time" (or just "Run On") from the first line. Among the most famous performers of the song are Odette, Elvis Presley, Moby, and Johnny Cash.

"God’s Gonna Cut You Down" is available for order on vinyl via website of Loma Vista Recordings (Ghost, Iggy Pop). Marilyn Manson’s latest album, "Heaven Upside Down", was released in 2017, hitting dozens of international music charts.

Read also — Marilyn Manson: New video with Johnny Depp, Twiggy Ramirez firing, and scandal because of the show

EPs are a fickle medium; done right they can be sublime addendums to a bands previous albums or an interesting indicator of where the band will head in the future; if you need evidence of this one need look no further than Deathspell Omega’s flawless history of EP’s or Aosoth’s perfect "IV/Appendixes". Done the wrong way however it can leave the listener questioning the need for an EP "Was there not enough material to fulfill a full-length?", "Is this just an experiment?" or worst of all a chunk of filler with a couple of songs worth listening to on it — we’ve all experienced this phenomenon at some stage or another!

"Lese Majesty" falls somewhere between the two, whilst it does give a hint that Bölzer seem to be journeying towards a more progressive sound and building on what was displayed on "Hero" it also leaves a lot to be desired. Frankly, I feel that accurately sums up Bölzer as a band. The hardest thing to shake about this band is the parallels that they seem to draw with Mgła, and I’m not referring to the fact that they’re a duo. More to the fact that what both bands do is take the tropes of a well-established genre and try to balance an homage to its roots; in Mgła’s case black metal and in Bölzer’s case black/death metal. Now I'll be honest the death/black that Bölzer seem to honour is the more black infused black/death such as bands like Aosoth, Arkhon Infaustus even Ascension (confused yet!? you should be). Both bands are heavy on touring to build up their fan base and likely due to this they’re both bands that are on the lips of many within the scene. The thing that sets Mgła apart from Bölzer is their ability to take incredibly simple pieces and carve something majestic out of them (mostly due to Darkside’s drumming). Bölzer on the other hand lack that vital element that Mgła display, massively, for lack of a better term the 'X-Factor'. The flip-side is that the bands that clearly inspire Bölzer have created far more compelling works, sometimes with even fewer elements.

All that being said "Lese Majesty" does display Bölzer as a band growing, whilst "Hero" was relatively monotonous and lacking in dynamics, Bölzer have upped their game and it would seem that whenever their next album comes out, it'll be a damn sight more progressive than "Hero". The 3 tracks on this E.P (the 2nd track is pure filler — with a name indicating dormancy between the two halves of the EP I get the sense it was intended as part of a grander architecture but it falls short of the mark) display a band building and experimenting. The technical proficiency of the song-writing has increased and showcases a variety of tempos and textures but ultimately it lacks riffs and sections that will draw the listener in.

I don’t want to sound like a hater but Bölzer seem like one of those bands that occupy the scene for a brief period only to fade into obscurity at a later date, black metal is a fickle genre and filled with contrarians. There is a battle in the psyche of most obsessed with the genre; on the one hand they want ‘new, exciting music that will push the envelope’ and the other side of them wants something that feels familiar and safe, that’s why we have bands like Cultes Des Ghoules, Batushka, and Bölzer. This is not to say I think these bands aren’t committed to their craft or that they’re in it just for the money… well Bartushka maybe, I just mean that in 20 years when we look back at the bands that left a stamp on black metal are we really going to be talking about them then? For Bölzer, definitely not at this stage. As for Mgła, they’re an anomaly; they will be spoken about in 20 years, even if it is just to talk about the insane drum work on their albums.

In summary, Bölzer fans will be content, it’s more of the same stuff they want and appreciate the band for. I’m interested to see where the band takes their experimentation on their next release because it feels like there’s something brewing, it’s not just there yet but let’s bear in mind it took Deathspell Omega, The Order of Apollyon, Arkhon Infaustus and Aosoth a couple of albums before they really hit their stride. There’s potential in the machine, it’s just not fully fledged yet.

"Lese Majesty" will be released on November 15 via Bölzer’s own label Lightning & Sons. The album is now available for pre-order in Europe and USA, and digitally.

Bölzer's "Void Dancers MMXIX" European Tour:

27.11.19, HU — Budapest — Dürer Kert
28.11.19, SI — Bohinjska Bistrica
29.11.19, SK — Bratislava — Majestic
30.11.19, PL — Krakow — FOAD Fest
01.12.19, DE — Leipzig — Hellraiser
02.12.19, DE — Hamburg — Markthalle Hamburg
03.12.19, NL — Leiden — Gebr de Nobel
04.12.19, DE — Kassel — Hole In The Svn
05.12.19, DE — Mannheim — MS Connexion Complex
06.12.19, CH — Basel — Sommercasino
07.12.19, AT — Wels — Celebrare Noctem
08.12.19, DE — Oberhausen — Helvete
09.12.19, FR — Paris — Petit Bain
10.12.19, UK — London — The Underworld
11.12.19, BE — Antwerp — Zappa
12.12.19, NL — Effenaar — Eindhoven
13.12.19, DE — Berlin — Columbia Theater
14.12.19, PL — Poznan — Klub u Bazyla
15.12.19, PL — Warsaw- Progresja

Reviewed by Dan Thaumitan

Greek symphonic death metallers Septicflesh gave a show on October 9 in Kyiv. The performance took place in support of the band’s latest critically acclaimed album "Codex Omega", and 4 years after its last visit to Ukraine.

The band’s set featured 5 songs from its 10th record, including "Dante's Inferno", "Dark Art", "Enemy of Truth", "Portrait of a Headless Man" and, judging on the reaction of the audience, one of the most favorite songs from the album — "Martyr". Naturally, the group did not ignore the insistent demands of the crowd, playing old classics like "Anubis", "Pyramid God" and "The Vampire from Nazareth".

Read also: Combichrist to give show on December 1 in Kyiv

One of things, which made a good impression about the gig, was a good quality of sound and light show at the concert — which is not a common thing for the venue where the event took place. As the promoters later said, both the light and the sound equipment weren’t provided by the local club, but by the band and the organizers.

See aslo: Rotting Christ in Ukraine. Why their gigs are heaven for fans

After the gig in Kyiv, Septicflesh played a few shows in Minsk and several cities of Russia. In the immediate plans of the band are 2 performances in Yekaterinburg and Samara.

Septicflesh's set list:

1. Portrait of a Headless Man
2. Pyramid god
3. Martyr
4. Prototype
5. Enemy of truth
6. Communion
7. The Vampire from Nazareth
8. Prometheus
9. Lovecraft's death
10. Persepolis
11. Dante's inferno

Encore:

1. Anubis
2. Dark art

Photos by Mila Immortality
Text by Anastezia G.
Noizr thanks VA Concerts for the accreditation

Death Worship Committee, which organizes Holy Death Over Kyiv festivals, has announced a concert of the Icelandic black metallers Misþyrming. The band will perform on March 11, 2020 at the Monteray Club in Kyiv.

Misþyrming will perform in support of their latest album "Algleymi", which was released on May 24 via Norma Evangelium Diaboli Records. Event on Facebook.

See also: "Never stop the madness". Interview with Misþyrming

Misþyrming were formed in Reykjavik, Iceland, in 2013. Two years later, the band released their debut album "Söngvar elds og óreiðu" via Terratur Possessions, which then landed 9th place on Noisey's Top 100 albums of the year. In 2016, the biggest European metal magazine Metal Hammer named Misþyrming as one of the Top 10 Icelandic bands.

See also: Bölzer to perform on October 19 in Kyiv

US thrash metallers Slayer, who are about to finish their career with a new leg of a farewell world tour, have announced the screening sessions of the concert film "Slayer: The Relentless Killogy" in worldwide cinemas.

"Slayer: The Relentless Killogy" is a two-part concert movie captured during the band's performance at the Los Angeles Forum on August 5, 2017. Directed by Wayne Isham who has worked with artists including Metallica, Foo Fighters, and Michael Jackson, Part Two of “Slayer: The Relentless Killogy” is Slayer’s entire 90-minute live set which "showcases the spectacular pyrotechnic stage show for what has been cited as Slayer’s finest tour production". The film will be released on November 8 on LP and CD via Nuclear Blast Records.

See also: Slayer complete "Repentless" trilogy with new bloody video "Pride In Prejudice"

"Slayer: The Relentless Killogy" showtimes will be held on November 6 in cinemas around the world. You can check the information about the screening sessions at this location. "Slayer: The Relentless Killogy" is already available for pre-order here.

Slayer’s farewell tour will end this year with two gigs at Los Angeles’ Forum on November 29 and 30. All other dates are listed below.

November 2 — Explore Asheville Arena, Asheville, NC
November 3 — PNC Arena, Raleigh, NC
November 5 — Salem Civic Center, Salem, VA
November 6 — Giant Center, Hershey, PA
November 8 — Mass Mutual Center, Springfield, MA
November 9 — Madison Square Garden, New York, NY
November 11 — KFC Yum! Center, Louisville, KY
November 12 — Nationwide Arena, Columbus, OH
November 14 — TaxSlayer Arena, Moline, IL
November 15 — Denny Sanford Premier Center, Sioux Falls, SD
November 17 — Fargodome, Fargo, ND
November 18 — CHI Health Center, Omaha, NE
November 20 — Broadmore World Arena, Colorado Springs, CO
November 22 — First Interstate Arena at MetraPark, Billings, MT
November 24 — Spokane Arena, Spokane, WA
November 26 — Oakland Arena, Oakland, CA
November 27 — Grand Garden Arena, Las Vegas, NV
November 29 — The Forum, Los Angeles, CA
November 30 — The Forum, Los Angeles, CA

Read also: Tom Araya’s statue opened near Kyiv

WATCH VIDEO FROM NOIZR PRODS

Noizr Zine’s selection of recent rock and metal releases. Check out the snippet of the upcoming album "F&M" by Lindemann, the project featuring Rammstein’s vocalist Till Lindemann and multi-instrumentalist Peter Tägtgren (Hypocrisy, Pain). The album's release is scheduled for November 22 this year. Also, check out new videos from Borknagar, Alcest, and Jinjer.

Read also: Peter Tägtgren on Pain, Lindemann, Hypocrisy, and work at studio

WATCH VIDEO FROM NOIZR ZINE

Noizr Zine’s selection of recent black metal releases. Check out the music video "Hecate" for the song from Abbath’s latest album "Outstrider", the lyric video for Mayhem’s track “Of Worms and Ruins”, which will appear on the band’s upcoming album "Daemon", Rotting Christ’s live video"Societas Satanas" from the anniversary Lithuanian festival Kilkim Žaibu, the video "Clevermouth" from the Swedish act Reveal, and the track "Nocturnal Bloodlust" from the same-named album of the Finnish black metallers Black Beast.

Read also: Rotting Christ in Ukraine. Why their gigs are heaven for fans

WATCH VIDEO FROM NOIZR PRODS

Icelandic black metal festival Ascension launched a ticket pre-sale. The event will be held from May 21 to May 23, 2020, featuring Auðn, Mgła, Sinmara, Ved Buens Ende and other bands.

"Oration and Studio Emissary are proud to present Ascension MMXX. Ascension festival aims to offer an eclectic and esoteric experience, with a strong emphasis on Icelandic and international Black metal."

Ascension MMXX will be held at the Hlégarður in Mosfellbær, Iceland. Among the first announced bands are:

Almyrkvi (IS)
Andavald (IS)
Auðn (IS)
Grave Pleasures (FI)
Hexvessel (FI)
Kaleikr (IS)
Kælan Mikla (IS)
Malokarpatan (SK)
Mannveira (IS)
Mgła (PL)
Nexion (IS)
Sinmara (is)
Slidhr (IS / IRL)
Trepaneringsritualen (SE)
Ved Buens Ende (NO)

Tickets for the festival are already available for purchase:

Phase I Early Bird — Sold Out
Phase II Early Bird — 16,900 Kr (Approximately €124 / $136)
Phase III Early Bird — 17,900 Kr (Approximately €131 / $144)
Phase IV Early Bird — 18,900 Kr (Approximately €139 / $152)

You can buy tickets for Ascension Festival at this location. Event on Facebook.

The previous Ascension festival was held from June 13-15, 2019, with Antaeus, Gost, King Dude, Bölzer, Misþyrming, Sinmara, Solstafir, Zhrine and others as performing bands. In addition to performances by musical acts, the festival also hosted exhibitions by French artist and designer Dehn Sora (Amenra, Blut aus Nord, In the Woods..., Merrimack, Sektarism) and German photographer Void Revelations (Misþyrming, Whoredom Rife, King Dude, Chelsea Wolfe).

Read also: Interview with one of the main catalysts in the Icelandic scene Stephen Lockhart

Swiss duo Bölzer shared the first track from the upcoming album "Lese Majesty". Above, check out the band’s new track "A Shepherd In Wolven Skin".

"Lese Majesty" will be released on November 15 via its own label Lightning & Sons. In anticipation of the release, the band will go on a European tour, during which they will give a concert on October 19 in Kyiv, Ukraine, along with Sectorial and Kaosophia.

"Lese Majesty" is now available for pre-order in Europe and USA. Also, the album can be ordered digitally.

British metallers Paradise Lost will give a concert in Kyiv, Ukraine, on February 7, 2020. The performance will take place at the Bingo club in support of the band’s latest album "Medusa".

Tickets from 700 UAH are already available for purchase. You can buy tickets for Paradise Lost in Kyiv here. Event on Facebook.

Check out also: Paradise Lost’s track "The Longest Winter"

The American aggrotech metal project Combichrist will play a concert in Kyiv, Ukraine, in support of the band's newest album "One Fire". The performance will take place on December 1 at the Bingo club, tickets are already available for purchase.

Announcement of the organizers: “One of the most successful modern aggrotech/EBM bands Combichrist, which toured Europe and America with Rammstein, is going to Ukraine with the latest album "One Fire". Imagine a rave in hell itself, where instead of the devil, the charismatic Norwegian Andy LaPlegua and the band are mixing techno and industrial, abundantly adding aggressive guitar riffs to this fire."

Tickets from 650 UAH can be ordered here.
Event on Facebook.

Czech metal festival Brutal Assault shared the aftermovie from this year's event. Along with the video, the organizers also launched a pre-sale of tickets for the festival, which will be held next year.

Read also: 5 reasons to visit Brutal Assault festival

In 2020, the 25th Brutal Assault festival will be traditionally held in the Josefov military fortress in the city of Jaromer, Czech Republic, from August 5 to 8. Among its headliners are Asphyx, Dark Funeral, and Myrkur. Tickets for 98 euros are available for pre-order here.

Read also: Brutal Assault 2019's photo and text report

Canadian death metallers Necronomicon are going on tour in the United States with Belphegor, Suffocation, and Abiotic. The gigs will be held in support of the band’s upcoming album "Unus".

"Necronomicon is proud to go on the road with long-time friends Suffocation and of course cult german dark band Belphegor. We shared the stage with both of these bands in the past but only on a 1 off or festivals, so very excited to do all these American dates with them. See you all in October/November US fans," says the band's leader Rob The Witch.

Necronomicon’s "Unus" will be out on October 18 via Season of Mist label, the album is currently available for pre-order. The upcoming 26 dste tour kicks off on October 24th in Sauget, IL and will end on November 23rd in Reading, PA.

See also: Necronomicon "Crown Of Thorns" video release

Welcome back to Inside the Producers' Studio. In this series, top producers from across extreme metal share their knowledge and wisdom about recording and production. We’ve hand-picked some of the best and most interesting producers; some from large studios others from more niche circles, whatever their situation, you’ll be sure to pick up tips and get an insight into the minds that are shaping metal in the current era.

The first article was dedicated to studio set-up, the second one was about pre-recording, the third one – about recording drums, the forth one — about recording bass, and the fifth one — about recording guitars.

This new article is focused on how different producers, Herbrand Larsen, Børge Finstad, Joost van den Broek, and Lasse Lammert, record and capture performances from various instruments and how they manage to integrate them into metal mixes.

Experts

Herbrand Larsen is the owner of Conclave & Earshot Studios in Norway, throughout his career he has worked with the likes of Taake, Gorgoroth, Vulture Industries and Wardruna. Herbrand has also provided vocal and keyboard duties with bands such as Enslaved, Abbath, and Ahab. Contact: conclave-earshot.no

Toproom Studio in Oslo is home to Børge Finstad, for the past 25 years he has helped record and produce some huge names in extreme metal, bands like Ulver, Ihsahn, Arcturus, Mayhem and Red Harvest have all sought the handiwork of Børge through the years. Contact: toproomstudio.com

Joost Van Den Broek initially achieved acclaim with After Forever where he played keyboards, since the demise of that band he has focused his efforts on production, dealing with music from nearly every genre. Within metal he has helped produce the works of Epica, Powerwolf, Mayan and HDK to name a few. Contact: joostvandenbroek.com, facebook.com/joostvandenbroek.official

The German musician and producer Lasse Lammert has collaborated with more than fifty bands from around the world. As the owner of the LSD-Studio, Lammert has worked with Alestorm, Svartsot, Halcyon Way, Synarchy, Trials, Inner Sanctum, Steel Tormentor, Lucy's Doll and many other groups. The releases, produced by Lammert, have oftentimes got into the American, British and German charts and been positively received by the critics. In addition to his work as a producer, Lammert is also the guitarist of the metal band Killfloor Mechanic. Contacts: lasselammert.com, facebook.com/LasseLammertStudio

Recording additional instruments

Which instrument was the most the most difficult that you’ve ever had to record, and why?

Herbrand Larsen: I haven’t experienced any instrument that is hard to record. As long as the instrument is in tune, fit into the arrangement and is played well there should not be any big problems. A good room is also important when it comes to acoustic instruments. I think that a good musician, with a good instrument, in a good room, in a good arrangement is the key.

We have an old pipe organ in the studio that is tuned 0.3 cents lower than 440 Hz. That means that you either have to tune the rest of the instruments lower or tune the pipe organ in the DAW after the recording up to 440Hz. As long as you are aware of this it’s not a problem.

Guitars that are not properly intonated would be almost impossible to work with and sometimes voices distort, not in a good way. I have experienced voices that on some days just have a weird distortion. Then you just have to wait till the next day. The distortion usually goes away.

Børge Finstad: Every instruments is difficult to record. All depends on the musician and the the instrument. And the room! It’s all makes it together. A bad player can make a instrument sound bad, and a good one make a bad instrument to sound good! In a bad room, everything will sound not pleasant. Most of the cases, the musicians brings good instruments, and know how to play them. But I remember a production (Big Bang "Wild Bird"), I want the guitarist to play the electric guitar acoustic. I placed the mics, and it sounded really good. But the click track from the cans bleeded so much into the mics, so we had to work hard to get i right. So the bleed from the cans is most of the times the biggest issue.

Joost Van Den Broek: There are quite a few ethnic instruments that are pretty difficult to capture and make sound good in a (modern or full) production, since their sound doesn't come from one place, but forms a total sound when combined. In order to gather the same experience when you hear the instrument live in a room, but use close mics to capture their raw and direct sound, takes some skills, experience and vision. Also these instruments can have a lot of 'noise' like clicking parts, falls air, crackles. Especially when close micing, plus using a bit of compression and EQ, these 'noises' can easily become too loud and distract from the performance and music… so you'll need to find the right basis.

I'm talking about instruments like: different types of accordions, Uilleann pipes, an Indian sitar.

Because it's best to use a multiple mic setup, you also have to keep really good track of phasing, even more so since these instruments can be quite low in volume and need quite some preamp gain.

Lasse Lammert: For this answer it’s hard to disconnect the recording stage from the mix, principally everything that makes a sound can be miked and recorded, but depending on the mix, arrangement and the other instruments it might be rather difficult to make it heard in the mix against other instruments or to get enough of the instrument’s character through a dense mix so that it still sounds natural.

I’d say up there with the most difficult ones was definitely a hurdy gurdy I recorded with a Danish folk band called Huldre. The gurdy consists of a drone part and the melody part.

It’s got a very nice "medieval" kinda sound but when placed in a dense metal mix with walls of electric guitars, the drones quickly become just a weird wobbly noise in the background, so it’s extra important to get them perfectly in tune with the rest of the instruments.

The melody voice of the gurdy is very similar to a fiddle/violin in terms of sound (attack, tonality, frequency range), and since that band also had a violin playing the same7similar melodies in the same range, it was extremely challenging to give every instrument its place in the mix.

So while recording an instrument from a purely technical point of view might be fairly easy, seating it in a busy mix might be not, so that’s something that should already be considered in the recording stage or preferably during songwriting/arrangement.

"The Watcher" feat. Herbrand Larsen — Keyboards, Organ, Vocals (clean), Producer, Engineering

When a band utilises synths (physical or computer-generated) how do you approach introducing them to the rest of the mix? How often do you alter the initial sound to integrate better with the overall mix?

Herbrand Larsen: The balance between synths and guitars can be really hard to get right. I usually prefer the guitars to be the dominant instrument in metal/rock. When it comes to synth pads they can flatten out things and make things less punchy and in your face.
It's also important to not have to many different melodic lines going on at once. Doubling guitarlines with keys could be cool to make them sound different and make a difference. Also basslines could be cool doubling.

To add a touch of distortion on keys, using plugs like Decapitator from Soundtoys is often a good thing. Put some overtones and dirt into sounds.

It depends of course on the initial sound if I alter them or not. If there is a good plan behind the sounds I don’t alter them. The biggest problem is often that keys are played in the wrong range. Meaning they are often one or two octaves to low to cut through a mix. It depends on the role the keys would have in the arrangement. If I have the MIDI tracks it obviously easier to change sounds or layering existing sounds. Putting in octaves can be a cool trick to make sounds cut through better.

Børge Finstad: Well, If a band wants to use a synths and generated sounds, its a reason for that: the budget is not there for the real thing! I can talk a lot about that. Ten years ago, I had music production for my primary salary. Now, I make my primary salary as a teacher. I give lessons in sound, film-making and Norwegian at high-school. Cause of Internet and downloading, the record companies don't make money, and so do not I. But in the last 90’s and in the beginning if of the 20’s, we got more money to use orcesteral, choirs.. rent studios/places with Steinway grand. These days, the budget is around nothing, so the bands must use computer generated music. Sometimes we add the generated orchester with one to four real strings to make the human fell, but that still eat at lot of the budget... most of the budget... With bands like Solefald and Borknagar, we hire a real Hammond B3/C3, and the Larz, the player make it sound like the instrument deserves!

Joost Van Den Broek: It really depends on if this sound is chosen completely by the right vision of the production as intended or has a big role, or if it’s an extra element and should enhance the band. In the first example I would actually build the band around this synth sound, using EQ and panning to make it work together and not lose impact. In the second case I would alter a sound in order to make it work as an extra or enhancement, not changing anything in the initial mix.

In both cases you always have to check what part of the sound you need and will work in the mix. If you already have a lot of low end, you can easily filter low end out of the synth sound, since the bass and guitars make up for this. Especially the high end is something that can make a synth sound not blend with a band mix, since the high of a synth can be more aggressive or bright than any 'acoustic' sounding instrument.

Lasse Lammert: In general I like to commit as early as possible, when it comes to adding synths I usually have a rough mix with drums, bass, guitars ging already, so I’ll know pretty much right away if a sound will work or not. If I get outside recorded tracks to mix it might be a different beast, in that case I still rather tweak the existing sound than changing it altogether…

Some of my most common tools in those cases are distortion and saturation to give the synth a more distinct character and help it cut through the mix, some multiband compression can also go a long way in helping to create some space and making the synth not swallow everything else because of it’s very wide frequency range.

Børge Finstad — Engineering, Co-Producer, Mixing

How often do you as a producer introduce the concept of a band using other instruments to add more texture or further a composition?

Herbrand Larsen: I have added stuff in things that I produce. Mostly some keys or acoustic guitars. Putting some acoustic guitars with a touch of distortion (again Decapitator/Devil-loc) behind electric guitars is a cool trick. Acoustic guitars recorded with a 57 for a more grittier sound. Adding more of the that direct string sound. It doesn’t have to be pretty or loud.

If I get ideas for arrangements I of course ask the band what they think. Some are up for it. Some are not. Hehe...

Børge Finstad: Depends on the band. With Borknagar in the early 2000, I want them to think a bit new. I introduce the acc. guitar and the high stringed guitar as well. To prog the album even more up, we used Hammond C3 and Steinway grand piano. Borknagar also made an acc album "Origin" with lots of flute, that the flute-master played by Steinar Ofsdal [Norwegian composer and musician — Noizr]. They still use those instruments in later productions.

Joost Van Den Broek: Very often and most musicians/bands are very interested in that, since it mostly creates a more unique sound and blend. It depends on how much room this extra sound/instrument can take… if it's a lead, so it’s almost an extra lead musician or just an extra flavour to create an additional dimension around the existing sound of the band. Anyway, it should fit the band's vision, look and feel and their live performance. Thereby a small extra thing to take notice of is if this extra instrument should be only in 1 song or comes back in multiple song on an album, creating a more clear red line… I mostly prefer the 2nd way.

Lasse Lammert: There’s a vibraslap track hidden in every Alestorm album so far.

But other than that the opposite is actually more often the case, bands tend to go overboard with their arrangements and often end up with a way too busy piece of music where a lot of different instruments are fighting for the same sonic space. Often it’s necessary to cut down a little and focus on what’s important (Vocals? A lead line? A rhythmic beat?…) then help that track by carving space around it and removing instruments that are fighting for attention in the same range. That’s a very difficult process because you’re asking a musician to alter or even remove their track from a part of the song, definitely one of the moments where trust between the producer and musician is rather important. Ego on both sides can get in the way and it’s inherently difficult to step back and try to assume an outside position and listen with fresh ears.

Joost van den Broek — Programming (additional), Score (choir), Arrangements (choir), Arrangements (orchestral, choir), Recording (choir), Recording (choir)

Are there any instruments that you would like to see incorporated more into compositions?

Herbrand Larsen: I like acoustic guitars and tambourines. Also in metal and rock. Generally acoustic instruments can create depth and originality into your composition. The problem in metal is that drums and lots of big guitars eat up all the space and room in your mix. Again, arrangement is the key for a good production/sound.

Børge Finstad: A lot! Bring more folk-instruments! Norwegian bands do this a lot, but it seems to do it most in black metal. Bands from other countries seems to be afraid to do this, but I know that its lots of uncommon instruments which want to be recorded and blended into rock/metal music!

Joost Van Den Broek: That's a very hard question to answer, since it's totally depending on style and culture. I think the music nowadays is very open for all hybrids and crossovers possible...if it's ethnic, classical or electronics...it's all possible and could all possibly work out great!

In addition to that, I do feel that sometimes bands tend to forget a bit too much about the importance about having real instruments (whatever they are) record and performed in a great way, added a lot of authenticy, dynamics and soul to their sound and production. Of course you can do amazing stuff with programming, but still...

Lasse Lammert: I’m in the lucky position that I get to record exotic instruments all the time, I’ve worked with a lot of folk bands that are using all sorts of ancient/special/rare/uncommon instruments, I even recorded music in an improvised studio in the jungle of Thailand with orphans and some old native Thai instruments… At this point I’d actually love to mix some straight metal where I just have to balance guts, bass, drums, vocals on a total of 30 tracks instead of trying to carve space in a busy 150+ track beast of a mix. Don’t get me wrong, I absolutely love working on those folk and orchestral mixes, I do love the challenge, but I’m doing it all the time, so mixing a regular death metal band would feel like a vacation [smiles]. So to answer your question… No, most of the time I definitely do not think of adding even more instruments.

Lasse Lammert — Recording, Producer, Mastering

When dealing with acoustic instruments, how do you usually record them?

Herbrand Larsen: I often use stereo techniques if there is room for it in the production. AB or Blumlein mostly. Sometimes a combination of a close mic and a stereo pair with some distance. Recording in stereo gives you a natural with and depth that are impossible to create with reverbs and effects. Recording stuff with ribbon mics often give a natural result. I have a pair of Coles 4038 that never disappoints me. You can use them for anything that sounds good in a room. They are a bit brighter than other ribbons. Also killer for overheads.

I used them for instruments like Arabic oud/lute on the latest Aeternus album. Also some Norwegian Seljefløyte (willow flute) and bukkehorn (Billy Goat's horn) were recorded with the Coles.

Børge Finstad: In right order:

1. A good player
2. A good instrument (and a player who know it)
3. Good mics
4. A good room
5. A good mic pre
6. A good engineer!

This can be an article itselves.. I love good instruments and the players! It all starts here! Then I must have good microphones. I tend to use Neumann like U47, U87, KM84/184, Sony C800G. The preamps… I got a lots of them. But the microphone is still the most important part.. exempt from the player and the instrument. ...And the room!

Joost Van Den Broek: You could write many books about this, and many people have already… but you have a few main ingredients… good mics, a nice sounding room (or a complete dry room) and great preamps. But most important, no matter what technical aspects, a perfect and skilled performance, plus a great sounding and well maintained instrument. If you have these 2 elements, the rest is a sideshow.

Lasse Lammert: This again depends a bit on the mix, or actually a lot. Knowing what else is going on in the mix and how much space is left/needed in the sonic landscape is very important before you even start placing the mic. In general I like using my ears first, as in "be in the room with the instrument", trying to get the best possible sound there… that might be achieved by moving the musician around in the room, setting the mood, helping the musician relax, putting new strings/skins on the instrument etc, I then try to capture that sound I’m hearing with mics.

But that’s the more general approach, usually you’ll have to look at the position of the instrument in the mix, so the biggest or most natural sounding recording might not be perfect for the mix.

While I might for example mic an acoustic guitar for an intro of the song with a stereo set of LDC or a Blumlein configuration of ribbon mics, that probably won’t work anymore once the entire band kicks in with heavy guitars, drums and distorted bass, then an SDC mono track or two might be working better for that same guitar.

But yeah, as a general guideline I’d still say use your ears first, move around the instrument and find the spot it sounds best/most natural/most fitting and then put a mic there, listen back and adjust.

Read also: Experts opinion. Main mistakes of home production feat. Lasse Lammert

By Dan Thaumitan

Perhaps one of the most exciting things about a Blut Aus Nord record is not really knowing which side of the band you're going to get; will it be the cold, industrial & mechanical side of the band like "The Work Which Transforms God" or perhaps the melodic stylings of "Memoria Vetusta"? It would seem that "Hallucinogen" for the most part falls into the latter category yet still retains some of the more mechanical stylings of the other half of the band.

To say this is maybe the most musically accomplished record the band has produced so far wouldn't be an understatement. "Hallucinogen" is a hypnotic, metamorphosing beast, in the same way that staring at the same wall with a head full of acid for 3 hours can be! It's textured, dynamic and sonically astounding, it's an album that is nearly devoid of vocals and yet still manages to captivate and intrigue the listener.

Musically the album covers so much territory that it's almost hard to chart, influence is drawn from so many corners and yet ultimately is moulded into a completely unique beast. Enchanting riffs, dynamics and textures for aeons and a general aura of mysticism. In the same way that dimethyltryptamine journeys seem to mutate and evolve over the course of a short period of time (that feels way longer) so does "Hallucinogen". As much as the album may seem to be inspired by such psychonautic excursions, it is by no means a 'mellow, love-for-all', although melody is abound throughout the album. Make no mistake there is nothing held back and feels like perhaps the most ultimate expression of whatever is in Vindsval's head ever; a beautiful cacophony. Just as the mind settles into the pattern and joy of one part, the next exciting and revelatory part ensues. Enthralling blasting sections give way to serene choir backed breaks and soaring lead riffs.

As an album, it's hard to digest in one sitting and despite the 5+ listens I've had of this album so far, I still have yet for all of it to sink in. Perhaps the mark of a truly great album is its ability to be enjoyable from the start but each further listen rewards the listener more each time as the package is unfurled.

"Hallucinogen" production is once again something to be admired, it's typical Blut Aus Nord, a sound that through the years has become immediately recognisable, perhaps the bands greatest achievement is the fact that regardless of how the production sounds the music is always there to back it up. It's not a 'by the numbers' record (which admittedly I've experienced with BAN before — "Odinist..." & "MoRT" for example), everything has been dedicated to this record and it shows.

Generally I'm a fan of the cold, mechanical side of BAN (777, The Work Which...) and their more melodic efforts whilst enjoyable have never hit quite the same spot. I can't say that this album scratches that particular itch, however, I will say this, the album is nearly flawless in its breadth and scope and anyone looking at how to write black metal thats melodically engaging and somewhat traditional — this is how you do it. It took me a few listens to realise how few vocals there were, if anything is an indicator of how compelling the music is, then I think that says it all.

Also listen to: Yerûšelem (Blut Aus Nord)’s track "Babel"

"Hallucinogen" is available for order on Digipack CD, Gatefold vinyl 2x12", cassette and digital version via Debemur Morti Productions. You can order it at these locations: Europe, USA, and Bandcamp.

Reviewed by Dan Thaumitan

On Saturday, September 14, the fans of quality dark/black metal met at the Bingo club the frequent guests from Greece — the band Rotting Christ. In the capital of Ukraine they played their third concert in the last few years, and once again had a full house, a warm welcome, and a very friendly 30-minute Meet & Greet at the end of the evening.

Last April, Rotting Christ brought to Kyiv their gloomy twelfth studio album "Rituals". Since that time, the band recorded a new album "The Heretics", as well as parted ways with the bassist Vagelis Karzis and solo guitarist George Emmanuel. Does it make sense to tell at great length about another one awesome gig? Probably no. Instead of it, we decided to tell why these guys are real craftsmen, whose concerts are always gonna be welcomed in Ukraine.

Rotting Christ went on tour with their new album in the spring and began it with South America: Brazil, Paraguay, Chile, Ecuador. Today the musicians criss-cross the European countries and gonna finish only in December in Germany. The new year brought the band not only the thirteenth LP, but also some changes in its line-up. To tell the truth, this time it was quite interesting to keep an eye on young and energetic bassist Kostas Heliotis (born in 1990) and the sturdy fellow, the guitarist Giannis Kalamatas. Despite the age difference with the Tolis brothers, the newcomers fit the team perfectly and there were no reasons to have any doubts about their skills.

Read also: "Non Serviam": Review of Cult Never Dies’ biography about Rotting Christ

The musicians played an hour-long program, and then came out with a few more encore tracks. During this time Rotting Christ traditionally performed only a few songs from the new album, some proven hits and more recent successful works like the extraordinary and spectacular "Apage Satana". Further, read briefly about the main points we wanted to highlight in the band’s performance.

Timing

One can argue a hundred times about the timing issue. Everyone seems to have its own pros and cons about this, but it's really cool when you don't have to stay under the stage for an hour and a half while waiting for the band. And Rotting Christ is not disappointing in this matter — the show, that was announced for 9:00 pm, started on time with an atmospheric intro and powerful opener "Hallowed Be Thy Name". As previously was announced, 30 minutes after the final, the musicians came out to chat with the fans, take some photos and sign their branded merch.

Band’s image

Rotting Christ is one of those bands that can be cited as an example for dozens of others. These guys have worked out the kinks. They are well prepared and concentrated, moderately brutal, and at the same time, they look very convincing, which sometimes can not be said about the guys dressed up in ridiculous attributes. A high-quality show, a strong set list and well-coordinated work of musicians on stage, no stupidities, and excessive emotionality — here we got the traits of professionals, are we?

Atmosphere

In its music Rotting Christ skillfully mix heavy guitars, aggressive vocals, and ethnic elements. Quite often this powerful sound is skillfully enlarged with some sound effects, whether it be a chorus or the noise of some pandemonium mess. The musicians successfully transfer all this stuff to their live shows, complement them with certain visual effects like smoke columns and flashes of colorful spotlights. Due to this they get a dope atmosphere that swallows you up from the very beginning.

Meat & Greet and other goodies

Rotting Christ’s shows are heaven for their fans, and this one was no exception. In addition to the gig, during which the guitar picks and the drum sticks fly into the crowd, shortly after it all four musicians simply go into the hall to chat with their guests. Selfies, autographs on merch and tickets — neither the Tolis brothers nor the other members of the band refused even the most hot brained fans, who had pretty much drunk under the stage.

Summary

In short, Rotting Christ were so good that even that the seedy Bingo club, which reputation and conditions seem never get better, could not spoil the impressions of this evening. Tolis brothers are infinitely dedicated to their project. And over the years, no matter who stood with them on the stage, they managed to turn it into a strong and independent machine of impressive size. These are real craftsmen, who have not been spoiled by success and recognition. Therefore, they are welcome guests around the world.

Photos and report by Yurii Somov
Noizr thanks VA Concerts for the accreditation

Lindemann, the project of vocalist Till Lindemann (Rammstein) and multi-instrumentalist Peter Tägtgren (Hypocrisy, Pain), after a few months break presented a new music video "Steh auf". Follow the link to watch the fan video of the band’s first live performance.

Swedish band Ghost has released a new music video, “Chapter 8: Kiss The Go-Goat,” while still remaining true to retro sound. Click here for reading a review of Ghost's "Prequelle" album.

Italians Lacuna Coil unveiled a new song "Reckless", which will appear on the band’s upcoming new album "Black Anima". Follow the link to watch Lacuna Coil’s live video "Nothing Stands In Our Way".

Ukrainian post-black metallers White Ward will release their second full-length record "Love Exchange Failure" on September 20, 2019, via Debemur Morti Productions. In anticipation of this release, Noizr Zine is pleased to share its full album stream.

Having previously unveiled the title track of the upcoming record, White Ward commented on "Love Exchange Failure" as follows: "The idea behind this album is to illustrate the artificial conditions people created to contradistinguish themselves to nature."

Recording process of the 7-track "Love Exchange Failure" featured a few guest musicians, including Sectorial's vocalist Ivan Kozakevych, who performed the part of clean vocals for the track "Uncanny Delusions". The album is currently available for pre-order in Europe, North America, and Bandcamp.

"Love Exchange Failure" will be the second full-length release of the Odesa-based act White Ward. The band’s debut record "Futility Report" was released in 2017 and hit the TOP 5 best Ukrainian metal albums of the year according to Noizr Zine.

Supporting "Love Exchange Failure", White Ward will go on a European tour this October:

Read also: Photo report from Reka, White Ward, and Mother Witch & Dead Water Ghosts gig in Kyiv

London-based extreme metallers Void announced the UK mini tour with a few gigs in 3 cities:

September 11 — Birmingham @ The dark horse moseley — feat. Thornafire, Golden Deathmask, and Vengeful Atonemaent
September 12 — Bristol @ The Gryphon — feat. Thornafire, etc.
September 13 — London @ The Dev — feat. Thornafire, Skullthrone, and Dgorath

Last year, Void presented a video "The Horrid Lover The Scumscrubber" from their 2017’s EP "The Unsearchable Riches of Void".

The video and the EP from which the song is lifted marks the re-emergence of one of the UK’s most exciting and innovative extreme metal bands. Void, despite their limited catalogue have had a turbulent and varied career, at times the band has almost faded into obscurity only to be revived thanks to the efforts of drummer Joe Burwood, who drew Matt Jarman (Guitars, Drum programming, Samples) back into the world of metal and together they’ve created some of the most intriguing black metal that the UK has to offer in recent years.

Void are planning to release a new album "The Hollow Man" which, according to Matt, "aims to push the envelope once again, incorporating orchestral and electronic influences within their swirling, oppressive technical metal". The band’s currently latest full-length record "Void" was released in 2011 via Duplicate Records.

See also: The Unsearchable Riches of Void. Bristol gig review

I’ve started visiting Brutal Assault festival a decade ago and that was the time of my life then! Unbelievable, but it gets 25 years anniversary next year.

Basically, it has a great location (with options on different kinds of tourism while still on vacation — Adršpach, Český ráj, Kutna Hora and, of course, Prague are only a few to mention). The festival is based within Josefov (18th century military fortress) and its territory grows a bit by opening smaller locations, but we’ll get back to that later.

Music & Sound

Main features are for sure great lineup, quality sound and organization. Without a doubt, by that criteria it is the best on my taste: this year I even checked the lineup for the first time when actually got my booklet and a badge on the entrance, and never had regrets. Surely, more genre-specific events, especially for Black Metal fans, have bands which probably won’t appear on events like this (or not yet), that is the thought to keep in mind. But overall variety is amazing and I open some new artists for myself via stages other than “main” every time.

At the moment there are two main stages, located nearby (called Sea Shepherd and Jägermeister), one smaller stage in a tent (Obscure), one within a fortress (Octagon) and a different-purpose KAL stage, where you might find something that won’t fit regular metal fest expectations, or simply chill on a coach.

My personal kudos here go to sound engineers. I didn't catch a really bad sound, and I really appreciate the volume levels — didn't need to use earplugs to save my hearing. Every show I attended sounded great and really enjoyed that. Thank you and please keep it that way!

Food & Drinks

This part is always diverse and has food probably for any possible taste: from fast food & burgers to fruit or veggie salads, to complex meals & veggie or more healthy food. Few sorts of beers (including some crafts & non-alcoholic), cocktails, tea, coffee, lemonades & other non-alcoholic drinks... Plus, of course, sponsors' representatives: Jägermeister, Red Bull, Captain Morgan etc. This is where festival mood is complete for me, hedonism is one of the main requirements!

Territory & Surroundings

There’s a small cinema near the KAL stage, arcade games zone, a stage open for anyone to jam publicly (or play couple of own tracks if band members visit the event). Lots of different merchandise: apparel, CD/vinyl/tapes, souvenirs, jewelry etc. Official merchandise offers lots of custom designs on T-shirts, hoodies, caps, even stuff like underwear. Meet&greet is available to everyone by the public schedule, fans happily sign media or simply take selfies with artists or show their appreciation.

Facilities & Staff

Free toilets & urinals across the territory and city around, a lot of places to brush the teeth, take a shower, etc. Camps are nice and tidy. Showers in camps for 30 CZK (something a bit more than €1/$1). Medics. Help with parking in the city. Paid "Brutal Parking" had a sold out really fast so I had to find other places for my van. Camping places are tidy and have all necessary equipment and staff.

Couple words on staff: it really is a pleasure to have good people helping you with everything. From tickets, to security, to sales & service. It actually feels they want to help you and they do their job, had absolutely no issues on that and anyone reading this from personnel: thank you.

Brutal Assault 2019 most memorable shows

Well, the whole festival was a great time to me. A lot of great shows on all stages (literally don't remember a bad one). But the most memorable are still Meshuggah and Heilung. Those two shows are still in my memory. Worth mentioning also are the bands I was looking forward to check, including Antaeus, Nordjevel, Saor, Omnium Gatherum and such "big stage" appearances as Emperor, Electric Wizard, Aborted, Animals as Leaders. Ukrainians Jinjer had a great show. A bit sorry I missed Gutalax with a TOITOI crowdsurfing, but that was way too early for the Saturday morning to me.

Photo is taken from Brutal Assault FB page

One major issue: too crowded

Yeah, really had to mention this and a lot of people told me exactly about this problem. Nowadays festival is way too crowded so even becomes uncomfortable in some cases. Especially on queues to some places and problematic access to (or way out from) the specific places, like Octagon and meet & greet. Some people are ready to pay more for a ticket but on one condition: less attendees allowed. As Obscure Promotion team usually learns on own mistakes (like not placing urinals close to food courts anymore) I hope there's something to be done in this direction.

Conclusion

I tried to have this report as a brief overview, but still my personal conclusion is that Brutal Assault is a great festival, I never regret traveling there for a vacation. Looking forward to visit it again in future and wish BA/Obscure teams all the best on their events! Only regrets I had couple times before, when had no extra days around the event for tourism with relax and had to quickly come back to work.

On the first day of the festival, the organizers announced the dates and lineup of 2020's event. The jubilee 25th BA will be held from August 5 to 8 with Asphyx, Dark Funeral, Myrkur as headliners.

Text and photos by Dmythro

Ahead of the release of the new album "Birth of Violence", an American singer Chelsea Wolfe presented a new video "Deranged for Rock & Roll". According to the performer, the latest single is "love song to music".

Earlier, Chelsea Wolfe has announced the album "Birth of Violence", unveiling singles "The Mother Road" and "American Darkness", as well as the North American acoustic tour dates. "Birth of Violence" will be out on September 13 via Sargent House and now is available for pre-order here.

See also: Chelsea Wolfe releases video "Spun" with explicit scenes

Photo by John Crawford

A publishing house Cult Never Dies will release a new book dedicated to the Portuguese metal band Moonspell this fall.

According to a press release, "Wolves Who Were Men The History Of Moonspell" explores three decades of the legendary Portuguese metal band Moonspell. Totalling a huge 450 pages and including numerous photos, many previously unseen, the book was created by author Ricardo S. Amorim, a countryman and long-time friend of the band.

Read also: Fernando Ribeiro talks about Moonspell’s wine release, favorite poet, and Portugal

It includes extensive interviews with all members of the band – Fernando Ribeiro, Miguel Gaspar, Pedro Paixão, Ricardo Amorim, Aires Pereira – as well as past members of the group and many of the band’s peers, including members of Rotting Christ, Cradle Of Filth, Samael, Kreator, Decayed, The Gathering, Amorphis and more.

The book "Wolves Who Were Men The History Of Moonspell" is released on October 31, 2019, and is available in two formats — a standalone paperback and a deluxe hardback boxset containing:

• the book in hardback edition
• exclusive CD featuring the out-of-print 1993 'Anno Satanæ' demo plus bonus tracks by pre-Moonspell outfit Morbid God
• large and extremely high quality flag
• deluxe reinforced card box with hot foil gold Moonspell logo
• 12 x 350gsm art prints, featuring superb photography of the band
• 'Wolves Who Were Men' double-sided print bookmark
• guitar plectrum with double-sided print
• a certificate of authenticity signed by all band members

"Wolves Who Were Men" will come out via Cult Never Dies, which previously released a biography of Rotting Christ and a series of books dedicated to black metal. Follow this link to read Noizr Zine’s interview with Cult Never Dies’ mastermind, a British journalist Dayal Patterson and Rotting Christ’s leader Sakis Tolis. The book "Wolves Who Were Men The History Of Moonspell" is available for order here.

Read also: "Darkthrone, Burzum, Mayhem, church burning, and Satanism are just a small part of black metal". Interview with writer Dayal Patterson

Four years after the release of "Exercises in Futility", Polish black metallers Mgła presented the full stream of their new record "Age of Excuse".

A new release came out on September 2 and is now is available for order on CD via Northern Heritage and No Solace. Also, the album will soon be available on vinyl.

Also listen to: Deathspell Omega "The Furnaces of Palingenesia" full album stream

The album was recorded in 2019 by Mgła’s permanent members Darkside (dr) and M (g, b, v), featuring its live musicians The Fall on backing vocals and E.V.T. on guitars. Artwork for the album was created by Polish artist Zbigniew M. Bilak, who previously collaborated with Ghost, Behemoth, Vader and many other bands.

Mgła's previous album "Exercises in Futility" was released in 2015 via Northern Heritage Records.

See also:

• Photo report from Holy Death Over Kyiv DCLXVI feat. Mgła
• The other side of Mgła. Review of Kriegsmaschine's "Apocalypticists" with full album stream
• Batushka vs Bartushka: "Panihida" vs "Hospodi" review

"Age of Excuse" cover art

American hardcore Agnostic Front will give a concert in Kyiv, Ukraine, in honor of the 35th anniversary of the band’s debut album "Victim In Pain". The performance will take place on November 12 at the Atlas club.

Announcement from the organizers: "They have no equal, they are respected and considered leaders of the genre by hardcore representatives. Their sound — one of the evilest in punk music — helped to design hardcore as a musical and cultural direction, first in New York and then around the world. Initially, Agnostic Front produced fast, powerful punk, featuring aggressive drums and bass, and chaotic vocals by Roger Miret. This year, the legendary band celebrates the 35-anniversary of their debut "Victim In Pain", which, going ahead, paved the way for their entire catalog."

Tickets for Agnostic Front gig in Kyiv are already available at this location. Follow the link to watch the band’s video "Old New York".

The organizers of Holy Death Over Kyiv festival, Death Worship Comittee, announced the only concert of the death/black metal band Bölzer in Ukraine.

The event will take place on October 19 in the capital's Monteray Club along with a support act. Tickets are already available for sale.

• 250 UAH — for ticket holders of HDOK DCLXVI festival, which was held in April, 2019
• 550 UAH — pre-sale
• 800 UAH — VIP

"Owners of physical and e-tickets need to send a request to hdok 616 (at) gmail.com, adding a photo, scan or barcode number of your ticket to HDOK DCLXVI, your name and surname", the organizers informed on Facebook.

In April, Bölzer were supposed to perform at the Holy Death Over Kyiv DCLXVI festival, however, on the day of the concert, the Swiss duo announced the cancellation of its arrival due to problems with documents.

Norwegian black metallers Mayhem unveiled the first track from the upcoming new album "Daemon". A track entitled "Worthless Abominations Destroyed" can be checked out above.

Mayhem comments: "Once again Mayhem is writing a new chapter in its 35-year history. We are excited to now have joined forces with Century Media and are eager to see what this partnership can do for us both in the future."

The band’s 6th LP will be released via Century Media Records on October 25. Shortly after the release of the album, Mayhem will go on European tour with Gaahls Wyrd and Gost:

31.10 Nijmegen, Netherlands — Doornroosje
01.11 Leiden, Netherlands — Gebr De Nobel
05.11 Paris, France — La Machine Du Moulin Rouge
06.11 Rennes, France — L’etage
07.11 Toulouse, France — Metronum
10.11 Lyon, France — CCO
12.11 Milano, Italy — Magazzini Generali
14.11 Vienna, Austria — Szene
15.11 Prague, Czech Republic — Meet Factory
16.11 Berlin, Germany — Astra
17.11 Lille, France — Tyrant Fest
19.11 Kassel, Germany — Musik Theater 130BPM
21.11 Mannheim, Germany — MS Connextion Complex
22.11 Antwerpen, Belgium — Trix
23.11 Oberhausen, Germany — Turbinehalle
24.11 Copenhagen, Denmark — Pumpehuset
26.11 Tampere, Finland — Pakkahuone
27.11 Helsinki, Finland — Tavastia
29.11 Stockholm, Sweden — Fryshuset Klubben
30.11 Gothenburg, Sweden — Pustervik

Read also: Mayhem release video "Watchers"

American rock band Tool has unveiled the full stream of its newest album "Fear Inoculum". The record was released on August 30 via Volcano Entertainment and RCA Records.

The 10-track "Fear Inoculum" came out 13 years after the release of Tool’s last album "10,000 Days". The record is currently available for order on all popular online services.

Tool's new album was reportedly produced by Joe Barresi, and mastered by Bob Ludwig, who previously worked on "10,000 Days". Recording commenced in March 2018, with drummer Danny Carey laying down his tracks first and bassist Justin Chancellor recording his parts next.

See also: Video "The Remedy" by Tool vocalist side project

In July, Tool's legendary 1991 demo tape, titled "72826", surfaced on YouTube, Apple Music, Google Play and Pandora. It marked the first time a Tool release had been available to stream online. On August 2, the remaining releases of the band also became available on streaming platforms.

This fall, many good rock and metal gigs are going to take place in Kyiv and other Ukrainian cities. In this article we have selected the most interesting of them that you definitely should not miss!

If we suddenly missed some event worthwhile in your opinion — write about it in the comments below. We will also be happy to find out which of the gigs we mentioned you plan to attend.

September 7 — Ashen Dominion Fest III

In early September, Kyiv’s MonteRay club will host the third fest of the label Ashen Dominion. The vent will feature Ukrainian bands Kroda, Raventale, Severoth, Barkasth, and Ezkaton. Tickets from 350 UAH.

"The heat of the fading summer will plunge you into the sorrow and grief of the coming autumn. Darkness and hopelessness, dust and devastation will rule your world again. Volume 3 of the Ashen Dominion Festival is ready to come".

September 13, 14, 15 — Rotting Christ

Titans of the world metal scene with a 30-year career, Rotting Christ, are going on tour in Ukraine with their new album "The Heretics".

On September 13 in Lviv with Sectorial, on September 14 in Kyiv, and on September 15 in Kharkiv, the Hellenes will play 3 gigs in support of their latest album "The Heretics", with which the band is currently blasting European stages. Tickets from 550 UAH are available here.

September 15 — Stoned Jesus

In September, Stoned Jesus will play a concert in honor of the 10th anniversary of their first performance. The organizers promise an exclusive set with hits and songs from different periods of the band’s career.

The concert will take place at the Zelenuy Teatr in Kyiv, tickets — from 250 UAH.

September 18 — Static-X

In October 2018, Static-X announced that they were reuniting the band to tour in the memory of the late singer Wayne Static.

During the tour, Static-X will present their new album "Project Regeneration", which will be released in the first half of 2019, as well as mark the 20th anniversary of the band's debut album "Wisconsin Death Trip". Now the band consists of original members — Tony Campos, Koichi Fukuda, Ken Jay — and a guest vocalist. The performance in Ukraine will be held on September 18 at the Atlas club in Kyiv. Head to this location to learn more details about the gig.

September 20 — Evanescence

American rock band returns in Kyiv with a show on September 20. The performance will take place at the club Stereo Plaza, tickets — from 1350 UAH.

An entire generation has grown up listening to the music of Evanescence which, by right, is considered one of the most famous rock bands of our time. To learn 10 interesting facts about Evanescence, head to this location.

September 27 — Dimmu Borgir

At the upcoming concert in Kyiv, the Norwegians Dimmu Borgir will present their 2018’s album "Eonian" which marked the return of symphonic black metallers after a seven-year hiatus and was timed to coincide with the 25th anniversary of the band. The show will be held at the Stereo Plaza, tickets from 1150 UAH are already available for sale.

October 1, 2 — Vader and Thy Disease

Polish metal acts Vader and Thy Disease will return to Ukraine with two concerts: on October 1, the bands will perform at the FESTrepublic club in Lviv and on October 2 at the Metropolis Arena in Chernomorsk.

Head to this location to read a concert review of Vader, Hate, and Thy Disease performances in Kyiv last year.

October 2, 3 — Children of Bodom

Children of Bodom will give two gigs in Ukraine as part of Hexed World Tour 2019 — on October 2, Finnish melodic death metallers will perform in Kharkiv and on October 3 in Kyiv. Concerts will be held in support of the band’s new album "Hexed". Below, you can check an interview with COB keyboardist Janne Wirman about this release and the band’s 20th anniversary.

October 9 — Septicflesh

A concert of Greek symphonic death metallers Septicflesh will be held in Kyiv on October 9 in support of the latest album "Codex Omega".

Announcement of the organizers: "The antique gods of symphonic death metal are finally returning to Ukraine to present their 10th studio album "Codex Omega".

The performance of Septicflesh will take place at the Bingo club. Tickets from 550 UAH are already available here.

October 9-13 — Hypnos, Fleshgore, Etsykh and Revolt

Czech death metallers Hypnos will go on a joint tour with Kyiv's bands Fleshgore, Etsykh, and Revolt.

9.10 — Uzhhorod
10.10 — Vinnitsa
11.10 — Kyiv
12.10 — Kharkiv
13.10 — Dnipro

October 11-20 — U.D.O.

The project of Accept’s ex-vocalist Udo Dirkschneider U.D.O. returns to Ukraine with an extensive tour in honor of the band’s new album "Steelfactory". In addition to songs from the latest release, U.D.O. will also perform its main hits.

11.10 — Kyiv
12.10 — Poltava
13.10 — Kharkiv
15.10 — Dnipro
16.10 — Zaporozhye
10.10 — Nikolaev
19.10 — Odesa
20.10 — Kherson

October 12-13 — Doom Over Kyiv

Doom Over Kyiv, which celebrates its 12th anniversary this year, is returning after a one-year break. Ukrainian metal festival will be held from October 12 to 13 at the Atlas club.

For 12 years of existence, such teams as Swallow the Sun, Saturnus, Antimatter, October Tide, Shape of Despair, Draconian, Clouds, Panteist, Esoteric, Skepticism, Fen, Eye of Solitude, Raventale, 1914 and others have performed on the Doom Over Kyiv stages.

12/10/2019:

Tiamat (SE) — "Clouds" & "Wildhoney" set
Antimatter (UK)
Monolithe (FR)
1914 (UA)
Aklash (UK)
Suffer Yourself (SE/UA)

13/10/2019:

October Tide (SE)
Thenighttimeproject (SE)
(EchO) (IT)
Mournful Gust (UA)
KZOHH (UA)

October 17 — Dope

American alternative rockers Dope, best known for their hit "Die MF Die", return to Ukraine in honor of the 20th anniversary of their debut album "Felons and Revolutionaries".

Announcement from the organizers: “The team has existed for more than 20 years, and it does not seem like frontman Edsel Dope is going to stop. That’s why they go on tour to share the explosive energy that distinguishes their legendary debut with new and old fans.”

The show will take place on October 17 at the Atlas Club. You can buy tickets for the Dope concert in Kiev here.

October 19 — Bölzer

The organizers of the Holy Death Over Kyiv festival, Death Worship Comittee, announced the only concert of the death/black metal act Bölzer in Ukraine.

The event will take place on October 19 in the capital's Monteray Club along with a support group. Tickets for the show are already available for sale.

"Owners of electronic and physical tickets need to write a request to us at hdok 616 (at) gmail.com by sending a photo, scan or barcode number of your ticket to HDOK DCLXVI and your name," the organizers informed on Facebook.

Recall that earlier the Swiss duo was supposed to perform at the Holy Death Over Kyiv DCLXVI festival, however, on the day of the concert, the group announced the cancellation of its arrival due to problems with documents.

October 20 — Robust Evening

This fall will be held Robust Evening — Robustfellow label party, which will feature three Ukrainian teams: Ethereal Riffian, Somali Yacht Club and Love’n’Joy. Tickets — 250 UAH.

October 23 and 24 — P.O.D.

American Christian rock band P.O.D. will give two concerts in Kharkov and Kiev. The group travels to Ukraine as part of a European tour in support of a new album called "Circles", which was released in November 2018. Tickets from 660 (Kharkov) and 700 UAH (Kiev) are already available for sale.

October 26 — The Rasmus

Finnish rockers The Rasmus will celebrate in Kyiv the 15th anniversary of the album "Dead Letters", which features the band’s biggest hit "In the Shadows". In honor of the anniversary of the record, The Rasmus will go on a European tour, and on October 26 will perform at the Stereo Plaza club in Ukraine. Tickets from UAH 950 are already available for sale.

November 4 — Ensiferum

As part of Pagan Tour 2019, Ukraine will be visited by legends of pagan metal scene — the brave berserkers from Finland, Ensiferum. The performance will take place at the Bingo club in Kyiv on November 4, tickets are available from 690 UAH.

November 4, 5, 6, 8 — Apocalyptica

Apocalyptica returns to Ukraine with four gigs in different cities of the country. Finnish cellists, combining metal and classical instruments, will present Plays Metallica by Four Cellos program. The band’s first album with exactly same name brought worldwide fame to the musicians. Event tickets are now available for sale.

4.11 — Kharkiv
5.11 — Kyiv
6.11 — Odesa
8.11 — Dnipro

November 7 — Attila

On November 7, Ukrainians will be able to spend the evening at a concert of American rockers Attila, who will play their main hits and furious new songs from the recent release "Villain". Tickets from 700 UAH are already available for sale.

November 8 — Jinjer and The Agonist

In November, Jinjer will present in Kyiv the songs from their new album, which will be released this fall via Napalm Records. In addition to the Ukrainian band, the Canadian act The Agonist will also perform for the first time in Kyiv as a special guest. The event will take place at the Bingo club, tickets from 400 UAH are already available for sale.

November 12th — Agnostic Front | Scorpions | Laibach

American hardcore Agnostic Front will give a concert in Kyiv, Ukraine, in honor of the 35th anniversary of the band’s debut album "Victim In Pain". The performance will take place on November 12 at the Atlas club.

Tickets for Agnostic Front gig in Kyiv are already available at this location.

Announcement from the organizers: "They have no equal, they are respected and considered leaders of the genre by hardcore representatives. Their sound — one of the evilest in punk music — helped to design hardcore as a musical and cultural direction, first in New York and then around the world. Initially, Agnostic Front produced fast, powerful punk, featuring aggressive drums and bass, and chaotic vocals by Roger Miret. This year, the legendary band celebrates the 35-anniversary of their debut "Victim In Pain", which, going ahead, paved the way for their entire catalog."

You can buy tickets for the Agnostic Front concert in Kiev on concert.ua from 740 UAH.

Scorpions

Scorpions, as part of their ongoing farewell tour, will once again give a concert in Kyivv. Performance will take place in the Sports Palace. Tickets from 1299 to 2099 UAH are already available for sale.

Laibach

Also on November 12, the cult Slovenian industrial act Laibach is going to perform at the October Palace in Kyiv. Tickets from 250 to 3000 UAH are already available for sale.

Click here to watch videos and photos from Laibach's performance in North Korea.

November 15 — Oomph!

German rockers Oomph! will present their latest album "Ritual" at the Stereo Plaza in Kyiv. "Ritual" is the first record in four years in the discography of Oomph!, the pioneers of Neue Deutsche Härte or dance metal, who decided to return to their roots with this record, making the sound much harder than before. In Kyiv, Oomph! are reported not only perform the fresh songs, but also a new, stunning show, as well as proven hits.

Tickets from 990 UAH are already available for sale.

November 15 — Gods Tower

Belarusian act Gods Tower will play in Kyiv's MonteRay Live Stage concert in honor of the band’s 30th anniversary. Tickets for 350-800 UAH are already available for sale.

"Behind thirty years of existence. For a man, this is not age, but for a band it’s a long and difficult path. A path during which there were long pauses, falls and take-offs.

Come to our gig, and we will together refute death and do solar metal! And there will be really a lot of us!"

November 16 — Gutalax

For the first time in Ukraine, on the occasion of its 10th anniversary, the iconic Czech grindcore band Gutalax will perform in Kyiv. Gutalax is a constant member of the big European extreme music festivals, in particular, Obscene Extreme and Brutal Assault.

Having gathered in 2009 in a small town, the band in a very short time became known in their homeland. And constant tours across Europe, the USA, and South America brought Gutalax world recognition. The gig in Kyiv will be held at Volume Club, tickets for 300 UAH are already available for sale.

Year upon year it never ceases to amaze me how diverse and strong the French black metal scene is, regardless of which sub-genre of black metal one is partial to, France (generally speaking) always has at least a couple of bands that exemplify how to do things right.

For those not in the know, Malhkebre is one half of a musical Satanic expression, the other being Sektarism. Now, if Sektarism is the meditative invocation of Satanic strength, Malhkebre is the evocation of Satanic might. "Satanic Resistance" is a tour de force in explosive, aggressive and violent black metal.

For simplicity’s sake the easiest bands to draw a comparison to are fellow countrymen like Antaeus, Hell Militia and legendary German act Katharsis. That is not to say that sonically they are identical but many of the same moods, motifs and sheer power present in these bands are easily identifiable within "Satanic Resistance".

Musically the band play black metal that is more on the 'traditional' side, this is not Burzum, Mayhem or Darkthrone worship though — this is black metal that is clearly spawned from influences within their own country from the early years of the LLN to more modern bands.

Malhkebre

This is an album that practically drips with malevolence and hatred, there are infernal blasting sections, mid-paced discordant passages, all sealed with venomous vocals. It is clear to hear that there is an agenda here and the conviction with which the band commit themselves to the music is palpable.

In terms of production, "Satanic Resistance" strafes that line between 'raw' and 'well produced' perfectly. Everything is intelligible in the mix, the drums are highly present; powerful and punchy they drive the songs onwards. Yet there is still space in the mix for everything else to breathe, the bass is thick and warm filling out the rhythm section. Whilst the guitars have a distinctly 'old-school' treble driven tone that manages to sound caustic without sounding like a swarm of bees in a jar.

The album has only a couple of points that might invite criticism; the first being that despite it still being far beyond the output of the majority of black metal releases in the current era, it is an album that relies heavily on tropes that have come before, it’s an album that thrives on the legacy of the bands mentioned above but doesn’t push the envelope in terms of creativity. This is fine as long as the music is of a high standard which "Satanic Resistance" surely is. The second 'sticking' point is that this is not an album for the faint of heart, so let me put on my elitist gatekeeper’s hat and tell you why — this is an album that will be an almost impenetrable listen for those that are more familiar with the likes of black metal that can be found within the pages of popular metal magazines. It is an intense onslaught that will be inaccessible for those that are accustomed to catchy melodic tremolo riffs and groovy rhythm sections but for those who are familiar with the savagery that is projected by bands of a similar ilk they will surely find greatness within.

By Dan Thaumitan

Ukrainian post-black metallers White Ward shared the new track "Dead Heart Confession" and announced the European tour dates.

"Dead Heart Confession" will appear on the band's upcoming album, "Love Exchange Failure", which will be released on September 20 through Debemur Morti Productions. In its support, White Ward will go on a European tour:

10/13/2019 Malý Berlín — Trnava, SK
10/14/2019 Klub Močvara — Zagreb, HR
10/16/2019 Le Molotov — Marseille, FR
10/17/2019 TBA — La Chaux De Fond, CH
10/18/2019 TBA — Paris, FR w / Borgne
10/19/2019 Into The Void Fest — Leeuwarden, NL w / Borgne, Pensées Nocturnes
10/20/2019 TBA — NL
10/22/2019 Vortex Surfer Musikclub — Siegen, DE
10/23/2019 TBA — DE
10/24/2019 TBA — PL
10/27/2019 Aurora — Budapest, HU

Having previously unveiled the title track of the upcoming record, White Ward commented on "Love Exchange Failure" as follows: "The idea behind this album is to illustrate the artificial conditions people created to contradistinguish themselves to nature." 7-track "Love Exchange Failure" is already available for pre-order in Europe, North America, and Bandcamp.

Read also: Photo report from Reka, White Ward, and Mother Witch & Dead Water Ghosts gig in Kyiv

"Love Exchange Failure" will be the second full-length release of the Odesa-based act White Ward. The band’s debut record "Futility Report" was released in 2017 and hit the TOP 5 best Ukrainian metal albums of the year according to Noizr Zine.

Tracklist:

1. Love exchange failure
2. Poisonous Flowers Of Violence
3. Dead heart confession
4. Shelter
5. No Cure For Pain
6. Surfaces And Depths
7. Uncanny delusions

"Love Exchange Failure" cover

Ukrainian black death metallers Sectorial will play gigs this fall with Rotting Christ and Bölzer in Lviv and Kyiv, Ukraine.

A performance with Greek black metallers Rotting Christ will take place on September 13 in Lviv. The concert will be the first show of the Hellenes as part of their Ukrainian tour, where they will also perform on September 14 in Kyiv and September 15 with Hell:On as an opening act.

See also: Photo report from gig of Sectorial feat. Vovk in Kyiv

Sectorial will also share the stage of the MonteRay club with Bölzer and Kaosophia on October 19 in Kyiv. As previously noted by the promoters, ticket holders for the HDOK DCLXVI festival, where Bölzer had to perform, will be able to purchase a discount ticket.

Read also: Calendar of events in Ukraine. Top 25 gigs of this fall

On August 17, Ukrainian blackened death metallers Sectorial and rockers Vovk gave a joint show in Kyiv, Ukraine. Above is a photo report from the bands’ performances, shot by Olga Abrisad.

Initially, it was planned that Sectorial would share the stage with German post-black metallers Downfall of Gaia, but on the day of the concert it became known that the foreign musicians would not be able to perform in Ukraine due to a problem with passports. Also check out Vovk "Lair" debut album stream.

Sectorial

Vovk

Groove metallers Jinjer unveiled the music video “Judgement (& Punishment),” filmed on the song from the upcoming album "Macro".

Filming of "Judgement (& Punishment)" was handled by Ukrainian director Shah Talifta, who previously shot the video "Perennial" for Jinjer, and the clip "Hero" for the Kyiv-based band Velikhan. "Perennial" was taken from Jinjer’s latest EP "Micro", which was released on January 11, 2019 via Napalm Records. Follow the link to watch Jinjer’s lyric video "Dreadful Moments" and music clip "Ape".

"Macro" will be released on October 25 via Napalm Records. In honor of its release, the band will go on the European tour with The Agonist which will start with a gig in Kyivin Kyiv, Ukraine, on November 8, 2019.

EUROPEAN MACRO TOUR 2019 (w/ THE AGONIST)

08.11. – KYIV (UA) Bingo
09.11. — WARSAW (PL) Hybrydy
10.11. — WROCLAW (PL) Pralnia
12.11. — DRESDEN (DE) Beatpol
13.11. — PRAGUE (CZ) Futurum
14.11. — BERLIN (DE) Bi Nuu
15.11. — COPENHAGEN (DK) Pumpehuset
16.11. — HANNOVER (DE) Musikzentrum *SOLD OUT*
17.11. — HAMBURG (DE) Knust
19.11. — ESCH-ALZETTE (LU) Kulturfabrik
20.11. — FRANKFURT (DE) Das Bett
21.11. — LEIPZIG (DE) Hellraiser
22.11. — ANNABERG-BUCHHOLZ (DE) Alte Brauerei
23.11. — COLOGNE (DE) Gebäude 9 *SOLD OUT*
24.11. — BOCHUM (DE) Zeche
26.11. — AMSTERDAM (NL) Q-Factory
27.11. — EINDHOVEN (NL) Dynamo
28.11. — ANTWERP (BE) Zappa
29.11. — LONDON (UK) Heaven *SOLD OUT*
30.11. — BIRMINGHAM (UK) Asylum *SOLD OUT*
01.12. — NEWCASTLE (UK) University
03.12. — MANCHESTER (UK) Academy 2
04.12. — BRISTOL (UK) Thekla *SOLD OUT*
06.12. — PARIS (FR) La Machine *SOLD OUT*
07.12. — ANNEMASSE (FR) Château Rouge
08.12. — TOULOUSE (FR) Le Rex
10.12. — MURCIA (ES) Garaje
11.12. — MADRID (ES) Mon
12.12. — BARCELONA (ES) Bóveda
13.12. — TOULON (FR) Omega Live
14.12. — MILAN (IT) Legend Club
15.12. — ZÜRICH (CH) Dynamo
16.12. — MUNICH (DE) Backstage Werk
18.12. — GRAZ (AT) Dom im Berg
19.12. — WIEN (AT) Szene
20.12. — ZAGREB (HR) KSET *SOLD OUT*
21.12. — BRATISLAVA (SK) Majestic
22.12. — BUDAPEST (HR) Barba Negra

A supergroup Silvertomb, featuring vocalist and guitarist Kenny Hickey (Type O Negative, Seventh Void), drummer Johnny Kelly (Type O Negative, Danzig), guitarist Joseph James (Agnostic Front), bassist Hank Hell (Seventh Void), and keyboardist and guitarist Aaron Joos (Empyreon), unveiled the first track "Love You Without No Lies".

The band has existed since 2017 and now is preparing to release its debut album titled "Edge Of Existence" on November 1, 2019.

Kenny Hickey comments: "The first song written for the record "Edge of Existence", 'Love You Without No Lies' was conceived before keyboardist Aaron Joos was added to the lineup. Keyboard was then retrofitted into the song. The piano intro was originally a guitar intro played by Joe James and distorted keys were added to the verses and hammond organs to the choruses."

Earlier, we wrote that in 2018, the American musician Todd 'Youth' Schofield, best known as the guitarist of the bands Danzig and Warzone, died at the age of 47. During his musical career, Todd Schofield has been a member of many bands, including Danzig, Cheap Trick Warzone, Glen Campbell, Murphy's Law, etc. He also performed live with Agnostic Front, Motorhead, and others.

American black metallers Crimson Moon are to release their new album "Mors Vincit Omnia" on August 30 via Debemur Morti Productions. Ahead of the release, Noizr Zine is pleased to share the exclusive stream of the upcoming record.

Earlier, commenting on the premiere of the single "Godspeed — Angel Of Death", the band’s founder and leader Scorpios Androctonus said that "'Godspeed — Angel Of Death' is a hymn towards the Destroying Angel, with sword drawn and dripping with gall... The omnipresence of death in a sonic soundscape accompanied with the guest vocals of Lord Angelslayer (Archgoat) and Proscriptor McGovern (Absu) that grants the obolus to the listener to embark on the journey towards the underworld."

Read also: Blut Aus Nord reveals new album release details

Alongside Lord Angelslayer and Proscriptor McGovern, the album also features guest vocals from Ixithra (Demoncy) and Phaesphoros (Kawir, All My Sins) who in addition to mixing the record also performs wooden recorder. The cover art was created by Italian artist Daniele Valeriani, who previously collaborated with Dark Funeral and Lucifer's Child.

Read also: Review of All My Sins’ single "Zov iz Magle"

"Mors Vincit Omnia" will be released on CD, vinyl, and digital. The album is available for pre-order in the USA, Europe, and via Bandcamp.

Tracklist:

1. Vanitas
2. Altars Of Azrael
3. Godspeed Angel Of Death
4. Upon the Pale Horse
5. Parcae — Trinity of Fates
6. Mors Vincit Omnia
7. Funeral Begotten
8. Tempus Fugit

"Mors Vincit Omnia" cover art

Ukrainian shamans Ethereal Riffian are preparing to release their third album "Legends". Ahead of a new record, the band has unveiled a video clip on the album’s title track, as well as the singles "Kosmic" and "Unconquerable".

Commenting on a single "Unconquerable", Ethereal Riffian’s leader Val Kornev said: "Behind every legend, there’s a legendary act. Behind every legendary act, there’s an unconquerable spirit. Spirit devoid of any fear, doubt and indecisiveness. It’s an invisible force that made Terry Fox run 5,373 kilometers with one leg to raise awareness of cancer. It’s what inspired tender woman Rosa Parks to stand up for the rights of black people in one of the most racist states of America. It’s the inner strength that made a man in a loincloth named Gandhi to unite the Indian nation despite incredible opposition. It’s the spirit that our times need most. The spirit that awaits to be awakened in each of us".

Read also: Shamanic music Ethereal Riffian "I AM. Deathless"

The release of "Legends" is scheduled for September 6 via Robustfellow Prods Records on CD, cassette, vinyl and limited edition formats. Pre-order will be available from August 22 via Bandcamp.

Earlier, Ethereal Riffian has unveiled a music video for "Drum of the Deathless", directed by the well-known Ukrainian director Viktor Priduvalov (Okean Elzy, Stoned Jesus, Green Grey).

Read also: Sinoptik to go on charity tour in Ukraine this fall

This year, under the heading "Dark Art", we continued to select releases in the genre of black metal with the most interesting artworks. The previous material was posted at the end of July last year. From that moment, many albums with excellent covers were released, which we want to share with you.

The new selection includes album covers released from July 2018 to July 2019, created by artists from Norway, Sweden, Great Britain, the Netherlands, France, Spain, Italy, Greece, Poland, Serbia, Slovakia, Czech Republic, Romania, Croatia, Ukraine, Russia, USA, Canada, Brazil, Chile, Peru, South Korea, Indonesia, Australia, and New Zealand. If you like any of the presented works or you think that we've missed some interesting covers in this selection — feel free to write about it in the comments below.

For the main picture, we used the cover art of the album "Cursed Below The Waves" by the Australian project Drowning The Light. The creator is a Polish artist Dariusz Zawadzki.

The cover art of the album "Whirlwinds of Fathomless Chaos" of the Polish project Temple Desecration. Author is not specified.

The cover art of the album "Okeanos" of the German group Firtan. The creator is a Russian artist Denis Forkas Kostromitin, best known for his work for Behemoth, Children of Bodom, and Wolves in the Throne Room.

The cover art of the album "Lifehunger" by the Norwegian band Vreid. The creator is a Norwegian artist Remi Juliebø.

The cover of the third album "Escape" of the French project Decline Of The I. The creator is a French photographer and artist David Fitt, known for his work for Aosoth, Enthroned, and The Order of Apollyon.

The cover art of the album "I Loved You at Your Darkest" of the Polish black/death metallers Behemoth. The creator is an Italian artist Nicola Samori.

The cover art of the album "A New Kind of Horror" of the British duet Anaal Nathrakh. The creator is a band’s musician Mick Kenney.

The cover art of the album "Sinister, or Treading the Darker Paths" of the Polish band Cultes des Ghoules. Its creator is a Polish artist Mar.A, who has previously worked with the band.

The cover art of the demo "Non Omnis Moriar" of the Mexican act Cavernus. Its creator is Brvja XIII.

The cover art of the second album "Abysmal" by the German band Thron. The artist is not specified.

The cover art of the debut album "Servants Of The Cold Night" by Andeis. The creator is an American artist and musician Adam Burke (Nightjar Illustration).

The cover art for Kriegsmaschine’s "Apocalypticists". The author is not specified.

The album "Oblivion" by the Hungarian band Realm of Wolves. The creator of the artwork is one of the band’s members Vvildr.

The cover art of the new album "Recondemnation" of the Australian band Temple Nightside. The creator is an artist and musician Elijah Gwhedhú Tamu.

The artwork of 1914’s second album "The Blind Leading the Blind". The creator is the Russian artist W. Smerdulak, who has previously worked with Nabaath, Katalepsy, Arkona and many other bands.

The debut album "Ulthar" by American band Cosmovore. For the album’s cover art was used the work of the British artist Ian Miller, known for his work for the books of Lovecraft and Tolkien, as well as for many role-playing games.

The cover art of "Heir to Despair" of the Japanese band Sigh. The creator is an Israeli artist Eliran Kantor, who has previously worked on design of the band’s album s "Scenes from Hell" and "In Somniphobia".

The cover art of the album "Soterion" of the Spanish group Hrizg. Its creator is Vhan Artworks.

The artwork of the album "Unbound" of the Finnish black metallers Sargeist. The creator is Misanthropic-Art (Baptism, Celtic Blood).

The demo "Shrouded in Grave Soil" of the Spanish black/death act 13th Moon. The creator of the cover art is Mar.A Artworks.

Horna’s album compilation "Kasteessa Kirottu" which includes music recorded during 1994-1999 years. The creator of the cover art is a Chilean artist Daniel Desecrator.

The debut demo "Eroding The Shrine Of Submission" of the Belgian musicians Seethr, who were previously involved in the bands Aetherium, Last Legion Alive, and Slecht. The creator of the cover art is Simon Chognot (Cold Mind Art).

The cover of the EP "The Lunatic Creature" of the Tunisian project Ayyur. The creator is VSYN.

The self-titled album of the international project Acathexis, which includes musicians from Argentina, Belgium, and the USA. The cover art is created by Divine Chaos Art.

The compilation album "Servants Of Chaos II" by Debemur Morti Productions, which included music of Behexen, Wallachia, Blut Aus Nord, Throane, Terra Tenebrosa and many other artists from the roster of the French label. The cover art’s creator is a French artist Dehn Sora.

The cover art of the album "Pacifism Is Cowardice" of the British band Spearhead. The author is a Peruvian artist José Gabriel Alegría known under the pseudonym Hathrul.

The cover of the second album "Revelations of the Red Sword" of the Icelandic band Svartidauði. The creator is an Italian artist and musician Nicola Solieri.

The cover of the third album "Unterm Gipfelthron" of the Austrian project Rauhnåcht. The author is a Romanian artist Moga Alexandru from Kogaion Art.

The cover art of the EP "Beyond the Bestial" of the Ukrainian act Khors. The author is a Russian artist Alexei Glukhov from Mayhem Project, who has been working with the band since 2014.

The cover art of the single "Antilogos" of the Russian project Veter Daemonaz. Its creator is A.Held (Ubertragic Art).

The cover art of Barshasketh’s eponymous album. The creator is Black Typography.

The cover art of the second album "Niets en niemendal" of the Netherlands band Meslamtaea. The author is a Russian artist and musician Maya Kurkhuli.

The cover art of the a,bum "Venenum Scorpionis" of the Swedish band Grafvitnir. The creator is an talian artist Daniel Valeriani, who has previously worked with Dark Funeral and Lucifer's Child.

The cover art of the EP "Sun of the Deep" of the Australian band Sorathian Dawn. The author is not specified.

The cover art of the second album "Hvísl Stjarnanna" by the Icelandic band Sinmara. The author is a photographer from the Netherlands Nona Limmen.

The cover of the debut album "Solstices" by the French band Heaume Mortal. The author is not specified.

The cover of the second album "Triumphant Master of Fates" of the American band Vimur. The author is previously mentioned artist and musician Adam Burke.

The cover of the EP "Skuggen" by the Norwegian band Nattverd. The author is a Serbian artist and musician Stefan Todorović, best known as the vocalist of Gorgoroth.

The cover of the demo "II" of the Russian group Illt. The author is not specified.

The cover of the album "Loss & Grief" by the Dutch band Horcrux. The author is not specified.

The cover of "The Endless Endeavor" by Belgian band Drawn into Descent. Posted by Bahrull Marta of Abomination Imagery.

The cover of the debut album "Gods Without Name" of the American black metallers Aoratos. The author is an Indonesian artist Bahrull Marta.

The cover of the second album "Pantheon MMXIX" of the Russian band Ultar. The author is not specified.

The cover art of the debut album "Charnel Heart" of the Swedish band Flykt. The author is a Serbian artist and musician Stefan Todorović.

The cover art of the debut album "Heart Of Lead" of the Iceland band Kaleikr. The creator is Metastazis.

The cover of the same-named EP of the Russian band Debry. Posted by Pablo el diiablo.

The cover art of the second album "Adore" of the Canadian band Numenorean. The author is not specified.

The cover art of the second album "Pyrrhic" of the American band Frosthelm. The author is Raymond Swanland, who has previously worked with Suffocation and is known as an illustrator for Magic: The Gathering game.

The album cover for Sühnopfer's album "Hic Regnant Borbonii Manes". The creator is Valnoir from Metastazis.

The cover of the album "Kosmocide" of the Polish band Deus Mortem. The author is a Russian artist Artem Grigoryev, who has previously worked with Baptism, Barshasketh, Sinmara, Do Skonu and others.

The cover art of the second album "Chasm" of the Spanish band Suspiral. The author is the band’s bass player Álex Tedín, who previously worked on albums’ cover arts for such bands as Sinmara and Svartidauði.

The cover art of the album "Oath" of the Russian band Morokh. The author is not specified.

The art of the second album "Laho" of the Finnish project Kval. The creator is Moonroot Art.

The cover art of "The Furnaces of Palingenesia" by the French band Deathspell Omega. The author is not specified.

The cover art of the record "Algleymi" of the Icelandic band Misþyrming. The author is the Netherlands artist Manuel Tinnemans, who has previously worked with Deathspell Omega, Entombed A.D., Lychgate, Rotting Christ and many other bands.

The cover art of the album "Old Star" of the Norwegians Darkthrone. The author is an American artist and musician Chadwick St. John.

The cover of Chernaa's "Empyrean Fire" debut album. The creator is Anna Levytska, who previously worked on cover art for Blut aus Nord's album "Deus Salutis Meæ".

The art of Funeral Storm’s debut album "Arcane Mysteries". The author is a German artist Markus Vesper (Denial Of God, Manilla Road, Attic).

The art of the debut album "Tempestas" by the American band Ov Lustra. The author is not specified.

The cover art of the record "Offerings of Flesh and Gold" of the American band Bull of Apis Bull of Bronze. The creator is a British artist and musician Alex CF.

The cover of the EP "The Hallowed Shall Serve" of the American band Inquinok. The creator is Gargoth from Luciferium War Graphics.

American alternative metallists Dope, best known for their hit "Die MF Die", return to Ukraine in honor of the 20th anniversary of their debut album "Felons and Revolutionaries".

Announcement from the organizers: "The band has been around for over 20 years, and it doesn't seem like frontman Edsel Dope is going to stop. That's why they go on tour to share with the new and old fans the explosive energy that distinguishes their legendary debut record."

The show will take place on October 17 at the Atlas Club. Tickets for Dope’s show are already available at this location. Do not miss also: Agnostic Front to celebrate 35th anniversary of their debut album in Kyiv

French avant-garde black metal act Blut Aus Nord has unveiled details of the release of their new 13th album. A record titled "Hallucinogen" will come out on October 11, 2019 via Debemur Morti Productions.

According to the description, “Hallucinogen” begins a new era for Blut Aus Nord, ending the cycle of clandestine industrialised dissonance that culminated with previous transmission Deus Salutis Meae and moving skyward into freshly melodic territories of progressive clarity”.

A 7-track album was recorded and mixed at Earthsound Studio. The mastering of the release took place at Upload Studio under the direction of Bruno Varea, who had previously mastered 2017’s album of Blut Aus Nord "Deus Salutis Meæ". The cover art was created by well-known artist Dehn Sora, who has repeatedly collaborated with the band since 2012.

Also listen to: Yerûšelem (Blut Aus Nord)’s track "Babel"

"Hallucinogen" is available for pre-order on Digipack CD, Gatefold vinyl 2x12", cassette and digital version. You can order it at these locations: Europe, USA, and Bandcamp.

Tracklsit:

1. Nomos Nebuleam
2. Nebeleste
3. Sybelius
4. Anthosmos
5. Mahagma
6. Haallucinählia
7. Cosma Procyiris

"Hallucinogen" cover

American rock band Tool has unveiled the first new track, "Fear Inoculum", in 13 years. The song will appear on the upcoming same-named album.

The 10-track "Fear Inoculum" comes out 13 years after the release of Tool’s last album "10,000 Days". The record is currently available for pre-order on all popular online services.

"Fear Inoculum" is expected to include the songs "Descending" and "Invincible", which the band has performed live at their last concerts. The record release is scheduled for August 30, 2019.

Tool's new album was reportedly produced by Joe Barresi, and mastered by Bob Ludwig, who previously worked on "10,000 Days". Recording commenced in March 2018, with drummer Danny Carey laying down his tracks first and bassist Justin Chancellor recording his parts next.

See also: Video "The Remedy" by Tool vocalist side project

In July, Tool's legendary 1991 demo tape, titled "72826", surfaced on YouTube, Apple Music, Google Play and Pandora. It marked the first time a Tool release had been available to stream online. On August 2, the remaining releases of the band also became available on streaming platforms.

"Fear Inoculum" cover art

Four years after the release of "Exercises in Futility" LP, Polish black metallers Mgła revealed a new track titled "Age of excuse II".

The composition will appear on the band’s upcoming fourth album, the title and release date of which has not yet been unveiled. Mgła's previous album "Exercises in Futility" was released in 2015 via Northern Heritage Records.

See also:

• Photo report from Holy Death Over Kyiv DCLXVI feat. Mgła
• The other side of Mgła. Review of Kriegsmaschine's "Apocalypticists" with full album stream
• Batushka vs Bartushka: "Panihida" vs "Hospodi" review

Main pic by Mila Immortality, Noizr Zine

Greek symphonic death metallers Septicflesh will give a show on October 9 in Kyiv, Ukraine, in support of their 2017’s album "Codex Omega".

Announcement of the organizers: "The antique gods of symphonic death metal are finally returning to Ukraine to present their 10th studio album "Codex Omega".

The performance of Septicflesh will be held at Bingo club. Tickets from 550 UAH are already available for order here. Details of the event can be found on Facebook.

American rock band Tool announced the title and release date of their new album. The record entitled "Fear Inoculum" will come out 13 years after the release of the last album "10,000 Days".

"Fear Inoculum" is expected to include the songs "Descending" and "Invincible", which the band has performed live at their last concerts. The record release is scheduled for August 30, 2019.

Tool's new album was reportedly produced by Joe Barresi, and mastered by Bob Ludwig, who previously worked on "10,000 Days". Recording commenced in March 2018, with drummer Danny Carey laying down his tracks first and bassist Justin Chancellor recording his parts next.

Earlier in the month, Tool's legendary 1991 demo tape, titled "72826", surfaced on YouTube, Apple Music, Google Play and Pandora. It marked the first time a Tool release had been available to stream online. It’s expected that on August 2 the remaining releases of the band will also become available on streaming platforms.

See also: Video "The Remedy" by Tool vocalist side project

Polish black/death metallers Behemoth presented a new video "Sabbath Mater", filmed for the song taken from the latest album "I Loved You at Your Darkest".

The video was produced by the Polish studio Grupa 13, with which the band has been cooperating for some years, in particular, the production team has previously been involved in creating of Behemoth’s video "God = Dog".

The band is reported to have been used the work of the Mexican artist Emil Melmoth to create one of "Sabbath Mater" images.

Read also: I enjoyed you at your lightest. Review of Behemoth’s "I Loved You At Your Darkest" with full album stream

The band's 11th LP "I Loved You at Your Darkest" came out on October 5, 2018, being mixed by Matt Hyde (Slayer, Children of Bodom) and mastered by Tom Baker (Ministry, Nine Inch Nails, Marilyn Manson).

French label Debemur Morti Productions has announced the release of the second album "Love Exchange Failure" by the Ukrainian post-black metal act White Ward. In honor of the announcement, the title track of the coming LP was surfaced online.

White Ward comment: "The idea behind this album is to illustrate the artificial conditions people created to contradistinguish themselves to nature. Being neither a separate phenomenon nor a sustainable part of the surrounding environment, we’ve pushed ourselves to a constant struggle caused by the inability to understand who we are and what our place on this planet is. Conditions we create lead to a continually rising level of fear in the minds of individuals and at the same time — the lack of love. Under the term "love" we mean not a feeling in its primitive understanding but a feature that helps us to live in harmony with ourselves, other people, and the world around. The love exchange failure leads to an inevitable degradation and degeneration. The more hatred we push towards people around us, the deeper we fall. The blinder we are on our daily way to work, the more sufferings we leave behind. People don’t have time to talk to each other. Furthermore, obsessed by desires, they don’t even pay enough attention to their children, rising each new generation more exposed to mental problems. Blindness, indifference, and domestic abuse, bullying in schools, social rejection, and many other factors lead to many tragedies of mankind. Caused by individuals, they are our own crimes."

7-track "Love Exchange Failure" will be released on September 20 via Debemur Morti Productions. The album is already available for pre-order in Europe, North America, and Bandcamp.

Read also: Photo report from Reka, White Ward, and Mother Witch & Dead Water Ghosts gig in Kyiv

"Love Exchange Failure" will be the second full-length release of the Odesa-based act White Ward. The band’s debut record "Futility Report" was released in 2017 and hit the TOP 5 best Ukrainian metal albums of the year according to Noizr Zine.

Tracklist:

1. Love exchange failure
2. Poisonous Flowers Of Violence
3. Dead heart confession
4. Shelter
5. No Cure For Pain
6. Surfaces And Depths
7. Uncanny delusions

"Love Exchange Failure" cover

On August 30, 2019, Debemur Morti Productions will release the 4th album, "Anorexia Obscura", of the Italian black metal project Tenebrae in Perpetuum. Ahead of the release, Noizr Zine shares the exclusive premiere of the band’s newest single "Oscillazione ipnotica profonda".

Also listen to: Tenebrae in Perpetuum's track "Dissonanze Mentali"

According to the press release, the founder of the project, multi-instrumentalist Atratus reveals in his new album "black visions of demented afflictions of mind and soul, of inhuman experiments amidst cold silicon and sharp steel tools".

"Anorexia Obscura" is available for pre-order at the links below:

• Europe
• North America
• Bandcamp

"Anorexia Obscura" tracklsit:

1. Dissonanze mentali
2. Anorexia obscura
3. Oscillazione ipnot...
4. L'epoca oscura del...
5. Nero, oscuro conce...
6. Criogenia letale
7. Silicio freddo

"Anorexia Obscura" cover

I think it was quite clear for anyone that wasn't swept up in the initial craze of Batushka that there wasn't much gas left in the tank after their first album. Sure, it made for an 'apparently' novel and new approach in Black Metal (excluding the fact that nearly every trope they use has been done by numerous other bands prior to them), and it got black metal fans who'd never heard choral music alongside their tremolo riffs before, damp in their underwear.

The problem is, the writing was on the wall to start with; their debut was a remarkably average slice of black metal infused with orthodox chanting (Deathspell Omega's 'Carnal Malefactor' or even Rex Mundi's 'Sepher Seraphim' manage to create more stirring pieces using this formula than Batushka ever did but I digress...) and what became abundantly clear was that any following works would have to follow a similar formula and it would grow stale very quickly. This is surely the case with either of the albums that one can pick from whichever version you pick.

Read also: Batushka or Bartushka. What’s happening with the Polish project

One thing I will say Batushka managed to do very well was their live concerts; once again, not particularly original, many of the elements that they brought to the stage have been seen in various guises before. I will give credit where it's due however they fucking milked it for all it was worth — "Litourgiya" was 4 years ago now and they toured nearly non-stop off the back of that album and surely netted themselves a significant paycheque from doing so.

Money, whilst we're on the subject of it, for anyone that has paid much attention since the dawn of this band they will be aware of the numerous scandals with fans being ripped off by Witching Hour, either never receiving their items or not getting everything they paid for. One thing that seemed highly suspect to me from the moment when Krzysztof uploaded his video in December, complaining about Bart taking the band from him. I seriously question why he never raised concerns before when fans were having their cold earned cash stripped from them, I struggle to believe that he didn't see any of those ill-gotten proceeds.

After ordering Batushka merch via WHP, a fan received a parcel full of trash

In December when 'the story broke', I couldn't help but laugh. This was a band that had gained a reputation for ripping people off in such a short space of time, evidently conspired by Bart but it would seem the rest of the band were complicit in it. The fact that Krzysztof is shocked he got fucked over by the guy that was fucking everyone else is either a display of extreme naivety or stupidity.

And so it is that the band has splintered, becoming two entities; one of whom signed a surely lucrative deal with Metal Blade and the other left pissing in the wind. It would seem Krzysztof's Christian virtues of 'the meek shall inherit the earth' was baseless because he has had his band taken from him by an opportunist that was bold enough to do so.

I want to be very clear here, I am no fan of the band in any of its guises but after a listen to both of the albums it's obvious who was the musical driving force in the band. It's also apparent who is the more talented composer from the two projects.

So, onto the albums...

Do you remember the South Park episode Giant Douche vs Turd Sandwich? This is that situation! Trying to pick either of these albums and labeling them good is impossible, the only advantage that the Krzysztof iteration "Panihida" has is that is clearly the musical successor to their debut and for those that are looking for the follow-up to "Litourgiya" this is where they'll find it.

The problem is with "Panihida" is that it sounds rushed, I assume that this has something to do with Krzysztof wanting to get it released before Bart's record. The production is sloppy, the songs are even more average than they were on their debut and it is a very forgettable listen. I will admit that 'Litourgiya' had some interesting moments, a couple of riffs across the album that stuck in my head, this cannot be said for this album. It 'sounds' and 'feels' like a Batushka album but it lacks any substance, there's nothing here that will blow anyone away and lacks the theatricality that infused the debut. For the fans that want to know which album to buy, it's this one. It's biggest positive is that compared to "Hospodi", "Panihida" is almost transcendent.

Krzysztof Drabikowski — "Панихида"

And what of "Hospodi" I hear you ask? In short, it's abysmal. It is one of those albums that after listening to it, you question why you wasted nearly an hour of your life on it. To call it second-rate black metal is an insult to all of those bands that are doing a great job of ripping off Darkthrone and Dissection/Watain. It is woefully uninspired, bland and just bad. There is barely a moment on the whole album that invokes the debut. Sonically it is clearly a different handcrafting the music, now this is not necessarily a bad thing, someone else can write for the same band and produce great music (Secrets of the Moon for instance) but the music is just plain awful.

I would love to have been a fly on the wall at the Metal Blade offices when they got the finished album through and realized that they'd backed the wrong horse. It's telling that the first promo that was released for this album is for the only song that evokes any similarity to "Litourgiya", "Polunosznica" with it's jangling chorus-soaked guitar opening.

Batushka — "Hospodi"

It would seem that ultimately Bart has won, Metal Blade has doubled down and not said a word on the controversy, and Bart will likely tour for another 5 years using material that will probably be comprised mostly of songs from the debut and a few of the least offensive tracks from his attempt at a Batushka album, making a nice paycheck.

In summary, I can't endorse either album, they're both lacking, uncreative and bland. It just so happens that one is a lot more uncreative and a lot blander, so Krzysztof's attempt wins by default? Congratulations Krzysztof I'm sure that'll warm your soul, being the lesser of two evils.

I have to give an even bigger congratulations though to Bart, he managed to rip-off a bunch of his fans, screwed over the creator of the music and is now able to enjoy the fruits of very little labour, sitting pretty with a big label behind him. He might be a giant douche but he's done a phenomenal job of capitalizing on opportunity.

Hopefully, both bands will fade into obscurity once Bart's finished riding the hype-wave and Krystof realizes he's got little chance against the media machine that Bart's created. Then we can all go back to looking at Poland's bands that are worth a damn; surely Bestial Raids и Mgła are due to release new albums soon?

"Panihida" — 5/10
"Hospodi" — 3/10

Reviewed by Dan Thaumitan
Photo by Mila Immortality

Swedish epic black metallers Ereb Altor announced the release of a new album, "Järtecken", unveiling a new music video "With Fire In My Heart".

The 9-track "Järtecken", which will become the 8th full-length record in Ereb Altor’s discography, will come out on September 23 via Hammerheart Records and will be available on CD/LP/MC/Digital. The cover art was created by Kristian Wåhlin (Bathory, Dark Funeral, Nokturnal Mortum).

See also: Photo report from Kyiv’s Oskorei Midvinter festival 2017, feat. Ereb Altor

"Järtecken" is available for pre-order here. In honor of a new album release, Ereb Altor will go on a European tour. All dates of the upcoming gigs can be found below:

August 17 — Norway, Borre — Midgardsblot 2019
August 24 — Sweden, Norrtalje — Månegarm Open Air 2019
October 4 — Germany, Oberhausen — Helvete
October 5 — Germany, Erfurt — From Hell
October 6 — Poland, Poznan — U Bazyla
October 7 — Germany, Berlin — Nuke Club
October 8 — Germany, Hamburg — Bambi Galore
October 9 — The Netherlands, Rotterdam — Baroeg
October 10 — France, Paris — Backstage Club
October 11 — Belgium, Sint Niklaas — De Casino
October 12 — Germany, Mannheim — MS Connexion Complex

Tracklist:

1. Avgudadyrkans Väg
2. Queen Of All Seas
3. Alliance In Blood
4. Chained
5. My Demon Inside
6. Prepare For War
7. Hvergelmir
8. With Fire In My Heart...
9. ...And Blood On My Hands

"Järtecken" cover

At the beginning of the year, the Lviv-based metallists 1914’s second studio album has suddenly disappeared from popular streaming services. As it turned out, the band planned to re-release their newest record in May 2019, but this time via new record label Napalm Records. In support of this re-release, the musicians also presented their first music video.

Noizr Zine interviewed 1914’s frontman Dmytro Kumar, asking him about the relationship with the Austrian metal label, and how it’s affected the band. The musician also revealed plans for making more video content, the importance of tradition, the creative approach of 1914, as well as his hobby, archaeological excavation, and making music outside of his main project.

In May you re-released your second studio album "The Blind Leading The Blind" via Napalm Records. Tell us how the relationship with such a well-known label began and how did they affect the life of the band? I assume that being brought on board by a larger label has bolstered your confidence?

Dmytro: It was easy enough — they heard our album and sent us a proposal for cooperation. At that moment we already had negotiations with two other big labels about similar partnerships and signing contracts, but the communication with them was not that active. We could wait for an answer for about a week. And, to tell the truth, the conditions, that were offered by Napalm, were more interesting than those other two proposals. They immediately wrote back to us, calling us whenever there was such a need to explain to us all the necessary details. Therefore, the cooperation began somehow by itself, simply and without headaches. As for our confidence, it seems so, yes. When you feel that a huge label stands behind you, you know when you release your next albums that the label will provide decent promotion, they will help you financially; many more people will hear you now — it helps you a lot with the issues and problems that musicians (especially in Ukraine) face. Well, of course, the volume and the quality of concerts are constantly growing and it pleases us very much.

With the release of the new album the previous band members, named after the British soldiers, "died". Instead of them, you have now the "Germans", and then you have plans for "French" or "Turks". Tell us about this tradition in 1914. How do you choose the names, and do they really belong to some real soldiers?

Dmytro: Honestly, the Americans were killed. The first line up of 1914 was entirely taken from the AEF (American Expeditionary Forces) of the real regiments that took part in battles in France and died there. So all the ranks, companies and divisions are real and they were in the structure of the AEF. But our names are more of an allusion to the Americanized names of the real ones, kinda transcription; although they are not so fictional. I tried to build our names around the real soldiers, but not just by stealing their names, and to make a light reference to them. For instance, our bassist Armen was Pvt. Armen Bleckley (K Company's 160th Infantry Regiment) — it is a fairly ambiguous reference to its historic prototype Erwin R. Bleckley, an American military man that was killed in October of 1918 during the Meuse-Argonne Offensive in France.

After the first album the "American" crew has died and for a short period of time (while working on the split with Americans Minenwerfer) they were replenished by "Austrians". However, the "Germans" appeared on the new album. The entire staff (especially taking into account the regular changes in the band) was full of real divisions and titles from the Kaiser’s Army featuring the transcription of our real names. We plan to continue this tradition, and the next album may come out with "French", "British" or "Turks" — there were a lot of warring parties, so we have some variants to choose.

"In the future, we are going to make more videos. And obviously, it won't be a piss for pussies in the Sabaton’s style."

Your first video "C'est Mon Dernier Pigeon" came out this May. Why did you decide to use this track from the new album with a video? Are you satisfied with the end product?

Dmytro: Why this track? Very simple. It's a short, evil, and furious thing. It’s about murder because of despair, about heroism, desolation, and hope. About hope in the form of the last pigeon who brought the news that the soldiers can no longer hold the fort and wait for help. The pigeon brought the news — but help did not come. Hope is often a ghostly thing, especially in the realities of such mayhem. We wanted to show that exact mayhem, to give a little bit of that time’s atmosphere, of those battles. But the historical movie for 10-12 minutes with large-scale battles is still far beyond our strength. Yet!

Yeah, we are satisfied with the work. Of course one can always do better, but with our limited budget and challenges of this country for historical weapons, suits, and other stuff — everything turned out pretty cool.

Today, in the era of video content, new bands often try to "come in" with a pair of spectacular videos. In the case of 1914, this is the first video in the five-year existence of the band. Why now? Is this a question of opportunity or probably you had some certain thoughts on such kind of content? Are you planning to make more videos in the future?

Dmytro: Roughly speaking, we are playing music about the Great War. All of the tracks are about battles, great battles, the fate of the soldiers in it and so on. To make such videos look cool, scalable and breath-taking, with hundreds of people running in the frame, with explosions, technology — it’s too difficult financially, for now. To shoot just mudded musicians who play their instruments at some factories, swamps or elsewhere — who needs it? Our music is not about musicians, not about guitars, not about corpse paints, spikes, leather pants, inverted crosses or all these ridiculous attributes of black metal. No chance to shoot large-scale battles in the format of a sharp film — wait, it's better not to shoot at all. In the future, we are going to make more videos. And obviously, it won't be a piss for pussies in the Sabaton’s style.

Dmytro, now you have a lot of concerts abroad, you combine your work in the band with a 'normal' job and a family. Is there time for your hobby — history and archeology?

Dmytro: Honestly, there is actually no time left. And it stresses me out because for me it is an important component: firstly it’s an inspiration for creativity, and secondly, just a hobby in which I have followed for 13 years, which helps me to rest mentally from all the world, work, and so on. And still, I need to read new books, to update the facts in my head, the descriptions of the battles, etc. Therefore, there are such moments when it comes to choosing priorities. And here is such a concept that "normal work" loses absolutely. Yeah, it can be not very cool financially, but I can devote myself entirely to my family, music, my hobby. Everything that inspires and supports me.

Tell us more about your hobby — the search for military artifacts. How do you think, what is the most valuable thing you found in the field of hostilities?

Dmytro: The most valuable things are emotions. Memories, strong emotions, inspiration. I don’t want to measure the artifacts I found by money, but when I take any of them, I remember the story that is associated with it. As well as where I found that artifact; who was with me, the feelings that I had, friends nearby. Some of them are no longer alive. That's why it's not just a side-venture for me; I'm trying to touch that page, those events, to be in the place where that soldier's life was cut off, to find things that were with him in his last minutes. If I find the remnants of a soldier — maybe it sounds weird — but I talk to them. Kinda last small dialogue. Why is he here? How did he die? Who was waiting for him at home? Such a small Shakespearean scene in my head, but in general, if we talk about interesting finds; once I found the remnants of a mammoth and took his remnants home. One day I’ll excavate it completely with my daughter. And also the tools of the work of Neanderthals. Are they valuable?

What do you think about chances to earn money only with your music one day? Is it possible, what do you think?

Dmytro: I answered a bit this question above. Yeah, I have such plans. To earn money only through music, with something personal. I want to start writing books finally (to have time for this, since I have a lot of ideas). I don’t want to live the rest of my life (how long it will be) in the IT company office. Somehow like this.

In 2017, during one of your interviews, you’ve mentioned the work outside the band. You even admitted that you can probably write something acoustically. So do you write music other than for 1914? And if so, what are you planning to do with those songs?

Dmytro: I hate "Russian rock" or "Ukrainian rock" — so it will be better not to write anything acoustically, in case it turns out to be some kind of Ukrainian rock shit. Besides 1914, I do write, and not just music, but also stories and novels. However, the further I go, the less time I have. I also have several thoughts about implementing those works, there is a couple of things worthy of attention, in particular, some songs for children. Sometime I’ll record them. I also really want to finish and release, recorded, but not yet released album of my old stoner doom project Johnny B Gut.

Order "The Blind Leading The Blind" via Napalm Records. Head to this location to read Noizr Zine's review of the album.

Interviewed by Yurii Somov
Edited by Dan Thaumitan
Noizr Zine thanks Napalm Records and Lisa Pavlova for help in organizing an interview

Ahead of the release of the new album "Birth of Violence", an American singer Chelsea Wolfe presented a new song "American Darkness". The director of the clip was Carlos Rene Ayala.

The song is accompanied by the video, directed by Karlos Rene Ayala, which, according to Wolfe, is an "expression of freedom and beautiful humans being themselves".

"It began as a sort of homage to a scene in the Paul Thomas Anderson film Magnolia, where the characters are singing along to the Aimee Mann song “Wise Up,” but I wanted our version to be explored through the lens of The Tarot. I’ve been reading tarot cards for myself for many years, and researching the symbolic expressions of the cards for this video made me want to dive even deeper. To represent that, I played both The Fool and The High Priestess cards in the video, to embody both the beginning of the journey, and the realization that the sacred knowledge I was seeking was inside me all along. We cast friends to play a few other tarot archetypes, and Karlos’ idea was to bring the symbols and signifiers into the contemporary", Chelsea Wolfe.

Earlier, Chelsea Wolfe has announced the album "Birth of Violence", unveiling the single "The Mother Road" and the North American acoustic tour dates. "Birth of Violence" will be out on September 13 via Sargent House and now is available for pre-order here.

See also: Chelsea Wolfe releases video "Spun" with explicit scenes

Merry Christless, an annual event of extreme metal music which features the iconic bands of the underground scene, is to be held on December 15, 2019.

This year’s gig will feature Furia, Dodheimsgard, Bölzer, Blaze of Perdition as performing acts as well as Hellhammer, the band of legendary Thomas Fisher.

Tickets from 110 to 130 PLN (about 25-30 euros) can already be ordered here.
Event on Facebook.

In previous years — in 2018 and 2017 — Merry Christless events featured such bands as Behemoth, Master’s Hammer, Batushka, Mgła, Witchmaster, etc.

Revolutionary Tribunal of Tehran sentenced two Iranian metallers from a band Confess to 12.5 years and 6 years in prison. For playing metal music, Confess’ frontman Nikan Khosravi has also been sentenced to 74 lashes.

In 2015, the world media spread information about Confess’ members Nikan Khosravi and Arash Ilkhani, who were arrested by local authorities due to the fact that they’re playing "satanic" music with anarchist texts, own independent label and communicate with foreign radio stations. Musicians were threatened with imprisonment from 6 months to 6 years or, in the worst case, with the death penalty for blasphemy.

After being released from prison Evin on bail of $30,000, while awaiting a sentence, Khosravi and Ilhani fled to Turkey, filed an appeal against the charges against them, but the court of Tehran rejected the petition. Later, the musicians were eventually granted asylum in Norway, where the duo resides today.

In the end, General Judiciary of the Province of Tehran sentenced Khosravi to 12 and a half years in prison and 74 lashes — the last one "for allegedly disturbing public opinion through the production of music containing anti-regime lyrics and insulting content and for participating in interviews with the opposition media". Ilkhani is reported to have his initial sentence of six years reduced to two years.

In response to the sentencing, Confess have released the new song "Evin", named after the prison where the musicians were held after their 2015 arrest.

Read also:

Interview with Al-Namrood – an anti-religious black metal band from Saudi Arabia
Suspect in murder of The Exploited fan arrested
Stagehand dies after Avenged Sevenfold show in Germany
Someone broke girl’s jaw at Code Orange’s show
Russian punk was arrested because of music in his social network

Swedish progressive metallers Opeth shared a new song "Hjärtat Vet Vad Handen Gör" ("Heart In Hand" in Swedish — Noizr). In the 17-minute video, the musicians presented two versions of the composition — in Swedish and English languages.

"Hjärtat Vet Vad Handen Gör" will appear on the band’s upcoming 13th album "In Cauda Venenum", which will be released on September 27 via Moderbolaget Records and Nuclear Blast.

Read also:

Opeth’s musicians appear as 3D-models in new video "Era"
Heavy old school. Review of Opeth’s new album "Sorceress"

American black metallers Crimson Moon are to release their new album "Mors Vincit Omnia" on August 30 via Debemur Morti Productions. Ahead of the release, the band has unveiled the single "Godspeed — Angel Of Death" from the upcoming LP.

The band’s founder and leader Scorpios Androctonus comments: "'Godspeed — Angel Of Death' is a hymn towards the Destroying Angel, with sword drawn and dripping with gall... The omnipresence of death in a sonic soundscape accompanied with the guest vocals of Lord Angelslayer (Archgoat) and Proscriptor McGovern (Absu) that grants the obolus to the listener to embark on the journey towards the underworld."

Alongside Lord Angelslayer and Proscriptor McGovern, the album also features guest vocals from Ixithra (Demoncy) and Phaesphoros (Kawir, All My Sins) who in addition to mixing the record also performs wooden recorder. The cover art was created by Italian artist Daniele Valeriani, who previously collaborated with Dark Funeral and Lucifer's Child.

Read also: Review of All My Sins’ single "Zov iz Magle"

"Mors Vincit Omnia" will be released on CD, vinyl, and digital. The album is available for pre-order in the USA, Europe, and via Bandcamp.

Tracklist:

1. Vanitas
2. Altars Of Azrael
3. Godspeed Angel Of Death
4. Upon The Pale Horse
5. Parcae — Trinity Of Fates
6. Mors Vincit Omnia
7. Funeral Begotten
8. Tempus Fugit

"Mors Vincit Omnia" cover

On August 30, 2019, Debemur Morti Productions will release the 4th album, "Anorexia Obscura", of the Italian black metal project Tenebrae in Perpetuum. Ahead of the release, Noizr Zine shares the exclusive premiere of the band’s newest single "Dissonanze Mentali".

According to the press release, the founder of the project, multi-instrumentalist Atratus reveals in his new album "black visions of demented afflictions of mind and soul, of inhuman experiments amidst cold silicon and sharp steel tools". "Anorexia Obscura" is available for pre-order at the links below:

• Europe
• North America
• Bandcamp

"Anorexia Obscura" tracklsit:

1. Dissonanze mentali
2. Anorexia obscura
3. Oscillazione ipnot...
4. L'epoca oscura del...
5. Nero, oscuro conce...
6. Criogenia letale
7. Silicio freddo

"Anorexia Obscura" cover

Black metal project Abbath of Norwegian musician Olve 'Abbath' Eikemo shared the full stream of its second album "Outstrider". The record is set to release on July 5 via Season of Mist.

"Outstrider" was produced by Endre Kirkesola, a Norwegian musician, owner of Dub Studio, who has previously worked with Blood Red Throne, Green Carnation, and Trollfest. The album is available for order here.

See also: Abbath’s music video for the song "Harvest Pyre"

Earlier, Abbath has unveiled the band's new lineup. Thus, the place of bass player King, who left the band due to "conflicting views on lyrical concepts of the upcoming album", was taken by musician Mia Wallace (Triumph of Death, ex-The True Endless). The new drummer is Ukri Suvilehto (Suvilehto, Tuliterä, Vermivore), and guitarist — Ole André Farstad (Ilti Milta, Doudou Cissoko's Ancient Strings and Fabulous Things).

Tracklist:

1. Calm in Ire (Of Hurricane)
2. Bridge of Spasms
3. The Artifex
4. Harvest Pyre
5. Land of Khem
6. Outstrider
7. Scythewinder
8. Hecate
9. Pace 'till Death (Bathory cover)

"Outstrider" cover

Read also:

• Outside Blashyrkh. Review of Abbath's debut album
• Review of Immortal’s "Northern Chaos Gods" with full album stream

Main pic by Francisco Munoz

On June 28, 2019, Debemur Morti Productions released the second album "Pale Season" by Thenighttimeproject — the band which includes guitarist/vocalist Alexander Backlund, drummer Jonas Sköld and Norrman brothers, former Katatonia members, guitarist Fredrik and bass player Mattias. Above, you can check out "Pale Season" full album stream.

Follow the link to watch Thenighttimeproject’s music video "Final Light", produced by Dronicon Films.

"Pale Season" was recorded at Valley Sound Studio/Nailvillage, mixed by guitarist Alexander Backlund at Nailvillage, mastered by Tony Lindgren at Fascination Street Studios, and completed with cover art by Denis Forkas and design by Kadriel Betsen. Pre-order "Pale Season" via European shop, North American shop, and Bandcamp. Follow the link to listen to the previously unveiled singles "Embers" and "Anti Meridian" from Thenighttimeproject’s upcoming studio record.

According to the press release, during 2010-2016, not straying far from his most notable roots, Fredrik 'North' Norrman founded Thenighttimeproject — a pleasantly nostalgic road for those more familiar with his work in Katatonia. Joined by Tobias Netzell of In Mourning, along with Nicklas Hjertton, formerly of Mandylon, their self-titled debut album is released in January 2016.

In 2017, the band released the single "Anti Meridian". Mattias Norrman (October Tide) joins the band on bass. Later this year Tobias and Nicklas decide to leave the band due to lack of time.

In 2018, the band was joined by Jonas Sköld (October Tide, Letters From The Colony) on drums and vocalist Alexander Backlund (Letters From The Colony) the band is now working on the follow up to the debut album as well as rehearsing for live shows.

Norrman brothers were members of the Swedish group Katatonia for more than 10 years — Fredrik played the guitar from 1996 to 2009, and Mattias played bass from 1999 to 2009. Katatonia’s last album "Night Is the New Day", recorded with the brothers, was released in November 2009. In 2017, Katatonia announced a short-term hiatus.

Also, Thenighttimeproject has recently announced that this October they will perform at Doom Over Kyiv festival in Kyiv, Ukraine, together with previously confirmed bands Tiamat, October Tide, Monolithe, 1914, (Echo), Aklash and others.

Follow Thenighttimeproject on Facebook

"Pale Season" tracklist:

1. Hound
2. Rotting Eden
3. Binary
4. Final Light
5. Embers
6. Pale Season
7. Anti Meridian
8. Signals In The Sky
9. Meridian

"Pale Season" cover

Titans of the world metal scene with a 30-year career, Rotting Christ, are going on tour in Ukraine with their new album "The Heretics".

On September 13 in Lviv feat. Sectorial, September 14 in Kyiv and September 15 in Kharkiv, the Hellenes will play 3 gigs in support of their latest album "The Heretics", with which the band is currently blasting European stages. Do not miss the chance to see one of the shows of the leading metal act who will plunge the Ukrainian audience into the storm of the unrestrained reefs and thunderous drums!

Visitors of Rotting Christ’s upcoming tour will be able:

1. To see the show of one of the best live bands in black metal.
2. To feel the power and rage of the band’s new album "The Heretics".
3. To ensure the relevance of the band even after 30 years of its existence.

Tickets from 460 UAH are available here. Event in Lviv on Facebook, event in Kyiv on Facebook, event in Kharkiv on Facebook.

Rotting Christ fans will confirm that each concert of the Greeks is a high-quality show due to the incredible energy and skillfulness of the group's members, led by the mastermind Sakis Tolis.

Read also: "Non Serviam". Review of Cult Never Dies’ biography about Rotting Christ

The German post-black metal act Downfall of Gaia is going to give the only one show in Ukraine with Ukrainian black death metallers Sectorial as an opening act The event will take place in August 17 at the MonteRay Live Stage club in Kyiv, tickets are available for ordering online.

Downfall of Gaia (DE) is "a powerful and time-tested post metal/black metal from Germany. A gloomy wall of sound that inexorably covers the listener and seeping to his very soul".

Sectorial (UA) is "a blackened death metal, parsing consciousness to atoms, that you have heard and seen at the main venues of the country."

You can buy tickets for Downfall of Gaia and Sectorial gig from 400 to 1000 UAH here. Head to this location to check the event on Facebook.

Neformat, a website dedicated to underground Ukrainian music, will celebrate its 15th anniversary with a one-day festival in Kyiv, Ukraine. The event will take place on August 31 with White Ward, Septa, Mother Witch & Dead Water Ghosts, Nug, Backchat and Kasu Weri as performing acts.

According to the organizers, for 15 years they have held 6 big thematic festivals, the purpose of which was to show that "there are interesting bands in Ukraine that one should pay attention to".

Neformat Fest 2019 is reported to have two stages, the main of which will feature 6 Ukrainian metal bands, and the second one — several well-known Ukrainian rap acts and electronic projects.

Experimental stage:

Tulym Posse, Kyiv, hardcore rap
Price of Rhythm, Lviv, hip-hop
Maxim Monophonic, Kyiv, synth wave, trip-hop
r.roo, Kyiv, IDM, ambient, house
stonefromthesky, Kyiv, trip-hop, techno organics, downtempo

• Neformat Fest 2019
• Start: August 31 at 5 pm
• Venue: BingoClub, Peremohy Avenue, 112
• Tickets from 350 UAH are available here
• Event on Facebook

Danish folk act Heilung shared a full stream of its newest second album "Futha", which the band will present on December 6 in Lviv and on December 8 in Kyiv, Ukraine.

Heilung comment: "Ofnir [the band’s debut release — Noizr] was a masculine album about combat, anger and rage, Futha is the counterpart, the balance point, the feminine side. The great healing power of sexual magic and female wild strength is evoked in Futha."

"Futha" was released on June 28, 2019, via Season of Mist and is currently available for order here.

Also in honor of the new album release, the band will go on a European tour, including performances in Finland, the Czech Republic, Norway, Germany, Poland, Austria, Switzerland, the UK, the Netherlands, Belgium, and France:

29 Jun 19 Helsinki (FI) Tuska 2019
09 Aug 19 Jaromer (CZ) Brutal Assault
17 Aug 19 Borre (NO) Midgardsblot 2019
07 Sep 19 Selb (DE) Mediaval Festival 2019
19 Oct 19 Hameln (DE) Autumn Moon Festival 2019 (Exact date TBA)
22 Oct 19 Palladium (PL) Warschau
24 Oct 19 Berlin (DE) Admiralspalast
26 Oct 19 Essen (DE) Colosseum Theater
28 Oct 19 Munich (DE) Circus Krone
30 Oct 19 Prague (CZ) Hybernia
01 Nov 19 Halle (DE) Händelhalle
03 Nov 19 Vienna (AT) Der Globe
05 Nov 19 Zurich (CH) Volkshaus
07 Nov 19 Kiel (DE) Kieler Schloss
10 Nov 19 London (UK) Roundhouse
14 Nov 19 Utrecht (NL) Tivoli Vredenburg
17 Nov 19 Brussels (BE) AB
20 Nov 19 Paris (FR) Elysée Montmartre
06 Dec 19 Lviv (UA) Lviv State Circus
08 Dec 19 Kyiv (UA) NAU Center of Culture and Arts
18 Feb 20 York (UK) Descended from Odin Festival (Exact date TBA)

See also: Fascinating spectacle. Heilung 76-minute concert video "Lifa" released

Photo by Søren Bech

It is of note that despite Ukraine’s relative exclusion from the wider musical landscape of Europe there is a deep-rooted and prevalent black metal scene within. In many ways the scene can draw parallels with the notable geographic hotspots of the early Norwegian scene or the Icelandic, French — Parisian and Swedish scenes. A multitude of bands that share members and have carved a sonic niche for themselves, let it be known that regardless of personal taste, Ukraine has its own unique sound. In the same way one can easily identify the similarity between bands like Malign, Ofermod, Watain, Dissection, Ondskapt & Mortuus, the same can be said of many Ukrainian bands.

This years Metal East saw a line-up that not only gathered some of the most anticipated Ukrainian acts but also diverse bands from across the world and different genres that injected a sense of texture and diversity to the weekend.

Art Factory Mechanica territory

The sign of Metal East growing and development into a fully fledged "festival" was demonstrated by the addition of various activities and services available. There were plenty of things to do in between sets, whether that be lectures and meet & greets with bands, a sizeable merch section, art display, local vendors selling some bespoke items, a wide variety of food options (that didn’t make me feel nauseous at the concept of having to force down greasy fast food) freshly cooked to order, karting, a BB gun range and archery range… and of course plenty of vendors to enjoy your favourite liquid poison.

The 3-day event featured 21 bands, 7 per day, with a comfortable 40-minute window between each set to recuperate from the sweltering heat inside the venue and relax in the grounds of the venue.

Friday

Morok

The breaking of the vessel was provided by Morok, unfortunately we arrived a little late and only managed to catch a couple of songs. Of note though is that the "Ukrainian sound" makes its first appearance, and this is where the divide begins — for those enamored with this geographic tonality the set would have surely have been exactly what was desired.

Bergrizen from Kiev played next, and they were the first act that managed to draw a large crowd. Sonically I can’t say it was revelatory but the band played a solid set and was met with great reception. Personally, there was no click for me, many of the songs seemed repetitive and unless you’re familiar with the band’s catalogue to a T, the songs can go by in a blur of similarly styled blast beats and tremolo riffs.

Bergrizen

Next up was Necrom, a newly formed band featuring members of Drudkh, Nokturnal Mortum & Khors. Their style blurs the line of black and death metal, falling in line with those inspirational acts from the late 80’s before there was a clear delineation between genres. It was at this second set that the major problem of the fest reared its ugly head — the live sound. Regrettably, the balance of the mix was in complete disarray, lead guitars were far too low in the mix, bass frequencies swamped everything and the songs dissipated into a wall of mush. There is no mistaking this is a band of veritable talent but they were sorely let down by the sound engineers.

Necrom

The first highlight and surprise (for me at least) of the fest was Harakiri for the sky, fortunately the sound was better for their set, perhaps for the fact the band used their own backline of Kemper amps, necessitated by the bands ever fluctuating textures and dynamics. Post-black is certainly not my joie de vivre but Harakiri’s set provided some much needed respite from the onslaught of distorted guitars, blasts and traditional screamed vocals. Their performance was only let down by the snapping of a string halfway through the set, with no backup guitar a couple of songs was spent with only one guitarist whist the other restrung!

Harakiri for the sky

Up next was Zemial, a hybrid of black and traditional heavy metal, they are clearly heavily inspired by King Diamond/Mercyful Fate… and Elton John judging from the vocalist’s attire. The music was sub-par quite frankly and I get the feeling they’re a band surviving on their legacy of being one of Greece’s oldest Black Metal bands. Beer seemed like a much better option at this point than watching the set!

Archgoat

Friday’s most anticipated band (for me) Archgoat took the stage next. Despite the prevalent sound problems that had afflicted every other band of the day, Archgoat’s no-nonsense sound, rooted in thick, bass driven cacophony didn’t detract from their performance at all. The set was stellar and it’s fair to say that the accusation of "it all sounds the same" can be applied to them but if you know Archgoat, you know what to expect; and they delivered. Hands down the best set of the day, aggressive, tight and pummelling.

Pestilence

Rounding out the day was Dutch death metal legends Pestilence. Finally the sound was correct for the first time that day, the rhythm and lead guitars were audible and the swapped solos were all distinct and intelligible. Musically Pestilence are one of those bands that just "sound like death metal", I can’t say it was sublime but the effort they put in was great. Of all of the bands playing they probably did the best job of engaging with the crowd, summoning circle pits and stirring the crowd into a frenzy. Tonally, they may have been sounded like most current death metal bands but they were tight, engaging and a fitting end to the first night.

Saturday

Inside of Art Factory Mechanica

Kicking off the 2nd day was Severoth, the issues with sound that had marred some of the bands the day before now came into full force. I almost feel like a disclaimer is needed at this point for Saturday as practically every band’s performance was unbalanced, bass heavy and lacking in presence for additional elements. Regarding Severoth’s performance what can I say, I couldn’t distinguish anything, each song bled into the next with little dynamics or texture.

White Ward

The next surprise for me was White Ward, another post-black act, hailing Odesa I have to commend them. Their set despite the atrocious sound was engaging and poignant, the added element of live saxophone created an atmosphere that truly set them apart from the majority of the bands playing. Let it be noted that White Ward do not have the "Ukrainian sound", this is clearly a band involved in creating their own art in their own vision, and whilst they may not be a band I’d pick to listen to on a regular basis, they surely made a statement and let their presence be known.

Agatus followed and to say it was underwhelming would be to oversell it, I can’t remember anything of this set, despite apparently watching it. Take from that what you will...

People during Hate Forest performance

Perhaps the most anticipated act for most was the appearance of a reformed Hate Forest with an apparent one off show (I remember Emperor saying something similar!) with no recording of the event allowed. A gig of pure exclusivity. A concept that surely enticed a majority of the fests attendees, at least judging by the amount of Hate Forest shirts being worn. For those fans, they surely delivered and I would dare to say that they drew the largest crowd of the whole weekend. Their performance was well received and a huge talking point by most.

Enthroned

Tech-death band Demilich was next and whatever technicality, soundscapes, textures and dynamics that were performed were missed, not a single thing was heard. Surely a disappointment for those fans eager to see them.

Belgian black metal horde Enthroned were up next and they played a solid set, not my cup of tea for black metal but from what I saw it was competently played… once again the sound was a challenge, with the lead riffs barely intelligible.

Necrophobic

The final act of the night was Necrophobic, a band whom this (not so) humble reviewer slated when they released their last album. To be fair, they put on a good show and it’s evident that they’re a band that are very used to playing live and engaging the crowd. They managed to build the atmosphere for the final set of the day and although they may be a middle of the road black band (especially considering their Swedish heritage) it was one of the most engaging performances of the weekend.

Sunday

Raventale

Raventale started the final day and we’re once again back into the realm of the "Ukrainian sound". Trem riffs, blasts, you know the score, perhaps of note is that their keyboardist was missing from the line-up. Had this additional element been present, I’m confident that they would have been able to separate themselves from the multitude of other bands on the line-up that played in a similar vein.

Another highly anticipated band by many was the appearance of Ygg — Kharkiv locals and beloved by many. The sound engineering fortunately by this point had improved greatly and the set was well received. Another band in the great bastion of lauded Ukrainian acts. Ygg delivered exactly what the fans were hoping for.

Ygg

Breaking the flow of Ukrainian acts were Scottish act Saor, once again a band that I was thoroughly impressed by, despite my Gaelic countrymen suffering from the heat and lack of rain they provided a provocative and entrancing set. Atmospheric folk/black metal may not be something I seek out but live they were great to watch. The only challenge with their set was the addition of the violin & clean vocals, something the sound engineers weren’t prepared for, as such the violin was often hard to distinguish amongst the other instruments and the vocalist was affected by the sound engineer not riding the faders enough to make his clean singing parts that audible. Had these elements been more apparent it’s safe to say that Saor would have had been one of the stand-out acts of the fest. They were good but they could have been great.

Saor

Up next was one of the bands I was anticipating greatly; Sargeist. Their set delivered in spades, it was atmospheric, evocative and exactly what I hoped. Their setlist was comprised mostly of fan favourites and perhaps most importantly the sound was on point. Their trademark melodic tremolo riffs were distinguishable and everything was performed as hoped. Sargeist proved to be the most "atmospheric" set of the festival, as is their norm, creating a ritual of the performance, replete with incense, tibetan singing bowls and the only performance where it felt like the Satanic lyrics corresponded with the actions of the artist.

Sargeist

Another fan favourite was up next, Nokturnal Mortum. The set was epic, and I have to commend the band for performing in full "costume", wearing furs and many layers in 35-degree weather under the stage lights. To my taste the set was perhaps a bit indulgent, being twice as long as some of the other bands, but for those that were hoping to see Nokturnal Mortum they got exactly what they were hoping for. And perhaps, their long set was a fitting finale to the showcase of Ukrainian black metal for the weekend.

Nokturnal Mortum

Sargeist interlopers Horna were up next, between the duo of Shatraug’s bands; Sargeist and Horna I will confess to being a lover of the latter, the least. Perhaps the biggest thing in Horna’s favour is their consistent level of activity and performing, this is a band that has honed their craft over many years and regardless of not being enamored with them, they always deliver live. The set was tight, precise and delivered on all fronts for what you would expect of Horna.

Horna

Entombed closed the night… wait I mean Entombed A.D. — (Batushka before Batushka!). Entombed are one of those bands that have such a large legacy behind them, one of the pioneers of Swedish death metal, they played a fantastic set that punctuated the greatness and varied styles that were on display at Metal East. They truly got the crowd going and were a fitting closer.

Entombed A.D.

And that’s it! 2019’s Metal East proved to be an event that was cultivated for fans of the Ukrainian scene, and whilst there may have been bands from overseas, the fact that the fest had a heavy focus on showcasing Ukrainian talent is something to be lauded. Metal East you didn’t appeal 100% to this elitists tastes, however, I know that to the many other equally passionate people about many of the bands that played, this was the festival of the year for you!

Report by Dan Thaumitan
Photos by Anastezia G. and Dmythro

Read also:

• Weekend at Ragnard Reborn Nove Kolo: Report from two festival days
• Interview: J. J. from Harakiri for the sky on album "Arson" and fighting depression
• "The main thing is freedom and opportunity to say everything that excites you": Interview with Nokturnal Mortum’s leader Varggoth

American singer Chelsea Wolfe announced the title and release date of her upcoming album with the release of a new single "The Mother Road". Also, the musician unveiled the dates of her acoustic tour for this fall in North America.

"The Mother Road" is reported to be the album's opener and lead single — a harrowing ode to Route 66 that immediately addresses Wolfe's metaphoric white line fever. It defines the nature of the record-the impact of countless miles and perpetual exhaustion-and the desire to find the road back home, back to one's roots.

According to the press release, "Birth of Violence" is a return to the reclusive nature of her earlier recordings, written and recorded in the solitude of her remote home in Northern California.

"I've been in a state of constant motion for the past eight years or so; touring, moving, playing new stages, exploring new places and meeting new people-an incredible time of learning and growing as a musician and performer," Wolfe says of the era leading up to "Birth of Violence". "But after a while, I was beginning to lose a part of myself. I needed to take some time away from the road to get my head straight, to learn to take better care of myself, and to write and record as much as I can while I have 'Mercury in my hands,' as a wise friend put it."

The recording of the album took place in the home studio of Ben Chisholm, and features Jess Gowrie on drums and Ezra Buchla on viola. "Birth of Violence" is already available for pre-order here.

Tracklsit:

1. The Mother Road
2. American Darkness
3. Birth of Violence
4. Deranged For Rock & Roll
5. Be All Things
6. Erde
7. When Anger Turns to Honey
8. Dirt Universe
9. Little Grave
10. Preface to a Dream Play
11. Highway
12. The Storm

Chelsea Wolfe Acoustic Tour:

31/08: Pasadena, CA — Pasadena Daydream Festival * (Non Acoustic Set)
18/10: San Diego, CA — Observatory North Park
19/10: Phoenix, AZ — Crescent Ballroom
21/10: Salt Lake City, UT — Metro Music Hall
22/10: Estes Park, CO — Stanley Hotel
24/10: Chicago, IL — Metro
25/10: Detroit, MI — Senate Theater
26/10: Toronto, ONT — Queen Elizabeth Theatre
27/10: Montreal, QC — Le National
29/10: Boston, MA — Royale
31/10: Philadelphia, PA — Union Transfer
01/11: New York, NY — Brooklyn Steel
03/11: Washington, DC — 9:30 Club
04/11: Charlotte, NC — McGlohon Theater
05/11: Atlanta, GA — Terminal West
06/11: Nashville, TN — Mercy Lounge
08/11: Dallas, TX — Texas Theatre
09/11: Austin, TX — Levitation
11/10: Houston, TX — White Oak Music Hall
12/11: Santa Fe, NM — Meow Wolf
13/11: Tucson, AZ — Club Congress
15/11: Los Angeles, CA — The Palace Theatre
16/11: San Francisco, CA — Regency Ballroom
18/11: Portland, OR

"Birth of Violence" cover

Main photo by John Crawford

Black metal duet from the USA Cultus Profano unveiled the music video "Under the Infernal Reign, Op. 10". The clip was filmed for the song taken from the band’s debut album "Sacramentum Obscurus".

It is reported that after a successful tour in the US, the duo is preparing for gigs in Europe, which will be announced very soon.

According to a press release, Cultus Profano is a black metal duo founded by Advorsus and Strzyga in 2016. Hailing from Los Angeles, USA, together they conjure a pure form of blasphemy that evokes hatred and darkness. The impious vision of Cultus Profano is to fulfill a sacrilegious oath in the form of unholy compositions.

The band’s debut album "Sacramentum Obscurus" was released in 2018 via Debemur Morti Productions and includes 9 "profane offerings and continues to spread the plague of evil".

See also: Deathspell Omega shares "The Furnaces of Palingenesia" full album stream

Dave Mustaine shared sad news with fans — the leader of the American thrash metallers Megadeth was diagnosed with throat cancer. A 57-year-old musician reported this on Facebook.

"I’ve been diagnosed with throat cancer. It’s clearly something to be respected and faced head on — but I’ve faced obstacles before. I’m working closely with my doctors, and we’ve mapped out a treatment plan which they feel has a 90% success rate. Treatment has already begun.

Unfortunately, this requires that we cancel most shows this year. The 2019 Megacruise will happen, and the band will be a part of it in some form. All up to date information will be at megadeth.com as we get it. Megadeth will be back on the road ASAP.

Meanwhile, Kiko, David, Dirk and I are in the studio, working on the follow up to Dystopia – which I can’t wait for everyone to hear. I’m so thankful for my whole team – family, doctors, band members, trainers, and more. I’ll keep everyone posted.

See you soon,
Dave Mustaine"

Due to this news Megadeth canceled their nearest performance, which was planned to be held on July 4 in Milwaukee, Wisconsin (USA).

The upcoming Megacruise will be the first Megadeth's own cruise, which will take place on October 13-18. Among its performing acts, along with Megadeth, are announced Anthrax, Testament, Suicidal Tendencies, DragonForce, Overkill and other bands.

See also: Megadeth’s video "Lying In State" about lies of politicians

The 20th-anniversary Kilkim Žaibu, an outdoor festival of folk, pagan, and extreme metal music, will be held from 21 to 23 of June (Friday-Sunday) in Varniai, Lithuania.

The 3-day Kilkim Žaibu will take place near Lukstas lakeside, among the fest’s performing acts are Hellhammer, Korpiklaani, Rotting Christ, Deströyer 666, Primordial and others.

The event program will include:

• June 21 — arrival, bonfires, Baltic folklore, games and ancient dances and waiting for the Sunrise
• June 22 – folklore groups, demonstrations of ancient fight arts; folk, viking, and pagan metal bands
• June 23 – strong black, death and thrash metal concert

From the information on Kilkim Žaibu’s website: "Festival-goers already know what to expect – carefully selected both local and international metal music artists, Baltic folk music groups, ancient fight clubs and craftsmen, bonfires and songs until the very morning light."

"There will be a special silent area for tents and guarded car parking place. In near village, there are shops and hotel. There are also plenty possibilities for physical activities – viking football, basketball, volleyball, boat and catamaran rent."

Read also: 5 reasons to visit the annual metal festival Kilkim Žaibu in Lithuania

The cost of tickets for the festival starts from 55 EUR
Buy tickets here: kilkimzaibu.com/en/tickets
More information you can find on the festival's website
Event on Facebook

Read also: Myrkur, Entombed A.D., and a bright set of Nokturnal Mortum. How Kilkim Žaibu XIX was held

The year has passed incredibly fast, it is already June and Noizr Zine team is preparing to visit the annual Lithuanian open air Kilkim Žaibu. In this new article we recall some major traits and crucial advantages of the festival that celebrates its 20th anniversary this month.

Annual line-up

Kilkim Žaibu is a three-day festival of extreme genres of music and ethnic traditions. It was founded in 1999 with the perfect formula — a weekend outdoors far from noisy cities, plus an excellent line-up of musicians from all over the world who are united in their love for black/death metal and folk instruments.

Every year there are about 30 or even more than 30 bands are playing on Kilkim Žaibu with such headliners as Venom, Abbath, Nokturnal Mortum, Amon Amarth, Myrkur, I Am Morbid, Rotting Christ, Entombed A.D., Mortiis, Belphegor, Mgła and other masters of the genre. At the same time, the program is composed in such a way that anyone can find his type of music there — no matter if we are talking about fans of headbanging to some extreme metal stuff, or admirers of folk, melodic music, folk art or even simple evening songs around the bonfire.

Speaking about this year’s festival, the guests will see the performances of Hellhammer, Korpiklaani, Rotting Christ, Deströyer 666, Primordial and others.

Entombed A.D. during performance

Picturesque location and atmosphere

One of the main advantages of Kilkim Žibaibu is its location. For the last few years, open air is held on the picturesque shore of lake Lūkstas near the town of Varniai in the western part of Lithuania. It’s a quiet, solitary place, that can be reached by the narrow country road which heads from the nearest highway. It also leads the guests to a cozy forest edge, a sandy beach of a shallow lake and a large green glade with the size of a football field, where you can find the festival stages, bars, food courts, merch zone and active recreation locations.

Just imagine: you wake up in a tent. The rays of the sun touch you through its narrow slits, and the birds are singing above your head. Getting out, you find yourself on the spacious shore of the lake, inhale the fresh air and watch how the huge festival location comes to life. Having a square breakfast, you store your favorite cold drink and go to the stage where the soundcheck is already finished. No fuss and routine, noisy traffic. Only nature, music, cold beer and plenty of entertainment. More details on them are in the next paragraph.

Rich program and activities

One more advantage of Kilkim Žaibu lies in the fact that this is not so much an extreme metal festival, as a rich weekend in nature with an abundance of live music, communication, activities and even a kind of self-education opportunities.

In addition to the music, the program of each Kilkim Žibaibu includes many activities suitable for guests of different ages, all kinds of companies, and even families with children. Recent years, besides hanging out near the stages, the guests of the festival can observe work of the folk virtuosos (singing, dancing, small plays, and theatrical performances), participate in spectacular activities, such as Viking power competitions, sword fights, blind battles with chains or jumping over the bonfire. Fans of more usual entertainment can just play with the ball, badminton or go boating.

In addition, the organizers offer daily meetings with interesting speakers: musicians, writers, publishers. Such events are held in small circles of listeners with the ability to ask any question, sign a book or take a selfie for memory.

General organization

As it was mentioned above, Kilkim Žaibu is an outdoor weekend, taking place in the lap of nature and the organizers are extremely careful with it. Therefore, the first thing that catches your eye is thoughtfulness in terms of facilities for the guests and preserving cleanness at the location. The venue of the open air in sufficiently equipped with trash bins and dry closets. Moreover, amount of plastic and glass at festival is minimized. Almost all beverages can be purchased in Kilkim Žaibu branded and reusable glass.

At the location, there are usually a lot of people from the staff, including security. If it’s necessary, you can easily find someone from the team and ask for help. Also security checks all guests and their bags at the entrance to the festival territory that also make you feel safe.

Read also: Myrkur, Entombed A.D., and a bright set of Nokturnal Mortum. How Kilkim Žaibu XIX was held

Around the location there are several large parking lots for the personal transport. And it’s not a problem to get there without a car. Every year the organizers provide buses from the nearest large cities like Vilnius and Riga, which also bring the guests back at the end of the festival.

A sufficient number of food courts and beverage spill zones promote fast queues. Next to food courts, there are also covered areas with tables and benches where you can have a snack at any time of the day. It is also worth noting the smart location of the stages, camping areas and areas for outdoor activities. The guests of Kilkim Žaibu have the opportunity to spend their time in various ways without interfering with each other.

And in the long run it’s worth mentioning the special attention of the staff to the press and bloggers: both scenes are equipped with spacious and closed photo zones. Behind the scenes you can always find some free sockets to recharge your camera or smartphone.

Ticket price

With all the advantages above, the cost of Kilkim Žaibu tickets from year to year remains very democratic. Even with the current exchange rate. Moreover, in addition to the standard three-day ticket for one person, the organizers offer a special price option for the whole family. More details can be found on the festival's website.

20th anniversary Kilkim Žaibu will be held on June 21-23 in Varniai, Lithuania, with Hellhammer, Korpiklaani, Rotting Christ, Deströyer 666, Primordial as headliners.

Photos and text by Yurii Somov

Servants Of Chaos, the event which is dedicated to the celebration of the 30th anniversary of the Finnish black metal band Archgoat, will be held on September 28 in Paris.

The organizers of the event, the band’s label Debemur Morti Productions and the booking agencies Garmonbozia Inc., say the following, "In order to properly celebrate Archgoat's 30-year journey, Debemur Morti Productions and Garmonbozia Inc. are setting up a special evening featuring bands that have contributed to the history of the label. Archgoat will play an extended set including songs that haven't been played live since 2004, as well as live premieres! Temple Of Baal, who contributed the track "Dead Cult" on the split with Aosoth released back in 2008, will spread the flames of Baal. To kick off this evening 'Dans La Joie', Au Champ Des Morts will perform their unique blend of French Black Metal. In order to make this "Servants Of Chaos" event even more memorable, the new Blut Aus Nord album will be premiered and available to purchase on the night!"

Read about Archgoat's currently latest album in "2018's Top-15 albums" article.

Tickets from € 27.5 can already be ordered at the link.
Follow the news of the event on Facebook.

On June 28, 2019, Debemur Morti Productions will release the second album of Thenighttimeproject, which includes guitarist/vocalist Alexander Backlund, drummer Jonas Sköld and Norrman brothers, former Katatonia members, guitarist Fredrik and bass player Mattias. Above, check out the band's new video "Final Light", produced by Dronicon Films.

Thenighttimeproject's Alexander Backlund notes, "'Final Light' is about the relativity of time. It can feel as if life is slowing down while time is speeding up, or vice versa. We all get caught in the clasp of stagnation sometimes, and it's important to recognise and act upon it. Time is a finite resource. I really enjoy the instrumentation as it captures elements I like from the '70s, '80s, and '90s. You got the roaring organs, the big hair-metal guitars in the middle 8 section together with a grunge-like heaviness and aggression."

Also, Thenighttimeproject has recently announced that this October they will perform at Doom Over Kyiv festival in Kyiv, Ukraine, together with previously confirmed bands Tiamat, October Tide, Monolithe, 1914, (Echo), Aklash and others.

"Pale Season" was recorded at Valley Sound Studio/Nailvillage, mixed by guitarist Alexander Backlund at Nailvillage, mastered by Tony Lindgren at Fascination Street Studios, and completed with cover art by Denis Forkas and design by Kadriel Betsen. Pre-order "Pale Season" via European shop, North American shop, and Bandcamp. Follow the link to listen to the previously unveiled singles "Embers" and "Anti Meridian" from Thenighttimeproject’s upcoming studio record.

According to the press release, during 2010-2016, not straying far from his most notable roots, Fredrik 'North' Norrman founded Thenighttimeproject — a pleasantly nostalgic road for those more familiar with his work in Katatonia. Joined by Tobias Netzell of In Mourning, along with Nicklas Hjertton, formerly of Mandylon, their self-titled debut album is released in January 2016.

In 2017, the band released the single "Anti Meridian". Mattias Norrman (October Tide) joins the band on bass. Later this year Tobias and Nicklas decide to leave the band due to lack of time.

In 2018, the band was joined by Jonas Sköld (October Tide, Letters From The Colony) on drums and vocalist Alexander Backlund (Letters From The Colony) the band is now working on the follow up to the debut album as well as rehearsing for live shows.

Norrman brothers were members of the Swedish group Katatonia for more than 10 years — Fredrik played the guitar from 1996 to 2009, and Mattias played bass from 1999 to 2009. Katatonia’s last album "Night Is the New Day", recorded with the brothers, was released in November 2009. In 2017, Katatonia announced a short-term hiatus.

Follow Thenighttimeproject on Facebook

"Pale Season" tracklist:

1. Hound
2. Rotting Eden
3. Binary
4. Final Light
5. Embers
6. Pale Season
7. Anti Meridian
8. Signals In The Sky
9. Meridian

"Pale Season" cover

Chernaa debut album "Empyrean Fire" will be released on June 7, 2019, via Noizr Productions. "Ominous" is the second single from the upcoming release.

Music is taken from higher planes of consciousness. Raw emotions played through saddened guitar riffs and wistful melodic combinations drag the listener through the forest of thoughts. It was created to enjoy those beautiful and painful melancholic desolations around us.

Chernaa is a post-metal/post-black act from Prague, Czech Republic. The band has an international line-up, including musicians from the Czech Republic, Ukraine, and Russia. The recording of the album "Empyrean Fire" took place at the Jaro Sound studio in Prague. The artwork for the release was created by Anna Levytska, known for her work with Blut aus Nord. Pre-order album here.

The 24th festival of extreme metal music Brutal Assault to take place on August 7-10, 2019, in Jaroměř, Czech Republic. The festival has recently made a final announcement of underground bands that will perform on one of several open air scenes.

So, the lineup of the upcoming Brutal Assault festival was replenished by Kampfar, who recently released a new album "Ofidians manifest", Japanese act Crossfaith, Spanish death metallers Altarage, as well as the bands Entropia, Une Misère, Unprocessed, Brutally Deceased, Mallephyr, Elysium, and Forgotten Silence.

In addition, it became known that the previously announced Manes will perform at the festival in 2020.

Tickets for the festival can be ordered here.

Brutal Assault festival is an anchorage of metal music and associated art with 130 artists, 5 stages, several art galleries, and extensive chill-out zone. If you have not been there yet, this festival is just another level of experience in dark art with a cherry-picked blend of refreshing underground bands and stellar headliners spread across diverse festival area located within the 18th-century military fortress. Among traditional festival features the festival area also offers luxury sanitary facilities, permanent horror cinema, underground mazes, huge metal market, art galleries, a lot of sitting spaces within the fortress walls providing shelter from the weather and tons of other attractions. Brutal Assault is mainly about music but in recent years it also started to resemble a food festival with vegan and carnivore and all kinds of ethnic cuisine, supplemented by a wide variety of best Czech beers starting from 1.5 Euro for half a liter (17OZ).

Read also: 5 reasons to visit Brutal Assault festival

List of confirmed acts: ABORTED, AFTER THE BURIAL, AGNOSTIC FRONT, ALIEN WEAPONRY, ALTARAGE, ANIMALS AS LEADERS, ANAAL NATHRAKH, ANATHEMA, ANTAEUS, ANTHRAX, THE ARSON PROJECT, AU-DESSUS, AZUSA, BATUSHKA, BRUTALLY DECEASED, CAR BOMB, CARCASS, CARPENTER BRUT, CASPIAN, COMBICHRIST, THE CONTORTIONIST, COUNTING HOURS, COVEN, CROSSFAITH, CRYSTAL LAKE, CULT OF LUNA, CYTOTOXIN, ČAD, DAUGHTERS, DR. LIVING DEAD, DECAPITATED, DECULTIVATE, DEICIDE, DELUGE, DEMOLITION HAMMER, DESTRUCTION, DIABLO SWING ORCHESTRA, DISCHARGE, EKTOMORF, ELECTRIC WIZARD, ELYSIUM, EMPEROR, ENSIFERUM, ENTROPIA, ESKHATON, EXUMER, EYEHATEGOD, FORGOTTEN SILENCE, FROG LEAP, GET THE SHOT, GODFLESH, GOROD, GOST, GUTALAX, HEILUNG, HELLHAMMER – TRIUMPH OF DEATH, HEXIS, HIGHER POWER, HYPOCRISY, IMMOLATION, INCANTATION, IRON REAGAN, JINJER, JUNGLE ROT, KAMPFAR, KRAANIUM, KRISIUN, LETTERS FROM THE COLONY, LIONHEART, MALLEPHYR, MEAT SPREADER, MESHUGGAH, METAL CHURCH, MGŁA, MIDNIGHT, MONSTER MAGNET, MYRKUR, NAPALM DEATH, NECROS CHRISTOS, NORDJEVEL, THE OBSESSED, THE OCEAN, OCEANS OF SLUMBER, OF MICE & MEN, OMNIUM GATHERUM, PARKWAY DRIVE, PERFECITIZEN, PRIMORDIAL, PRONG, RAISED FIST, ROTTING CHRIST, SACRED REICH, SAOR, SHAPE OF DESPAIR, SICK OF IT ALL, SKELETAL REMAINS, SLÆGT, SLAPSHOT, SODOM, SOILWORK, TAAKE, TANKARD, TAPHOS, TESTAMENT, THERION, THY ART IS MURDER, TOSKA, UNE MISÉRE, UNFATHOMABLE RUINATION, UNPROCESSED, VAMPILLIA, VARGRAV, VED BUENS ENDE, VENOM PRISON, VIOLATOR, VIOLENT MAGIC ORCHESTRA, VOIVOD, VULVODYNIA, VUUR, WALLS OF JERICHO, WINDHAND, WOE UNTO ME, WOLFBRIGADE, WORMED, ZURIAAKE.

Read also: 6 tips we learned at the Brutal Assault 2018

"Old Star", the 17th album of Norwegian black metallers Darkthrone, came out on May 31 via Peaceville Records. Above you can check out its full stream.

Sanford Parker (Dirge, Minsk, Voivod, Yob) was responsible for "Old Star" mixing, and Jack [Conrow], who was previously handled mastering of Darkthrone’s albums "The Underground Resistance Mastering" and "Arctic Thunder", was responsible for mastering. The cover artistry comes of Chadwick St John’s artwork "The Shepherd of the Deep".

"Old Star" is available for order on cassette, CD, and vinyls (in green, purple and black colors) here. The band’s previous album "Arctic Thunder" was released in 2016.

Read also: "Darkthrone, Burzum, Mayhem, church burning, and Satanism are just a small part of black metal". Interview with writer Dayal Patterson

Tracklist:

1. I Muffle Your Inner Choir
2. The Hardship of the Scots
3. Old Star
4. Alp Man
5. Duke of Gloat
6. The Key Is Inside the Wall

"Old Star" cover

En fleira er mönnum til hugganar en fébætur einar. "There are more things to be thought of by men than money alone" — The Saga of Grettir, chapter 47

We caught up with Stephen Lockhart, the mastermind behind Rebirth of Nefast, Studio Emissary, Oration (his record label) and the soon to come Ascension fest. In this interview, we’ll explore the many projects and influences that he has had and his goals behind them.

For those unfamiliar with who you are, what's your background?

Stephen Lockhart: I'm an Irishman living in Iceland for the last eleven years. Though I am most known for production work with Studio Emissary and Icelandic Black metal bands, my previous education and career was actually in forestry (more specifically, forest science). I studied this for four years and worked a further four years before my passion for music was able to take precedent and paved the way for my current occupation. I currently run and own Studio Emissary, Oration Records and Ascension Festival Iceland. I have also been active in several bands both live and on record, though my main project is and always has been Rebirth of Nefast.

How did your move to Iceland from Ireland happen?

Stephen Lockhart: I first came to Iceland during the summer of 2007 on a work exchange program with my University. I took an immediate liking to living here and in the summer of 2008, I moved here permanently.

You've had a large part to play in the Icelandic scene, how did that begin? And in your opinion, how has your role developed within the scene, from what I’ve seen you have become almost a linchpin within the scene, what do you think has fuelled that and is it something you consciously chose to pursue or did it happen organically?

Stephen Lockhart: When I arrived in Iceland, I was in the latter stages of completing the Rebirth of Nefast side of the "Ex Nihilio" (the split release with Slidhr). I’d also just released the "Only Death" demo late the previous year — so, when I first met Sturla and Þórir (of Svartidauði), they were already aware of my work and who I was. I went on to do some work with a few local bands before eventually being asked to produce "Flesh Cathedral" [the debut full-length album of Svartidauði — Noizr]. I guess the rest is history.

I can't really say what my role is within the scene, to be honest, it’s not my place. I am aware, however, that there are some who consider me as some sort of figurehead, which I find somewhat baffling. To me, I don't really feel like I'm doing anything a whole lot different than what I've always done. The only difference now is there is more interest in and recognition for my work, and yes everything is on a larger scale. But to me, I've always just done what I can to help bands and individuals I believe in, while running these aforementioned ventures with the same dedication and passion put into every endeavor I feel worthwhile.

A lot of this has happened organically yes, but everything stems from a need to create. Whether it be studio work, my own projects, a festival or the record label, I always need to be doing something that fulfills this urge. But it's not just that, I've also built these ventures up in a manner that allows me to put bread on the table without having to answer to anyone but myself. This in itself is hugely satisfying. I make a living doing a variety of things I love with little to no compromise. The goal is to continue to do so.

In your opinion what is it about the Icelandic scene that fuels such consistent art? For those on the outside, I think many would assess it as pound-for-pound the best black metal scene in the world currently.

Stephen Lockhart: It’s very hard to say. If I or anyone else could, then I imagine every country would have a scene as prolific as that of Iceland’s right now. But of course, we can speculate. For starters, the general mentality here is that everyone is encouraged to have interests and hobbies from a young age. Being idle doesn’t seem to be in the psyche of most Icelanders. Hence, apparently, everyone plays an instrument or is in a band.

The other possibility is the close proximity of successful bands. You can go to the grocery store and see Björk, you can go to a bar and meet the guys in the bands you look up to. In other words, these people who’ve achieved something you might want to achieve are somehow more real, for better or worse, perhaps making it that little bit more encouraging to go on and try something yourself as opposed to idolizing bands and watching from afar.

Iceland is known for having a strong heritage, with the 'Viking mentality' of being pioneers, resilient/hardy against the elements and embracing the 'challenging' natural environment, as someone who has become embedded into that culture do you think it affects the musicianship? If so, in what ways?

Stephen Lockhart: Again hard to say, but if I were forced to, I would say no, at least not in any way I’m aware of. Perhaps there is an affect on some subconscious level, with the mentality of being resilient somehow ingrained through upbringing, but on a day to day level, I at least don’t find it hard to live here. Sure, I’d settle for better weather, but I’m not about to go write an album about it.

How did Studio Emissary begin?

Stephen Lockhart: It started out of necessity. When I began writing music, it was always a solitary affair. It might come as a surprise, considering how 'connected' I may appear in the Icelandic scene, that in Ireland (before I left), I was not connected in the slightest. I didn't rehearse with bands, I didn't know anyone with studios. One of my few contacts was Joseph Deegan [Irish musician and artist — Noizr]. He introduced me to a few concepts of recording and from there, I went on to record, albeit sporadically, the Rebirth of Nefast demo "Only Death".

I would go on to work on a few more releases, my skill-set always improving as I did so. Needless to say, with each improvement, came the need for new equipment. This eventually led to me buying a couple of audio interfaces and mics. Suddenly, I was equipped to record rather large drum set-ups. The word spread around and it all basically grew out of that.

I never set out with the idea of producing bands for a living. I started out recording because I needed to record my own music and the only person I fully trusted to do so, was yours truly. I considered producing a hobby. It was only around the time of producing Svartidauði's "Flesh Cathedral" that I decided it was something I wanted to do as an occupation.

NYIÞ at Oration Fest, 2018. Photo by Void Photography

What are the plans for the future of the Studio Emissary?

Stephen Lockhart: We are actually very far into the process of designing a home, which we intend to build within the next 18 months. Part of this structure will house the new Studio Emissary. That is all I want to say on that for now, as these things have a tendency to take longer than expected and change direction. Let's just say we have big plans!

As a studio and producer how much of a balance is your approach in terms of financial/artistic interest. I.e. are there acts you wouldn’t work with because you don’t think the work is worth putting your name to?

Stephen Lockhart: I’ve been quite lucky in terms of bands I’ve worked with of late. With greater status, also comes better bands and musicians. But in any case, I don’t so much decline projects due to personal tastes, so much as I do the personalities behind them and their level of seriousness. I’d far rather work with respectful, talented musicians playing music that doesn’t necessarily stimulate my personal taste, than work with obnoxious amateurs who somehow string together decent black metal.

At this point in my career, it's quite easy to size up prospective clients in terms of collaboration compatibility. If I get a vibe early on that a client is going to be difficult to work with, I'll just not work with them. It's just not in anybody's interest. If I'm going to sculpt someone's art into something that is a true manifestation of their vision, then we need to be able to communicate well, otherwise, the collaboration is doomed to fail and both parties will walk away feeling wronged.

Who has been your biggest inspirations as a musician and a producer?

Stephen Lockhart: Not so much as a producer of other people’s music, but of his own – Mike Oldfield [an intro of Oldfield’s album "Tubular Bells" was used as "The Exorcist" movie soundtrack — Noizr]. I'm the youngest of 9 children and am very lucky to have had very musical upbringing. No one in my immediate family plays an instrument, but I was always exposed to a vast array of musical genres spanning several decades. Mike Oldfield is one of the first musicians to ever have an influence on me. Brian Eno, Alan Parsons would also be up there in terms of production work. One extremely important album for me growing up was also Jeff Waynes musical version of "The War of the Worlds". When I first heard this album at age six or seven, it was probably the first album to provide this eerie, yet wholly fascinating aura I would go on to appreciate in later years.

It's probably surprising for most to hear that as a musician, I haven't really been influenced by other metal musicians in at least the last decade. My late teens and early 20's were the formative years in that sense. Now, I listen to whatever resonates with me, regardless of genre. Very often, that can be the polar opposite of aggressive and dark music. One side effect of working on dark and heavy music all day, is that when you get home, you very often just want to give your ears a rest and listen to something non-abrasive.

Rebirth of Nefast "Tabernaculum" took a long time since the initial demos to materialize. What went into that album and how long was spent on writing and arranging it?

Stephen Lockhart: That is an impossible question to answer with accuracy – but certainly, thousands and thousands of hours. As for what went into it? Everything. Blood, sweat, my sanity, the sanity of those close to me. But to be clear, it wasn't a constant process. It took nine years to complete after "Ex Nihilio", but it was only the last year of production that was extremely obsessive and intense.

When writing for that project how do you approach the writing process?

Stephen Lockhart: It varies – though it generally stems from smaller ideas that spiral into something else. I take an idea and experiment with it, build on it and see where it takes me. Very often it leads into new parts being written around that and before I know it, I have a song. Sometimes it can take months or years, other times I’ll sit down and write the bones of a whole song in one day.

I also like to allow a lot of time for ideas to digest. Perhaps I will spend a day working on something and by the end of the day, I might either hate it or think it's entirely monumental and groundbreaking. In any case, I will leave it for some time and come back to it with fresh ears. That gives me a true impression of the materials worth.

Are you currently working on new Rebirth of Nefast material? When do you think new material will arise in release?

Stephen Lockhart: I am, but I’ll not say more than that. When it will materialize, who knows…

When you perform with the band how do you decide how your set will be structured? Will you be incorporating new material at Ascension?

Stephen Lockhart: That’s quite easy actually, as most songs are so long, we can normally only fit in about four! So it normally comes down to whatever songs are good to open/close with, then whatever fits in between. Most Rebirth of Nefast songs are quite dynamic, so it's not so much a case of choosing a slow song here and a fast song there. It's just whatever we're in the mood for playing.

Your festivals — how did they begin? What fuelled the desire to create them?

Stephen Lockhart: Oration MMXVI was our first festival. It grew out of what was originally intended to be a Studio Emissary showcase gig. Early into planning it, however, it quickly developed into something larger, with some foreign and non-studio related bands. The festival was a great success. Quite honestly, we were elated with the outcome, so much so, we decided to continue with further editions.

Oration was your previous fest, what do you think went well about the fest and what are you planning to change from last year for Ascension.

Stephen Lockhart: There is little that didn’t go well with any of our festivals, but we can always strive to do more and do it better. The festival is held in Mosfellsbær this year, which by not-Icelandic standards, is effectively a suburb of Reykjavík. It is, however, much more situated in nature than where we previously held the Oration festivals. The venue itself, Hlégarður is better equipped, we're hosting 50% more bands, it's in the summer, there’s camping, buses, midnight sun, our own catering, art exhibitions...the list of differences goes on.

A very basic question but what is Ascension fest, who organizes it and what is the vision for the fest?

Stephen Lockhart: Ascension is a festival celebrating the darker extremes of sonic art. It is organised by myself and my better half, Edda. Our goal is to provide an experience that will utterly captivate anyone who attends in a manner they'll not likely forget.

The line-up for the fest is (at least to my taste) is the best that has been seen for a long time, was it hard to get the line-up for Ascension fest? What decisions go into selecting bands for the fest?

Stephen Lockhart: It’s always a process putting together a line-up — a delicate mix of diplomacy, persistence, patience and most important at all, the sense of what a good line-up actually looks like. For us, it’s of the utmost importance that the line-up is coherent in accordance with our vision.

What do you think separates Oration/Ascension from some of the other more established festivals or even more niche fests like Maryland Deathfest for instance?

Stephen Lockhart: That’s perhaps not for us to say, but I’ll give it a shot. There are obvious elements, such as location and emphases of certain genres, but I suspect, the difference is the vibe and atmosphere. Something that a lot of non-Icelanders don’t grasp is just how small this place is, not geographically, but in the sense of the community. We’re trying to present something that has never been done here, and the Icelanders who attend really do appreciate that. This appreciation seems to radiate throughout our festivals. Similarly, I should point out that this is not the cheapest or easiest place in the world to get to, so those who do make the effort to attend, they really do want to be here. It’s not like a casual festival on the mainland where attending or not attending is merely determined by whether you fancy a road trip or not – this experience is an actual investment. Simply put, those who attend our festivals go out of their way to do so. And it really shows – we see it, other attendees see it, the venue staff sees it.

Black metal festival Ascension to be held on June 13-15 in Iceland. Tickets for 14,900 Kr (around €107 / $123) are available for order here.

Interviewed by Dan Thaumitan

Brutal Assault music festival returns to Josefov Fortress for its 24rd edition. One of the biggest metal events in Europe is once again inviting a variety of more than 130 bands which will perform on one of its 5 stages during four festival’s days!

Brutal Assault also celebrates other forms of dark art with exhibitions, talks or cinema and offers great selection of fantastic drinks and food. The festival, which has been held in the Czech Republic for more than 20 years, will take place on August 7-10.

Early August weekends are marked red in the calendar of every metal fan, these days are reserved for Brutal Assault, a national holiday of the metal nation. The festival offers diverse and multifarious line-up that is not based on all-capturing headliners but works with interesting artists in every thinkable genre. The lineup is meticulously curated to contain both genre staples and new upcoming and interesting acts. Moreover, the festival always manages to attract artists that only seldomly perform live.

Brutal Assault festival is an anchorage of metal music and associated art with 130 artists, 5 stages, several art galleries, large stand across the main stages and extensive chill-out zone. If you have not been there yet, this festival is just another level of experience in dark art with cherry picked blend of refreshing underground bands and stellar headliners spread across diverse festival area located within the 18th-century military fortress. Among traditional festival features the festival area also offers luxury sanitary facilities, permanent horror cinema, underground mazes, huge metal market, art galleries, a lot of sitting spaces within the fortress walls providing shelter from the weather and tons of other attractions. Brutal Assault is mainly about music but in recent years it also started to resemble a food festival with vegan and carnivore and all kinds of ethnic cuisine, supplemented by a wide variety of best Czech beers starting from 1.5 Euro for half a litre (17OZ).

The 24th volume once again present a fantastic line-up with genre icons like Anathema, Anthrax, Carcass, Deicide, Emperor, Hypocrisy, Meshuggah, Napalm Death, Parkway Drive, Sick of it All, Sodom, Testament or Therion, but also upcoming ambitions acts like Aborted, Caspian, Cult Of Luna, Decapitated, Daughters, Gorod, Jinjer, Mgła, Of Mice & Men, Thy Art IsMurder, Vulvodynia. Besides that there are smaller acts the festival wants to introduce to the greater audience like maori thrash Alien Weaponry, black-doom enigma Au-Dessus, psycho math metallers Car Bomb, speeding black metal blasters Nordjevel or Norwegian multi-instrumentalist Frog Leap doing the classics.

There are also rare appearances including Triumph Of Death fronted by Tom G. Warrior presenting live Hellhammer incarnation or the founders of true Norwegian avant-garde metal Ved Buens Ende, who selected Brutal Assault to play one of their only 4 live gigs this year.

However Brutal Assault is not strictly about metal. The Keep – Ambient Lodge (KAL stage) presents all kinds of experimental artists, live ambient or electronic music and the famous absinthe bar. And nonmetal artists will also take over the main stages. There will be shows by synthwave neuromancers Carpenter Brut and Gost, neofolk choir Heilung, noise masters Godflesh, the avant-garde ensemble Diablo Swing Orchestra or the Japanese freaks Vampillia.

Read also: 5 reasons to visit Brutal Assault festival

Brutal Assault is one of the biggest metal festivals in Europe. It was created in the mid-1990s as a small event in Moravia and often changed its place. The year 2006 saw the arrival of 7,000 people thanks to the attractive program in Svojšice near Přelouč. One year at the festival he moved to Josef where he stayed until the present. The last year of the festival, which was sold out for the first time in history, attracted 20,000 fans from around the world.

List of BA 2019 confirmed bands:

ABORTED, AFTER THE BURIAL, AGNOSTIC FRONT, ALIEN WEAPONRY, ALTARAGE, ANIMALS AS LEADERS, ANAAL NATHRAKH, ANATHEMA, ANTAEUS, ANTHRAX, THE ARSON PROJECT, AU-DESSUS, AZUSA, BATUSHKA, BRUTALLY DECEASED, CAR BOMB, CARCASS, CARPENTER BRUT, CASPIAN, COMBICHRIST, THE CONTORTIONIST, COUNTING HOURS, COVEN, CROSSFAITH, CRYSTAL LAKE, CULT OF LUNA, CYTOTOXIN, ČAD, DAUGHTERS, DR. LIVING DEAD, DECAPITATED, DECULTIVATE, DEICIDE, DELUGE, DEMOLITION HAMMER, DESTRUCTION, DIABLOSWING ORCHESTRA, DISCHARGE, EKTOMORF, ELECTRIC WIZARD, ELYSIUM, EMPEROR, ENSIFERUM, ENTROPIA, ESKHATON, EXUMER, EYEHATEGOD, FORGOTTEN SILENCE, FROG LEAP,GET THE SHOT, GODFLESH, GOROD, GOST, GUTALAX, HEILUNG, HELLHAMMER – TRIUMPH OF DEATH, HEXIS, HIGHER POWER, HYPOCRISY, IMMOLATION, INCANTATION, IRON REAGAN, JINJER, JUNGLE ROT, KAMPFAR, KRAANIUM, KRISIUN, LETTERS FROM THE COLONY, LIONHEART, MALLEPHYR, MEAT SPREADER, MESHUGGAH, METAL CHURCH, MGŁA, MIDNIGHT, MONSTER MAGNET, MYRKUR, NAPALM DEATH, NECROS CHRISTOS, NORDJEVEL, THE OBSESSED, THE OCEAN, OCEANS OF SLUMBER, OF MICE & MEN, OMNIUM GATHERUM, PARKWAY DRIVE, PERFECITIZEN, PRIMORDIAL, PRONG, RAISED FIST, ROTTING CHRIST, SACRED REICH, SAOR, SHAPE OF DESPAIR, SICK OF IT ALL, SKELETAL REMAINS, SLÆGT, SLAPSHOT, SODOM, SOILWORK, TAAKE, TANKARD, TAPHOS, TESTAMENT, THERION, THY ART IS MURDER, TOSKA, UNE MISÉRE, UNFATHOMABLE RUINATION, UNPROCESSED, VAMPILLIA, VARGRAV, VED BUENS ENDE, VENOM PRISON, VIOLATOR, VIOLENT MAGIC ORCHESTRA, VOIVOD, VULVODYNIA, VUUR, WALLS OF JERICHO, WINDHAND, WOE UNTO ME, WOLFBRIGADE, WORMED, ZURIAAKE.

Read also: 6 tips we learned at the Brutal Assault 2018

German rockers Rammstein released a new video "Ausländer" in which they appeared as missionaries who study culture and educate Aboriginal people. The clip was directed by Jörn Heitmann, who previously worked on the band’s DVD "Lichtspielhaus" (2013).

The song "Auslände" is taken from Rammstein’s latest same-named album.

Read also: Same old Rammstein, but already 10 years later. Review of band’s new album

Earlier, the band unveiled a black and white music video for the song "Radio". The new band’s new clip shows radio group is shown "a taste of freedom" which satisfies the most unexpected needs of the people in the period of totalitarianism.

Read also: Till Lindemann presents a collection of author poetry "Messer" in Kyiv

Polish multi-instrumentalist Krzysztof 'Христофоръ' Drabikowski unveiled a full stream of the second album "Panihida" ["Dirge" in Russian — Noizr] of his solo project Batushka. The record came out on May 26, 2019.

According to the description, Drabikowski handled album’s writing, recording, producing, and mastering at the Sphieratz Studio in Sobolewo, Poland. Commenting on his work on "Panihida", the musician said the following:

"On the new album "Panihida" I played the parts of all instruments myself and did some vocals. I also invited my closest trusted friends to take part in it as vocalists, so the vocals belong to several different people, though my voice appears there as well. At first, I planned to hire a drummer, but I also did the drums myself."

Earlier, Drabikowski, Batushka’s founder and mastermind, shared a court decision, according to which ex-vocalist and investor of the project Bartłomiej 'Варфоломей' Krysiuk is forbidden "to release album under the name of Batushka or Батюшка" and "to give concerts under the name of Batushka or Батюшка". Nevertheless, this May, Krysiuk unveiled the music video "Chapter I: The Emptiness — Polunosznica", presenting it as a band’s new release despite the court decision.

See also: Feast for the soul. Report from Batushka’s gig in Kyiv

Batushka’s debut album "Litourgiya", which was recorded with Drabikowski and Krysiuk, came out in 2015.

Welcome to a new series for Noizr — Inside the Producers’ Studio. In this series, top producers from across extreme metal will share their knowledge and wisdom about recording and production. We’ve hand-picked some of the best and most interesting producers; some from large studios others from more niche circles, whatever their situation, you’ll be sure to pick up tips and get an insight into the minds that are shaping metal in the current era.

The first article was dedicated to studio set-up, the second one was about pre-recording, the third one – about recording drums, and the forth one about recording bass. This fifth article is focused on how different producers record and capture guitar performances, to get the best sound they possibly can.

Experts

Tom Kvålsvoll has worked with some of the biggest names in black metal, acts such as Dimmu Borgir, Emperor, 1349, DHG, Darkthrone, Zyklon and Virus to name just a few. He runs Kvalsonic Lab in Norway and also plays guitars for Sarkom. Contact: facebook.com/kvalsonic

V. Santura runs Woodshed studios in Germany, where he has helped produce records from bands such as Celtic Frost, Obscura, The Ruins of Beverast and Secrets of the Moon. Aside from producing and recording a large number of bands, he also plays with Dark Fortress and Triptykon. Contact: woodshedstudio.de

Tore 'Necromorbus' Stjerna has been one of the most prolific producers in black metal in recent years, the credits that he has on albums that have helped shaped modern black metal is comprehensive to say the least, having worked with bands like Watain, Blacklodge, Merrimack, Funeral Mist, and Malign to name just a few. Tore has also played with numerous bands like Chaos Omen, Corpus Christii, Funeral Mist, and Ofermod. Contacts: facebook.com/necromorbusstudio, necromorbusstudio.com

Recording Guitars

What are your go-to amps for recording heavy guitars?

Tom Kvålsvoll: Any Engl, if I am to choose just one. But it sounds better when blended with for example Mesa and Crate in addition. My main standpoint is to not use too much distortion. Less distortion equals more power when played well and dubbed. More distortion equals more noise. Which can be lovely, as well.

V. Santura: Always the amp that the guitar player I'm working with sounds best with! Or let's say it like that: If a guitarist comes to my studio and has a signature sound and/or brings an amp that simply sounds great I try to capture "his" sound. Or use his sound as a basis to start with. I might tweak his amp settings quite a bit to optimize them for the recording situation, but I want to avoid to give every band the same sound. Also some players sound good on particular amps and not so good on other amps. To mention two archetype amps: in my experience guys that played on Mesa Rectifiers for years often don't sound great on a Peavey 5150 or vice versa.

But apart from that I do have favourites: Right now I'm a bit in love with my ENGL Fireball, also other ENGL amps sound fantastic, the "Special Edition" is killer for example. And then, of course, the Peavey 6505/5150. They just sound great most of the time.

Tore Stjerna: I can narrow it down to three that tend to cover most bases for me: Marshall JCM800 (2203 model to avoid confusion), Peavey/EVH 5150 and Mesa Boogie Dual Rectifier. For me personally, it’s pretty much in that order as well.

The JCM800 has a bite like nothing else, and it’s extremely versatile, a lot due to the fact that it takes pedals so well. You can make it sound in so many different ways. In fact, you pretty much have to put something in front of it to push the preamp a bit harder anyway if you are looking for a metal tone.

The 5150 really has a bread-and-butter kind of sound, it’s less versatile in my opinion but what it does, it does well. It’s so easy to dial in a great tone with it and it’s what I tend to favor in a live situation as well.

The Dual Recto is good for a kind of silky, elegant sound that blends right into a mix without taking too much space away from the other instruments. It actually used to be my dream amp for a number of years, I wanted to get one after working with it on a production I did over in the USA, but the prices in Europe then were just insane back then. Nowadays the one I have doesn’t get much use though, the JCM usually literally sits on top of it in the studio and I think that’s a pretty good metaphor in a way. But there are definitely situations when it’s the way to go. If nothing else, it blends beautifully with the 5150 too.

From Emperor's "Prometheus — The Discipline of Fire & Demise". Mastered by Tom Kvålsvoll

Technology has advanced massively in the past 10 years with things like Axe-Fx, Kemper and Bias, do you possess or use any of these simulation technologies?

Tom Kvålsvoll: Not those you mention, but I use a variety of good emulations when reamping DI guitars. Emulation software: For a long time I've preferred those offered by Brainworx, especially their Engl and Mesa emulations. They are good. I have all the others they made also. Even Waves have finally managed to make a good one, PRS "supermodels". Softube has a great bass amp. Their Metal Amp is not that good, in my opinion, but can be used in places. I will also probably get the new Softube Eden WT800. Ramping this way prevents me from using my own preferred three mikes technique, but I get very good results. Of course, it's not just the amps. There are additional chains of tubes, saturation, and eq.

V. Santura: I do have an Axe FX II and I had a phase a few years back where I used it all the time. But somehow I went back to record with "real" amps again most of the time (or always actually), especially for distorted rhythm guitars. I use it every once in a while for certain effect sounds or clean sounds (I love the Fender Twin Verb emulation of the Axe FX) and I use it live with Dark Fortress.

Kemper is a really cool concept, but if I can have the real amp and dial in my own tone and record over a high-end recording chain, which also includes the mic preamps and AD converters, I don't need to work with a profile from the same amp. The great plus is that you can just have so many amp profiles at hand instantly and they just make a lot of sense in a lot of live situations just for practical reasons.

Tore Stjerna: I have a Kemper and I used it a lot when I bought it. It’s very convenient to have and I bought it mainly for a production I worked on where we went to a few different studios. We set up the rig that we wanted to use and profiled it. For that it was perfect, we could do overdubs anywhere and at any time and keep a consistent tone. I was planning to reamp the guitars later, but I ended up actually using the Kemper tracks on the album. We then brought the whole concept on the road so we had the same sound live as in the studio. For that it was great!

I have noticed some discrepancies between the profiled sound and the direct signal though, primarily in the low range, you’ll really notice it when doing palm mutes. If you dig around a bit in the Kemper forum, you’ll find a quite extensive thread I made about it with a lot of test results and comparisons, so it’s not spot on, plus it doesn’t capture complex distortion all that well, in some scenarios it just won’t work. But for all intents and purposes, it does a really good job. I haven’t used it much for a while now though, I will usually find a suitable tone faster by just plugging in the amps that I have next to me when I’m working on something. But it has a bit to do with convenience too I guess.

Regarding other similar products, I haven’t tried anything else. You can get really good results with amp sims and impulses in your DAW though. So it feels like this sort of technology is really going places. And you can experiment a lot with it, even in ways you wouldn’t be able to do outside the box. My main philosophy either way is that as long as it sounds good and you get the result you want, the way there is sort of unimportant.

From Triptykon's "Shatter". Guitar, vocals by V. Santura

What’s your personal preference for recording thick and powerful guitars?

Tom Kvålsvoll: DI and amp combo. If only one is to be chosen, the DI is actually more versatile. When miking an amp, however, I prefer to use three microphones.

V. Santura: That's several factors:

And one very important aspect is the cabinet. In my beginnings, I simply used the gear I had which was a Marshall 1960 A and B cabinet with Celestial Greenbacks and I always struggled. Getting an ENGL cab with V30s was a game changer for me. It doesn't mean I always use this cabinet, but yeah, recording through V30 speakers is clearly one of my preferences.

The mic position (see below)

The preamps: Having a great recording chain helps a lot. I used to go through my RME Fireface preamps in my beginnings, but switching to better outboard mic pres also changed the game. I like to use Daking Mic Pres, but a while ago I was lucky to get a Tube Tech MP2A mic pre for a really good price and I use it all the time now. But there are so many good mic preamps out there, just look at gearslutz.com :)

Then you need tight and powerful playing... Goes without saying... and a good guitar…

And as obvious as it may be: record a thick and powerful sound and let it be thick and powerful in the mix: Some people are surprised when they look at my amp settings. First of all, I don't even care how the amp sounds in the recording room, I care how it sounds in the control room "off tape". So I always want to have the amp head in the control room, so I can tweak it there and hear instantly what I really get, while the cabinet is screaming in the recording room. I don't want my ears to be blown out by standing in front of the cabinet and listen to the amp cranked up because after 20 seconds of this my hearing judgment has already suffered for the next few hours. And I don't want to get fooled by insane loudness.

In fact very often the amps that I record are very loud, just because I am not scared to crank them up, because I don't need to face them in the recording room, and then I can just find the sweet spot on the Master pot where the amp sounds best, where I like the saturation of the power amp most.

I just recorded rhythm guitars over a Peavey 6505 and had the bass all the way up to 10, the Resonance at 9.5 and Presence also quite wide open (like three o'clockish). This may seem quite extreme, but hey, nobody is getting hurt and it simply sounded great and I got away without any EQ in the mix :)

And when I see people using low cuts at like 200 Hz I'm also a bit what the fuck?! How do you want to get a fat guitar sound if you cut the balls off? In a live situation, it may be necessary to roll off the low end with a mild low cut, but in the studio, I want to keep the fundamental notes. The low "E" on an electric guitar is at around 82 Hz and I want to let this through undamaged. And I rather control the low-end with a dedicated EQ or a frequency depending compressor which just works on some resonating "problem" frequency (if there is any) instead of cutting it all off.

And no, I don't get conflicts with the bass, I just make a bass sound which complements the guitars very well. If you cut off the low-end of the guitars and just use the bass for the low-end of your mix you will get two things: a thin guitar sound AND you won't hear the bass any more on small speakers. But what you want is a fat guitar sound and a bass which stays equally audible on big and on small playback systems.

Tore Stjerna: For something that stands on its own I’d say a 5150 into a Mesa cab – such a classic combination and always does the job. Two SM57s, Fredman style (look it up if you’re not familiar with it). I’ll point out though that it’s actually kind of rare that I go for that kind of tone, I tend to look for more brittle, raunchy tones and let the bass take a bigger spot in the mix.

From Watain's "The Wild Hunt". Recorded, mixed by Tore Stjerna

How many tracks do you usually require guitarists to lay down, double-track, quad tracking?

Tom Kvålsvoll: I let that decision generally be up to the band. The tighter the guitarist(s) are/is, the more tracks can be allowed. When I record myself (Sarkom, Paradigma), I often double absolutely everything. It's a lot easier to be tight with yourself than another guitarist. In many cases, though, one recording of each guitar is sufficient. I don't need to rely on double tracking to get a fat sound.

V. Santura: Sometimes I quad track, but honestly most of the time I just double-track. I think you can absolutely get a fat guitar wall with only two guitars, but I like the fact that you can still have some kind of "personality" in each guitar take. Which four guitars it is rather just a wall of sound. But it really depends on the band, the music, the player, sometimes quad tracking simply sounds better, sometimes double-tracking, I decide that rather intuitively.

Tore Stjerna: It depends a lot on the style and the goal. I’ll often work with quad tracking but double tracking works really well sometimes. You can also get quite interesting results by doing two takes each with vastly different sounds. Try combining a sort of "regular" sound with one that is absolutely filthy and just sounds messed up on its own. I’ve done that on a number of albums, it can give an edge that you couldn’t really get any other way.

When multi-tracking the same guitar parts do you use different combinations of amps, settings, guitars, etc. to introduce different qualities to the tracks or do you prefer a more consistent sound to the tracks?

Tom Kvålsvoll: Depends on the album. In Dødheimsgard we used different amps (Engl, Mesa, Crate) and nothing was reamped afterward. In Sarkom, I recorded everything apart from the leads as DI and reamped. There I also used various amps, not just one or two. Execration: everything reamped, several amps but consistent throughout the album. With Evighet I blended the reamped DI with their own amped recording through a Folkesson. In conclusion: I prefer to use different combinations of amps, sometimes consistent throughout the album, sometimes it changes from song to song.

V. Santura: When I double-track, 9 out of 10 times I just use the same setup for both guitars, because I like symmetry. When quad tracking the idea of having two different sounds which complement each other can work very well. So I see it like having one stereo layer consisting of two tracks of Sound A and one stereo layer consisting of two tracks of Sound B.

Tore Stjerna: It depends a lot. If I just want to beef things up a bit, I’ll use the same setup, same everything. The benefit is that the guitars will not take a bunch of extra space in the mix, which they already tend to do as it is. Working with different mic positions for example, or swapping cabs or whatever, can sometimes fill out the spectrum way too much and make it hard for other stuff to poke through. But it really depends. If you plan to have the guitars a bit further back in the soundscape, fattening things up with a few different settings might be the right way to go.

What is your preferred microphone setup for recording guitars?

Tom Kvålsvoll: One AKG414 slightly off center, combined with a different brand of condenser aimed at the right rim and another (maybe even a cardioid) aimed slightly differently at the other rim. Three mikes. That's my preferred method. The brand and specifics for each mike can vary, the way they interact (and the distance and angle relative to the membrane) is important and requires some testing to find the sweet spot. Always check for phase issues.

In addition to this, I really prefer to have a DI signal in addition to the amp signal. That way I can reamp the DI and get a ton of possibilities.

V. Santura: I prefer the so-called "Fredman" micing technique: simply two Shure SM57, one mic (the "On Axis") pointing straight at the center of the cone, the other mic (the "Off Axis") basically "touching" the other mic but in an angle of around 40 to 45 degrees forming and "arrow" with the On Axis mic. Usually, I find myself having the Off-Axis mic around 5 dBs higher in the mix then the On-Axis.

This mic technique basically always works for me and then I make the sound with the amp. Only if I won't get a result which satisfies me I would start considering other micing techniques like bringing a condenser or ribbon mic into the game.

Tore Stjerna: In the studio, 9 times out of 10 it’s a single SM57, usually up a single SM57, usually up against the grille or maximum a couple of centimeters away. A starting point is almost always the edge of the dust cap. I’ve gotten into using two 57s more frequently lately though, it doesn’t always work but if you look for a fat tone it’s definitely the way to go. I’ll throw something else up on occasion as well, like a TG201 or an i5, but there’s always something that bothers me about it for some reason. It doesn’t translate to what I’m envisioning in my head so it will often be swapped for a 57 in the end anyway, which seems to just give that instant gratification.

For live, I will always use two 57s, edge of the dust cap on two different speakers. A single mic in a live setting always gets some sort of tinny quality to it, I can never get it to where I want it. I also never combine with other mics, I’ve tried it and it always just brings me back to the dual 57 setups.

Interviewed by Dan Thaumitan

Icelandic post-metallers Sólstafir have released a new video "Bláfjall", filmed on one of the tracks of their latest album "Berdreyminn", which was released on May 26, 2017, via Season of Mist.

Follow the link to watch another Sólstafir’s video "Hula", taken at the pilgrimage site in Lithuania.

Czech post-black metallers Chernaa will release their debut album "Empyrean Fire" on June 7, 2019, via Noizr Productions. Along with the announcement, the band presented a music video for its first single "Pink Powder".

The band comments, "With this song, we tried to capture the beauty within a dark and aggressive sound in the instrumental, while the vocal could be described as the opposite, the darkness of the shriek within a beautiful lyrical content".

Chernaa is a post-metal/post-black act from Prague, Czech Republic. The band has an international line-up, including musicians from the Czech Republic, Ukraine, and Russia. The recording of the album "Empyrean Fire" took place at the Jaro Sound studio in Prague. The artwork for the release was created by Anna Levytska, known for her work with Blut aus Nord. Pre-order album here.

"Three guys from the Czech Republic and a guy from Ukraine currently living in Prague, creating the instrumental base for the band, while the vocalist is from Russia, Krasnoyarsk, recording vocals from afar. We bring the post into your black. We dive into the void and bring the existential dread".

Tracklist:

1. Pink Powder
2. Ominous
3. Alice Syndrome
4. As I Succumbed
5. Mania
6. Camus
7. Discrepancy

"Empyrean Fire" cover art

Chernaa's photo by Sonia Jandova

French black metallers Deathspell Omega shared a full stream of their new 7th album "The Furnaces of Palingenesia". The record is set to release on May 24 via NoEvDia.

Earlier, the band has released a music video for one of the album’s songs "Ad Arma! Ad Arma!". The video was created by the French artist Dehn Sora, known for his work with Amenra, Archgoat, Blut aus Nord, In the Woods..., Karyn Crisis' Gospel of the Witches and many others. "The Furnaces of Palingenesia" is available for order via Bandcamp.

Follow the link to listen to Deathspell Omega's previous album "The Synarchy of Molten Bones" (2016). Also check out Misþyrming's "Algleymi" full album stream.

Tracklist:

1. Neither Meaning nor Justice
2. The Fires of Frustration
3. Ad Arma! Ad Arma!
4. Splinters from Your Mother's Spine
5. Imitatio Dei
6. 1523
7. Sacrificial Theopathy
8. Standing on the Work of Slaves
9. Renegade Ashes
10. Absolutist Regeneration
11. You Cannot Even Find the Ruins…

"The Furnaces of Palingenesia" cover

Recording label Norma Evangelium Diaboli shared a full stream of the second album "Algleymi" of Icelandic black metallers Misþyrming. The record is set to release on May 24.

"Algleymi" was recorded and mixed by the band at Black Metal HQ, Iceland, then mastered by Jamie Gomez Arellano (Ulver, Opeth, Sunn O))), Ghost) at Orgone Studios, United Kingdom.

Read also: Inside the Producers' Studio. Pre-recording feat. Jamie Gomez Arellano

The cover art was created by the Netherlands artist Manuel Tinnemans, who has previously worked with Deathspell Omega, Entombed A.D., Lychgate, and others. The full stream "Algleymi" will be made public during week of release. The album is available for order here.

Earlier, Norma Evangelium Diaboli announced the release of Deathspell Omega’s record "The Furnaces of Palingenesia", which will also be released on May 24 this year.

Read also: "Never stop the madness". Interview with Misþyrming

Misþyrming were formed in Reykjavik, Iceland, in 2013. Two years later, the band released their debut album "Söngvar elds og óreiðu" via Terratur Possessions, which then landed 9th place on Noisey's Top 100 albums of the year. In 2016, the biggest European metal magazine Metal Hammer named Misþyrming as one of the Top 10 Icelandic bands.

Check out also: Deathspell Omega shares "The Furnaces of Palingenesia" full album stream

Tracklist:

1. Orgia
2. Með svipur á lofti
3. Ísland, steingelda krummaskuð
4. Hælið
5. Og er haustið líður undir lok
6. Allt sem eitt sinn blómstraði
7. Alsæla
8. Algleymi

"Algleymi" cover

Photo by Verði Ljós

Kyiv-based rockers Vovk shared a full stream of their debut album "Lair". The release features guest musicians Igor Sidorenko (Stoned Jesus, Krobak, Voida), Igor Cherepanov (Aghiazma) and Katya Gapochka.

"Lair" came out on May 22, 2019. According to a press release, the album was recorded and mixed by Vadym Lazariev at LipkyZvukozapys. The record was mastered by John Davis at Metropolis Studios, known for his work with Led Zeppelin, Foals, Florence and The Machine, etc.

Vovk is a band from Kyiv, Ukraine, that combines post-hardcore, stoner and progressive rock in their music. Now the band is preparing for a Ukrainian tour, which starts on May 26 with a live presentation of the album at the Otel club in Kyiv.

Tracklist:

1. Endless Waterfall
2. Ancient Times
3. Something
4. Forest
5. The Last Ship Above The Sky
6. My Own Private Thoughts

Album cover

Photo by Аліна Плеська

Months of rumors and teasers. Guesses and discussions. The level of impatience is on the edge. Any information as valuable as gold. To tell the truth, the last time I remember — similar craze was made by "Liebe ist für alle da" (2009) release. But there were just 4 years since "Rosenrot" (2005) came out. And now it took almost 10 years for the band to release a new one.

This is one of the reasons why I’m not afraid to say that on May 17 we’ve got not only one of the most awaited Rammstein albums, but also one of the most anticipated albums of the year. Self-titled. Extremely weird and full of unspoken words. At the same time familiar and so unlike the others. Matured. Gloomy. Topical and honest. Open as far as enough desire you have to explore it.

Rammstein has never been a typical rock/metal band. From the very first album Till Lindemann's lyrics and the project’s work in general touched the things that are literally in the air. Sometimes tough and dirty, but always honest questions of everyday life. The subject of how this world and the interaction of people in it are arranged. Often through the prism of black humor, sarcasm, and vulgarity, but always true. The musicians carried this approach to songwriting through the years, from time to time showing themselves as masters, who are able to create music that has no shelf life.

Read also: Till Lindemann presents a collection of author poetry "Messer" in Kyiv

Lindemann's latest creative urges, in particular, the solo project with Peter Tägtgren, set the bar, below which Rammstein would not have dropped. And the seventh studio album — a collection of topical social themes and horrible perverted stories — is direct evidence of this. The CD, which collected 11 full-fledged tracks, will require from you some time and desire to dig deeper. Willingness to realize that already 10 years have passed and it is time to move away from "Reise, Reise" and "Rosenrot" sounding.

The first thing you feel while listening to "Rammstein" — is the turmoil and lack of something usual. There are a lot of electronics ("Ausländer", "Weit Weg") and lyrics ("Diamant", "Was Ich Liebe"). There is overdrive and Muse motives ("Sex"), French and Russian languages ("Ausländer") and Lindemann's literal hysteria ("Puppe"). Let's just say, the new fans of the band will not move a muscle, but the old ones will have to roll the record at least twice.

While listening to the alum for the second time you realize that this is the same old Rammstein with their courageous, melodious vocals and tight guitars. The same Rammstein with powerful percussion and coherence of each track, which also contains a strong semantic part. But this time the band went further — up to date. I succumbed to the desire to step aside from the predecessor releases and try something new. Did it work out well? Definitely yes, even if the new songs do not fit well the hits of "Sehnsucht" or "Mutter".

While trying to repeat something like LIFAD, Rammstein would risk creating an insipid album. In this case, fans will see one more side of a multifaceted boulder, capable of surprising, regardless of age, trends and previous successful achievements.

Listening to "Rammstein", take some time to make translations, because now you have not only a new album, but also one of the most profound collections of Lindemann's lyrics. In these 46-plus minutes the frontman put some alarming episodes from the German history ("Deutschland", "Radio"), horror and gloom of hopelessness ("Puppe"), naughty, everyday essays ("Ausländer", "Sex"), and also uneasy love, romance, naivety and stupid deeds ("Was Ich Liebe", "Diamant", "Weit Weg", "Tattoo").

Read also: Peter Tägtgren on Pain, Lindemann, Hypocrisy, and work at studio

The album has at least few tracks that will easily fit the setlist of a great live show. For the song "Puppe" the band will definitely make a video, as this is one of the most powerful and uncommon records of Rammstein, that tears your consciousness to shreds. Time and the band's upcoming concerts in Europe will show how far these guesses are true.

At this stage, it would seem, all the cards are revealed. However, the design of the album is still its main mystery. A match on a white background is an unsolved symbol and theories like "Rammstein love fire" sound too simple in this case. Probably the musicians will reveal their ideas in the closest future. But meanwhile, when I see this match I can’t get rid of the feeling it ends badly for Flake.

Reviewed by Yurii Somov

Faith No More’s vocalist Mike Patton recorded an album with French composer Jean-Claude Vannier, best known for his work with Serge Gainsbourg. Above, you can check out the first unveiled song "On Top Of The World" written by musicians.

"Jean-Claude and I met while working together on a Gainsbourg retrospective at the Hollywood Bowl in 2011," explains Patton. "We bonded immediately. I could see he had a dedication and attention to detail that was relentless so the respect I had for him in my mind was magnified in person. We spoke loosely about working together in the future… and it took some time, but after a few years I contacted him and we began to ignite some sparks."

"I would send Mike rough versions of the songs to get his thoughts, then I’d wait impatiently, staring at the clock, until I received his response," offers Vannier about the process the duo used to create Corpse Flower. "He made my music awaken with his unique perspective and interpretations of my songs. A formidable vocalist, with a sense of humor, Mike and I created a strong, beautiful and sincere collection of music, as well as a friendship."

The song "On Top Of The World" will appear on the upcoming album "Corpse Flower", which is scheduled for release on September 13 via Patton's own label Ipecac Recordings. A variety of musicians, both in Los Angeles and Paris, took part in the recording of "Corpse Flower" with the Los Angeles team including Smokey Hormel (Beck, Johnny Cash), Justin Meldal-Johnsen (Beck, Air, Nine Inch Nails) and James Gadson (Beck, Jamie Lidell). The Parisian players are Denys Lable, Bernard Paganotti (Magma), Daniel Ciampolini, Didier Malherbe, Léonard Le Cloarec and the Bécon Palace String Ensemble. The lyrics for "Ballad C.3.3." are drawn from Oscar Wilde’s "The Ballad of Reading Gaol" poem.

Read also: Mike Patton composed music for Netflix movie "1922"

"Corpse Flower" is available now for pre-orders here, including special embossed versions featuring Kenro Izu’s stunning cover photo. The album will be available on 180 gram coloured vinyl, as well as a CD digipak and digitally.

Tracklist:

1. Ballad C.3.3
2. Camion
3. Chansons D'Amour
4. Cold Sun Warm Beer
5. Browning
6. Hungry Ghost
7. Corpse Flower
8. Insolubles
9. On Top Of The World 03:20
10. Yard Bull
11. A Schoolgirl's Day
12. Pink and Bleue

"Corpse Flower" cover

Ukrainian rockers Sinoptik will go on a charity tour "Я чую — я живу" ["I hear — I live" in Ukrainian — Noizr] in Ukraine this fall. Concerts, which will be held from September 20 to November 30, are dedicated to help children with hearing problems.

During the upcoming tour, Sinoptik are reported to present their fifth album, the recording of which is still ongoing. The tour is organized by the band itself in conjunction with the Ukrainian philanthropic marketplace ubb.org.ua. Part of the proceeds from the ticket sales will be used to purchase the necessary equipment for hearing screening.

The tour will start on September 20 in Dnipro and will end with a big solo concert on November 30 at the Caribbean Club Concert Hall in Kyiv. A total of 20 shows are scheduled in the largest cities of the country. Head to this location to buy tickets for Sinoptik’s gig in Kyiv. Details of the charity project can be found here.

Sinoptik’s previous album "Fields On Fire" was released in April 2018. Read also: "On the first place in metal is Burzum’s "Filosofem". Sinoptik's musicians talk about favorite albums

Kyiv-based rock act Ethereal Riffian unveiled a music video for the song "Legends", filmed by the well-known Ukrainian director Viktor Priduvalov (Okean Elzy, Stoned Jesus, Green Grey).

According to a press release, the title track "Legends" showcases a drastic contrast with the band's previous efforts. Frontman Val Kornev explains the shift in the band's songwriting and overall direction: "With current crises in worldwide leadership, ecology, education and, most and foremost, consciousness, we just can't wait any longer to finally start doing things right. Enough of this bullshit! Our turbulent times require courageous decisions and robust music. Music that can get you going even if you're descending straight into the depths of hell and know that this day can be your last. This is what this track is about. It's about legends and you can become one too."

Ethereal Riffian’s upcoming third album is set to release in the second half of 2019 via Robustfellow Prods. The single "Legends" is now available in digital form on iTunes, Spotify, Google Play and other online stores. Earlier, Priduvalov shot a video "Drum of the Deathless" for Ethereal Riffian.

Read also: Shamanic music Ethereal Riffian "I AM. Deathless"

Researchers CJ Carr and Zack Zukowski presented a neural network that is able to create a technician death metal in real time. A non-stop stream "Relentless Doppelganger" from a project called Dadabots can be listened to on YouTube.

CJ Carr and Zack Zukowski are reported to have been working for several years on the project of a neural network that can create original compositions after learning from examples from different musical styles. Early experiments included many genres before the team discovered metal and punk music, which, as it turned out, work the best for artificial intelligence.

The neural network was trained to create death metal on music of the Canadian band Archspire with modified SampleRNN (a tool for learning neural networks to generate sound). Other Dadabots music is available on Bandcamp.

Read also: Virtual metal band Belzebubs releases debut video for "Blackened Call"

Organizers of Metal East: Nove Kolo, which will be held in Kharkiv, Ukraine, from May 31 to June 2, shared the trailer of the upcoming festival.

The three-day event will feature the performances of more than 20 metal bands from Europe and Ukraine. In particular, the upcoming festival will feature the show of Hate Forest, the band which was founded by Drudkh’s members, which after its split in 2004 will reunite for the only live performance at the Metal East: Nove Kolo. More information about the festival’s line-up can be found here.

Read also: "The main thing is freedom and opportunity to say everything that excites you". Interview with Nokturnal Mortum’s leader

Metal East: Novo Kolo will also feature various performances, master classes, lectures and exhibitions from numerous artists, folk musicians, historians, craftsmen etc. which will be held as a part of "Art. History. Tradition" event, including:

• historical lectures on the history of Kharkiv
• exhibitions of Kharkiv artists, sculptors, potters and glass blowers
• exhibition of folk musical instruments, a master class on production and playing technique
• exhibition of works of the Kharkiv State Academy of Design and Arts
• master class and lecture about Kharkiv Vyshyvanka (Sloboda Ukraine)
• exhibition of printed graphics
• performance of tribal dancers ...and more.

An additional feature will be a promotional Tattoo Convention area.

Read also: Weekend at Ragnard Reborn Nove Kolo. Report from two festival days

Metal East: Nove Kolo will take place from May 31 to June 2, 2019 at the Art Factory Mekhanika in Kharkiv, Ukraine. Follow the link to find more information about the festival’s rebranding with a new name. 3-day tickets for Metal East: Nove Kol from 1350 to 3500 UAH are already available for order here.

Read also: Interview with J. J. from Harakiri for the sky on "Arson" and depression

Metal East: Nove Kolo warm-up show took place on April 13 in Kyiv featuring such performing acts as Impaled Nazarene (Finland), Asphyx (The Netherlands), Burshtyn (Ukraine), Sectorial (Ukraine), and Mutanter (Ukraine). Follow the link to check out a photo report from this pre-party made by Noizr Zine's photographer Mila Immortality.

Info: Website, Facebook

Ex-vocalist of the Polish project Batushka Bartłomiej Krysiuk revealed the music video "Chapter I: The Emptiness — Polunosznica", presenting it as a band’s new release despite the court decision.

On May 6, Krzysztof Drabikowski unveiled court documents on the case of personal property and payment protection. According to the decision of the Regional Court in Bialystok, Poland, dated April 18, 2019, former vocalist and band’s manager Bartłomiej Krysiuk is forbidden "to release album under the name of Batushka or Батюшка" and "to give concerts under the name of Batushka or Батюшка" for the time of court proceedings.

Read also: Project Batushka unveils new song "Pecn' 1"

The video "Chapter I: The Emptiness — Polunosznica" was released on Metal Blade Records, with which Krysiuk signed a contract to release the record "Hospodi" on behalf of Batushka. The album is already available for pre-order on physical media and in digital.

Batushka's first and latest album "Litourgiya", which was recorded with Krysiuk and Drabikowski, was released in 2015.

Doom and sludge perhaps are the most flexible genres that are amenable to all sorts of creativity. Experiments and bold brush strokes are welcome. There won’t be any blaming for monotony, endless timing, too low bass or even vocals, that sometimes can sound like baa. Is it good? Absolutely. The only question is where this or that band will lead while searching for new unique features and sound.

In the situation with the Belgian band The Progerians it turned out that seven years of experiments led them to impenetrable wilds, although they had previously managed to keep a fairly high standard. Each new release of The Progerians sounded more interesting than the previous one. More powerful, more intense, more original. Since 2012 the musicians have actively increased the gloominess of their doom, leaving the albums with their fervent punky notes. On May 25, the quartet will release its second album "Crush The Wise Men Who Refuse To Submit", which will sound completely different.

In October 2012, The Progerians released their first EP "Degeneration". A lively, very fresh 16-minute record with five tracks of an ambitious and bold four. Energy is rushing from each track, you can feel it in frisky guitar riffs and in the voice of a literally screaming vocalist. At this stage, The Progerians are more experimental punks with a genuine interest in dark doom.

In the next two years the Belgians replenished their collection with a very high-quality split and the first longplay "The Fabulous Progerians". The band sounded even more confident, along with the instruments in these records you can hear the experience and the desire to improve the style. The new tracks of the band have become the original mix of dark doom, an aggressive sludge, and the same punky spark. Guitars and drums became noticeably heavier, their parts gained versatility, but they did not lose their logic and harmony. At this stage, The Progerians with a tangible interest try out some psychedelics. And such notes, added to the general sound, gave the album additional points. Best examples here are the tracks "Black Storm" or "God Speed".

It is more than three years have passed since the debut studio album was released, and it was quite logical to expect from the band something new, fresh and what is most important, something that will exceed all the previous works. But with their second full-length “Crush The Wise Men Who Refuse To Submit” the four managed to justify these expectations only partially. And that's why.

The Progerians

The first thing that the new LP opens to the listener is still the same craving for experiments and a new sound. Even having developed their own formula of success, The Progerians did not get stuck at the previous stage and continued to search for themselves in even thicker layers of doom. It is good and not so. This time the band’s sound is continuous heavy monotony and guitar chaos. Heavy distortion, low bass and, it is worth noting, the most powerful drums in their music library. In this case the tracks, smoothly moving from one to another, do not evoke the former emotions. They seem to become deprived of a former spark, which is reminded only in the same energetic vocals and individual guitar parts.

The band often loops on the same motif, stretching it for several minutes. Yeah, it is typical for the genre. But instead of further developing, The Progerians tear songs into pieces and dilute them with not always appropriate chaotic solos or sudden psychedelic passages, after which they return to the point they started from.

In addition to the general monotony, the overall timing of the album complicates its perception. This time 9 similar tracks sound more than an hour. And pretty soon the tracklist turns into a wall of noise, which in some places make the ears tingle.

As it was mentioned at the beginning of the review, such genres are very extraordinary and multifaceted. No doubts, every product will definitely find a fan. But in the case of The Progerians, it seems that on the way of experiments and attempts to sound in a new way, the band failed to get around the wilds. Some interesting ideas, notes of originality and confident overall sound of the band say that it will certainly come out of these wilds later, but with something more sustained, consistent and less gloomy.

"Crush The Wise Men Who Refuse To Submit" will be released on May 25 via Mottow Soundz. Release party in Brussels at the Magasin 4 is set on May 25 as well. Follow The Progerians on Facebook.

Reviewed by Yurii Somov

In support of the new album "Life Metal", the American drone metallers Sunn O))) announced a series of European concerts for this October. The full album stream of the band’s latest record can be found above.

"Life Metal" is the first Sunn O))) album released via Southern Lord Records. It came out on April 3, 2019. According to a press release, Sunn O))) co-founders Stephen O'Malley & Greg Anderson set started working on the album in the very beginning of 2018. Musicians met twice last spring to write material in the very building where the band was formed: Downtown Rehearsal in Los Angeles. In early summer, a pre-production album was held at Dave Grohl’s 606 studios in Northridge, California.

The LP version is an AAA album recorded and recorded on tape solely using analog equipment. The album was mastered and lacquers cut from tape in October by Sunn O))) ally Matt Colton at Alchemy in London.

It was also reported before that Sunn O))) for the first time since 2015 will return to Berlin this June:

30.07.2019 Festsaal Kreuzberg | doors: 19:00 start: 20:00
Sunn O)))
Support: Caspar Brötzmann
Tickets

31.07.2019 Festsaal Kreuzberg | doors: 19:00 start: 20:00
Sunn O)))
Support: Caspar Brötzmann
Tickets

Dates of upcoming Sunn O))) shows in Europe:

October 7 — Germany, Munich — Backstage Werk w. Caspar Brötzmann
October 8 — Germany, Karlsruhe — HfG / ZKM w. Caspar Brötzmann
October 9 — Switzerland, Basel Kaserne — Rosstall w. Caspar Brötzmann
October 10 — Germany, Leipzig — Felsenkeller w. Caspar Brötzmann
October 11 — Poland, Krakow — Unsound festival
October 13 — Lithuania, Vilnius — Kablys w. Caspar Brötzmann
October 14 — Estonia, Tallinn — Vene Theatre w. Caspar Brötzmann
October 15 — Finland, Helsinki — Kulttuuritalo w. Caspar Brötzmann
October 17 — Sweden, Stockholm — Kraken
October 18 — Norway, Oslo — Kulturkirchen Jakob
October 19 — Norway, Oslo — Blä *duo show (Greg and Stephen only)
October 21 — Denmark, Copenhagen — Koncerthuset
October 22 — The Netherlands, Nijmegen — Doornroosje
October 24 — United Kingdom, Bristol — SWX
October 25 — United Kingdom, Glasgow — QMU
October 26 — United Kingdom, Birmingham — The Crossing
October 27 — United Kingdom, Manchester — Albert Hall
October 28 — United Kingdom, London — Roundhouse

Photo credit: Ronald Dick

French psychedelic trio Mars Red Sky unveiled a teaser of the upcoming album "The Task Eternal". The release of the record is set on September 27, 2019, via Listenable Records.

The premiere of the first single will be held on May 29. Earlier, Mars Red Sky have announced "Go East" tour dates in Europe. In addition to solo concerts, the band will also perform at several festivals and give four concerts in Portugal. The gigs will take place in May, June, July, and September.

Last year, the band presented the video "Under The Hood", which included footage from the 1983’s sci-fi film "Chronopolis" by Piotr Kamler.

Follow the link to watch the live video "Way to Rome" with Stoned Jesus’ leader, filmed during Mars Red Sky’s performance in Kyiv, Ukraine.

Photo credit: Julien Dupeyron

In honor of the 20th anniversary of the album "Plays Metallica by Four Cellos", the Finnish instrumental band Apocalyptica will play a special set at the Zaxidfest, Ukraine.

Due to the anniversary of the album, the band re-released the debut LP of Metallica’s covers on July 22, 2016 after its remastering and adding 3 new tracks — "Battery", "Nothing Else Matters" and "Seek and Destroy".

Apocalyptica have played the program "Plays Metallica by Four Cellos" more than 170 times in 40 countries, after which they released a live album "Apocalyptica Plays Metallica by Four Cellos — A Live Performance", which included the band's show in Olavinlinna Castle, Finland.

Read also: Apocalyptica leader creates music based on Finnish DNA

Apocalyptica continues to tour with the program "Plays Metallica by Four Cellos" and will play a number of concerts in the USA and Europe in 2019, including a performance at the Zaxidfest, Ukraine, on August 16.

Zaxidfest will be held on August 16-18 in the village Rodatichi, Lviv region. Along with Apocalyptica, Lacuna Coil, After The Burial, Eyes Set To Kill and others will also perform at the festival. Tickets for the event from 500 to 1100 UAH can be bought here.

Polish multi-instrumentalist Krzysztof 'Христофоръ' Drabikowski presented a new song "Pecn' 1". The track will appear on the upcoming album "Panihida" ["Dirge" in Russian — Noizr] of his solo project Batushka.

Earlier, Drabikowski, Batushka’s founder and mastermind, shared a court decision, according to which ex-vocalist and investor of the project Bartłomiej 'Варфоломей' Krysiuk is forbidden "to release album under the name of Batushka or Батюшка" and "to give concerts under the name of Batushka or Батюшка".

See also: Feast for the soul. Report from Batushka’s gig in Kyiv

The exact date of the album "Panihida" release is still unknown. The project’s debut album "Litourgiya", which features Krysiuk on vocals, came out in 2015.

Read also: Contrary to court decision. Batushka's ex-vocalist unveils new video

Main photo by Mila Immortality. See more pics here

Following the successful sold out tour, American noise rockers Daughters announced new dates of the upcoming European tour, which will take place this October.

The autumn tour, which will be held in support of the band’s latest album "You Won’t Get What You Want", will include concerts in more than 10 countries. In addition, the group has scheduled performances for June and August of this year. All dates of both tours can be found below. Tickets are on sale now at this location.

Earlier, Daughters released a sensual video for the song "Less Sex". The band’s latest album "You Won’t Get What You Want" was released in October 2018 via Ipecac Recordings and later placed on countless year-end best of lists such as The Quietus, Rolling Stone, and Bandcamp.

Ukrainian metallers 1914 released the music video "C’est mon dernier pigeon", directed by Tementiy Pronov (Slippy Inc). The clip is dedicated to the events of the First World War.

The band comments [the original punctuation is saved — Noizr]: "We proudly present you our first video for the song "C'est mon dernier pigeon". The events displayed in the video tell us the story of the Fort Vaux defence during the battle of Verdun in 1916. A handful of brave French soldiers under the command of Major Raynal resisted the outstanding German forces, numbered around 600 hundred men the defenders were capable to destroy more than 3000 of the enemy soldiers but were doomed to fail. After the surrender of the fort garrison, the German army group commander Crown Prince Wilhelm, presented Major Raynal with a French officer's sword as a sign of respect. Surely, the appropriate act as for the last war of the gentlemen."

The song "C’est mon dernier pigeon" was taken from 1914’s latest record "The Blind Leading the Blind", which will be re-released on May 31 via Napalm Records, with which the band previously signed a contract.

Read also: "What passing-bells for these who die as cattle?". Review of 1914’s album "The Blind Leading the Blind"

Norwegian black metallers Mayhem announced the release of the 6th album which will take place on October 25, 2019, via Century Media Records.

The band comments: "Once again Mayhem is writing a new chapter in its 35-year history. We are excited to now have joined forces with Century Media and are eager to see what this partnership can do for us both in the future."

Shortly after the release of the album, Mayhem will go on a European headline tour with Gaahls Wyrd and Gost:

31.10 Nijmegen, Netherlands — Doornroosje
01.11 Leiden, Netherlands — Gebr De Nobel
05.11 Paris, France — La Machine Du Moulin Rouge
06.11 Rennes, France — L’etage
07.11 Toulouse, France — Metronum
10.11 Lyon, France — CCO
12.11 Milano, Italy — Magazzini Generali
14.11 Vienna, Austria — Szene
15.11 Prague, Czech Republic — Meet Factory
16.11 Berlin, Germany — Astra
17.11 Lille, France — Tyrant Fest
19.11 Kassel, Germany — Musik Theater 130BPM
21.11 Mannheim, Germany — MS Connextion Complex
22.11 Antwerpen, Belgium — Trix
23.11 Oberhausen, Germany — Turbinehalle
24.11 Copenhagen, Denmark — Pumpehuset
26.11 Tampere, Finland — Pakkahuone
27.11 Helsinki, Finland — Tavastia
29.11 Stockholm, Sweden — Fryshuset Klubben
30.11 Gothenburg, Sweden — Pustervik

Read also: Mayhem release video "Watchers"

Ukrainian metallers Sectorial will play four concerts in Ukraine, Romania, and Moldova. The shows will take place in late May and mid-August, 2019.

Sectorial’s upcoming concerts will be held in support of the latest album "VYR", which was nominated as "Best Metal Album" according to BUMA in 2018.

Sectorial’s show dates:

• May 24 — Ukraine, Odesa @More Music Club
• May 25 — Romania, Iasi @ The Gate Bar
• May 26 — Moldova, Chisinau @ Pro Sănătate
• August 17 — Ukraine, Kyiv — together with Downfall Of Gaia (DE) @ MonteRay

Previously, the musicians presented a limited box-set edition of the album "VYR". You can order it and listen to free full album stream on Bandcamp.

Sectorial is a band from Ukraine, playing furious Blackened Death Metal with various Dark Ethnic instruments inclusions. The band was awarded "Best Metal Album" for their 2015’s release "We Are The Titan's Rising Ashes" and "Best Metal Video" for the debut video clip "Tree Eater" at The Best Ukrainian Metal Act. Sectorial’s musicians, having an impressive tour experience, make a real show full of pure wild energy on their every concert. The band released its third full-length album "VYR" on November 9, 2018 via Noizr Productions.

Kampfar’s new album "Ofidians Manifest", which release is timed to the band’s 25th anniversary, came out on May 3, 2019, via Indie Recordings. Above, you can check out its full album stream.

According to a previously unveiled Kampfar’s post on Facebook, the musicians took a 2-year hiatus due to "health issues" that could lead to the band’s split. As a result, "2 years of darkness is over" and now the band returns with a new album, with which the musicians will celebrate Kampfar’s 25th anniversary.

Earlier, Norwegian black metallers presented the music video "Ophidian", filmed by production company Grupa13 (Behemoth, Eluveitie, Belphegor, Powerwolf).

Tracklist:

1. Syndefall
2. Ophidian
3. Dominans
4. Natt
5. Eremitt
6. Skamløs!
7. Det sorte

"Ofidians Manifest" cover

Photo by Sebastian Ludvigsen

Since last December, Batushka fans have been wondering what exactly is happening with the Polish black metal project and which of its members — its founder and creative leader Krzysztof Drabikowski or vocalist, manager Bartłomiej Krysiuk — is right in the current situation. Noizr Zine restored the chronology of events and recriminations between the musicians.

Founded and released in 2015 the debut album "Litourgiya", the Polish band Batushka gained incredible popularity in the metal community. The increased interest in the group was also facilitated by the fact that Batushka was presented as an anonymous project created by members who are from "well-known Polish metal bands". This later turned out to be, albeit unjustifiable, but nevertheless a clever PR move — other projects of Batushka’s key members were little known outside of Poland. Nevertheless, having only one album behind them, the band toured almost continuously, even giving shows together with the titans of the Polish stage, Behemoth.

At the end of December, 2018, the leader of Batushka Krzysztof 'Христофоръ' Drabikowski announced that Bartłomiej 'Варфоломей' Krysiuk is no longer a member of the band because of his "inappropriate behavior". This became known from the post on the band’s Instagram, which was later deleted. A couple of days later, the musician posted a video message in which he stressed that he was the only creator, ideological and creative leader of the project. Drabikowski said that he had lost access to the official site and all of the group’s accounts, except YouTube, where he decided to tell his story.

Also, the musician said that he alone came up with the whole concept of the band, including its music, lyrics, album cover, etc.

On January 1, 2019, there was unveiled an extensive interview with Krysiuk. The musician said that no one questions the contribution of Drabikowski to the creation of the album, but he, Krysiuk, was responsible for the full financial support of the project. He also stressed that he was behind the design of costumes, graphics, the whole set design, etc. According to him, he invested money in equipment and was engaged in logistics, sales, and booking concerts of the band.

"Nobody questions Krzysiek’s contribution to the creation of the album, but it is not true that he created the whole entirely. There are a few people behind it, and above all, I am the main investor, the person responsible for the external vision of the band and how everyone perceives it", Krysiuk said [hereinafter translation from Polish by Noizr].

"Krzysiek didn’t want to sign any contracts, so I took everything on myself, all responsibility, including possible financial penalties. It was me who incurred all the costs of musicians' rewards, organizing rehearsals, everything related to the Batushka name. It was a brand and a company that was created entirely by me, Krzysiek drew profits from it, from the very beginning without investing a penny. So I do not have the right to it?"

Candlestick at Batushka's gig in Kyiv

Commenting on the registration of the name Batushka, Krysiuk said that he wanted to secure an "anonymous" project that had already encountered the problems of fake merchandise.

"Krzysiek can confirm this because he personally reported the case of one of the counterfeit producers on the police."

In addition, Bartłomiej assumed that his former colleague had mental problems because of which the band had difficulties with line-up and gigs.

"Krzysiek has huge mental problems that everyone knew and told about. Everyone who stayed with him longer stated that something was wrong. I can add a story from the times when we worked in Hermh — we went on tour, and after probably the fifth concert came out of the club and did not return, and the reason was that he did not have access to the Internet."

"There were many quarrels about Krzysiek's behavior; how he treats other people in the team", he added.

According to Krysiuk, due to disagreements between him and Drabikowski, in particular regarding the new album, the musicians agreed that they would stop their cooperation, after playing the last planned concerts. Also, according to Bartłomiej, they discussed the probability of the existence of two Batushka bands.

"After these concerts, when we finished cooperation, it was clear that there would probably be two Batushka. We agreed, however, for an interview that was to take place on December 27, but in the meantime, Krzysiek started publishing messages on Instagram, which clearly showed that nothing would come from this agreement. I sent several SMS asking for a conversation and clarification of this matter, maybe even I could continue to cooperate but under new conditions ... I did not receive any answer, and instead, a statement appeared that throws me out of my project, though I really left the project myself before because I wanted to have a real team — only this could continue to function."

Drabikowski during gig in Kyiv, 2018

On April 12, there was revealed a new interview with Drabikowski, in which he repeated previously told statements from his video message.

"I always treated it [Batushka] as a solo studio project. When the concerts approached, I decided to gather people and create a line up that could play live. I knew immediately what it was supposed to look like, the stage design: in the centre an icon from the album cover, a vocalist behind it. On both sides of the vocalist, I wanted to put the characteristic candlesticks that I made myself, such as in the church, with many thin candles. I also knew what kind of costumes I would use – I wanted them to look like schema monk’s frock. I sent all my inspirations and projects to Krysiuk, and he commissioned them to be made."

Also, the musician said that since the case is in court, he can’t yet make public all the evidence of his case.

"All Батюшка compositions were created before I met with Krysiuk and we took up cooperation. I can prove all of this and everything is secured by a notary public and constitutes evidence in the case. When all the files are secured by the court I will publish them."

Speaking about plans for the future, Drabikowski reported on the work on the second album.

"On the new album “Panihida” I played the parts of all instruments myself and did some vocals. I also invited my closest trusted friends to take part in it as vocalists, so the vocals belong to several different people, though my voice appears there as well. At first, I planned to hire a drummer, but I also did the drums myself."

Krysiuk (left) and Drabikowski (right) during gig in Kyiv, 2018

Later, a post appeared on Batushka Facebook’s page, which became a kind of an answer to Drabikowski’s previously published interview.

"No one has ever denied the contributions of Mr Drabikowski — morally or legally. Drabikowski is recognised in a publishing and recording setting for writing and partially performing the music on the Litourgiya album. However, no individual makes Batushka and our identities were hidden for that reason. For a man who claims to love his work – he conducted himself for himself, invoicing and never investing. The Batushka you now love would have been crushed by such a man’s greed.

We have, in our hands, the masters to a piece of work which shall speak for itself — the original band is together and have entrusted their signatures as a part of our exciting, worldwide record deal with Metal Blade Records...with exception only to one.

Those who have supported Drabikowski’s cause, please follow him…but know, he does not represent Batushka. Batushka lives here."

Replying to the question of what he thinks about Bartłomiej’s new statement later, Drabikowski said that "the case is still in court, nothing has changed".

Updated on May 6, 8:20 pm. On Monday, May 6, Drabikowski unveiled court documents on the case of personal property and payment protection. According to the decision of the Regional Court in Bialystok, Poland, dated April 18, 2019, Krysiuk is forbidden "to release album under the name of Batushka or Батюшка" and "to give concerts under the name of Batushka or Батюшка" for the time of court proceedings.

Read also: Batushka vs Bartushka. "Panihida" vs "Hospodi" review

At the same time, the court refused other requests of Drabikowski, which were not specified. So far, Krysiuk has not given any comments regarding the published documents.

Text by Anastezia G.
All photos by Mila Immortality. See more pics here

The 24th festival of extreme metal music Brutal Assault to take place on August 7-10, 2019, in Jaroměř, Czech Republic. The festival has recently announced a new bunch of bands, including Ved Buens Ende, Incantation, Eskhaton, Kraanium, Exumer, Discharge, Au-Dessus, Omnium Gatherum, Meat Spreader, Decultivate and Čad.

Tickets for the festival can be ordered here.

Brutal Assault festival is an anchorage of metal music and associated art with 130 artists, 5 stages, several art galleries, and extensive chill-out zone. If you have not been there yet, this festival is just another level of experience in dark art with a cherry-picked blend of refreshing underground bands and stellar headliners spread across diverse festival area located within the 18th-century military fortress. Among traditional festival features the festival area also offers luxury sanitary facilities, permanent horror cinema, underground mazes, huge metal market, art galleries, a lot of sitting spaces within the fortress walls providing shelter from the weather and tons of other attractions. Brutal Assault is mainly about music but in recent years it also started to resemble a food festival with vegan and carnivore and all kinds of ethnic cuisine, supplemented by a wide variety of best Czech beers starting from 1.5 Euro for half a liter (17OZ).

Read also: 5 reasons to visit Brutal Assault festival

List of confirmed acts: ABORTED, AFTER THE BURIAL, ALIEN WEAPONRY, AGNOSTIC FRONT, ANIMALS AS LEADERS, ANNAL NATHRAKH, ANATHEMA, ANTAEUS, ANTHRAX, AU-DESSUS, AZUSA, BATUSHKA, CAR BOMB, CARCASS, CARPENTER BRUT, CASPIAN, COMBICHRIST, COUNTING HOURS, COVEN, CRYSTAL LAKE, CULT OF LUNA, CYTOTOXIN, ČAD, DR. LIVING DEAD, DECAPITATED, DECULTIVATE, DEICIDE, DAUGHTERS, DELUGE, DEMOLITION HAMMER, DESTRUCTION, DIABLO SWING ORCHESTRA, DISCHARGE, EKTOMORF, ELECTRIC WIZARD, EMPEROR, ENSIFERUM, ESKHATON, EXUMER, EYEHATEGOD, FROG LEAP, GET THE SHOT, GODFLESH, GOROD, GUTALAX, GOST, HEILUNG, HELLHAMMER – TRIUMPH OF DEATH, HEXIS, HIGHER POWER, HYPOCRISY, IMMOLATION, INCANTATION, IRON REAGAN, JINJER, JUNGLE ROT, KRAANIUM, KRISIUN, LETTERS FROM THE COLONY, LIONHEART, MANES, MEAT SPREADER, MESHUGGAH, METAL CHURCH, MGŁA, MIDNIGHT, MONSTER MAGNET, MYRKUR, NAPALM DEATH, NECROS CHRISTOS, NORDJEVEL, OF MICE & MEN, OCEANS OF SLUMBER, OMNIUM GATHERUM, PARKWAY DRIVE, PERFECITIZEN, PRIMORDIAL, PRONG, RAISED FIST, ROTTING CHRIST, SACRED REICH, SAOR, SHAPE OF DESPAIR, SICK OF IT ALL, SLÆGT, SKELETAL REMAINS, SLAPSHOT, SODOM, SOILWORK, TAAKE, TANKARD, TAPHOS, TESTAMENT, THE ARSON PROJECT, THE CONTORTIONIST, THE OBSESSED, THE OCEAN, THERION, THY ART IS MURDER, TOSKA, UNFATHOMABLE RUINATION, VAMPILLIA, VARGRAV, VED BUENS ENDE, VENOM PRISON, VIOLATOR, VIOLENT MAGIC ORCHESTRA, VOIVOD, VUUR, VULVODYNIA, WALLS OF JERICHO, WINDHAND, WOLFBRIGADE, WOE UNTO ME, WORMED, ZURIAAKE.

Read also: 6 tips we learned at the Brutal Assault 2018

Icelandic black metallers Misþyrming will release their second album, "Algleymi", on May 24 via Norma Evangelium Diaboli.

"Algleymi" was recorded and mixed by the band at Black Metal HQ, Iceland, then mastered by Jamie Gomez Arellano (Ulver, Opeth, Sunn O))), Ghost) at Orgone Studios, United Kingdom.

Read also: Inside the Producers' Studio. Pre-recording feat. Jamie Gomez Arellano

The cover art was created by the Netherlands artist Manuel Tinnemans, who has previously worked with Deathspell Omega, Entombed A.D., Lychgate, and others. The full stream "Algleymi" will be made public during week of release. The album pre-order is available here.

Earlier, Norma Evangelium Diaboli announced the release of Deathspell Omega’s record "The Furnaces of Palingenesia", which will also be released on May 24 this year.

Read also: "Never stop the madness". Interview with Misþyrming

Misþyrming were formed in Reykjavik, Iceland, in 2013. Two years later, the band released their debut album "Söngvar elds og óreiðu" via Terratur Possessions, which then landed 9th place on Noisey's Top 100 albums of the year. In 2016, the biggest European metal magazine Metal Hammer named Misþyrming as one of the Top 10 Icelandic bands.

Tracklist:

1. Orgia
2. Með svipur á lofti
3. Ísland, steingelda krummaskuð
4. Hælið
5. Og er haustið líður undir lok
6. Allt sem eitt sinn blómstraði
7. Alsæla
8. Algleymi

"Algleymi" cover

Photos by Verði Ljós

French black metal band Deathspell Omega presented a music video for the newest track "Ad Arma! Ad Arma!". The video, published via NoEvDia YouTube channel, was created by the French artist Dehn Sora, known for his work with Amenra, Archgoat, Blut aus Nord, In the Woods..., Karyn Crisis' Gospel of the Witches and many others.

"Ad Arma! Ad Arma!" will appear on the band's upcoming 11-track album "The Furnaces of Palingenesia", which will be released on May 24, 2019. The record is available for pre-order via Bandcamp.

Deathspell Omega's previous album "The Synarchy of Molten Bones" was released in 2016.

Tracklist:

1. Neither Meaning nor Justice
2. The Fires of Frustration
3. Ad Arma! Ad Arma!
4. Splinters from Your Mother's Spine
5. Imitatio Dei
6. 1523
7. Sacrificial Theopathy
8. Standing on the Work of Slaves
9. Renegade Ashes
10. Absolutist Regeneration
11. You Cannot Even Find the Ruins…

"The Furnaces of Palingenesia" cover

Norwegian avant-garde act Vulture Industries unveiled the new single "Deeper" and went on the "Strange Rain Tour" in Europe with Helheim, Madder Mortem, and Caelestia.

"Deeper" was released on 7-inch vinyl on April 23 via Dark Essence Records. The video for this single can be viewed above. On the origins of the song, Vulture Industries front man, Bjørnar E. Nilsen comments:

"It was one of those scorching summer days of 2018. The grass in the fields had all turned the colour of old paper, and the sun, at its zenith, was mercilessly searing our skin. Thirsty, hungry, and with tongues swelling, we had just missed the ferry crossing and could taste our hopes turn to ashes in our mouths. Trying to remain calm, but steadily feeling the building pressure of desperation, as a boiler ready to blow, we waited in line. Then suddenly the one year old in the back seat broke the silence chanting AHUM, AHUM, AHUM, AHUM! Overcome by what felt like divine inspiration but might very well have been sent from the depths of Hell, I started drumming on the dashboard. DUM, DADADUM, DADADUM, DADADUMDADUMDADUM."

As for the concerts, they will last until May 5, plus one show is already scheduled for June 1 in Oslo. All current dates can be found below:

May 1 — UK, London @ The Underworld
May 2 — Germany, Hamburg @ Logo
May 3 — Denmark, Esbjerg @ Konfus
May 4 — Germany, Dresden @ Skullcrusher
June 1 — Norway, Oslo @ John Dee

In the middle of June, Ascension Festival, one of the main black metal events of this year, will take place in Mosfellsbær, Iceland. The line-up of the upcoming event consists of outstanding artists of the modern underground scene, most of whom have Icelandic origin. In addition to the performances of the acts, the festival also includes an exhibition of works by French artist and designer Dehn Sora (Amenra, Blut aus Nord, In the Woods..., Merrimack, Sektarism) and German photographer Void Revelations (Misþyrming, Whoredom Rife, King Dude, Chelsea Wolfe).

"Ascension festival will without a doubt be a very unique experience, given the location and time of year", Naas Alcameth (Akhlys, Aoratos).

Ascension Festival line-up:

Above Aurora (PL/IS)
Akhlys (US)
Akrotheism (GR)
Antaeus (FRA)
Almyrkvi (IS)
Aoratos (US)
Auroch (CAN)
Carpe Noctem (IS)
Common Eider, King Eider (US)
Drab Majesty (US)
Gost (US)
Jupiterian (BRA)
Kaleikr (IS)
Kælan Mikla (IS)
King Dude (US)
Bölzer (CH)
Misþyrming (IS)
Mitochondrion (CAN)
Naðra (IS)
NYIÞ (IS)
The Order Of Apollyon (FR)
Rebirth of Nefast (IRL/IS)
Sinmara (IS)
Solstafir (IS)
Svartidauði (IS)
Treha Sektori (FR)
Tribulation (SE)
Vástígr (AT/IS)
Wolvennest (BE)
Zhrine (IS)

Announcement from the organizers:

"Very much so the spiritual successor to Oration, the Ascension festival aims to offer an eclectic and esoteric experience, with a strong emphasis on Icelandic and international Black metal.

The festival will take place at Hlégarður in Mosfellbær, June 13 — 15 (Thursday — Saturday). We're delighted to have secured this venue, as it provides the perfect setting for our midsummer celebration. Located just outside the city limits, the venue and adjacent campsite area are within close range of all needed services and amenities, while providing a serene natural setting surrounded by mountains and the desolate, unearthly landscapes Iceland has come to be known for.

Mosfellsbær, the town where the venue is located, is a suburb of the greater Reykjavík area and is approximately a 20 minute drive from Reykjavík city-centre, or a 35 minute bus-ride via public transport. The option of taking a shuttle bus will also be available, along with the optional use of a camping site located 5 minutes walk from the venue.

In stark contrast to Oration, Ascension is a mid-summer event, giving you a chance to witness first hand the arctic phenomena of the Midnight Sun. Join us in this jubilant celebration of Ascension".

Tickets for 14,900 Kr (Approximately €107 / $123) are available here. More detailed information about the festival is available in Ascension MMXIX event on Facebook.

Updated on May 26. The previously announced act Mgla will not be able to perform at the upcoming festival, instead the Swiss band Bölzer will play the set at the event.

Sühnopfer, a solo project of French musician Ardraos (best known as Peste Noire’s ex-member), is going to release the third album "Hic Regnant Borbonii Manes" on May 10 via Debemur Morti Productions. Below, you can listen to an exclusive premiere of full album stream and a brief interview with Ardraos about combining medieval atmosphere with black metal.

Sühnopfer stands out for creating haunting melodic medieval atmosphere, masterfully augmented with technically performed black metal. First of all, how did you come up with the idea of combining medieval music with black metal? And where does your inspiration usually come from?

Ardraos: I think that the real watershed for Sühnopfer was the recording of my first EP "L’Aube des Trépassés" in 2005-2006. At this time of my life, I was getting more and more interested in the Middle Ages and the relics of this period in my region. On top of that, I was starving for solitude and contemplation. Since I have developed themes that I had started dealing with in this EP so as to fit into a medieval, knightly, obscurantist and religious dimension, by adding aspects of my "terroir", typical of my homeland. Even nowadays, this land still shows how powerful, glorious and dark it was.

The title of the new album ["Hic Regnant Borbonii Manes" — Noizr] refers to the vaults of the first lords of Bourbon, and refers to an epitaph from the vaults of the first lords of Bourbon, you can also translate it a "here lies the Bourbon’s spirit", "Bourbonnais" being the name of the ancient medieval province in which I was born, and so were my ancestors, amidst its wooded countryside, forests and ruins, located in the heart of France. These songs are a kind of tribute and invocation to those who built this province and made it alive through the ages. The album also approaches ancient local legends and deals with death, superstition, and religion in a medieval context through some songs, also inspired by monuments and landscapes provided by our local heritage, its charm and atmospheres.

The upcoming album is not an exception for combining medieval music with black metal, as far as some of its tracks ("Je Vivroie Liement" for instance) feature 14th-century original music parts. What was the reason to use exactly those specific parts? How does your writing process/creative search usually look like?

Ardraos: The melodies, lyrics, and visuals of Sühnopfer obviously evoke a medieval past in a modern form of music, but I wanted also to include these elements directly taken from this era, with a text and melodies of the 14th century from Machaut on "Je Vivroie Liement", reworked for the occasion on guitars. The goal surely wasn’t just taking a text from a medieval author then screaming it on a basic black metal song.

In my opinion, it requires a deeper and more intelligent research and musical work than that, and the result should be a music really imbued with these special atmospheres. So I chose these parts in particular because their tones fitted perfectly into the riffs that I usually compose and their atmosphere. I could thus work to magnify the melody of the original music with the harmonization on guitars, and restore the text not only by fitting it on the entire track, but by its original melodic form on clean vocals.

I always start creating Sühnopfer‘s songs by composing guitar riffs. Once these have been put together and arranged, (most of the time with three harmonized different guitar melodies or even more), I look into drum-patterns on which I spend quite a lot of time so they really match the riffs and show some expertise. Then I really give my best to record drums because that’s my favourite instrument. Anyway, I’d also really like people to focus on guitar parts as well since it’s what takes most of my time and because in my opinion, they represent the soul of Sühnopfer‘s tracks.

My purpose with Sühnopfer is first of all to compose some riffs, then songs, which make me feel something really strong when playing them. I do not just find basic parts put end-to-end without reasoning. When you listen to them, you shall feel a kind of "grandeur", a mix of hope and despair, nobility, flamboyance, and melancholy. My way of composing songs gets also the purpose to not annoy me, and then the listener, with weak, repetitive and soulless riffs of most average black metal bands.

"Hic Regnant Borbonii Manes" was fully written, arranged and executed by Ardraos between 2013 and 2018. The album was mastered in January 2019 at Upload Studio and features artwork/layout courtesy of Valnoir (Metastazis).

Do not miss also: Interview with Aoratos and "Gods Without Name" full album stream

"Hic Regnant Borbonii Manes" will be released on May 10 worldwide on special edition vinyl (sold out), vinyl, special edition CD (sold out), CD, and digital download. A t-shirt is also available. Pre-orders are possible from the European shop, the North American shop, and Bandcamp.

Tracklist:

1. Invito Funere
2. Pénitences et Sorcelages
3. Hic Regnant Borbonii Manes
4. La Chasse Gayère
5. Je Vivroie Liement
6. Dilaceratio Corporis
7. L'Hoirie de mes Ancestres

"Hic Regnant Borbonii Manes" cover

Sühnopfer

On April 26, there was a joint concert of two avant-garde metal acts Mord'A'Stigmata and Imperial Triumphant, organized by Left Hand Sounds. At the event, held in Krakow, Poland, both bands presented tracks from their latest albums "Dreams of Quiet Places" (Mord'A'Stigmata) and "Vile Luxury" (Imperial Triumphant). Above, you can check out photo report from the show captured by Tomasz Kantyka (HotHouse Concert Photography).

See also: Photo report from Einar Selvik (Wardruna) show in Bergen

Imperial Triumphant (Avant-garde/Technical Black/Death Metal, USA)

Mord'A'Stigmata (Post-Black/Avant-garde Metal, Poland)

Ahead of Metal East: Nove Kolo festival, the fest’s pre-party took place on April 13 in Kyiv featuring such performing acts as Impaled Nazarene (Finland), Asphyx (The Netherlands), Burshtyn (Ukraine), Sectorial (Ukraine), and Mutanter (Ukraine). Above, you can check out photos from the event, captured by Noizr Zine’s photographer Mila Immortality.

Read also: "It was kind of challenge": Martin van Drunen on new Asphyx’s album

Metal East Festival: Nove Kolo will be held in Kharkiv from May 31 to June 2, featuring Hate Forest, Nokturnal Mortum, Saor, Archgoat, Entombed A.D., Harakiri for the sky and other bands.

Read also: Weekend at Ragnard Reborn Nove Kolo: Report from two festival days

Sectorial (Blackened Death Metal, Ukraine). Listen to and order the band's "VYR" album via Bandcamp

Mutanter (Death Metal, Ukraine)

Burshtyn (Black Metal, Ukraine)

Impaled Nazarene (Black Metal, Finland)

Asphyx (Death/Doom Metal, The Netherlands)

Noizr Zine thanks Metal East: Nove Kolo for the accreditation

German rockers Rammstein presented a black and white music video for the song "Radio". The new band’s new clip shows radio group is shown "a taste of freedom" which satisfies the most unexpected needs of the people in the period of totalitarianism.

The premiere of the song took place on the air of several German radio stations. At the same time, the video was shown as a silent projection on a street crossing in Berlin. Those who wanted to watch the video before the world premiere needed to arrive at the right place by 8:55 pm and turn on the radio.

Previously, Rammstein have unveiled the track listing and cover art of the upcoming 7th album, as well as a video for the single "Deutschland", the first song of the band since the release of their latest album, "Liebe ist für alle da" (2009). Rammstein’s new album can be pre-ordered here.

Read also: Till Lindemann presents a collection of author poetry "Messer" in Kyiv

In 2015, Rammstein’s singer Till Lindemann, as well as the leader of Pain and Hypocrisy Peter Tägtgren released the album "Skills in Pills" of their joint project Lindemann. Follow the link to read Noizr Zine’s interview with Tägtgren.

See also: "You Are So Beautiful" video from Rammstein’s guitarist Richard Kruspe solo project Emigrate

The organizers of the Czech metal festival Brutal Assault will end up selling tickets at a reduced price on April 30, 2019. Until the end of this period, visitors will be able to purchase tickets for the 4-day open air for only 90€.

According to a press release, early bird festival passes are currently available on Brutal Assault e-shop in two forms, physical collector’s ticket where one has to pay for shipping and an electronic ticket that one can print at home and don't have to pay for shipping. It's also possible to change your e-ticket for design hard paper ticket on spot for a small fee.

• To buy an e-ticket, follow this link.
• To buy a physical ticket, follow this link.

Brutal Assault festival is an anchorage of metal music and associated art with 130 artists, 5 stages, several art galleries, and extensive chill-out zone. If you have not been there yet, this festival is just another level of experience in dark art with a cherry-picked blend of refreshing underground bands and stellar headliners spread across diverse festival area located within the 18th-century military fortress. Among traditional festival features the festival area also offers luxury sanitary facilities, permanent horror cinema, underground mazes, huge metal market, art galleries, a lot of sitting spaces within the fortress walls providing shelter from the weather and tons of other attractions. Brutal Assault is mainly about music but in recent years it also started to resemble a food festival with vegan and carnivore and all kinds of ethnic cuisine, supplemented by a wide variety of best Czech beers starting from 1.5 Euro for half a liter (17OZ).

Read also: 5 reasons to visit Brutal Assault festival

List of confirmed acts so far (80% of the total lineup): ABORTED, AFTER THE BURIAL, ALIEN WEAPONRY, AGNOSTIC FRONT, ANIMALS AS LEADERS, ANNAL NATHRAKH, ANATHEMA, ANNOTATIONS OF AN AUTOPSY, ANTAEUS, ANTHRAX, AZUSA, BATUSHKA, CAR BOMB, CARCASS, CARPENTER BRUT, CASPIAN, COMBICHRIST, COUNTING HOURS, COVEN, CRYSTAL LAKE, CULT OF LUNA, CYTOTOXIN, DR. LIVING DEAD, DECAPITATED, DEICIDE, DAUGHTERS, DELUGE, DEMOLITION HAMMER, DESTRUCTION, DIABLO SWING ORCHESTRA, EKTOMORF, ELECTRIC WIZARD, EMPEROR, ENSIFERUM, EYEHATEGOD, FROG LEAP, GET THE SHOT, GODFLESH, GOROD, GUTALAX, GOST, HEILUNG, HELLHAMMER – TRIUMPH OF DEATH, HEXIS, HIGHER POWER, HYPOCRISY, IMMOLATION, IRON REAGAN, JINJER, JUNGLE ROT, KRISIUN, LETTERS FROM THE COLONY, LIONHEART, MANES, MESHUGGAH, METAL CHURCH, MGŁA, MIDNIGHT, MONSTER MAGNET, MYRKUR, NAPALM DEATH, NECROS CHRISTOS, NORDJEVEL, OF MICE & MEN, OCEANS OF SLUMBER, PARKWAY DRIVE, PERFECITIZEN, PRIMORDIAL, PRONG, RAISED FIST, ROTTING CHRIST, SACRED REICH, SAOR, SHAPE OF DESPAIR, SICK OF IT ALL, SLÆGT, SKELETAL REMAINS, SLAPSHOT, SODOM, SOILWORK, TAAKE, TANKARD, TAPHOS, TESTAMENT, THE ARSON PROJECT, THE CONTORTIONIST, THE OBSESSED, THE OCEAN, THERION, THY ART IS MURDER, TOSKA, UNFATHOMABLE RUINATION, VAMPILLIA, VARGRAV, VENOM PRISON, VIOLATOR, VIOLENT MAGIC ORCHESTRA, VOIVOD, VUUR, VULVODYNIA, WALLS OF JERICHO, WINDHAND, WOLFBRIGADE, WOE UNTO ME, WORMED, ZURIAAKE.

Read also: 6 tips we learned at the Brutal Assault 2018

Norwegian black metallers Darkthrone will release the 17th full-length album, "Old Star", on May 31 via Peaceville Records. Ahead of the release, the band unveiled their first single "The Hardship of the Scots" which can be checked above.

Commenting on the upcoming record on Facebook, the band members said: "It’s like the 80s never left! We are back with the RIFFS and more metal than EVER!!!"

Sanford Parker (Dirge, Minsk, Voivod, Yob) was responsible for "Old Star" mixing, and Jack [Conrow], who was previously handled mastering of Darkthrone’s albums "The Underground Resistance Mastering" and "Arctic Thunder", was responsible for mastering. The cover artistry comes of Chadwick St John’s artwork "The Shepherd of the Deep".

"Old Star" is available for pre-order on cassette, CD, and vinyls (in green, purple and black colors) here. The band’s previous album "Arctic Thunder" was released in 2016.

Read also: "Darkthrone, Burzum, Mayhem, church burning, and Satanism are just a small part of black metal". Interview with writer Dayal Patterson

Tracklist:

1. I Muffle Your Inner Choir
2. The Hardship of the Scots
3. Old Star
4. Alp Man
5. Duke of Gloat
6. The Key Is Inside the Wall

"Old Star" cover

A one-day black metal festival Holy Death Over Kyiv, featuring Polish band Mgła, as well as the Ukrainian acts Kaosophia, Svarga, Do Skonu, and Morok, took place on April 14 in Kyiv, Ukraine. The initially announced Swiss duo Bölzer on the day of the concert informed about the cancellation of its performance due to problems with the documents. For immersing into the atmosphere of the past event, check out the photo report by Mila Immortality.

See also: Photos from Holy Death Over Kyiv V, feat. Acherontas and Kroda

Morok, Black Metal, Ukraine

Do Skonu, Black Metal, Ukraine

Kaosophia, Black Metal, Ukraine

Svarga, Melodic Black Metal, Ukraine

Mgła, Black Metal, Poland

Noizr Zine thanks Death Worship Committee for the accreditation

German metallers Rammstein unveiled the track listing and cover art of the upcoming 7th album. The title of the record, which will be released on May 17, is still unknown.

The band also presented several teasers of new songs, among them "Weit Weg," "Diamant", "Was Iche Liebe" and other tracks. Previously, Rammstein released a new video for the single "Deutschland", the first song of the band since the release of their latest album, "Liebe ist für alle da" (2009). Rammstein’s new album can be pre-ordered here.

Read also: Till Lindemann presents a collection of author poetry "Messer" in Kyiv

In 2015, Rammstein’s singer Till Lindemann, as well as the leader of Pain and Hypocrisy Peter Tägtgren released the album "Skills in Pills" of their joint project Lindemann. Follow the link to read Noizr Zine’s interview with Tägtgren.

See also: "You Are So Beautiful" video from Rammstein’s guitarist Richard Kruspe solo project Emigrate

Tracklist:

1. Deutschland
2. Radio
3. Zeig dich
4. Ausländer
5. Sex
6. Puppe
7. Was ich liebe
8. Diamant
9. Weit weg
10. Tattoo
11. Hallomann

Rammstein's album cover art

New releases from black metal acts: Gaahls Wyrd’s video "Carving The Voices", Enthroned’s video clip "Hosanna Satana", Nordjevel’s video "Devilry", and Panzerfaust’s latest track "The Day After 'Trinity'".

Main pic — Gaahls Wyrd

Ukrainian post-hardcore act The Nietzsche presented a new music video for "Dreams 4/17" in which the band’s members appeared as basketball players. The song is taken from EP "Finals.", which was released on September 1, 2018.

Read also: Interview with Eugene Tymchyk on literature and its role in the work of The Nietzsche

Previously, The Nietzsche have presented a new live video, "Bohemian Requiem", filmed in 2018 during a band performance at The Best Ukrainian Metal Act. During the set, all members of the Odesa-based group were dressed like Queen’s musicians.

See also: Clutch appeared in images of cowboys in new video "A Quick Death in Texas"

On June 28, 2019, Debemur Morti Productions will release the second album of Thenighttimeproject, which includes guitarist/vocalist Alexander Backlund, drummer Jonas Sköld and Norrman brothers, former Katatonia members, guitarist Fredrik and bass player Mattias. Above, check out the band's new song "Embers".

Follow the link to listen to the previously unveiled single "Anti Meridian" from Thenighttimeproject’s upcoming studio record.

"Pale Season" was recorded at Valley Sound Studio/Nailvillage, mixed by guitarist Alexander Backlund at Nailvillage, mastered by Tony Lindgren at Fascination Street Studios, and completed with cover art by Denis Forkas and design by Kadriel Betsen. Pre-order "Pale Season" via European shop, North American shop, and Bandcamp.

According to the press release, during 2010-2016, not straying far from his most notable roots, Fredrik 'North' Norrman founded Thenighttimeproject — a pleasantly nostalgic road for those more familiar with his work in Katatonia. Joined by Tobias Netzell of In Mourning, along with Nicklas Hjertton, formerly of Mandylon, their self-titled debut album is released in January 2016.

In 2017, the band released the single "Anti Meridian". Mattias Norrman (October Tide) joins the band on bass. Later this year Tobias and Nicklas decide to leave the band due to lack of time.

In 2018, the band was joined by Jonas Sköld (October Tide, Letters From The Colony) on drums and vocalist Alexander Backlund (Letters From The Colony) the band is now working on the follow up to the debut album as well as rehearsing for live shows.

Norrman brothers were members of the Swedish group Katatonia for more than 10 years — Fredrik played the guitar from 1996 to 2009, and Mattias played bass from 1999 to 2009. Katatonia’s last album "Night Is the New Day", recorded with the brothers, was released in November 2009. In 2017, Katatonia announced a short-term hiatus.

Follow Thenighttimeproject on Facebook

"Pale Season" tracklist:

1. Hound
2. Rotting Eden
3. Binary
4. Final Light
5. Embers
6. Pale Season
7. Anti Meridian
8. Signals In The Sky
9. Meridian

"Pale Season" cover

Latest and upcoming releases from Ukrainian black metal acts: Do Skonu’s "Black Asceticism" full album stream and the teaser of White Ward’s upcoming record "Love Exchange Failure", which will be released "in the coming months" via Debemur Morti Productions.

"Black Asceticism" became the 5th album in Do Skonu’s discography. Its release took place on April 15 via Those Opposed Records.

"Love Exchange Failure" recording process featured a few guest vocalists, including Ivan Kozakevych from Sectorial, Vitaliy Gavrilenko from Signals Feed The Void and Renata Kazhan from Zukkor Zzov. "Love Exchange Failure" will be the second album in White Ward’s discography.

Read also: Sectorial’s frontman and musical instruments maker Ivan Kozakevych on his collection

White Ward photo by Alinele Grotesque

Ahead of the concert in Kyiv, Ukrainian folk metallers Motanka presented their debut video for the song "Verba". The composition will appear on the band’s upcoming eponymous album, Motanka’s first release which will come out via the Austrian label Napalm Records (Jinjer, Stoned Jesus, 1914).

"Motanka", which will include 14 tracks, will be released on June 7, 2019. According to the band, the album features folk instruments dulcimer and ocarina, as well as throat singing. At the moment, the release is available for pre-order via Napalm Records.

Motanka will give a show with Season Of Melancholy on April 21 at the MonteRay Live Stage club in Kyiv. More details about the upcoming event can be found on Facebook.

Tracklist:

1. Alatyr
2. Fire Burns
3. Air
4. Des' u horakh
5. Oy ty moya Zemle
6. Bosymy nizhkamy
7. Voroh
8. Berehynya
9. Horizon
10. Pace of the Space
11. Khreshchennya
12. What are you living for?
13. Verba
14. Kroda

"Motanka" cover

New releases from metal bands: Machine Head’s studio live video "Davidian", recorded on the eve of the band’s upcoming tour dedicated to the 25th anniversary of the album "Burn My Eyes"; Eluveitie’s lyric video "The Slumber", shot for the song from the band’s latest album "Ategnatos"; a fresh video "Redefined" from the American metalcore act As I Lay Dying, which members reunited last year after a long break.

Read also: News in brief. Vltimas, Amon Amarth, Fleshgod Apocalypse, Rotting Christ, and Belzebubs

Main pic — Machine Head "Davidian" (Live-In-The-Studio 2019)

The team of the Kyiv-based Robustfellow Prods., known for its exquisite approach to the publication of physical carriers and the organization of 4 major festivals of heavy psychedelic music, will organize the first concert this year. According to the promoters, the event will celebrate several important events at once:

1. Presentation of Celophys’ new album [Cherkasy, UA] entitled "Fried Chordata"
2. The anniversary of SOOM’s [Kharkiv, UA] album "Jebars", as well as the premiere of the clip "Stroller" in Robust Cinema
3. The first performance in Ukraine of the band UDOL [Barcelona, ES] and the presentation of their vinyl "153 lliures i 17 salaris"

The event will also feature a lecture about Black Sabbath’s eponymous debut album, an eco-show and a party til the morning which will include such performing acts as:

VolverStone [Zhytomyr, UA] one-man band fuzz
Fuerte [Cherkasy, UA] the first live performance in Kiev
Vykrout [Kyiv, UA] discoturbodoom | debut performance
Zoanthropy [Kyiv, UA] post-metal / sludge
Syoda [Kyiv, UA] Experimental IDM / Techno
Deathwish / MURRR TEAM [Kyiv, UA] Bass drop / dubstep

The event will be held on April 20 at Breadberry Studio at the address: Stepan Bandera Avenue, 16, Kyiv, 02000.
Beginning at 6:30 pm, ending at 6 am on April 21
Tickets can be ordered here: https:///event.com/en/events/1655908
Number of tickets is limited
Event on Facebook

On April 9, the Brazilian metal band Sepultura played at the Bingo club in Kyiv. The show in support of the 14th studio album "Machine Messiah" (2017) was the first in the capital of Ukraine over the past 10 years. Fans of different ages had time to miss the band which celebrates its anniversary this year. And both of them did their best that evening. Noizr Zine visited the gig and is ready to share our impressions.

The talks about Sepultura’s arrival began in December of the last year. Then it was announced that the band was going to visit Ukraine with three their shows — in Kharkiv, Kyiv, and Lviv. In the last one, they already give a performance as headliners in August at the major local festival. The Brazilian metallers gave new shows in support of their not very "fresh" album, but for real fans, it didn’t matter. Here they were really missed. Moreover this year the pioneers of thrash metal second wave celebrate their 35th anniversary, despite there are no original members left in Sepultura.

The show was announced for 8:00 pm, however, the musicians themselves took the stage only at 9:30. About an hour before their appearance the guys from Minatox69 — relatively young metallers from Italy — tried to warm up the crowd. At some moment, the glorious five seemed to appear out of nowhere on a dark stage and immediately struck their strings. The guitar rattle and roaring vocals at once stifled the talks of the crowd. The hall apparently became surrounded by walls of noise.

Despite the apathy of a few hundred guests and a merciless low-quality sound, the next hour the Italians confidently unloaded to the crowd their chaotic metal. From song to song, the vocalist asked people whether they were ready for the next unremarkable track. Naively promised a real explosion and asked to support Sepultura. At first, it seemed that the poor sound, which did not allow to hear a word, was the core of troubles. However, pretty soon Minatox69 showed that the matter was also in them: the musicians with their monotony and teenage jumps on the stage made the listeners bored rather quickly.

Those who looked for the latest Sepultura setlists probably knew about their new intro in this tour. Therefore, when after a 20-minute fuss on the stage the Titas’ punk hit "Policia" boomed in the columns, the guests began actively engage the stage.

Sepultura started confidently and powerfully with "Bestial Devastation", grasping "Troops of Doom" and "Escape to the Void". By the fourth song, "Beneath the Remains", the stage was no longer able to get through — the fan zone gradually turned into a restless whirlwind of metalheads with a great desire to knock around. Guitars no longer cut the ear, and the vocals did not merge with the instruments, while, alas, the sound terribly hit the ears.

It was a great pleasure to watch (almost) 50-year-old Sepultura members. It would seem that four metalheads just playing their trademark heavy music with short breaks between tracks. However, the audience, who was still able not only to listen but also to watch their performance, certainly noted the competent well-coordinated work of such different musicians, honed by years of joint work. The young drummer Eloy Casagrande also fit the band very well. Today, this guy is only 28 and he plays in Sepultura already eight years.

With the loud satisfied hum of the crowd, Sepultura played their classics: "Dead Embryonic Cells", "Territory", "Attitude". The hustle at the scene became more intense. Derrick Green repeatedly thanked the audience for the welcome, he noted that the band is very pleased to return to Kyiv. The musicians recalled that they celebrate their anniversary this year, and on the occasion of this date they prepared a setlist of 21 songs. 100% hits, which caused a pleasant feeling of nostalgia, remained for dessert.

20 minutes before the end the metallers seemed to have a second wind. The favourite classic songs from 90s music channels Sepultura gave without pauses: "Arise", "Refuse/Resist", "Ratamahatta" and "Roots Bloody Roots" provoked massive attacks of uncontrollable movements in the crowd, real adrenaline rush, and excitement.

It was my first Sepultura show. Of course, this is no longer the band that I would like to hear live (although, perhaps, this is only a subjective opinion). But the vigorous four still arouses great interest and convinces that the story of Brazilian trash veterans was not finished either in the 1996 or ten years later. It can be said with confidence that the guys will visit Ukraine more than once again. Here they are very welcome guests.

Setlist:

1. Polícia (Titãs song)
2. The Curse (in record)
3. Bestial Devastation
4. Troops of Doom
5. Escape to the Void
6. Beneath the Remains
7. Dead Embryonic Cells
8. Territory
9. Attitude
10. Against
11. Sworn Oath
12. Sepulnation
13. Corrupted
14. False
15. What I Do!
16. Kairos
17. The Vatican
18. Phantom Self
19. Orgasmatron (Motörhead cover) (snippet)
20. Arise
21. Refuse/Resist
22. Ratamahatta
23. Roots Bloody Roots
24. You Make My Dreams (Daryl Hall & John Oates song)

Report by Yurii Somov

In October 2018, Static-X announced that they were reuniting the band to tour in the memory of the late singer Wayne Static.

During the tour, Static-X will present their new album "Project Regeneration", which will be released in the first half of 2019, as well as mark the 20th anniversary of the band's debut album "Wisconsin Death Trip". Now the band consists of original members — Tony Campos, Koichi Fukuda, Ken Jay — and a guest vocalist. The performance in Ukraine will be held on September 18 at the Atlas club in Kyiv.

Tickets are available here
Event on Facebook

Other Static-X tour dates

Sühnopfer, a solo project of French musician Ardraos (best known as Peste Noire’s ex-member), is going to release the third album "Hic Regnant Borbonii Manes" on May 10 via Debemur Morti Productions. Below, you can listen to an exclusive premiere of the song "Je Vivroie Liement" from the upcoming record.

Ardraos comments: "'Je Vivroie Liement' is a bit different from the other tracks on this album, probably the most classical in terms of composition (most of the riffs were composed shortly after "Offertoire") and certainly the most medieval in terms of atmospheres: beyond the presence of acoustic guitars, original musical parts from the fourteenth century have been reworked and integrated in this song. This track also features some guest vocals by Spellbound (Aorlhac), as well as choruses performed by Guyal — already featured in "Nos Sombres Chapelles" and "Offertoire"."

"Hic Regnant Borbonii Manes" was fully written, arranged and executed by Ardraos between 2013 and 2018. The album was mastered early this year at Upload Studio and features artwork/layout courtesy of Valnoir (Metastazis).

"Hic Regnant Borbonii Manes" will be released on May 10 worldwide on special edition vinyl (sold out), vinyl, special edition cd, cd and digital download. A t-shirt is also available. Pre-orders are possible from the European shop, the North American shop, and Bandcamp.

Tracklist:

1. Invito Funere
2. Pénitences et Sorcelages
3. Hic Regnant Borbonii Manes
4. La Chasse Gayère
5. Je Vivroie Liement
6. Dilaceratio Corporis
7. L'Hoirie de mes Ancestres

Sühnopfer

Black metal project Abbath of Norwegian musician Olve 'Abbath' Eikemo presented a music video for the new song "Harvest Pyre", directed by Francisco Munoz.

"Harvest Pyre" appears on the band’s upcoming second album "Outstrider", which will be released on July 5 via Season of Mist.

In addition to the unveiling of the new song, Abbath’s new lineup also became known. Thus, the place of bass player King, who left the band due to "conflicting views on lyrical concepts of the upcoming album", was taken by musician Mia Wallace (Triumph of Death, ex-The True Endless). The new drummer is Ukri Suvilehto (Suvilehto, Tuliterä, Vermivore), and guitarist — Ole André Farstad (Ilti Milta, Doudou Cissoko's Ancient Strings and Fabulous Things).

Read also: Outside Blashyrkh. Review of Abbath's debut album

Main pic by Francisco Munoz

New releases from death and black metal bands: full stream of "Something Wicked Marches In", a debut LP of Vltimas — the band which is composed of vocalist David Vincent (ex-Morbid Angel), guitarist Rune 'Blasphemer' Eriksen (Aura Noir, ex-Mayhem), as well as drummer Flo Mounier (Cryptopsy); and video "Raven's Flight ", filmed for the song from the upcoming record "Berserker" of Swedish Vikings Amon Amarth.

Read also: Amon Amarth releases self-titled viking mobile game in '80s style

Also this selection features Fleshgod Apocalypse’s clip "Sugar" and the lyric video "Carnivorous Lamb", shot for the songs from the new album "Veleno"; Rotting Christ’s new music video for the song "Hallowed Be Thy Name", taken from the album "The Heretics"; and also the latest video "Cathedrals Of Mourning" from the virtual band Belzebubs, created by the Finnish artist JP Ahonen.

See also: Rotting Christ release animated video "In the name of God"

Brazilian metallers Sepultura will perform on April 9 in Kyiv. The show will take place at the Bingo club as part of the band’s Machine Messiah Tour.

Concert tickets are available here. More info can be found on the event page on Facebook.

Following the Ukrainian concert of Sepultura, the band’s guitarist Andreas Kisser will give a master class on April 10 in Kyiv.

Swedish black metallers Valkyrja, whose new album "Throne Ablaze" was released in 2018 via W.T.C. Productions, will be touring as direct support to the legendary Marduk as part of the "Viktoria Europa Part 3" tour.

Read also: Review of Marduk’s "Viktoria" with full album stream

Following the release of "Throne Ablaze" last year, Valkyrja took to the road with Marduk and Archgoat across Europe as part of the "Viktoria Europa Part 2" tour. Full list of new upcoming concert dates as well as poster are as follows:

April 13 POL Zabrze @ Wiatrak
April 14 CZE Ostrava @ Barrack
April 16 CZE Brno @ Melodka
April 17 AUT Wien @ Viper Room
April 18 SVK Bratislava @ Randal
April 19 ROU Cluj Napoca @ /Form Space
April 20 ROU Bucarest @ Quantic
April 21 BUL Sofia @ Mixtape 5
April 23 MKD Skopje @ MKC
April 24 SRB Beograd @ Dom Omladine
April 25 CRO Zagreb @ Vintage Industrial Bar
April 26 ITA Milan @ Legend
April 27 SUI Luzern @ Konzerthaus Schuur
April 28 FRA Lyon @ CCO Villeurbanne
April 30 FRA Toulouse @ Metronum
May 01 ESP Barcelona @ Boveda
May 02 ESP Madrid @ Caracol
May 03 POR Lisbon @ RCA Club
May 04 POR Porto @ Hard Club
May 05 ESP Pamplona @ Totem
May 07 FRA Colmar @ Le Grillen
May 08 NED Helmond @ Cacao Fabriek
May 09 GER Munster @ Sputnikhalle
May 10 FRA Nilvange @ Le Gueulard Plus
May 11 NED Hoogeven @ Graveland Festival

Doom Over Kyiv, which celebrates its 12th anniversary this year, returns after a one-year hiatus. Ukrainian metal festival will be held on October 12 at the club Atlas in Kyiv.

During 12 years of its existence, Doom Over Kyiv lineups featured such bands as Swallow the Sun, Saturnus, Antimatter, October Tide, Shape of Despair, Draconian, Clouds, Panteist, Esoteric, Skepticism, Fen, Eye of Solitude, Raventale, 1914, etc.

Read also: Doom Over Kiev VII. Photos and review from main Ukrainian doom festival

Among the first announcements of the upcoming event are the French band Monolithe (Melodic Death/Doom Metal) and the Swedish act Tiamat (Gothic Metal/Rock), the last one will return to Ukraine with a special program and will play songs from the iconic albums "Clouds" and "Wildhoney".

Tickets for the event from 790 to 1690 UAH are already available here. Doom Over Kyiv 2019 on Facebook.