Adustum - Searing Fires and Lucid Visions

Full Length, October 2011

World Terror Committee

''Searing Fires and Lucid VIsions'' is the debut offering by this relatively new and obscure Belgian black metal horde called 'Adustum'. It was released by the infamous World Terror Committe during October 2011. 

My first experience with their music was through a sample which I had heard through some thread on NWN! forums last year and it had certainly appealed me. A few months later, I received the promo CD for an extensive review and that really made me curious about the adversarial currents which this young horde had to offer through their craft.

Adustum is latin for ''set fire'', ''light'', ''kindle'' etc. and the name really suits the Qlipothic energies which this album has channeled through its sonic rituals. The opus begins with the splendid ''V.O.H.I.R. - Exvocatium Daemonicus'' which is a hymn meant to conjure the inner daemon within your spiritual embodiment. This ritual's verses have been conjured in an allegorical manner and a profound study of them indicates that they are directing towards creating your own daemon through ritual invocation. 

''ÏAÏ Daemon!

Salutifer - you are me!

Daemon - I am you!

Entwined become, many and none.

Symbiotic releaver, you've shown me to the way to extatic liberation.

Khaotic redeemer, I now cast you back from this shell into thy haven''

The second hymn on the opus ''Ravenous Copulation Upon Her Altar of Catamenia'' is another interesting tale about a malignant copulation with the serpent, the harlot, the aduletrous woman - Reshut ha-Rabbim to obtain wisdom and power. 

''Uttering the names of Damnation

Eating Her cunt of red pettles.

Moaning those verbs of coronation,

when devoured by Her emanation.

Furosiosly devouring her body,

submerged in the ashes of Reshut ha-Rabbim.

Drowning Her in semen, thus closing the circle,

Nine others, are revealed.

And you, my whore, are worshipped & revered.''

The third hymn ''The Eulogy of One Through Three Times Three'' is perhaps the most allegorical and lengthiest one on the opus, clocking around 11 minutes. Apparently it delves deeper into the metaphysical gardens of the Qlipoth and talks about the Kelipah and Choronzon. These lyrics are open to interpretation and followers of the Qliphotic Qabalah would probably comprehend its essence. 

''I see now the bends and amends of Choronzon as my guide.

To devour your harnessed slither and partake of limitless strenghth there in.

Disposing of feeble skin and awakening the Beast of Sin.''

Finally the grand opus comes to and end with the final hymn ''Psalm CLVI - The Rites of Lunar Blood'' which is a ritual to invoke Babalon - The Scarlet Woman, The Great Mother, or the Mother of Abominations. It is my favorite and perhaps the best creation on ''Searing Fires..''. This hymn clocks around 9 minutes and includes some impressive ritualistic percussion, over exotic and almost oriental sounding guitar rhythms; hence enriching the esoteric atmsophere on the opus.

''From the remnants of the Fallen Empire of Two Streams, under Crescent Moon, you are the unquenchable Star of Aeons and Temptress of all who wander freely and obsessively for Your Wisdom, Magick and Perfection, as an Envoy of Therion, and Guardian of Venus.''

After several attentive listens and dissemination of their lyrical content and aesthetic which I have presented above, I can easily declare that Searing Fires and Lucid Visions is one of the better black metal albums which I have heard in a while. This is black metal executed in the way it should be. Esoteric, spiritual and underground. Of course, everybody has their own definition of black metal but for me, this is the kind of art I prefer listening to. The instrumental execution on the album is fluent and its apparent that the members know their music and have persevered to create their own path by being influenced by the adversarial gnosis. If you are an admirer of occult, ritualistic black metal a la Ofermod, old Glorior Belli, Nefandus etc. then this is an album which you must obtain. Their musical influences are apparent but what makes this album worthwhile is the fact that they have been able to present their ideas in their own, unique manner, hence giving a great kick-start to their creative energies. The pslams reflect devotion and spiritual ascension and are well played without being redundant and uninspired. They are easily memorable and possess a great charm. However the only shortcoming on the album is that its length is very short for a being categorized as a full length. The album booklet could have been better and more comprehensible too. But these are minor flaws which I am sure that the horde would certainly improve on for their future works. 

Obtain a copy of the album and immerse yourself in the grand occult demenaor which it emanates! 

Official Temple of Adustum: http://users.telenet.be/teo/xxiii/

Facebook: https://www.facebook.com/adustumofficial

Revenge (Can) - Scum.Collapse.Eradication

Full Length, February 2012

NWN! Productions/Osmose Productions

'Scum.Collapse.Eradication' was one of the most anticipated albums in 2011 but it saw the light of day only during February 2012 due to numerous delays. But sometimes I prefer to abide by the old proverb which says that - ''patience bears a sweet fruit''. 

Although the 'fruit' which this long wait bore was nothing close to being 'sweet' but was in fact ominous and gnarly. I was expecting the album to sound monstrous from the short samples posted on Youtube a few months back and when the NWN! bandcamp posted a full song stream, I knew that something devastative was impending on us. While I was saddened with the unfortunate exit of Pete Helmkamp - one of my favorite frontmen, from the Revenge camp, his departure brought no harm to the integrity and aesthetic of the band. Chris Ross was still there to assist James Read during the album recording and they roped in the malicious Haasiophis from Antediluvian on session bass and backing vocals for live shows. Brutal and stronger than ever. 

Now, this has to be the heaviest sounding album which Revenge have ever produced. The mastering task was suavely accomplished by the infamous Necromorbus Studios and they did a great job there. The guitars are high up in the mix and they complement the drum production perfectly. Vocals are appropriately mixed as well, hence complementing the instrumental mix suavely. This filthy juggernaut consists of eight blistering tracks with an overall duration of around 35 minutes and is certainly capable of keeping an alarmed listener hooked to it right from the first track to the end. The first thing which struck me on the album was an apparent death/grind/goregrind vibe a la old Carcass and Last Days of Humanity. Well, this so-called 'bestial black metal' sub-genre has always been a filthy mixture of death/grind and 80's style black metal, so I am not making a 'eureka' statement with the above mentioned examples. But this time, the grind element is more vitriolic than ever and this is what makes this album such a massive splurge of deafening audio violence. The guitar tone is abrasive and absolutely massive, hence manifesting Revenge's trademark wall of sound with panache. Ross has perfectly executed the required style of guitar-play to create the sonic avalanche which engulfs the listener from the very first riff. J.Read has unleashed his trademark gut wrenching shrieks and mixed them with necrotic pitch-shifted gurgled vomits, which really remind me of classic LDoH, and some other typical goregrid. Such was the impact that I was compelled to revisit albums like ''The Sound of Rancid Juices Slashing Around Your Coffin'' and ''Reek of Putrefaction/Symphonies of Sickness'' to appropriately understand my contemplation's.

Furthermore, I was happily surprised to notice the presence of doom-laden riffs on tracks like ''Us and Them (High Power)'', ''Parasite Gallows (In Line)'' and ''Banner Degradation (Exile or Death)'' which are three of the best tracks from the album. Well I shouldn't say that it was really that surprising to me, because the Revenge duo had participated in the Thergothon tribute album entitled as "Rising of Yog-Sothoth", covering ''Elemental'' while the legendary Axis of Advance were still active. So who knows, they might have gotten an urge to experiment with some doom on this album. Although this element is minimally present, it really makes their sound even more brutal and sick. 

The strongest highlight on the album is still the triumphant drumming prowess of James ''steamroller'' Read. This man has always had a distinct, trademark drumming style which makes him stand apart from the rest. The rolls/fills executed by him are frenetic and they sound like a bloody earthquake! Mixed with his furious blast-beats, they make a complete package, perfect to give you an eargasm. I have always enjoyed listening to his stellar drumming performances on old Revenge/Conqueror/Axis of Advance albums and he has done the trick once again. The snare/tom sound is absolutely crunchy and organic like always and that has been a great factor in highlighting Read's percussive demeanor. 

So, us, minions of Satan can easily comprehend the impact which these deranged Canadians have made through their fourth and probably their most accomplished onslaught till date. I still hail ''Triumph.Genocide.Antichrist'' as my favorite Revenge album, because that was how I was introduced to their might but maybe this opinion can soon change with repeated listens of Scum.Collapse.Eradication. As the name suggests, this album is capable enough of eradicating weak filth with the sepulchral aura which it possesses. It emanates a nauseous odour which reeks of disgust, vileness and an immense hatred for humanity and hence clearly displays the mark of Superion with which Revenge has been conquering the feeble since more than a decade now. This is not just a metal album meant to bang your heads, but this is sheer..revenge and war against the frail. Attain this album, if you share a similar ideology and are seeking a grimy assault of atonal chaos, manifested within black metal. 

Sample Track:

http://nuclearwarnowproductions.bandcamp.com/album/scum-collapse-eradication

Esoteric - Paragon of Dissonance

Full Length, Season of Mist 
November 2011

Funeral doom is a genre which is often looked on with skepticism by the general metal crowd. It is certainly an acquired taste and is meant only for the one’s who carry an appreciation for slow and tormented sound-scapes which portray woefulness and disgust. It really is the ‘underground of the underground’ and only a handful of such entities are actually able to portray these somber emotions through their music.

The mighty Esoteric from Great Britain is one such entity which has been delivering ground breaking albums, instrumental in forming a stellar backbone of extreme doom metal from the last two decades. Delivering such quality music without compromise for such a long time is no joke, lads. They were influenced by the sepulchral aura which bands like Autopsy, Winter or Cathedral possessed but their personal wish was to create something more experimental and dark which shall never conform to any established boundaries. Ever since the release of their colossal debut ‘’Epistemological Despondency’’, Esoteric have been churning such experimental and extremely well carved releases for doom metal aficionados all over the globe.

‘’Paragon of Dissonance’’ is the band’s sixth studio full length and it will be released by the reputed Season of Mist records as a double CD feature, like most of their albums with the exceptions of  ‘’Metamorphogenesis’’ and ‘’Subconscious Dissolution Into the Continuum’’. It was one of my most anticipated albums this year and I am glad that my patience bore such a sweet fruit. I didn’t knew what more to expect after the massive ‘’The Maniacal Vale’’ left such a lasting impression on me. I owe a lot to that album for keeping me sane during an abominable period last year, where I had to deal with the unexpected demise of my father. That turbulent phase would have killed me from within if I didn’t have ''The Manical Vale''’s oppressive cacophonies extinguishing those scars which were marked forever on my soul.

I was astounded to see how the music reflected the exact feelings which I had at that time and it clearly left a lasting imprint on my existence. It left me asking for more and since then I started counting days for the release of ‘’Paragon of Dissonance’’.

After all the wait, I felt extremely ecstatic when I finally I received it from Greg and hurried to push the play button on my system. Lo and behold! The album opener called ‘’Abandonment’’ started with a massive riff whose heaviness could shy any death metal band around. I couldn’t believe what I heard as those psychotic guitar leads created a psychedelic miasma of impending gloom in my brain. It was such a monstrous cohesion of majestic leads and terrifying rhythms that my head shook in disbelief. My puny brain pondered a deep thought and asked a question from myself which read – ‘’How could something like this be even created?’’

Seriously, it left such a profound impact on me that I had to push the repeat button several times to ‘believe’ that my brain was ACTUALLY reverberating what was being played by my music player. This track itself consists of so many monumental sections, that you could easily start calling the album as a masterpiece without even waiting for the rest of it to follow. The dissonant yet melodic lead at the 6:00 minute mark might be one of the best moments in music which I have heard yet. Enter 10:00 and you get yet another stellar transition which envelops your mind with a double bass/lead laden frenzy and exits horrifyingly with a noisy outro which lasts for more than a minute. And this was only the first song!

‘’Loss of Will’’ started with a mournful piano introduction backed with slow martial drumming and wailing guitars. It was a subtle transition from the bombastic sounds which ‘’Abandonment’’ had unleashed. But it still painted a sorrowful image with its monochromatic and despondent nature.

‘’Cipher’’ started beautifully with a dexterously crafted lead which continued further to merge with an intense mid-paced section which boasted of hypnotic palm muted riffs and a crunchy double bass drum pattern to complement one another, before merging into another melodic lead. The rest of the track slowed down with the lead on 5:00 doing the talking for the rest 3-4 minutes, until it got devoured by a magnificent noisy ambiance which brought a grand closure to this stupendous track.

Three tracks down and ‘’Paragon of Dissonance’’ had already announced itself a worthy successor to ‘’The Maniacal Vale’’. After this, I couldn’t fathom what the rest of this opus had to offer.

If I wasn’t already exhausted with the combined might of ''Abandonment'', ''Loss of Will'' and ''Cipher''; ‘’Non Being’’ furthered my butt-kicking with an absolutely surreal introduction. A cosmic ambiance had enveloped my brain as the grandeur of its opening three minutes created a sorrowful atmosphere with the signature wailing of the lead guitars and ambiance. The next few minutes were encompassed with the guitars shredding mournful leads, something which is rather unheard of in a ‘funeral doom’ album. But then, Esoteric never restricted their art to the conventions of this genre. It felt as if I was listening to a guitar virtuoso playing the most depressive and haunting leads ever.

The rest of the track followed with mid-paced atmospheric rhythms until the incessantly heavy segment at 11:40 appeared. The triple guitar attack acted effectively in crafting an unfathomably heavy and down-tuned riff which plodded for the next few minutes. It felt as if I was being dragged into a maelstrom of sounds which were coming from deep within the earth, waiting hungrily to devour me as a whole. I had to put this track on repeat especially to experience the unbelievable last few minutes.

‘’Aberration’’ began with a sinister and dissonant guitar lead which was very abrasive in nature. It paved way for more progressive leads, whose intense nature reminded me of ‘’Caucus of Mind’’ from ‘’The Maniacal Vale’’. The later half of the track displayed more enrapturing leads which this album revels in. I was somewhat reminded of ‘’Ignotum per Ignotius’’ during the last half and was intensely satisfied with the surreal songwriting prowess which these lads had unleashed so far.

‘’Disconsolate’’ turned out to be yet another juggernaut of all the worthy ingredients which this colossal album had already explored. It started with a soothing atmospheric lead, backed with a gracious ambiance and then changed its tempo to a more mid-paced death/doom juncture. The guitar work has been extravagant here and it is even more varied and intense than ''Abandonment''. I couldn’t even gasp for air, while my jaw was being dropped after every passing moment on this whole track. This hallucinating experience was increased manifolds when the tremendous outro, reigning in a prodigious solo a la ‘’Circle’’ appeared.

Finally this epochal album neared its grand finale with ‘’A Torrent of Ills’’ which turned out to be the perfect choice for finishing the proceedings on ‘’Paragon’’. It was instrumental in evoking a doleful sound which could be easily complemented with ‘’The Scream’’ by Edward Munch as both these wonderful pieces of art depict a cathartic display of human emotions being ravaged by scene’s of chaos and desolation.

It took me a while to feel my pulse again after feeling like a lifeless embodiment of mortal horrors once I had finished my first listening experience of this monumental album. My whole body shivered with the feverish chills which had accumulated after this pensive apprehension. Words might not be able to describe what I had felt and it took me almost three weeks to get into the helm of this magnum opus and only now I felt in a position to jot this assessment for you all.

Esoteric have proved to be the flag bearers of extreme doom metal once again with this release and it would take several aeons for any band to come close to their might. They have been an example for many but only a few could actually dare to embark on a similar journey as them; a journey which goes far beyond the realms of infinity and explores such cryptic horizons which can only be deciphered and relished by a chosen few. There is only one astute entrance into this continuum where your sanity shall be crumbled and there is no escape from the cosmic horrors which constitute it.

If you happen to be among those who want to experience an unwholesome and spiritually altering aural voyage, then this is where you should begin. 

Samples:

http://theobelisk.net/obelisk/2011/11/01/esoterictrackstream/

http://www.season-of-mist.com/common/downloads/Esoteric/ESOTERIC-Cipher.mp3

The Band:

Greg Chandler - Vocals, Guitar

Mark Bodossian - Bass

Joe Fletcher - Drums

Jim Nolan - Guitar

Official Website:

http://www.esotericuk.net/

AVICHI: Hell, Absolute

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

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

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

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

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

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

What is the philosophy behind AVICHI?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The moment I eagerly suckled my first breast.

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

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

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

And now back to drumming…

.:.

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

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

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

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

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

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

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

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

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

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

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

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

I personally think that your self-titled release was one of the best works in funeral doom which I have ever heard. The somber and highly captivating atmosphere of the music creates a feeling of dread and despair within me whenever I listen to it. What inspired you to create such intense music?

I definitely appreciate the praise for the Reclusiam CD, and am extremely glad that it has affected a few listeners in a positive way. My inspirations were born out of a rather dark period that was beginning in my life. I was confused and anxious and music was my only outlet for these feelings. Rather than pour out dark, personal emotions lyrically, I simply put the negativity and hopelessness into the music. I left the lyrics somewhat abstract and open to interpretation.

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

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

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

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

Necare

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

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

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

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

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

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

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

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

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

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

Interviewed by Gautam Shankar and Ankit Sinha. 

Check out Infernal Dominion's review for ''Reclusiam'' here - http://infernal-dominion.blogspot.com/2009/09/reclusiam-reclusiam-2004.html

You can download Reclusiam's music officially from Ryan's personal website here - http://www.reclusiam.com/
Buy the album if you like his work! 

Katharsis - VVorldVVithoutEnd

Full Length, Norma Evangelium Diaboli
2006

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

Final Verdict - 8.5/10

Dissection - Storm of The Lights Bane

Full Length, Nuclear Blast Records

1995 

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

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

It was an arduous task for me to pour my unending love for one of my most favorite albums in mere words but I somehow mustered the courage to do so. This colossal masterpiece entitled as 'Storm of Lights Bane' opens with a dark yet beautiful and haunting instrumental waltz intro "At the Fathomless Depths". It prepares you for the magnificent "Nights Blood" which begins with a perfect tom rolling drum while the guitars start off with a thrashy Slayeresque riff juxtaposed with melodic guitars which are reminiscent of traditional heavy metal a la Iron Maiden. Jon's lyrical brilliancy is another factor to praise with dark poetic lines like "I drown in the colour of your eye for a black heart will only find beauty in darkness" that will never leave your memory after hearing this song. His vocals are poisonous and scathing whilst being extremely soulful and decipherable. They blend perfectly with the guitar melodies and create a stellar and hypnotic effect on your senses. Another noteworthy factor is the implication of majestic acoustic guitar sections which creates a mystical atmosphere and relaxes you in the middle of the song while the tempo slows for the rest of the song. The most memorable song off the album “Soulreaper” is an icy and cold melodic blackened death masterpiece. Albeit the entire album is extremely memorable, 'Soulreaper' remains my favorite.

“Where Dead Angels Lie” is perhaps one of Jon's most epic creations. It's slow and mournful mood compels the listener to get lost in the arcane atmosphere which it weaves around oneself. "No Dreams Breed in Breathless Sleep" by Alexandra Balogh leaves to content and wanting to hit repeat on this beautiful, mournful piano piece.

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

The legacy lives forever.


Written by: Ruthless
Score: 10/10