Délétère - De Horae Leprae

Band: Délétère
Title: De Horae Leprae
Label: Sepulchral Productions
Release Date: June 15th, 2018
Country: Canada

The québéquois hordes attack again, in this fateful June, covering the poor foundations of what remains of civilization with a macabre chant of plague and redemptive futility, which will end up corrupting our black hearts in an absolute way.

Délétère edits his second Full Length, and joins the already mythical occult black metal collection from Quebec. "De Horae Leprae" is a dense work that delves into a conceptual story set in the dirtiest entrails of the Middle Ages. 

The work introduces us to the life of Teredinis, a taciturn leper who faces the fate of becoming a prophet and the very incarnation of the plague that will strike the entire population.

The band takes the arduous task of dividing the work into nine songs (Cantus), with a total duration of one hour and five minutes. Quite an odyssey of magnanimous proportions. 

Stylistically you could compare Délétère with his compatriots Sorcier des Glaces, with some of Forteresse's characteristics, although strongly inclined towards a more melodic proposal, with hints of DSBM.

The truth is that the album sounds massive, from a sound view. You can see the band's emphasis on leaving behind the sound more inclined to Raw Black Metal, shown from their first demos and their first album, giving way to a more robust sound, with much more dynamics and depth.

The chosen concept and the compositional and sound treatment come together in a wonderful way this time. Of course, even being very melodic, this is a work that swarms away from the accessible and most popular hosts of that genre. "De Horea Leprae" is still difficult, which can result from very difficult digestion, due to the amount of sonic layers, its conceptual density and its duration, perhaps a little excessive.

I think that the only negative point that can be reproached is the lack of variety. The band almost never moves away from the tremolo technique formula on constant blasts, with occasional mattresses of synthesizers. There is a certain hypnotic factor at play, although hard to assimilate, due to its somewhat frenetic and melodic nature.

Beyond these appreciations I can assure you that "De Horea Leprae" is a very solid work and a great step forward in the career of this young band, which ensures the continuity and quality of the Québécois combo and gives us a very good Black Metal album to enjoy, while we fly in a dark dream towards mythical death rattles of medieval decadence. 8/10. Sergio. 

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8/10 To Greatness and glory!

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Funeral Mist - Hekatomb

Band: Funeral Mist
Title: Hekatomb
Label: Norma Evangelium Diaboli
Release Date: June 15th, 2018
Country: Sweden
Format Reviewed: Digital MP3

And so, on a cold June day, the mist came around us again, untimely, like a halo of inescapable misery, and Black Metal became an inescapable certainty, again, in the most inhospitable funeral of our minds.

Arioch is back, without warning, and after nine years of having edited his last Full Length, "Maranatha", in 2009, his approach of non-Orthodox Swedish extremity becomes flesh and blood again, to delight us with a pure assault to our senses. 

Perhaps, most of our readers know about the origin of this demon, but, for those new enthusiasts of this incredible music, I clarify that Arioch is also a member of a well-known Swedish band. I speak of Marduk (who coincidentally will also be releasing an album in a few days), where he takes care of the vocals. 

But Funeral Mist is another kind of succubus. Is the personal project of this musician, in which he takes charge of all the instruments, except for the drums that, in this case, are also occupied by a former member of Marduk: Lars, who turns out to be a fundamental piece to analyze the vehemence that this marvel reveals, in its totality.

"Hekatomb" does not take a moment to submerge the listener in an occult sound vortex, which results
in the discovery of an artist perfecting a facet that he had already demonstrated in his last album.

Far has been the excessive chaotic delirium of his cult work "Salvation", from 2003 (One of the best Swedish black metal albums of all time), and his sound search seems to be more in connection with the sound clarity shown in "Maranatha". And this characteristic, in other artists, could be understood as a counter, but in the case of Funeral Mist, it works as an incredible tool for the promotion of aggressiveness without precedent.

I think that what always stood out for this project was the audacity and talent of the artist to develop, in his vision, a unique cosmogony that, even being far from the Avant-Garde niche, could advance the genre towards unsuspected territories of originality. This album is not the exception and, in its somewhat scarce 43 minutes, we attend a concatenation of ideas that are fresh, and totally necessary, that undoubtedly raise the genre to a peak rarely reached this year.

Many will notice certain similarities with Marduk in the most aggressive moments. Technically, the fury and direct disposition of Arioch's riffs and the precision of Lars' blasts manage to reach a climax of absolute insanity very much in tune with his other band. 

Arioch is totally accurate in the guitars, totally abrasive or spitting blasphemies with mastery with his tone so particularly intense.

But the intensity also flows, intermittently, and also yields to sections where original and peculiar ideas can be appreciated. For example, in the song "Naught but Death", you can hear a kind of gospel choir that, far from being artificial, gives a mysterious aura to the composition, which fits perfectly. There are several moments of this nature, that emerge during the work, and that give surprise and the sensation of being listening to a monument of extreme music, unique in its kind, that fluctuates, intrinsic and magnanimous, like a cursed testament of black nature as the deepest hours of nocturnality.

The world of Black Metal is in luck, because Funeral Mist returned with a revitalizing force, with one of the best and radical albums of this year.

Intense, original, lacerating, like a freshly sharpened blade cutting the flesh of your most morbid desires. 9/10. Sergio

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9/10 Epic Storm

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Taphos - Come Ethereal Somberness

Band: Taphos
Title: Come Ethereal Somberness
Label: Blood Harvest Records
Release Date: 8 June 2018
Country: Denmark

Format Reviewed: High Quality Digital Promo

If we talk about pure Death Metal assault, uncompromising, aggressive, with a great sense of rottenness and a great old school aura, then we can not ignore Taphos, a Danish quartet ready to shake off the drowsiness of the world's most cavernous Death scene.

"Come Ethereal Somberness" is an album that shouts to the four winds its passion and devotion to the foundations of the best Death Metal of the late 80's, although trying to define the style can become a somewhat complicated task. You could say that the strength of the combo lies in the ability to amalgamate different influences of the past, passing them through a modern prism (in terms of sound quality) that leads to a vicious and frenetic concatenation of Death Metal very well made, simple and terribly addictive.

Of course, the greatness of a band like Taphos lies in the distinctive grace that they apply to their compositions, which places them in a position of substantial privilege, unlike the multitude of acts that only remain in an attempt of homage that, unintentionally, they do not stop having a certain aftertaste to a simple carbon copy of past glories, like Gruesome, for example.

Taphos is responsible for redefining the teachings of legends such as Sadistic Intent, with some obscurity à la Incantation, Autopsy's own maniacal obsession and a tendency, in a lower percentage, for certain Blackened Death characteristics, which are so fashionable today.

The attack is fierce, with excellent riffs and fast tempos. Many millimeter-calculated blasts and tremolo techniques, in the most intense parts, stand out in structures made directly to create internal traumas in cervical areas.

The machine stops its march, at times, to delight us and give us a break with small acoustic interludes, although they are not very durable and, before we know it, we are quickly submerged again in a frenzied whirlwind of endless assault riffs. The formula works perfectly.

"Come Ethereal Somberness" is an absolute pleasure of pure classic Death Metal, totally punishing and very easy to assimilate and enjoy, made by a young band of which I hope to have more news in the near future. Put Taphos to 11 and break your neck!. 8.5/10 Sergio.

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8.5/10 To Greatness and Glory
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Convocation - Scars Across

Band: Convocation
Title: Scars Across
Label: Everlasting Spew Records
Release Date: 30 March 2018
Country: Finland
Format Reviewed: Digital CD quality

We are ready to walk again, wobbly, towards the horizon, with fear crossing our backs and our eyes somewhat fearful, stuck in another mastodontic beast coming from my admired Finland. The earth of metal. From the thickets of these plains comes Convocation, a project of two musicians LL (Lauri Laaksonen) and MN (Marko Neuman), coming from bands like Desolate Shrine and Dark Buddha Rising, among others, to create one of the most impressive albums of Death/Doom so far this year.
These data are not minor to try to describe the sound of this behemoth. Those who know Desolate Shrine will know about the doom and highly atmospheric characteristics that go through their work. Convocation also stands out for crossing landscapes of unparalleled density with an eye always placed in a vortex of experimentation that, far from being diluted in the concatenation of dark matter of its riffs, gives a remarkable aura of etericity to the compositions. Something unique in the universe of Death/Doom.

This alchemy of epic proportions takes us on a journey for just over 50 minutes, divided into four tracks of very slow combustion, full of nuances and a death drive, sometimes close to the cosmogonic Funeral Doom of bands like Esoteric or Evoken. Although talking about comparisons is a somewhat futile exercise in the world of Convocation. This is a beast that breathes its own oxygen and walks with the certainty of knowing itself above the food chain.
The guitars, extremely leaden, are dispatched expertly. The vocals are predominantly deep growls, but what most stands out in Convocation is the use of synthesizers and organs, which overfly the work creating terribly climate-like textures, which grant a dramatic quality that works perfectly with the intentions of the band.

"Scars Across" is an album that begins to show all the heaviest and stylistically closest to the most caustic and monstrous Death Doom, although it is developing a new facet, as it progresses, reaching a level of unique disturbing atmosphere. Convocation gives us a new vision about the world of doom with Death elements, and without doubt, this is an album that we will find in many lists of best albums at the end of the year, included in mine. An incredible album, highly recommended for lovers of slower and heavier music. 10/10 Sergio





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10/10 Immortal classic

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Stortregn - Emptiness Fills the Void

Band: Stortregn
Title: Emptiness Fills the Voids
Label: Non Serviam Records
Release Date: May 25th, 2018
Country:  Switzerland
Format reviewed: CD quality digital promo

Moment to cross the night observing the infinite sky and its countless stars. Our frantic heart fills with speed, adrenaline and the melody of the wind cuts our skin.

Moment of listening to the new Stortregn album. The already veteran Geneva formation gives us its new full-length, a behemoth full of light and darkness alike, masterfully composed and executed. The world of Melodic Black/Death can rejoice again, because we are facing one of the best albums of 2018.

"Emptiness Fills the Void" is quite an achievement from a technical point of view. There really is nothing that can be reproached in the instrumental aspect. The ability of each of the members is noted at the moment of executing extremely complex passages with absolute mastery. We are talking about highly trained musicians here. 

The drums of Samuel Jakubec give no respite throughout the journey. It is so technical, dynamic and precise that it seems almost inhuman! Vocals alternate between dark black shrieks and deep growls. The bass stands out, at times, interspersing harmonies like a tireless warrior in an eternal battle, but the absolute protagonists are the guitars, as it could not be otherwise in an album of the genre.

And it is that Stortregn's compositions are supported by a totally accurate and massive dual attack, elevating the compositions to stratospheric epic proportions.

And I mention the composition factor because, ladies and gentlemen, we are facing a band that knows very well how to write songs  that, in their heroic and complex structures, stop being mere songs to become micro symphonies with a total purpose in the whole of the work.

"Emptiness Fills the Void" grows slowly, like a magnanimous crescendo, to lead to its last track (and the longest on the disc, of 11 minutes long) in a wonderful musical catharsis from another world. It is the moment in which one realizes that in the world of Stortregn nothing is left to chance

It is an honour, in these times, to enjoy an album like this, in which you can appreciate the dedication, willingness and predisposition of each of the actors involved to achieve a result of such quality in the world of metal.

I do not think I'm exaggerating when I say that Dissection has found a very worthy successor in Stortregn. And is that the band, even having a very own voice, moves away from mere homage and aesthetic clichés to invoke the true perfectionist spirit of Jon Andreas Nödtveidt, in a way rarely seen.

"Emptiness Fills the Void" is a spectacular work, full of mastery and quality, which will satisfy the most burning desires of lovers of the most technical and melodic metal. All a testament of virtuosity and talent without equal. 10/10 Sergio

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10/10 – Immortal Classic. 

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Mizmor Interview

Mizmor is a one-man project from Portland, Oregon. Surely many remember the magnificent album "Yodh" of 2016: An overwhelming work that combines, with mastery, Doom and Black Metal, and with which he won the acclaim of the public and the specialized critics. I had the honor to exchange some words with A.L.N, the mastermind behind Mizmor, and he told me about his future projects, his other bands (Urzeit and Hell) and about very important aspects of his theological vision and of life in general. A.L.N, welcome to Blessed Altar Zine. It is an honor to have you here.

Ok, Let's start from the roots. How did you start in the world of music? At what age were you aware that you wanted to dedicate yourself to this?
I started playing and writing music pretty early on. I was born into a love of music; my dad taught me drums as a child, I learned guitar from my brothers, and was jamming with them and forming bands with friends from age 8. I made my first one-man CD when I was 11, performing and recording all the instruments myself on my parents computer. I drew the cover art and made physical copies I sold/gave away at school to friends. There have been ebbs and flows in my output throughout the years, but music has always been a part of my life and always will be.

What does the word Mizmor mean? How does it come about to be able to identify your project?
Mizmor means ‘psalm’ in Hebrew. A psalm is a Biblical melodic prayer. I began creating the music for Mizmor in the aftermath of a tumultuous personal life experience: losing my faith in the Christian god. Although it is the religion of my parents, which I rejected in adolescence, I had an adult conversion experience that led to over two years of an intensely devoted, personal practice of Christianity. Mizmor tells the story of me coming out of that indoctrination and coming to terms with the world in truth, one devoid of god. Early on the music was actually addressed to god. The songs were embittered, enraged, confused, heartbroken, upwardly-directed utterances, much like a good portion of the book of Psalms. The name came very naturally after the music, since it had a specific purpose and scope.

I have to ask you some questions about the incredible "Yodh." Although it was released 2 years ago, I think that the repercussion that achieved in the underground circuit will have been remarkable for you, and your development as a musician. How did you live this until now?
“Yodh” is a very special album to me. Like all of Mizmor’s music, it is deeply personal. But what sets it apart from my other albums is based on a promise I made to myself. I had been making music for many years at this point in my life, but had never felt I’d made an album where I didn’t make a single compromise from the start of the process through to the end. Although I don’t believe there to be a perfect album, so to speak, I wanted to make something I’d at least be comfortable enough hearing in 10 years, without cringing at the sound of everything I should have done differently. So I decided, no matter how tedious or long the process, no matter the cost or effort, I would make the album in my mind/heart. I’d self-release it and lose money if I had to. All I cared about was the art: presenting a vision effectively without any factor adulterating it. I’m extremely grateful that “Yodh” resonated with people, making ripples in the underground world. I’m honored that self-releasing the album was not its ultimate fate, for Gilead Media gave my art a larger platform, which undoubtedly encouraged the album’s impact on the community of extreme metal listeners.


The music of "Yodh" is like an incredible amalgam of Black Metal, Doom, and even Drone. What artists influenced you to get to this mixture? Do you have a favorite band within the Black / Doom genre?
The fusion of sub-genres that describes Mizmor’s music is due simply to my two favorite genres of music: doom metal and black metal. I find immense influence from both of these genres. In my own case, I wanted to convey my feelings of despondency and depression in the midst of an anti-Christian existential crisis. Writing and playing doom metal had already been a companion to me in my expression of depression, but dawning the black metal esthetic was new for me; it was the perfect way for me to express my internal, religious conflict. Ironically, I’m most inspired by the more pure forms of the genres rather than the fusion of them. From the doom camp Burning Witch and Worship are two essential bands for me, and from the black metal camp Burzum and Wolves in the Throne Room have been important sources of inspiration.

One of the most striking aspects of "Yodh" was his incredible cover art. Its author is the Polish artist Zdzisław Beksiński, owner of an incredibly disturbing and obscure work. How do you get to it and how does the concept that illustrates the album come about? Does it have any special meaning?
I am glad that the artwork is striking to you because it was very striking to me when I first saw it, and it hasn’t lost its effect yet. Back before “Yodh” was even on the horizon I saw that piece and was stunned. Visual art doesn’t grab me as easily as music. Something special happens to me when it does though; I felt a certain breathlessness because it resonated with me so much. The face in the piece, it just looks exactly how I feel... it looks how Mizmor feels and sounds to me. It’s not a brilliant answer, but it’s true. I wanted to use it for the album I was currently working on, but it seemed too good a painting - it needed a special album. I waited until “Yodh” materialized, at which time it became an obvious album cover. But obtaining the rights was certainly an ordeal. Luckily I had made that promise to myself.

Another of your well-known projects is Urzeit, where you play drums and vocals. Stylistically, it is almost the opposite of Mizmor. What motivates you to be part of such dissimilar projects?
With music in general and metal in specific, my taste hinges on a precise balance of harmony and disharmony - too melodic and it sounds overly positive, poppy, and cheesy; too dissonant and it sounds overly chaotic, negative, and unmemorable. I’ve found that I typically don’t like anything too far on either end of the spectrum. I think Mizmor combines melody and dissonance in a pleasant way. Urzeit is a bit further toward the dissonant side of the spectrum though, which is understandable once you know that in addition to myself, R.F and M.S. (the Vrasubatlat lifeblood) complete the Urzeit lineup. They thrive on this more brutal style of metal, and there’s definitely a place in my heart for it as well. We pretty much just all love Darkthrone and enjoy music that expresses the nihilism we can’t help but feel in this chaotic existence. It’s fun to play our primitive, irreverent style of black metal. It’s absurd and absurdity is necessary. It sometimes feels more like playing rock and roll, which is just plain fun.

Portland has gained notoriety for the amount of underground extreme metal bands that have emerged in recent times. Could you tell us what the scene is like at this moment, and particularly what reception do you have from the audience?
I’m hardly the lens through which one might accurately see the scene. This is mainly because my projects are fairly inactive, as bands go. To this day Mizmor has performed only three times in the six years it’s been around and Urzeit is silent at the moment. This leaves Hell, the band I’m a part of that performs most frequently. We tour every year or two and play a handful of local shows every year when our friends’ bands tour through and need support. And although we play Portland, we are from Salem, which has its own weird little scene. Basically what I’m trying to say is, I’m kind of on the outside but the scene is active and growing from my point of view. There are lots of great bands here, and a scene to support them. There’s community and camaraderie but not without a healthy dose of pacific northwestern passivity and isolation. 

Recently you edited a single and a compilation that gathers part of all your works. I imagine that many people must be waiting for the successor of your most successful album. Do you plan to edit it at some point? If so, at what stage is the project at this time?
Yes, Gilead Media has just released my newest EP “This Unabating Wakefulness” on vinyl, and I self-released a cassette version. It’s a 15 minute long single track, originally released as a digital bonus track as part of last year’s box set release, now physically realized. The compilation you speak of is a digital album now being distributed that compiles my works from 2013-2015; these songs were originally released as various EPs and splits but now are a full digital album to help new fans catch up on the back catalog. As for a new full-length album... it is on the horizon, but still a ways off. I’ve begun writing, but do not have a schedule or plan to which I’m adhering. It will happen when it happens.

What is your main objective when composing your songs? Is there something vitally important that you want to express with your art, knowing that there are many people who will listen to it?
It is vitally important for me to be an honest, vulnerable, struggling human in my music. My music is about what’s true (especially in the conversation of theism versus atheism), what parts of that truth are hard to accept, and how that makes me feel and influences my life. It’s been so cool and humbling to see and speak with those whom my music resonates with. Connecting over that empathy for pain caused by paradigm shifts in understanding regarding religion and worldview is amazing and incredibly human and natural. It’s not why I make the music of Mizmor, for it will be made no matter what, but why I release it to the public and continue to do so.

Is there an artist that you admire, with whom you would like to share the stage sometime?
Anything Stephen O’Malley is a part of. That dude’s riffs and tones are responsible for so much.

What would you say to someone who wants to perform extreme music, feeling fully influenced by your style? Is there any advice you would like to express?
When talking about extreme metal I’d say, if it ain’t from the heart, if you don’t feel like you simply have to make the music or you’ll explode, then don’t make it. If you do feel you’ll explode, then open up, be yourself, and let it out. But we have enough derivative, unremarkable music in this world and don’t need anymore. Extreme metal is most compelling when it comes from extreme circumstances. Play a different genre if you have different goals in mind than catharsis for healing from music.


A.L.N., thank you very much for agreeing to carry out this interview. I wish you all the best in your future projects. You were very kind, really. 
I send you a big greeting from me and from all the staff of Blessed Altar Zine.


Interview by Sergio

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Shrine of the Serpent - Entropic Disillusion

Band: Shrine of the Serpent

Title: Entropic Disillusion

Label: Memento Mori

Release Date: April 23rd 2018

Country: USA

Format reviewed: Digital CD quality

"Entropic disillusion" begins with a chord that immediately drags us into a world of misery and desolation. The rottenness of daily life is shattered swiftly, taking every fiber of our being through an endless culvert. How could it be otherwise, again we are facing a launch from Oregon, a place that, little by little, is becoming the Finnish epicenter of the new millennium (If we take into account the number of Doom bands that are taking over the scene).

Srine of the Serpent is a relatively new band, with only one EP and a split edited before "Entropic ...", its first long-duration. What do we have in our hands? A collection of monoliths in tune with the old Death / Doom of the old school, corrosive, sharp and extremely slow and atmospheric. 

Undoubtedly, the most positive characteristic of the band is the tone and sound textures acquired during the agonizing course of these compositions. The guitars steal the show, showing implacability and insane density, placing themselves within the most crunchy and scandinavian Death spectrum. Imagine Entombed trying to play Worship songs. 

The compositions are long (most of them are between 8 and 10 minutes long) and the trip translates into an endless nightmare lasting almost an hour.

I think there are two very marked factors that identify work. While all the songs are caricatured for being too slow, the first half shows a glimpse of the band to be fully shown as a Death/Doom band. This is something that then begins to blur a little, showing a facet more located within the Funeral Doom, maintaining its more extreme aspect, by the way. 

It is in this dichotomy that the group begins to show some flaws in the compositional department. Given the lack of riffs, the compositions begin to stand alone in successions of chords, but flooding the entire proposal with some monotony.

Undoubtedly, Shrine of the Serpent is a band that shows great potential in the technical aspect, with a great naturalness to find an identifying sound, but that is torn between being a Death/Doom or Funeral entity. At no time I feel that the two spectra achieve cohesion as in, for example, the classic band Asunder. Maybe in future releases the compositional aspect will be taken into account to achieve a certain dynamism and cohesion of ideas that, although very good, still do not manage to amalgamate to be placed in a panorama already very well explored by heavyweights of these magnificent genres. Anyway, I would not hesitate to ask all Doom lovers to listen to "Entropic Disillusion", even once. 6/10 Sergio.

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6/10 We may survive!
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Adversvm - Aion Sitra Ahra

Band: Adversvm
Title: Aion Sitra Ahra
Label: Iron Bonehead Productions
Release Date: 4 May 2018
Country: Germany
Format reviewed: Digital CD quality

The triangle. The geometric figure of three sides and three angles, which encloses, from time immemorial, powerful meanings. The perfect number. Symbol, in many cultures, of the triad "Mind, body and spirit”.

I believe that the logo of Adversvm, the solo project of a mysterious musician, of which the identity is not known, is really powerful, something formal, if you will, but owner of a powerful and undeniable symbolism, and I believe that the music contained in this work has similar characteristics.

"Aion Sitra Ahra" is an album that arrives at a just moment. Currently, the genre of doom is very popular in many parts of the world, although, being very much embraced in more mainstream environments, there are still certain aspects of this that correspond to the most absolute underground, and I mean the Funeral Doom sub-genre, of course. With the exception of bands like Ahab or Bell Witch, there are still projects that, fused with the most desperate characters of the genre, they continue navigating through more experimental waters, adding a quota of madness and mysticism to their slow-burning alchemy.

Adversvm could be considered within this very particular category. The kind of band that takes more elements from the darkest and belligerent part of this respectable style. The influences of Thergothon are quite obvious, and welcome since there are not many Funeral Doom bands that can replicate the atmospheres of those huge pioneers, but there is a touch of atmospheres bordering on the psychedelic terrain, very typical of bands like Esoteric or Urna (from Italy). These passages unfold between thick layers of guitars and incredibly successful recording effects.

Being a one-man project, it shows the dedication and time used to make the songs. The study tools are used as one more instrument, achieving an enormous, enveloping sound, with a careful detail and detainment for each texture, specifically of the guitars, and their careful work of a selection of chords. That is another feature that caught my attention. The chord structures used are simple, but perfect for the style. We really appreciate the dynamism and diversity of tones for a genre that tends to delve into extremely simple and repetitive structures. I mean that "Aion Sitra ..." is also repetitive, like a good album of Funeral Doom should be, but it stands out in its willingness to want to take the genre one step further, by dint of remarkable theoretical knowledge and good taste.

“Aion Sitra Ahra” is an excellent album of Funeral Doom that moves away from the clichés of the sub-genre (excessive durations, dramatism, and redundant ideas) and offers a fresh mix of experimentation, finally achieved, in tune with the most psychedelic titans. Adversvm makes his debut, very aware of his qualities and praising the possibilities of his purely underground environment. Very recommendable. 8.5/10 Sergio




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Interview - Full Of Hell

Full of Hell is one of the most extreme young bands that music has given in recent times. Owners of a unique style, in which classic influences from Grindcore and Powerviolence join sludge, noise and even Power Electronics structures, with the sole idea of creating a high combustion amalgam capable of melting brains and producing hypoacusical damage.
With the band immersed in a marathon tour, we have the honor to exchange some words with Dylan Walker, vocalist of the band and author of abrasive noise, where he tells us some great news about the future of the band and gives some advice to those who were able to witness Full of Hell live and they became deaf.

Dylan, how are you? It's a pleasure to be doing this interview with you. Tell us, how do you start in this? Before Full of Hell did you have other bands? 
Our guitarist Spencer started full of Hell. We had all been in bands before this but had never put out a real record or anything, so this was and is our first serious project. We simply wanted to start a band that played the exact kind of music we wanted to hear and we wanted to tour as much as possible.

Full of Hell is usually a band typecast in the genres Grindcore or Powerviolence. But there are many other styles that usually identify you. Noise, Doom, Sludge ... The amount of extreme genres seems to be endless in your mix. How would you define yourself? Within what style do you feel most identified? 

We definitely don’t define ourselves as a PV band at all. We love the style and take influence from it but it was never a label we used. We try to be casual about the genre labeling though. We don’t care what label people put on us, especially because no matter what genre you’re tagged with there will be people angry that you’re being labeled as such. It doesn’t matter. We are a band.

What bands or artists do you think were essential to influence you to make this music? 

It usually comes down to bands like The Endless Blockade, Gasp, Man is the Bastard/Noise, Swans, Napalm Death and bands of that style. Obviously, as years go by we bring new elements into the sound. It’s good to grow! 

I think that, currently, Full of Hell is one of the most energetic bands of extreme music, playing live. It must be tremendously exhausting. How do you live with being on tour and having to interpret music in this way? What is the secret? 

We don’t try to play any specific kind of way. We just react as we want to and play with passion. I don’t think we are that crazy in the big scheme of crazy bands, but it’s nice to hear that some think we are energetic at least. 

What is the most rewarding thing about being on tour for you? 

The most rewarding thing is the 20-30 minutes each night that we are playing. It is the most fulfilling part of this and why we do it. A small period of bliss.

If you had to tell us which is the most extreme, caustic and heavy album of Full of Hell, what would it be and why? 

Trumpeting Ecstasy, simply because I feel like it’s the furthest recorded example of what we want to sound like and I am most proud of that album. 

One of the great milestones of your career was having recorded with Merzbow. How did you meet him? 

We met Balazs Pandi in NYC years ago, he plays drums with Masami live. We became fast friends and he suggested the idea to Masami, who was very interested in it. It was all very simple and organic. No pressure, no guidelines. He is an amazing person. 

How was the recording process of "Full of Hell & Merzbow"? Did you remember any anecdote in particular? 

It was difficult for us because it was new territory. We had big shoes to fill and weren’t sure what to expect. We are content with the end result though. 

What advice would you give to people who went to see Full of Hell live, and was left with totally

screwed ears? 

Buy earplugs and suck it up. Or go listen to folk music instead. (Lol)

What are the next steps of the band? Do you want to tell us something about a future project? 

We just want to keep progressing and making records. We have a lot left to say. We are going to keep touring and doing just that. The new LP is almost done, so that’s the next thing we will be recording.

Is there something you want to tell someone who has never heard Full of Hell and is now reading this interview? 

Listen to GASP. 

Dylan, thank you very much for your kindness. I hope you continue to have the success you deserve. I wish you all the best in life. I send you a big greeting. 

Thank you very much! 

Interview by Sergio


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Interview - Veiled

Veiled is one of the most interesting bands that I heard during the course of this year. A revelation, responsible for the creation of one of the most finely manufactured black metal albums (since making music is also a manual, artisan task, in conjunction with certain alchemy skills).
The power of absorption and the power it has to submerge the listener in a cluster of sensations as dreamlike as totally dark is unique. I have to say that I had the honor of speaking with Nathan, also known as Niðafjöll, the mastermind of the project conceived together with Dimman, drummer of Grá and Cursed 13, among many other bands. Nathan, thank you very much for agreeing to do this interview. I welcome you, from all the staff of Blessed Altar Zine.

And It seems fair to start from the beginning. Veiled starts almost four years ago, if I'm not wrong, but with another name. "Gnosis of The Witch". What was the reason for this change?

Veiled officially began in 2015, but prior to that, it was under the name Gnosis of the Witch. Reason for the change is that I no longer had anything left to say lyrically or offer musically with this band. It was more or less a restriction instead of a liberation. So I ended GOTW and formed Veiled.

Being "Gnosis of The Witch" you could get to record some very interesting EP's and a split with Grá, which should be a very precious collection object among underground black metal fans. Do you remember any interesting anecdotes of this era?

The music for GOTW was written during a very dark period in my life, so there really isn’t anything found to look back on personally. I am very glad that time in my life is over with and a new path has been made with Veiled. But, if I had to pick a shining light during my time creating music with GOTW it would absolutely be sharing a release with my brothers in Grá.

With Veiled already confirmed, you record your first Full Length with a legend of Black Metal: Heljarmadr, as a producer. How was it working with him?

Very demanding and I wouldn’t have had it any other way. Heljarmaðr as well as Dimman both pushed me to perform to the absolute best of my ability and I truly feel that shows in the music. Nothing but perfection was tolerated and the very long days and nights staring at the same four walls was absolutely worthwhile considering the end result.

In fact, I think that the sound achieved in "Black Celestial Orbs" is monumental. The production plays a very important role. My first reaction, to hear it, was to think that you had achieved a perfect mix between American and European styles, specifically of Swedish Black Metal. What result did this work have for you?

Thank you! I greatly appreciate that. I am a musician who proudly wears my influences on my sleeve. It doesn’t take much for others to hear that the black metal bands from Scandinavia have greatly inspired the music I make, particularly the early wave of bands from the 90s, and of course, my main influence is Bathory.

The atmospheres achieved in the album are, in some way, what makes these compositions stand out. Can you consider the album within the Atmospheric Black Metal genre, or do you not believe in these categorizations?

Absolutely! If there is a tag I would gladly put on Veiled, atmospheric black metal would be the one. Creating an atmosphere is the main focus when I write music. I try my best to write hypnotic and trance-inducing music to draw people into my world.

Have there been other artists, outside of extreme music, that have influenced your work when

recording the album?

My influences are pretty simple. Bathory, Burzum, and Katatonia. That’s all I need.

I asked you that because I was pleasantly surprised to hear that you used other unorthodox ideas, such as jazz patterns in the song that gives title to the album. This arose spontaneously or was it something premeditated?

That was an idea that happened spontaneously in the studio! Dimman is a phenomenal drummer and he really put in the effort to be creative and let his style become as much a part of the music as the riffs do.

Can I ask you something more personal? How do you project Veiled, in the near future? What do you intend to achieve with the band?

Veiled is my life. Music is all I want from this existence. I will push Veiled as far and as high as I possibly can, and then ride it until I can’t hold my guitar any longer.

Are there other activities that you do, that prevent you from focusing on the band, or do you dedicate yourself 100% to the music?

Well, nothing prevents me from focusing on Veiled. When it is time to work on music or devote time to work on Veiled, nothing gets in the way and that is how it should be. That being said, I, of course, have other interests aside from music.

How do you see the state of extreme underground music today? Specifically of Black Metal.

I think the black metal scene has really grown and become something to behold these days. There are so many good bands out there creating excellent music (I’m looking at you Grá, Vemod, Domgård, and Uada in particular). The underground always has something to offer if you are willing to look.

Could you tell us what Black Metal means to you, and why did you decide to use it as a means of expression?

Black metal to me is much more than just a style of music. It is a way of life, a way of communicating via sonic invocations. Black metal resonates within me because it perfectly mirrors the way I see the world. There is a certain beauty within the dark that can be harnessed and crafted into music. Black metal chooses it's messengers, not the other way around.

The lyrics of Veiled tend to focus on concepts and themes with a great mystical content, perhaps invoking certain abstract forces that have little to do with the everyday life of the vast majority of people. What is your opinion of this era of the humanity we are living in, so tending to focus on false values and exacerbated materialism?

To each their own. I do not worry about the lives of others in any way shape or form. I have my own path forged and that is where my focus lies.

Is there a message you want to tell a large number of people who are reading this and who have enjoyed "Black Celestial Orbs" so much?

To everyone who has given our music a listen and has supported what we do, thank you. It is greatly appreciated.

Nathan, thank you so much for giving us your time to do this interview!. I hope you continue to be successful in your projects and that your band continues to grow. I hope that "Black Celestial Orbs" continues to have the acceptance it deserves and that more people can agree to listen to it. A big greeting to Simman and the guys from Grá!. My regards.

Interview by Sergio

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