Freedom Hawk - Beast Remains

Band: Freedom Hawk
Title: Beast Remains
Label: Ripple Music
Release date: March 23, 2018
Country: USA
Format reviewed: vinyl LP

I truly dislike molds. Specifically, music made to fit a certain mold or another. Please feel free to substitute style, genre (or subgenre), for molds. Music should be created independent of any molds, and it should be allowed to be categorized after the fact, after it was composed, recorded and released. Trying to make something to fit in a certain mold does a huge detriment to music. A fact that has been proven time and time again. An artist, or a band, should have the ability to create music freely, and not dictated by trends and/or molds. The large record labels are responsible for forcing artists to confine to artificially imposed molds, a fact that became clearly visible in the 80s, and has taken a huge toll on free creativity ever since.

To fully comprehend the heavy rock music behind FREEDOM HAWK’s fifth full-length release “Beast Remains”, time-traveling is required. And since my DeLorean is currently in the shop, we shall employ virtual means to get to the roots of rock, and due to lack of space, a heavily simplified version of events, barely scratching the surface, is hereby presented. While one of most important influences on the contemporary era (post 1980) of heavy metal, lays on the rise in the late 70s of the New Wave Of British Heavy Metal (NWOBHM), with it’s forefronts Iron Maiden and Saxon, and even that scene’s close, mid 70s predecessors, the mighty Judas Priest, Motörhead and Thin Lizzy, the roots of heavy rock music are immensely deeper. Deeper than the enormous contributions to rock from the iconic Deep Purple, Led Zeppelin and Black Sabbath, in the late 60s and early 70s, often credited with the inception of heavy metal as a genre. Factually, both Deep Purple (psychedelic/progressive) and Led Zeppelin (blues rock) were hard rock acts, with Black Sabbath bringing “downer rock” to the table, a proto-doom metal root. All three strongly anchored into the late 60s psychedelic rock (alternatively “acid rock”).A period that immediately brings to mind vivid psychedelic acts such as Vanilla Fudge and Iron Butterfly, and explosive power trios: The Jimi Hendrix Experience and Cream, among others. Also, around the same period of time, rock saw a rise of occult influenced acts: Arthur Brown, Coven and Black Widow - indisputably influencers on the upcoming Black Sabbath. Going further down the rock history rabbit hole, in the early to mid 60s, solidly grounded in the earlier American blues and rock and roll, we found: the forefront of The British Invasion and counterculture rebels - The Rolling Stones, the shrine to three of rock's most famous guitarists, Eric Clapton, Jimmy Page and Jeff Beck - The Yardbirds, and the "bigger-louder-wall-of-Marshalls" - The Who. With the electric guitar at their common core and the liberal use of feedback, loud distortion and fuzz tones, these groups rapidly escalated to stardom status. Since we made it this far back, it begs the question: where all this originated? … On May 14th 1954 - Sun Records released a 45RPM single (#106) of blues performer James Cotton: “Cotton Crop Blues” (“Hold Me In Your Arms” B-side), featuring one Pat Hare and his "grittier, nastier, more ferocious electric guitar sound". A very worthy mention would also be the late 1950s instrumentals of Link Wray, particularly "Rumble" (1958), and of what was shaping to become the surf rock of the late 50s and early 60s. (As a side note: Jimmy Page plays airguitar to Link Ray’s “Rumble” in the 2009 documentary “It Might Get Loud” - look it up!). 

Returning as a four-piece band on “Beast Remains”, their first album on Ripple Music, FREEDOM HAWK delivers one of the best releases of 2018, so far. With the addition of guitarist Brendan O'Neill, the founding core of T.R. Morton (vocals/guitar), Mark Cave (bass) and Lenny Hines (drums), an already excellent band gains full artistic maturity. Their trajectory is in every way comparable to (Ozzy’s era) Black Sabbath, whom themselves reached their artistic maturity, and mainstream acceptance, (also) with the release of their fifth full-length “Sabbath Bloody Sabbath” in 1973. And like Black Sabbath before them, FREEDOM HAWK won’t confine to molds! While the 70s (and some early 80s) influences are obvious, the music on “Beast Remains” is in no way “recycled”. The dual-guitar dynamism layered upon the pervasive bass lines, both doubling and bottom filling to the streamlined drumming precision, allowing for an effective vocal delivery. As a whole, the main focus is on the melody and the sound: collectively, the Virginia Beach (VA) band exploits perfectly the inner details in their compositions, resulting in a dynamic, yet melodic flow. The band paints a beautiful canvas of elevated textures using a vibrant palette of colors in every song on the album: from the solid 1-2 opener (“Solid Gold”/“Danger“), instantly gripping the listener, to the very last track (“Champ“). Clocking in at just over forty-one minutes, shorter than the rest of their releases (with the exception of the 2009 self-titled), the impactful eight compositions on “Beast Remains” were all written and arranged by the band, with the lyrical content provided by T.R. Morton. The album, recorded and mixed at Master Sound Studios (Virginia Beach) by Rob Ulsh, assisted by David Stillman, mastered by Chris Goosman at Baseline Audio Labs (Ann Arbor, MI), was entirely produced by the band. The beautifully psychedelic cover art is the creation of Sandra Havik.

I’ve seen this album categorized as: stoner, doom, psych, heavy metal, whatever … While nuances of the aforementioned styles are present, “Beast Remains” is a heavy rock record. I see no point to the growing trends of over-categorizing and listing every shade of musical influence and crossover styles, on most newer releases. Also, I don’t see any gains in steering a potential listener towards one style or another. FREEDOM HAWK has rightfully landed on Ripple Music’s roster: the San Ramon, California, independent label that keeps charming the rock & metal congregation with one great album release after another.

I encourage any potential listeners to discover on their own the music and where any influences might lay. These reviews are hopefully a source of inspiration to discover something new and musically exciting. Other than that, any review is just an opinion, and those are as many as are people. Let FREEDOM HAWK elevate your mind and spirit, within and beyond the amazing journey that “Beast Remains” is.

I shall leave you with a David Stillman quote, printed on the LP’s insert: “Here’s to the crazy ones. The misfits. The rebels. The troublemakers. The round pegs in the square holes. The ones who see things differently. They’re not found of rules. And they have no respect for the status quo. You can praise them, disagree with them, quote them, disbelieve them, glorify or vilify them. About the only thing you can’t do is ignore them. Because they change things.” Utterly recommended! 9/10 By UHF

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9/10 Epic Storm
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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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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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UADA - Cult Of A Dying Sun

Band: UADA

Title: "Cult Of A Dying Sun"

Label: Eisenwald

Release Date: 25 May 2018

Country: USA

Format reviewed: FLAC

After the masterpiece debut “Devoid of Light” released in 2016, UADA (“haunted” from latin) put a rock solid base for something spectacular. That’s why the expectations about their following album were really high. Actually “Cult Of A Dying Sun” was expected with huge impatience by all the those who were already praised their previous effort.

And UADA didn’t disappoint us! Really, there is something magical in Oregon most recently and “Cult Of A Dying Sun” is a stunning record. So lively, with big soul and beating heart. Besides the amazing black metal riffs, the record includes some very melodic, let’s call them, not black meta riffs, which creates butterflies in the stomach. The intensive tempo doesn’t leave a second in calm, and the record goes from the beginning till the end in just a breath. 

And indeed, with 7 songs and total running time of 55 minutes “ Cult Of A Dying Sun” is a pure blast. It is absolutely inspired and absolutely inspiring. It carries the roots of the best melodic black metal acts from the middle of the 90s, but at the same time the band plays amazingly vivid own atmospheric and epic tunes. Of course there is a strong continuation in the line of the composing presented in "Devoid the light", but now everything sounds much more mature. It is the next step. The record sounds very contemporary, and for sure within 20 years it will be untouched again by the time. The songs seem long enough on first glimpse, but in reality they come and go, leaving absolute hunger to listen more and more of them. There is some pure hypnosis in all the spectacular melodies and all the variety of tempos. These are so distinctive and at the same time so sophomore, so complete. Atmospheric to the core, all the seven tracks bring that amazing magical feeling which only the music can deliver. I’m not going to dissect “The Purging Fire”, “Snakes & Vultures”, “Cult Of A Dying Sun”, “The Wanderer”, “Blood Sand Ash”, “Sphere (Imprisonment) and “Mirrors”. I can’t. They just must be heard, experienced, lived, felt. And again, and again. 

Along with few very strong releases in the previous couple of years, as well as so far in 2018, “Cult Of A Dying Sun” is a black metal record-example, a record which makes me believe that the genre hasn’t lost of its passion and still can bring the brightest flame in burning pyres under the majestic night skies, deep into the black woods. UADA have delivered another glorious gem; a record which will haunt you many days ahead.  It is among the AOTY contenders in the heaviest and darkest music for 2018. 10/10 Count Vlad

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10/10 Immortal Classic

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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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Witch Mountain - Witch Mountain

Band: Witch Mountain
Title: Witch Mountain
Label: Svart Records
Release Date: May 25th, 2018
Country: United States
Format Reviewed: CD-quality digital


Moment of entering a forest in the afternoon, called by the distant song of a voice as seductive as lethal. Time to be touched by the wet leaves and walk among fungi lethargic by the immortal fuzz, driven by the spirit of the almighty heavy bluesy riff.

Witch Mountain returned, after undergoing a radical change in its formation, after the departure of its singer Uta Plotkin. Maybe many thought that it could be impossible to replace, due to the personality and vocal flow that she gave to the band, but not only did they find a worthy replacement for such an incredible singer, but we are in the presence of one of the most amazing voices that the world of metal gave in recent years. I refer to the young Kayla Dixon, who fills the shoes of Uta and dazzles with a style full of passion, capable of vocalizing heavy blues sections or making growls, according to the requirement of each composition. Undoubtedly his jazz training is noticed, and before the professionalism of the rest of the band, stands out remarkably.

The band sounds incredibly tight and compositionally they are one step higher than the rest of their contemporaries Heavy Psych/Stoner/Doom. In fact, it is the only band of the style that tries to navigate so deep in blues waters, which gives them a notorious classism factor. It is impossible not to think about the first album of Sabbath when listening to the forcefulness of the perfect riffs of guitarist Rob Wrong.

"Witch Mountain" is a relatively short album, of little more than half an hour of duration, but that sounds with an outstanding vitality, with a band that can easily pass through powerful and direct structures to complex compositional frameworks, such as "Nighthawk", the last track of the album, lasting 14 minutes, where the combo exhibits the totality of its powerful weaponry.

The title of the album, with the same name as the band, is appropriate, since it sounds like a new beginning, although far from being a transitional work, the band sounds totally entrenched and with the necessary confidence to face a promising future full of doom A totally recommendable album for lovers of the Stoner/Doom and the immortal good metal of the 70's with bluesy roots. 8.5/10 Sergio

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8,5/10 – To Greatness and glory!

**Please support the underground! It’s vital to the future of our genre.
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Sanhedrin - A Funeral For The World

Band: Sanhedrin
Album: A Funeral For The World
Label: Independent/Cruz Del Sur Music
Release date: September 8, 2017/April 27 & May 4, 2018
Country: USA
Format reviewed: Limited Edition Vinyl LP

I’ve missed the opportunity on writing a review at the time of the original release of this album, September 8th 2017. Shortly after it’s independent release, the album became part of my regular rotation list, where it remains to this day. With much excitement, I’ve learned a couple of months back, that the album will be reissued by the Italian heavy metal label Cruz Del Sur Music, and re-released on April 27, 2018 (May 4, 2018 North America), after the label signed the band in February. The reissuing re-opened the opportunity of reviewing the album.

SANHEDRIN, formed in New York back in 2015. The trio’s lineup, unchanged since formation: Erica Stoltz (Lost Goat, Amber Asylum) - vocals/bass, Jeremy Sosville (Black Anvil) - guitars, and Nathan Honor (Vermefug) - drums, recorded and released a well-received demo tape, at the end of 2015. After extensively touring in 2016, the band entered Menegroth Studios (Queens, NY) to record their independently released, highly acclaimed debut album, “A Funeral For The World”, in the fall of 2017.


In the most recent years, a certain trend of capitalizing on the old-school styles, sound and vibe has been clearly present in the metal underground. Personally, I fully and enthusiastically embraced this “return to roots” movement. The aforementioned trend is clearly perceptible in SANHEDRIN’s latest production, “A Funeral For The World” - firmly anchored into the hard & heavy of the seventies, emanating epic doom and heavy metal dispositions, with a perfect splash of east coast speed metal thrown in the mix. This is not a dated record, but rather an intricate embroidery of alluring melodies and memorable lyrics! An absolute amalgam of hard & heavy styles, revealed via a very organic sounding production, an analogue first class experience, showcasing the real talent of the three musicians involved - their skills and originality! Erica’s vocal range and delivery complements perfectly Jeremy’s imposing, strong and creative guitar works, and Nathan’s flawless drumming - which combined with Erica’s righteous bass dexterity, makes for one hell of a dynamic rhythm section. The band’s approach to lyrics is praiseworthy as well: eloquent content about inner struggle, mortality and current social issues (climate change, religion, etc). Responsible for the albums production and engineering is Colin Marston, the mastermind at Menegroth Studios, a venerable music producer and also a very qualified musician himself. Mastered by Brad Boatright (himself a musician, engineer & producer) at Audiosiege Media in Portland. The production and sound quality of this release is immediately evident. I was pleasantly surprised to find out that the download accompanying the physical media (via bandcamp), was also available in high-resolution digital (at 24Bit/96kHz). SANHEDRIN are hard at work writing the next record, aiming to release in the early 2019, on Cruz Del Sur.

SANHEDRIN’s “A Funeral For The World” is more than an album - it is a timeless statement that heavy metal is alive, well and thriving! Highly recommend. 8.5/10 UHF

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8.5/10 To Greatness and Glory

**Please support the underground! It’s vital to the future of our genre.
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Byyrth - Echoes from the Seven Caves of Blood

Band: Byyrth
Title: Echoes from the Seven Caves of Blood
Label: Iron Bonehead Productions
Release Date: 9 March 2018
Country: United States
Format reviewed: Digital Promo

A scream emerges, among the ruins of a tomb lost in time, dying between echoes and the sudden loss of temporal notion soaked in reverb of the most underground and abysmal raw black metal. The sharp fangs come out again at night, every time the sun of California is hidden, by the hand of Byyrth, a duo who began his nocturnal walks just two years ago. His discography barely has a demo, the album "Saviors of Armageddon", released last year and this brand new "Echoes from the Seven Caves of Blood".

The first thing that hits us hard, when listening to "Echoes ...", are the cavernous chords and the reverb submerged vocals characteristic of the most reverential raw black metal towards the French scene. Drums almost inaudible in the mix, creepy shrieks and the constant putrefactive aura of the production, which gives that feeling of listening to something recorded in a humid crypt at midnight. The influences are quite clear, tending towards the classical occult excursions of Les Légions Noires (there are reminiscences of Vlad Tepes, Belkètre or Mütiilation, for example, although also to the Raw BM of more recent projects, such as Obskuritatem, of Bosnia and Herzegovina).

It is not by chance that the work has a very special guest: Meyhna'ch, better known as Mütiilation, who lends his voice to two of the album's tracks. Particularly those where the band reaches its most insane and cacophonous level. The other songs are developed between structures of straight black metal, and some interesting incursions into rhythms more linked to black'n'roll, with many bad vibes and punk attitude. It seems to me that it is in these moments where the band manages to stand out and offer something away from the most trite places of the genre.

"Echoes from the Seven Caves of Blood" is a work that meets expectations within the canons of raw black metal, which has a certain personality and has a legend of extreme music as a guest, but also shows a band trying to develop stylistically, that executes several ideas with remarkable fruition, but without achieving a total cohesion in its proposal. Undoubtedly, an album that will satisfy the most hardcore fans of the genre, and recommended for the nostalgic fans of Les Légions Noires and the good old Meyhna'ch. 6.5/10 Sergio





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6/10 – We may survive

**Please support the underground! It’s vital to the future of our genre.
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