Paroxsihzem Interview

Paroxsihzem is a Black/Death band from Toronto, Canada who formed in 2007. Hellthrasher Productions is their current label but they also have releases in different formats and distribution as well from Dark Descent records, Vault of Dried Bones and Krucyator Productions too. Inspired by nuclear warfare, darkness, chaos, and negativity, Paroxsihzem has been destroying the light for eleven years now. This is an interview with Krag, the vocalist from the band.


Hello Krag and thank you for doing this interview with me for Blessed Altar Zine! What are the near future plans for Paroxsihzem?
Thanks, we've just finished playing 2 shows very close together so now we are going to lay low and focus on writing for our next full-length album and then go from there.

I see on Bandcamp, that you recently put up a previously unreleased track from 2013, titled Excavation of Despair. Is this a single release on its own or is this going to be part of a future release?
It was an old demo track that we recorded before the split with Adversarial. We were pleased with how it turned out but it won’t be part of any future releases we just wanted to release it on its own as a 1 song demo track.

Will Paroxsihzem do a tour in the future, whether for Canada, USA or elsewhere?
We plan to eventually. Most likely after our next album comes out.

Is there a main writer in the band musically or lyrically or do you all collaborate in this process?
Impugnor is the main writer for all the music and I collaborate with him on the lyrics.

Considering Paroxsihzem’s inspirations for lyrical or topic matters, are there certain main musical influences that have had a big impact on the sound or direction of Paroxshizem?
Influences come from all over the place and there are too many to name, but a few of them are Incantation, Arkhon Infaustus, Archgoat, Revenge and Morbid Angel. For lyrics inspiration

Being a musical collector myself, I tend to ask everyone this question. Which do you prefer for listening? Vinyl, CD, Cassette or digital format?
Vinyl and CD for sure.

Out of all the releases from Paroxsihzem so far, is there a release that you like the most?
I would say our newest EP, Abyss of Excruciating Vexes is my favourite Paroxsihzem release.

How do you feel about the ways and means of social media now and how information is used or conducted?
I try to use social media as little as possible and usually only for contacting people. I have mostly a negative view on it these days.

What are your main preferences in musical styles? Whether for metal or other types of music too?
Filthy death metal

Ok, in closing and thanks again Krag for your time with this interview. What inspired the creation of Paroxsihzem as a band and with the name itself too?
We found we disliked the direction of most “metal” bands in the local scene and decided to start our own project. The name Paroxysm, “a sudden attack or violent expression of a particular emotion or activity.” Another meaning, “a sudden recurrence or attack of disease; a sudden worsening of symptoms”. Both apply to our influences, direction and intention with the band. The spelling was slightly altered to fit our directive as well as looks more aesthetically appealing in our opinion.



Interview by: Wolven Deadsoul

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Abythic "Beneath Ancient Portals

Band: Abythic
Title: Beneath Ancient Portals
Label: Blood Harvest
Release Date: 11 May 2018
Country: Germany
Format reviewed: Digital CD quality

"Beneath Ancient Portals" is Abythic’s debut full-length release which contains eight tracks and goes a little over forty minutes in its entirety. Although Abythic is a death metal band and fairly much influenced by the old school, there are at times, quite the hints of doom here too. This can be heard on and off throughout the tracks, especially in the first track, "Prelude to Obscurity", which comes across as a bit of an intro style track as well and without any vocals present either, and in the track, "T.H.O.N." and also in the track "Depths of Oblivion" too. In these moments the listener is cast into a world of slow, heavy, sustaining, sorrowful riffs which can be accompanied by dark harmonies and sometimes eerie solos as well. The sound here reminds me a bit of the likes of Desecresy and their style of a doomy death metal that they are known for. This combination of death and doom that Abythic does, works well together while the vocals remain guttural and brutal throughout despite the pace being either slow, mid-pace or fast. The more faster tracks on this full-length are Purulent Phantasm and the track "Afterwards Behind Beyond", which presents the more aggressive attack of old school death metal styles, that is also part of this release by Abythic. Not having heard this band before, until now, has made me take a further interest and shows how variations of styles can complement each other. What you have here, is raw, heavy, doomy death metal of the old school flavour taking you down a road of obscurities and dread. Abythic "Beneath Ancient Portals", is an example of underground death metal with a unique blend and worthy of your attention! 9/10 Wolven Deadsoul  




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9/10 Epic Storm

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TRAITOR Interview

New merciless and heavily devastating Teutonic storm is raging over the world! With three crushing albums so far, Traitor have the very responsible duty to carry on raising the mighty German thrash flag. They prove no wrong – Traitor are among the finest thrash acts from the past decade and we are more than sure – Teutonic thrash is in very safe hands!

I invited Andreas, one of the founding members of Traitor, also performing drums and vocals, for a friendly and very special punching chat, in order to share with us some inside information about the secrets of the Teutonic thrash. (And pelase make sure to check here the review of Traitor's brand new album, which my brother in arms UHF made for Blessed Altar ZIne)

- Hello Andreas, it is a real pleasure to have you here on Blessed Altar Zine! Busy times for you now?

- Hey Ho! Thank you for having us here. Not busier than usual. It got a little bit more administrational work, but its fun.

Photo by Martin Kubowski / KUBO Fotoart

- Who is the Traitor, what are his typical features and what are his sins so far? A fictional character from our two songs „Traitor“ and „Hell-Hammer“. His typical features are very evil. Just listen to the songs. His sins  are told there in all their evilness. 

- You have changed the band’s name several time before choosing Traitor...
- Yes. The ones before were silly and/or to complicated.

- The band is already in the echelons of the Teutonic thrash. With such musical heritage on this scene, how hard is to get there?

- If you are from a German-speaking country (Germany, Austria, Switzerland) and if you play Thrash Metal, you are in the Teutonic Thrash scene! It´s not that hard, isn’t it? But you are right: the heritage is glorious. It's nearly impossible to compete with the heroes from the 80s. But we are not trying to compete. We just want to honour the time and the Bands from then. And we want to play the music we love.

- I guess your main influences are in the Teutonic thrash scene, right? Are there more bands or genres, or even types of music, that inspire you?

- We love all types of music. And for example, I am listening to all kinds of music I enjoy and like. There are days where I listen to Ice Cube, Slayer and Wolfgang Amadeus Mozart in one row. But the main influences are the great Bands from the 80s like Darkness, Assassin, Violent Force, Tankard and all the others.

- What has changed for you since “Thrash Command”?

- We got better and improved our playing.

- Is this the hard road to success?
- I would not call it hard. We had to make mistakes, we had to play bad shows and had to learn some lessons. But it was fun!

- You have a brand new record “Knee-Deep In The Dead”. Could you please tell us more about it? What does it mean for you?

- The writing and recording process was the most intense so far. Pure aggression and power. But we also focused on groove and variable vocals.  In my opinion it's our best record so far. 

- What is the initial response of the audience so far?

- The response of the press was not that good. But the response of our listeners was very good! 

- You had a special guest in “Xenomorph”...

- Yes. Gus Drax from Suicidal Angels.

- Since I saw the artwork of the album for the first time, I’ve always wanted to ask you about it. Whose head is the Predator carrying? Of course, I’m curious about “Venomizer” and “Thrash Command as well”!

- It's not meant to be the predator. It's our mascot, inspired by Arnold Schwarzenegger from the Predator movie. And he is holding the head of Duke Nukem. On the other artworks, it's also our mascot. Always in different outfits. 

- You have been always very critical in your lyrics pointing out all the venom spilling around. How dead is the society and the world, and how deep-knee are we in it? 

- Not really to be honest. I try to avoid political lyrics because it got some kind of trendy mainstream to do that. We got very negative reviews because of that. But I don’t want to write the 101st lyrics about Donald Trump, Refugees or the climate change. When I listen to music, I want to have fun. So our lyrics are fictional and entertaining. Not about things, making a bad mood. They are about things we love. About things that let you enter a different world. It's better to be for something than to be against something. 

Photo by Martin Kubowski / KUBO Fotoart

- You are going to play Wacken very soon. How do you feel about it, what are your expectations? 

- We are very excited and we hope to make a very special and unique experience.

- What are your plans after Wacken?

- Business as usual. 

- I know it is early, but have you thought about the next record already? Is it planned yet?

- We are celebrating our 10th anniversary next year. So you can expect something. Definitely!

- Can we expect any change stylistically or any compromises?

- No way!

- How do you see the thrash scene nowadays?

- Great! Its growing and it's going in the right direction. 

- Where the fans can find vinyls of your records? It seems they are already hard to find...:-))

- You can find them at our online store on www.traitor-band.de/shop. If they are out of stock, we will reissue them as soon as possible.

- Is there anything you would like to add or exclusively to share with Blessed Altar Zine readers?

- Hmmm… (thinking) …I never learned to play the drums. I just started to play. Sometimes I regret that. That's exclusive! ;-)

- Thank you very much for taking time for this interview despite of your busy schedule. It’s been a real pleasure! We are wishing you much success and you guys have our full support! Thrash’em all!

- Thank YOU for your support and the chance to share our thoughts and opinions with your readers. 

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Traitor - Knee-Deep In The Dead

Band: Traitor 

Album: Knee-Deep In The Dead 

Label: Violent Creek Records 

Release date: April 27, 2018 

Country: Germany 

Format reviewed: Limited Edition Vinyl LP 

Teutonic Thrash Metal is equally important to the rise to glory of the entire Thrash Metal genre, as is the Bay Area Thrash Metal. Circa 1982, German acts, Destruction and Holy Moses, and shortly after, Sodom, made the obvious move towards, and developed upon what Venom did on their 1981 debut album “Welcome To Hell” and the 1982 sophomore effort, “Black Metal”. Two releases that are rightfully credited with having a huge influential impact on what was to become Thrash, Death and Black Metal. Formed in 1982 in Essen as Tyrant, Kreator released their full-length debut “Endless Pain” in 1985, further cementing this European strain of Thrash, alongside the American (Bay Area & East Coast) and Brazilian counterparts. The Teutonic Thrash Metal scene also includes acts from Austria, Czech Republic and Switzerland, with the Swiss highly technical band Coroner, being the biggest name to come from outside Germany. Other notable acts of the Teutonic scene are: Iron Angel, Paradox, Exumer and Tankard, among many others. Notably, in 1990, after the fall of the Berlin Wall, Coroner, Tankard, Kreator and UK’s Sabbat, captured and released their live appearances in East Berlin, on video, individually and as a video compilation billed “Thrashing East”. The Teutonic Thrash Alliance, forefronted by Kreator, continued to develop and grow to worldwide domination level, releasing strong, epic and iconic albums to these days. 

The brainchild of Andreas Mozer and Gerd Hery, the band existed under different names (Meatgrinder, Patricide, and Premature Burial) since 2004, and adopted their current, and final tag: TRAITOR, in 2009. Hailing from the southwestern city of Balingen, in the German state of Baden-Württemberg, TRAITOR, plays pure Teutonic Thrash Metal! Starting with their debut full-length release, in 2012, the current lineup of Andreas Mozer (drums/vocals), Gerd Hery (guitars/backing vocals), Lorenz Kandolf (bass/backing vocals), and Matthias Koch (guitars/backing vocals), provided three intense full-length productions: “Thrash Command” (2012), “Venomizer” (2015), and most recently, “KneeDeep In The Dead”. Released on April 27, 2018, with help from the Hamburg based label Violent Creek Records, “Knee-Deep In The Dead” showcases TRAITOR’s most aggressive, and at the same time, polished offering. To fully understand this band trajectory, I feel that the potential listener should be somewhat familiarized with the initial two albums. From the energy and enthusiasm of their 2012 debut release, “Thrash Command”, with its old-school vibe, slightly influenced by Slayer and Destruction, the band moved on to their 2015 sophomore album

Photo by Martin Kubowski / KUBO Fotoart

“Venomizer”, a faster, stepped up aggression, clearly influenced by Kreator (Extreme Aggression) and Metallica (Kill ‘Em All) - seamlessly combined into a distinctive style, which I fondly like to call “Motoratmung”. On to the current “Knee-Deep In The Dead”: a vital step forward, as production value, composition complexity and, as aforementioned, aggressiveness. The obvious Kreator (90's) influence is still present, yet, on this release, some (early) Sodom nuances are also palpable. TRAITOR sustains their path through the world of Thrash Metal with precision, aplomb and ferocity! An absolutely crushing array of impressive riffs, in perfect fusion, courtesy of Hery/Koch guitar duo’s interplay, completed with Kandolf’s omnipresent bass lines, punctually accenting Mozer’s first class, utterly precise Thrash Metal drumming. Hats off to Andreas Mozer for his ability to provide quality, genre standard vocals in addition to playing the drums. Lyrically a great part of the tracks on this album is influenced by horror movies and video games, a slight departure from their past two full-length offerings. The catchy lyrics combined with the all-band background intoned tracks’ choruses, makes for an easy to follow, scream along listening experience, on this eleven tracks, just under 40 minutes release. Gus Drax (Black Fate, Suicidal Angels & Sunburst) provides a guest guitar solo on one of the album’s tracks. The album closes with a bonus track cover of Ramones’ “Blitzkrieg Bop”. The album’s cover art, a clear indication of what the listener is about to witness, was created by the legendary artist Ed Repka, responsible for a renowned collection of metal albums cover art, on display from acts such: Death, Megadeth, Gruesome, Whiplash and Atheist, among many others. A very special mention goes to Vagelis Maranis (Sanvoisen, Arrayan Path), whom not only produced, recorded, mixed and mastered “Knee-Deep In The Dead”, and the previous two full-length albums for the band, but he is also the additive, if you wish, that maintains TRAITOR’s consistency, their friend and mentor. 

“(..) Prepare for the attack, there is no turning back, Hail to the TRAITOR!” - “KneeDeep In Dead” is an accessible, mad fun, beer gatherings appropriate, album for all: seasoned Thrash Metal maniacs and newcomers eager to dive into a new, more aggressive metal genre! Highly recommended! 8.5/10 UHF

For more things TRAITOR, check Count Vlad's exclusive interview with Andreas Mozer here.

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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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Totalselfhatred - Solitude

Band: Totalselfhatred

Title: Solitude

Label: Osmose Productions

Release Date: 27 April 2018

Country: Finland

Format reviewed: CD quality digital promo

Depressive black metal has always been a strange territory for me. The hybrids usually are not strong enough as the main species, and either they must be really good and well developed, or they are just dropped off from the herd. Furthermore nowadays there is clear and obvious diffusion in the styles, genres and subgenera into tens sub-sub categories which are even hard to describe. Depression had been a field for the most sad and slow death-doom bands 20-25 years ago just when the second wave of black metal has been so popular. So it was either slow, sad and painful, or it’s been…total black. Let’s add funeral doom and post-black wave to all this. Oh well…It really needs to be cooked well!

I’m once more thinking and calculating: summer is definitely NOT the time to drown into this particular style, especially when I’m writing for a depressive black metal band coming from the cold depths of Heslinki! With a band’s name like this and form my experience with their previous release for sure I knew what to expect, but what the heck!  

“Perseverance through adversity, creation through destruction, strength through pain. After years of waiting, skulking and lying near-dormant, Totalselfhatred has returned to the fray. We are here to present you five songs of our own particular brand of melancholic desolation in an audial form. Turn off the lights, wallow in the sweetness of reclusive negativity and let yourself float freely in the soothing stream of emotion that our epitome of Solitude will provide"

This announcement says a lot about the album and the band. “Solitude” comes seven years after bands second release “Apocalypse in your heart” released in 2011. With 5 songs and total running time of 41 minutes, in “Solitude” Totalselfhatred deliver another solid dose of despair and pain giving us just a solid reason to cut our veins. Depression, emotional crush and absolutely no light in the end of the tunnel. So painful and beautiful at once

Musically the album is good. Shoegazing, black gazing, melancholy. With really fantastic (!) slower parts, clean or acoustic guitars passages, keys. However the slower to mid passages suddenly explode into hyper nihilistic crescendo blasts and lethal doses of pain and screaming vocals. Typically for the genre of course. Honestly this was my main problem - these particular parts of the songs and vocals. First of all the blasts - some mistakes in drumming rhythm were noticed, and really the music and the overall atmosphere do loose with that painful screams and harsh vocals. Of course with songs like Solitude, Cold Numbness, Hollow, Black infinity, there can’t be anything else but pure misanthropy and screams for help of hopelessness. 

At the end of the day I’m trying to convince myself about which half of the song parts will prevail in my judgement. The slow and gloomy desperation or the painful cut-knife black crescendos which for me are weathering the veins of this record. I leave it to everybody to find the answer for him self. 6/10 Count Vlad

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6/10 - We may survive

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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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Crimson Day - At The Mountains Of Madness

Band: Crimson Day 

Title: At The Mountains Of Madness 

Label: Independent 

Release date: February 17, 2018 

Country: Finland 

Format reviewed: FLAC 

The world of rock & metal, and all music in general, has evolved. Some prefer the return of the real metal to the underground. Personally, I don’t have an issue with that. Internet made it possible for acts, new and older, to independently release and promote their releases, perhaps a lot easier than it was during the earlier tape trading era. I am, however, a strong believer that real talent should be recognized and compensated accordingly. Real talent should have access to proper, worldwide physical media distribution outlets, rewarding streaming and downloading services and hassle-free booking to properly compensating gigs. Unfortunately, in this current world of “internet-underground” metal, the real talent is being suffocated by an immensely growing pile of horseshit, an utter waste of data storage petabytes - stuff unfitted to be called music. The ever greed driven record labels and blood sucking streaming services, further obstructs the development of real talent. With that said: the real talent is out there, awaiting to be discovered, savored and praised by fans! 

The latter is clearly the case for CRIMSON DAY. A virtually unknown band, hailing from the city of Tampere in Pirkanmaa, southern Finland. Formed in 2013, the band released their self-titled debut EP the same year. After releasing their first full-length album, “Order Of The Shadows” (2015), the band underwent a couple of lineup changes, resulting in the current formation of: Lassi Landström (vocals), Jesse Liukkonen & Ari Balzar (guitars), Jesse Kämäräinen (bass) and Tuomas Lesonen (drums). “At The Mountains Of Madness”, the band’s sophomore full-length release, independently came to fruition on February 17th. Twelve captivating tracks, showcasing great composition writing skills, captivating lyrics and admirable execution. Conclusively: real talent! The tracks recorded and mixed by Jussi Kulomaa, and mastered by Esa Orjatsalo, sum up to a very memorable listening experience, a virtual realm of Heavy Metal greatness! Some may chose to superficially call this power metal. The hybrid amalgam of melodic, fluid complexity, up-tempo, proficient, sing-along, inspirational framework, with just the right touch of pure Scandinavian ariose speed metal and a hint of neoclassical, it’s what I call: Epic Heavy Metal! Track after track: each time setting a high level of expectation and delivering it without any hesitation! No fillers, no superficiality. From the dramatic piano bars of the intro, “The Expedition of Dr. William Dyer”, and to the fading acoustic guitar notes of the last song on the album, the haunting “Crimson Shore”, this band delivers a multi-layered, fantastic sound voyage. Upper echelon dual guitar landscapes (including very well executed solos), providing apt, textured foundation for the clean, heldentenor like, imposing vocals, all driven with aplomb by the rhythm section’s pinpoint precision and dynamism. Lyrics, as previously mentioned, are top notch, exploring a variety of subjects: literature (fiction), humanity, injustice, mortality, suicide, psychopathy and history (mythology, war, sacrifice, heroism). The album’s cover art in traditional ink pointillism by A.R. Semaster, completes the package. 

CRIMSON DAY has never toured outside their homeland of Finland, with the exception of one show in Berlin, in 2017. Currently seeking a label, producer and booking agent, the band is working on ideas for new material, after wrapping up a winter/spring tour in support of “At The Mountains Of Madness”. Discover something new: buy it, stream it, whatever … - this talented young band deserves all the support it can get! I absolutely recommend this album! 9.5/10 UHF

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9.5/10 Epic Storm

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Dopethrone - Transcanadian Anger

Band: Dopethrone

Title: Transcanadian Anger

Label: Independent/Totem Cat Records

Release Date: 25 May 2018

Country: Canada

Format reviewed: FLAC

I’ve always thought that the Canadians were usually calm and nice people. However the title of the new track made me think this might not be the case. "Transcanadian Anger" is the name of the new full length album by Dopethrone, fifth since 2009 in their discography so far. Apparently all band's releases are everything else but neither calm nor nice. That said I'm definitely reconsidering my impression about Canada. (sorry, guys!)

Named after Electric Wizrad's 2000 album, and containing certain words-references in the band's name and song titles, one knows what to expect there. Actually yes and no. I really liked the definition on their FB page: “Dopethrone plays Slutch Metal. It's a foul Canadian mix of yellow snow, crackhead diarrhea, blood, tears and broken dreams”. Dopethrone are the hooligans in the party - cocky, bold, spitting curses, drinking beer, making fights and...offering a dose. Hated by the half on that party, but adored by the other half. 

“Transcandian Anger” is sludgy, muddy and dark record and at the same time very lively and groovy. Crushing very low riffs, heavy bass line and grim vocals, whispering evil spells. Vik, Vincent and Shawn delivered very sticky 36 minutes record, with 8 tracks which you just play and leave going. “Planet Meth” is heavy as fk opener with catchy riff. In “Wrong Sabbath” things can’t go wrong, riffs are recognisable and heavy. “Killdozer” is catchy, groovy and enjoyable with its lively rhythm, and “Scuzzgasm” is slower and includes another solid riffs, reminding for Black Sabbath. “Tweak Jabber” is faster crusher again - “fail/repeat/you’re fucked/tough luck”. “Snort Dagger” is really dark and dragging-into-the-dope-swamp track. “Kingbilly Cush” is a grinning doom rhythm and blues track, really enjoyable. The album ends with “Miserablist” - another desperate track to worship the narcotic possession - “dragging you down, cannot crawl out, gonna die quick”. 

On and on Dopethorne are in their best form, comfort zones and territories with Transcanadian Anger. You know what is going on there - cannabis, murder, death. Sleazy and smashing riffs, nightmarish vocals. In my opinion it is among the best albums in the genre so far this year (and not only). It is a very addictive album actually. Like a fix, need it again and again. No way out! 7.5/10 Count Vlad

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7.5/10 Victory is Possible
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