Opposer has entered in studio to record their second album, which name will be «Darkest Path»! This time, they are working a much more deep and heavy sound, darker than before, more into the Death Metal sound. Drums are in the way so we will have more news about it very soon. Music will be done in their own personal studio, but the mix and mastering will be done on Khazad-Dûm Studio.
https://morbidshrineproductions.com/wp-content/uploads/2015/09/11863422_971381339585125_1469805026859690336_n.jpg366539Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2016-01-07 10:05:402016-01-07 10:05:40Opposer is in studio!
The Morbid Shrine will re-release the sold out demo «Skapt av Helvetesild» by Djevelkult very soon. The Underground hidden masterpiece of this Norwegian cult band shall come remastered and with some bonus tracks. A new cover art is in the way too, so expect a «new old» opus of true Occult Black Metal released in CD format.
https://morbidshrineproductions.com/wp-content/uploads/2015/10/10377523_705027836200773_8020387906433970583_n.jpg641960Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2015-11-24 10:25:072015-11-24 10:26:25Djevelkult’s «Skapt av Helvetesild» demo of 2011 will be released through the Morbid Shrine very soon…
Ghazghkull/Signs Of Hate/Morbid Shrine Productions/2015 Demo Compilation Review
Ghazghkull where a solo project from Spain that played a very raw and misanthropic form of black metal and this is a review of his demo compilation album «Signs Of Hate» which was released by Morbid Shrine Productions.
Nature sounds and atmospheric synths start off the compilation and after the intro the music goes into a very fast and raw black metal direction that also utilizes a great amount of blast beats along with some grim screams a few seconds later and the songs bring in a great mixture of slow, mid paced and fast parts.
Most of the music is rooted in the 90’s second wave style and you can also hear synths in the background at times and when guitar solos and leads are utilized they are done in a very dark and distorted fashion and one of the tracks brings in a brief use of spoken word parts and some of the tracks are very long and epic in length while a later track brings in melodic Gregorian chants that also gives the music more of a ritualistic feeling as well as a brief use of acoustic guitars while the main focus remains more on a raw style of black metal.
Ghazghkull played a style of black metal that was very raw and misanthropic taking the 90’s style into the early 21st century and also had an atmospheric style at times which was very common for the Iberian bands of the mid 90’s, the production sounds very dark and raw while the lyrics cover misanthropy, darkness and blasphemous themes.
In my opinion Ghazghkull where a very great sounding raw and misanthropic solo black metal project and if you are a fan of this musical genre, you should check out this compilation. RECOMMENDED TRACKS INCLUDE «Avatar Of Darkness» «Witness Of Nocturnal Silence» and «The End Of The Human Race». 8 out of 10.
https://morbidshrineproductions.com/wp-content/uploads/2015/11/flyernew1GHAZGH.jpg4231037Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2015-11-22 08:00:202015-11-22 08:00:20Signs of Hate – 8/10 by OccultBlackMetalZine!
1. Haz una introducción a Ghazghkull. Desgraciadamente, habrá mucha gente que ha llegado al Black Metal sin haber sabido de la existencia de tal proyecto.
Pues empiezas la entrevista con la pregunta más difícil, me resulta muy complicado definir la música que hago…
Definiría GHAZGHKULL casi como una necesidad personal, una vía de escape. GHAZGHKULL es el resultado de juntar la energía y la mala hostia de los 18 años con la decepción constante del ser humano actual.
A quien no conozca GHAZGHKULL le diría que si busca un buen sonido o un Black Metal técnico, se está equivocando, ya que los recursos de los que disponía por aquel entonces eran más que limitados, y la música virtuosa o excesivamente pensada me aburre muchísimo y no me dice absolutamente nada.
GHAZGHKULL es visceral, directo, sucio e instintivo.
2. Hay que recordar que Ghazghkull desapareció años antes del auge de las redes sociales. Por lo visto, si no tienes presencia en ellas, no sólo no existes, sino que no has existido jamás. ¿Qué opinas tú de toda esta farsa? Pienso que como todo, si se le da un uso correcto pueden ser de gran utilidad. El problema es cuando la gente basa su vida en estos mundos paralelos y se olvidan de lo más importante: Ser quien de verdad son, sin importar los “likes” que tenga la foto de lo que has desayunado hoy.
En la época de GHAZGHKULL también nos comunicábamos todos a través de una especie de red social, salas de chat o como se llame eso ahora. Y la verdad, por lo menos para mí, fue enriquecedor y surgieron alianzas de lo más interesantes que sin aquella herramienta nunca hubieran sido posibles.
3. Llevando más de diez años inactivo, no ha sido hasta ahora que has decidido editar un recopilatorio con todo el material que grabaste a principios del nuevo milenio. ¿Por qué ahora? ¿Crees que es hora de que retorne el Black Metal en su estado puro? El “Black Metal en estado puro” nunca debería haber desaparecido. De hecho hay muchísimos grupos que se han mantenido fieles a aquella esencia.
La verdad es que la idea de editar este recopilatorio de todo el material de GHAZGHKULL no fue algo premeditado, sino un cúmulo de casualidades.
Un día me escribió Lavín y me dijo “están hablando de tu grupo en SPANISH BLACK METAL” entré en la página y leí con cierta sorpresa los comentarios de la gente, en ese momento me escribió Sixto con la propuesta de editar este material en su sello MORBID SHRINE PROD. Y como creo que todo pasa por algo, me parecieron demasiadas coincidencias como para decir que no.
4. Después de alguna promo o demo, y de aquel split de «Iberian Black Metal War» (Oniric 2004), junto a Mortinatum y Forestdome, ¿Por qué decidiste poner punto final a Ghazghkull? Parecía un comienzo prometedor. De hecho nunca decidí poner punto y final, simplemente GHAZGHKULL quedó aletargado dentro de mí, quizá aguardando el momento de volver a resurgir.
En el 2004 pasaron algunas cosas en mi vida que hicieron que todo se tambaleara, eso me llevo a tomar la decisión de darle otro enfoque a las ideas que me iban surgiendo. En ese momento me volqué totalmente en ÀRNICA, que ya llevaba un par de años rondándome por la cabeza y tenía ya alguna cosa grabada.
5. Actualmente tocas en Àrnica, un grupo de Neofolk ibérico. Las diferencias son muchísimas con aquella otra encarnación del más misantrópico y oscuro Black Metal que era Ghazghkull. Supongo que te sientes más identificado con Àrnica a nivel cultural, artístico y místico pero, ¿qué hay aún de Ghazghkull en tí? ¿Aún eres un misántropo dado a las artes ocultas o dejaste de lado todo aquello para iniciarte en otras prácticas? Bajo mi punto de vista, a un nivel estrictamente musical si hay diferencias, pero el sentimiento y el mensaje no varía tanto.
Me siento igual de identificado en ambos proyectos, si que es cierto que ÀRNICA lleva ya mucho rodaje y quizá es más acorde conmigo ahora, pero me sigo viendo reflejado en las canciones GHAZGHKULL, de hecho estos días escuchando canciones antiguas para SIGNS OF HATE, casi ni me acordaba de haber grabado eso yo, pero me sorprendió que los temas iban evolucionando tal y como los haría evolucionar si los volviese a grabar hoy mismo. Eso para mi mismo les da mucha veracidad.
6. ¿Hay planes de resucitar Ghazghkull o sientes que dijiste todo lo que tenías que decir con ese proyecto? Con el paso del tiempo, ¿cómo valoras tu trabajo en este proyecto? Pues si te soy sincero, ahora que he estado re-escuchando todos los temas, me han surgido bastantes ideas nuevas y ganas de grabar algunos riffs queya tenía en mente. Pero no séque haré, realmente no dispongo de tanto tiempo, ahora estoy acabando de grabar lo que será el primer disco de WIHINEI RITA y con ÀRNICA ya tenemos proyectos nuevos en los que trabajar.
7. Háblanos de Wihinei Rita. Para el que no lo sepa, es una suerte de mezcla entre Ghazghkull y Àrnica. Supongo que es una manera de definirlo, para mí es un trabajo muy personal, mi autoretrato. Es la combinación de todo lo que más me gusta y me mueve en esta vida, a parte de mi familia claro.
8. ¿Crees que Wihinei Rita es por donde irá ahora tu trayectoria dentro del Black Metal o volverán los oscuros y tenebrosos tiempos de Ghazghkull en algún momento? ¿Hay hueco para esa negrura en Wihinei Rita? ¿Qué significa el nombre? WIHINEI RITA significa “Religión/Creencia Primaria” y la temática trata de la parte más ancestral y primaria del alma del ser humano, de la mística de los orígenes del hombre. En toda creación hay luz y oscuridad, por lo tanto sí que tendría lugar esa negrura, quizá un poco más “controlada” que en GHAZGHKULL, pero no menos oscura.
Pero como he dicho antes, GHAZGHKULL permanece aletargado en una parte de mí, y no descarto en absoluto volver a grabar algún día bajo ese feroz estandarte.
9. ¿Andas puesto en materia de Black Metal actual? Dime qué bandas aún escuchas, o si alguna ha llegado a tus manos que te haya parecido interesante. La escena ha cambiado mucho en las últimas décadas… La verdad es que no ando muy puesto en el “mundillo” Black metalero actual, y seguramente sea consecuencia de ese cambio que comentas. Para mí el Black Metal no es sólo música, o hacerse fotos lo más pintado y “malote” que puedas. Para mi es algo más, es una forma de vida y de ver el mundo, es una actitud, y al final (bajo mi punto de vista) es eso lo que da esa oscuridad, ese punto extra que nada tiene que ver con la calidad de sonido, las fotos o la cantidad de cruces invertidas que salgan en un disco.
Por ejemplo uno de los discos “actuales” que más escucho es el GROZA de MGLA, o alguno de los últimos trabajos de BURZUM. Aunque cuando me apetece escuchar Black Metal me pongo discos “clásicos” (digo discos y no grupos por que la mayoría de grupos clásicos creo que hoy por hoy son una mierda)
10. Esto es todo, Lord Arhawn. Gracias por tu tiempo y despide la entrevista como mejor creas. Pues me gustaría acabar esta entrevista dando las gracias a Sixto de MORBID SHRINE PROD. Ya no por ofrecerse a re-editar el material de GHAZGHKULL (que también)si no por el hecho de obligarme a revisar material, tanto audios como imágenes, antiguos. Me ha servido para entenderme un poco mejor y recordar tiempos pasados.
Respuestas: Lord Arhawn
1. Please introduce Ghazghkull. Unfortunately, there will be many people who have arrived to black metal without knowing the existence of such a project. You actually start the interview with the most difficult question, I find it very difficult to define the music I make…
I would define Ghazghkull as a personal necessity, a way to escape. Ghazghkull is the result of bringing together the energy and anger typically found in 18 years-old, with the constant disappointment of the present-day human being.
To those who do not know of Ghazghkull, I would say that if you’re looking for a good and technical sounding black metal you are mistaken, since the resources at my disposal at that time were more limited, and technical music bores me too much since it does not make me feel anything.
Ghazghkull is visceral, direct, dirty and instinctive.
2. We must remember that Ghazghkull disappeared years before the rise of social networks. Apparently nowadays if you have no presence there, not only does one not exist but one has never existed. What do think you of all this farce? I think that like everything else, if its given proper use it can be very useful. The problem is when people base their lives in these parallel worlds and forget the most important: be who you really are, no matter how many «likes» you picture of what you had for breakfast today gets.
At the time of Ghazghkull we also did communicate through a kind of social network, chat rooms or whatever they are called now. And the truth is, at least for me, it was enriching and alliances emerged that without that tool would never have been possible.
3. Being over ten years inactive, it has not been until now that you’ve decided to release a compilation with all the material you recorded at the beginning of the new millennium. Why now? Do you think it’s time for black metal in its purest form to return? «Black metal in its purest form» should never have gone. In fact there are many groups that have remained true to that essence.
The truth is, the idea of publishing this collection of all Ghazghkull’s material was not premeditated, but an accumulation of coincidences. One day Lavin wrote me and said «they are talking about your group at SPANISH BLACK METAL». I visited the page and read with some surprise people’s comments, and at that time Sixto proposed me to edit the material on his label MORBID SHRINE PROD. And since I believe everything happens for a reason, I found it to be too many coincidences to say no.
4. After some promo or demo, and that «Iberian Black Metal War» split (Oniric 2004), with Mortinatum and Forestdome, Why did you decide to put an end to Ghazghkull? It seemed a promising start. I never actually decided to put an end to it, simply put Ghazghkull was lethargic inside me, perhaps waiting for the moment to re-emerge.
In 2004 some things happened in my life that shook everything, which led me to decide to take another approach to the ideas that came to me. At that time I threw myself totally into Arnica, which was already bouncing around my head, and had some stuff recorded already.
5. Currently you play in Arnica, a band that plays Iberian neofolk. The differences with that other incarnation of dark and misanthropic black metal that was Ghazghkull are many. I guess you feel more identified with Arnica on a cultural, artistic and mystical level but, what is still left of Ghazghkull in you? Are you still a misanthrope that dabbles with the occult, or did you leave all that to get started in other practices? From my point of view, at a strictly musical level there are differences, but the feeling and the message does not change much.
I feel equally identified with both projects; it is true that Arnica has now been going on for longer and I am perhaps more in tune with it now, but I still see myself reflected in Ghazghkull’s songs. In fact these days I was listening to old SIGNS OF HATE songs that I had almost forgotten about, and I was surprised to see that they were evolving in the same way they would if I recorded them today. That gives them a lot autenticity in my eyes.
Lord Arhawn today.
6. Are there any plans to resurrect Ghazghkull or do you feel you said all you had to say with this project? Over time, how do you assess your work on this project? Well, if I’m honest, now that I’ve been re-listening to every song I have come up with many new ideas and wanted to record some riffs that I had in mind. But I don’t know what I’ll do, I don’t really have that kind of time, now I’m finishing the recording of what will be WIHINEI RITA’s first album, and with Arnica we already have new projects to work on.
7. Tell us about Wihinei Rita. For those who do not know, it’s kind of a mix between Ghazghkull and Arnica. I guess it’s a way to define it, for me it is a very personal work, my self-portrait. It is the combination of everything that I like and moves me in this life, apart from my family of course.
8. Do you think Wihinei Rita is where your black metal career will head towards, or will the dark and gloomy Ghazghkull era return at some point? Is there room for that blackness in Wihinei Rita? What does the name mean? RITA WIHINEI means «Religion / Primary Belief » and it deals with the most ancient and primary part of the human soul, the mystical origins of man. In all creation there is light and darkness, so there is room for that blackness in it, but perhaps in a bit more «controlled» way than in Ghazghkull, but no less dark.
But as I said before, Ghazghkull remains as a dormant part of me, so I do not rule out a new recording under its fierce banner.
9. Do you follow today’s black metal? Tell me which bands you still listen to, or if any band that you found interesting has reached your hands. The scene has changed a lot in recent decades… The truth is that I’m not really into the current black metal «scene» nowadays, and is probably due to that change you talk about. For me black metal it is not just music, or taking pictures with as much corpse-paint as possible and looking as tough as you can. For me it is something else, it is a way of living and seeing the world, it is an attitude, and ultimately (in my view) it’s what gives this darkness, that extra point that has nothing to do with the quality of sound, pictures or the amount of inverted crosses appearing on a album.
For example, one of the «current» albums I listen to is MGLA’s “GROZA”, or one of BURZUM’s last works. Although when I feel like listening to black metal, I grab the «classic» albums (and I say albums and not bands, since I believe that most classical bands that still play today are crap).
10. This is it, Lord Arhawn. Thanks for your time and end the interview as you wish. Well, I would like to end this interview by thanking Sixto from MORBID SHRINE PROD. And not for offering to re-edit Ghazghkull’s material (that, too), but for the fact of forcing me to review that old material, both audio and images. It has helped me to understand a little better and remember the past.
Answers: Lord Arhawn
https://morbidshrineproductions.com/wp-content/uploads/2015/11/flyernew.jpg600800Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2015-11-20 09:59:592015-11-20 10:01:29Entrevista a / Interview to Ghazghkull!
1.Can you give us an update on what is going on with the musical project these days?
Ave! Right now we’re still working on promoting “Christeos Chaos” as much as possible (both the label and I). The German label Dark Ritual will soon release a demo compilation with a couple of extra, unreleased tracks, called “Black Illumination”, and I am always working on new songs for future releases.
2.In May you had released a new album, how would you describe the musical sound that is presented on the recording and also how does it differ from the stuff you have released in the past?
Yes, a few months back we released my second full album called “Christeos Chaos”, which presents an evolution of the music recorded in my first album “Katabasis”. You can find the same elements that were present there, just more refined and with more variations. There is a bigger variety of tempos, the structure of the songs is generally less simplistic (even though there are a couple of songs that do follow a more traditional structure), and overall I would say there has been an improvement both in the execution and quality of the material. The sound is better too, and I experimented with some clean voices in a couple of songs, which is probably the biggest change. There is also the fact that I included a song in Spanish, something I’ve never done before.
3.The musical project has been around since 2005 but so far has only released 2 demo’s and 2 full length’s, can you tell us a little bit more about the gaps in between releases?
The main reason why there has been so big gaps between releases is that I play in several other bands (or used to, less so nowadays), and I like to focus on one thing at a time, so if I am working on a specific band’s album, I can’t be really working very seriously on other releases. I think that is probably the best for the band though, because otherwise the music could become stale; you have bands that release an album every year and there is little change between them, it’s basically the same album, stretched through several years… It’s great to have a formula and follow it constantly, but by recording stuff for several different bands I space their releases, and in my opinion that keeps the music in all of them fresher, more authentic. I of course don’t mean change for the sake of change, I love bands which are true to their sound, like Iron Maiden for example, but I think an evolution is necessary, if not unavoidable. This is something I didn’t understand nor accept years ago, but with time and age I have come to appreciate; take for example Satyricon, some would say that they have betrayed their roots and that they are not even a black metal band anymore, that they have sold out, but in truth they have sticked to their style, simply altering and evolving the formula. Imagine if they had never evolved from Dark Medieval Times (amazing album, by the way), we would have never gotten Nemesis Divina or Rebel Extravaganza. I think it’s important to stay true to one’s essence and message, and evolve as necessary, without artificial boundaries created by what the general public expects from a specific musical genre.
4.Your lyrics go in depth into Occultism and Black Magick, what are some of the aspects that you explored lyrically on the new album that you where not able to do with previous releases?
I would say that the core concept behind CoB is the Left Hand Path, with its wide arrange of subjects. Most of the songs in “Christeos Chaos” are chants in praise of darkness and the forces that dwell within it, with a few exceptions. Lyrically speaking, this is quite an eclectic album, since I also added some older, unused lyrics and mixed them with newer concepts and chants. In a way, this is a continuation of the previous album since I touch many subjects that I treated there, just from a new perspective. Some lyrics are based on ancient traditions and prayers, other like the song “Christeos Chaos” are based on modern grimoires, in this case Nicholai Saunder’s Arbor de Magistro. So with this album I explored themes both old and new for CoB.
5. I know that the band name is related to the Goetic demon Beleth, what was it that inspired you to name your project with this deity being a part of it?
I wouldn’t call Beleth a deity, but back when I started composing music for what would become Chains ov Beleth I was working very closely with him, and I felt in a way chained to him… So it was a natural option, I suppose. Sometimes we become obssessed with the entities we work with for a longer period of time.
6.With this musical project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo on this project?
Not really, I honestly like having full control in CoB. I have another band, Eald, which also started as a solo project but right now has another two members, and that is enough for me. CoB is a very personal project, and I don’t want to spoil that. There are of course advantages to playing with other people, mostly the opportunity of playing live, but since that is not one of my goals, it doesn’t bother me at all.
7. For awhile you where living in Norway, what was the decision to move back to Spain?
Norway is a wonderful country to live at or simply for visiting, and I still have great friends there, but for personal reasons I decided that it was time to change. I actually didn’t go back to Spain, I went to Serbia. Since then I’ve been back at Spain, Germany and again Serbia.
8. You also run ‘Fall Of Man Press’, what are some of the authors that you have worked with and what can we expect in the future?
I guess the most known author for black metal fans would be Shamataae from Arckanum, who used to write under the name of Vexior. We have recently released the first book of the man behind the black metal band Sanguinary Misanthropia, entitled Diabolic Gnosticism, and we will soon release a new book focused on the ancient art of Brazilian necromancy and ancestor worship called Quimbanda which has the title of The Black Book of Quimbanda. Those are just some of the books we have released that would probably appeal to the sensibility of a black metal fan, but we have released a few more. Anybody interested can checkwww.fallofman.eu to learn more about it.
9. On a worldwide level how has the feedback been to your newer music by fans of black metal?
I personally haven’t gotten any feedback from fans, but the label tells me that people buying my CD seem to like it, which is great. There have been a few reviews here and there, but we are still promoting the album so I believe not that many have had the chance to listen to my music yet.
10.What is going on with some of the other bands or musical projects these days that you are a part of?
The only bands I am really active with right now are Chains ov Beleth and Eald; even though I am still in theory a member of Alverg (we have just had our first album re-released on Vinyl, by the way), that band is a bit frozen for now, since it’s difficult for us to rehearse together, and Lóge has shifted his focus from music to other activities as of late. With Eald we have just welcomed a new band member who will be dealing with the vocals, and we are now recording a new demo, but we will talk about it in detail when the time comes.
11.Where do you see yourself heading towards as a musician in the future?
It is hard to tell, to be honest; I don’t think I will ever stop playing black metal, but I do see myself experimenting more and mixing genres; I believe that is the only way for a band to progress and evolve and become something else, something more personal.
12.What are some of the bands or musical styles that have had an influence on your newer music and also what are you listening to nowadays?
The bands that influence me the most when I think of composing for CoB are several; when it comes to black metal I have to mention Deathspell Omega and Funeral Mist, but also Satyricon’s Rebel Extravaganza and even Ved Buens Ende; out of black metal I would say Virus, The Cure, Sisters of Mercy, King Dude… Nowadays I listen basically to the same stuff I always did; classical black metal bands, with some modern ones here and there, like Ascension or the amazing Kozeljnik, lots of classic gothic rock and post-punk, a bit of electronic music, and even some blues here and there.
13.Before we wrap up this interview, do you have any final words or thoughts?
Thank you for giving me the chance to talk about my art. And to any true follower of the Left Hand Path: Keep the Black Flame alive!
https://morbidshrineproductions.com/wp-content/uploads/2015/07/CoB_logosello.jpg2851000Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2015-11-19 15:50:532015-11-19 15:50:53Chains ov Beleth interview for OccultBlackMetalZine
I sometimes don’t think people realise how hard it is to enjoy albums when you have to go through so many of them in a short space of time. You hear so many that sound so similar and it is hard to be positive about these albums. Not because they’re bad, they are most certainly not. But death metal for example is pretty hard to decipher when the band’s essentially play the same style without no change at all.
I was starting to think this of the new album WELCOME TO… from THE HELL. A vicious death metal band that hails from the far reaches of Serbia. Their album does something that not a lot of bands do these days, the second half of WELCOME TO… is far superior. Most bands bunch their best songs at the start of the album and hope people don’t notice the crap at the end. However when I hit the track THE HUMAN HARVEST FIELDS, the band took a completely unexpected turn from decent but ordinary metal and churned out some excellent five tracks that totally made the album for me.
The thing people have to remember is that even if the songs aren’t bad, they can be a little generic and I would say that about the first half of the album. WELCOME TO… was most definitely saved by the later songs which feature some seriously catchy, very fun death metal numbers. They range from some MORBID ANGEL to VADER in their brutal but infectious approach. GENOCIDAL WRATH and PHILOSOPHY OF VENGEANCE are easily the best songs on the album. I also really enjoyed the closing number, AMEN! which reminded me a lot of the modern input from EXODUS.
I know the start of this review sounds awfully negative but this is an album I enjoyed and I would recommend it. THE HELL clearly have the chops to play this kind of music. There is some really nice guitar playing, impressive bass licks and a particularly brutal drummer. So even though the first half of the album is unremarkable to a point, it does become a lot more likeable after multiple listens and it is worth it just for the second half of the record.
Hoy estaremos en la sala «Rock Beer the New» (Santander), en el concierto que nuestros Opposer darán junto a los chicos de Barbarian Prophecies y Stado Krítico. El concierto sólo vale 5€, de modo que cualquiera que esté a unos pocos kms a la redonda, y sea fanático del Metal Underground, no tiene perdón si se lo pierde.
Además del concierto, Morbid Shrine Productions pondremos un stand para distribuir parte de nuestro catálogo. No podemos llevar todo, pero sí habrá gran material de primera, como CrystalMoors, Briargh, Deprive, Djevelkult, Ghazghkull, Chains ov Beleth, The Hell y un montón de albums de primera de Death y Black Metal.
https://morbidshrineproductions.com/wp-content/uploads/2015/10/12122841_10208072582030998_183690743334781844_n.jpg539960Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2015-11-14 10:04:512015-11-14 10:07:24Today! Sala Rock Beer the New!
Chains Ov Beleth/Christeos Chaos/Satanath Records/Morbid Shrine Productions/2015 CD Review
Chains Ov Beleth are a solo project from Spain that plays an occult form of black metla and this is a review of his 2015 album «Christeos Chaos» which was released as a joint effort between Satanath Records and Morbid Shrine Productions.
A very dark and melodic sound starts off the album along with some drum beats and powerful bass lines kicking in a few seconds later which also leads up to some very tortured sounding grim black metal vocals and after awhile blast beats can be heard in certain sections of the recording and the vocals also use screams at times.
A great portion of the tracks are very long and epic in length and when solos and leads are utilized they are very dark and melodic sounding and when the music speeds up it displays more of a raw style of black metal and the songs also bring in a great mixture of slow, mid paced and fast parts while clean playing can also be heard in certain sections of the recording and on some of the tracks the vocals start utilizing a small amount of melodic singing and demonic spoken word parts which also gives the music more of a ritualistic feeling and some of the slower riffs also bring in elements of doom metal.
Chains Ov Beleth plays a style of black metal that mixes both modern and old school styles together along with some ritualistic elements and goth style clean singing to create a style of his own, the production sounds very professional while the lyrics cover Black Magick and Ritualism themes.
In my opinion Chains Ov Beleth are a very great sounding occult black metal solo project and if you are a fan of this musical genre, you should check out this album. RECOMMENDED TRACKS INCLUDE «Breath Of Disease» «Thrice Name, Thrice Cursed» and «Transcending». 8 out of 10.
https://morbidshrineproductions.com/wp-content/uploads/2015/11/cob.jpg315315Morbid Shrinehttp://morbidshrineproductions.com/wp-content/uploads/2018/01/logosinfondo.pngMorbid Shrine2015-11-12 11:52:542015-11-12 11:52:54Review of «Christeos Chaos» by OccultBlackMetalZine!
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