Holy shit! Mayhem has finally confirmed that they are bringing their ‘De Mysteriis Dom Sathanas Tour‘ to North America in January. Continue reading
Tag Archives: De Mysteriis Dom Sathanas
Eindhoven Metal Meeting Adds Hail Of Bullets, Archgoat, Memoriam, And More
The storied Eindhoven Metal Meeting will take place for the 8th time this December 16th -17th at the Effennar in Eindhoven, NL. The fest has added new bands to the bill such as Hail Of Bullets, Archgoat, Memoriam, Illdisposed, Valkyrja, Insanity Reigns Supreme & Burning Hatred. They join a lineup that already includes Mayhem performing all of De Mysteriis Dom Sathanas, Tiamat, Moonspell, Destruction, and more. More bands will be announced soon. Tickets are on sale at the festival’s website:
Previously announced bands for EMM 2016:
Aura Noir (NO)
Archgoat (FI)
Batushka (PL)
Benighted (FR)
Bleeding God (NL)
Burning Hatred (NL)
Caronte (IT)
Cirith Gorgor (NL)
Destruction (DE)
Emptiness (BE)
Endstille (DE)
Enthroned (BE)
General Surgery (SE)
Gutalax (CZ)
Hail Of Bullets (GB – David Ingram (ex-Benediction, Bolt Thrower) on vocals)
Harakiri For The Sky (AT)
Hell (UK)
Insanity Reigns Supreme (BE)
Illdisposed (DK)
Mantar (DE)
Mayhem (NO – legendary debut album ‘De Mysteriis Dom Sathanas “is played in full!)
Memoriam (UK – with band Bolt Thrower, Cerebral Fix and Benediction)
Moonspell (PT – special setlist based on “Wolfheart” and “Irreligious!)
Necrophagia (USA)
Protector (SE)
Schammasch (CH)
Seth (FR)
Tiamat (SE)
Toxic Waltz (DE)
Valkyrja (SE)
Re Ganger (NL)
Inferno Festival 2016: Part 2: Various Venues – Oslo, NO
Part II
Saturday
Blood Red Throne have been around for some time now, and with Yngve “Bolt” Christiansen they found a vocalist able to bring something more to their shows, as he is able to communicate with the audience in a way that seems sincere and engaging. With a set list comprised of something like fifty percent classics from Altered Genesis, their most celebrated album, the band lay Rockefeller in ruins. Bolt circlebanging, puking, then continuing to circlebang. Not to mention guitarist Ivan Gujic trashing his guitar at the end of the show, then proceeding to down half a bottle of tequila. It seemed like the pep talk backstage had been had. This said, the band could have added some more visual aspects to their show, but as an opening act one couldn’t really expect much more than a backdrop.
Suffocation are veterans by now, and a band that always delivers. However, it’s somewhat disappointing to catch them with only two members from the core lineup, instead bringing replacement musicians for guitarist Guy Marchais and vocalist Frank Mullen. But then again, the stand-ins did a really good job, and we got all the classics like ‘Breeding The Spawn’, ‘Catatonia’, ‘Funeral Inception’, ‘Liege Of Inveracity’, ‘Abomination Reborn’, ‘Pierced from Within’, ‘Effigy Of The Forgotten’, ‘Thrones Of Blood’ and ‘Bind Torture Kill’. It was all delivered with conviction and by a Derek Boyer with his bass literally standing upright on the floor at times, and a Terrance Hobbes looking as he was having the time of his life playing the same songs yet again. Suffocation is indeed always a safe bet, and also grand masters of the brutal death metal genre, even when they are playing far from their own New York scene.
Last band of the night were none other than the proud Egyptophile Americans in Nile. They are usually worth catching for George Kollias jaw-drop inducing drumming on its own. Throw in the fact that they have a solid discography of brutal and truly quality death metal by now, and you can maybe forgive them the fact that they don’t offer especially much in terms of the visual part of the show except their backdrop. But when a band churns out great renditions of ‘Lashed To The Slavestick’, ‘Sacrifice Unto Sebek’, ‘Kafir!’, and’ Sarcophagus’, most are willing to ignore the lack of visual pleasing stimuli – ignoring washed out t-shirts and shorts.
World record holder in leather, spikes, and mullets, Nifelheim, proved themselves once again worthy of being THE black thrash export number one of Sweden. Lead into battle by The hard rock brothers, twins Tyrant on bass and Hellbutcher on vocals, they held Inferno captive for ten songs, including the massively enjoyable ‘Storm of the Reaper’. They proved once again that to get far all you need is some good tunes and the proper attitude.
Craft was the last band out on the John Dee stage, and saw the venue filled up with people eagerly anticipating an onslaught of Swedish black metal. And they got what they wanted, although I must admit, after seeing Craft twice now, that they sound better on record than live. They also look a bit disorganized in their appearance, as if the band members don’t have that extra cohesive interpersonal dynamic going that makes a band stand out. At the very end drummer Uruz announced that he would be leaving the band, and introduced what might be his successor, Trish Kolstad, a local Oslo-based drummer, also recently making an appearance with Gehenna. She joined the band on stage for their last song, ‘I Want To Commit Murder’.
A surprise was had with the Finnish legion of Moonsorrow, whose albums I must say I have passed by pretty much in silence and disinterest, seeing as most folk oriented black metal is rather bland, and usually far too jolly, and fits better with the typical German festival goer who enjoys drawing a dick on their forehead and wear viking helmets – the ones with historically incorrect horns stuck to them. But I stand corrected. Moonsorrow was fully enjoyable, and far darker and balanced than I remembered from earlier. If not a band with a great show to coincide with their music, they at least pulled off the musical part with excellence.
Mayhem. I have caught them a million times by now, and there’s always an element of surprise to their performances. If not in terms of theatrics, then in terms of songs selected, or even how the band has seemed to vary immensely in how well they perform the material. This time around the band not only put on a great show, had good sound, but also played some songs they haven’t played in a while. In addition they had both former vocalist Maniac on stage, as well as Attila, and Messiah, all doing vocals on selected songs from their own eras and albums with the band. First appearing was Maniac doing five songs from 2000’s Grand Declaration Of War. Then Attila did ‘De Mysteriis Dom Sathanas’, ‘Life Eternal’, ‘Freezing Moon’ and ‘Illuminate Eliminate’, before Maniac was back on for songs from Deathcrush, which also saw the return of Messiah with the band, probably a byproduct of him appearing earlier on the very same stage with Order. The same band whose drummer Manheim also joined Mayhem on one of the songs he played with them on the Deathcrush EP back in 1987. Basically all in attendance were guided through the bands entire history, pigs’ heads thrown into the audience and all. Wholesome family Easter fun and games in other words. Most definitely a headliner worthy of ending this year’s Inferno festival. The entire Mayhem show is actually on YouTube now it seems, so you know what to do!
WORDS BY PÅL TEIGLAND LYSTRUP AND JULIA TUOMINEN
Mayhem – Live In Leipzig
What makes a “classic”? In the case of Mayhem’s Live In Leipzig (Peaceville) it’s primarily down to what it represents – not only the closest thing to a full album by the classic line-up of Mayhem (itself awarded the c-word at least in part for the fact that two of them were dead by violence within three years), but an important document in the development of both a scene and a genre. It’s impossible to look into the early days of “second wave BM” without running into a reference to Live In Leipzig, and it still regularly appears in lists of the most important releases in the genre. References to it tend to spend longer talking about its classic status, the “atmosphere” or the events of the scene it helped give birth to than the music itself, which can cause alarm bells to ring.
Setting everything else aside for the moment, then, the first thing to say about the music is that it’s RAW. Not just the sound – which is better than you may be expecting, especially in its’ remastered form – but the song-writing and playing too. People already familiar with the band after Dead’s… er… death may be surprised – the mystical, sinister atmosphere of De Mysteriis Dom Sathanas (Deathlike Silence) is thin on the ground, and the experimentalism that the band embraced in their later years is entirely absent. Early tracks like ‘Necrolust’ and ‘Carnage’ push their Thrash and Venom influences to the front, and even DMDS tracks are more savage and direct than their studio incarnations.
Traditional wisdom has Dead being the quintessential Mayhem vocalist, but his style is much more straightforward and orthodox than that of Maniac or Attila – fans of the latter in particular may be disappointed with lines like “in the middle of Transylvania” delivered in a straight rasp rather than Atilla’s vampire drag-queen tenor. The quality he’s so treasured for, of course, is authenticity – it’s hard to deny the genuine rage and alienation of a man who shot himself in the head five months after this performance – but the extent to which it really informs the music is a matter of personal interpretation. It’s precisely that “realness” and lack of irony that can transform Live In Leipzig into something more than the sum of its sloppy parts, but it’s hard to pin down objectively – one person’s “sloppy” is another’s “dangerous”.
As a document of the genre’s early days, Live In Liepzig is as important as you’ve heard, and the bonuses in this package (a booklet full of scene memorabilia and a second disc of another performance with most of the same tracks and a rawer sound) makes it even more so. As a piece of music it’s both undeniably flawed and often genuinely captivating – and in many ways it’s the flaws that makes it so engaging. Still an essential history lesson for those interested in early 90’s Scandinavian BM, but not always an easy one to swallow, and some fans will find themselves blasphemously glad that Black Metal has been so thoroughly house-trained.
7.0/10
RICHIE HR
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Dreams of the Carrion Kind (Part III) – The Watcher from FEN
To celebrate the release of their stunning 9/10 album Carrion Skies (Code666 – review here) The Watcher, guitarist and vocalist of England’s atmospheric post-Black Metal band Fen spoke to Ghost Cult on a range of subjects. In the third of four parts, with a further feature to follow in the next Ghost Cult digimag, talk turned to the role of the audience in the development of a band…
When it comes to writing music, and developments and changes in Fen’s sound, do you care what your fans think, or is writing music for Fen purely for the band members?
First and foremost you have to write music that satisfies yourself; that is an absolute underlying fundament of being in a band, but I do care, yes. I think a band takes on a life of its own after a point. We’re on our fourth album, we seem to have quite a few people out there who support us, and I think it’d be disingenuous to say that your audience, or the buyer, isn’t in mind when you’re putting together material. If people are willing to take the time and effort, and potentially money, to invest in your art, then there has to be an element of reciprocation there. We are conscious of the fact we have listeners; it’s not like we’re a global phenomenon but we are aware, and if we put out a record and our established fans didn’t like it, I’d be really interested to know why.
By not being a band that is overtly a touring artist, does that audience becomes more distant, and contact with the people that buy your product is reduced? It’s not like you are a 5fDP with 18 month tours…
“It isn’t, but that’s not to say we wouldn’t like it to be [on tour that long – not that they want to be Five Finger Death Punch – ST]. I enjoy doing this, I enjoy doing shows, we enjoy getting opportunities, and if you’re in a band and you have an audience, you look to grow that audience, and it’s important. I think there are bands that are disingenuous, and they say ‘We just write for ourselves, and it’s a bonus if people choose to listen to us’, but if you’re just doing it for yourself, then just play your music loudly in the rehearsal room.”
To Misquote Al Jourgensen, as soon as you play music to other people you’re selling out…
“I think it’s a dishonest thing to say ‘We just in it for ourselves’. When you pick up a guitar when you’re 13 or 14 years old, you just want to rock the fuck out. You want to be the man! No matter how many permutations your musical endeavours go down, or whatever prisms you view yourself through, as an artist the minute you’re going onto a stage and plugging into an amp that’s cranked up, there’s an element of that original instinct that kicks in, of wanting to just rock out in front of a crowd. I’m not going to lie about that just to make myself look a little bit cooler or more detached, or more intellectual.
“OK, we have signifiers and caveats to it – we’re playing “Atmospheric post-Black Metal…” Well, ultimately, we’re playing loud rock music. That’s an underlying fact. And a part of that is an audience. It’s an important part of being in a band. No one in a band can look me in the eye and tell me they enjoy playing in front of fuck all people. That’s not true. You can lie to yourself with your ‘There were only 2 people there, but those 2 people really loved it’.
“So… ?”
“I remember in my old band, in Skaldic Curse, we started working on a 25 minute long progressive black metal epic, and we were ‘Oh, this is really going to piss people off’… Hang on a minute, where’s this thinking leading? Are we getting so wrapped up in trying to do what people don’t expect of us? But then you are still thinking about what the audience think, you’re just looking at it through a different end of the telescope. It’s an un-ignorable part of the artistic process, unless you are going to record music on your own at home and only listen to it alone. The minute anyone else enters the picture, even band mates, you’re sharing, and there’s consideration for the listener, and I don’t have a problem with that. I don’t see why that has to somehow compromise the purity of the art.”
I guess it’s always been something that’s intrinsic within the Black Metal / Kvlt Metal mentality or mindset…
“Yes, there’s always the isolationist thing, but if you look at the second wave of black metal, Euronymous still wanted to shift records. He ran a record label. He wanted to sell records from a shop. It was under the guise of spreading the message of the horned lord, or whatever, but he wanted an audience.”
And let’s not pretend De Mysteriis Dom Sathanas (Deathlike Silence) is shit…
“It’s a brilliant record, and Euronymous wanted an audience for it. He’d do tours; Mayhem were touring around Eastern Europe in 1990, 1991, and they were one of the first second wave Black Metal bands out there doing it. And there are some real headbanging moments on De Mysteriis… take the riff on ‘Pagan Fears’, that’s a proper fists in the air riff. The mid-section of ‘Freezing Moon’… that’s a head-banging classic, and that’s why I don’t think considering your audience has to be a compromise at all. I think there’s some dishonesty in that level of thinking because you can be inspired, you can write with integrity and you can still consider your audience.
“If you’ve got to a point where your band has a fanbase, then your band has overtaken you. It’s no longer yours and yours alone. And I know John from Agalloch gets really upset with this, he gets upset with fans having a sense of entitlement, and that’s fair enough, but these people are buying and consuming your music, and it’s a sense that’s born from them enjoying your music. While that can be annoying, in a sense, you can listen to them and take some stuff on board. There is a line, but if they’re genuine fans, buying physical releases and merchandise, and they’re investing in your band and your music, then you owe it to them to take them into consideration.”
Order Carrion Skies here
Words by STEVE TOVEY
Mayhem – Esoteric Warfare
Let’s be honest, the chances of a new Mayhem album being given a genuinely fair hearing in 2014 aren’t high. Even if you can overlook the murder, suicide and hilariously drunk interviews that still follow them around after two decades, their debut album – still considered by many to be THE defining moment in “second wave” Black Metal – casts an equally long shadow. Their career in the twenty years since Euronymous’ death has been both patchy and divisive, each new album being hailed as a return-to-form and dismissed as a betrayal of their legacy by roughly as many people.
In terms of sound, Esoteric Warfare (Season of Mist) is closest to 2007’s Ordo Ad Chao – sinuous, hypnotic riffs and Attila Csihar’s rasping, muttering vocals over drums so precise that they almost sound mechanised. Aesthetically, however, it is perhaps closer to the abstract science-fiction vibe of 2000’s ambitious, but unsuccessful Grand Declaration Of War, the violence and supernatural horror often associated with their work side-lined in favour of an ambient, industrialised kind of menace.
Esoteric Warfare is an altogether more sedate and balanced album than its predecessor – while that raved, gibbered and howled through a series of highs and lows with uncharacteristic emotional depth, the tracks here are mostly content to remain mid-paced or slow, building up an effectively sinister atmosphere. There are some moments of genuine power here – the threatening surge of ‘Psywar’, the thunderous march of ‘Throne Of Time’ – but they’re offset by moments around the middle of the album where momentum almost seems to grind to a halt, trading in dynamics for background atmospherics and pauses that are rather less pregnant than the band probably intends them to be.
Esoteric Warfare is a quietly impressive album highlighting a band who refuse to chase past glories, and deserves considerable praise for that. Many will dismiss it simply for not being De Mysteriis Dom Sathanas, and they’re wrong to do so – this is very much its own album, and offers plenty of its own rewards to those who persevere – but it’s hard to silence the selfish inner voice which wants Mayhem to be more dangerous than this.
7/10
RICHIE HR