6 years ago, the Hungarian entity called Svoid appeared from the mists of Null for the first time. Its sharp toothed mouth gnawed slowly on the pillars of knowledge and death, releasing from the hungry void 5 darkened hymns.
Ars Kha was unleashed as an independent release hence its limited availability on the market. Those of you who are reading this and wonder where you can buy the physical copy from, I’m afraid I have to disappoint you by telling you this material has been sold out for quite a long time now. The only possible place to buy this black masterpiece is the band’s official Bandcamp page, where you can purchase the digital copy for less than 3 Euros. Hopefully that someday in the near future this debut record will see again the light of night in another form, because it really deserves a true re-release.
Having left the previous projects he was involved in and very determined to walk on his own path, S sought a way to throw his hate and despise in the face of the ugly humanity in the only way he could: through music. This is how Svoid was born and this is how Ars Kha first formed from a formless shape. Handling all the duties besides the drumming, S composed and recorded the 5 tracks in the JuiceKiller Studio in 2011.
The album slowly unfolds its black wings and deceitfully drags the listener into a mid tempo rhythm only to suddenly explode into an eruption of frantic riffs and demented blast beats. All the ingredients of a classic black metal album are thrown into this boiling cauldron while S and his extremely talented nameless drummer stir them with their craft.
The icy guitars, the possessed and desolate shrieks, the insane drumming (those double bass pedals are absolutely amazing) and the discrete but omnipresent bass guitar form the band’s black metal exoskeleton and help creating a very dark and gloomy atmosphere. The lyrics are poems dedicated to Death, making the 5 songs on this EP the perfect soundtrack for the passing into unbeing.
A certain melancholy permeates the 5 compositions and it is highlighted by some brilliant guitar parts, as the short but intense solo of Peter Sallai on “A Void of Breathless Fall” or the farewell-like chords at the end of “The Emptiness They Find“.
Of course that several influences can be heard here and there during those 26 minutes – the strongest which comes to mind is Watain – but trust me when I say that after listening several times in a row to those songs you’ll be amazed how much soul and passion the 2 musicians have put into this release. This is definitely not another clone band, but a very true to itself one. To prove that, just check out their later releases and see how they have evolved and how much they have transgressed from the nothingness which they were born in.
Those of you who have already listened closely to Svoid’s music have maybe sensed the essence which binds all their releases together. This essence is much more than black metal, which has been used only as a leitmotif to hide the true spirit of the band and its members. The songs which are on this MCD or EP or whatever you want to call it are so much alike with some tracks the band has composed on their later materials. The essence is still there, only the form has changed.
Ars Kha strongly burns with a fierce black flame and lights up the dark hallways of the dimensionless void which Svoid and its members represent. This debut MCD is a powerful reminder that good music can only come from the heart, with passion, blood and dedication.
ARS KHA tracklist:
1. Supreme Evil Glory
2. Death Underneath
3. A Void of Breathless Fall
4. Ars Kha
5. The Emptiness They Find
Recorded live in 2011, just before the release party for the Year of the Goat box set, what is now known as Metalion 50 Years of Fucking Off Life has been immortalized on vinyl by the Italian label FOAD Records in May 2017.
The name of the band which played these tracks is MÖRBIT and consists of several well known musicians from the Swedish extreme scene. They have decided to put up this band in order to play some Morbid tracks at the above mentioned release party and, the night before the show they recorded their rehearsal as a funeral party for Metalion‘s Slayer Mag and as a tribute to Per Yngve Ohlin, aka Dead, which was Morbid‘s singer for a little while, before moving to Norway to join Mayhem.
This tribute band consists of Peter Stjarvind (drums), Erik Wallin (guitar), David Blomqvist (guitar), Tyrant (bass) and Erik Danielsson (vocals). The fact that these super musicians have united to play some classic Morbid tracks is pretty awesome, but to record this rehearsal at the infamous Watain‘s Wolf Lair is beyond words.
The vinyl, which was released in several formats (red splatter, clear red and black), came out on the 26th of May and has become a really important document in the history of extreme metal. Not only because of the awesome line-up – musicians who play(ed) in bands like Entombed, Damnation, Merciless, Nifelheim, Dismember and Watain – but also because of the tracks featured on this record, which basically contain the whole classic December Moon demo, released in 1987. Continue reading MÖRBIT (Morbid) – “METALION: 50 years of fucking off life Vinyl review – June 2017 AB→
Quite a long time has passed since the last feature was published in Scrolls of Darmoth. Many events took place, some of them of great importance on a political level (at least for some of my fellow Romanians) and the others which were strictly related to my personal life. Overall, these events prevented me to write/create anything. In other words I lost the inspiration for a while. There’s no point of writing something just for the sake of it, when all you have in your mind are empty spaces.
I had this interview in mind after writing the review for the album “Pledge Nothing but Flesh“, but I could not compose the questions anymore. So I decided to wait and let things fall back into their own pieces again and last week the muse came back with the stolen inspiration. I was finally able to send the questions over to the Irish band Scáth Na Déithe, who, through the voice of Cathal Hughes, was very kind to answer them.
I thank them for the interview and I urge you to listen to the album first, then read the interview. You’ll learn many interesting things about this band and the country it comes from. Crack open a cold one and enjoy the reading.
Hi Cathal, apologies for the lateness of this interview. I wish it were ready sooner, but independent issues prevented me from finishing the questions in due time. First of all, thank you for accepting this interview for Scrolls of Darmoth and second, congratulations for the impressive album that is ‘Pledge Nothing but Flesh’, which was released one month ago. Let’s roll!
SoD: I have to ask this question, as I am extremely curious. What does Scath Na Deithe mean in the Irish language and who exactly are you guys? Please introduce the band a bit to our readers.
CH: Scáth Na Déithe roughly translates into English as ‘The Shadow of the Gods’. We wanted a name that would reflect our intent to take a large influence from Irish folklore and traditions. There are two of us in the band, myself Cathal Hughes and Stephen Todd. I live in a small village in the north of Dublin called Rush and Stephen is from Co. Tyrone.
SoD: Scath Na Deithe is a young band, but the music on your releases begs to differ. Did you guys spend your “apprenticeship” in other bands, or this is your first and most serious project you have been involved in?
CH: We have both been involved in numerous projects; we came to know each other through playing shows together in different bands. We have both released music with other projects in the past so we have had a lot of experience in writing and recording music, but this is the first band were we have created music together.
SoD: Until now you have released a demo tape (“The Horrors of Old” in 2015) and the first full length, “Pledge Nothing but Flesh”, which came out in January 2017. Both releases are DYI, independent. Why is that? Is it easier that way or it’s difficult to find a decent label willing to support a young band these days?
CH: The EP was released independently because it was the very first material we were releasing so we were planning on attracting the attention of labels with that release. We had some offers for cassette releases but they ended up falling through, so we self-released a limited cassette edition of the EP last year. We tried to gather some label interest for the release of “Pledge Nothing but Flesh” but we didn’t receive any offers that were well suited to us. We have since confirmed that a cassette version of “Pledge Nothing but Flesh” will be released this March on Metal Defiance Productions. We purposely take an extremely DIY approach to the recording and mixing of our albums. We do this because I really feel that we require a very specific type of production to reinforce the feel and aesthetic of our music.
SoD: Your music is not something which I can call happy nor very easy to listen to. On both your releases you have created a suffocating, sinister and addictive atmosphere which the listener can easily be sucked into, if not careful. Where does your inspiration come from? Is it something related to the famous bleak Irish weather, is it the world you live in or it’s just you, as persons?
CH: It comes from many places, but yes for sure the darkness of the Irish weather and the landscape we live in have a huge impact on the music we write. The main source of inspiration for the actual music itself is very hard to pin down, I would say I am moved to write music by books I read, the images or feelings they can evoke, more so than by listening to music. Of course listening to extreme forms of metal have a direct impact on what we write, but rather than being able to list off a few bands that we are trying to emulate, it is very much the mindset that listening to extreme metal pulls you into that inspires me to write.
SoD: Besides the 2 instrumentals, the 4 songs on “Pledge Nothing but Flesh” are very long, lasting more than 10 minutes each. I don’t think that their length is an enemy here, because the despair which permeates from those tracks cannot be unfolded in just a few minutes. Was this something you planned from the beginning, or it just happened in the process of writing and then you decided to go with the flow, so to speak?
CH: From the start our goal for this album was to have long track lengths for the exact reason you mention, the type of atmosphere and emotions we are trying to convey can’t be properly expressed in shorter songs. I treat the arrangement of a song like a story, it should rise and fall, take you on a journey through different emotions. Our vision for how the album should progress was clear while it was being written, it is an album of two halves, the first half is meant to convey pure rage and aggression, and the second half to be more somber and reflective. The second instrumental track is there to give contrast to the harsh tracks that go before, to give the listener a brief departure from the weight of the oppressive atmosphere of the music, and to lead you into the second half of the album.
SoD: While the vocals have a very death metal vibe, the riffs and the drumming combine genres, reminding me of Dead Congregation mixed with Ataraxie and with a serious touch of black metal. What music are you guys listening to, when not involved in Scath Na Deithe? Do you listen to (extreme) metal at all?
CH: I am a huge fan of Dead Congregation so thank you for the comparison. Yes, we mostly listen to extreme metal, lately I have been listening to the “Hero” album by Bolzer, Kyrpts, Imha Tarikat, the new Teitanblood EP, The Ruins of Beverast and the latest Blaze of Perdition album. We both listen to a lot of the same bands when it comes to extreme forms of metal.
SoD: The fact that this album has been mastered in the famous Necromorbus Studios (Watain, Armagedda, Funeral Mist and many other great bands) could have enhanced the sinister atmosphere contained on this record?
CH: Absolutely, Tore did an amazing job mastering the album and got us the exact result we had hoped for. He has done great work for so many amazing bands so we were very excited to have him master our album. It was his work for Tribulation that attracted our attention initially.
SoD: While reading the lyrics from “Pledge Nothing but Flesh”, I could not help to notice the topics have nothing to do with the occult, devil worship and other subjects one can find in so many songs/albums these days. Instead, they are more anti life, so to speak, like each of the 4 tracks is a hymn to death and what lies beyond. Why did you choose this lyrical approach and who’s in charge with writing the lyrics and the music?
CH: I write the music and lyrics, which are greatly inspired by Irish folk stories and traditions, but rather than simply recount what happens in these tales I want to channel the emotions they convey or the lessons they teach, and apply their imagery to create a world of our own within the lyrics. For example, the song ‘This Unrecognized Disease’ is inspired by the true story of a woman called Bridget Cleary, who is often referred to as the last witch to be burned in Ireland, but the term ‘witch’ is a misleading take on what happened to her. Her tragic story is entwined with the Irish fairy traditions, and the very real fear and superstition that people in Ireland held about the fairies. I won’t go into the details of what happened to her here, but I would really encourage people to research her story themselves. For the lyrics inspired by this story I wanted to imagine the overwhelming fear and isolation she must have felt in her final days of life, and try to convey these emotions in the lyrics.
SoD: In the past years, the Irish scene has seen quite a revival, when it comes to extreme metal bands. (Zom, Vircolac, Coscradh, Malthusian, just to mention a few). Where do you see Scath Na Deithe in this picture? Do you feel like you belong?
CH: The Irish scene has seen an explosion of bands making a name for themselves, both at home and internationally. It’s not really up to us if people decide to hold our music in the same regard as those bands, but I hope that we will carve out our own place among the well regarded Irish extreme metal acts. As it stands currently for such a small country and small metal scene all the bands really do have their own distinct sound and approach to their craft, and I do feel that we can make that same claim about ourselves, in that sense I would say we belong.
SoD: Last year, you were supposed to play at the Dark Arts Festival, but eventually that did not happen, as I have mistakenly mentioned in the review I wrote for “Pledge Nothing but Flesh” (apologies for that misleading info). Do you have a live line-up, can we expect some concerts or even a small tour in the future, in support of the new album? Or you are not that much into touring and you just want to keep it as simple as possible, with only a couple of local shows?
CH: We have never ruled out live shows and we had a full line-up prepared for that show but we were unable to play due to the same reason we are not able to commit to live shows at present; it is simply work commitments that are getting in the way, which unfortunately can’t be helped.
SoD: The cover of “Pledge Nothing but Flesh” was done by Luciana Nedelea (Luciana Nedelea Art) and it turned out amazingly great. I think that drawing suits the whole concept of the album extremely well. How did you get in touch with Luciana, after all?
CH: I had seen some of her art being shared on social media and had been an admirer of her work for some time. We contacted her directly and explained the general concept behind each song and sent her over all the lyrics, that was the only direction we gave her. We wanted to see what the reading the lyrics would inspire her to create and were blown away from the very first idea she sent back to us. She really understood what we were trying to create through our music and was able to represent it perfectly in her art. She is truly an amazing artist, an absolute professional to work with, and we cannot recommend her highly enough.
SoD: Officially Scath Na Deithe is a duo. How hard or how easy is for you guys to write, record and play the music in this format? Have you considered adding another member to the ranks, or you’re happy with the way things are going right now?
CH: Writing the songs comes relatively easy to us, considering their length. We usually focus on one song per rehearsal and at the end of that rehearsal record ourselves playing the song start to finish so when we came back to rehearse a song before recording it for the album we would be certain of what we had decided on playing. We had a potential bass player but he was unable to commit so we decided to go ahead as a duo, for recording this isn’t an issue for us.
SoD: There is a strange noise which connects the first track, the instrumental “Si Gaoithe”, to the final part of “Search Unending”, the last song on the album. I am almost sure I can hear someone’s footsteps slowly walking, but where exactly, I don’t know. I find this idea of linking the 1st and last song very original and interesting, it’s like an ouroboros is connecting the dots on this album and completes the circle. Was that something intentional, or it’s only my imagination playing tricks on me?
CH: Yes, you are correct, we wanted the album’s end to be linked back to the beginning, completing the journey. The sound is actually supposed to represent someone working in a field. The title ‘Sí Gaoithe’ translates as ‘fairy wind’. I should probably clarify that the Irish fairies are nothing like the nice, kindly creatures that the word is usually associated with, the word fairy was placed by English speakers on what the Irish called the Sídhe. They are extremely dangerous and had inhabited Ireland long before people had, until they were forced to live beneath the earth. The tradition of the fairy wind is that people who would stay out late working their fields would be swept up in a great wind and carried away to the other world were the Sídhe lived and a changeling would be left in their place to torment their family. As I mentioned before, these superstitions were taken very seriously in rural Ireland and there are many recorded cases of people, both adults and children, being killed because they were believed to be a fairy who took the place of a real person. So the sound you are asking about is there to represent someone out working alone who is swept up by this fairy wind and taken through the journey of the album before returning to were they had begun.
SoD: It seems we have already reached the end of this interview. I want to thank you again for your time and as usual, my guests have the last words. Feel free to add whatever you like. Cheers!!
CH: Thank you for taking the time to compose these questions and a massive thank you to anyone who has listened to our music or supported us in any way. Sláinte!
To find out more about the band and their releases, visit their Bandcamp and Facebook pages.
Tuesday, September the 20th, Live Nation Promotions scheduled another concert in their series of events that were planned for this end of year. Svoid(Hungary) and Abysmal Grief(Italy) were to play in Quantic Pub, right after the 2 bands shared the stage together in Cluj a night before.
Due to a sudden change of weather, the show was moved indoor, making this the first concert that took place in the big concert hall that looks so good. For the evening to be complete, another band was added to the bill, 2 Wolves (Finland), which was supposed to play in another venue the same night. But as the promoters (Live Nation Promotions and Titus/Metal Under Moonlight) agreed to merge their efforts, we got only one show with 3 bands.
As I said before, the indoor concert hall from Quantic is immense, the best place for concerts during the rainy/wintry season. The only downgrade is if there’s not enough audience, the place looks kinda deserted. And that happened Tuesday night, when only a bunch of people witnessed the first band, 2 Wolves.
Well, the 5 musicians play some sort of gothic/melodic death metal, definitely a mix that I don’t like, but as they came from far far north, I assumed it would be a decent thing to support them. Respect to those few who were in the front and encouraged the band, which, maybe out of enthusiasm, made some mistakes during their set.
I personally enjoyed the vocal parts (who changed between clean, growl or screaming in a blink of an eye), and the drum parts, which alternated between some blast beats and other slow tempos. I remember some songs like Freedom of Two, Serpentine Paths in the Autumn Night, Enemy Inside, Bygones and Stars. A decent opening act, but the best was yet to come.
Last night I released my first episode in English. I have wanted for a long time to make the series in English, but I was not sure if could handle the job, so to speak. Apparently, conquering my emotions, I managed to pull it through. The result is below, hope you’ll like it.
As a follow up to the interview with Svoid, in this short clip I talked about the band and its releases.
I am a huge fan of their work and I wanted to show my appreciation for what this young band has created so far. Check their latest album, it’s already a classic, but don’t forget to listen to their previous work, To Never Return and Devil’s Blood.
If you like Watain, Dissection or any band that dwells in this magick universe of the left hand path, you’ll be amazed how these 3 guys have chosen to revere their black gods. SVOID is the solid proof of that.
This is not just black metal. It’s far more than that, but you have to open your heart and mind.
Tribulation has just relased for streaming the first song off the next album “Children of the Damned” that will be released on the 20th of April by Century Media Records.
The song is called “In the Dreams of the Dead” and features almost 6 minutes of good quality metal, in the Tribulation vein.
“Children of the Night” will be their first album with Century Media and it looks like the band wanted to celebrate this by changing their style a little bit. Of course an album cannot be judged only by one song, but for now, this track seems to distance the band from their previous works, bringing it rather closer to the Watain sound that I like so much. Which, from my point of view,is not bad at all (check out the guitar part from 4’20”).
Let’s wait until the album is released and we’ll talk more about it then. Judging by the cover (magnificently drawn by guitarist Johnathan Hulten) and by this 1st track that was revealed, I am pretty sure the album will be one the highlights of this year.
Cred ca una din cele mai mari temeri ale mele este sa surzesc. Serios. Ideea de a nu mai putea asculta muzica niciodată ma înspăimânta mai mult ca orice. Muzica e totul, sunetele, melodiile nu pot fi înlocuite de absolut nimic. Chiar dacă orbești, tot mai poți “citi”, în ziua de azi sunt la mare moda audio book-urile. Dar dacă ai surzit, gata, s-a zis cu tine. Restul e tăcere, vorba aia. Am ales aceasta introducere pentru ca în rândurile care urmează ma voi referi la draga mea muzica, pe care dacă nu am putut sa o cant, am ascultat-o cu cea mai mare atenție și pasiune.
2013, deși nu s-a încheiat încă, mi-a oferit prilejul de a-mi întocmi deja un mini top al celor mai bune albume scoase pana acum. De unul din ele se leagă și cea mai trista veste a anului, despărțirea The Devil’s Blood, o formație mai mult decât preferata, devenita aproape fetiș, după experienta celor doua concerte trăite pe viu anul trecut. După socul inițial al vestii ca Selim a decis sa încheie acest capitol muzical din viata lui (gest pe care îl apreciez, îl înțeleg și admir la maxim), a venit anunțul ca ultimul album al trupei va fi lansat “postum” și ca se va numi “III:Tabula Rasa: Or Death And The Seven Pillars”.
Eram cat se poate de curios de cum va suna ultimul testament audio al acestei trupe minunate. Cum orice minune nu tine decât 3 zile, și The Devil’s Blood nu a ținut decât 3 albume, dar așteptările pentru acest ultim album nu mi-au fost înșelate deloc.
“Tabula Rasa” est chiar acel album de încheiere al unui ciclu, dar care lasă în același timp și o portița către ce se va întâmpla după. E primul album pe care Selim se încumeta sa cânte și mi-am dat seama, chiar dacă nu de la început, cat de bine se potrivește vocea lui pe “I Was Promised a Hunt”, prevestind ce va fi pe albumul solo, după despărțire.
“The Thousandfold Epicentre” este un album monstru care și-a găsit continuarea perfecta în “Tabula Rasa”, o continuare fireasca, plina de atmosfera întunecata și plina de simboluri, atât de caracteristica albumelor The Devil’s Blood.
Muzica e magica de-a dreptul, te învăluie, te seduce prin versuri și mai ales prin solo-urile, uneori psihedelice, uneori atât de bluesy ale lui Selim. Ma bucur atât de mult ca trupa și-a încheiat cariera cu un album ca acesta și nu cu ceva super comercial, făcut la comanda doar pentru ca asa trebuie. Dar știindu-l pe Selim, banuiam ca nu va fi cazul de asa ceva.
Alt album pe care-l așteptam cu sufletul la gura a fost “The WIld Hunt” al deja controversaților, mult huliților, ultra comercialilor etc șamd Watain. O alta trupa foarte draga mie ce s-a hotărât la 3 ani după capodopera numita “Lawless Darkness” sa se întreacă pe sine și sa invoce din adâncul abisului întrupat maiestuosul “The Wild Hunt”, unul din cele mai personale albume ascultate vreodată.
Nici nu s-a lansat bine albumul ca toată comunitatea universala de haters united s-a autosesizat din oficiu (nu ca le ceruse cineva părerea) și ca un grup de cate clevetitoare s-au apucat sa disece (din prea multa lipsa de ocupație, zic) pe toate parțile fiecare piesa a albumului, ajungând la concluzia ca este mediocru doar ca e prea bine tras și pentru ca nu mai e troo acelui black metal pe care toți îl știau. In opinia unora mai bine ramai plafonat 100 de ani într-un stil decât sa evoluezi, sa te dezvolți și sa încerci și altceva.
“The Wild Hunt” e un album ce-mi place enorm pentru ca mi se pare cel mai matur album de pana acum al trupei iar evoluția lor este uimitoare. De la demo-ul “Go Fuck Your Jewish God” și pana la ultima piesa de pe album, “Holocaust Dawn”, se vede de la o posta progresul pe care trupa asta l-a făcut și datorita căruia au ajuns unde sunt acum. Fiecare piesa, fiecare vers, fiecare strofa, te învăluie, te face părtaș la experientele descrise în cântece, la un moment dat chiar ai impresia ca intri cu bocancii în sufletului omului. Mie personal îmi plac lucrurile sincere și oamenii sinceri și poate de aceea acest album m-a cucerit din prima.
Pe lângă acest aspect mai este și premiera, în ceea ce-l privește pe Erik, de a utiliza vocea clean, lucru care ii reușește de minune, piese ca “They Rode On” sau “The Wild Hunt” fiind de-a dreptul impresionante. Albumul e foarte, foarte bine structurat, de la instrumentala “Night Vision”, parca luata de pe ultimul Dissection, la “All That May Bleed”, “The Child Must Die” și trecând prin cele doua “balade” menționate mai sus și pana la “Sleepless Evil” sau “Holocaust Dawn”, totul transpira întuneric, emoție, sinceritate, sânge și multa, multa pasiune pusa pe altarul “adversarului”, pentru ca acest album sa iasă asa cum a ieșit. I-am dat din start 10/10 și dacă ar fi după mine, Watain ar trebui sa se oprească aici, deja au scos cel mai bun album din activitatea lor de pana acum. Sa vedem însa ce surprize ne rezerva viitorul atât noua, fanilor, cat și lor, muzicienilor.
Ultima latura a sfintei treimi vine tot din Suedia și aparține tot orașului Uppsala, de unde se trag și Watain. In Solitude, ca despre ei e vorba, tocmai și-au lansat cel de-al 3lea album, “Sister”, pe numele sau adevărat din buletin, pe data de 27 septembrie AB.
Asa cum am mai spus, îmi plac enorm trupele care vor sa inoveze, sa exploreze și să-și lărgească orizonturile muzicale și nu numai. In Solitude face parte din trupele astea și după doua albume (foarte reușite, de altfel) ancorate în heavy metal-ul tradițional de inspirație optzecista, au dat naștere acestui extraordinar “Sister”, o combinație perfecta de gothic rock cu heavy metal, presărat din belșug cu mult occult rock. Surpriza majora (Erik, is that you ?) vine de la prima piesa, “He Comes”, o piesa acustica, izvorâta parca dintr-o pivnița gothica plina de fum din anii ’80, dar în același timp foarte moderna și foarte bine interpretata.
Vocea lui Hornper este inconfundabila, pustiul de 20 și un pic de ani neincetand sa (ma) surprindă cu talentul sau imens. Ca și In Solitude au atins maturitatea cu acest album se aude cu urechea libera din modul în care au compus piese ca “He Comes”, “A Buried Sun” (cu ale sale solo-uri de o frumusețe diabolica), “Lavender”, “Sister” sau “infernala” “Inmost Nigredo”, ce încheie apoteotic un album extraordinar de proaspăt și de misterios. Faptul ca băieții mai fac și altceva pe lângă In Solitude se vede din plin în cat de bine s-a perfecționat fiecare (tobarul Uno Bruniusson canta cu Procession iar frații Ahman formează cu Invidious nucleul Uppsala Metal Of Death).
Probabil ca erau multi cei care se așteptau la un al doilea “The World, The Flesh, The Devil” și care acum sunt atât de dezamăgiți ca In Solitude mai încearcă și altceva încât se refugiază în Amon Amarth. Cred ca “Sister” aduce un sound foarte proaspăt pe scena asta și asa saturata de rock/metal și nu m-ar mira ca suedezii sa stabilească deja un trend ce va fi urmat în viitorul apropiat de trupele de copy/pasteri.
Albumul se leagă extraordinar de bine și emana o super atmosfera oculta dar care nu este atât de explicita ca pe celelalte albume. Versurile, opera lui Hornper, sunt foarte interesante, poezii abstracte cu tente diabolice, dar nimic nu e oferit gratis, totul e subînțeles, textele păstrează misterul mesajului ascuns printre rânduri. Faptul ca pe album se folosesc multe instrumente cu un sunet aproape analogic face ca discul sa capete o căldura aparte care efectiv te cucerește încă de la prima ascultare.
Poate la fel surprinzătoare este și colaborarea cu Jarboe Living de pe “Horses In The Ground”, care da atât de bine mai ales pentru ca vocea ei misterioasa nu se intersectează cu a lui Pelle, ci fiecare își urmează unda proprie. O alta colaborare de calitate este partea de chitara pe care o interpretează Pelle Forsberg de la Watain pe “Inmost Nigredo”, parte ce aduce un plus calitativ unei piese și asa deosebite și care reprezinta cea mai buna varianta de a încheia albumul.
Pe mine încă ma mira (și asta e de bine în ziua de azi) cum niște puștani de douăzeci și un pic de ani reușesc sa se întreacă din nou pe sine și sa scoată asa un album extraordinar, la numai doi ani după un alt disc foarte foarte reușit.
Ca și în cazul celorlalte doua albume de care am vorbit, “SIster” nu face excepție și se dovedește extrem de solid, matur și bine clădit, pentru mine neexistând nici o piesa care sa fie “mana moarta”, din contra, toate, fără excepție, sunt una și una.
Daca The Devil’s Blood nu mai exista nu e chiar asa o tragedie, caci In Solitude duc mai departe cu mândrie moștenirea lăsata de Selim și trupa lui, ei fiind continuarea perfecta a muzicii și credinței răspândite de olandezi.