Finnish death metal band Abhorrence are releasing a live album of their comeback performance at the 2013 Tuska Open Air Festival. Totally Vulgar – Live at Tuska Open Air 2013 is coming out February 10th on Svart Records. Svart released an earlier anthology of the band, Completely Vulgar, that was some of The Best Underground Metal of 2012.
Perhaps most widely known as the precursor to another notable Finnish death metal band, Amorphis, Abhorrence took the sound of old Nihilist and Bolt Thrower and reduced it to the most crepuscular and nightmarish elements, forming the basis of what would be Finland’s idiosyncratically menacing regional sound.
Following on from the release earlier this year of Completely Vulgar, a compilation of all their early recordings through Svart Records, the band intend to play a small number of gigs for those newer fans that never had the chance to see the original incarnation, before disbanding once again.
According to the band’s Facebook page, the reunion will likely consist of all original members excepting drummer.
Kind people, please spread the word.
We’re looking for Abhorrence’s live and rehearsal material, excluding the “Macabre Masquerade” rehearsal tape. Namely I’d love to get rehearsal material from 20.03.1990 and later, as well as the live from Norway. Sound quality is the key here, but get in touch if you have something that might fit the description. – Abhorrence
Sorcier des Glaces announced on their Funbook page that their last two albums, Ritual of the End and North, are out now on vinyl LP from Obscure Abhorrence Productions. The albums were some of The Best Underground Metal of 2014 and 2016. They can be ordered from Obscure Abhorrence Productions on the label’s website.
2016 is over. The funderground mentality continued spreading forth, infesting metal over the last year just the same as it had in the decades past the genre’s artistic high-point in the early nineties. Rehashes of past greats pandering to a lowest common denominator audience continue to dominate the release schedules of metal labels all too willing to please the lemmings with music fit to safely ignore during drunken socializing. Ever-flowing streams of posers are desperate to be rock stars, pumping out plagiarism, and paying their way to record deals. File sharing and streaming reducing the cost of hearing new music to essentially nothing has led fans to constantly consume whatever is new regardless of quality. However the purging is at last at hand. The day of doom is here. The filth who have lied and corrupted the underground must be cleansed while the commendable elite few will remain.
Sorcier des Glaces and Ende are releasing a split CD on Obscure Abhorrence Productions out September 22nd. The song “Le puit des morts” features several guests including Monarque, Nordet (Brume d’Automne), Blanc Feu (Chasse-Galerie, Cantique Lépreux), I.L(Ende) and Athros (Forteresse).
Sorcier des Glaces are having a prolific year. Already having released a new album, the Wizard of the Ices has announced an upcoming split with Ende titled Le Puits des Morts and a remastered reissue of their second album, Moonrise in Total Darkness, on their Facebook page.
Sorcier Des Glaces & Ende “Le Puits des Morts” will be released in September via Obscure Abhorrence Productions! A “split” album filled with darkness, isolation and misanthropy… brand new songs from both bands, exclusive ones. There will be some guests on the title track, “Le Puits des Morts”, including Monarque, Nordet (Brume d’Automne), Blanc Feu (Chasse-Galerie, Cantique Lépreux) & I. Luciferia (Ende). A first song will be available by the end of April. Here’s the track-listing of this unholy alliance:
SORCIER DES GLACES – Le Puits des Morts
SORCIER DES GLACES – Glaciale Solitude… Dans la Pénombre Hivernale
SORCIER DES GLACES – Dans l’Immensité Blanche de la Plaine
SORCIER DES GLACES – L’Ombre Squelettique du Temps
ENDE – Notre Falaise
ENDE – Sacrifice
ENDE – Call from the Grave (Bathory cover)
ENDE – Fehér Isten
A small distro portraying Skopje’s (Macedonia) gloominess and fucked up street reality through records and gigs since the early 2000s, FUCK YOGA has since grown into a label that makes obscure hardcore and metal gems somehow available to the few heterodox freaks roaming this city. Its presence has grown during the years. Today, it is home to some of the more obscure acts that seem to have acquired a cult following in the margins of hardcore and slow-paced metal. California’s Noothgrush and even Boston doomsters Grief have gone through FUCK YOGA.
We’ll dive inside and try to dissect everything up in an interview with Ivan Kocev, the man behind this freakish abomination.
1. Ivan, you seem to be heavily attached to gruesome acts of human abhorrence. Well, at least one’s first impression is similar, whilst viewing Fuck Yoga through the lenses of conventional societal pattern.
I accept it as part of nature’s condition, hidden behind the veil of social conventions. It is important to familiarize oneself with all aspects of existence in order to gain more knowledge and bring more truthful judgments further in life.
2. What’s up with you and yoga anyway? Why all the hate dude?
When we were plastering posters for shows, they were often being covered by a yoga class. What also contributed to choosing the name was the “instant enlightenment” vibe that radiated from these people… I also read that the purpose of yoga was “becoming one with the great power that you were never actually apart from” or something like that, which I found bullshit at that time. So over 10 years later, the name remained- it’s not something I actively live by.
3. You pretty much nailed it with a few issues lately. Apartment 213, Noothgrush, Grief…some pretty cult stuff right there. How did you manage lurking them into your lair? Isn’t there a shitload of labels, some highly reputable I might add, in these guys’ states?
I’m a big fan of the mid-90’s mutant hardcore. It might as well have been the final progressive effort of sonic alchemy in it’s respective genre- acknowledging the past, yet branching out into unorthodox forms. Of course-with varying degrees of success, but the general feeling of actual creation and boldness was highly inspiring to my younger self. The bands you mentioned would have no trouble finding a “bigger” label then FUCK YOGA to release their records, but standard scaling doesn’t necessarily apply in this world anyway. They might be considered “cult” nowadays, albeit most of their records were issued on labels strongly rooted in the underground. I cultivate the DIY spirit while providing a very decent representation of their body of work. I salute staying underground by choice, not by necessity.
4. I guess you’re exposed to much of the sensibility of this genre. You collaborate, tour and run a label. You’ve grown to understand the scene from within. Do you think it is an all inclusive club that has built itself upon an egalitarian belief of indisputable equality? Or has this been the distorted image that we have been served by potential pests? My question seeks to disclose if ubermen who breed elite ideas are still present within these circles.
It is up to the individual to choose on which of the many conflicting attributes it pays attention to. You don’t have to look hard to come upon hypocrisy and shallowness in the underground- why would it would be devoid of? I encourage self-sufficiency, yet it’s funny how the bigger picture you see, roles start morphing. It is important to learn from experience and stay alert.
5. What are some of the shittiest bands out there that have been bringing a lot heat lately? I’m all obsessed with negative lists and would really want to hear your opinion.
I am not following “the heat” really. As time becomes more precious for me, I have to spread it out as productive as possible.
6. How do we kill this whole revival trend that has been busting our balls? Resurrection is cool sometimes, but if every idiot is given the opportunity to bring stuff back to life, pretty soon we might even see Christian metal bands or some fucked up shit like that rocking the scene.
Simply judge for yourself instead being told what’s good for you. Easier said than done, I know… If your acceptance filter can handle a copy of a copy of a copy- who cares? I try not to focus on what I dislike, rather use my effort in directions that excite me. The underground will always survive through mutation- some will lose sight, interest or power- but it implodes forever.
7. Are you a fan of population reduction? I am. Who do you think is doing the job well in aiding the process?
It’s difficult to imagine oneself as a 1/7 billionth part of a system. I try not to get too global, it feels depowering. I believe in eye-to-eye centrifugal action, as a real change needs a strong core. Much more efficient then just poking all over the place.
8. What’s on your schedule with Fuck Yoga?
Any day now (late November `15) I’m releasing a new batch of records; GRIEF s/t 12” and “dismal” LP/CD, MOSS “sinister history vol.1” (the first in the series of several records spanning the early, obscure years of the band), DESPISE YOU “west side horizons” LP, and BILLY BAO “communisation” LP. Next would be a NEW WORLD 3”/4” record, SETE STAR SEPT “vinyl collection” CD and HERPES “medellin” 7” repress. 2016 will see records by BASTARD NOISE, DAZD, GOLI DECA…
9. Do you think we’re battling an inside war against our own when facing the fury of SJWs who are censoring us with their PC crap? Fucking hipster pieces of trash!
I will have to disappoint you again with my detachment from cliques. I do not practice any organized political belief- It takes a lot of skill and practice to become independent. I can’t completely deny my social presence, and I am continually learning how to minimize compromise in favor of saving energy for the long run.
10. Briefly explain everything I missed out due to this interview being conducted by me in my utmost hung-over state. I didn’t ask you anything about Fuck Yoga’s roots, plans, presence etc. Neither did I ask you about the 3-4 bands you’re currently in (there’s at least one of them that I dig). Hell, you run a bizarre label somewhere in Southeastern Europe, where such things are true rarities and I didn’t ask you anything the domestic situation – that’s pretty lame of me; I bet it’s fun to hear some bone chilling stories of Balkan underground. Plus you’re organizing this festival in December and I totally skipped that. Preach the gospel!
Here’s what bands I’m currently involved in: GOLI DECA – the music is slow, but not “doom”- it’s devoid of the traditional rock/metal attributes- along the lines of what SWANS were doing on the first few records. VKOZUREN is musically comparable to early BURZUM- primitive and escapist.
The longest running, yet still unnamed band is somewhat a continuation of my previous band, POTOP- only more feral and surreal. I have used musical influences from WINTER, DISEMBOWELMENT, (early) MORBID ANGEL, EARTH 2, (early) DEAD CAN DANCE. Another unnamed, featuring Oleg Chunihin also of the band above and GOLI DECA, is trance-like bass-driven micro-compositions- think HELLHAMMER, BARATHRUM… There are a couple of rehearsal clips online, studio recordings and eventual releases are planned for 2016. MILITANT ZAZA is the name of the mini-fest we’re organizing for the first time this year, with exclusive performances by VERMAPYRE (nightmarish horror soundtracks), REGLER (the new project of BRAINBOMBS/ BILLY BAO personnel), PROPOVED (amazing ancient heavy doom from Serbia) and GOLI DECA. The idea was to organize an event covering different points of the extreme music specter, focusing on the fringes. Thank you for your interest and effort, it’s much appreciated.
On a small ship in the Sea of Sardinia, I watched my companion cautiously. I had just seen him kill two men, one with a silenced pistol hidden under his battered sweater, and the other with his bare hands. We had changed cars five times since I left the airport, walked through a dozen train stations and busy stores, always leaving through the back door with a whispered command: Hurry!.
Now our journey had taken its final stage, leaving the coast on a small boat and nipping through a series of coves, always watching land, water and air for any who might follow us. As I wondered this, a ripple on the horizon announced another small boat approaching. On it was a solitary figure, menace and fire in his cold eyes.
I gathered up my notebooks and prepared to meet the obscure and sinister personality behind Italian black metal cult band Infamous…
Is there any point to making black metal — or any music like it — in 2015?
Black Metal is a radical form of expression and, in my opinion, the most expressive form of musical art. It is an essential need to express myself!
It is my belief that this form of art can be conceived and understood only by “particular” souls. Surely, if you try to get rich or famous with this music genre, you have done everything wrong! Black metal is not for the masses and not for the bourgeois defeated by their lives. Black metal is a fire that burns inside of you! It is a weapon against weakness, a spiritual enlightenment, and the hammer that smashes this world of worms and disgusting merchants.
If you don’t feel this inside you, maybe you should change genre!
Your latest, Rovine e Disparazione, seems much closer to traditional black metal than previous works. What prompted this change?
I think that the reason of this “change” is linked to the departure of Alessandro. With his keyboards, he created a great amount of “mystic” atmosphere in the first releases, especially in Of Solitude and Silence. The guitar riffs and the other songs structures, instead, are born from the same inspiration and move in the same way of the previous works.
So far, there are three Infamous releases — Of Solitude and Silence, Abisso and Rovine e Disparazione — of which this reviewer is aware. Can you tell us what you intended to do with each one, and how it turned out? For example, did you hope to create a new style of black metal, refine your own style, or expand upon earlier ideas (of your own) or introduce new ideas?
Each song which makes part of the three different Infamous releases is born thanks to a precise inspiration aiming at translating my emotional state in music.
I have no ambition to start a new subgenre of the black metal style. What I really like is the most traditional way in this kind of music and I’m going to follow this traditional path, but with my personal sense of melody and “aesthetic.”
Many times, some reviewers have compared my project with other bands of this world. What is interesting is the fact that, at the end, they have recognized that Infamous sounds personal!
I mean, what is important is not to create a new style but a good and emotional song in a traditional way. In short, the creation of a perfect synthesis of traditional and personal music, which is not necessarily innovative!
This is sort of a silly question, but people will wonder, so I ask. There seem to be two versions of Of Solitude and Silence: a CD-R with an excellent cover, and a pro-CD with a more “regular” black metal cover that looks like a quicker job. How did these two editions come about? Is this album still in print? If not, will it be re-editioned?
The first edition was published by a small underground Italian label (Novecento Produzioni) and limited to 200 copies. No one wants to print a Pro-CD in Europe in this small quantity. However, this first edition is definitely sold out. The second edition was published by the excellent German label Obscure Abhorrence in Pro-CD, limited to 500 copies. It is true that the artwork looks different from the first one, but the reason is that they were created by two different persons… I prefer the first artwork but also the second is not bad!
The second edition is still available from the Internet site of the label or directly from me!
In addition, recently, the Italian label Bylec-Tum has published, on limited tape format, the third version of this album with a series of exclusives bonus tracks.
Can you tell us where Infamous was founded, by whom, and who is in the band? Do you perform live or is this a studio band only? Do you choose anonymity for any reason other than longstanding black metal tradition (musicians calling themselves Quorthon, Warrior and Angelripper)?
Infamous was born in the Sardinian hills in the torrid summer of 2009, with the recording of the first demo “Torrid Summer Misanthropy.” Infamous is a one man band, obviously it is impossible to play live…
I choose semi-anonymity; S.A. is the acronym of my name and surname.
I thought that it would have been more serious to avoid the grotesque nicknames typical of the Satanic B.M. scene.
What are the influences on your style, both metal and non-metal, and both musical and non-musical? Are there influences from any punk genres in your work? Since the question will inevitably be asked anyway, is there an influence from Ildjarn on your work?
I’m surely influenced by “modern” Finnish Black metal. For me, this is the most important scene and I’m heavily influenced by the sense of sinister melody which is typical of their style.
But this is not my unique influence. When I was more young I listened to tons of Oi!, R.A.C., and other metal sub-genres. I think that Oi! and R.A.C., in particular, have forged my compositional style and my sense of “melody.”
Now, I turn my attention to your question, concerning Ildjarn. I was really shaped by his previous works, especially by his first demos and the first full-length. I listened to his art hundreds of times… Together with other Norwegian 90s bands, Ildjarn is one of my preferred bands!
In line with the non-musical influences, I think I am influenced by all my open-air activities like mountains or woods trekking, fishing and sports in general. I consider myself as hunter of natural landscapes. Obviously, this aspect has a huge impact on my music!
Do you listen to Ottorino Respighi, an Italian composer from the last century? The style of Of Solitude and Silence reminds me of his most popular work, “The Pines of Rome.”
Um… no! This is the first time I have heard the name of this composer.
Maybe, at the time of Of Solitude and Silence Alessandro took his inspiration from this composer, but I don’t know…
Why did you switch to title(s) in Italian? Abisso and Rovine e Disparazione are in Italian in contrast to Of Solitude and Silence which is in English. Do you write lyrics in Italian as well?
Of Solitude and Silence, outside of the title, has songs half in Italian (“Rex Verminorum” is in Sardinian language, a local variant of the ancient Latin) and half in English.
Abisso has only the title in Italian language. Each song, in fact, is written (from the session musician WLKN, not by me) in English.
Starting with Rovine e Disperazione, I have begun to use only Italian language because it is more easy and spontaneous for me; while, English language is more “melodic” and easy to insert in the music but, obviously, is not my language.
What influences your sense of melody? It seems unique, like a mixture of black metal, folk, Oi and sentimental 1980s Goth-pop, but also with its own inspiration that’s nowhere on the map.
As I have mentioned above, I’m influenced by Oi!-R.A.C. and Black Metal, but not by “1980s Goth-pop.” I think the Northern European Oi! scene of the 90s is my second main influence, obviously after Black Metal. Maybe, a little bit by Neo-folk but in my music, at the same time, there are not large spaces where I could insert neo-folk. It is possible that in the future this component will be increased.
What do you attempt to capture, express or communicate through your music? Or… is this even the goal of music? Is music communication or decoration? What is the goal of your art?
When I started, I was interested to vomit my hate and my need of destruction for this rotten world.
Infamous was born to give voice to this emotional war, misanthropic destructive hatred and the contemplation of nature, especially its beauty-purity.
Now, everything is evolved into an anti-modern propaganda and into a search of values for resist to this decaying world!
Do you think there is a sound in black metal that is specific to Southern Europe? And to the countries individually such as Greece, Italy and Spain?
In my opinion, each population has its land and each land has its traditions, sensibility and so on… According to this view, it is perfectly normal that every nation or geographic area has a common way of expression. Generally, everyone can distinguish a Norwegian disc from a French release, and a Swedish album from a Greek one!
I think that Italy has developed its own personal style which is not very similar to the other Southern European scenes. However, it is undeniable to admit cultural and stylistic convergences with the rest of Southern Europe.
Personally, I love old and contemporary Greek Black Metal!
Do you have a long-term plan of what you want to achieve from album to album and as a body of work?
Ahaha, absolutely not! Inspiration to create music comes suddenly and, for me, it is impossible to have a long-term plan!
Rovine e Disperazione consists of five tracks named after either “Rovine” (ruins) or “Disperazione” (despair). Why did you decide to do a sequence like this? Are these numbered tracks part of the same song, or impressions of the same thing?
Rovine e Disperazione is comprised of different songs about a single concept!
The concept of this album concerns the disgust for the modern world, its spiritual decadence and the ideology of materialism (“Disperazione” I, II). It is the rebellion that has the aim of embracing a superior and heroic way of life, based not in the cult of the decadence, but in the traditional (pre-Christian era) values of Honor, Strength and Spiritual rectitude (“Rovine” I, II, III)!
This is my manifesto for the maximal resistance against the modern decaying world!
In the booklet, there are two important phrases (written in Italian) to understand this concept:
- “Lascia agli altri le vie dell’infamia” = Let the others go through the ways of infamy
- “Vi siete inchinati abbastanza davanti ai mercanti, ora ergetevi! Sfidate i ratti e i vermi che stanno ai vostri piedi!” = You have bowed enough to the merchants, now it’s time to stand up! You have to defy rats and worms that are at your feet!
Do these have any influence in your musical world? Ancient, Varathron, Burzum, Sentenced, Sacramentum, Landser, Summoning, Kvist, Eucharist.
Each band that you have mentioned has had an influence on my music. However, the most important influence comes from Finnish bands like Sargeist, Horna, Satanic Warmaster, Hammer, Nekrokrist SS or non-Finnish bands like Drowning the Light, Mutiilation, Xasthur and many others…
How do you compose a song? Do you start with a melody and develop structure/arrangement from that, or do you start with riffs and add melodies to them? Or is there an idea, lyrical or visual, before you start even making the music?
First of all, I compose music, starting from a simple riff and then slowly, or sometimes very fast, the rest emerges spontaneously. When a musical composition is definitely ended, I start writing texts; generally, each text follows a concept!
This is the path that allows me to recognize immediately if a riff has the emotional power to be part of a song…
For people new to your music, how should they get to know Infamous and how should they stay on top of band news, contact, and music?
You’ve just recorded a new album, Tempesta. What is the theme of this album? How does it differ from the past? Where did you record it, how long did it take, and did you have other musicians involved?
About the concept for Tempesta, in the booklet you can read this:
Tempesta (Storm) is a radical hate declaration against all the subhumans defeated from the disvalues of this decaying modern society. I hope, therefore, a “Storm” that will destroy everything that continues to infect our blood and our minds.
The main enemies in this concept are the economicist view, the bourgeois way of life and modern human weakness in general!
Tempesta follows a natural and spontaneous “evolution” of the classic Infamous style!
On this album you can hear a more powerful sound, an atmosphere of struggle and victory that extols to the revolt! The recordings lasted half a year at various sessions, and I used the voice of Filippo Magri in “Tempesta II”, who is a friend and someone I respect!
Your previous album, Rovine e Disperazione, seemed to take a more Ildjarn-influenced direction as opposed to earlier works, which had longer melodies and remind me of Varathron Walpurgisnacht if it were expressed with a stronger, more naturalistic mentality. Does Tempesta continue this pattern?
In this album I think that the Ildjarn influences are implemented, especially in “Tempesta II” where percussion is heavily influenced by the Norwegian artist. Also for the harsh sound and radical extremism of disgust against the modern man, Ildjarn represents a landmark!
From the progression from early works through Tempesta the general atmosphere of mysticism, which refers to the idea of a primordial nature in its purest form, is partially changed. I have radicalized certain sounds and the general attitude and probably now everything sounds more agressive. This is a natural and spontaneous evolution.
As I understand it, this release is limited to 100 CD-Rs. Why did you choose to go this route, as opposed to a larger label? Will you ever seek a label to do bigger re-issues of your discography?
Yes, only 100 copies!
This is a radical anti-commercial choice!
I’m not interested in big productions!
I consider that nowadays those who want to listen a CD, generally, can download it from internet…
Then I took a radical decision and I chose to produce everything by me; every step is taken personally and the choice of the number of copies to be printed is now proportionate to the copies that I can sell. Simply, if I had printed 1000 copies, 900 would remain collecting dust in my basement.
Few are willing to buy original CDs, especially for bands not yet known. This happens a bit “everywhere” but in Italy the situation is even worse.
Why do you think black metal is in such a slump these days? Vattnet Viskar and Myrkur get a ton of publicity, and good underground bands get ignored; is this related?
Everything is for sale in this world and if you try to be famous you have to spend some money! This is the only key to a successful career! You have to consider your band as a company and your music-art as a business. I’m about to throw up as I write this… But this is the truth!
Obviously I am not interested to take a part in this circus, I never dreamed the fame and do not want to look like a rock star. All this is so pathetic! I would destroy all this! I use my music to sing my hate against those that spoil the Black Metal and trying to making it a cute, harmless and fashionable music genre.