Interview: Infamous (2015)


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!

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.”

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 consider myself as hunter of natural landscapes. Obviously, this aspect has a huge impact on my music!

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?

People who want to know more about Infamous can add my Facebook profile or my email.

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!

This is the path that allows me to recognize immediately if a riff has the emotional power to be part of a song.

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.


Infamous, Solitudo and Warnungstraum releasing Il Rifugio del Silenzio split


Melodic primal black metal band Infamous, along with cohorts Solitudo and Warnungstraum, will release a three-way split on Eremita Productions in December 2015. The bands — each in a variant of the traditional black metal style — have contributed a total of 50 minutes of material.

Limited to 200 hand-numbered copies, the 6-panel digipak will feature the nature-oriented and feral artwork which customarily adorns Infamous releases. For those who have enjoyed this band’s evolution into more Ildjarn-styled territory, with the warmer melodies familiar to Southern European black metal, should anticipate this release with joy.

Mayhem – Live in Leipzig reissued for its 25th anniversary

I guess Peaceville really doesn’t know when to quit with the compilations and reissues (or that at least they’re a viable way to make more money off known famous works), since they’re also rereleasing Mayhem’s Live in Leipzig. This is specifically the 25th anniversary of the concert documented, as opposed to when it was first ‘officially’ pressed and sold to a mass audience some years afterwards. The CD version of this rerelease also contains a contemporary recording of the band in Zeitz, Germany. See Peaceville’s site for more details.

Whether Live in Leipzig is at all worth your time depends, perhaps, on how you value the various ‘eras’ of Mayhem. It is likely the easiest way to experience the band’s ‘classic’ lineup, featuring both tracks that would eventually make it onto De Mysteriis Dom Sathanas as well as somewhat revamped older tracks from the band’s early, proto-death metal days. As a listener, I find the most value in the polished studio work of Mayhem’s formal debut (because I value Atilla Csihar’s contributions), but the looser intrepretations here are worth at least a few spins.

Hipsters attack black metal with pale imitations


Since the early 1970s, the music industry and the social scene behind it — comprised of those who use external appearance to signal social success — has been trying to find some way to counter the authenticity of metal. While rock and blues stars appeared to be rebels, the truth emerged over time that most were very conventional in their outlook except for hedonism.

Heavy metal on the other hand rejected the founding myths of our society since the intellectual shift so-called “The Enlightenment,” in which people decided that social pressure to enable the individual to be “equal” whether right or wrong, good or bad, was more important than social standards. Heavy metal pointed out that our perceived enemies are scapegoats, and the real problem is that the enemy is us, and that people are delusional and happy hippie flower power is another variety of the bourgeois deliberate ignorance of reality that promotes social decay.

In recent years, the same people who were hippies back in the 1960s — the conformity of appearance non-conformist and then going to work at a bank and retiring as a fat Baby Boomer — have returned as “social justice workers,” or SJWs. These people, together with an industry that realizes it can sell more re-branded indie rock than it can discover compelling metal bands, have created a new style that culturally appropriates the appearance of black metal while injecting it with the same messages of self-indulgence, self-pity, victimhood and pacifism that the hippies bleated about back in the day.

As the UK’s leading cheerleader paper reports, the herd is claiming this new false black metal is in fact an “innovation,” despite it resembling music from thirty years ago that black metal bands detested.

Enter “blackgaze”, the buzz term for a new school of bands taking black metal out of the shadows and melding its blast beats, dungeon wailing and razorwire guitars with the more reflective melodies of post-rock, shoegaze and post-hardcore. It’s a geographically loose scene and its bands have been embraced by the indie media, which means you’re now as likely to hear black metal at ATP as in the Carpathian mountains.

Alert readers may note the “post-rock, shoegaze and post-hardcore” attribution, which Death Metal Underground has long identified as being the origins of this material. In other words, it is not black metal, but indie rock playing “dress up” as black metal. The quest of the industry for a safe rebellion goes on.

Primordial vocalist Alan Averill weighs in on SJW academics


Folk metal band Primordial vocalist Alan Averill inveighed against social justice worker (SJW) academics who recently witch-hunted “racism” and “sexism” in folk metal, claiming they are johnny-come-latelies using the authenticity of the metal name to draw attention to their careers. Writes Averill:

I don’t know whether to be bothered sharing this shit…..I think what these fuckwits fail to understand, or rather as usual intellectual ghost hunting is the place that ‘folk metal’ takes within the overall timeline and context of metal. The imagery and themes of folk metal are distilled from metals’ pre-occupation with fantasy not necessarily from a historical or factually based context, nor does it have to be. The language of for example Viking mythology has been perfect for metal since Zeppelin wrote ‘The immigrant song’.

Folk metal essentially took the place culturally in metal from where power metal left on in the late 90s and early 00s. Often it has more to do with role playing, gaming and fantasy….just with furry boots.

Claiming that is is somehow racist because it borrows from pre christian European history is just pointless and reductionist, bands do not have to apologise or justify singing about their culture and as I said most of it is through the prism of fantasy and myth because the imagery is simply perfect for heavy metal.

Sexist? again rubbish, I can think of quite a few ‘folk’ metal bands who have written tomes and hymns to the goddesses of the ancient world, both Cruachan and Waylander from Ireland spring to mind. You can find the same reverence for the feminine in nature in not only my own band Primordial (who are not folk metal but have connections to that scene) but also in bands like Enslaved, Wardruna, Our survival depends on us, Dordureh, Fen, Eluveitie, Negura Bunget among so many others (yet this is conveniently ignored) . Not to mention the band quoted as starting the whole genre Skyclad, even a cursory glance at their lyrics and imagery will suggest the opposite of this study. Again just a cherry picked argument from someone hunting ghosts.
Not to mention the fact that if you have ever attended a pagan metal show in Europe or the USA (and I’ve been at loads) you will find a very very healthy % of the crowd are women and often on the stage, the general feel of pageantry and joviality in this scene is least of all full of the macho behaviour these authors are looking for. It’s a young excitable scene which likes to play dress up, dance around and drink a beer or two…

You want ghosts? go ghost hunting somewhere else

I once lectured about Black Metal here in Ireland…to a room full of people full of agendas and opinions and angles for their own conspiracies and prejudices. My opening line
‘You can’t intellectualise a punch in the face’
… weren’t there and I am going to tell you how it was so shut up and listen.

You can read the full rant on a favorite social networking site for bored cube slaves to vent about the meaningless of life where some of the feedback has been quite interesting. The backlash against SJWs, revealed by Metalgate when one of the researchers mentioned above, Karl Spracklen, unfriended me over Facebook for allegedly un-PC postings elsewhere on the internet, has now reached a broader audience which is tired of outsiders interfering in metal to pick up on its perceived cachet of cool.

Goatlord guitarist accused in double murder


Guitarist Joe Frankulin from doom-black metal band Goatlord has been accused of murdering Jennifer Donoso and her 7-year-old son, Lex, in Las Vegas on September 29. According to local news reports, the murders capped off increasing erratic behavior by Frankulin.

One of those neighbors says that Frankulin seemed to come unraveled over the past six months, becoming increasingly interested in hanging out with the neighborhood kids.

“The last six months he kind of gave me a really eerie feeling,” Ermilio said. “Like the way he acted. His demeanor. He would always be around children.”

Ermilio added that Frankulin was a member of a local Doom Metal band called Goatlord. According to the band’s Facebook page, they were active from 1986-97.

While Goatlord experimented in the primitive and unstable sound of bands who wanted to be like Venom but with visible derangement, its previous footnote to history stood at only the production of a few albums enjoyed by some diehard fans (and claimed to be enjoyed by even more posing tryhards) for their erratic atmosphere. With Frankulin’s arrest, the future of the band and its legacy remain in doubt.

Satyricon frontman diagnosed with brain tumor

The metal musician turned winemaker Sigurd Wongraven reported a brain tumor yesterday. While the tumor is currently benign, it has already caused him some health complications and may continue to do so, even if it doesn’t turn carcinogenic on him. The news was originally posted on his Instagram page and has triggered an outburst of sympathy from Satyricon fans throughout the world.

Satyricon earned some fame in the early-mid 1990s for their enthusiastic (if fairly disorganized) folk black metal sound. After some experiments with ambient music and guest performances with various other musicians in the Norwegian black metal scene, they eventually transitioned towards a more rock oriented style of music. Wongraven also ran Moonfog Productions, which besides releasing Satyricon’s albums also provided an outlet for many of Fenriz’s projects, including Neptune Towers, Isengard, and later Darkthrone.

Abbath’s solo project releases its first official track

Immortal’s ability to consistently release content since has fallen by the wayside since 2002 (although their quality was arguably ailing before that) between periods of legal disputes, side projects from band members, and that time in the 2000s when they were literally split up. Abbath has thrown his efforts into another side/solo project, and Season of Mist has seen fit to give us a sample from upcoming material – a semi-live studio track named “Fenrir Hunts”.

This track sounds more overtly like death/black metal than much of the Immortal members’ recent work, which were generally more oriented towards older forms of metal in songwriting even when their aesthetics were not. “Fenrir Hunts” strikes this reviewer as yet another highly polished, technically sound song with some nods to the need for varied structure in an otherwise fairly standard formula. In short, an acceptable effort, but not one that particularly excites me for this release, or one that compels me to listen to it over previously proven and enshrined classics like Pure Holocaust. I can hope that the full album will be more interesting when it comes out (and the early state of this song suggests room for improvement), but it seems most likely that this will be another soul-crushingly “okay” album.

Interview: Oovenmeester of Noordelingen (2015)


With the recent release of Kaeck Stormkult, it seemed a good time to look into the members of the band that is leading the charge toward primal yet melodic black metal. Two members of the group come from Noordelingen, a black metal band from the Netherlands, and were placated with the carcass of a fresh-killed hipster for long enough to conduct this interview.

When did NOORDELINGEN begin?

Oovenmeester: I think it began in 2010 as a spontaneous project. I had the lyrics already and Swerc was up for a new project.

I believe Swerc is going to put the Noordelingen album Vaelt on YouTube soon. A real release would be cool though.

What does the name mean?

Oovenmeester: The name means “those from the north” Or “dwellers of the north.” We both live or have lived in Groningen which is a province and city in the northern part of the Netherlands. And I have a lot of affiliation with both city and province. The lyrics used in Noordelingen are stories based in a medieval, fantastical version of this region. Where drunk horses graze under a brown moon, giant homarids look for the rare and valuable substance known as URFT and de kattenmepper van Groningen (the cathunter of Groningen) can be found stalking the streets.

It is different from the term “Noorderlingen”?

Oovenmeester: I think Noorderlingen is the official Dutch spelling, but that’s just not right for us. Just not right… It doesn’t have the right taste.

Who is in the band?

Oovenmeester: Just Swerc and the Oovenmeester that’s enough!

What were your musical influences, and how did that change as you began writing?

Oovenmeester: I think Lugubrum is a very important factor for me. They have absurd lyrics which I really like. With a similar smell and feeling.

Musically you can’t compare it to them, while Noordelingen is more melodic and faster.

What material have you released, and how do people get it? Is there any source of news or information on the band?

Oovenmeester: just follow your nose. Furthermore, there is nothing official out, but I believe Swerc is going to put the Noordelingen album Vaelt on YouTube soon. A real release would be cool though.

I understand you’re now involved with KJELD / SAMMATH members in a project named KAECK. How did this come about, and how is it different from NOORDELINGEN? Will NOORDELINGEN continue?

Oovenmeester: I was asked by Swerc to provide lyrics and vocals for Kaeck. Its content and style are very different indeed. Kaeck is about visiting dark places in your mind. And has a more to the point aggressiveness in it. Where Noordelingen has more of a filthy vibe to it. We will probably continue Noordelingen at some point. But we have nothing planned yet.

We do this for ourselves. If others like it as well, then it’s just a good bonus.

Is it hard for quality black metal to get noticed these days?

Swerc: Depends of what you mean with ‘noticed’ actually. If you want interviews, tours and lots of releases, then yes. But I think the scene is very active and always looking for new quality music. If you are good enough, you will be noticed. But that’s not our priority. We have a very busy normal life, so ‘getting big’ isn’t our goal. We do this for ourselves. If others like it as well, then it’s just a good bonus.

Sammath’s debut now on Bandcamp

Sammath - Strijd (1999); reissue

Long time DMU veterans should be familiar with our enthusiasm for Sammath. Strijd was well received by the staff back in 1999 when it was originally released, and a re-release on Hammerheart Records in both CD and vinyl format is still planned for the first quarter of 2016. In the interrim, a digital version is now available on Bandcamp, offering potential purchasers a chance to easily preview the album’s tracks and purchase a copy of sorts.