At the Gates reveals At War With Reality cover art

August 21, 2014 –

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Swedish death metal/metalcore hybrid At the Gates revealed the cover artwork for their upcoming album At War With Reality and issued some details about the concept and purpose of the new work.

The artwork, designed by Costin Chioreanu, reflects the topical direction of the new album toward “magical realism,” a literary genre that emphasizes the fluidity of what we think of as a static and linear reality. Said Tomas Lindberg, vocalist:

The concept of ‘At War with Reality’ is based on the literary genre called ‘Magic Realism’. The main style within this genre is the notion that ‘reality’ is ever-changing, and needs to be constantly re-discovered and re-conquered.

The band also released some of the song titles from the new album, including “Death And The Labyrinth,” “The Circular Ruins,” “The Conspiracy Of The Blind,” “Order From Chaos,” “Eater Of Gods” and “Upon Pillars Of Dust.”

The album was recorded with Fredrik Nordström at Studio Fredman. Jens Bogren, who mastered the new work at Fascination Street Studios, had this to say about the musical experience that it promises:

At the Gates line-up:
Tomas Lindberg – Vocals
Anders Björler – Guitars
Martin Larsson – Guitars
Jonas Björler – Bass
Adrian Erlandsson – Drums

Death Metal Angola in theaters this fall

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Death Metal Angola tells the story of Angolan couple Sonia and Wilker who want to put on the first national rock festival in their country. They hope that this will unite a people broken by constant warfare, unrest, poverty an corruption.

In the trailer, Death Metal Angola lets us hear some of the music from Angola. It has death vocals, but sounds more like a hybrid between blues and grindcore riffs, with lots of lead fills and a more relaxed rhythm. As death metal and related genres seem to adapt to local cultures and musical preferences wherever they go, this provides an interesting insight into Angolan music.

The film will see theatrical release in early November and is being described as both a film about death metal and a film about war.

DEATH METAL ANGOLA TRAILER from CABULA6 on Vimeo.

At the Gates finishes recording new album At War With Reality

August 14, 2014 –

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Swedish melodic death metal band turned melodic speed metal band At the Gates finished recording its latest album At War With Reality and plans release on October 27th in Europe and October 28th in North America via Century Media Records.

Vocalist Tomas Lindberg issued the following statement:

We are very excited to finally have finished this new album. An album that we’ve been working on for over a year now. It’s by far the most challenging record that we have made, but it’s an honest album and I think that you will feel that it is faithful to the legacy of AT THE GATES.

We have, through the process of creating it, been true to ourselves and our art. From hearing the first demos that Anders presented to the band last summer, through the extensive stages of songwriting, pre-production, rehearsals, recording and mixing, we now finally got the finished album in our hands.
We are very happy to have managed to produce an album that we feel is truly ‘us’. Something we can all stand behind one hundred percent. I can’t wait ’til you all get to hear it!

Recorded with Fredrik Nordström at Studio Fredman and mixed by Jens Bogren at Fascination Street Studios, At War With Reality shows the return of the classic At the Gates lineup with their first new material since best-selling but fan-disappointing Slaughter of the Soul, which showed the band drifting toward Metallica Ride the Lightning era speed metal given the melodic Swedish metal treatment.

The band recorded this in-studio statement:

Simultaneously, the band have announced an international tour for 2015. Dates are as follows:

AT THE GATES + support:
20.11.2014 – Tampere (Finland) – Klubi
21.11.2014 – Jyväskylä (Finland) – Lutako
22.11.2014 – Helsinki (Finland) – Nosturi

AT THE GATES, GRAVE, MORBUS CHRON:
27.11.2014 – Göteborg (Sweden) – Trägårn
28.11.2014 – Stockholm (Sweden) – Arenan
29.11.2014 – Malmö (Sweden) – KB

AT THE GATES, TRIPTYKON, MORBUS CHRON:
04.12.2014 – London (UK) – Forum
05.12.2014 – Manchester (UK) – Academy 2
06.12.2014 – Glasgow (UK) – Garage
07.12.2014 – Birmingham (UK) – Academy
08.12.2014 – Cardiff (UK) – Solus
10.12.2014 – Essen (Germany) – Turock
11.12.2014 – Hamburg (Germany) – Markthalle
12.12.2014 – Eindhoven (The Netherlands) – Eindhoven Metal Meeting
13.12.2014 – Leipzig (Germany) – Conne Island
14.12.2014 – Wien (Austria) – Arena
16.12.2014 – Aarau (Switzerland) – Kiff
17.12.2014 – Munich (Germany – Backstage Werk
18.12.2014 – Antwerpen (Belgium) – Trix
19.12.2014 – Cologne (Germany) – Essigfabrik
20.12.2014 – Berlin (Germany) – Postbahnhof

AT THE GATES – live 2015:
08.01.2015 – Istanbul (Turkey) – Jolly Joker
09.01.2015 – Athens (Greece) – Stage Volume 1
10.01.2015 – Thessaloniki (Greece) – Principal Club
31.01.2015 – Dublin (Ireland) – Academy
26.02.2015 – Oslo (Norway) – Vulkan Arena
29.05.2015 – Johannesburg (South Africa) – TBA
30.05.2015 – Cape Town (South Africa) – TBA

Imprecation to release split with Blaspherian on August 20, 2014

August 12, 2014 –

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Texas gut-crushing occult death metal band Imprecation will unleash their split release with Blaspherian through Dark Descent records on August 20, 2014. This new release will give metalheads a chance to see how both bands have developed since their latest full-lengths, Satanae Tenebris Infinita and Infernal Warriors of Death respectively.

In addition, the band plans to release a 10″ of its “Jehovah Denied” demo on Rex Bagude records (Mexico) and Morbid Metal records in the US. This demo revealed the style of this band that evolved in the intervening years since its acclaimed 1995 collection of demos, Theurgia Goetia Summa.

Rigor Mortis previews “Flesh for Flies” from final album Slave to the Grave

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Before the untimely passing of Rigor Mortis guitarist Mike Scaccia, the band recorded what will become its final album. Featuring the same lineup as 1980s Rigor Mortis, Slaves to the Grave emphasizes the unique approach of this groundbreaking speed/death metal band as rendered with contemporary production.

To spur interest in the album, Rigor Mortis released a preview track entitled “Flesh for Flies” which demonstrates the new style. The same frenetic high-speed rhythm guitar makes its presence known, but with more of the melodic depth seen on later Rigor Mortis works like Freaks and Rigor Mortis vs. The Earth. Bruce Corbitt elevates his frantic vocals with death metal technique mixed in with his urgent shouts, and provides the kind of engaging rhythmic chorus that will ensnare any metalhead with a love for 1980s style speed metal. In addition, Scaccia injects a solo that attacks with a blitzkrieg undulation of notes that creates a texture from which a melody slowly arises. Gone are the longer song structures of Freaks, replaced by a verse-chorus approach that hammers home the powerful transition between the more death metal verse riff and the elegant melody of the chorus.

The song consciously targets the self-titled Rigor Mortis album that floored the metal community with its gore lyrics but powerful instrumentalism and abundant energy. For those who are looking for a re-creation of that first album, Slaves to the Grave looks to be both in that vein and enhanced with the more immediately impacting approach that band members picked up from subsequent projects. The strength of this track comes from its simplicity and directness which allows its viral payload to intrude directly in the consciousness of the listener, leading wayward brains to a dark and morbid place undergirded with the trademark Rigor Mortis absurdism and musicality.

Morgoth unleashes first studio tracks since 1996

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German death metal band Morgoth releases its first new studio material since 1996 with God is Evil, a 7″ and digital single with two new tracks. The band also released a teaser of the new material which samples but does not include in full the first track, “God is Evil.”

The material shows the same classic death metal riffing as the original Morgoth releases that inspired their prominence in the early 1990s underground with Cursed and Grim Reality, but adds standoffish speed metal riffs and modern metal influences on the vocals. As a result, more groove and bounce enter the fray but are done in such a way as to maximize impact and deaden any similarities to life-loving positive music.

As the teaser runs only 1:38 further conclusions are difficult at this time but many of us are watching to see how this band develops for its return at a time when many classic death metal bands are seeing widespread notice for the first time. The single dropped on August 11 in Europe and will see US release over the new few days via Century Media.

5 albums that ruined metal

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If you create anything of beauty in this world, people will be attracted to it. They will want what it has, but because achieving that would require them to change themselves, they will instead make a version of your beautiful thing that fits their needs. This will become popular and soon idiots everywhere will adopt their dumbed-down version of your beautiful thing, effectively ruining what you have created.

Over the course of metal’s lifespan, it has several times been afflicted with the curse of popularity. During the middle 1970s, bands began cloning what Black Sabbath did and mixing it with the more radio-friendly sounds of Led Zeppelin, Cream, The Who and Deep Purple. The result gave metal such a bad name it required an underground genre, the New Wave of British Heavy Metal, to renovate it with punk energy and DIY spirit. Then in the late 1980s, speed metal bands started selling out and making radio-friendly jive that quickly destroyed the genre because no one wanted to associate with it anymore. Only a few years later in 1994, underground metal imploded as clone bands and outsiders began making imitations of the new sound that used songwriting conventions and “values” from other genres. Most recently in the 2000s metal became “socially acceptable” and became basically a cover story for lite jazz and indie/emo which now could claim they were groundbreaking and authentic.

But I digress. Let us look at a brief history of bands that helped ruin metal and see if we can figure out where their influences ended up in today’s milktoast hybrid metal.

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Pantera – Cowboys From Hell

Before this album came along, speed metal had a certain gravitas to it. Songs were about war, human moral conflict, literature and the apocalypse. Then along came Pantera and injected a bro-sized dose of personal drama into it. After Pantera, speed metal included talking about how angry you are, getting drunk and starting fights about whose jeans are out of fashion this season, and raging about your inability to retain women who are not covered in naturally-growing wool. It was a strike of Idiocracy against the intense music of Metallica, Nuclear Assault, Overkill, Testament, Anthrax and Megadeth that dumbed it down to the Belieber level, just with more angsty testosterone. Not only that but the complex songs got replaced by verse-chorus and lots of “emotional” vocals accompanied by softer guitar parts. The path to death for speed metal started with this watered-down, dumbed-down, ego-drama path to stupidity. Luckily after they had made their money, Pantera disappeared and the band members went on to more reputable projects.

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Cannibal Corpse – Tomb of the Mutilated

In the year that death metal reached its peak, Cannibal Corpse release an album that made death metal accessible and in doing so, made it a satire of itself. This is Dethklok before Dethklok. Borrowing from the percussive style that Suffocation innovated, Cannibal Corpse took out all the complex songwriting and replaced it with somewhat complex riffs in predictable format. It took away difficult rhythms and topics and replaced them with I-puke-blood style blockheaded lyrics. They also introduced Pantera-style songs about sexually mutilating women because women are difficult and sometimes all one can get is a brojob back at the frat house. This album crushed the growing death metal movement by putting a giant IDIOTS AND SYCOPHANTS WELCOME sign over the door to the genre and convincing people that songs with blockheaded gore lyrics and simplistic structures under grunting incoherent vocals were more “death metal” than the complex music of integrity that defined the genre at the time.

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Cradle of Filth – The Principle of Evil Made Flesh

Point your TARDIS back to 1994. Black metal was in full-swing, having just put forth all of its founding works and then exploded in a media-fueled inferno of murder, anti-Christian and politically incorrect sentiments. In come the “smart” people who figure they can make a buck off this new phenomenon. Their formula: make Iron Maiden style metal with the new screechy vocals and make it emo so that kids can feel like it sympathizes with their horrible lives where their parents just totally control them and stuff. Then mix in the usual “teen paranormal romance” rambling about vampires and evil and you have baby food for coddled toddlers. It took some brains to like black metal, but Cradle of Filth asks nothing so challenging of its listeners! Even more, this band introduced the “carnival music” style of putting radically different riffs next to each other so that the listener loses track of song structure entirely. These songs are basically advertising jingles and warmed-over Goth rock stuck into second-rate metal, but all the kiddies brought their sweaty dollars to Hot Topic because they felt it “understood them.”

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Meshuggah – None

Right in the middle of 1994 it became clear that black metal and death metal had left the building. They had said what they wanted to; people had to either top it or find some easier and sleazier way to do. Ripping off the percussive textures of Exhorder, Prong and Exodus, Meshuggah came up with a “new” style that consisted of over-extending ideas from previous and better bands. It’s worth mentioning that Meshuggah’s first album was 80s speed metal with death metal vocals, but that it was extremely boring. Meshuggah figured that if they just made their style more dramatic and used lots of choppy riffs with shiny new “complex” polyrhythms, they could fool a new generation into liking their stuff. Without fail, it worked, and now metal bands find it necessary to incorporate the worked-over 70s groove with two-chord texture riffs and claim a “djent” influence. At its core, this band remains the same bad 80s speed metal that failed on its first album.

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Opeth – Orchid

You can pitch a market one of two ways: on one hand, you can be “just one of us regular guys” and pull a Bruce Springsteen (or warmed over punk); on the other, you can claim that you are so far out and deep that only a few deep people can understand you. The best is to hide the former in the latter so that you are selling the “profundity” of sing-song music for children but it gives them a chance to pop on a Fedora and think they are really so deep, you know totally deep, that no one can be as deep as they are. Opeth sold itself on being “open-minded,” which is this message: we are different from the rest of metal because we use acoustic passages instead of just solid heavy metal riffs. What they choose not to tell their fans is that they are more like everything else that is not metal, so to like this stuff is to admit you fail as a metal listener and go back to pumping radio pap through your Beats by Dr. Dre headphones. But every underconfident basement-dwelling pretentious geek loved this stuff even though it consisted of a simple formula, soft verse and hard chorus, that is most famous for its use among nu-metal bands. Nonetheless, Opeth opened the door for people who wanted to signal to the world how profound and different they were, and now most bands are tinged with the same simpering pander that makes this music sickly sweet and an inch deep.

Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music edited by Eric James Abbey and Colin Helb

August 10, 2014 –

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Metalheads tend to distrust academia. We distrust the machine in all of its forms, and since the machine accepts academia, we believe the voice of academia is tainted by interest toward social acceptance. Academia also has a habit of finding ways to cram reality into its theories rather than the other way around. However, some academics make insightful contributions to the study of metal and Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music provides an example of the best of this process.

This collection of essays looks at extreme music in general and extends this to metal, hardcore punk and punk rock communities. Sadly many authors make the mistake many do of incorporating recent pseudo-metal hybrids as some form of legitimate metal, which spams their results with some nonsense. The balance of results however turns out for the best because these academics look at detail-level reproducible phenomena and so are able to avoid the kind of craziness that would happen if they took “modern death metal” to be a legitimate form of the genre. Since metal and hardcore punk share a heritage both influencing and as influences of one another, the multiple pieces on that topic serve to bolster the understanding of metal.

Ross Hagen‘s piece “No Fun: Noise Music, Avant-garde expression and Sonic Punishment” ventures into the world of noise as music and explores a number of theories of its appeal. His most tantalizing riff zeroes in on the idea that society attempts to control noise and categorize it by the containers used to sample it, thus the tendency of irregular acoustic noise is to overthrow the social control imposed for the convenience of society having categorical dominance. While this piece does not seem to be directly on point to metal, it explores the same sonic space that metal uses and suggests reasons for it that may overlap with the psychology of metalheads.

Nelson Varas-Diaz contributes writing that analyzes Puerto Rico as a metal scene and the historical antecedents for appreciation of metal in this unique context. While his research involves statistical analysis, the best part of it may be the narrative aspect where he explains the history of metal in Puerto Rico as a type of struggle to be heard. In this piece also can be found extensive information about founding and contemporary Puerto Rican metal bands.

While it is beyond the scope of this review to cover every piece in the book, several others merit immediate attention by the wandering metalhead. Mika Elovaara looks into the meaning of metal lyrics and finds something akin to the mythical-historical view expounded upon in these digital pages. As if clarifying Lords of Chaos, one of his research subjects from Norway opines:

I feel that it is important that people understand why they have been born and that other people fought for our well-being and to preserve our culture and society. Our cultural heritage is going to die because people ignore it or do not even realize its significance. Viking and Norse mythology have been described as something evil and distant, but in reality, it is close to home and not necessarily evil at all. That it is not Christian does not mean it is evil. I use the mythology to describe situations in the world and politics, actual topics that were part of our lives a thousand years ago just as they are today. One can be proud of one’s heritage and identity without any racist or nationalistic tendencies. And Satanism is quite outside of this.

His extensive interviews bring up other similar flirtations with the taboo which makes sense as metal is “edge music” that exists to push social standards beyond what they normally accept. He probes the filaments of metal’s obsession with the evil and dark, and yet finds a certain kind of benevolence. “They mean critical thinking and encourage independent thinking,” said one fan about metal lyrics. The entire study is too complex to summarize here but at a minimum provides food for thought about what metal is attempting to communicate.

Another metal-related piece by Marcus Erbe looks into the science of producing death metal vocals and what that type of sound might mean in the unconscious and shared experience of being human. He finds that human vocals universally split between a melodic voice and a textural voice, with the latter expressing “monstrous” sensations. He then explores the nature of the monstrous in psychology and finds that it includes both the other and our fears for what is within us. This thought-provoking essay fuels further the question about what it is in metal that is really socially unacceptable, its rejection of social mores or its seeing through them.

Other articles explore more specific topics. On the whole, the book shows a new face for academia in looking into metal that is less afraid of certain areas of metal that are alien to what academia customarily writes about and may reject attitudes held by the majority of academics. The insight offered into the mechanics of metal and the associated symbols that it invokes also suggests new areas for academics and thinkers to pry into this interesting genre. Hardcore, Punk, and Other Junk: Aggressive Sounds in Contemporary Music lives up to its title and presents a window into the troubling questions that most would ignore raised by these dissident genres.

Interview: Question

August 8, 2014 –

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Question come from Querétaro, Mexico and create technical death metal in a combination of old school styles. Their debut album Doomed Passages saw release through Chaos Records in early June. Question deliver a very spacious style of death metal reminiscent of The Chasm with some Finnish touches. The guitarist, Rodrigo, agreed to talk to us about the band.

Question caught my eye as an unusual name for a death metal band. What made you choose this name?

“Question” is a name which is coherent with the philosophy of the band and the lyrics; it’s consistent with the context that we want to portray. A friend came with the idea and we thought it fit perfectly with the music that we were composing at the time. It’s not surprising that some think it is a weird or dumb name; you’ll always find people that keep looking for the most rude or evil names, but I think that has become a weak point with the past of the years in the metal scene.

I detect a strong Finnish death metal influence on Doomed Passages. Would I be correct?

Well, we are fans of some early Finnish death metal bands; also we listen to some contemporary bands that have been spreading rottenness lately. However, it’s more appropriate to say that we’re heavily influenced by obscure death metal in general; Mexico has a lot of obscure metal bands and some of them are big influences for us. Also, besides metal, we listen to a lot of punk, progressive rock, etc.

What drove you to create death metal?

Curiosity. In terms of composition death metal has a very vast spectrum of possibilities and we all are very into obscure, heavy and strange stuff, not just music, also books, films, so I guess it’s natural to feel a tendency to create and play this kind of tunes.

Is art separate from entertainment or are they one in the same?

I’m afraid I’ve never established a delimited frontier between these two concepts; any attempt to be objective will fail, however I can resume my thoughts with the following: many expressions of art can be entertaining, but entertainment mostly lacks art. Art is an intimate vision of an artist, and sometimes the vision is shared with some people. In contrast, entertainment is made for the masses, is a guided story that leads to a guided conclusion. Art is more subjective, it makes you think what you’ve experienced.

Tell me about the recording process of Doomed Passages.

We recorded the album in April 2013 at Oz Recording Studios in Mexico City. The process lasted five days and it was the first time for the actual lineup to record something. All went well, the studio is amazing, and we had a really good time, although the mixing and mastering process was more exhausting, as we couldn’t make a connection with Roberto Granados. I think the result is good.

What does the artwork on Doomed Passages signify and how does it tie into what is being expressed musically?

Hector and I wrote a couple of ideas for the artwork based on the lyrics and the band’s philosophy. We send this to Arturo Vargas and he came with this spectral vision that became the cover of our first album. The significance is relative; art should not be restricted to a single interpretation.

Interview: Unaussprechlichen Kulten

August 5, 2014 –

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We recently reviewed Unaussprechlichen Kulten Baphomet Pan Shub-Niggurath, a death metal album that knits together old school and newer styles of the underground metal art. We were lucky to get a few moments with Joseph Curwen, guitarist and composer, to explain the intricate secrets behind this dark cult act.

Do you identify with the “old school spirit” in the metal underground? If so, what is it and how does it emerge in your music?

Not really. “Old School” sounds like a “nostalgic trend” of “clone bands.” For us the Death Metal way is one style. It may have variants like brutal, old style or mixtures with other styles. But if the bands begin to clone all — the style, sound and even the graphics and pics — this really… sucks. Poorly made copies are not necessary! The “Sunlight” or “Tampa Florida” styles are wonderful and are always “inspiring,” I know it’s difficult to innovate in a “strict” style and with so many old bands as reference … but if a band does not have in its purpose something new, creative, original… anything in particular that distinguishes… why make that band?

The name “Unaussprechlichen Kulten” or “nameless cults” comes from the Cthulhu mythos, as do many of your song titles. How important is Lovecraft’s work to your art, and to metal in general? What other occult/romantic/fantasy writers influence you?

You are right about our name. Lovecraft’s literary legacy is rich in terminology and knowledge, therefore allows us to explain with his words the religious or spiritual concepts that otherwise we would be forced to use “Christian” or “common” terms so they can be understood. Lovecraft always publicly declared himself to be an atheist, but his erudition in the occult was something more than an amateur.
Therefore we are not only focused on the work of Lovecraft. We also include other topics, including Chilean mythology. The Necromancy is not unique to any particular culture, so what we do is explore in different subjects, always mystical and dark, but with the work of Lovecraft as a reference. Other interesting writers are Robert Bloch and Robert E. Howard, classics occultist like Blavatsky and Eliphas Levi, even contemporary Chilean writers as Oreste Plath and M. Serrano and others

Metal has always been influenced by the literature of Terror, and Lovecraft is the horror writer who made the most important revolution in the genre. He will always be a benchmark in the lyrics of Metal bands.

Baphomet Pan Shub-Niggurath sounds like it takes influence from both newer and older raditions in underground metal. What are your influences? Which of these did you find most useful in creating this album?

A lot of influences, you know mainly 80-90. Classic Swedish and American death Mmetal. Some from South American or Scandinavian… older? …mmm INCANTATION, NECRODEATH, GORGUTS, SHUB NIGGURATH, IMMOLATION, NECRODEATH, PENTAGRAM, MORBID ANGEL (old), MORTA SKULD, DISMEMBER, the mighty SADISTIC INTENT, DEMIGOD (old), MORTEM, and of course SLAYER, MERCYFUL FATE, SACRIFICE….. Newer? Throneum, Karnarium, Deathspell Omega, Godless, After Death, Dead Congregation, Hatespawn, Katharsis among many others.

In the early 1990s, there were few bands and not that many fans. Now there are more of both, and metal is accepted as normal in the mainstream press. How has this changed what it is to be a metal band? How has it not changed how it is to be a metal band?

Good question. It’s been over 20 years and society (worldwide) changed. We live in the information age; in the early 90s without internet, the bands depended on the promotion and diffusion that could be done through the “official” and monopolized media (radio, tv, zines Poser, label’s flyers, etc). Now every band can do their own promotion, also in these 20 years there was a “democratization” of recording technologies now make it possible to make music in a “Home Studio” way. More music available and easier to access it produces “the moment” in which we live.

This album embraces a dark and occult way of putting riffs in order and making songs of them. How do you know which riffs fit with each other? And how do you compose a song — do you start with a melody, a riff, an idea, an image?

From “People of the Monolith” onward our approach has always been the same way — to do riffs. I bring the riffs, arrangements and dis-harmonies of both guitars (I come with everything done and ready in accordance to what lyrics need like faster, slower or thicker parts, strange arrangements, etc.). It’s personal, a kind of trance. I only think in the “concept” and the lyrics, while I do an old trick: I move my fingers over the guitar until I’m no longer playing at random, but there is a “pattern” becoming a “riff.” Once I show the guitars to Butcher, drumming is 100% his responsibility. Then we adjust the structure and cuts together in the rehearsal room. When that base is settled, we incorporate the bass (based on drums). I used to do the bass but in this last record, NAMRU IMPETRADORUM MORTEM was integrated into the creative process of basses, all of them were 100% invented by him in Chapter VIII.

How did Unaussprechlichen Kulten form? Did you know each other from previous bands? Did you have a stated goal in coming together and forming the band?

In the beginning we was just two members, with no previous bands, the first name was “SPAWN.” With that name we just recorded 5 tracks of traditional Death Metal (never edited!). During that period of time I always felt unsettled about the name of the band so I decided to change it for a name in Spanish: “Culto Innombrable” was the one that came into my mind, it was a good name, we even made a logo. At that time I realize about the coincidence with the apocryphal Lovecraftian book: “UNAUSSPRECHLICHEN KULTEN”, diabolically whispered in my ear by Azathoth!

How well has the album been received so far? As more people hear your music, will your plans change? What comes next for Unaussprechlichen Kulten?

So far very good reviews, but our plans will not change. We are a “not popular” or “trendy” band. It has been more than ten years since it all began. So far we are a very unknown band out of Chile, we have been into the deep underground always, and I think will always be so because of our style. Death Metal is not a “trendy” style at this moment; now Death Metal is made by people who are stubborn and headstrong which maintains this “sectarian” behavior. It is true that more and more bands are appearing… on one hand this is good … the “scene” looks “healthy,” alive, which allows bands to exist and makes the media interested in promoting them (and of course in our case, more people hear our music), but on the other hand, also the “overpopulation” of bands is huge, generating a size of information unable to be processed. “A lot of bands” are not synonymous with “quality of bands.”