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The Putrid Stench of Gnosis – Interview with Grave Miasma

With the advent of another grim Autumn, half of the world retreats into glowing boxes of warmth and comfort to preserve the sickly and feverish Summertime langour. In a time where the seasonal rituals of harvest survives only as a novelty for urbanites and other moderns, for the sinister few, this is the season to step out into the growing shade of night and harvest the souls of the damned for they will be reborn into a new, unholy dawn. Such apocalyptic ends have necessitated a gathering of gargantuan proportions and could not be more appropriately named as the third ‘Black Mass Festival‘ in Helsinki later this week. Nefarious and astralic cults known to Hessians the world over, like Necros Christos, Sadistic Intent, Cruciamentum, Neutron Hammer, Lie in Ruins, and Death Metal legends, Demigod will be devastating the city and delivering winter even earlier than the Arctic already experiences it. Among such legions and Deathmetal.Org personnel in devout attendance will be London-based Death Metal occultists, Grave Miasma, making a similar journey to myself, but before our paths would re-intersect on the shamanic land of ancient Suomi, I posed a few questions to their guitarist and vocalist, the acronymious Heruka C.C.O.T.N., who seeks to re-ignite the dying embers of Death fucking Metal’s true fucking spirit on the very soil of the wider genre‘s birth.

ObscuraHessian: The change from Goat Molestör to Grave Miasma seems to have been a real metamorphosis, as the former atmospheres of graveyard desecration are, on ‘Exalted Emanation’ imbued with a deeper sense of occultism and morbid mysticism. What was going through the mind of the band during this transitional time?

C.C.O.T.N.: Quite simply, the band evolved without the necessity for conscious thoughts mapping a direction for this metamorphosis. There was a lengthy period of exchanging ideas and writing material following the ‘Realm of Evoked Doom’ recording sessions. I would say that this enabled us to define the Grave Miasma sound, with the name change not being an important contributing factor.

ObscuraHessian: Interest in more archaic forms of Death Metal is growing all around the world, as if returning to first principles and rediscovering our primordial selves. Consequently, as evidenced in your EP, the music is becoming esoteric like it used to be, wrapping dark and cosmic imagery in death-worshipping ‘theological’ statements. How important is esotericism in such a style and scene as Death Metal? Is it just a ‘thematic choice’ or something more?

C.C.O.T.N.: Esotericism is the driving force behind Death Metal. Many bands attempted, and unfortunately succeeded, to reduce the genre to a brainless parody. For Grave Miasma, riffs and rhythms are not just music for the sake of existence, but the key to unlock inner mysteries of the subconscious and beyond. Only the contents of bands’ recordings can separate those who utilise such imagery for thematic choice from the genuine.

ObscuraHessian: You invoke everything from Vedic, Greek and Egyptian deities to Qabbalistic designations in this suffocating EP. Why do you connect these symbols, like building a temple filled with antique curiosities to stand before the Abyss?

C.C.O.T.N.: Whilst not professing to have any cultural link with the Vedic, Greek and Egyptian deities alluded to, studying the esoteric traditions through the ages, it is clear that there is a principle of unwritten transference of intrinsic principles between epochs. For instance, one can find similarities between some of Crowley’s thoughts and doctrines of certain Mesoamerican shamanic cults. Through making and meditating upon such connections, one can discover only a fraction of the eternal laws of this universe.

ObscuraHessian: There’s a lot of sounds from ‘Joined in Darkness‘-era Demoncy that surface in the music of ‘Exalted Emanation’, which adds a Black Metal flavour to it. Is this a favourite album of the band or are you more into Death Metal? Who would you say are your biggest musical influences?

C.C.O.T.N.: A highly astute elicitation, as ‘Joined in Darkness’ was perhaps the most instrumental album in spearheading the Black/Death ‘revival’ of last decade. It was and is a major staple in the listening habits of all four members. Concerning musical influences, our earlier era was characterised by inspiration confined to Death and Black Metal. As the band and our selves developed, we draw from the source of many wells. I would go as far as saying that elements found in Ambient/Cosmic and Near-Eastern music are of greater importance than Metal when it comes to obtaining conscious insight and ideas.

ObscuraHessian: How strong is the Death Metal scene in the south of England, right now? Are there many other bands have you listened to or played alongside with the potential to crush the skulls of mortals?

C.C.O.T.N.: There are very few bands in the UK generally who play Death Metal with the old coffin spirit. Whilst completely detached from Death Metal, one newer band I worship are The Wounded Kings.

ObscuraHessian: London is an interesting city, with a lengthy and diverse history represented by ancient Mithraic temples, Medieval Christian architecture and modernist hubs of rabid consumerism. How does living in this capital play a part in your music, if at all? How does life here compliment or conflict with an existence aligned with occult knowledge?

C.C.O.T.N.: To draw inspiration from my surroundings, I go out of London – often far indeed. Man is attuned with his surroundings, and living in this city is not congruent with the contemplation needed to collate this stimulation. I do find desolate urban areas during the dead of night to exude such sinister ambience, however. Whilst there are locations of Occult interest in the capital, other provinces of England are more relevant whether in regards to tangible brooding atmospheres or unseen power currents.

ObscuraHessian: Are there plans for an album as yet? Having released ‘Exalted Emanation’ last year, what is the vision for the future of Grave Miasma?

C.C.O.T.N.: The next step will be a full length album. We are not a band who place deadlines upon ourselves, as creativity often has no limits and needs time to bear fruit. Should the forthcoming material not meet the ‘standard’ of ‘Exalted Emanation’, then it is most likely we will cease to exist as a band.

Hail to C.C.O.T.N. and Grave Miasma for answering these questions and contaminating this urban wasteland with their noxious, cemetary fumes. The ‘Exalted Emanation’ EP and re-release of ‘Realm of Evoked Doom’ MCD can be obtained directly through the band or Nuclear Winter Records.

Three faces of Satan seen over Texas – Sermons of obliquity and madness

Black Funeral – Vukolak

Keeping it true to its Luciferian chameleon nature, this ancient Texan conceptual black metal band has toiled its share in obscurity, being denigrated in the eyes of music-minded people while being praised by unhallowed souls who seek an ever more frightening vision of darkness inside this elusive style prone to normalization. The heavy shades of musical history, conservationist mindset and appraisal of beauty that characterize Texan metal such as Absu is hardly in line with the distorted, belligerent and insensitive provocations of Houston’s Black Funeral. Key moments from the sadistic noise of “Vukolak” are hardly recognizable as black metal, instead taking the most psychotic element of the lo-fi ethos to unparalleled heights, directed only by the quest to unveil another mythical night creature (the Eastern European merciless forest beast vukolak), one of the mutations in a long series of albums dedicated to beings from the nether, shut out from the conscious mind of man but existing in dreams and irrational impulses. As a practical magician, Nachtoter is fully aware of the potency of a wedding between symbolic sound and a haunting tale that has tortured the minds of a people of a hundred generations. While doing this, he is sure to alienate a good ninety percent of even black metal devotees, unless the constantly maiming and shifting abstraction he calls composition at this point is attractive to attention seekers; at surface it would seem only murderers and madmen dare listen to his insane conjuration, despite moments of traditional medieval beauty in the well-placed interludes “Sanctum Wamphyri” and “Wolfskin Essence”. Mr. Ford remains a master, not so much in musical skill (which sometimes seems to deteriorate over time) or literate esotericism (where he is convoluted and counterintuitive), but of bringing alive an ancient dark myth framed in subtle psychic terror.

Hod – Serpent

Remembering the true-as-fuck black metal violence of Thornspawn demo from more than one decade ago, likewise the pulsating anti-music corruption of satirical Rehtaf Ruo, it was with some excitement that I picked up this promo from San Antonio’s supergroup, expecting a manifestation of the infamous “Sacrifice of the Nazarene Child” fest before my eyes in the form of fire-breathing succubi and inverted cross timpani encased in malevolent crystalline forcefields, but instead I got this slab of adequate, grooving, hate-filled black metal somewhere between the rhythmic energy of Averse Sefira and the easy solutions used by Satyricon to nauseating effects. The emphasis is on constructing the song out of simple, fiery riffs which are memetic enough to adapt themselves alike to a blastbeat or a churning Hellhammer pound, but the deceit comes across in the fact that the album in its whole chooses to explore neither direction, but grinds along at mostly mid-pace, like someone trying to look tough while walking in front of a church and shouting “are you talking to me?” at God. Likeable elements are a plenty, such as the moments when a hardcore influenced three chord riff bursts into an atonal pattern underpinned by an expert rhythm on drums while the cleverly restrained hoarse voice arrangement emphasizes tension instead of drama, making it easier to concentrate on the fragile atmosphere resurgent in the Christ-opposing ideas at play. Hod’s metal seems quite honest in purpose and recognizably Texan, mostly being cursed by Blood Storm’s and Divine Eve’s better takes on similar influence and subject matter. But the content that is simultaneously grounded and packaged, like the automated output of the Swedish scene, unfortunately makes “Serpent” sparsely appear in memory or in record player.

Blaspherian – Allegiance to the Will of Damnation

Heavy and pounding constantly almost like an old Manowar song has been transposed to the symbols of a Texan death metal notebook, the abilities of Wes Weaver in conjuring an evil sabbath of languid subversive black metal bliss are proven a second time; the first was, of course, Imprecation’s semi-classic “Theurgia Goetia Summa” one and a half decades ago. Absolutely unwavering, panzer-like in insistence, Blaspherian weaves slow melodies and processional passages of chords together mimicking funeral organ alternately on rhythmic chugs over slow double bass and tremolo runs giving slight nods to both Necrovore and Goatlord, always keeping to some ideal of profane serene moonlit beauty in the symmetry and progressive elegance with which this basically simple music unfolds, notable being for example the surprising tempi and energetic tension of “Curse His Name”. What is to be applauded is that Blaspherian takes absolutely no filler into this tight mini-album where it would have been easy to recombine for endless tedium. If a more critical angle is required, it’s possible to say that melodic possibilities and thematic spheres aren’t quite yet expanded on this debuting work; the epic aerial elegance of keyboards in “Theurgia Goetia Summa” for example has no counterpart on “Allegiance to the Will of Damnation”, which on the other hand benefits from the ascesis of the sound, conjuring to mind images of barren mountaintops where witches gather to dance under the stars, amidst shrubberies, and pay heed to the commands of Lord Baphomet who guides the anti-social in the harmonic ways of nature forgotten by a society occupied with trading trivial goods and vain honours. In such a situation it is obviously better to live in shame and obscurity. By this logic Blaspherian remains elité, even if they are and remain unnoticed by the majority of those who profess listening to death metal or black metal, for the benefit of cowards.

In anticipation of the profane rites of spring and summer

As the solar powers emancipate the winter’s icy grip, the pieces of art we hoped to dominate this year’s playlists are gradually fading to old news, not to spoil any upcoming reviews of efforts such as Burzum‘s pastoral “Belus”, Immolation‘s showy “Majesty and Decay” and Winterwolf‘s cheeky “Cycle of the Werewolf”. Insatiable death squads that we are, relentlessly lusting for the lower ethereal planes, our sights gaze upon promised treasures such as the debut album of North Carolina’s Anu, “Opus Funaerum” and the sophomore benedictions of Australia‘s Cauldron Black Ram and New York’s Profanatica; namely, “Slubberdegullion” and “Disgusting Blasphemies Against God”. The Anu CD is currently in press and will be available through Graveless Slumber Records and distributors worldwide, this Demoncy related band having already caused a stirring of unbenevolent underground majesties with its acrid and harsh self-titled EP and Myspace samples promising neo-ambient black metal hymnals dedicated to the darkness and quietude of night, in the profound manner of Sorcier des Glaces and Legion of Doom who know how to make the synthesizer sound archaic. The LP version will be out later on Werewolf Records, whose releases I generally find worthwhile to pay attention to. Cauldron Black Ram has hardly softened their sound over the years in favor of pirate maniacs scattered by the sinking of Running Wild‘s flagship, instead paying homage to Autopsy and Hellhammer with primi-syncopated drumscapes, poisonous grunts and eerily progressive riffing that gets at times, not that surprisingly, close to what compatriots Portal practice on galactic hyperspeeds, CD out now on Weird Truth Productions. Profanatica’s audial sodomy, out in summer through the hallowed Hells Headbanger Records hardly needs much explanation nor much can be provided, as Ledney remains the official high priest of evil USBM since more than two decades of non-compromising, pummelling, harsh and blasphemous black metal.

And while waiting for all these to intrude your mailbox as if it was the holy anus, check out some of the forthcoming gigs in your area and present yourself simultaneously as a brutal but intelligent metalhead, in order to raise the honourable status of this artform in your country. Hail and kill.