Black Metal

پرسش و پاسخ درباره ‌NSBM:

1.NSBM چيست؟

2. موارد تطابق NSBM و انديشه هاي آدولف هيتلر در كجاست؟

3. آيا پيروان اين انديشه طرفدار نسل كشي هستند؟

4. آيا پيروان اين انديشه نژادپرست هستند؟

5. چرا پيروان اين انديشه سايرين را به قتل نمي رسانند؟

6. آيا پيروان اين انديشه ديگران را مسبب شكست هاي خود مي دانند؟

7. چگونه مي توان هم ناسيوناليست بود و هم طرفدار جدايي نژادي, با اين حال خشونت نورزيد و در عين حال دچار ضعف نيز نشد؟

8. ايا هدف از اين موسيقي تنها اشاعه تفكرات ناسيونال سوسياليستي مي باشد؟

9. چرا مردم به اين موسيقي گوش مي دهند؟

مقدمه:

اين مجموعه پرسش و پاسخ, شرحي است بر جريان هاي ناسيونال سوسياليستي رايج در موسيقي Black Metal كه امروزه به اختصار NSBM ناميده مي شود.

1. NSBM چيست؟

حروف NSBM مخفف كلمات National Socialist Black Metal مي باشد و اصطلاحا به گروه ها, كمپاني هاي نشر, هواداران, ترانه ها و شنوندگاني اطلاق مي گردد كه اين انديشه رايج در دنياي زيرزميني موسيقي Black Metal را سراوحه خود قرار داده اند.

NSBM Bands: اين اصطلاح بيانگر گروه هايي مي باشد كه به طور صريح به بيان تاثيرات فكري خود از انديشه هاي ناسيونال سوسياليستي مي پردازند. البته گروه هاي بسياري نيز جانب احتياط را رعايت كرده و در حدفاصلي مابين افراط و تفريط قرار دارند.

(اينگونه نيست كه تمامي گروه هاي اين شاخه عقايد خود را در شكل موسيقايي بيان كنند. حداقل اين كار هميشه به صورت مستقيم انجام نمي شود. با اين حال تقريبا تمامي اين گروه به روش هاي گوناگوني چون استفاده از تصاوير روي جلد آلبوم ها, مصاحبه ها و يا اظهار نظرهاي اجتماعي به بيان عقايد خود مي پردازند. اين ويژگي به خصوص در گروه هاي قديمي اين شاخه نمايان تر مي باشد.)

از جمله گروه هاي مطرح به عنوان كساني كه صراحتا از عقايد ناسيونال سوسياليستي خود سخن گفته اند مي توان به Absurd, Burzum, Graveland, Infernum, Kataxu, Legion of Doom, Order From Chaos, Thor Hammer, Thunderbolt و Veles اشاره نمود.

از ميان گروه هايي كه نحت تاثير چنين انديشه ها قرار داشته اما اين تفكرات نمود مستقيمي در موسيقي آنها ندارد مي توان به Angelcorpse, Bathory, Beherit, Blasphemy, Darkthrone, Impaled Nazarene, Marduk, Mayhem و Zyklon-B اشاره كردد.

گروه هاي ديگري نيز همچون Motorhead, Repulsion و يا Slayer وجود دارند كه با وجود داشتن انديشه هاي ناسيونال سوسياليستي, خارج از محدوده سبك Black Metal قرار مي گيرند.

البته گروه هاي بسيار زيادي نيز در شاخه Black Metal از كشورهاي مختلف جهان را مي توان نام برد كه هيچگونه وابستگي فكري به اين جنبش ندارند. اين نكته را نيز بايد در نظر داشت كه تمام گروه هاي موسوم به NSBM معتقد به فلسفه ناسيونال سوسياليسم نيستند. عده كثيري از اين گروه ها تنها دانش محدوي در اين زمينه دارند. فلسفه ناسيونال سوسياليسم تا حدودي به جوامع باستاني شباهت دارد. در اينجا نيز, شرافت و فرهنگ واجد ارزش بسياري مي باشد و اين كاملا برخلاف فرهنگ مدرن است كه در آن مادي گرايي و فرديت انسان ها به عنوان مركز ثقل ارزش هاي انساني تعريف گشته است.

2. موارد تطابق NSBM و انديشه هاي آدولف هيتلر در كجاست؟

نوشته هاي او, بويژه چهار بخش نخست از Mein Kampf, بيست و پنج سرفصل تعيين شده از سوي او براي ملت آلمان و نامه ها او به Goebbels در طي سال هاي جنگ جهاني دوم از جمله تاثيرگذارترين منابع جنبش NSBM به شمار مي آيند. از ديگر كتاب هاي تاثيرگذار بر اين جريان مي توان به كتاب فراسوي خير و شر اثر نيچه و كتاب سرمايه اثر كارل ماركس اشاره نمود.

(قطعا تعجب خواهيد كرد كه چگونه كتاب سرمايه منبع الهامي براي هواداران NSBM گشته است. درست است كه كارل ماركس از نژاد يهودي بود, اما بدون شك سوسياليسم سريع ترين راه براي رسيدن به فهم كامل از ناسيونال سوسياليسم مي باشد. به عنوان راهنمايي براي فهم آنكه چگونه ماركس يهودي موفق به خلق چنين نظام فلسفي گرديد مي توانيد به انديشه هاي هگل مراجعه كنيد.)

3. آيا پيروان اين انديشه طرفدار نسل كشي هستند؟

طرفداران اين جنبش حامي فلسفه تكامل هستند. بدين معنا كه آنها به اين تكامل به عنوان نوعي عمل پالايش دنباله دار مي نگرند كه سعي در تهذيب تاثيرگذاري ما بر زندگي و نيروهاي بالقوه زندگي دارد. البته اين جريان حالت يك سد بازدارنده مشخص را ندارد, بلكه بيشتر بيانگر استعدادهاي نهفته مي باشد. در باور طرفداران اين انديشه, آنهايي كه بهتر هستند, بهتر زندگي خواهند كرد و دچار رنج كمتري خواهند بود و اين توانايي را خواهند داشت تا يك روش معنوي و فراتر از ماترياليسم را در زندگي خود تجربه كنند.

ديگران از درك اين تجربه محروم خواهند بود. از ديد طرفداران اين جنبش, سايرين, موجوداتي ناتوان در عصر فن آوري و تصميمات بزرگ و سرنوشت ساز به شمار مي آيند و اعتقاد دارند اين گروه سايرين بايد به حال خود رها گشته و دور از بقيه به زندگي ادامه دهند. طي پانصد سال آينده مشخص خواهد گرديد چه كساني حقيقتا انسان هستند و چه كساني هنوز انديشه اي در سطح ميمون ها دارند. شعار اين گروه اين است: مرگ بر انسان هاي پست.

آنها عموما طرفدار نابودي انسان هاي حقير هستند...اما چرا؟

ــ شايد چندان نياز گفتن نباشد كه سياره زمين به دليل گسترش بي رويه نياز انسان ها در حال نابودي ست و علت اين افزايش شديد نياز هاي روزمره, چيزي چز افزايش بي حساب جمعيت نمي باشد.

ــ اغلب انسان ها از لحاظ فكري, شرايطي بدوي دارند. واكنش هاي رفتاري چنين انسان هايي بيش از هرچيز به رفتار دسته اي از ميمون هاي وحشت زده شباهت دارد كه در برابر هر نوع تغييري مقاومت مي كنند.

ــ اغلب انسان هاي پست چنان شيفته خود هستند كه به خود اجازه مي دهند براي رفع نيازهايشان به حقوق ديگران تجاوز كنند. در حقيقت اكثر انسان ها موجوداتي پست فطرت, دروغگو و تفاله هايي بي تفاوت نسبت به حقوق سايرين هستند.

ــ جوامع امروزي داراي هيچ نوع هدف مشخصي براي پيشرفت نيستند به جز در جهت سلطه و اقتدار بيشتر. در واقع در اين زمانه تنها سلطه و اقتدار است كه حرف اول و آخر را مي زند. زماني كه چنين جامعه مدرني پديد مي آيد, از ميان برداشتن سلطه گرايي تقريبا غيرممكن خواهد بود.

تفكري به سوي جنگ!

طبيعت, موجودي به مراتب قدرتمند تز از جوامع صنعتي, اخلاق و بشريت مي باشد. نظام تكامل طبيعي بر مبناي گستره اي از نيروهاي قدرتمند احيا كننده مي گردد. هواداران NSBM بر اين اعتقاد هستند كه كه طبيعت نخستين منشا? خوبي مي باشد و مي بايست مورد احترام قرار گيرد. با نابود كردن انسان هاي پست و برتري دادن به قدرتمندان, روشي مطابق با نظام طبيعت در پيش گرفته شده است و شاهد دنيايي زيباتر خواهيم بود.

اگر شما با موسيقي Black Metal آشنايي داشته باشيد, قطعا مي دانيد كه اين موسيقي به هيچ عنوان سازشي با مسحيت و يهود ندارد. با يورش انديشه هاي اين مذاهب بود كه سياره زمين مورد بي حرمتي قرار گرفت, انسان هاي بسيار به بردگي كشيده شدند, نظام هاي نژادي از هم پاشيد و مادي گرايي منشا? ارزش قلمداد گشت. با هجوم اين مذاهب ارزش هاي حقيقي, ارزش هايي كه فراتر از دنياي پس از مرگ قرار داشت, همه به دست فراموشي سپرده شدند.

برخي طرفداران NSBM اعتقاد راسخي به وعده هاي مبتني بر نازيسم داشته و حتي با گسترش اين مفاهيم, باور دارند پالايش دنيا از وجود تمامي يهوديان, نژاد هاي آمريكاي لاتين, سياه پوستان, كولي ها و بردگان تنها راه بازيافتن سرزمين هاي متعلق به سفيدپوستان, حفظ فرهنگ آنان و مهمتر از همه پرورش كودكان و آماده ساختن آنها براي رو به رو شدن با دنيا بوسيله آموزش هاي فكري, روحي و فيزيكي مي باشد.

تقريبا تمامي طرفداران NSBM بر اين باور هستند كه در هر اجتماعي, حفظ فرهنگ اصيل آن اجتماع از اهميت بي اندازه اي برخودار مي باشد. آنها همگي از گسترش فرهنگ جهاني و نظام سلطه اقتصادي كه بر اين باور است كه هر انسان از دست رفته را به سادگي مي توان دوباره توليد كرد, بي زار مي باشند. عموم انسان ها از داشتن چنين محصولات صنعتي و تفريحات مدرني غرق در رضايت هستند. آنها مانعي در برابر پيشرفت حقيقي به شمار مي آيند.

4. آيا پيروان اين انديشه نژادپرست هستند؟

اگر مراد از كلمه نژادپرست يا نژاد گرا (معادل Racist) كساني هستند كه به تفاوت ميان نژاد هاي گوناگون و بازتاب اين تفاوت در فرهنگ و شيوه تكامل آن اعتقاد دارند, بايد گفت بله آنها نژادگرا هستند. زندگي انسان ها به دلايل مختلف, به شيوه هاي گوناگوني بسط و توسعه مي يابد. در نتيجه نظام ارزشي و اخلاقي جوامع گوناگون, هميشه مطابق با يكديگر نيست. انسان ها داراي تفاوت هاي بسياري با يكديگر مي باشند.

عقايد طرفداران NSBM الزاما به معناي صادر كردن حكم در مورد فرهنگ هاي گوناگون يا نفرت از آنها نيست.

براي قضاوت در مورد فرهنگ هاي مختلف به يك نظام ارزشي نياز مي باشد و طرفداران ‌NSBM از نظام هايي كه مدعي جامعيت هستند متنفر مي باشند. نظام اخلاقي يهودا ? مسيحي مبتني ست بر انتقام, مجازات و مكافات, سادو مازوخيسم, هرزگي, خرافات, خشونت, تنبلي, مستي و غفلت و ديگر نقصان هايي كه همگي از اذهان ضعيف نشات گرفته اند.

اگر تنها يك چيز قطعي وجود داشته باشد كه زندگي انسان ها را مورد تهديد خود قرار داده باشد و مشاهده كنيم كه اين تهديد دوباره و دوباره تكرار مي گردد, بدون ترديد بايد بر آن بتازيم تا بتوانيم زيبايي و سرگذشت خود را پاسداري كنيم.

از سوي ديگر اگر مراد شما از كلمه Racist به معناي كساني ست كه اعتقاد دارند هر فرهنگ بايد به تنهايي بر روي پاي خود بايستد و به آنچه هست افتخار كنيد, در اين صورت باز هم طرفداران NSBM نژاد پرست هستند...پس زنده باد هيتلر!

5. چرا پيروان اين انديشه سايرين را به قتل نمي رسانند؟

هدف اين عده بر مبناي انگيزه هاي اجتماعي شكل گرفته و نياز به فعاليتي چند لايه دارد. به قتل رساندن اتفاقي انسان ها هيچ مشكلي را درمان نخواهد كرد. مي توانيد همسر خود را كتك بزنيد, يا دوست دخترتان را يا فاحشه اي را, درست مانند آنكه به سگ خود تير اندازي كنيد و در اين حال تفاوتي با هنرپيشه هاي هاليوودي نخواهيد داشت.

6. آيا پيروان اين انديشه ديگران را مسبب شكست هاي خود مي دانند؟

برخلاف نظريات عوامانه و شبه روانشناسانه رايج در اجتماع, كساني كه نفرت مي ورزند, الزاما افراد شكست خورده و يا دچار عقده هاي خود كم بيني نيستند. اكثريت طرفداران NSBM آزادانه مانند افراد معمولي اجتماع زندگي مي كنند و مورد تعرض از سوي سايرين قرار نگرفته اند. آنها نيز همچون سايرين همان كاري را انجام مي دهند كه تصور مي كنند زندگي آنها را به شرايط بهتري سوق خواهد داد.

عموم افراد دلايل بارزي براي نفرت ورزي دارند. دلايلي همچون مورد تهديد يا تجاوز قرار گرفتن از طرف بخشي از افراد يك نژاد ديگر كه از آن بي زار مي باشند. زماني كه اين افراد قانع مي شوند كه اين نوع رفتارها ثمره بازتاب گونه اي ژنتيكي سازمان يافته است, انها به طور كامل از آن بخش از نژاد بشري و تركيبات آن متنفر خواهند گشت. اگر چنين رفتارهاي تهديد كننده و تهاجمي بر مبناي فرهنگ آن قوم باشد, بايد از خود پرسيد, چگونه است كه در طي ساليان متمادي اين فرهنگ جنبه ژنتيكي پيدا كرده و به تبع آن مسائل ژنتيكي جنبه فرهنگي؟

تقريبا اكثر طرفداران NSBM هيچ نظر خاصي نسبت به سياه پوستان و يا رنگين پوستان آمريكاي لاتين ندارند, اما به سلاخي كردن يهوديان علاقه وافري دارند. از ديد آنها, اين يهوديان بودند كه نظريه ترحم و بزدلي را ابداع نمودند, چيزي كه بعدها به شدت مورد توجه مسيحيت قرار گرفت. و به همين طريق, دنيا را در چهارچوب تنگ حصاري از فساد و عقب ماندگي به بردگي كشاندند.

7. چگونه مي توان هم ناسيوناليست بود و هم طرفدار جدايي نژادي, با اين حال خشونت نورزيد و در عين حال دچار ضعف نيز نشد؟

اين پرسش به بهترين نحو بوسيله John Baumgardner پاسخ گفته شده است.

"در حدود سال 1985 بود كه براي نخستين بار با Osiris Akkebala رهبر جنبش جهاني پان آفريقا (PAIN) ملاقات كردم. او ميهمان يك برنامه راديويي در يك انجمن كاملا سياه پوستي بود, جايي كه ما در حال طرح رويزي براي يك برنامه بوديم. جامعه PAIN طرفدار فلسفه Marcus Garvey بود و ارتباط آنها به دهه 1920 بازمي گشت. در همان زمان Osiris از من براي يك گفتگوي خصوصي دعوت به عمل آورد. ما برخورد بسيار خوبي با يكديگر داشتيم و از همان زمان تا به امروز نيز دوستان خوبي براي هم باقي مانده ايم.

در حدود دهه نود ميلادي, شروع به برپايي برنامه هاي مشتركي با اين انجمن نموديم. اعضاي ما با لباس هاي ويژه خود شركت مي كردند و آفريقايي ها نيز با لباس هاي سنتي خود كه البته با ريسماني سياه زينت يافته بود. برخي از اعضاي انجمن ما از اين برنامه هاي من خشمگين بودند. اما از ديد من اين سياه پوستان نيز مخلوق خداوند بودند. به چه دليل من بايد با مردان سياه پوستي كه آنها نيز طرفدار جدايي نژادي بودند و اعتقاد داشتند بايد سرزمين خود را در قاره آفريقا بنيان گذارند مخالفت مي كردم؟

من اعتقاد دارم همه مردم از اين حق برخوردار هستند تا براي سرنوشت خود تصميم بگيرند. آنها حق دارند تا سرنوشت سياسي سرزمين خود را تعيين كنند. حق دارند تا در انتخاب مذهب خود آزاد باشند. و به طور روشن, سياه پوستاني كه امروزه ساكن ايالات متحده هستند, از اين حق محروم گشته اند. همانطور كه Louis Farrakhan گفته است: اگر اين امكان وجود ندارد كه در كنار هم باشيم, پس بايد تا حد ممكن از هم فاصله بگيريم.

من يك جدايي طلب انقلابي سفيد پوست هستم, نه يك طرفدار برتري نژادي بر نژاد ديگر. من به دليل رنگ پوست خود احساس برتري بر هيچ نژاد ديگري ندارم, من تنها بر اين باور هستم كه مردمان نژاد آريا (كه در حدود هشت درصد از ساكنان كره زمين را تشكيل مي دهند) بايد صاحب سرزميني ويژه خود بوده و از قرار گرفتن در تحت تاثير ساير نژاد ها و دولت جنايتكار واشنگتن برحذر باشند. من آنقدر احمق نيستم كه تصور كنم با جنگ و خون ريزي مي توان به چنين هدفي دست يافت."

8. ايا هدف از اين موسيقي تنها اشاعه تفكرات ناسيونال سوسياليستي مي باشد؟

موسيقي Black Metal نيز همچون فلسفه NSBM ممكن دچار آلودگي هاي گوناگوني گردد. بسياري هستند كه مي گويند به اين موسيقي علاقه دارند, با اين حال از انديشه هاي موجود در آن مي هراسند. تفسير نادرست از ناسيونال سوسياليسم به روش هاي احمقانه كمكي به هيچ كس نخواهد كرد. طرفداران اين انديشه از تفكرات آلوده حمايت نمي كنند. آنها بيشتر حامي گروه هاي اصيل اين سبك هستند كه عموما پيش از سال 1999 تشكيل شده اند.

اما در جواب اين پرسش بايد گفت, خير, Black Metal در وهله نخست سبكي در موسيقي ست كه مي توان بوسيله آن انديشه اي ناسيونال سوسياليستي را به شكلي هنرمندانه بيان نمود. اين هنرمندان با اميد به دست يافتن به پيشرفت در زمينه ‌NSBM تمام تلاش خود را به كار گرفته اند. حتي مرگ نيز بايد بوسيله قدرت بميرد. قدرت, شهامت, شرافت, خلوص, عشق و بي زاري از ترحم, پيماني است كه جنگجويان ناسيونال سوسياليست در سينه دارند.

موسيقي Black Metal براي طرفداران اين نظريه مايه افتخار و مباهات مي باشد, چرا كه نخستين سبك هنري است كه به بيان مفهوم قدرت مي پردازد. ناسيونال سوسياليسم يك جريان سياست زده نيست, بلكه به دنبال راهي است تا سياست را با تمركز به قدرت و نژاد به پايان راه خود برساند. ناسيونال سوسياليسم يك جريان سياسي براي به تبعيت درآوردن انسان ها نيست. اين جريان به دنبال نابود ساختن سياست است تا آزادي همه انسان ها.

در اين بين موسيقي نيز نوعي ابزار جنگ است كه مي تواند از زشت ترين چيزها زيبايي خلق كند و مي كوشد با آتش و شمشير خود دنيايي نو خلق كند.

9. چرا مردم به اين موسيقي گوش مي دهند؟

زيرا آنها اعتقاد دارند موسيقي چيزي عظيم و ارزشمند است. شما نيز مي توانيد براي خود تصميم بگيريد.

 

 

 

Black Metal

در زمانه اي زندگي مي كنيم كه انديشه منحط نسخه هاي تحريف شده ي اديان گوناگون, حكمرانان زمين گشته اند. دوراني كه فرهنگ مزورانه فريب و نيرنگ هاي سياسي و مذهبي, چنگال هاي خود را هر دم, بيشتر در روح انسان ها فرو مي برد. قرني كه سياستمدارن, با وعده هاي پوچ ليبراليسم و دموكراسي و رفاه اقتصادي , هر روز انسان هاي بيشتري را در بند بردگي خود مي كشند, همين جا است كه شرافت دنياي كهن و انديشه هاي راستين به لجن كشيده مي شود. همين جا است كه صداقت و شجاعت رنگ مي بازند و دورويي و ترس بر انسان ها حكم مي رانند.

موسيقي Black Metal در چنين دوراني ظهور كرد تا سرآغاز جنگي باشد بر عليه دروغ. نطفه اين موسيقي در نفرت بسته شده است, اما اين موسيقي تنها متعلق به يك نژاد نيست. اين موسيقي متعلق به همه مردمان آزاد و آزاده اي ست كه در جستجوي حقيقت غايي زندگي هستند. اين موسيقي متعلق به آزادانديشاني ست كه راه خود را در شكوه و پاكي فرهنگ خود مي جويند. موسيقي Black Metal جايي ست كه در آن فريب را به مبارزه مي طلبيم

The Genres Of Heavy Metal

The Genres Of Heavy Metal

This page briefly describes many of the genres and classifications of metal, as well as provide specific band listings for these genres. This is really only a guideline, and one man's guideline at that -- a lot of this is subject to opinion and is the source of endless debate among fans.

• Black Metal

  Black metal finds its roots in bands such as Venom and Bathory, and is often characterized by an inherently evil tone and a raspy vocal style (Quorthon of Bathory may or may not be the originator of this vocal style, but once you've heard him, many black metal vocalists will sound very similar to him, for what that's worth). The earlier bands focused on minimal instrumentation, as represented by Darkthrone, early Mayhem, and older Immortal, while another group of bands explored a more symphonic, keyboard-driven style (Emperor, Cradle Of Filth, Dimmu Borgir) and still others have migrated towards an eclectic, avant-garde direction (Arcturus, new Mayhem). Norway continues to be the primary exporter of black metal bands, though other countries have contributed some quality bands as well.

• Christian Metal

  Whereas the other genres presented here are defined by the music itself, Christian metal bands are listed as a genre based on their lyrical stance. Thus, there are Christian thrash bands (Tourniquet, Living Sacrifice), Christian doom bands (Paramaecium), Christian progressive bands (Veni Domine), and so on. Some Christian bands are preachy to the point of being obnoxious, while others are far more subtle in their approach. Stryper, was the first band to gain acceptance in the secular world (though just how "metal" they were is subject to debate), and then bands such as Barren Cross, Bloodgood and others came along, proving that real metal and spiritual lyrics could indeed coexist.

• Death Metal

  One of the more extreme forms of metal, death metal is basically an offshoot of thrash, with less melodic riffs and a low, growly, often almost unintelligible vocal style that at its best (or worst, depending on one's point of view) has been described as "cookie monster vocals". The early nineties saw the initial rise of death metal in places such as Florida ( Death, Morbid Angel, Deicide, Obituary, and others) and Sweden ( At The Gates, Entombed, and others), and remains a dominant form of extreme metal to this day.

DiMMu BoRGir!:D

Dimmu Borgir

Origin: Norway
Genres: Black Metal
Status: Active
Official Web Site
Last Update: January 03, 2006

---

Named for an area of Icelandic lava fields, Dimmu Borgir was formed in 1993 by the trio of Shagrath, Silenoz, and Tjodalv (the first two have remained the leaders of the band, while Tjodalv recently left to form Susperia) and is unquestionably one of the most well-known and accomplished Norwegian melodic black metal bands in the scene. The current lineup has an impressive lineage, with ties to other established bands such as Cradle Of Filth, Borknagar, and Old Man's Child. As one might expect, the earlier material is a bit rawer and less developed, as the band has matured and progressed with each release without sacrificing intensity or forgetting their roots.

Drummer Nick Barker was rather suddenly dismissed from the band in February 2004, with no reason given from him or the band at the time (Barker later surmised that the band probably wanted a fellow Norwegian) His recently named replacement is Panzerchrist drummer Reno Killerich.

BAKHTAK !!

SAMALEK KHASAM 1 TOSIY BOKONAM IN WEB BARA AFRADE BALAYE 18+ SAL DAR NAZAR GEREFTE SHODE!!BAKHTAK

BAKHTAK

Pages  BAKHTAK                       : 1  2  3  4  5
PLANET METAL	PLANET METAL	CRIONICS
1024 X 768 - 113 Ko	1024 X 768 - 87 Ko	1024 X 768 - 264 Ko
CANNIBAL CORPSE	DIMMU BORGIR	DERANGED
	1024 X 768 - 221 Ko	800 X 600 - 157 Ko
CRADLE OF FILTH	BELPHEGOR	MORTICIAN
1024 X 768 - 692 Ko	1024 X 800 - 330 Ko	1024 X 768 - 98 Ko
HATE	YATTERING	NILE
1400 X 1232 - 1022 Ko	1024 X 768 - 464 Ko	800 X 600 - 310 Ko

Death Metal/Black Metal albums

In the Nightside Eclipse
Artist: Emperor
Released: 1994

Displaying much more emotional range than many of its contemporaries, In the Nightside Eclipse combines black metal's noisy fury with synth arrangements and dark, haunting medieval chords and melodies, thus evoking moods of sorrow and loneliness. Awash in pagan imagery, the album was recorded in the Memorial Hall of Edvard Grieg for additional... [+] Read More

Displaying much more emotional range than many of its contemporaries, In the Nightside Eclipse combines black metal's noisy fury with synth arrangements and dark, haunting medieval chords and melodies, thus evoking moods of sorrow and loneliness. Awash in pagan imagery, the album was recorded in the Memorial Hall of Edvard Grieg for additional atmosphere, indicative of the record's ambition and of the band's willingness to experiment and push the limits of the death metal genre. In fact, In the Nightside Eclipse, although not quite as complex or accessible as its follow-up, is arguably the definitive Norwegian black metal album. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing

Storm of the Light's Bane
Artist: Dissection
Released: 1996

On their final full-length album, Dissection further refines their brand of icy black/death metal with impressive and frightening results. The guitars, with their gloomy minor-key riffs and intentionally blurred tones, feel like a cold wind on the permafrost. The drums are speedy, intricate, and precise, while frontman Jon Nodtveidt's vocals --... [+] Read More

On their final full-length album, Dissection further refines their brand of icy black/death metal with impressive and frightening results. The guitars, with their gloomy minor-key riffs and intentionally blurred tones, feel like a cold wind on the permafrost. The drums are speedy, intricate, and precise, while frontman Jon Nodtveidt's vocals -- delivered in an evil, mid-range rasp -- top off what amounts to just a nightmarishly dark sound. To put it another way, very few bands could get away with an album cover that depicts the grim reaper riding across the snow on a black horse while holding a scythe and an hourglass; Dissection is one of them. The songs themselves (six of them, excluding the guitars-only intro and the pseudo-classical piano outro) are all expertly crafted mini-epics. There is a strong sense of thematic unity tying each song's various riffs and sections together, and the soaring, darkly majestic guitar melodies are consistently memorable. Sure, there is a little bit of melodrama here, but Dissection is most certainly on top of their game, and Storm of the Light's Bane is deservedly hailed as a landmark in the melodic black/death metal genre. ~ William York, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing

Destroy Erase Improve
Artist: Meshuggah
Released: 1995

With Destroy Erase Improve, Meshuggah shattered any preconceived notions about what death, thrash, and prog metal could be with one astoundingly accurate, calculated blow. The Swedish outfit managed to surpass their startlingly original, if relatively immature debut, Contradictions Collapse, with a record so pure in concept and execution, it... [+] Read More

With Destroy Erase Improve, Meshuggah shattered any preconceived notions about what death, thrash, and prog metal could be with one astoundingly accurate, calculated blow. The Swedish outfit managed to surpass their startlingly original, if relatively immature debut, Contradictions Collapse, with a record so pure in concept and execution, it borders on genius. Lyrical themes visualize the integration of machines with organisms as humanity's next logical evolutionary step, while the music backing it up is mind-bogglingly technical, polyrhythmic math metal -- the work of highly skilled men with powerful instruments. While the idea looks unwieldy on paper, Meshuggah handles it with a balance of raw guts and sheer brainpower, weaving hardcore-style shouts amongst deceptively (and deviously) simple staccato guitar riffs and insanely precise drumming -- often with all three components acting in different time signatures. Guitarist Fredrik Thordendal adds an element of weirdness with Allan Holdsworth-style neo-jazz fusion leads that serve as melodic oases amidst the jackhammer rhythms. While such bold, challenging arrangements could result in a wank-fest or, even worse, a chaotic mess, Meshuggah carefully synchronizes their bludgeoning instrumentation, embracing minimalism without excess and playing to the power of the song so the listener isn't neck-deep in over-composed indulgences. As a result, "Future Breed Machine," "Suffer in Truth," and "Soul Burn" are mind-bogglingly profound, integrating body, mind, and soul into a violently precise attack, the point being that change can be extraordinarily difficult -- if not maddening -- but the results are transcendent. While industrial metallers Fear Factory have attempted to tackle similar themes, Meshuggah outclasses them on all fronts, proved by the stunning brilliance of Destroy Erase Improve. The album is a bona fide '90s classic, a record boasting ideas so well-balanced -- natural yet clinical, guttural yet intelligent, twisted yet concise -- it muscled simplistic subgenres out of the way and confidently pointed toward the future of metal. ~ John Serba, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing

Diatribes
Artist: Napalm Death
Released: 1996

Surprisingly accessible for Napalm Death in places, Diatribes boasts some strong riff writing. The straightforward thrasher "Greed Killing," which opens the album, proves that Napalm Death can crush most any mainstream metal band, but the kings of grindcore are still up to their old tricks. They do sink into clichéd predictability in some spots,... [+] Read More

Surprisingly accessible for Napalm Death in places, Diatribes boasts some strong riff writing. The straightforward thrasher "Greed Killing," which opens the album, proves that Napalm Death can crush most any mainstream metal band, but the kings of grindcore are still up to their old tricks. They do sink into clichéd predictability in some spots, but overall, Diatribes is a worthwhile outing. ~ Steve Huey, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing

Butchered at Birth
Artist: Cannibal Corpse
Released: 1991

In the early '90s, Cannibal Corpse acquired a small cult in the death metal underground by embracing some of the most gruesome lyrics the subgenre had to offer. Thriving on shock value, the band inspires comparisons to GWAR and comes across as a parody of death metal and grindcore more than anything. Like its previous album, the equally twisted... [+] Read More

In the early '90s, Cannibal Corpse acquired a small cult in the death metal underground by embracing some of the most gruesome lyrics the subgenre had to offer. Thriving on shock value, the band inspires comparisons to GWAR and comes across as a parody of death metal and grindcore more than anything. Like its previous album, the equally twisted Eaten Back to Life, Butchered at Birth addresses such lurid topics as dismemberment, torture, and masochism. One will need the lyric sheet to know just how gross songs like "Under the Rotted Flesh," "Meat Hook Sodomy," "Covered With Sores," and "Rancid Amputation" are -- the grunting vocals are impossible to understand. Some retailers refused to carry this CD because of its depiction of a woman being mutilated by zombies, and Cannibal Corpse wasted no time getting as much publicity as possible from the controversy. The rockers are one-dimensional, but then, they never claimed to be anything else. This band's obvious goal was to deliver the musical equivalent of B-movie horror flick, and on that level, the album is outrageously successful. ~ Alex Henderson, All Music Guide [-] Hide

Add to: Favorites  |  Collection  |  Wishlist  |  Now Playing

DL MuSic MeTaL!!!:d

Are you looking for stores with musical instruments and metal CDs? The link is below.

Music Store

Lordi MP3

Dimmu Borgir MP3

Metal Web Hosting

Children Of Bodom MP3

Rammstein MP3

Nightwish MP3

Dream Theater MP3

Search Engine Catalog

BiO TOP 10 METAL BANDS

Top 10 Metal Bands

Within Temptation (24306 Views). Style: Melodic/Symphonic/Gothic Metal
Cradle Of Filth (15867 Views). Style: Black Metal
Children Of Bodom (14116 Views).
Cannibal Corpse (13098 Views). Style: Brutal Death/Gore Metal
Nightwish (12980 Views). Style: Power metal
Suicide (12935 Views). Style: Death Metal
The Haunted (12391 Views). Style: Melodic Death/Post-Thrash Metal
Dimmu Borgir (12117 Views). Style: Sympho Black Metal
Iron Maiden (11470 Views). Style: Heavy
Blind Guardian (10788 Views). Style: Speed/Power/Heavy Metal

BLaCk MeTaL MuSiK

BLACK METAL MUSIK

Et af de største problemer inden for moderne viking er Black Metal. Dette er en slags heavy metal, som udnytter Odin og Thor med henblik på at sælge flere plader. En kamp mellem en viking og en Black Metal-musiker ville vare under et sekund. Så hurtigt kan man nemlig hugge et hoved af, når man er en rigtig viking og ikke bare er en skidedårlig musiker, som prøver at ødelægge en sej kultur for en hel masse andre. Det er måske forkert af mig at placere Black Metal så højt på fjendelisten, når det er så nemt at smadre en Black Metal-musiker. Her tror jeg bare, at man skal huske på, at en rigtig viking ville have opfattet det som sin pligt over for Odin at udrydde Black Metal, hvis Black Metal havde eksisteret i vikingetiden. Black Metal handler om Satan, og Satan har ikke noget med viking at gøre, for Satan har ikke TOTAL VIKING POWER!!! Derfor skal alle Black Metal-musikere holde op med at lave deres dårlige musik, og de skal holde op nu!

NÆSTE FJENDE

DOWNLOADS MuSiC

MUSIC SAMPLES AND DOWNLOADS

Full Songs - iTunes

All Gods Kill
	1. Dead To Rights 2. Your New God 3. Things Are About to Get Ugly 4. Crucifixed 5. Medicate Me 6. War Horse 7. Will Kill for Free 8. Violence is Golden 9. Grudge 10. The Cleaner 11. S.R.B. 12. Let 'em Bleed
	All songs by Nightmare © 2006

Sample Music Clips

Four Song Demo
	1. Things Are About to Get Ugly 2. Grudge 3. Warhorse 4. Let 'Em Bleed

DoWNLOAD SHOWS

UPCOMING SHOWS

Date	Venue	Location	with:
Friday, Jul 14	Hero's	Harker Heights, TX.	W/Dawn Over Zero (Austin, TX.) and Waja (Dallas, TX.)
Saturday, Jul 15	Double Wide	Dallas,TX.	All Gods Kill RELEASE PARTY W/ Finish the Fight (El Paso, TX.) and Mugzu (Denton, TX.) Show up early MITRA is going on FIRST so we can DRINK with Ya'll
Tuesday, Jul 18	Planet Earth	World Wide	The Release of ALL GODS KILL
Friday, Jul 21	Galaxy Club	2808 Commerce St., Dallas, TX.	W/ Useless Correction, With These Words, Mudflap (last show), US, Secret Devil Sign
Thursday, Aug 3	Curtain Club	Dallas,TX.	Chaz Live and Local Show W/ MUGZU

 

-|- SaLiB MaKoOs -|-

         

iN aLaMaT NeshaNe SaTaNisM(sheYtaN PaRaSTaN) asT Ke Ba VajGoON KarDaNe SaLiB MoKhaLeFaTe KhoD Ra Ba MaSiH Va SaYere aDyaN BaYaN MiKonaND!!! iN FerGhe Ba anJaMe ChaN aMaL sheYtaN ParaSt MishaVaND Ke aZ JoMLe BanDHaYe aaN aGhiM shoDaN aST! aGe KeSi ChiZi BishTar MMiDuNe CoMMent BezaRe VaSaMuN 

Gorgoroth!!

                                                            Gorgoroth                  

When we talk about Black Metal in its traditional and old school way, we may go back for one decade, when especially in Norway a new scene started to form and develop. It was the time when Burzum, Darkthrone, Mayhem and Immortal came up with their first records and created a completely new feeling about Black Metal, inspired by legendary bands such as Venom, Celtic Frost and Bathory. At around the same time, another unique, raw and aggressive band was formed under the Tolkien inspired band name Gorgoroth. Like in “Lord Of The Rings”; Gorgoroth stands for a complete dark and unholy place. The band never compromised and followed their own way since their foundation in 1992. With their sixth and newest record “Twilight of the Idols” Gorgoroth once more demonstrate why they belong to the elite of Norwegian Black Metal and continue to set new standards even today. It’s an unholy creation of the black, occult and satanic way, for which Gorgoroth is famous for. They always stayed true to and connected with the Underground, remaining far away from becoming commercial, always true and honest with themselves. It is an album that deserves the stamp “True Norwegian Black Metal”! Feel the darkness and enjoy the “Forces Of Satan Storms” coming over you...

In 1994 Gorgoroth released their cult album “Pentagram” and soon became one of the leading acts of the growing scene. “Antichrist”, their follow-up release, was even more successful and featured Frost (Satyricon) on drums. The album made a strong impact and consequently led to the bands first live performances in Norway and England (with Cradle of Filth) and finally to their first tour in 1996 with Dissection and Satyricon. With yet another drummer in their ranks, Gorgoroth recorded “Under The Sign Of Hell” and later prepared their first European Headliner-Tour. Nuclear Blast was highly impressed and felt a desire to court the band; by 1998 Gorgoroth had been added to Nuclear Blast’s official band roster. The first result of this new marriage was “Destroyer”. The band now featured Gaahl on vocals, whose grim and aggressive voice led them to another level. A tour with Cradle of Filth followed, as well as plenty of festival and headlining shows. In 2000 “Incipit Satan” was recorded at Sunlight Studios and showed a new era in the realm of Gorgoroth. The songs, while a bit more refined and far more mature, still maintained their custom unyielding bestiality.

It took another three years, until the follow up to “Incipit Satan” was recorded. After the departure of guitar player Tormentor, Gorgoroth continue on as a four piece, adding another guitar player when it comes time for touring and live shows. “Twilight of the Idols” shows Gorgoroth from several sides and could possibly be the darkest chapter in their career.

Marduk!!

Marduk

 

Country: Sweden
Label: Regain Records
Official website: http://www.marduk.nu/

Vocals: Mortuus [2004-]
Guitars: Morgan Hakansson (Steinmeyer) [1990-]
Bass: Magnus Andersson (Devo) [1992-1994, 2004-]
Drums: Emil Dragutinovic [2002-]

Former members:
Vocals: Andreas Axelsson [1990-1993]
Vocals: Erik Hagstedt (Legion) [1995-2003]
Guitars: Kim Osara [1995-1996]
Bass: Rikard Kalm [1990-1992]
Bass: Roger Svensson (B. War) [1992-2004]
Drums, vocals: Joakim Göthberg (Grave) [1990-1995]
Drums: Fredrik Andersson (Froding) [1993-2002]                                                                                      Discography

1992 - Dark Endless
1993 - Those Of The Unlight
1994 - Opus Nocturne
1995 - Fuck Me Jesus [EP]
1996 - Heaven Shall Burn
1996 - Glorification [EP]
1997 - Live In Germania [Live]
1997 - Here's No Peace [EP]
1998 - Nightwing
1999 - Panzer Division Marduk
2000 - Obedience
2001 - Infernal Eternal [Live]
2001 - La Grande Danse Macabre
2003 - World Funeral
2004 - Plague Angel
2004 - Deathmarch [EP]
2005 - Warschau [Live]

 

MARDUK [Marduk] , ancient god of Babylonia and chief god of the city of Babylon. His cult rose to prominence in the reign of Hammurabi, and Marduk became the omniscient king of the pantheon—the creator of mankind and the god of light and life. In his various aspects he was the successor of the Sumerian earth god Enlil.

There is a scent of indefatigable fighting around Marduk. For over ten years this outstanding band has embodied values extremely rare, always strongly determined to go their own way, refusing to adjust, always fighting to stay on top and never backing down. But let’s begin from the start about how the charismatic band founder Morgan Håkansson, firmly resolved about beating the odds and make it as a metal musician first got this leading and legendary act together…
The year was 1990 when Morgan realized his vision of putting together a band that would create the most blasphemous music ever. The band immediately started rehearsing as maniacs and early 1991 the hard work was bearing fruit, resulting in the infamous three track demo tape “Fuck Me Jesus” which came out totally different from anything else going on in the Swedish scene. “Departure from the Mortals”, ”The Black…” and ”Within the Abyss” showcased riffing and a lyrical approach that differed by far from the trends in force at a time when the Sunlight studios and downtuned Death Metal with growling vocals was all that there was to the metal community in Sweden. Because of the innovativeness and the devastatingly violent and demonic approach Marduk immediately gained a heavy cult reputation, something that clearly showed at the bands early stage performances. On stage, in front of it and even behind it people were going berserk waving with all kinds of inverted crosses and pentagrams; everything from small picturesque necklaces to wooden crosses big enough to crucify a full-grown man on them. Shortly after the release of “Fuck Me Jesus” Marduk went into the studio again for the recording of the 7” single “Here’s No Peace” which contained the brand new song “Still Fucking Dead” and a re-recording of “Within the Abyss”. It turned out though that the label that were going to put it out was not taking their obligations seriously and Marduk chose not to release the recording but went on working with their first fullenght album instead, the groundbreaking classic “Dark Endless” that saw the light of day as a No Fashion records release in December 1992, and showed the world that Marduk was a force to be reckoned with. Immediately recognized for their bright potential the band signed with Osmose productions and only 3 months after the release of “Dark Endless” the band ventured into the studio again to begin the recording of what would become “Those of the Unlight” which was released during fall time of 1993. With two albums out on the market and live experience from numerous gigs it was really time to get this warmachine out on the open road for a full tour. Marduk chose to cancel some not so appealing touroffers and went to Norway in May 1994 for the bands first show abroad ever at a Black Metal festival held in Oslo with some of the topnames the genre had to offer at the time. So in June the time had come for the first strike in order to put the name Marduk on the European map. Together with Norwegian labelmates Immortal the band did a full tour under the moniker “Son’s of Northern Darkness”. After getting back home the work was immediately started up in writing the successor to “Those…”. The result Marduk presented this time raised the band to high praise and shocked an entire generation, which had adapted to the sound of the Scandinavian Black Metal scene which Marduk and a few more had set the standards for. Now Marduk hit the world with “Opus Nocturne”, a record so harsh, hyperfast and compromiseless that it’s like had not been heard before. Now declared classic songs like “Sulphur Souls”, “Untrodden Paths” and ”The Sun Has Failed” show a very clear indication of where the band was going. Marduk followed up the success in early 1995 with a headliner tour that burned across Europe, the scene were talking intensively about this crushing band and Marduk rose against the metal sky. In the same year “Fuck Me Jesus” was re-issued as a mini-CD because of the heavy cult reputation the tape had achieved, and the big demand that came along with it, and was immediately banned in 7 countries because of its shocking title and explicit cover art. During summer Marduk made their first trip over the Atlantic for a smaller number of shows in Mexico. Autumn was spent writing new songs for the upcoming 4th fullenght “Heaven Shall Burn… When We Are Gathered” which was perpetuated in February 1996. For the first time the band headed for the, at that time relatively unknown, Abyss studio instead of Hellspawn studio where all previous recordings were made. “Heaven…” turned out to be so hysterically fast and utterly brutal that people actually doubted that this was the result of real musicianship rather than manipulated recordings by a studiotechnician. Just a couple of months later the band headed back to the Abyss studio for the recording of the cover mini-CD “Glorification” which was being put out in association of the “Heaven Shall Burn” tour, during which Marduk shocked their growing crowd by performing the material from “Heaven…” with the same furious intensity, which was displayed on the studiorecording. The “Heaven Shall Burn” tour was the bands biggest success that far and during the tour the band recorded their first live album, on pre-stadium called “The Black Years” but before release renamed “Germania”. Including the bands so far strongest material performed with excellent musicianship, “Germania” displayed Marduk’s abilities as a live band to fans incapable of experience the liveshows. In March 1997 a shorter second leg of touring was made for “Heaven…” entitled the “Legion” tour. The same summer Marduk flew out to Germany to perform at the re-union gig of Black Metal godfather’s Mayhem. 1997 was also the year when the long sought-after “Here’s No Peace” 7” finally saw the light of day issued on Shadow records to tide over die hard fans. During autumn the band visited the Abyss studios once again for the recording of the concept album “Nightwing”. Being divided into two chapters where the latter one dealt exclusively with the historical truth about the life and times of the Wallachian warlord Vlad Tepes Dracula, Marduk once again did an innovative move where music and lyrics matched each other to describe different periods of time in The Impalers life. As soon as the recording had hit the record shelves during spring of 1998 Marduk immediately hit the road as a part of the festival package No Mercy. A headliner tour was pulled off as well in the fall of the same year. Always eager to stretch the limits and break boundaries Marduk now challenged the world with possibly the most violent and furious recording ever put onto CD, the eight track, 30 minutes long “Panzer Division Marduk”. Featuring blastbeat drumming exclusively accompanied by merciless riffing “Panzer…” shook the metal community in its foundations as the entire scene had strayed away towards either the new “metal” sound or gothic and romantic melodies. “Panzer…” was followed up with the bands most ambitious tour up to date, the “World Panzer Battle” stretched over 3 continents, over 100 000 miles and countless performances. Displeased with the backup from their label the band chose to go separate paths with Osmose. A ton of proposals were immediately offered from most established labels in the metalbusiness but energetic and determined to go their own way the band founded their own label Blooddawn productions as a forum for future releases. Early in the year 2000 the first issue got out, the masochistic EP “Obedience”. Featuring two brand new tracks and a cover version of “Into the Crypt of Rays ” by Celtic Frost Marduk proved to be alive and well despite the break up from Osmose. Within the same year the second Marduk release on Blooddawn was a fact. To celebrate their tenth anniversary a double live album entitled “Infernal Eternal”, recorded during the French dates of the “World Panzer Battle”, hit the stores on Halloween. Leaven all through by the bands live performing professionalism, including 18 Marduk classics, an exclusive booklet and 3 CD-ROM tracks, all for the price of an ordinary CD, “Infernal Eternal” was cherished as one of the top notch live recordings ever in extreme metal. Marduk continued their Black Metal odyssey by entering the Abyss studios once again in December of 2000 for the recording of “La Grande Danse Macabre”, an apocalyptic bloodswirl that showed a different side of Marduk’s creative abilities as well as showcasing intense and brutal riffing at breakneck speed. Being put out on their own Blooddawn productions in Europe the band struck a deal with Century Media for the oversea release as well as the American releases of both “Obedience” and ”Infernal Eternal”. During the year of 2001 more than 115 shows were going to be made on both sides of the Atlantic as a line in Marduk’s relentless journey for extreme music hall of fame. The musical onslaught began in Europe where Marduk headlined the 31gig mile eater “Danse Macabre Tour” all throughout the continent. Despite the fact that the band returned home with high fever and pneumonia they only stayed at home for four days before hitting the road again, this time in America on a month long trip with satanic deathsters Deicide. As an opening up for the American audience the tour couldn’t have gone better and Marduk ended their stay in the states not only with a couple of headlining shows, but also with a great offer for a second leg of touring as a headliner. After coming home from the states Marduk only stayed home for two weeks and then went to Belgium to headline one of the stages at the Graspop Metal Meeting. The rest of the summer was spent pre-producing and finishing the box set “Blackcrowned”.
Unfortunately, as a side effect of the heinous terrorist attacks launched on America on September 11th Marduk found themselves stonewalled by US border control and had to cancel the second leg of US touring for the “La Grande…” album which was immediately re-routed by the booking agency though.
During December Marduk toured Europe again, at first as a headliner and then as direct support to Cannibal Corpse on the X-mass festival for sold-out venues in Europe. On the 9th of January 2002 Marduk were scheduled to fly out to Chicago to start their re-routed headlining US-tour. When coming home from Europe the band still hadn’t got any of the promised material from the US embassy and could just sit back and hope for things to work out. They didn’t. Our heroes tried, not only by themselves, but also through management, record label and booking agency to get clearance in time but nothing worked out.
“We had our hands tied behind our backs while being pissed in the face and could do nothing but swallow.” singer Legion snapped at the scorn setback.
Refusing to waste any time Marduk immediately began writing new songs for their upcoming album and making new plans and arrangements. And so in February the time had finally come for the grand release of a unique item in the extreme metal business – the box set “Blackcrowned”. Where other band at their utmost put together a picture disc with the current release Marduk presented a beautifully packaged legacy with a ton of unreleased material to display so far unreleased bits and parts of their now 12 year long career.
Things in the Marduk camp were not all golden though. For a while drummer Fredrik Andersson had been sliding further and further away from the rest of the group and grown tired and unmotivated with his musicianship. During March of 2002 Fredrik was requested to leave the band with best wishes for the future. He was soon to be replaced by hungry youngster Emil Dragutinovic, who with his insane and ferocious way of drumming soon found himself well at ease behind the Marduk drum kit.
Summer was coming and with it an unbelievably great offer – to direct support legendary dark act Danzig on a 10 week US tour. Despite backbreaking achievements from both bands and labels Marduk was still not able to get into the US and were therefore forced to cancel – again!
Instead the summer was spent finishing the upcoming eight-fullenght album “World Funeral” and perform at the With Full Force festival in Germany as well as on the Tuska Open Air in Finland.
Autumn was spent perpetuating “World Funeral” in two sessions; a recording one after which Marduk went home to get some perspective on the opus and to start rehearsing live material and a mixing one.
Shortly after the latter Marduk packed their arsenal and hit the road to support Danzig on the European leg of the “I luciferi” tour and as a co-headliner at the annual X-mass festival hitting several parts of Europe.

EVOL!!

EVOL

 

The story so far…

In the beginning of 1993, Giordano Bruno (The Prince of Agony) formed a black metal band, and he called it EVOL, intending with this term the Black Principle of Existence, in a dualistic vision of the Whole. Soon he was joined by Samael von Martin (The Lord of Sorrow) and Suspiria (The Princess of Disease). Their originality was immediately clear, mixing together metal music with evocative keyboard songs and female vocal parts. At the base of their creations there was always a deep thought, reflecting their Noble Souls. The Search for Truth, and the concrete critic against the present age troubled their works since the very beginning. In the first period, they dedicated themselves to the study of Darkness, and in particular of one of Its forms, known as Satanism. But soon, their horizons began to grow, as they realised that the answer to an universal question had to be found in an universal context. Furthermore, the decadence of the present age, ruled by the laws of ignorance and hypocrisy, started to affect also the satanic environment, and so they decided to address their sight to a higher sphere of Existence, where the true values of spontaneity, authenticity and virtue were still alive. Imagination, Fantasy, Art, these were the means they wanted to use in order to express the visions their contemplative essences had, while seeking Truth. In 1997 they were joined by two other souls: Demian de Saba (The Count of Insanity) and T-Rex (The Marquis of Rex Tenebrae). Their mission went on, marching on the path of Truth, without denying their past, and addressing their chants to the Noble Souls, both of Darkness and of Light. Everybody should be unite, in order to fight the Decadence, hoping for a New Age of Rebirth to come. EVOL now belongs to the Ancient Times, their works stand as monuments to the endless searching for Truth and Knowledge. "De Bello Gallico" represents their last tribute to Art and to all the great people who followed them during their adventure. Everything is doomed to perish, but the memory should guide us all, because the Heritage EVOL left is a fundamental path for every Noble Soul in its travel to Wisdom. Nobody is able to foresee the future, but under the ashes the flame is still alive and perhaps one day the Phoenix will fly again. Anger rises from the deep abyss of the soul. Pain is too strong. Solitude too cold. A new path of Nihilism stands in the horizon, closer and closer. The circle has to be closed, whatever the price. The rest is History…

EVOL's creations so far…

· 1993, "The Tale of the Horned King", demo-tape, self produced, sold-out;
· 1994, "The Dark Dreamquest part I", demo-tape, Maggot Production, sold-out;
· 1995, "The Saga of the Horned King", CD, Adipocere Records;
· 1996, "Dreamquest", CD, Adipocere Records;
· 1998, "Ancient Abbey", mini-CD, Adipocere Records;
· 1999, "Portraits", Adipocere Records;
· 2000, 7" Picture Ep, Maggot Productions, LIMITED 100 COPIES
· 2001, "Dies Irae", CD, reprint of the first two demos + two unreleased tracks, BTOD
· 2001, "De Bello Gallico", double live album, Adipocere Records.

EVOL's Empire so far…

Giordano Bruno (The Prince of Agony) : keyboards and vocals
Suspiria (The Princess of Disease) : female vocals
Samael von Martin (The Lord of Sorrow) : electric and acoustic guitars
Demian de Saba (The Count of Insanity) : drums
T-Rex (The Marquis of Rex Tenebrae) : bass

Evenfall !!

Evenfall

 

 

Some Bands Reach Their Prime In Stylistic Beauty Once They Start Stepping Outside Of The Boundaries Within Their Musical Genre And Bring In A Confident Degree Of Experimentation. EVENFALL, Hailing From Italy, Is Probably The Clearest Example Of This Evolution, As The Band Originally Got Together Out Of The Ashes Of The Doom And Death Metal Act Resurrecturis And Has Been In A Constant State Of Metamorphosis Ever Since. EVENFALL's Debut Record “Still In The Grey Dying“ Was Released In Early 1999 And Was Heavily Promoted All Throughout Europe On A 45-Date Support Tour With Dimmu Borgir And Dark Funeral. Whereas The First Record By The Band Was Still Portraying A Rather Bombastic And Atmospheric Mixture Of Melodic Black Metal And Some Gothic Elements, It Was Obvious And Predictable That The Line-Up Of That Time Was In Disagreement About The Future Compositions And Presentation For EVENFALL. Several Member Changes Later, Mastermind Ivan (Guitars) Had Managed To Get Together The Right Set-Up To Finalise The Recording Process For Their Sophomore Record, “Cumbersome“: Newly-Discovered Female Vocalist Roberta Staccuneddu Deserves Credit For The Most Remarkable Musical Upgrade In EVENFALL With Her Relaxed And Angelic Vocal Delivery That Always Works In Refreshing Contrast To Ansgar's Tortured Delivery. Stylistically, “Cumbersome“ Does Feature A Move Towards A More Modern Direction With Versatile Riffing And A More Up-Front Incorporation Of The Keyboards As Well As Different Loops And Sound Effects. Produced, Recorded And Mixed By Boban Milunovic At “Boom Room Studios“, The Spectre O Variety And Emotions Featured On These 10 Songs (Including A Metallic Cover Version Of The Hit Single “Entre Dos Tierras“ By Heroes Del Silencio With Ex-Psychotic Waltz Vocalist Devon Graves a/k/a Buddy Lackey As Guest Singer) Is Enormous And Should Easily Appeal To Fans Of Atmospheric Dark And Black Metal As Well As To Rather Gothic Metal Oriented Listeners Of Bands Like Sins Of Thy Beloved / Lacuna Coil Or Also To People Into The More Electronic New Shape Of Acts Like Theatre Of Tragedy And The Kovenant. “Cumbersome“: An Unforgettable Whirlwind Of Feelings And Energy!

Moonspell !!

Moonspell

 

Country: portugalPortugal
Label:SPV Records SPV Records
Official website: www.moonspell.comhttp://www.moonspell.com/

Vocals: Fernando Ribeiro [1989-]
Guitars: Ricardo Amorim [1995-]
Drums: Mike Gaspar [1993-]
Keyboards: Pedro Paixão [1994-]

Former members:
Guitars: Pedro C. [1989-1992]
Guitars: Mantus [1990-1991, 1992-1995]
Bass: Ares [1989-1997]
Bass: Sergio Crestana [1997-2003]
Drums: Toureiro / Baalberith [1989-1992]

Guest musicians:
Vocals: J.M. [1993]
Vocals: Antonieta Lopes [1994]
Vocals: Sara Arega [1994]
Vocals: Abdul Sewtea [1994]
Vocals: Birgit Zacher [1995, 1996]
Bass: Aires Pereira [2003] Tour
Bass: Niclas Etelävuori [2003] Studio
Percussion: Markus Freiwald [1996]
Keyboards: J. Queiros [1993]
Violin: Nuno Flores [1994]
Bisel flute: Sara Carreiras [1994]                                                                                                                              Long before the technology of recording sound existed, when people sought to interpret their world by revealing the poetry hidden in life, music enjoyed the status of an art form. Portugal’s MOONSPELL affirms poetry and art as accomplices to their music by combining the age-old tradition of storytelling with the equally ancient talent of true musicianship. While MOONSPELL’s music is called gothic and metal, their unconventional combination transcends both and embraces neither, giving them an enchanting aura. With The Antidote, MOONSPELL once again weaves captivating stories with new characters in their imaginary universe, determined to give their audiences something to embody.

Birthed over a decade ago with influences ranging from Celtic Frost to Sisters Of Mercy to their own native country’s music, it only took two albums for MOONSPELL to establish themselves with a stylish presentation and shadowy lyrics: 1995’s Wolfheart and 1996’s Irreligious. Their developmental stage – characterized by Sin/Pecado - led them through a mature exploration of their talents, leading to 1999’s The Butterfly Effect. Successful tours followed in North America with the likes of In Flames and Amorphis, and in Europe with Kreator, Witchery & Novembre. 2001’s Darkness And Hope was a set of fiery emotions rich with theatrics and excitement, bringing them back to North America with labelmates Lacuna Coil.

As the group entered the songwriting process for their seventh album in early 2003, they gratefully eschewed delivering a simple sequel to its successful predecessor. Instead, the group brought in the talents of their old producer Waldemar Sorychta (Lacuna Coil, Sentenced), who had worked with them on all their albums from Wolfheart until Sin/Pecado, to assist with the pre-production in their own Inferno Studios in Portugal. For the actual recording, they returned to Finnvox Studios with Hiili Hiilesmaa (HIM, Sentenced), who helped them capture the sound the band had been so actively searching for. The decade-long maturation that MOONSPELL underwent becomes obvious in the album’s lush richness of details, as well as a dynamic tension which leads through The Antidote like its central thread. By now, Fernando Ribeiro’s vocals cover all facets of expression, from whispered fear to heavy melancholy to brutal belligerence. With the introduction of a new, Mediterranean-like dancing rhythm (“From Lowering Skies”), drummer Mike Gaspar has seemingly developed another unmistakeable trademark adding more depth to the band’s already versatile writing style. The string-fraction delivers the necessary background between acoustic tenderness and deadly rage, staged by Hiilesmaa with great transparency. Additionally, their line-up was strengthened by Amorphis’ very own Niclas Etelävuori guesting on bass.

With the resurgence of the gothic metal scene in the U.S. led by such mainstream acts as AFI, Evanesence and Type O Negative, MOONSPELL have triumphantly returned with their most cohesive effort to date. Never content to rest upon the laurels of their previous achievements, MOONSPELL is a chameleon that transforms itself with its environment. The Antidote continues the band’s long-standing tradition of lyrically and musically exploring some of humanity’s most complex emotions, ultimately arriving in tightening arcs at the center of untapped human power. Ribeiro attempts to classify his band, which has always been tough to pin down: “What is MOONSPELL?” Even I have problems with the answer to this question. I’d say we are representing a mixture of horror and beauty, heaviness and melody. The Antidote starts off very brutal and ends very melodic. This way we close the circle. This is MOONSPELL.”

With The Antidote, MOONSPELL present themselves in a new shape in the world of music after another stylistic and textual transcendence. Never ones to repeat themselves, they encompass a juxtaposition of sounds and unexpected changes in dynamics, continually pushing the metal boundaries in gratifying ways. This new shape is rooted in all traditions and phases of the band, but also represents another step forward in their artistic development.

Tristania !!

   Tristania   

 

Country: Norway
Label: SPV Records
Official website: http:ttp://www.tristania.com
http://www.tristania.com
Vocals: Vibeke Stene [1996-]
Vocals: Kjetil Ingebrethsen [2001-]
Vocals: Østen Bergøy [1996-]
Guitars: Anders H. Hidle [1996-]
Bass: Rune Østerhus [1996-]
Drums: Kenneth Olsson [1996-]
Keyboards: Einar Moen [1996-]

Former members:
Vocals, guitars: Morten Veland [1996-2001]                                                                                                      22.11.2005 - Tristania - Update

Fan update - October 2005

First of all we would like thank the ones that showed up and supported us on Wave Gotik Treffen, Summer Breeze and Wacken Open Air. We had a great time.

As most of you know by now; we're currently in writing mode. Østen has been writing quite some of the lyrics, and both Anders and Einar are working busily with pre-production of the songs. Right now we are starting to jam on the new material as a complete band in the rehearsal room. We learned with Ashes how fruitful this can turn out; especially considering the vocals. The whole band is shaping the material together during this process, and each member adds a personal touch to his/her lines. Usually new ideas also is born through this process, and to a certain degree we are composing music from scratch this way. This time around we also have a “new” creative force in Svein Terje.

Not doing too many gigs at the moment, as we want to focus on the song writing. One of the few concerts we will do this period is in Norway: We will play the Karmøygeddon Arctic Festival, in Haugesund on November 12 th – together with Tömmermenn (some of us are huge fans of their music) and Evergrey, among others.

We were earlier hoping to do a full US tour during this autumn. Although a couple of offers came up, the right offer to support a headliner that somehow fits our sound didn't come up this time. The reason for this was mainly that a possible US tour would need to take place within a quite short time frame (after the summer festivals, before pre-production of the upcoming album). As US is a new territory to tour for us (Metalfest, LA in 2000 is our only US gig so far) we need to support a bigger band in order to tour the States. Off course no one can control who is touring at a given time, but we're confident that the first proper US tour will happen after the release of next year's album. We know from all the fan mail we have got during the years that a lot of people want us to come to US. Well, soon you will get this opportunity – we hope you'll use it!

Everything goes really well concerning writing the new material. Einar has built a home studio in the basement of his house, and we work there almost every weekend with pre-production of the new songs – using Nuendo. Quite soon we will also have ready a recording room for vocals connected to the studio. Other than that we are e-mailing ideas back and forth to each other and it slowly the songs are developed.

We are extremely eager about the new stuff, and we feel that we have the basis for some very solid songs at the moment. In the spirit of Tristania the new material is quite diverse. A couple of the tracks will include some doomy stuff, and we are working on an industrial piece. A couple of the songs can be described as dark atmospheric stuff. There will be some heavy guitar based tracks, which at least we find very catchy. In the end it is too early to tell which songs that will make it to the album, still we're confident that we will end up with an album we will be proud of.

Concerning producer and choice of studio, this decision has already been made. We will wait a little bit with publishing these details, because we first want everything to be 100% confirmed. We will come together with the producer in December, and work on the songs together. If it works out like we think it will do, we will go for this choice – and we will record the album in February, with a planned release before the summer.

The Berzerker !!

  The Berzerke 

 

Country: Australia
Label: Earache Records
Official website: http://www.theberzerker.com/

Vocals: Luke
Vocals, Guitars, Bass: Sam
Guitars, Bass: Jason
Bass, Guitars: Adrian
Bass, Guitars: Ed

Former Members:
Drums: Ryan
Drums: Gary
Guitars: Matt Wilcock
The Berzerker began as a mid 1990's one-man speedcore DJ act signed to the Lenny-Dee label Industrial Strength. Based on the reputation of the live appearances throughout Europe and a number of metal remixes including Decide, Earache approached the Berzerker to remix death metal giants Morbid Angel. The combination of brutal gabba with death metal guitars and vox was well received, and Earache signed The Berzerker who returned to Australia to set about recording an album for the label of this new, noisy style.


Originally, the project was to be a death metal supergroup with contributions by David Vincent, Kevin Sharpe, Dan Lilker, Jed Simons, and production by Devin Townsend at his studio in Vancouver. The Berzerker realised that his vision of brain-melting brutality was starkly at odds with that of the firmament and through a number of setbacks realised that production and performance of the band would have to be done by himself and unknown performers. He returned to Australia again and recruited guitarist/vocalist SB as longtime member and collaborator, and also gained the services of Ed and Jay from legendary Melbourne metal band The Wolves on guitar. Album recording was commenced after almost two years of preproduction, and the recording of the self-titled album - after nearly a full year of further setbacks and disasters - was completed.

The Berzerker self-titled album was received to critical acclaim in the metal media, but also some polarised reactions which have marked the band's output throughout their career. Some people loved the album and relished the ridiculous brutality. Others could not handle the huge electronic kick drums, the relentless samples, the superfast beats, and thought it was grindcore idiocy that had lost all semblance of music. They hated it. Reactions became even more mixed when the band started performing live, using members from the rhythm section of a local melbourne band. The live shows were not only loud and noisy but also intensely visual; smoke and strobe machines pumped nonstop, and all the band members were horrifically masked in order to take the live experience to another level. Many people 'got it', understood that it was a method of reaching for something crazier and heavier than any band previously. Many people, however, wrote the band off as a novelty act. The band ensured notoriety by releasing a video for 'Reality' which set new standards for depravity in music videos by including gratuitous amounts of autopsy footage. MTV summarily banned the video from rotation.

The Berzerker had their first full US tour after performing less than half a dozen shows, and the tour was with underground greats Dying Fetus, Gorguts and Skinless. Although the shows were well received the band didn't function through the rigors of touring as a unit and at the end of the tour the session musicians departed. It seemed doubtful that the Berzerker would continue for some months. There had been constant setbacks at every stage, and any momentum gained was lost with the departure of the live act. The arrival of two replacement members injected new life into the band - drummer Gary from Perth band Plague and guitarist Matt Wilcock from Abramelin/Ackercocke.

With the arrival of enthusiastic new members the band set about recording their follow up album 'Dissimulate'. The new members' own experience and ferocious skills lent new brutality to The Berzerker and the album was a masterpiece of speed and brutality. The song 'No-one Wins' was also released as a video, and the drumming for the song was considered for submission to the guinness book of records for fastest drumming performance. Everything went to a new level - even the band's dragon logo was given a spitshine by designer Ivan Kenny-Sumiga. The band celebrated by playing live ugly shows which resulted in onstage violence in Melbourne for months, and when they deemed themselves heavy enough they headed off for a world tour lasting from 2002 to 2003.

After covering Australia, The Berzerker toured the US with Immolation, Vader and Origin then travelled to the UK for a headlining tour with Labrat, Insision and Red Harvest. This culminated in their infamous Earache Christmas Party appearance, where the band terrorised both record label and the audience. This exceptionally violent and drunken performance has been captured on the DVD 'Principles and Practices of the Berzerker'. The band continued on to the US after a brief Christmas break to do another full US tour with death metal kings Nile, Napalm Death, Strapping Young Lad and Dark Tranquility. This forced the band's performance to a new level altogether, and resulted in some of the best live appearances by the Berzerker so far. Disaster struck in New York where the drummer had an altercation with a bouncer resulting in a broken foot and cracked vertebrae. The band could not pull out of the tour. There was a week left, and each show HAD to be played for the band to be able to afford to make their plane flights to the next tour. The Berzerker himself traded in his sole duties as singer to sit behind the kit for a week of gigs, and somehow managed the miraculous by not only pulling off the super-brutal drum parts but his vocal parts as well. The band was assisted by Nile drummer Tony Laureano who played the carcass cover 'Corporeal Jigsore Quandary' each night.

At the end of that tour, the band had ten days in florida before their headline tour of the UK and Europe began. With no drummer, some hasty auditions were organised and the band settled on the drummer from local band Archer to take on tour. He learned a full headlining tour slot in an amazing 6 days. The Berzerker hit the UK for its next round of headlining shows packed full of snuff footage, locals being abducted and audiences getting punched in the face, then headed out to Europe for their first-ever appearance. Finally after 5 months of exhausting touring the band headed home.

The Berzerker decided to focus the off-time into compiling all the band footage he had ever recorded and received into the most comprehensive DVD ever made by an extreme band - 'The Principles and Practices of the Berzerker'. The DVD was a reaction against the cash-in DVDs most bands were making which consisted of a live performance, limited backstage footage and one or two music videos - the Berzerker DVD ended up being over 4 hours long, consisting of one professionally shot show, another concert-worth of assorted bootleg footage, backstage, band rehearsals and touring. They even included the recording of both albums (including each and every unflattering incident), full interviews with bandmembers, the making of the masks, the making of the artwork, and contributions from crazed fans including one who'd tattooed the album cover onto her back. The DVD went down as a must for lovers of the extreme and was recommended by Kerrang as required! educational viewing for aspiring metal bands.

The DVD brought with it a change in the Berzerker - for the first time, the bands faces were unmasked. This brought about a decision by the band to lose the masks altogether. It wasn't just the fact that after a couple of hundred shows the masks were beginning to rot and liquify; there was also a large section of the underground that couldn't see past the masks to hear the music. The band didn't care generally what people thought of them, but they were curious to see if baring their faces would magically make the music sound better to a lot of the population. It didn't matter in any case; the DVD had removed the mystique the masks created and the band decided to run with it.

With Gary healing in Perth and Matt moving to the UK to join Akercocke, the Berzerker decided to record album no.3 'World of Lies' over Christmas 2004 with the original lineup from the debut Berzerker album. The band recorded the album spontaneously over a week, with no prior planning - this was in direct opposition to how they've created their albums so far. Another change was that apart from no drummer appearing on the album, all guitars were recorded directly into the mixing desk without a guitar amp. This is without a doubt the most brutal album ever made without a drumkit and guitar amp. The spontaneity brought the focus away from feats of musicianship, and sent it towards monstrous sounding riffs and great songs. The Berzerker would like to make the claim that 'World of Lies' has on it some of the best death metal songs heard in the last decade. This album encapsulates the best of 90s death metal - heavy, evil, sick guitars sitting sq! uarely in catchy, brutal songs with the trademark Berzerker kickdrum stomping all over the stereo, the songs, and your ears. This is the album the Berzerker has been waiting to make ever since they began.