domingo, 22 de abril de 2018


Segundo Ep en lo que va de año para este combo germano  Subduer que ofrece un black death metal que incorpora elementos electrónicos e hipnóticos en su propuesta. Será editado por Dunkelheit Produktionen ete 1 de Mayo bajo el título de "Death Monolith".

jueves, 19 de abril de 2018


Origen: Chile, Santiago
Formados: 2015
Estilo: Death melódico, doom
Temática: Desesperación, emociones, introspección y muerte
Enlaces: BandcampfacebooksoundcloudWeight of emptiness y youtube

  • Alejandro Bravo Guitarra
  • Alejandro Ruiz Voces
  • Juan Acevedo Guitarra
  • Manuel Villarroel Bajo
  • Mauricio Basso Batería

  • Anfractuous EP 2016  
  • Anfractuous Moments for Redemption CD 2017
Álbum debut para esta banda chilena que podemos pensar que son unos recién llegados, sin embargo el line-up de la banda lleva formando parte de diferentes proyectos de la escena de su país, algunos por un período de casi veinte años. Toda esta experiencia que atesoran a sus espaldas se aprecia en este primer álbum, que si bien ha sido enmarcado dentro de la vertiente del death melódico y del doom, creo que la procedencia de los músicos de Weight of Emptiness de bandas que ham tenido cierta relación en mayor o menor medida con el metal progresivo, es una influencia clara y que acaba por impregnar todas las composiciones. "Anfractuous Moments for Redemption" contiene nueve temas que se despachan en poco más de tres cuartos de hora, fue editado originalmente en Marzo de 2017 pero reeditado otra vez en Cd por el sello mexicano Sun Empire Productions el pasado Marzo de 2018. De los nueve temas que integran esta álbum cuatro ya habían formado parte de su primer Ep "Anfractuous" editado en Octubre de 2016.  "Anfractuous Moments for Redemption" destaca por varios aspecto, uno de ellos sin lugar a dudas es el de producción que permite disfrutar de la complejidad y variedad de los temas, descubriéndonos a una formación madura y muy profesional que sabe lo que se trae entre manos y en donde se ha sabido cuidar todos y cada uno de los detalles. Bien es cierto que por estilo son afines al death melódico, sobre todo por los potentes riffs de guitarras y por el uso de los guturales en las voces que acaban por impregnar su música con cierta melodía. Pero desde luego que sería muy injusto olvidarse de otros apartados de su propuesta y estilo, como puede ser el ritmo pausado y denso la mayoría de las veces, el buen hacer de Alejandro Ruiz a las voces que consigue intercalar también partes limpias en algunos pasajes y por supuesto que una vez que se ha acabado de escuchar este álbum es imposible no dejarse atrapar por otros estilos también presentes, como el rock clásico, el jazz y sobre todo ese ambiente progresivo que sacude su música. Textos elaborados, producción cuidada y sobre todo un trabajo de muchas horas detrás de este álbum, sólo puede suponer que el oyente se siente totalmente recompensado tras su audición (8).

Sun Empire Productions

1. Anfractuous (Intro) 01:25   instrumental
2. Behind the Masks 06:42
Everything looked fine
There was an order that seemed natural
But it was only a reflection of an illusory image

Falling like a house of cards in the face of brutal reality not faced
In the midst of despair and fear, I note the darkness where I am

Falling like a house of cards in the face of brutal reality not faced

In the midst of despair and fear, I note the darkness where I am

I see the reflection of my own darkness surrounding me
And that's how I begin to open my eyes and see
In the middle of the shadows thousands masks appear, thousands masks appear 

Costumes from a grotesque celebration of the darkness that cover more and more the truth 
They enjoy the brutality and with a burlesque gaze, laugh mercilessly

Trying to let the fear and disbelief I intend to see beyond, 
Then understand that the maze is more tangled and deep,
Behind the masks there are more.

And in the midst of chaos and confusion 
Paradoxically I begin to understand
It was all a trap
And those voices talking about Paradise
Are part of the hoax

Even those in which you trusted
And where you lean
You understand, 
are part of the hoax

You were just watching the wrong place
"Outside" there is nothing that is not "inside"

Everything is within us
Looking inward, 
light appears.
3. Unbreakable 05:58
This pain corrodes me
The hate cuts the connections with reality
Madness inside this dark cell
I wait for my turn when the next battle begins

The populace has blood lust
My own or my enemy’s
I’ll try to survive
I’m trapped
I don’t want to kill, I don’t want to die

I used to fight for my people through moors and forests, we faced
Against the neighboring towns for supremacy and survival

Darkness fell unexpectedly
Eagle armies swept all our land
Nothing we could do to oppose them
Those who did not die we fell enslaved
By conqueror's power

I have to survive
Using my skills and learning new ones
My soul remains free
My mind begins to fill with thoughts of hatred and death

I pray to my gods
To accept my soul

Today I must to die for fun of the rabble
Tomorrow I will be with my ancestors
My soul will travel free at last
4. The Silence 05:42
 Impossible dream of cities
Autumnal dialogue of the forgotten

The Silence
The Silence

Invisible link of heartbeat
Last song of the dying

It’s in the dark when we invoke your return,
In anger we hide unconsciously your delirium

Rumble's rumble
Shelter of the solitaire
Echo of itself
Mattress against the moonless night

It’s in the dark when we invoke your return,
In anger we hide unconsciously your delirium
It's in the soul where we look for your spell
In the breavement we can hear your deep crepitate

It is in your uterus where is found the way out of the labyrinth and the key to the coffers
It is in your armor where the scream does not stumble

Travelling on tiptoes with the existing without raising suspicion
of power of your hammer, of the value of your voyage

It’s in the dark when we invoke your return,
In anger we hide unconsciously your delirium
It's in the soul where we look for your spell
In the breavement we can hear your deep crepitate

Laughter of our misery
Unquiet god tragedy
The missing piano's tooth bites the wind without air
5. Holy Death 05:21
 Like a black eagle 
You fly over us
You laugh at our insignificant grief
Because before the twilight
We shall be part of your own light
Part of your own light

Gathered we contemplate our decline 
And without words
We praise Dionysius on your behalf

Because we are chaos in ecstasy 
Because there is no balance without death 

A thousand years to carve a throne 
One second of doubt to losing it

Nothing is eternal, neither solitude nor oblivion, neither prayers to God 
And yet this idea remains in our souls 

Fast is your destination and also your decline
A thousand beasts gathered in a pit 
Where you rest in opulence 

Live the holy death 
And live all those you embrace 
You will lead the sound of our end
And open wide you will discover waters of the Styx 

So that we can pass
We celebrate together
And wait for those to come
Those to come
6. Cancer 05:37
  Provided naivety, blind to the truth
Killer science like poison

Annihilating me

Provided naivety, blind to the truth
Killer science like poison
Misunderstood concepts, blinding lights
Nobody knows this hell

Annihilating me

Life in agony
I survive blind wandering
Death and desolation
Disabled, sad, insane
Cancer in my mouth
Exiled, left outside forgotten
Business of bastards
Business of death

Life in agony
I survive blind wandering
Death and desolation
Disabled, sad, insane
Cancer in my mouth
Exiled, left outside forgotten
Business of bastards
Business of death

Pious lie destroying my life
Socially stunted I have no choice
Pious lie destroying my life

I’d like to regurgitate disastrous mixture
Disgusted of swallowing so much shit
Transgenic ambition distorting perfection
Development geniuses
Chemicals full of hate

Simple test objects in complete ignorance
Simple exposed rats to delusions of insane minds

7. Weight of Emptiness 05:34
  Lying inside four walls 
Prisoner in my own hopeless shelter

This dark regret falls with that weakness
Bending my neck spreading the sickness
Wherever I escape it reaches me and drops me
falling in disgrace
I’m feeling the burden of life

Weight of emptiness
Breaking the reasons to live
The fight is in vain

Nailed to eternity by the weight of the earth
The delirious streaming of mankind means nothing

Weight of emptiness
Breaking the reasons to live
The fight is in vain

I don't know why
I can't see
I can't read my heart
I'm unable to feel

Some roots under my soul
Are covered with failed 

I need to get rid of them to lighten the weight of my emptiness
8. Inner Chaos 09:21
  In the humdrum dawn of my life
Bitter wine in the day, old wine in the night
Who gave birth to the chosen one still are with me
The sun blesses me, the moon cradles me

I curse the day my chest tightened, the sand on my watch
My throat didn’t swallow or spit out the balm of my life.
... And transformed the white light in a damned gloom

Believe in, believe in yourself

The lady in black gives no truce
Will come for my soul, I won’t give it a chance

Stable pillars collapsed, No security, no tranquility
The doors have opened, my broken up system
And entered my worst fears without stint like strong wind, my uncertain autumn

Believe in, believe in yourself

The lady in black gives no truce
Will come for my soul, I won’t give it a chance

Gasp for help, needed the blood even flow
Their scalding rivers of life
The lie which my mind projects in a virtual way
Resigning myself to my fate to surrender my soul to the barge that comes to me

My Inner Chaos…

The doors have opened, my broken up system
And entered my worst fears without stint like strong wind, my uncertain autumn
The lady in black gives no truce
Will come for my soul, I won’t give it a chance

Nothing matters
Thousand lashes with rebirth of the sun, thousand pleasures in the wake of the night
Nothing matters; my senses are still intoxicating with knowledge
My heart beats like summer breeze
I won the battle, but the lady in black knows to wait, all wars belong to her
9. Redemption (Outro) 02:00   instrumental

- 300gsm Cardboard Jacket With 3mm Spine And Inside Flooded In Black
- 42g Black Vinyl
- Insert On 150gsm Art Paper
- Limited To 500 Copies


miércoles, 18 de abril de 2018


Que mejor manera que un álbum como este "Nine Years of Blood" para celebrar los veinticinco años de carrera de una de las bandas pioneras en el folk, pagan, black metal. Cruachan regresa con un álbum que está a altura de su historia. Un álbum que será editado este 27 de Abril por Trollzorn Records.

1. I Am Tuan 02:37  
2. Hugh O’Neill - Earl of Tyrone 04:37  
3. Blood and Victory 04:43  
4. Queen of War 06:16  
5. The Battle of the Yellow Ford 04:50  
6. Cath na Brioscai 05:47  
7. The Harp, the Lion, the Dragon and the Sword 05:28  
8. An Ale Before Battle 00:28  
9. Nine Years of Blood 01:35  
10. The Siege of Kinsale 05:01  
11. Flight of the Earls 04:06  
12. Back Home in Derry 02:58  

martes, 17 de abril de 2018


Origen: Rimini, Italia
Formados: 1997
Estilo: Black progresivo
Temática: Muerte, surrealismo y tristeza.
Enlaces: FacebookHortus Animaetictail y twitter

  • Adamant Bajo
  • Bless Teclados
  • Grom Batería
  • Hypnos Guitarra
  • Martyr Lucifer Voces
  • MG Desmadre Guitarra

  • An Abode for Spirit and Flesh Demo 1998  
  • The Melting Idols CD 2000  
  • Waltzing Mephisto CD 2003
  • Windfall Introducing Summoning of the Muse Single 2004  
  • The Blow of Furious Winds... CD 2005  
  • Funeral Nation / 10 Years of Hortus Animae Boxed set 2008  
  • Funeral Nation MMXII Recopilatorio 2012
  • Secular Music CD 2014  
  • Godless Years Recopilatorio 2014  
  • There's No Sanctuary EP 2016  
  • Piove Sangue - Live in Banská Bystrica Directo 2018
Con la edición de este álbum en directo grabado el pasado Octubre en el Banská Bystrica, festival que se celebra en la localidad eslovaca, la veterana banda italiana pretende repasar su extensa carrera que abarca más de veinte años, con un hiato de por medio de unos cinco años (2008 a 2013). Seis temas están comprendidos en este lanzamiento con una duración que no alcanza los cuarenta minutos y que de manera concreta y concisa sirve de muestrario para arrojar algo de luz y dar a conocer a Hortus Animae que a pesar de llevar más de dos décadas como banda, no se han caracterizado por ser muy productivos en cuanto a lanzamientos pero que sin embargo cada uno de ellos si que atesoran calidad en si mismos. A pesar de ser un directo y con una duración no muy extensa, supongo que algo tendrá que ver en esto el echo de ser grabado en un festival, si que acaba sirviendo para poder apreciar los distintos estilos y épocas por las que ha transitado Hortus Animae, de unos comienzos mucho más black, con un sonido más directo y si cabe violento y oscuro, a transitar por otras vertientes que se fueron incorporando a su música como puede ser el death, el progresivo, influencias vanguardistas y sobre todo el gótico, muy presente en el tercer tema " Doomsday". Aprovechan también para hacer un medley de su primera maqueta, un tema de sus más recientes lanzamientos y cierran con una revisión del "Raining Blood" de Slayer acompañado a las voces por Freddy Fredich de los alemanes Necronomicon, compañero de esta gira. Hortus Animae muestra un estilo en donde hay cabida para diferentes vertientes del metal extremo, todo ello recreado de manera perfecta por la banda y de una manera que permite repasar su trayectoria de forma concisa. (8).

1. Furious Winds / Locusts 04:25  

2. Chamber of Endless Nightmares 06:31  
3. Doomsday 07:57  
4. Medley: I - In Adoration of the Weeping Skies, II - Cruciatus Tacitus, III - Souls of the Cold Wind 09:40  
5. There's No Sanctuary 06:36  
6. Raining Blood 04:41  

TR001VL Karg - Apathie
Vinyl-version of the third Karg album Apathie.

Limited to 500 pieces.

01. Von gelebter Ekstrase & wüster Raserei
02. (Im)Puls
03. K-E-T-A-M-I-N
04. Wie nur ein einziger Tag
05. 21.August
06. Koma
07. Briefe ans Gestern


lunes, 16 de abril de 2018


Primer larga duración para Wormlight, banda sueca creada en 2014 que se las arregla para ofrecer un trabajo conceptual inspirado en la mitología nórdica en donde podemos encontrar un sonido black pero también bastantes influencias del death melódico que por momentos retrotrae al oyente a mediados de los noventa. Autoeditado este 25 de Abril y en CD por Black Lion Records bajo el título de "Wrath of the Wilds".



Nuevo Ep de seis temas para este combo procedente de Minneapolis creado en 2011 en cuyo sonido siempre hubo cabida para elementos folk y ambientales, pero que sin embargo en este nuevo lanzamiento nos sorprende con un viaje hacia el final de la existencias de la mano de un sonido mucho más neolfok. Autoeditado en CD y digital.


One man band creada en 2013 en Grecia, aunque ahora reconvertida en trío y asentada en Edimburgo. Llegan a su tercer larga duración en donde a lo largo de sus ocho temas nos entregan un suerte de death-black bastante potente. Editado en cd y digital por Satanath Records.


Primer larga duración para este trío lisboeta creado en 2016 que cuenta con un EP anterior. Nueve temas de death, black de sonido infecto y putrefacto, con presencia de la oscuridad y ambiente casi que ritualista, para un trabajo editado en Cd por Iron Bonehead.


Tercer larga duración para este trío procedente de Oporto en activo desde 2006 que entrega un álbum en donde hay cabida tanto para el black, el death  y el doom, todo ellos ejecutado de manera contundente. Editado en CD por el sello Helldprod Records.


Creados en 2014 en Brisbane, cuenta al bajo y a la batería con miembros de Moon, el quinteto entrega cinco nuevoa temas en este Ep, con anterioridad también editado un split una demo y un álbum completo. Sonido black que impulsa al oyente hacia la desesperación de la mano de un sonido que por momentos se vuelve caótico pero que siempre se muestra frío y denso. Editado por  Impure Sounds en vinilo.


Segundo larga duración para esta one woman project creado en 2008 en Bogotá por Angela P. Coldnight. Black metal ambiental, depresivo y con algo de experimental en una obra que comenzó a grabarse en 2014 e inspirada en los escritos dejados por los suicidas de The Waterfall of Tequendama. Editado en digital por Maa Productions.


Tercer larga duración para este trío belga que con nuevo trabajo tiene la virtud de no dejar indiferentes al oyente gracias a la variado de su propuesta, capaz de sonar intimista para al momento convertirse en algo del todo más visceral. Un tercer trabajo editado por Century Media en Cd y vinilo.


En 2014 Ivar Bjørnson de Enslaved y Einar Selvik de Wardruna decidieron aunar fuerzas para conmemorar los 200 años de la constitución de Noruega, fruto de la cual surge un primer álbum en 2016. Han pasado un par de años y ya tenemos aquí su continuación en forma de once temas que incide en el noefolk con elementos de black progresivo, con una fuerte ambientación medieval. Editado en CD y vinilo por By Norse Music.


Segundo larga duración para este trío sueco creado en 2014 que cuenta también con un split. Ocho nuevos temas que inciden en un black metal no exento de cierta melodía con temática anti sistema. Editado en CD y digital por Carnal Records.


Quinteto procedente de Bogotá, creado en 2002 sin mucha actividad hasta el 2008, que ya va por su octavo larga duración y que recientemente ha sufrido ciertos cambios en su line-up, especialmente en sección voces y guitarra que a buen seguro han redundado en la dirección de este álbum que se nos presente como un black metal con algunas influencias death pero sobre todo thrash con cierta crudeza. Editado en digital y CD por Hidden Marly Production.


Procedentes de Manizales (Colombia), se nos presenta este trío cuya carrera arranca en 2002, van ya por su quinto larga duración a lo que hay que añadir un par de splits y un recopilatorio. Siempre se les ha considerado como una banda underground, sin embargo en este nuevo trabajo han hecho una apesta por una mejor producción que redunda en un blak bastante potente, violento y crudo. Editado en CD y digital por Hidden Marly Production.


Segundo larga duración para este cuarteto procedente de Polonia, creado en 2016 en cuyo black metal hay muchos elementos folk, tanto de instrumentos como de letras inspirados en la región de Warmia de donde proceden. Editado por Pagan Records en CD y digital.


Creados en Oakland (California) en 2004 y con un par de nuevas inclusiones en bajo y guitarra-voz se nos presenta el segundo larga duración de este cuarteto. Su sonido es una cierta amalgama de estilos que van desde progresivo, al doom o al post black. Autoeditado en digital.


Banda creada en Polonia en 1997, sobre la que no hay mucha más información a parte de la edición el pasado año de su primera demo, por lo demás este es su primer larga duración que presenta un black metal con ciertos aspectos atmosféricos. Editado por Pagan Records en CD y digital.


Segundo larga duración para este trío de Louisiana creado en 2010, que rompe con casi siete años de silencio y que viene a ofrecer un un black death metal de sonido actual. Editado en digital y CD por 
Satanath Records.


Segundo larga duración para este proyecto que nació en Alemania en 2014 como una one man band, ahora mismo es un trío que ya con su anterior obra depertó cierto interés y este nuevo trabajo los vuelve a asentar en la escena post metal con ciertas dosis de shoegaze. Editado por Wolves and Vibrancy Records en vinilo y Pest productions en CD.


Segundo Ep para esta one man band creada el pasado año en Albuquerque cuyo sonido ofrece un black metal con tendencia a la crudeza y una actitud punk orientada hacia el anticapitalismo y la revolución. Autoeditado en digital.


Primer Ep para este quinteto procedente de Buenos Aires, creado en 2008 con una discografía que comprende un par de demos, un split, un recopilatorio y un directo.El Ep contiene cinco temas siendo dos de ellos en directo, en donde entregan un black repleto de misticismo y ocultismo con tendencia hacia la crudeza. Editado en CD por Humanity's Plague Productions.


Procedentes de Groningen, creados en 2015 y sin mucha más información en torno a la banda?, sólo que que con su anterior larga duración editado hace cuestión de un par de años, llamaron la atención del público, aspecto que mantienen en este, su primer Ep, con ese black metal que suena desgarrador, curdo y melancólico, e influenciado por las leyendas del mar del Norte. Editado en vinilo por Diaphora Produktion.

domingo, 15 de abril de 2018


1. How long ago did you decide to create the band and why did you choose the name Vox Malorum?
I started writing the music for the demo in December 2016 and the songs you hear were completed sometime in June 2017.  As the songs started to take shape and sound, the vocals felt creepy and sounded a bit otherworldly to me.  Combined with the lyrics, the presentation felt very full of evil intent and hopes for mankind.  With some basic study and consulting a Latin professor, I settled on 'Vox Malorum' as a name that translated into something like 'the voice of evil' or 'the voice of evil men'.  

2. Vox Malorum is presented as a one man band, is it something that has been clear since the beginning or contemplates the possibility of adding new members in the future even if only to be able to offer a concert?
The initial intention was to create the demo as something to present to the local musicians as a way of finding people to play with.  I wanted to have something to show outside of saying, "hey, let's jam sometime!"  I think most of the people around here who heard it didn't know I played anything at all.  The way I wrote the songs was for them to be easily represented by 5 musicians on stage.  2 guitars, bass, drums, and keys.  So, no, the intent was never to stay a solo project, it was an actual call to arms for any warriors willing.  There is always a possibility to make Vox Malorum a live presentation, but I have yet to properly sit down for 4 other musicians and play these songs.  The experiment was a success though, as it helped create relationships that led to the formation of a separate pagan folk metal project to be revealed this year hopefully.

3. "A Call to Arms" is his first demo, contains four tracks that he defines as "only black metal", sounds crude and direct, with a certain dose of epic and that in general is very close to the Scandinavian scene of the years ninety, impossible not to make this comparison. Do you agree with this definition? What have been your main influences when working on this demo?
I absolutely agree.  The music from that region, especially in the 90s, continues to get regular play on my stereo even today.  The reason I described the demo as black metal alone is simply because I'm not very well versed in the sub-genre terminology, nor am I a big fan of labeling things in general.  I get the desire to categorize, but to me, it's just black metal.  I actually tried not to imitate any other band in particular while recording these tracks, but in making what kind of music I wanted to hear I guess it's inevitable that that energy will seep through the final product.  I like to hear what band or album people say my music resembles.  During the recording of the demo I was listening to a lot of early Demoncy, Void Meditation Cult, Immortal, Satanic Warmaster, Necrophobic, Burzum, Death Worship, Black Witchery ... I hear touches of the bands I love, but I'm not sure if the songs sound just like them.  I hope that isn't the case.

4. Death, battles and misanthropy are themes that are dealt with in the lyrics of the songs, where do you get the inspiration to write the lyrics and why do you think it is interesting to write about these topics?
These subjects are sources of positive mental flow for me.  I feel energized by songs about going into battle, standing by your convictions even into death.  By being aware of my impermanence, I feel I am better equipped to live a more enriching and meaningful life.  These are the sort of thoughts that give me positive energy, at least positive by my point of view.  The modern world that we all share and live in is very much a suffocating clusterfuck that can very quickly sap the energy out of an independent thinker.  The misanthropic themes in my music are reflections of the mass herds of cattle that perpetuate this cycle of mental and spiritual decomposition.  These themes and lyrics represent the shadow side of my attempt at maintaining balance in life.  There are a few glimpses into my spirituality, which I almost exclusively keep secret to myself.  Future lyrics will explore those aspects a little more as time goes on.

5. How was the process of composition and recording of the demo ?, When having to take care of the recording of all instruments, which has been more complicated to record? What brand of instruments have you used?
I would write the songs on guitar first, and then add a temporary programmed drum track.  This allowed me the opportunity to experiment with different rhythms and expressions without having another person to jam the riffs with.  Next came bass and then keys to accent melody and chill the atmosphere a bit.  I then recorded the live drum sounds in a friend's basement and changed them out for the programmed drum sounds. The lyrics were written right after the guitar, but not recorded until the very end.  All four tracks' vocals were recorded under a full moon, out far from my city, in the middle of the woods, where the river runs red.  The most complicated thing to record was the drums.  I had to come up with some unique ways to present the drum sound I wanted.  The instrument brands I used were Gibson Les Paul, Schecter 5-string bass, M-AUDIO midi controller, Gretsch Catalina drums, and all the vocals were recorded on an iPhone in the woods, haha.

6. There is an element that has led to some confusion in the sound of the demo and is none other than that of the battery, which seems programmed in some section, however this is not true could you clarify a bit how the battery was recorded of the demo "A Call to Arms"? 
The initial temporary track was made from individual recorded sounds from an old Alesis drum machine.  I would then give each element its own track and then arrange them how I wanted until I was ready to record live drum sound.  I only had a single microphone to record the live drum kit, so I came up with the idea to record each element individually and then move the sound around the headphones as if they were being heard from the seat behind the drums.  I would record the hi-hat for all four tracks, set up the microphone over the snare and record the snare drum for all four tracks, and then the same for each cymbal.  The drum fills were recorded separately on one mic after that.  The only non-live programmed sound on the drum track is the bass drum.  I was dealing with a work-related knee injury during that time, so using the Alesis bass drum sound was the only option for me.  I plan to continue using this method for the next release I'm working on, but I may move to a full live drum recording after then.  After all, it was an awful lot of work, but I'm more or less pleased with the way it turned out given what I was working with.

7. As I mentioned before your music conforms to the definition of "only black metal", I suppose that under this concept there will be no room for other styles or genres such as post-black, progressive black, etc., what do you think? These new currents within the genre? What would be your definition of black metal?
There is definitely room for other styles, but I suppose that's up to the interpretation of the listener.  At the end of the day, I'm not well versed in what makes this post or progressive, so I can't say for sure one way or the other.  To me, black metal has always been about a combination of the intention and the atmosphere created by the music.  There are some very lo-fi recordings that create a more vivid atmosphere than some fine-tuned and well produced albums, but I like examples of each.  I think intention is the most important thing of all, and when it comes through and it vibes with you, it's right.  While I latch onto lyrics, sometimes they take the backseat to the emotion and ambiance the music evokes.  It's difficult for me to describe in words, but I'll say: strength, pride, courage, balance.  These seem to be the core ideals at the base of the music I make.  Who am I to say what it could mean to someone else, though?  

8. How were your beginnings in music, first concerts, first cds you bought? Why did you decide to play an instrument and dedicate yourself to music one day?
I have always listened to all sorts of music.  My dad taught me three chords on the guitar when I was 11, and I started playing next to the radio when I was 14.  When I think back to the first albums I ever bought, given the choice when I was 9 or 10, it was either GNR's Appetite For Destruction or Prince's Diamonds and Pearls, haha!  As far as metal though, the first CD I ever bought was Immortal's Battles In The North.  That cover was really something among all the other CDs, so I bought it instantly.  From there I checked out the Norwegian staples, and expanded to bands from all over the world and I still find older music today I've never heard of.  I can't remember the reason I decided to start playing music, it just happened and the creative process feels about as necessary as breath to me.  It's just part of who I am.  

9. What can you tell us about the Lexington musical scene? What was the last album that was purchased?
The Lexington metal scene is something I've come to love.  There are some exceptional local underground talents and our local bars have played host to bands from all over the world thanks to them.  Lexington is also the home of the annual Blood of the Wolf Fest, which just had it's fourth edition last month.  Bands to check out from our city: Tombstalker, Astralnaut, Black Knife, Apocryphal Revelation, Master's Curse, Pyromancer, Rotting Kingdom.  The last album I bought was All Hell's The Grave Alchemist from the festival last month.  

10. "A Call to Arms" has been edited in digital format and is available on your bancamp page, are there possibilities that in a future it will be reissued in other formats?
It has been released on cassette by Black Abyss Productions in the Netherlands as of February.  They sold out of all of their copies on the first day, but I will soon have a very limited number available from the Vox Malorum bandcamp page.  As far as reissues, there are no others currently planned, but there is an opportunity if there is an interest.

11. Are you working on new topics to give continuity to the demo soon or at the moment there is no possibility of shortly editing new material?
I have actually finished writing material for the next release which will give continuity to the demo.  I am currently working on the tracking now, and hope to have it out this year.  I have no details to share on it at the moment, but it will definitely be a progression of the journey presented in A Call To Arms.  I am also writing music for a planned full length to follow that upcoming release and have already completed writing a few songs as well as a concept outline.  Vox Malorum is only just beginning, and I'm looking forward to revealing more of it's energy to the collective consciousness over time.  

12. Thank you very much for taking the time to Black Metal Spirit, if you want to add something for the followers of Vox Malorum, this is the place. I hope the questions are to your liking.
Anyone who wants to stay up to date on this project can follow the Bandcamp page , the Vox Malorum page on Facebook, or just email me directly at  Until then, make your own footprints in the snow, carve your own path, and worship death.  -- Shinigami.

1. The Soundless Music of the Lake 
2. A Funeral Procession on the Milky Way 
3. The Man from the Past 
4. Moorsong 
5. Thoughts Most Nocturnal 
6. The Three Brothers