Var finns Hammerfall-Lelles kropp? Familjen utlyser gigantisk belöning för tips

19 februari, 2018

Anhöriga till Hammerfalls försvunna turnéledare, Lelle Hildebrand, har utlyst en belöning på 350 000 kronor till den som kan lämna uppgifter som gör att man kan hitta Lelles kropp eller till och med finna den skyldige.

Aftonbladet skriver följande:

I december 2017 återupptog polisens cold case-grupp utredningen om försvinnandet.

– Jag har träffat gruppen från Malmö och förstått vilken enorm satsning de gör. De lyfter på varje sten. Det har fått mig och även andra i familjen att tro igen. För första gången på nästan tjugo år tror jag att det ska kunna lösas, säger Guido Hildebrand.

Efter försvinnandet fattade polisen misstankar mot en manlig rockmanager. En av teorierna var att managern dödat Lelle och dumpat hans kropp i vattnet.

Åklagarna kunde inte styrka att ett brott hade begåtts och förundersökningen lades ned. Då hade rockmanagern, som förnekade all inblandning, dömts till livstid för ett uppmärksammat trippelmord.

Lelle dödförklarades 2006. Polisen misstänker att han är mördad. Han sågs senast i livet kvällen den 25 januari 1999 vid spelplatsen Kartago i Sölvesborg, tillsammans med rockmanagern. Denna rockmanager kan ni höra ett helt radioinslag om här, på sr.se.

Annonser

Sju vitruvianska metal-män på lika många omslag

12 februari, 2018

Armarna ut. Benen isär.

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Den vitruvianske mannen är en teckning av Leonardo da Vinci över en naken mansfigur med ideala proportioner. Det kan tyckas ganska långt från metalidealet, där det som är perfekt enligt samhällets normer inte alltid går hem som just perfekt hos oss. Trots det förekommer den vitruvianske mannen på flera omslag, och får vi detta laget räknas som legitimt metal-motiv, särskilt som det under 2017 kom ut (minst) tre omslag med denna man, som zombie, växtlighet och med sci-fi-kopplingar. Det vilar ju trots allt mycket mystik, magi och medeltid över en teckning som skapades på 1400-talet.

Bara Metal ger er sju omslag med den vitruvianske mannen – the metal version.

 

Blut Aus NordThe work which transforms God (2003)

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BotanistCollective: The shape of he to come (2017)

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ExodusExhibit B: The human condition (2010)

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UndergangMisantropologi (2017)

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In FlamesClayman (2000)

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Scorching WinterVictim (2016)

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Order ov Riven Cathedrals – The Discontinuity’s Interlude (2017)

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…före metalbanden var dock rockbandet Triumph, som redan 1984 gav ut Thunder Seven. Kanske borde albumet ingå i den här listan?

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Apathy Noir reser sig på nio

12 februari, 2018

Bräckligt glas.

Apathy Noir är ett svenskt enmansband med Viktor Jonas bakom spakarna. Bandet hette fram till 2016 bara Apathy, men av någon anledning tvingades Viktor lägga till Noir för att slippa bli stämd. Han tog då ett break – vem hade inte tröttnat på hela businessen efter något sådant – men är nu tillbaka med sitt fjärde album och ny sångare i form av britten Andy Walmsley. Apathy Noirs atmosfäriska progressiva death-doom låter riktigt bra, och vi får hoppas att Viktor Jonas har kommit över bandets mörka dagar.

På bandets facebooksida har Andy Walmsley skrivit en kort snutt om texterna till varje låt, klart värt att läsa. Om första spåret The Glass Delusion säger han så här:

I’ve been fascinated by “The Glass Delusion”, an unusual psychiatric disorder most commonly occurring in Europe during the late Middle Ages, for a long time now.

It’s such a strange and fascinating condition, and has always felt like a perfect metaphor for the way in which everyone, no matter how strong they might appear, can feel weak or overwhelmed at one time or another, and how so many of us try so hard to conceal the cracks and flaws just beneath the surface.

And while I really enjoy the chorus in this one, I think my favourite part is that momentary pause before the scream of “break!” at 02:32. That was a lot of fun to play around with.

Lika som bär – Nifelheim och Bara Metals barn

8 februari, 2018

Det ska böjas i tid.

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Självklart tar man sina barn till korrekta turistplatser. Och idag, av en slump, såg jag att jag inte är ensam om att släpa med mig de viktigaste i mitt liv till detta ställe. Skåda likheterna.

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Bilden är tagen i monsterparken Sacro Bosco nära lilla byn Bomarzo i regionen Lazio. Den är väl värd resan från vår permafrost. Läs mer om Sacro Bosco här.

Monolithe och de sju låtarna

5 februari, 2018

Alldeles sjusärdeles.

Franska doomsterna Monolithe släppte sitt sjunde album 26 januari. Albumet innehåller sju låtar, varje låt är sju minuter lång, och på albumet spelar sju musiker. Låtarna går i bokstavsordning från A till och med sjunde bokstaven G. Är det nån mer än jag som ser ett mönster? Det är inte slut där. Albumet är döpt till Nebula Septem, och ni som kan er latin vet att ”septem” betyder sju. Synd bara att man inte passade på att släppa album den sjunde whenever, men man kan inte få allt.

Ovan kan du höra bokstaven C, alltså tredje spåret. Men hela albumet är värt att lyssna på.

Intervjun – Malokarpatan: ”Peasant drunks are a part of our world”

3 februari, 2018

Enter vomits, devils and magpie legs.

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One the very best albums last year came from Slovakia and Malokarpatan. Their heavy metalish black metal is hard not to like. There is a lot going on through the whole album, from the catchy riffings via the samples and the odd instruments to the detailed lyrics.

Malokarpatan will release vinyl presses around this summer, a repress of the debut album and a vinyl version of the great Nordkarpatenland. A part from that, we know nothing about this band. An interview was necessary. Adam Sičák [guitar and main composer] took a lot of his time to quench our curiosity.

There are a lot of things going on in between the tracks: We can hear things like a cuckoo and classical music, a horn closes the final track and so on. Why did you include all these samples? What do they add?

– The most important part of music for me is atmosphere. Of course atmosphere itself can’t make a really good record, but in this niche of music we play it should be absolutely crucial. So that’s the simple purpose of all these introductions and samples – to immerse the listener deeper into the atmosphere of our world. I’m fascinated by the concept of scenic music in theatre plays, and I try to somehow come close to that, although of course it would be ridiculous to compare two such different worlds, what we do is far more primitive. The horn parts which you mention are all samples, just a bit modified. One is from a Czechoslovakian movie from the 60s, the other two are excerpts from hunting music.

So what is the sampled conversation before track three?

– It is sampled from an old local movie called Bičianka z doliny, it’s a village woman saying that a drunken man is being driven home from the pub on a wheelbarrow by his son. Peasant drunks are a part of our world – they add to the grotesque character. In fact they are a typical part of Slovakian literature, movies, visual art and so on.

I love V hustej hore na stračích nohách but when I saw it performed live on Youtube, you excluded  the choir. How do you look upon the studio versions vs. live versions? Is it a necessary evil to avoid some moments of the songs in order to perform live?

– The studio versions are always superior for me, for live versions you always sacrifice a part of the magic. However, the video you mention was most likely the one where we played this song before the actual album was recorded, because now we play the choir part through a sample live. It was a guest part by Necrocock from Master’s Hammer and it’s one of my favourite moments on the album, he really did a fantastic job there. His voice sounds bittersweet and perverted at the same time, which creates a very specific atmosphere.

– I think overall the live versions of songs show our raw aspects more clearly, while on albums you can dive deeper into the moody elements of our music. The album version is the one that stays forever, so I never sacrifice any unusual ideas with the reasoning of “this will not be possible to recreate live”. It still somehow influences our music though, because otherwise I would most likely record more synthesizer parts.

Another odd thing are the unorthodox instruments like the cow bell and the synthesizers in the excellent track Nedlho po púlnoc… How did you think about these extra instruments?

– These were all recorded live and once again, the only reason is to enhance the atmosphere. Some of the synths were recorded by me, some by the studio owner Zdeněk Šikýř who is a professional keyboard player, but most of them are a work of our other special guest – Annick Giroux from Cauchemar who added this special magic touch to the album. Before the album recording, I sent her demo versions of the songs and just let her imagination work wonders – the results were brilliant.

Did you try out any other instruments that did not fit in?

– I like to collect unusual instruments so I have a decent selection of various percussion – tambourines, sleigh bells, wooden ritual percussion, flexatone, glockenspiel and so on. I am a fan of experimental music and of various strange sounds, so I enjoy incorporating them when they fit in. I brought some more stuff with me into the studio and some was not used simply because there was no time left for it. Most regrettably, I couldn’t use the glockenspiel whose magical sound I really love, but at least I can add it as a new element for the next album.

You seem to carefully blend black metal and heavy metal, inserting folk music and always surprising the listener. How did you come up with this kind of metal? Or in other way – how do you compose a Malokarpatan song?

– I think this variety in our music comes from the fact that I like a lot of different stuff, not just black metal, and the other guys too. It might not be so obvious, but a big inspiration for me are experimental and progressive bands from the 70s – there was a lot of diversity in their music, all kinds of changes in mood, tempo, style, instrumentation and the like. The real challenge is to work this into catchy metal songs instead of ending up with some self-absorbed proggy masturbation that leads nowhere. That’s where the punk in our sound kicks in. If you look at metal historically, there’s always been this struggle between prog and punk in it – you have sophisticated bands like Queensrÿche, Fates Warning, Voivod, Emperor and then there’s Motörhead, Saxon, Hellhammer, Von – the more meat and potatoes-metal. Both are great and I try to fuse both of these perspectives in our music. I hate writing music that sounds too much alike, because it bores me to death. Some people think this sort of eclectic songwriting is too chaotic and doesn’t really work as a whole, well I guess they have enough of metal bands that play the same song all over again – death metal is full of that.

I recognize V hustej hore na stračích… as lyrics similar to the story around the witch Baba Yaga and her house. She is totally unkown in Sweden, so… who is she and why did you do a song about her?

– Baba Yaga is a pretty complex character, in classic folktales she is often ambiguous towards humans, but her malevolent aspects are definitely more prominent. She lives in a hut on chicken, or magpie, legs in deep forests and is known to be either an advisor for adventurers brave enough to come close to her dwelling, or she can also eat humans. We focus on her dark features of course. She can be seen as an embodiment of the dark forces of nature, a terrifying spirit of the woods. The shadowy parts of Eastern European folklore are the main focus of our band concept, so this is an ideal character for us to sing about. Unlike pagan/folk metal bands, we have a Left Hand Path look on the world of our native myths – the forces that symbolize chaos and disorder are what we channel in lyrics

Except for Baba Yaga there is also a song about a water goblin, a monster serpent and so on – Is it a long story unravelling or are you giving recognition to several eastern European fairy tales? Tell us about the concept of the lyrics!

– Not a concept storywise, but every song basically presents a different character from our folklore. We focus on the malevolent, the grotesque and bizarre. Black metal is not a world of beauty, although it should be able to create beauty out of hideousness, like its spiritual godfathers Baudelaire or Goya did. We find beauty in strange water goblins with green skin and hair, in drunken peasants vomitting on the floor in the mountainside inn, in the Devil’s huntsmen who represent the nocturnal woods of Pan and the lurking terror inside them. You can imagine the microcosmos of Malokarpatan as a remote village in the mountains, with isolated, plebeian inhabitants afraid of the unknown surrounding their small world – the woodlands and moors, where in each dark corner a malicious spirit can reside and harm them. A large part of inspiration for this of course comes from local folktales, as you’ve already mentioned.

Regaridng this, what does your name Malokarptan mean and why did you choose it?

– Malokarpatan means an inhabitant of the Little Carpathians region where we all come from. Little Carpathians in our language = Malé Karpaty. Malokarpatan = a dweller of this area. It’s an extremely simple, but I think also effective name and what I like about it is that there is virtually no chance of an other metal band using it. We always put some homages to our local culture into the music and lyrics, I think when bands are influenced by their surroundings it makes them more unique than just singing about more general themes in English. Our region is characteristic for its quite low but still atmospheric mountains with a long tradition in viticulture, with caves and numerous castle ruins – including the castle of Elizabeth Bathory and even an Iron Age cult place where child sacrifice and ritual cannibalism was practised several centuries before Christ.

And the album title?

– Nordkarpatenland means Northern Carpathian Land – an old German name for the territory of current Slovakia. Again a fairly simple, but self-explanatory title. The album is basically a ride across ancient myths of Slovakia and this concise title binds them all together. Personally, what the album title evokes in me is an old 18th or 19th century travelogue bound in leather, describing the peculiarities and oddities of eastern European countryside and warning about supernatural forces lurking within these remote places.

You choose to sing in your language, and it sounds truly great! But why not in English?

– It was a more or less spontaneous decision in the beginnings of the band. I was thinking of a concept for the band and since the music itself is a tribute to old things, why not have a lyrical concept that pays homage to traditions as well. So I decided to write lyrics in our native language, more specifically in its local dialect from the western part of the country where we come from. The dialect here sounds a lot more harsh than official Slovak language, so it fits black metal very well. I think it also adds a certain authenticity and originality – I myself am a fan of bands that sing in their native languages. There’s nothing wrong about singing in English though, so if I ever feel like it will fit us better, we can start using it. So far I’m satisfied with how it sounds this way, so there are no plans to change it, never say never though.

How come it takes you so long to release a vinyl version of Nordkarpatenland?

– LP cover artwork, that’s the answer. It will be handled by Zbigniew Bielak, who is always busy working for much bigger bands than us, so we are still waiting for our turn. Coincidentally, he just talked to me today concerning this and it looks like things will finally start moving in a couple of weeks. I’m perfectly sure it will be worth the wait, though. Then get prepared for yet another excruciating six months wait, because due to the vinyl boom, that’s currently how long it takes for bands our size to get their shit pressed. It’s ridiculous, but there’s nothing we can do about that, maybe just tell pop singers to stop releasing vinyl.

The LP cover artwork? Will it not be the same as the CD?

– It will be different from the CD version, yes. I have sent a basic concept and some stylistic cues and references to Zbigniew, but I have no idea myself what will he create out of that. All I can promise is it will be a different drawing style, different feeling and a completely different motive. Probably a bit more stripped down and grim, but Bielak is also a great detailist, so the end result might be surprising even for me.

By the way, does the CD cover art reflect the lyrics about the folklore tales?

– Both yes and no. Mostly, the central figures all are independent, but you can for example see the čerti – Slavic devil figures, those are part of lyrics in the last two songs. In Slovak and Czech folklore, the devils are very anthropomorphous – they are often even described as dimwits in folktales. We took two folklore depictions of them: the devils as hunstmen, again, there is a connection to the dark forces in nature, as with Baba Yaga and many other of our lyrical characters, and then the devils playing card games in an old watermill – that is again a typical folkloral depiction here. They lure in humans roaming nearby and when they lose the card game, their souls belong to the devils as a part of the bet.

So, finally, I would like to hear your music live. Will you visit Sweden or at least Denmark this year?

– I’m afraid not this time around, because most of our days off from jobs are already spent on the gigs this year. So Scandinavian people can either come see us at Steelfest in Hyvinkää, Finland in May or at Beyond the Gates in Bergen in August. I hope we can visit Sweden and Denmark next year though! There were some talks already. If it was up to me, I’d do more gigs a year, but some of the other members are busy with their dayjobs and families, so it’s all a matter of compromise. Other festivals we will play this year will be in Canada, Germany, Romania, Czech Republic… perhaps I forgot something. Scandinavia is still one of the best places in the world for this kind of music so we’ll do our best to return there again and hopefully to visit more countries.

Visit the band’s bandcamp here. Visit their facebook page here.

Exklusiv intervju – Spectral Voice: ”…the darkness isn’t around you, but rather within you”

30 januari, 2018

Darkness within.

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Listening to Spectral Voice’s Eroded Corridors of Unbeing, one of the best albums of 2017, I get the feeling of being in an endless physical darkness without boundaries. And I like it.

Bara Metal asked Spectral Voice’s Eli Wendler [vocals, drums] if that sensation of darkness is intentional. We also asked about the incident at the Russian border, the brotherhood with Blood Incantiation and singing while drumming. Here’s what he had to say.

– That’s one of the intentions for sure. We tried to create the feeling in the listener that the darkness isn’t around you, but rather within you. Katabatic meditation of outward flowing black projection. As far as the feeling or presence, we usually know when a certain part is missing the essence so to speak, but sometimes it takes longer to figure out the solution.

About your tour – how do you survive a European tour financially – I think you visited 21 countries? 

– We didnt take out loans or anything like that, we just saved up and lived frugally before and during to make it through. We didn’t bring any gear besides guitars and cymbals. Daniel at Killtown provided everything else. He also made the tour itself very comfortable and was able to provide the best accomodations day after day.

I heard that the Russian borderguard decided not to let you enter Russia. What happened? No visas?

– We had visas, proper paperwork and everything. We just got the wrong guard is all. He made up a bunch of excuses but in the end the official reason was that we had too much merchandise. We spent 12 hours at the border, in the freezing rain, and all day the only thing anyone said in English was ”I dont like Americans…” which is understandable for most of the world. Even after that extremely shitty day, we were able to get some last minute shows in Lithuania and Estonia, which were both great.

Rumor has it that Spectral Voice will return to tour Europe again in September 2018. If so – are you releasing new music as well?

– We have a couple things in the works, two splits but I don’t want to make any announcements or promises just in case things don’t pan out. We will definitely be back though.

Regarding the relationship between you and Blood Incantion – you share a lot of musicians. Do you ever feel like competitive, or do you Eli feel left alone with Spectral Voice? Please explain how the two bands handle it.

– Generally both bands have enough stuff going on independently that planning avoids any conflicts of scheduling. We do end up at the same places a lot since one promoter would rather spend one extra ticket to get two bands, which is understandable. As far as the creative aspects, both bands maintain a separate approach and idealogy. Separate influences both audibly and visually. I tend to take the leadership role in Spectral Voice, while Blood Incantation being Paul’s vision.

Speaking about Paul Riedl [guitar in Spectral Voice, vocals/guitar in Blood Incantation]. How come you became the singer in this band, and not Riedl? Did you ever discuss this, you being the drummer.

– In the beginning we shared lyrical duties, but I handled the placement and phrasing, so it developed from there. Now I take care of most of the lyrics as well, so it just made sense to continue.

So what’s the biggest obstacle singing live while drumming? And do you prefer the slower or faster parts for singing live?

– The biggest obstacle is definitely getting the stand to stay in the right position. I don’t really have a preference for fast or slow. My goal every night is to get in a zone where I don’t even have to think about it. A trance like state where it flows through me is the best possible outcome.

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Ectoplasma hänför i blod

29 januari, 2018

Formlösa hemskheter.

Grekiska Ectoplasma har släppt sitt andra album Cavern of Foul Unbeings. Bandet spelar stadig dödsmetall som välter betongväggar, och hyllar old school-dödsen med band som Autopsy, Death, Possessed och Morgoth i sin inspirationspark. Lyssna här.

Skogen klara för Klubb Dissonans: ”Vi har planer på att spela någon ny låt”

29 januari, 2018

Under frågornas sken.

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I helgen fick Bara Metal tips om att Skogen ska spela i Jönköping och på klubb Dissonans den 24 mars, och i måndags blev det officiellt. Eftersom småländska Skogen är ett av mina favoritband är detta för egen del bästa möjliga nyheter. Bara Metal högg tag i sångaren och basisten Jocke Svensson för några snabba frågor.

Spelning i Jönköping och hemma i Småland – vad kan vi förvänta oss? Och har ni varit så långt söderut i Sverige förut med Skogen?

– Jag har knappt tänkt på att det är i Småland, och då har jag ändå bott i Jönköping i två år. De har ju alldeles för fel ”r” för att kategoriseras som smålänningar. I riktiga Småland har man vanliga ”r”, inte rullande sådana.

– Nej, men seriöst så ska det bli jävligt kul att spela kring hemtrakten. Vi har spelat i Karlskrona en gång, det är något sydligare, med Istapp, som är därifrån.

– Jag har alltid ogillat förväntningsfrågor, för förväntningar är omöjliga att uppnå. Så mycket som kan gå fel, som vi inte kan kontrollera. Men! Vi kommer att bjuda på atmosfär, nerv, känsla och eld. Musikalisk och själslig eld. Och förmodligen en småländsk storfylla efteråt. Icke att förkasta!

Mjo, jag håller med om att frågor om ”vad vi kan förvänta oss” är klämkäcka och töntiga, men jag tänkte så här – tänker ni spela någon ny låt nu när det förmodligen vankas nytt album snart?

Ah, du tänker så! Vi har planer på att spela någon ny låt, ja.

Hur långt har ni kommit på uppföljaren till I Döden? Är trummorna inspelade? Är det mixat? När släpps albumet?!

– Den nya skivan är färdigmixad och ska mastras i dagarna. Vi håller i skrivande stund på att arbeta med omslaget med en nära vän, som hjälpt Skogen med mycket olika saker genom åren. Vi har inte börjat diskutera datum för släppet än. Men det kommer inom skälig tid. Info kommer att basuneras via Nordvis och vår Facebooksida när detaljer är satta.

Och vad är nytt inom Skogen? Är ni samma band med samma mål?

– Det är vi. Vi står på en stabil grund, och har inga planer på att drastiskt ändra mål. Sedan är nog målet inte utstakat förvisso, förutom att vi skriver den musik vi vill spela och lyssna på själva. Om folk sedan uppskattar den, är det en bonus. Men att skriva låtar för massan, landar aldrig rätt.

Apropå albumet. Vad ska det heta?

– Det avslöjar jag ej. Men det finns en del röda trådar genom alla våra skivor.

Okej, men vad ska det absolut inte heta då? Vilka titlar fick stryka på foten?

– De titlar vi strukit är Ride the Lightning, Altars of Madness, De Mysteriis Dom Sathanas, Reign in Blood och Peace Sells… but Who’s Buying?

* * *

Läs också Bara Metals senaste intervjuer, med Spectral Voice, Wolf och Lorn.

För en längre intervju med Skogen och Jocke Svensson, läs Bara Metals mysiga hemma hos-reportage här.

Wolftooth gapar stort och håller för det

25 januari, 2018

Vargens tid.

Vill du att ditt favoritband ska låta som alla dina favoritband på en gång. Och är dina favoritband Black Sabbath, Wolfmother, Rainbow, Mastodon, The Sword med ett skimmer av NWOBHM? Då är Wolftooth ditt band.

Ingångslåtar: Sword of my Father, Season of the Witch och Frost Lord.

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