oʞɾoƃ

Imamo, samo redefinišemo pojam u duhu novih generacija, obožavatelja religioznog black metala

Puno Marduk fanova to misli

Salvation ima čistu usisivač produkciju. Necromorbusa ni inače ne gotivim, ali Salvationu se može skinuti ocena za jedan samo zbog produkcije.

I Salvation od Funeral Mista je usisivač, pa je svejedno jedan od najboljih bm albuma ikad...

Jebem li vam pičku mračnu...

:) Eee, a vi se brinete da od manjka dlaka ne prenesete analne bakterije

Svašta. Anaal Nathrakh su poznatiji od brda bendova koji prolaze sa 100+ ljudi. Inače, sempl svih pesama: http://www.amazon.co.uk/Constellation-Blac...XVY/ref=mb_oe_o

Znam da je na bubnjevima bio Nick Barker, ostalih ne mogu da se setim. Puštao sam ja svojevremeno Frubiju pm da ih dovede, ne mogu biti preskupi, ali nikad nije odgovorio...

Pazi, Carcass je daleko uticajniji, to niko ne spori, ali u 2009. godini, Anaal albumi zvuče daleko nadrkanije, agresivnije, melodičnije i idejno kvalitetnije od bilo kog Carcass albuma

Ja sam obrnuo taj album 200 puta, pa mi je i dalje zanimljiv kao i ranije. Ne slažem se, as simple as that

Fuck me…this album takes off like a rocket-propelled rat from a drainpipe. Obviously past albums haven’t exactly been quiet and slow, but is there a specific reason for this renewed level of intensity and violence? Thank you. Yes there is - Mick. The ideology and atmosphere I try to build around the music will always be extreme to the point of being maniacal because I’m not quite right, but the basis is always going to be the music, and aside from the odd chat or idea I might suggest, that’s entirely down to Mick. After he’d recorded the songs, a mutual friend had the chance to listen to some of it before I went to the studio, and when I asked him how it sounded he just said ‘fucking heavy!’ The thing I think we both had in mind for this album was for it to be darker, more sinister. It’s still typically varied, but there’s a darker and more intense seam running through everything from the music and the subject matter to the tone and style of the artwork. The opening part of the album is just pungently evil, then all hell breaks loose and it blasts off into the stratosphere. It’s all about impact. The silly thing is, there will still be people who say we’ve ‘continued’ down the path to becoming a tame melodic death band. People are free to think what they like, it’s their loss. Has the new material been at all influenced by your more regular ventures into the realm of live performance? No, not really. For example some of the album is a good bit faster than previously, so no consideration is shown for the poor bastard who has to play the drums for one song after another after another! When you’re listening to a CD, it’s the experience of listening to the CD that’s important, not whether or not you think someone could stand in front of you and play it. I love Obscura by Gorguts, but the reason I love it is because it sounds so chaotic and driven, not because I know the guitar parts are hard. We will pull it all off live, I know that, but the focus of what you do in the studio has to be the feeling you’re conveying, that’s paramount. And Anaal Nathrakh in full flight should sound like having your eyeballs pulled out through your arsehole by someone staring at the sky and screaming ‘NO!’ while they deep throat a gun. Hmm, there’s a catchy summation. No one can fail to have noticed that the world has become an even more fucked up place recently…does the current state of the world play into your hands as harbingers of doom and despair, or would you rather everything turned out okay in the end? As an individual and in terms of my family and so on, I hope it all works out – I just want to live and be happy as far as is possible. The problem is that I’m convinced that it won’t all work out. Not necessarily tomorrow, but eventually it’ll all go catastrophically wrong. And that’s as much inevitable as it is a terrible, terrible shame. I don’t think that most people, me included, have even the start of an understanding of how fucked up things really are – do you know who John Major went to work for after he was PM? Have you seen Zeitgeist or heard Rob Newman lately? Have you been asked to prove your identity to buy a copy of certain books yet? Why has the global economy slumped? Are you sure? Still, no need to worry – if you’ve got nothing to hide, you’ve got nothing to fear. Pah! Could you elaborate on the lyrical specifics of this album…and the significance of ‘…the constellation of the black widow’? The title is based on a metaphor used in the book ‘Moment of Freedom’ by Jens Bjørneboe. It’s an amazing, exhausting book, an apparently semi-autobiographical first person account of a character living through the era of the Second World War. But believe me, it is nothing like what you would expect from that description. It’s incredibly rich, yet strangely detached – the author quotes Dante in the vernacular, there’s extensive, detailed analysis of art (I had a print of ‘The Hangman’s Tree’ by Jacques Callot bought as a present for me after I was blown away by the description of it in the book), withering observations on anthropology and the human capacity for generating misery, stunningly vivid depictions of phases of mental illness, it’s a travelogue, and so on. At one point the protagonist claims that within the next ten years, he will have accumulated so much knowledge of the cruelty and inhumanity of the world that life will become untenable. Then ten years after the book’s publication, the author killed himself. And there’s one bizarre yet chilling passage where he’s recounting key events in history in a voice detached to the point of insanity, interspersed with a discussion of the art museums he’s visited. One line will mention the ‘experiments in vivisection’ being conducted in ‘Teutonia’ (by which he means Mengele etc.) and the next will be about a particular painting he’s seen at such and such a gallery. The effect is intense, the depth of feeling involved is intentionally glaringly conspicuous by its absence – the author brings it horrifyingly home by not even saying it. And towards the end of the passage, he says that Uranus and Pluto have come together in the sign of the Black Widow, meaning that the atomic bombs have been detonated over Japan. It’s easy to bandy around concepts like nuclear war, a lot of bands do it. But by using something so involved and poetic, I was trying to underline the fact that thousands of people screaming to their deaths in the most cataclysmic event in human history isn’t just a piece of historical trivia. Of course I understand that a lot of people neither know nor care about the references etc and that’s fine – this is an album of music, not a post graduate exam. You don’t need to know about all this stuff to get your fill out of the album. And the title just sounds fucking cool in its own right. But these things are important to me, so that’s what goes into the mix. I could be here forever explaining what the Lucifer Effect means, the book of Isaiah, how I decided to interpret Nostradamus for ‘More of Fire…’ and everything else, but that’d need a whole other interview! With bands as sonically extreme as your selves, there is sometimes a fine line between pushing the boundaries further and becoming totally unlistenable…how do you consistently walk that tightrope with such great balance? You have to listen to what you’re doing with the ear of a fan. For all the misanthropy, we’re still trying to ensure that people will get something out of listening to what we produce. Then again, different people’s definition of ‘unlistenable’ will vary. I love listening to the most extreme noise music and even sometimes the sounds of industrial machinery, but most people would hardly consider those listenable or musical. It’s a good thing that I don’t make the music because it’d probably have tumbled off that tightrope a long time ago. Mick has a good instinct for knowing what’s musically worthwhile. Another thing is to think organically – it wouldn’t be hard to make a song at 1000 bpm, but that would be pointless because we wouldn’t enjoy listening to it. You have to be not only your own sternest critic but also your own primary consumer. And the biggest thing is imagination - one reason our music is so varied and even catchy despite its extremity is that we strive to remain imaginative the whole time. Clearly your worldview is not a particularly joyful or optimistic one, so what motivates you as an artist these days? Is there a goal to be achieved here or is this just an exercise in venting and catharsis for you? It’s not so much venting, although is it cathartic. But simply venting would imply ‘get it all out and have done with it’. Anaal Nathrakh is more snapshots of an ongoing thing, so a better word could be articulation. The goal is expression of the barely expressible. It’s the same as art – just because we don’t have a political or material goal doesn’t mean that expression of something that others can appreciate and identify with can’t be a goal in itself. The two of us have different reasons – for the most part Mick simply enjoys making music that has the right ‘aaargh!’ feeling. Since he was a kid he’s been enraptured by that feeling in music (as well as many other things, of course) and he loves creating sounds that pile on the aaaargh. For me the weltanschauung is just as important – it’s about making a cool/satisfying noise, and of course giving the listener an appropriate experience both in terms of the sound itself and the basic joy of hearing something exhilarating/interesting/steeped in the occult and hatred. But it’s also about having that noise be a direct translation of the sense of the world that I have. The Emperor and King Diamond influences are ever more in evidence on the new album…does the more epic, bombastic and melodic elements in your sound point at a desire to reach a bigger audience, or are they simply necessary pieces in the jigsaw? Strange, people have been mentioning an Emperor influence for a while now, and there literally isn’t one, never really has been. Similarity, perhaps, but you’d have to ask someone who spends a lot of time listening to Emperor – we wouldn’t know. Still, it’s hardly an insult. We’re not the kind of people who would want to make sure that noone can buy one of our albums unless they’re wearing a t-shirt selected from a list of five approved bands and get their bullet belts from the right manufacturer. But neither are we Fear Factory or whatever your pet hate commercially orientated band is. We simply make music that we think sounds good, and the audience will either come or it won’t. We have a vested interest in people buying our albums of course – if plenty of people do so, we can get enough money for some new guitars or recording equipment and that sort of thing. But that’s all, and the only factor that dictates what we play is what we want to hear ourselves. The parts you’re talking about are there because we like them, same as the parts that are like a jackhammer up your nose. We like soaring and we like skin peelingly brutal, so we do them. And yes, all the shades are important to getting across the atmosphere we’re aiming for. We’re easily capable of doing other things if we wanted to be more commercially viable, but we’re not Paradise Lost circa 1996 – to be honest I find the suggestion laughable. Did you ever anticipate that Anaal Nathrakh would be releasing its fifth full-length album? Does it surprise you that you’re still doing this? The most intense flame burns out fastest? No and no. To begin with, we never thought about the future at all, our only concern was for what we were doing at the time. And that’s still largely the case, although now we’re aware that we’ve got a three album deal with Candlelight, so we are to an extent forced to think about releasing our sixth album at some point. But we keep our heads down and focus on the present – which is precisely why it doesn’t surprise me we’re still doing it – it’s unfulfilled expectations that kill appreciation. We don’t really have expectations, so there’s no hopes to be dashed and every good thing is a bonus. For the same reason, it wouldn’t have surprised me if we’d split up by now. We started from nothing and have continued pretty much that way ever since simply by concentrating only on the things that make up our internal world, and then we end up standing on a stage in Norway, Maryland, at Hellfest in front of, I don’t know, several thousand people. You would be hard pushed to find anyone who was less of a rock star, so it’s continually astonishing to me and I can’t see any reason not to carry on for the time being. Why & how did you end up signing with Candlelight? What sealed the deal for you? We actually got a lawyer to look over the contracts for the first time! Usually I’ve been the one to go through our contracts – I can decipher the legal language, but I’m hardly an expert. But Mick had ended up peripherally getting in touch with a chap who worked as a music industry lawyer for some time, and so when labels came along, Mick asked him to take a look at what they were saying. We knew we wanted a label that was a bit bigger than we’d had in the past – when you’ve worked so hard on an album, you want to be able to make the most of it. We’re not interested in being the new Dimmu Borgir, but having a label with a decent distribution and promotion network working for you means you’re that much better off in terms of getting your stuff out there and into the hands of people who want to hear it. So we ended up speaking to a few notable labels, and Candlelight was the one that made most sense. They know who and what we are, and we know they’ve got the infrastructure and ability to handle a decent sized band. It’s not a meeting of soul mates and we’re not signed to them for life, it’s just a competent label who showed a belief in the band. Hopefully things will go well and everyone will be satisfied – because then with that out of the way, we can get on with the aspects of being in a band that really matter to us. What are your plans after the release of the new album? Will there be more shows and even a “proper” tour this year? It’s early days at the moment – as of now there’s still over two months before the album’s released, and we’ve been working towards that more than thinking about what happens next. We’ve got a few shows lined up, and there will be more added to the list as we re-surface in the collective consciousness of promoters. There are a couple of festivals in mainland Europe, a domestic show or two, and a “proper”-ish tour of America has been discussed. Society’s got around three and a half years left, so we may as well try to achieve something with what little time we have!

It’s been four years since ‘Hellfire’…what’s been happening during that time? ARCHAON (guitars): Oh, a whole lot of things has happened since back then. To start off from there (2005), we undertook the longest European tour we’ve been on so far, together with Gorgoroth. 5 weeks that was, visiting 5 places in Spain (where we had never been before), as well as Portugal. We also performed in France, Germany, UK, Ireland, Scotland, Czech rep, Slovenia, Hungary, Austria, Switzerland, Denmark, Sweden + more. 2006 brought a bunch of festivals, followed by a short UK tour together with Enslaved, Zyklon & Insomnium. After that, we visited the US/Canada/Mexico for the first time, as we had the privilege of joining none others than Celtic Frost on their 2006 tour. 2007 saw us being able to headline a 4- week tour in US/Canada together with support acts Goatwhore, Nachtmystium and Averse Sefira, as well as touring the UK for another week. We also played another bunch of festivals, amongst them Wacken Open Air for the 1st time, which of course was an experience. Last year, South by Southwest invited us to perform in the US again, and towards the end of 2008 we had the great honour of joining the legends Carcass on their US/Canada tour. On the bill was also Suffocation, Aborted, Rotten Sound, Necrophagist, Dying Fetus, Pig Destroyer and some other local supports. A great experience for us! This year, we toured the US/Canada again with a couple of songs in the repertoire from our new album, Revelations Of The Black Flame. And, can you believe it, in between here, we’ve also been in the studio recording! So there hasn’t been years of rest, so to speak. It’s immediately obvious that the new album is very, very different from past 1349 records. What made you change the band’s sound so radically? ARCHAON: We wanted to show another side of 1349. I mean, there’s only so much of the same one can take before it loses the effect, even if the energy’s still there. So we decided to approach this album with a whole different angle than before, wanting to create a soundtrack for the apocalypse. I believe we succeeded. Is this a logical progression for you? Do you think the essence of the 1349 sound remains the same?? ARCHAON: One can definitely still hear that it’s 1349, but there’s more variation in the material than ever before. I personally think that this is an illogical step, as logic doesn’t come into priority as such when writing music. Of course, you have the logic sense of what is a well written song, but apart from that, what makes the creative side interesting is that there’s no boundaries to what one can do or can’t do. Revelations… is a very dark album, possibly the darkest one we’ve created so far. How did Tom G. Warrior become involved in the project? Was that a dream come true for you guys? ARCHAON: Well, we got in touch with the Celtic Frost guys in 2004, when we first toured Europe with Gorgoroth. We weren’t aware that they were present, and played the song “The Usurper” on the show in Switzerland that night. After the show, the guys came backstage with us and we talked/introduced ourselves. Being a long time- major fan of the band, Ravn kept in touch with Tom which eventually led to them inviting us on the 2006 tour, and to further collaboration. He is a very knowledgeable smart gent Tom, and he definitely had an impact on the album. As a matter of fact, he also guests on bass guitar on the cover of Pink Floyd’s “Set the controls for the heart of the sun”. What kind of reactions have you received so far regarding the new album? ARCHAON: People are surprised, no doubt about that. But in a positive way. We’ve only gotten good feedback so far… Maybe people do not dare to say otherwise, ha ha! So far, I’ve seen one review (and that was quick, as the album was available for the press this week!). That was Imhotep `zine from Norway, which was a 5/6. Not bad, huh? Seems the listeners shouldn’t be underrated, as they can listen carefully and capture the magic there after all… Do you think you will lose some fans and gain new ones too? ARCHAON: There’s a great chance for that, yes. But to be honest with you, whether it’ll be an album of success or not was not the motivation for us making it. It simply had to turn out that way, as it was how the album created itself. There are some more classical 1349 bits there as well, all mixed in with slower, doomy parts. Will this material be performed live? If so, will that change the nature of a 1349 gig? ARCHAON: Of course! We’re not disgraced in any way, nor do we think it lacks standard- it’s just a bit different than blast beats all the way and back, you know what I mean? We’ve already played two songs from it on the US/Canada tour this year, and on the show we’ve done in Norway. That’s all shows so far this year, but there’s more shows coming up where the material will be blended in perfectly with the old catalogue. As a matter of fact, it seems to work miracles in terms of energy onstage. Could you explain the concept behind the album’s title? ARCHAON: I’d rather not, as anything that is set before you listen to it yourself might have an effect on your experience. As previously, it’s best if you approach it with your own perception, and read into it what you will. Frost came up with the title, and I instantly liked it- because for me, it rang the bells of 1349 coming back from this four year hiatus, keeping the black flame burning bright. In addition to that, it can symbolize a wide spectre of different things/subjects. Why does fire have such a massive symbolic and conceptual importance for 1349 and for black metal in general? ARCHAON: The word is powerful in itself and demands a natural respect. For a great part pf mankind’s time, it has been a vital part of our existence, a source of existence. Fire being one of the four elements, is one that both gives and takes. It can nurture in terms of heat, enlightenment, in terms of life. It divides light/dark. But it can also devour it all in matter of short time. What are your plans for the rest of 2009? And where do you think the band will go next musically? ARCHAON: We’ve got a pretty full schedule out the rest of this year. On the live front, we’ve gotten offers for a bunch of festivals, and so far we’ve confirmed one in Czech, three in Germany and one in Norway. We’re also thinking about doing a UK tour again towards the end of the year, and more festivals might be added. So, there’s some live activity throughout the rest of the year. With regards to where we’ll go next musically, I’d say we have to extend all that we’ve done so far. That is, in terms of darkness, aggression, melancholy, spirit- all that makes up a good Black Metal album. I think I may promise you that we won’t disappoint… We don’t usually, do we?

http://www.candlelightrecords.co.uk/digita...1349_Ecard.html Tri sempla dostupna za streaming. Da vidim ko će sad da mi kaže da ne liči na Satyricon.

Vidim da sad izlazi neki bolestan reissue tog albuma...

Naravno, glupi Ameri po običaju dobijaju najbolje turneje.

A i da imaš, ne bi ih kupovao...

Pazi, garantujem ti da je on preslušao bar 200 bendova za koje ti nikad nisi čuo, tako da pazi šta pričaš

Slažem se, ako ceo album bude kao ove dve pesme, onda je Anaal što se mene tiče najbolji ekstremni britanski bend ikad

http://www.youtube.com/watch?v=-lKXPpPrpeU

Obrnuh jedno 20 puta ovu More Of Fire Than Blood... U pravu je Goxy, stvarno jesu drugačiji clean vokali, nekako su epskiji, otprilike kao na When The Lion Devours Both Dragon And Child. Odličan album se ovde čeka, odličan

Meni i redosled po kvalitetu ide tako: Rom > Angel > Nightwing > Funeral Ove ostale nisam dovoljno slušao da bih doneo objektivan sud

U jebote, kakav kultni skiptar u pozadini! Evo po regulativi: Sa Mortuusom iz Marduka i Obsidianom iz Keepa

Jebote, za 4500 možeš komotno da odeš do Zagreba, kupiš kartu za festival, pogledaš ga i vratiš se

Tebi Opušteno, tek krajem juna kreće.