Interview with Eloi Nicod (The Scalar Process)

What a year 2020 was with so much going on while being stuck indoors, I barely got any work done. With it being the start of a new year, the goal is to get back on track and bring even more content, reviews, and interviews in 2021. Starting right now, with an interview from Transcending Obscurity Records own The Scalar Process. The Scalar Process are a tech-death band preparing to unleash their debut release, entitled Coagulative Matter. In the lead up to the release of the album on February 19th, guitarist Eloi Nicod made time to catch up with us and give a little bit of insight into the band's first album.

Tell us a bit about The Scalar Process, where did the name come from?

Scalar is used as a math calculation you can use in a lot of contexts, to calculate speed, weight or distance, in computer science, or in hierarchical scales. It is representative of the atmospheric feeling I want for our music, it has no particular impact on the lyrics, even if sometimes I mention this in a more metaphorical way.

Releasing this year is your debut album, released with Transcending Obscurity Records, how do you feel finally getting the music out there?

It’s been a huge achievement when we finished the album. We were working on it since June 2016. Back in the days, I was writing for The Scalar Process alongside Derealized, a Black/Death Band. After having worked years and years on the songs, the production, we were lucky to see a positive response from Kunal of Transcending Obscurity Records! And then we signed!

 

We are happy to be part of this excellent record label with plenty of excellent bands like Coexistence, Hateful, Cerebrum, Godless Truth, The Last Of Lucy.

What's the backstory on this album, what's the meaning behind the art and the concept of the lyrics?

For the album artwork, I contacted Bastien Jez who already did covers for other bands like Exocrine, Promethean. He did a phenomenal job based on our story. We wanted to describe the whole thematic of the album in one artwork that supports the lyrics. It is about a protagonist who is confronted with his torments and problems which are distant from him in time and space. This is why everything displayed on the artwork is either distant or closer, it emphasizes depression, nostalgia. I tried to compare that with space, hallucinations, and even biblical references, like the Forbidden Fruit.

How was the recording process, did you find there were any issues that came along?

I have my own home-studio, so the recording process was quite easy for me. The main issue remains spending a lot of time searching for a vocalist, mid-range, and of course, available. When my best friend Mathieu came back from Portugal, I told him about The Scalar Process and he tried some vocals. I found my singer this day!

 

Did the current pandemic cause any issues in the recording process for you?

Not at all, because we recorded the album in 2019.

 

Playing and writing tech-death is certainly not easy, what bands inspire your writing?

It is not easy at all, that’s for sure! My main influences are, just to name a few: Fallujah, The Zenith Passage, Cynic, The Faceless.

 

Have you started to make any tour plans for when the pandemic is over?

We are talking with some bands about that, but nothing definitive. We can't know with this pandemic.

Speaking of tour plans, give us a little insight. Who have you shared the stage with, and who would you dream to play with in the future?

We are in the starting blocks, we haven’t shared stages with any other bands yet (and it is due to the pandemic situation as well). However, I can name a few from li ves I did with my old band Derealized. I personally shared the stage with Atlantis Chronicles, Dew Scented, Fractal Universe, Blazing War Machine.

My dream is to play with Fallujah and Cynic!

 

Thank you so much for your time, is there any last messages you would like to leave with fans? Stay Safe! And we hope to see you soon to share the album on stage!

Thank you so much for this interview, take care of yourselves! You can grab our album Coagulative Matter or our sexy merch which will be out on February 19, 2021 through Transcending Obscurity Records.

Interview with Dimitris from Unholy Forces Productions and Darkness Guides Us Festival

Today, we are chatting with Dimitris from Unholy Forces Productions. How are you today?

All fine, thank you

This year, you're starting a new festival in Glasgow, Darkness Guides Us Fest. What lead to you wanting to make a purely Black Metal festival?

First and foremost I’m a black metal fan, I felt there was a gap in the scene after North of the Wall wasn’t happening this year and I grabbed the opportunity. While there are many extreme metal festivals in the UK I felt that underground black metal is under-represented in the UK. Had to do something about that.

The lineup consists mostly of UK firsts, bands who have never been up this way. How did you decide who you wanted to bring to the inaugural event?

Exclusives and UK débuts were two big factors in choosing the bands we wanted to bring. We wanted to give the opportunity to underground black metal bands that have long deserved to play in the UK a platform to showcase their material to fans, also the Greek element is obvious having 3 legendary bands from Hellas, that Is going be the case with future editions as well as both me and the other organizer Stelios are both Greek and have good relations with the scene back home.

Your headliners for the event are Impaled Nazarene and Ancient. Two massive underground bands, would you say these were picked for the more hardcore Black Metal listeners as opposed to the casual listener who may only know Mayhem and Immortal?

Indeed that was exactly our thinking, both bands have achieved a cult status and deserve the spot of head-liner, we were told it was a risky choice but we moved forward and ticket sales proved we were right to do so. The 'hardcore' -'trve' - 'kvlt' black metal listener will make a trip from China,Brazil, the US,Ukraine, Slovakia and so on just to see those bands as opposed to the more casual BM listener. Half the tickets sold are from outside the UK.

How did you put these bands together? Did you start creating the festival with a good idea of what bands you wanted playing, or did everything mostly fall into place while creating the lineup?

We wanted our festival to be a ‘celebration’ of black metal with as much possible sub-genres represented, we wanted old school without neglecting worthy newer bands, something that would appeal to the true black metal fan. We had a good idea of the bands we wanted to bring from the beginning and I’m happy to say that apart from 2 occasions we booked every band we wanted for the fest.   

When with a few months to go, the festival appears to be on the brink of selling out, does this mean we might see a second edition next year?

We 're really satisfied with ticket sales, around 50 tickets are left for a sold out as we speak! Next edition is already on the works, and contact has been made with several bands. I can only reveal that the next edition will take place at a venue that is truly unique with perfect acoustics as it used to be an ex-church, it will be St. Lukes and the second edition will take place on the 20th-21st-22nd of November 2020. 

For fans who make it out to the show, will you have any festival specific merch available? I.E. how many festivals create a shirt with the lineup on it.

There will be a fest T-shirt available limited to 200 pieces

What bands should fans absolutely be on the lookout for at the festival? Who would you suggest to absolutely not miss?

There are so many bands in the line-up i truly believe would be a sacrilege to miss, i really don't know where to start,  Kroda and Kawir are making their first appearance in the UK something that should have been done years ago, both bands will make a huge impression to the fans, Harakiri for the sky will mesmerise the audience and prove why they are becoming increasingly popular in Europe, rare live appearances by Karg and Sarkrista both excellent bands, Greek black metal pioneers Varathron known for their brutal live performances, Zemial with proscriptor from Absu on Vocals!!! and i haven't even mentioned the headliners or the more well known bands such as Nargaroth and Sargeist. It’s gonna be hell on earth!

Last, but not least, do you have anything you'd like to share with the fans reading and prepping for the festival?

Thanks for the amazing support, we ‘ll make sure this is going be unforgettable! 

Thank you so much for you time Dimitris, look forward to seeing you at this year's festival!

Thanks for the interview, see you in Glasgow in a couple of months.

Update: Kroda has since had to drop off the festival due to Visa issues, and have been replaced by Azaghal who are making their UK debut at Darkness Guides Us

Unburnt "Arcane Evolution" Review // Independent Release

Debuting from the great white north, Canada's Unburnt are rushing the scene with their fusion of Black and Death metals. Being formed by Bo Louther and Joe Mullen of Odium, John-Ryan Godfrey of We Are Human, and Eric Burnet of Samskaras. Bringing together some prime Canadian musicians who have worked to master their own styles can definitely cause a clash of sound, so the main question is, does it work? 

The EP kicks off with "A Reason To Live", an intense blend of more Melodic Death Metal and a touch of Black Metal, or Blackened Death at the very least. The dual vocal style present throughout the song is interesting and actually very similar to that of Sinsaenum, which blends the typical growl associated with that of Death Metal and the more froggy, early Attila/Mayhem-esque Black Metal. The album progresses nicely, each song flows exactly as it should and this 15 minute record makes pacing look simple as it shifts into "Superiority Through Wisdom". What is easily a stand out part of the album is Burnet's ability to enunciate each of the words. Even though the vocals are on the harsher side, each of the words are clear and will practically make the listener want to scream along with "preserving the confidence and knowing that magic has no influence". The album closes out with the title track, "Arcane Evolution", which takes everything the listener has heard thus far and injects a touch of Deathcore, as the instrumentals edge into breakdown territory in some parts and Burnet has a section with a half sing, half croak. All things considered though, this little influence and experiment doesn't take away from the song at all though and was touched in with the perfect amount of care to not be a turn off to anyone who may not be a fan of the style.

While Unburnt may blast through each song, the pacing is perfect for those looking to headbang to something more melodic, infusing something along the intensity of Dimmu Borgir or Mayhem with the melody of The Black Dahlia Murder. Now, there's one complaint to be made and it's prevalent in every song except "Arcane Evolution" and that is the mixing of the guitar solos. Each of the other three songs feature some impressive guitar work, but it's mixed in so low that as the listener, you'll have to really listen and try to not let it get drowned out by the rest of the instrumentals. Minus that small hiccup though, this debut Unburnt EP is an impressive Melodic Blackened Death Metal release (that just rolls right off the tongue doesn't it). Arcane Evolution's blasphemous words definitely aroused my judgement and would definitely deserve an absolutely perfect score if not for the odd mixing of the guitar solos that takes away from the experience ever so slightly.

9/10

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Vathek - Aborted Origins Review // Independent Release

Out of one of Canada's lesser talked about areas, comes the Death Metal band, Vathek. Formed in Winnipeg, Manatoba, Vathek have been creating a name for themselves opening for some of the biggest hitters on the road these days. After releasing the debut EP Apocalyptic Pandemic in 2013 and sharing the stage with the likes of Skeletonwitch, Kataklysm, and Aborted, Vathek got working on their first full length release, Aborted Origins.

The first thing to note is the mix of influences throughout this album, the speed and lyrical content similar to Grindcore. Blitzing guitar work and melodic undertones from Thrash Metal. Most prominently though is the chugging and blasting of Old School Death Metal. Instrumentally, Vathek take on a sound very similar to Cannibal Corpse in a lot of sections. "Martial Ingestion" is the perfect instance of this, throughout the majority of the song, the guitar work goes from chugging consistent riffs to small tapping sections. While songs like "Exsanguination Asphyxiation" and "Gratification From Despair" are much more fast paced throughout and take on a much more aggressive, pit-inducing form.

The use of snippets is also used throughout, music like those familiar with Kataklysm's use in almost all their albums. One is found is the heavily Grindcore influenced "Syphilis Shotgun" (originally from the debut EP), which literally just details what it's like to have syphilis in the most gruesome, Metal way possible. While guitar solos are far and few between on Aborted Origins, "Syphilis Shotgun" has a quick little piece near the end of the song, giving the listener just a little nibble at what could be on album number 2. 

From beginning to end, Aborted Origins is a hard hitting, no joke Death Metal album. The songs range from the absurd (see the aforementioned "Syphilis Shotgun") to absolutely destructive. Vathek don't hold back from dabbling into Grindcore, Thrash Metal and Brutal Death Metal throughout and try to push the boundaries of what's possible on this album. If Vathek continue to explore and expand their sound going into their next album, the next big Canadian Death Metal band could very well be on the way. Don't hold back, Aborted Origins is definitely worth a listen.

9/10

Pitch Black Summer Live Review // Carach Angren, Wolfheart, Thy Antichrist and Nevalra at Audio, Glasgow, Scotland

You don't get many "nice days" in the UK, a nice day being practically any day the sun can be seen. Luckily, today was a nice day to travel to Glasgow for the Pitch Black Summer Tour. This was Carach Angren's first headline run across Europe, and first visit to Scotland. With them, Finland's Wolfheart and America's Thy Antichrist and Nevalra. Four bands, a couple hundred fans and a very intimate show at Audio.

Black Metal newcomer's Nevalra kicked the night off, fast and heavy. Nevalra's debut album, Conjure The Storm, just came out in June of 2019, but these guys played tight as hell and did nothing but wind this crowd up right off the hop. Between a small mosh pit starting almost instantly and the audience getting absorbed right into Nevalra's brand of Metal, I have a feeling it won't be very long until we see more of them on the road. Highlight of the band's set was the closing track "Prophet For Profit", it's aggressive, it's catchy and it's intense. The audience loved it and people wanted more.

After a short intermission, to darkness and fog, Thy Antichrist hit the stage. Donning full stage garb, frontman Antichrist 666, looks more like an undead shaman than a Metal vocalist. Majority of Thy Antichrist's set is made up of track from their newest release, Wrath Of The Beast, and that's exactly what these guys sounded like. They were releasing the wrath of the beast. Aside from the pure force these guys drop live and the level of musicianship they all possess, they also write some catchy lyrics. "The Great Beast", off the aforementioned new album, has one of the catchiest choruses you'll hear in an Extreme Metal track, "Time by time / piece by piece / I'm possessed by The Great Beast".

 
Main support for this tour is Finland's Wolfheart, who were easily the most mellow of the band's on this package. While they had some good hooks, a large chunk of the crowd seemed to take this as a chance to catch a breather. The pit settled down to practically nothing while the headbangers took full advantage of the melody that Wolfheart brought to the table. Wolfheart fit in as much as they could from their career through their set, with an emphasis on their newest album Constellation of the Black Light. It was a solid set, but a bit out of place compared to the blitzing power of the two bands prior.

Finally, for the first time ever in Scotland, Carach Angren hit the stage. Drummer Namtar was first to step on stage, in a mask to the sound of "Electronic Voice Phenomenon". Followed by touring guitarist, The Butcher. Symphonic horror master and keyboard player, Ardek. Finally, vocalist Seregor joined them on stage. Just like from the band's 2010 release Death Came Through A Phantom Ship, the aforementioned intro is followed directly by "The Sighting Is A Portent Of Doom". The crowd was wild, instantly and the venue very quickly became a sweatbox. Carach Angren's setlist was filled to the brim with their strongest songs and almost getting something from every album, only missing out on This Is No Fairytale. Right off the top, they got their main pit song out of the way, "The Carriage Wheel Murder". The band's stage show is impressive, particularly "Blood Queen", where the band uncover their mannequin of Jane Doe, a faceless, bloody and beat woman. "Who wants to be my blood queen?" Asks the frontman, eagerly met by one of the fans at the front of the stage. After cutting open Jane Doe's throat and licking blood from some more intimate places, the frontman shares a kiss with his blood queen, covering her in blood. The end of the set consisted of one of the most intimate songs in the band's discography, "The Funerary Dirge of a Violinist". During the slower parts, frontman Seregor played an invisible violin using a knife as the bow, while keyboardist Ardek marches (on the spot) to the beat of the drum. The set ends the way it always has, "Bloodstains On The Captain's Log". The crowd got the last of their energy out during this track and come the end, everyone left the show thrilled. Carach Angren delivered on their first Scottish show and the only complaints were the lack of This Is No Fairytale songs and the fact they didn't play longer.

Batushka - Hospodi Review // Metal Blade Records

Following months of controversy, Polish Black Metal band Batushka mark their return with their new album Hospodi. Without going into too much detail, all that information is online anyways, this is a new era for Batushka, and it's easy to see that the band jumped in feet first. "Hospodi" kicks off with an intro of chants and a slow crawling riff that leads into the aggression of "Dziewiatyj Czas" that will set the tone for the rest of the album. 

Hospodi is pumped full of incredible musicianship, "Wieczernia" has some of the catchiest riffs and most consistent blastbeats available. Above that though, this is also an album full of emotion. Following everything, Batushka came back more pissed off than ever and it translates throughout this album. Alternating between melodic influenced sounds and pure destructive force, it's easy to get lost in this album. The only thing to pull you back into reality is the interludes of chants and sermons present between some of the tracks.

One thing that is never truly appreciated in music, especially in albums that tell a story is transitions. It's easy to lose focus and stop paying attention to an album when the songs don't blend well together. This is something that Hospodi does incredibly well though, each song is a continuation of the last. Batushka set out to tell a story and infuse it with emotion, and they did just that. Even without understanding the lyrics, even without knowing the language, the feelings translate through the music.

There may not be a particular stand out point to this album, there may not be anything particularly jaw dropping in the music, but Batushka are masters of their craft. Hospodi is an emotional ride and a very unique sounding Black Metal album. This is a journey that any Extreme Metal fan should experience.

8/10

Flub - Flub Review // The Artisan Era

It's been a good year so far for fans of Death Metal, and the year doesn't seem to be letting up. Just recently, Flub released their new, self-titled album through The Artisan Era. This is a label known for dropping some of the most prolific extreme metal out there, which means it's generally a safe bet that any album with their name on it will be pretty damn good. So, what about Flub? Well, it's time to take a deep dive into their fast paced album.

Right off the bat, this album is introduced as a quite interesting Technical Death Metal release. It kicks off with the incredibly Jazz influenced "Last Breath". The instrumentals throughout this release alternate quite often between the aforementioned jazz inspired Tech Death, straight old school Death Metal and a more Grindcore influenced sound. Bass fans should do themselves a favour and dive into "Umbra Mortis", the intro is purely bass before the track really kicks in. Once in high gear, this song really takes off. There's nothing quite like the keyboard throughout this album and that's another thing incredibly prevalent in this track. The keyboard adds so much depth to the sound and can make a track that may feel shallow, feel emotional and intense.

One of the hardest hitting songs on the album is "Rise From Your Grave", which was also the second single off the album. A lot of this track is very reminiscent of Cattle Decapitation, it has a very intense feel with bits of melody mixed in. The vocals are well spoken, but brutal. Particularly, about halfway through there's a scream that sounds like it's ripped directly from practically any of the later Cattle Decapitation albums. Without delving too far into it, "Rebirth" takes massive influence from The Faceless, particularly in the keyboard and (dare it be said) clean vocals.

If you're looking for a Tech Death album with a whole lot of heart, emotion and logic, Flub has exactly that. This may be the debut release from this supergroup, but it could very easily be assumed that the band would be at least five albums in. You owe it to yourself to check this out if you want some Death Metal with a little more feeling.

9.5/10