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* - Entrevista a Choronzon (Göran Setitus) de Svartghast (Suecia)

* - Ruinario  - "Ruinario" - EP - (Review)

* - Hogstul - "Ominous Fragmenta Tuptdalr" - 2021 (Review)

* - Svartghast - "Perdition" - 2020 (Review)

* - Soga - "Cuarenta y nueve días" - 2020 (Review)

* - Ahínco - "La canción de los sepulcros" - 2020 (Review)

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* - Mystagos - "Azoth" - 2019 (Review)
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* - Entrevista a  Aeternus Prophet  death/black (Ucrania)
* - Eternal Abyss - "Doomed To Eternal Abyss" - 2019 (Review)
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* - Vlad - “Morbid Awakening of Goat” - EP 2014 (Review)
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* - Entrevista a "SIGNS OF THE EVIL" black metal desde Lima - Perú
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* - Nabarao / Omegua - "Sin tu dios nuestra raza es eterna" - Split CD - 2014 (Review)
* - Henosis -  "Apotheosis Pulsion CLVI " - EP - 2014 (Review)
* - Rotten Vomit - "Promo 2015" (Review)
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* - Undergang - "Døden læger alle sår" - 2015 (Review)
* - "Nuestro Lugar" - Darkthrone - "A Blaze in the Northern Sky" - (LP)
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* - "Nuestro Lugar" (Actualización 19-03-2015)
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* - Avsky - " Malignant" - 2008 (Review)
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* - The Hole (Entrevista)
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* - "Nuestro Lugar" (Actualización 16-09-2014)
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*  -Veér - "The Measure Of Waste" (Review)
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* - The Hole - "A Monument to the End of the World" -  2014 (Review)
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* - "Nuestro Lugar" (Actualización 20-08-2014)
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* - "Nuestro Lugar" (Actualizaciones)
Barbarian Swords - "Hunting Rats" - 2014 (Review)
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* - Negro Metal zine (Nro. 6)
* - The Fallen - "Demo I" - 2011 (Review)
* - Sound Of Silence - "El Anochecer" - 2013 (Review)
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* - Bestial Blasphemy - "Crucifixión Tortura Eterna" - Demo - 2011 (Review)
* - Segregación Primordial - "Visiones Al Limite Del Universo" - 2013 (Review)
* - Upcoming Of Devastation - "Visceral  Hate" - 2013 (Review)
* - Mathyr - "Mandraenken" - 2004 (Review)
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* - Violator - "Scenarios of Brutality" - 2013 (Review)
* - Djevel  - "Besatt av Maane og Natt" - 2013 (Review)
 
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13-05-2021

Like a whirlwind bringing chaos, SVARTGHAST shows itself to the world with its magnificent debut album entitled "Perdition" taking us down a hellish path where there is no light.
Such work has not gone unnoticed within extreme metal, and this is why we had the need to contact with "Choronzon" (Göran Setitus) to talk about the secrets of this Swedish Symphonic Black Metal band.

...And lo, the birth of a new era
The dark, eternal night embrace the world, veiling all in shadow and gloom...

(Luciferian Dawn lyric - "Perdition" album)  

1 - Before starting, we want to thank you Choronzon for allowing us to carry out this interview with all the South American hordes ... !!)

Thank you for your interest and your support.

2 - I have to confess that when we listened to "Perdition" we were really surprised, it is an impeccable album with a high quality production. But before we talk about it, I would like you to tell us - How was this impious symphonic black metal seed called SVARTGHAST born?

Azazel and I met early 2017, when the band he was playing in back then, had a gig at the place I work. We found out that we had a lot in common, regarding black metal and music in general. So we started to talk regularly and the idea was born to create some music together.
We met up later that year, in august if I remember correctly, and locked ourselves in Azazel's studio overnight, with lots of beer and no real plan other than to write some music. The result was the song “Luciferian Dawn”, which is the last song on the “Perdition” album. We basically had nothing when we started that afternoon and a fully recorded song in the morning after. Of course, we re-recorded it for the album, but the version that is on the album is actually not at all far from that first recording. Same arrangements, same lyrics, a little more orchestrations, but not at all far off.
So, after that song, we felt that we had created something that needed to be explored further and the symphonic black metal act that is now known as SVARTGHAST was born.

3 - Was SVARTGHAST planned from the beginning to make this kind of black metal or all happened while the ideas and rehearsals were being put into practice?

SVARTGHAST has been a studio project since its inception, so we don’t rehearse. But yes, the intention was always to write symphonic black metal, influenced by the 90’s scene, but with a slight modern touch. We decided to go with extended range instruments (7-stringed guitars, 5-stringed bass) to get that feeling of modern metal and we really feel that we succeeded with this. The reviews and comments from fans has also confirmed that our aim to honour the 90’s symphonic black metal scene has been successful.

4- How was the recording process for "Perdition" because you and Azazel are multi-instrumentalists? - How were the tasks divided?

Even though me and Azazel live pretty close to each other, we both work irregular hours, so it was a challenge to find out how to work on the compositions and arrangements. The writing process was mostly done separately, me working in my studio and Azazel in his, but with a shared online cloud service where everything was stored for easy access. So, we both worked with the same project files, but from our own studios and at different times. Then we had occasional “arrangement meetings”, where we met up and arranged, edited and adjusted the material we had written.
During the pre-production, we both wrote for all instruments, but when we recorded the album, we divided the instrumental duties for continuity of sound and style of playing. We chose not to include any specific instrument duties in the album booklet, because we felt that it wasn’t important to point out who had done what, since we both did all of it in the pre-production.
But, for those curious, Azazel recorded the bass for the album, he is a fantastic pianist and an awesome bass player, and also his gear for bass was just right for this. I recorded the guitars, since that is my main instrument, as well as most of the vocals. When it comes to the orchestrations, pianos, drums and such, we both worked on those.

5 - Why "Perdition" as a title?

The process of choosing a fitting title for an album is quite difficult, in my opinion. You need a title that fits the entire album, be it a song title, a lyrical phrase or something else that works as a title. After some contemplation we decided that the song title “Perdition” was the best choice, since the word itself describes the general lyrical content very well.

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“Perdition” -  (The Review)

6 - The lyrics of SVARTHGHAST's songs are blasphemous and apocalyptic, "The Presage of Eternal Fire" is a clear example of this. - Do they follow a concept or are they separate stories?

I have always steered clear of outright satanic and blasphemous lyrics, and mostly written lyrics based on horror, death and the occult. I have always felt others have done a better job writing about infernal visions and the devil, but when we started to write for the album, I realized that I needed to explore that side of black metal lyrics. “Luciferian Dawn” had already paved the path, lyrically, so I stayed on that path and tried to describe my visions of Hell, my perspective of Lucifer and my contempt for religion.
You are right about the lyrical content is apocalyptic and blasphemous, “The Presage of Eternal Fire” is no exception, but there is no conceptual continuous story within the lyrics, other than that they all describe different infernal, apocalyptic imagery.

7 - Why was the painting “A kísértetek órája” (“Ghost Hour”) by the Hungarian Mihály Zichy chosen for the album cover?

We had an idea of using photos for the entire booklet, photos taken locally by us, and so we did. Howerever, we didn’t find anything we felt suitable for a cover. So searching the internet we found the painting and just felt it suited the album atmosphere perfectly. And since it was public domain, we saw no reason not to use it. Later, after release, we learned that it had been used already by another band, but we don’t really care. It is a beautiful painting and it fits perfectly to our music.

8 - We know that you have an extensive career on the scene since the glorious 90's having been part of bands like SETHERIAL among many others. - How did that influence SVARTGHAST's music?

I would be lying if I said it had no influence on my music. I was a creative part of SETHERIAL for 11 years and owe a lot of my skills within this genre to that band and that period of my life. All you do as a musician influences and develops your style and crafts, both technical skill as well as your creative expression.
However, after I left SETHERIAL in 2007, I have done so many other different things, played different genres, relearning picking technique and guitar playing after an accident to my left hand, which are more relevant when it comes to influences and my style of playing guitar today, in my opinion. I am not saying my old experiences with playing in various extreme metal bands has been unimportant, but I left the extreme metal scene entirely, for 10 years, doing other stuff that gave me an even broader perspective musically.
Also, Azazel has an equal part of influence on our music, and he does not have a background as a black metal musician before SVARTGHAST. Yet our styles of writing are very similar, most often my contributions work perfectly with his and vice versa. I am very grateful to have found someone who shares my own vision of how black metal should sound and that also is an exceptional musician and composer. In my opinion, SVARTGHAST creates better black metal than any other band I’ve been a part of and Azazel is as much a reason for this as I am.

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9 - How did you join the Dusktone label?

In the fall of 2019, we decided to send out some hooks to a few select labels, just to see if it sparked some interest. We sent out emails to 7 or 8 labels, without even having material for a full album, and only rough vocals recorded on one of the pre-production songs. We actually never expected any responses and the few replies we got were not particularly interested. So, after quite some time we got a reply from Dusktone, where they explained our mail had gotten stuck in their junk mail filter, that they were interested and wanted to hear more. We started a dialogue and found their contract offer satisfactory, so we signed with them and they have been great so far. We are very satisfied with Dusktone, they are very dedicated and genuinely invested in not only our music, but all our label mates releases as well. Their artist roster is very strong and filled with very talented musicians.

10 - How was the reception of the album within the extreme metal scene?

So far, so good. The responses have been all positive, the reviews have all been on the high end of the scale, some closer to middle, but I have not seen a bad review so far. The reception from fellow musicians within the scene has been great and for me, it has been fun to reconnect with a scene I haven’t been a part of for 10 years. Things have certainly changed, but change is inevitable. It’s nice to see that some fans still remember me, though.

 

 

SVARTGHAST - "Luciferian Dawn" - Lyric Video

 

11 - You also have your own StemCellar studio and are working on another project called OMNIA MORITUR as a vocalist, what can you tell us about it?

OMNIA MORITUR is a Norwegian band, I am the only Swedish member. And yes, I handle the vocals on the upcoming debut album, as well as the production. Label and release date has not yet been made official, but expect a release some time after this summer (2021). Musically, it is difficult to describe, it really sounds like nothing else, but it lingers somewhere between orchestral death and doom metal. I’ve been a member since 2018, but the other guys have been working on the material some years before I joined. It’s an album I am very proud of and I never really thought of myself as a vocalist before joining the band, but after joining OMNIA MORITUR, I have really started to appreciate my own vocal skills and range.

12 - Do you have any other bands or projects working at Stemcellar Studio that could be revealed?

Stemcellar Studio is my haven when it comes to my music. It is where I write, record, mix and master my own music. Unfortunately, writing and producing music has not been able to pay my bills or put food on my table, so I work a full time day job. But when I have the time, and the opportunity presents itself, I do freelance mix and mastering jobs. Mostly smaller jobs, like HAIMAD’s latest EP, “The Return”, or HOGSTUL’s releases, but also other stuff like music for games and other media.
I do have some stuff lined up for production work soon, but I can’t share what it is until the clients go public themselves. Those interested can follow
https://facebook.com/stemcellar, where I post what’s going on in my studio.

13 - Have you thought about working on a solo project again?

I have so many ideas that I would like to work on, but it’s difficult to find time for them while working full time, having several bands/projects and taking freelance jobs on top of that. My wife once asked me how many hours I think a day has, since I have a hard time saying “no” when I am offered a project I think sounds fun to do.
But yes, I have released solo stuff before, last year (2020) I released a digital EP with instrumental orchestral music under my real name, which is available on all streaming platforms. The EP is called “Solace” and was released by Fingered Productions.
I am currently working on a solo album based in black metal, but with a lot of inspiration from different genres, as well as containing experimental and industrial elements. It is still in a very early stage and I have just started to arrange some of the material I have written so far. The plan is to make a full length album and I have material for about 10 minutes so far, but most of it is not arranged and there are no lyrics written either.
Since I don’t have a label for this release yet, and since I am no way near a finished product, I am not gonna go public with a name for this project. Also, it is kind of nice not having a deadline for delivery hanging over my head. At least not for now.

14 - There are many things that have changed since you did your first steps back in the 90's, some have changed positively, but others we know they really suck.
- How do you see the current extreme metal scene talking about bands and also talking about zines, web-zines, etc ...?

Yes, it is definitely a different scene today than it was back in the 90’s. The internet was still a new thing and when I started with extreme metal, snail mail, flyers and cassette trading was still the best way to discover new music, get your name around and keep in touch with people within the scene.
But since the internet was made available for me, I’ve always had an online presence and promoted my music personally and directly with fans. I see no reason to change this with my return, as I feel that it is important with a personal connection with the fans. In SVARTGHAST, we handle our social media ourselves, so all requests and messages are answered by us. I think this approach is a good one and also makes the fans feel they are appreciated.
Then there is that inevitable change that comes with technological progression. There is an abundance of new bands, webzines, labels and such, and that is a good thing. However, it is way more difficult to get noticed and even though reviews and responses are good, there is very little media interest from zines, webzines, radio or video channels. I don’t know why it is like this, but I guess SVARTGHAST is still too small and new to spark any interest from zines and webzines.

15 - What kind of metal did you listen to when you were a teenager?

I listened to METALLICA a lot in my teens, but also bands like IRON MAIDEN and RUNNING WILD. In my mid teens, around 92-93 i think, I was introduced to death metal and was completely mind blown. That’s when my fascination for extreme metal was born and I still hold bands like ENTOMBED, CARNAGE, DEICIDE and MORBID ANGEL in high regard. There’s something about old school death metal that just makes me happy.

16 - How is the current situation about the Covid-19 virus in Sweden?

Sweden has suffered more than our neighboring countries. I believe this has to do with our laws not allowing the government to force a lockdown in peacetime, as our neighbors can do, but I am not sure. Instead we have had recommendations of social distancing, working from home and limiting the number of allowed persons in public areas, restaurants and stores. It has pretty much been business as usual, perhaps not to the same extent as before the pandemic, but we have had a pretty open society.
Sweden is close to starting the last phase of vaccinations, so hopefully we can get back to the way things were, soon. I haven’t been to Norway since before the pandemic, so I am really looking forward to being able to go there, meet up with the OMNIA MORITUR-guys and rehearse some.

17 - As a closing to this interview, we want to thank you again for your time (greetings for Azazel too) and we leave you the freedom to say what you wish to the South American metalheads!

Thank you again for the interview and for your support!
And to those who read this interview: If you like your metal black, symphonic and inspired by the glorious era of the 90’s, SVARTGHAST will not disappoint you. “Perdition” is available on CD, LP and digitally, via Dusktone.
https://dusktone.bandcamp.com/album/perdition

Hails to those who deserve it!

Choronzon

 

More Information: SVARTGHAST Facebook / SVARTGHAST Instagram / SVARTGHAST Home / SVARTGHAST Spotify / choronzon@svartghast.se 

 

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