Helloween - Helloween (Nuclear Blast 2021)

Zespół dla mnie legendarny, jeden z ulubionych i bardzo ważny w historii oraz rozwoju muzyki metalowej (dali początek europejskiej odnodze power metalu). Nawet nie śmiałem marzyć, że ponownie zobaczę w jego szeregach Hansena i Kiske, którzy poszli własną muzyczną drogą już wiele lat temu. Jakim było dla mnie zaskoczeniem, gdy obaj panowie zasili zespół na trasie "Pumpkins United", a szokiem i radością, gdy dołączyli do zespołu na stałe i przypieczętowali to jakże wymownie zatytułowaną płytą - "Helloween". Tak, cała rodzina jest wreszcie w komplecie! "Helloween" jest albumem ociekającym melodyjnością, dzięki dwóm, a nawet trzem wokalistom (bo i Kai coś tam czasem dorzuci drobnego od siebie) przepełnionym różnorodnymi wokalami oraz bardzo rozbudowaną, pełną pomysłów muzyczną paletą. Gitary, jak przystało na ten zespół, wiodą prym, a solówki przypieczętowują znakomite riffy. Mamy tu utwory bardziej wymagające, rozbudowane, a i krótkie strzały pełne energii. Może nie jest to dzieło na miarę "Keeperów" czy "Master of the Rings", ale ten album trochę przynosi na myśl te trzy klasyczne materiały i to nie tylko swoją szatą graficzną. Najlepiej określa to utwór "Best Time", który nie tylko pokazuje jak dobrze dzieje się w kapeli, ale też nawiązuje do hitu "I Want Out". Brzmienie jest nowoczesne, kompozycje łączą Heloween lat 80. i tych późniejszych, gdy za mikrofonem stał tylko Andi Deris. Niewiele jest takich "powrotów" klasycznych zespołów, tak udanych i tak scenie potrzebnych. Helloween pokazał światu, że wciąż reprezentują wysoki poziom, a powrót Michaela Kiske i Kaia Hansena tylko ten stan rzeczy polepszył, uwydatnił wciąż pulsujący potencjał grupy. Zespół po raz kolejny zawojował listy najlepszych wydawnictw, ponownie zrobiło się o nich głośno i niech to żelazo dalej będzie kute, a feniks odradza się z popiołów. Siedem kluczy, siedmiu muzyków, jedno dziedzictwo!

English translation:

A legendary band for me, one of my favorites and very important in the history and development of metal music (they gave rise to the European leg of power metal). I didn't even dare to dream that I would see Hansen and Kiske again in its ranks, who went their own musical path many years ago. What a surprise it was for me when both men joined the band on the "Pumpkins United" tour, and a shock and joy when they joined the band permanently, and the band sealed it with an eloquently titled album - "Helloween". Yes, the whole family is finally together! "Helloween" is an album dripping with melody, thanks to two or even three vocalists (because Kai here and there adds something from himself) filled with various vocals and a very extensive musical palette full of ideas. The guitars, as befits this band, lead the way, and the solos seal the excellent riffs. Here we have more demanding, complex songs, and also short shots full of energy. It may not be a work equal to "Keepers" or "Master of the Rings", but this album brings to mind those three classic materials, and not only with its graphic design. It is best described by the song "Best Time", which not only shows how well the band is doing, but also refers to the hit "I Want Out". The sound is modern, the compositions combine Heloween of the 1980s and those later, when only Andi Deris was behind the microphone. There are not many "returns" of classic bands, so successful and so necessary for the scene. Helloween showed the world that they still represent a high level, and the return of Michael Kiske and Kai Hansen only improved this status, highlighted the still pulsating potential of the group. The band once again conquered the lists of the best releases, made people talk about the band. Let this iron be forged and phoenix ​​reborn from the ashes. Seven keys, seven musicians, one legacy!

Saxtorph - When Depression Devastates the Dreams (Wolfspell Records 2021)

Ostatnim i autentycznie dobrym materiałem z zakresu DSBM, jakiego słuchałem był Fadheit. Jakoś nie trafiam na zbyt wiele płyt w tym nurcie, ale ostatnio wpadł mi w ręce album duńskiego Saxtorph i zasakująco przypadł mi do gustu. Cóż, depressive suicidal black metal nigdy nie był dla mnie tym, co przekazuje w swej estetyce. Nigdy nie ogarniały mnie słuchając go jakieś negatywne emocje, wręcz przeciwnie. Bardzo często ta muzyka jest pełna świetnej atmosfery, klimatu, nostalgii i nawet teksty pełne depresji i myśli samobójczych nie były w stanie tego zmienić. Tak samo lubię na przykład "Selvmord" Vond czy wczesne Shinning lub Xasthur, dla mnie to kapitalne materiały. A że dla mnie szczególnie ważny jest właśnie wyjątkowy klimat i budowanie atmosfery, to tym bardziej. "When Depression Devastates the Dreams" jest właśnie taką płytą. Ten album kładzie nacisk właśnie na swoją wyjątkową aurę posępnej, smutnej, acz w swych dźwiękach mrocznie pięknej, opowieści. Nie ma tu karkołomnych temp, blastów. Black metal w wykonaniu Saxtorph majestatycznie płynie utrzymując się w wolnych i średnich riffach, melodiach. Jest w nim coś mantrycznego, rytualnego. Każdy kolejnych utwór hipnotyzuje i wciąga w swoją bezkresną, czarną otchłań. Elementy klawiszowe nadają kompozycjom dodatkowego tragizmu, niczym z horroru lub teatru grozy. Powiem tak, jeżeli chodzi o albumy, które opierają się na klimacie, jego budowaniu, zamiast zasypywać nas gitarowymi galopadami, to Saxtorph jest jedną z najlepszych pozycji wydawniczych w tym roku. Polecam!

https://www.facebook.com/Saxtorphdsbm

https://saxtorph.bandcamp.com/

https://wolfspell.pl/

English translation:

The last and genuinely good material I listened to in the DSBM range was Fadheit. Somehow I don't explore too many albums in this sub-genre, but recently I got my hands on the Danish Saxtorph newest album and I really enjoyed it. Well, depressive suicidal black metal has never been for me what it conveys in its aesthetics. I was never overwhelmed by any negative emotions when I listened to it, on the contrary. Very often this music is full of great atmosphere, climate, nostalgia and even lyrics fulfilled with depression and suicidal thoughts weren't able to change that. I also like "Selvmord" by Vond, early Shinning or Xasthur for example, for me these are great materials. And since the unique climate and building the atmosphere are particularly important to me, it is even more. "When Depression Devastates the Dreams" is just such an album. It emphasizes precisely its unique aura of a gloomy, sad, yet darkly beautiful story in its sounds. There are no breakneck tempos or blasts here. Black metal performed by Saxtorph flows majestically, keeping itself within slow and medium tempo riffs and melodies. There is something mantric, ritual about it. Each subsequent composition hypnotizes and draws you into its endless, black abyss. The keyboard elements give the tracks additional tragedy feeling, like from a horror movie or play. When it comes to albums that are based on the atmosphere, its construction, instead of flooding us with guitar galloping, Saxtorph is one of the best releases of this year. Recommend!

Ironbound - The Lightbringer (Ossuary Records 2021)

Już pierwsze minuty słuchania i wiem co będzie działo się na tej płycie. Wchodzi utwór "The Witch Hunt" i wniosek jest tylko jeden - Iron Maiden. I ta teoria sprawdza się przez całą długość płyty. Tak, "The Lightbringer" przesiąknięty jest riffami i melodyką, także w solówkach, tak bardzo przynoszących na myśl dokonania Brytyjczyków. Nawet wokalista zdaje się czerpać sporo z techniki Bruce'a. Docieram do utworu "Smoke and Mirrors" i pozbywam się już wszelkiej resztki złudzeń. Numer ten tak bardzo przypomina "Dream of Mirrors" z "Brave New World". Dziwię się trochę, że jakoś mnie ten fakt nie razi. Zaraz odpowiadam sobie na to pytanie jednym prosty stwierdzeniem. To jest po prostu dobre, morda mi się cieszy jak tego słucham. Zdaję sobie sprawę, że te wpływy Maidenów, tak oczywiste pod każdym względem, mogą razić sporo osób, ale gdy zespół robi to tak dobrze, to czy warto się czepiać? Chyba nie. Eksplorując płytę doszukałem się jeszcze szczypty nawiązań do Deep Purple i Grave Digger. Gdzieś tam przenika ta rockowa podniosłość (w sumie Deep Purple było dla Steve'a i spółki bardzo ważnym zespołem) i pewien element niemieckiego stylu riffowania, niemniej jest tego sprawa marginalna. Całość spina jeszcze okładka płyty, która, jak się dobrze przyjrzeć, puszcza oko do "Somewhere in Time" i "Virtual XI". Cóż, jak już iść w Maidenów to z przytupem! Powiem tak, posłuchałem, sprawiło mi to radochę i ja to kupuję. Mamy polską odpowiedź na największy zespół heavy metalowy wszech czasów. Jeżeli Blazon Stone się udało (z Running Wild), to dlaczego nie Ironbound? Życzę zespołowi sukcesu, bo wyczucie muzy Iron Maiden mają w małym paluszku.

https://www.facebook.com/ironboundpl

https://ironboundpl.bandcamp.com/

https://ossuaryrecords.com/

English translation:

Already the first minutes of listening and I know what will happen on this album. The song "The Witch Hunt" enters and the conclusion is only one - Iron Maiden. And this theory holds true throughout the length of the whole album. Yes, "The Lightbringer" in case of riffs and melodies, also in the solos, reminds so much of the achievements of the British band. Even the singer seems to draw a lot from Bruce's technique. I get to the song "Smoke and Mirrors" and get rid of all remaining illusions. This track is so much like "Dream of Mirrors" from "Brave New World". I'm a little surprised that somehow this fact doesn't offend me. I am answering this question with one simple statement. This is just good, I enjoy listening to it. I realize that these Maiden influences, so obvious in all respects, can create mixed feelings among a lot of people, but when the band does it so well, is it worth picking on? Probably not. While exploring the album, I found a pinch of references to Deep Purple and Grave Digger. Here and there is this rock solemnity (in fact Deep Purple was a very important band for Steve and the company) and a certain element of German riffing style, but it is a marginal matter. The album cover bounds everything together. When you look closely, it may refer to "Somewhere in Time" and "Virtual XI". Well, when you go into Maiden stuff, let's do it properly! I will say yes to it. I listened to it, it was fun. We have a Polish answer to the greatest heavy metal band of all time. If the Blazon Stone was successful (with Running Wild), why not Ironbound? I wish the band success, because they have a feeling for Iron Maiden's music flowing in their veins.

Warmoon Lord - Battlespells (Werewolf Records 2021)

Minęły dwa lata i mamy drugi album od fińskiego Warmoon Lord i już nie pod skrzydłami Wolfspell Records, a Werewolf. Nowa płyta przyniosła nieco inne oblicze zespołu, niż miało to miejsce na "Burning Banners of Funereal War". Debiut był stosunkowo surowy, było tu mniej klawiszy, a sama muzyka odnosiła się do wielu klasyków skandynawskiego black metalu. "Battlespells" jest albumem dojrzalszym, bogatszym kompozycyjnie, o lepszym brzmieniu, a za razem nieco zawężającym inspiracje. W wielu miejscach Lord Vrajitor bardzo zbliżył się tą płytą do tego, co Emperor zrobili na "In the Nightside Eclipse" i jest to spory komplement. Do tego dodane zostały wpływy starego Graveland, ale tego z czasów przede wszystkim "Immortal Pride", może też "Following the Voice of Blood". Oczywiście nie mówię tu o pogańskiej estetyce, a o pewnym patosie i klawiszowych intrach, tłach. Utwór "The Key of the Moonpiercer" perfekcyjnie to obrazuje. Znajdzie się tu też trochę wspólnych mianowników z Dimmu Borgir czasów "For All Tid". Także to wszystko mówi za siebie. Jest widoczny progress, moim zdaniem płyta przeskakuje debiut, jest równie dobra, jak nie lepsza i w pełni udowadnia na co stać Warmoon Lord i że zespół zmierza w dobrym kierunku, będąc jedną z ostoi prawdziwego black metalowego grania. Przyznam się, że "Battlespells" była jedną z chyba najbardziej wyczekiwanych przeze mnie płyt z black metalem w tym roku i te oczekiwania nie zostały zawiedzione ani trochę. Płyta trwa niespełna 39 minut, ale jest to 39 minut najlepszej jakości, atmosfery i zrozumienia tematu jak tylko jest to możliwe- ja tak uważam.

Jest tylko jeden minus w kwestii strice wydawniczej. Nie od dziś wiadomo, że płyty wydawane przez Werewolf Records to jedne z najlepiej wydawanych, o doborze zespołów nie muszę już mówić. Szkoda tylko, że poza Finlandią i Hells Headbangers te płyty tak ciężko dostać zaraz po premierze. W distrach w Polsce pojawiają się grubo po czasie lub nawet wcale. Szkoda, że kontakt z wydawnictwem i ceny też stanu rzeczy nie polepszają. Także jeżeli komuś zależy, tak jak zależało mi, będzie musiał płyty szukać za granicą i zapłacić za nią z wysyłką coś w granicach 100 PLN.

https://warmoonlord.bandcamp.com/album/battlespells

Warmoon Lord on Facebook

English translation:

Two years have passed and we have a second album from the Finnish Warmoon Lord and not under the banner of Wolfspell Records, but Werewolf. The new album brought a slightly different face of the band than on "Burning Banners of Funereal War". The debut was relatively raw, there were fewer keyboards, and the music itself referred to many Scandinavian black metal classics. "Battlespells" is a more mature album, richer in terms of composition, with better sound, and at the same time slightly narrowing its inspirations. In many places, Lord Vrajitor came very close to what Emperor did on "In the Nightside Eclipse" with this album, and that is quite a compliment. Added to this were the influences from the old Graveland, but the one from the times of mainly "Immortal Pride", maybe also "Following the Voice of Blood". Of course, I am not talking about pagan aesthetics, but about some pathos and keyboard passages. The song "The Key of the Moonpiercer" shows it perfectly. There will also be some common things with Dimmu Borgir from "For All Tid" era as well. So it all speaks for itself. There is visible progress, in my opinion the album tops the debut, it is as good as not better and it fully proves what Warmoon Lord can do. The band is heading in the right direction, being one of the mainstays of true black metal art. I must admit that "Battlespells" was one of the most anticipated black metal albums by me this year and these expectations have not been disappointed at all. The album lasts less than 39 minutes, but it is 39 minutes of the best quality, atmosphere and understanding of the subject as possible - that's what I think.

There is only one disadvantage when it comes to the issue subject. It has been known for a long time that the albums released by Werewolf Records are among the best, I don't have to talk about the selection of bands of course. It is a pity that, apart from Finland and Hells Headbangers, these stuff is so hard to get right after the premiere. In distros in Poland, they appear long after the release or even not at all. It is a pity that the contact with the label and their prices do not improve the situation either. Also, if someone cares, as I do, he will have to search for a CD abroad and pay for it with shipping something around 100 PLN.

Hekatomb - Shade of Life, Light of Death (Self-released 2021)

Ostatnio trafiam na materiały/zespoły, które grają naprawdę świetną muzę, na wysokim poziomie, mającą niezaprzeczalny potencjał, ale albo wydawane są przez zagraniczny label (z braku zainteresowania lub poważnej oferty w kraju), albo muszą wypuszczać materiał swoim własnym sumptem. Szczeciński Hekatomb to właśnie ten drugi przypadek. Słuchałem i pisałem o pierwszej Epce zespołu, teraz trzymam w dłoniach kolejną - "Shade of Life, Light of Death", która gra w tle podczas pisania. Poziom materiału jest tak samo wysoki, jak w przypadku "Crone Times Come", a nawet wyższy. Kompozycje są wciągające, rozbudowane, urozmaicone, z niesamowitą atmosferą. Na nowy materiał składają się dwie prawie 20 (dokładnie 17:17, każdy) minutowe utwory, co czyni go dłuższym od poprzednika. Nigdy nie byłem przeciwnikiem takiej formy, mam tu na myśli długie kompozycje. Przyzwyczaiły mnie do tego chociażby stare płyty Mortiis. Jeżeli numer jest bogaty, odpowiednio urozmaicony, to to kompletnie nie przeszkadza. Ma się wrażenie obcowania z muzyczną opowieścią. Hekatomb zbalansował tu klimatyczną, black metalową nawałnicę, która dominuje nad pierwszą połową utworu otwierającego i powraca z końcem drugiego, z wolnymi pasażami i ogromną dawką ciekawego, nostalgicznego tła i posępnej, tęsknej aury. Bardzo pasuje to do tematyki śmierci i tej szarej strony ludzkiej egzystencji, jaka jest tu poruszana. Jeszcze ta krótka partia czystej gitary pod koniec... Coś pięknego. Gdyby "Shade of Life, Light of Death" był pełnym albumem to z pewnością byłby jednym z tych najlepszych, jakie do tej pory usłyszałem w 2021 roku. Hekatomb to moim zdaniem już ta sama liga co Martwa Aura, czy Above Aurora. Nie jest to dokładnie to samo granie, ale te zespoły mają ze sobą sporo wspólnego, już w samej kwestii kreowanej atmosfery lub poruszanej tematyki. Moim zdaniem Hekatomb zasługuje na wydawcę z prawdziwego zdarzenia i docenienie. Bardzo chciałbym mieć na półce winyl z przedstawianą tutaj Epką. Chcę jeszcze wyrazić podziw i szacunek dla formy wydania CD. Mimo iż jest to CDr, to poligrafia zrobiona jest na najwyższym poziome - gruby szorstki papier, esencjonalne kolory i bardzo dobry design dodający swoje trzy grosze do odbioru płyty. Jak się chce, to i we własnym zakresie można porządnie wydać płytę.

https://www.facebook.com/Hekatombband

English translation:

Recently I come across materials/bands that play really great music, on a high level, with undeniable potential, but either released by a foreign label (due to lack of interest or a serious offer in the country), or they have to release the material on their own. Hekatomb from Szczecin (Poland) is the latter case. I listened and wrote about the band's first EP, now I have another release in my hands - "Shade of Life, Light of Death", which is playing in the background while writing. The material level is as high as that of the "Crone Times Come", or even higher. The compositions are captivating, extensive, varied, with an amazing atmosphere. The new material consists of two almost 20 (exactly 17:17 each) minute songs, which makes it longer than its predecessor. I have never been against this form, I mean long compositions. Old Mortiis albums have got me used to it. If the track is rich, appropriately diversified, it doesn't bother you at all. It feels like communing with a musical story. Hekatomb has balanced an atmospheric black metal storm that dominates the first half of the opening track and returns at the end of the second, with slow passages and a huge dose of interesting, nostalgic background and a gloomy, longing aura. It fits very well with the subject of death and the gray side of human existence that is being mentioned here. And this short line of clean guitar at the end ... Something beautiful. If "Shade of Life, Light of Death" was a full album it would surely be one of the best I have heard in 2021 so far. Hekatomb is, in my opinion, in the same league as Martwa Aura or Above Aurora. It's not exactly the same playing, but these bands have a lot in common, in terms of the atmosphere they create or the topics they deal with. I think Hekatomb deserves a true publisher and appreciation. I would love to have a vinyl on the shelf with the EP presented here. I would also like to express my admiration and respect for the form of the CD release. Although it is a CDr, the printing is made at the highest level - thick, rough paper, essential colors and a very good design that adds its three cents to the record appreciation. Seems If you want, you can also put out a proper looking release on your own.

The story behind Desaster's "Hellfire's Dominion" - an Interview with Markus "Infernal" Kuschke

Hell-o again, Infernal! Let’s start with this great record namely „Hellfire’s Dominion”!

Hi! I have listened to this album for this interview as I have not checked it as a whole for a very long time already. It was cool to listen to all the tracks in a row. Great memories.

Let’s start with the period when it was about to be released. You were already after the “Stormbringer”, so you had strenghten your position on the scene. How it was then with a band, you had you first bigger gigs in Germany. How do you recall that time? 

Yes, I remember it was a very active time. We did a lot of shows, especially in east Germany, and were on the road nearly every weekend. We travelled in our small cars, we didn’t have any van back then. It was very narrow inside, it was like 5 of us sitting there with our guitars and other gear & beer on our knees. We had also my ex girlfriend with us to sell some t-shirts at the shows. We were not that well organised those days, no hotels and so on. We slept on the stage after the gigs or in a shitty backstage room. But it was all a great adventure. 

Hard, but good times. If we are mentioning gigs now, some time ago I have watched the video from the Under the Black Sun festival. It was back in 1998 but just before the release of “Hellfire’s Dominion”. You did not play any song from that album yet. Any memories from that show? 

It was a great one for sure. This festival was organised by a good friend of ours – Jorg from Folter Records. As far as I remember we had also played on the very first festival organised by him, still under the name of Folter Records festival. It was in 1995, I think.  It was one of a few gigs we played with Thorim behind drums. All in all both were a great experience. We already have the Wacken back then but still such festivals were not that common yet. We had such ones in Underground, like the Under Black Sun, not hat professional but it was fun to play there. We were able to reach bigger audience. 

Ok, so let’s move to the album itself. When I listen to “Hellfire’s Dominion” I have an impression that this one is  different than any other with Okkulto on vocals. It’s the most raw-sounding one from the albums you have recorded in the 90. Was it planned or it just came like that? 

The rawest? Really? Well, it just came like that. Back in those days we never knew what will came out after the recording.  We were of course very well prepared when we came to the studio, but we never knew what sound we would achieve. We didn’t have enough experience. We just trusted the producers. That time we were recording at a studio in Velbert. We have arrange it with a help of our friend Atomic Steif who used to play in Violent Force, Sodom or Living Death. Due to this connection we also got in touch with a Velbert Heavy Metal Fanclub. When you take a look at the old pictures of Sodom or Kreator you can find guys wearing t-shirts with this name. “Hellfire’s Dominion” was also the period when Hellbangers came together. We met the guys from Heavy Metal Fanclub to get inspiration and feeling of the old bands once again. During the recording session were were visited by the guys from the fanclub. We also stayed for like 2 weeks at Atomic Steif’s house after the recordings where we drink every night and had fun. It was a great time. 

You have mentioned the Heavy Metal fanclub and now I just have to ask about Hellbangers Moselkranken because that’s the period when it started really. I want to ask what was it, who was behind it? The mark of the Hellbangers appear on quite a lot albums from German underground scene. 

Yes, and not only on Desaster records. On Witchburner ones, Metal Inquisitor and many other bands. Hellbanger’s started back in the 1996. It was a time when we met a lot of maniacs from our region, especially Mosel. There was Costa who is currently running the Iron Pegasus Records and playing with Okkulto in Eurynomos, some other guys who were very active in the scene like King Wolle who was running the Desecration of Vrigin zine (mostly obscure South-American bands there, killer stuff). We gathered with this guys drinking, headbanging, playing music from our cars. Once we thought it would be good to give this whole shit a name, to gather together as a group, a club. That’s why we had an idea to start a heavy metal fanclub. I remember we had two suggestions for the name of the club. My was Hellbangers and Costa suggested Metallians. We were voting, there were like 15 of us back then, and my idea won. 

And who came up with the logo, that Flying V guitar? 

I don’t remember who came up with it but you are probably familiar with that guitar. It’s stolen from Accept “Restless and Wild” cover. The arm with bracer was painted by one of the fanclub members. The logo itself is inspired by Possessed of course. 

And I can see some Hellhammer here as well! 

Yes! So you know where the roots are. 

Ok, let’s return to the album. I must ask about the hit from the release – the “Metalized Blood”. Three guests on vocals there. What is the story behind creating this anthem? Because it is one, to be honest. 

Yes, it’s our smash hit. It’s a cool song. I remember that Okkulto came up with an idea of writing some sort of a hymn dedicated to heavy metal and our passion towards this music. We invited some great singers, not only from extreme metal but also from other styles. We got Lemmy from Violent Force and Wannes from Pentacle – our good friend. It was hard to get Toto from Living Death. That’s the singer you love or hate, we totally loved him. We asked Atomic Steif to help us reach him as we really wanted to have him on this song. Toto was no longer doing anything connected with music but it turned out that he was really eager to cooperate with us. There is a funny story about him coming to the studio to join us. Okkulto was opening the door with a cigarette in his mouth and when he saw Toto standing there he was just left with his cigarette on the floor and mouth wide open. Toto told us that he was rehearsing “Metalized Blood” while driving his car to the studio. He had the window opened and other drivers were looking at him as he was some sort of a weirdo, you know, singing “Metalized Blooood!” with his specific high pitched scream. 

Cool story! Now I want to move to two other songs I have picked up for discussion. First will be my favourite from the album – “In the Ban of Satan’s Sorcery”. It perfectly mixes the black metal vibe from the debut album with an oldschool Teutonic thrash. 

Thank you. It was my idea as I wanted to mix all our influences in just one song. There is some black metal blasting with melancholic melodies at the beginning and then comes that even speed/heavy metal riff. A bit in a Running Wild style. We were wondering if it fits together but we didn’t  take much time for us to get into it totally. This song was later an inspiration to write “Necropolis Karthago” which is done in the same style. That’s our trademark at some point. 

Now it’s time for “Teutonic Steel” – another anthem of yours. Another composition with this incredible medieval feeling. It’s the same atmosphere that “A Touch of Medieval Darkness” and “In a Winter Battle” has, it’s cream of the crop. Could you tell me more about it, that’s the song you play on every gig. 

Yes, we have to play it on every gig together with “Metalized Blood”. If we wouldn’t the fans would have killed us. There was a funny thing when we were rehearsing “Teutonic Steel” during album recordings. We had that little casette recorder for recording ne wsongs and ideas and the quality of it was not that good. The other guys thought that “Teutonic Steel” sound was rather terrible but I was convincing them that it will grow with a proper production and equipment and will become a hit. It’s sometimes a bit boring to play these songs on and on, but the reaction of fans is just priceless. They not only sing the chorus but also the intro melody of my guitar! 

Do you remember any memorable moments connected with the studio recording of “Hellfire’s Dominion”? Just like the ones you have shared with me last time when we were talking about “A Touch of Medieval Darkness”.

You know, it’s always different when there a new producer. The one we worked with that time told Tormentor to put bricks, gig stones into his bass drums. The reaction on this idea was like “what the hell is that?”! He told us that it will improve the bass drums sound, that we had to do it. We were also visited by members of the Heavy Metal Fanclub almost each day at the studio. 

Now let’s move to the visual aspects of “Hellfire’s Dominion. There was another cool photo session but a bit different, without all that gear, I mean swords, candles etc. Could you recall how it went?

This time it was more in a thrash metal style. I remember we had two locations then. One at the ruined castle at the river Mosel and one at the old monastery. At the castle we were frequently looking at our backs as there was a danger that some stone may fall on our heads. 

T-shirts you are wearing on that photos give a clear sign about the feeling and influences on the album. 

Yes, you are right. “Stormbringer” was a turning point for us, that was the moment when we started to play in a more oldschool thrash way. On the debut it we were still looking to the North and Norwegian scene. Later we decided to focus more on our roots. We wanted to underline our own style, not to become Immortal clones or so. “Hellfire’s Dominion” was the album that strenghten the chosen path. At the beginning of the 90s everyone wanted to be evil, traditional heavy metal was not evil enough. We rediscovered this music getting into for example Manowar or Iron Maiden again.

The cover art – it corresponds of old fantasy stuff from like Morcock or Howard. Why you have decided to move this way in case of graphics? 

I don’t know what is the story behind it. We probably stole it from somewhere, from a book probably. I remember that on the flag there was originally some different sign. We asked our layouter if there is a possiblity to exchange it and he managed to do it. I hope the artist of this paint will never find out that we used his art, otherwise he will demand a lot from money from us for the sold album copies haha. 

I know that around the “Hellfire’s Dominion” you got to know the guys from Sabbat. You played shared some gigs, released two splits so far. How you got to know each other? 

I remember it very well. It was around 1997. They were on tour in Germany, there was Behemoth as well. Our tours met together in Schweinfurt. We met those Japanese guys and it was so fucking great. Gezol – the singer nad bassist of Sabbat – is a total maniac, so crazy. We couldn’t speak any English, our was shitty as well but we still had a great time. It was a beginning of a long friendship. Tormentor joined Metalucifer back then, the other project of the Sabbat guys. 

I know recall Gezol running with that leather pants of his on stage, damn, haha. 

Hahaha, I remember when he was staying at Koblenz to record some Metalucifer stuff. He was staying at Blumi’s house, the guitarist of both Metalucifer and Metal Inquisitor. Blumi once told us that he loves the bratwurst – the German sausage. That loved it that much that already in the morning he was at the kitchen cooking bratwurst. Fucking great!

Let’s sum up this chat of ours with some information considering the reissue of the “Hellfire’s Dominion” on CD this year. Could you uncover some details about it? How it will loook like, will there will be anything special added? 

Want to do something special as it is a classic Desaster album. So it will not be a simple jewelcase edition. It will be a kind of black box with a CD and booklet in it plus something more. When re-releasing stuff we always remember about the people who have the first edition, so the second must be something new. I think it will look great and hope everything will go according to our plans. I think the layout will be similar to the vinyl reissue.

Interview by: Przemysław Bukowski