Memento Mori is a Spain based label/mailorder that focuses on old school Death Metal, Doom Metal and anything in between. In the past year, there have been some great releases from bands like Morbidity, Horrified, Austerymn, Disrupted and more. I spoke to label owner Raul Sampedro about how he got into metal, the metal scene in Spain and upcoming releases from his label.
How did you get into metal? What was the first metal concert you attended?
I was like 10 years old, back in 1982, and my father used to play this compilation tape (one of those “best of ” compilation tapes) on the car’s stereo. The tape featured many songs, but there were 4 of them that got stuck in my head for whatever reason: Kiss’ “Love It Loud”, AC/DC’s “Highway to Hell”, The Ramones’ “Do You Remember Rock’n’ Roll Radio?” and Status Quo’s “Whatever You Want”. That was the kickstart of my journey into Hard-Rock, Heavy Metal and Punk-Rock. Months later I started hanging about with a guy that was some 5 years older than me and it was him who’d burn lots of tapes for me, from bands such as Judas Priest, Rainbow, G.B.H., Metallica, Saxon, Manowar, Sex Pistols, Accept, Helix, Alcatrazz, Dead Kennedys, Black Sabbath, Tokyo Blade, Venom, Motörhead… The rest is history.
The first international Metal concert that I ever attended was Metallica + Metal Church, back in January 1987. Prior to that one, I had only attended shows featuring Spanish bands on the bill, such as Baron Rojo, Ñu, Sobredosis, Panzer…
Tell us how you started your label.
I had previously worked for other labels/distros in the past and I even ran a tiny label/mailorder called Acoustic Trauma Releases back in 2004-2005. But I had to fold that label/mailorder by late 2005 due to financial issues, right before moving to Finland (I lived there for almost 1 ½ years), and I guess I always wanted to restart the project whenever the odds would allow to. That happened back in 2010. Memento Mori started as a simple distro/mailorder, but soon after I felt an urge to turn it onto a label/mailorder, and put out my own releases and trade them with fellow underground labels out there. The first two Memento Mori releases (Ataraxy “Curse of the Requiem Mass” MCD and Centinex “Subconscious Lobotomy” reissue CD) saw the light of day in October 2010, and we’ve put out a total of 41 releases up to this day.
What has been your most memorable release so far and why?
Each and every Memento Mori release is like a son to me. Would a loving and unbiased father be able to point out one of his children as his favourite? All our releases are equally especial to me regardless any other consideration.
What qualities do you look for when signing a band?
I want to work with down-to-earth, humble people without any kind of rockstar attitude and an ego to feed. Other than that they also have to play the kind of stuff that I like to support through the label (Death Metal, Doom Metal, Thrash Metal and anything in between those genres) and meet a certain criteria regarding the, so to speak, “maturity” of their music. What I mean by this is, we don’t put out demos, so the band’s got to be seasoned enough as to be ready to go full-length.
Have you been part of a band? What instrument do you play?
I used to growl in a Death Metal band called Sacrophobia circa 1990-1992. Got to play live five times with them and recorded a demo titled “Only Death Is Irreversible” (Drowned Productions, 1991). Soon after leaving the band in 1992, I joined Postmortem. Thrash Metal in the Bay Area tradition was the game with them, but they wanted to give their music a more brutal edge and offered me a slot as the new vocalist. If memory serves, I only spent a couple of months with them, just practising at the rehearsal room, so no recording was made and I never got to play live with them. No more bands for me ever since.
Spain is not a country known for its metal scene. What are the Spanish bands you recommend we check out?
Well, those into classic 80’s Heavy Metal should check out the early works of Barón Rojo and Ángeles Del Infierno. Those two bands, along with Obús and Panzer, were probably the most notorious bands over here some 30 years ago. Regarding old Death Metal bands (1988-1995), I’d recommend to check out Feretrum, Suffocation / Intoxication, Obscure, Human Waste, Unbounded Terror, and also Aggressor (Thrash/Death Metal) and In Torment (Funeral Doom/Death Metal). And talking current bands, I’d recommend to check out Ataraxy, Bokluk, Graveyard, Oniricous, Banished From Inferno, Decapitated Christ, Necroven, Onirophagus, Karonte and Deprive. All of them play Death Metal. I’m sure there’s some remarkable bands into other genres, but I’m not really familiar with their music, so you guys got some homework to do.
Looking back at the past 5 years, would you change anything about your record label?
Not really. I’m quite happy with our output, the bands and people I work with, and the fans’ response. Sales and exposure could be much better, of course, but we’d need a much larger budget for promotion (not likely to happen anytime soon), or start putting out other forms of extreme -or pseudo-extreme- music that are “en vogue” these days (which is even less likely to ever happen as I’ll always stick to my own personal taste), or start doing vinyl (not really into a format that’s essentially a luxury item due to manufacturing prices and postage rates). We’ll keep struggling to survive in this trendy scene against all odds and I’ll die with my boots on if necessary.
What are your thoughts on physical format VS digital format of music? Which do you prefer and why?
I’ve never ever downloaded a single song (let alone an album), with the exception of demos and promos sent by bands for me to consider a possible signing, so make a wild guess what I think about digital music. A music album, or a book for that matter, is something that I need to touch. Simple as that. That’s why we don’t even offer downloads of our releases. I shiver in disgust at the mere thought of charging a single cent for a sheer computer file. To each his own, though. I’m just entitled to my own opinion and principles.
2014 was a great year for you with releases from bands like Morbidity, Horrified and others. What are your plans for the rest of 2015? Releases that we should look out for?
So far this year, we put out the debut full-length CD’s from Deprive, Austerymn and Disrupted, the sophomore full-length CD from Insepulto, the Transgressor reissue CD and the Misery early discography compilation CD. Coming out in a couple of weeks from today, there’s the Coffincraft debut full-length CD and a repress of the Burial reissue CD that we put out back in 2012. And then later in the year, we’ll put out the Praise The Flame, Dementia 13 and Abyssus debut full-length CD’s, and an Aldebaran compilation CD. And 2016 will also be a busy year at Memento Mori HQ’s. In fact the whole year schedule is close to be fully booked by now. I recommend all the readers to stay tuned via the website (www.memento-mori.es), the Facebook page (www.facebook.com/memento.mori.label) or even send e-mail to firstname.lastname@example.org and request to be added to our mailing list. Thanks for the intie. In Death, In Doom…
Last July/August, Cyclopen Eye productions released “Through corridors of dead centuries“, a split between two veteran bands from the Indian subcontinent, Dusk (Pakistan) and Dying Embrace (India). I described the release as “death/doom metal recommended for those who preferred metal that sounds raw”. It was Dying Embrace first release since they got back together in 2011.
This interview was originally planned to go along with the one with Dusk however it got delayed due to various reasons. I spoke to Vikram Bhat via email about their side of the split and their future plans.
Where did the idea to do the split come about? Did Sandesh from Cyclopean Eye productions have anything to do with it?
Vikram: Hello Peter , actually this split was possible only because of Sandesh of Cyclopean Eye Productions. He always spoke about this idea right from the early years, even when the band was inactive and on a hiatus at the same time even Dusk were in suspended animation and he said, if these 2 bands ever return then a split has to happen, those knowing Sandesh, he always has had it his way.
How does it feel to have your first release out in over a decade?
Vikram: It’s a very surreal feeling, a bit of deja-vu a bit of disbelief all rolled into one. We never thought the band would return back, the love and support we have got since we returned has been fantastic. It’s a great feeling to see so many fans who still remember the band even though we were gone for a good 10 years.
Tell us a bit about the songs your side of the split. What are they about?
Vikram: We have 4 original compositions and a cover on our side of the split. 3 songs and one instrumental, the songs have a very different approach and yet still retain the trademark Dying Embrace sound. A melting witches cauldron of Death and Doom Metal with several influences which the band members brought in. The songs just like our older material deal with the occult, mythology and religion.The fans will get what they have loved and liked from us over the years.
How different was the recording process this time around?
Vikram: Very different actually, recording music has seen a sea change over the past years and for us it was an all new learning experience, luckily we had Srikanth Panaman of The Doom Cave Studio producing us and he guided and showed us the newer technology we had at our disposal now. It was a great experience indeed and the band enjoyed putting the new songs together for the split CD.
What are you plans for the rest of 2014? Any plans to release a full length album soon?
Vikram: Since 2014 has passed and we are into 2015,we have a few shows lined up for the rest of the year, a 7” split vinyl EP may happen by the end of the year, we have never got down to writing a full length album ever, I don’t think that will ever happen.
Any Final words?
Vikram: 666 apologies for the delayed replies to the interview,the past year hasn’t been easy on me personally and a lot of things got pushed to the back but I still owed you this one and here it is! Thanks for the support and patience and salutes & respect to all the fans and friends who have supported us, you rule and you know who you are!
Listen to ‘Ascendance of Namtar‘ from “Through corridors of dead centuries” below
As a collector of CDs, there are a few that stand out and one such album is Kryptos Spiral Ascent. The Bangalore based band’s debut album was incidentally the first Indian metal album, I’ve owned. Over an email interview vocalist Ganesh discusses Kyrptos’s formative years, the Bangalore metal scene and ten years of Spiral Ascent.
On Kryptos’ early years:
Kryptos started out as a college band called “8 on the Richter”. “8OTR (hated the name) was a band I had put together with a bunch of dudes in late 96/97.” said Ganesh about the band. “I met Nolan at St. Joseph College of Commerce’s admission queue. We didn’t quite take to each other, but I remember our dads talking about some shit. Next thing I knew, we were in the same class and shared common tastes in heavy music. It was in passing I asked him if he played the guitar. Not only did he say yes, he owned a guitar AND an amp. That did it. I spoke to the rest of 8OTR and he became a member. A few line-up changes followed and it was just Nolan and I – we decided to look for a drummer. We found Chinlen Singh through an ad I placed on RSJ [the now defunct magazine]. It was then that we decided 8OTR sucked. We needed a better name that would reflect what we were into and what we intended to write.”
“Bangalore, then & now (not so much), is pretty much a classic rock/metal town. It was not odd to hear Slayer, Megadeth, Dio, Black Sabbath being played at pubs – hell! I have even heard Death’s Symbolic at a bar in Bangalore. There was a legendary wall on Brigade Road where someone had spray painted SLAYER. From college benches to pub loos, it was not out-of-the-place to find AC/DC, GN’R, Slayer, Scorpions, etc. There was a healthy local metal scene with bands like Millenium, Crimson Storm, Vulcan Haze, W.A.R.D.E.N, etc gigging. There were numerous pubs and bars that played everything from heavy blues, hard rock to early metal. There was no scene, but the seeds were sown.”
Being a part of compilations:
‘Headbangalore’ was a compilation of Bangalore bands Phallusy, Threinody, Myndsnare and Kryptos. Forsaken, Forgotten (land of ice) and Clandestine Elements were the 3 tracks by Kryptos that were part of the compilation. “We were siting around Threinody’s rehearsal space, which we shared with them for a while, drinking beer and shooting the breeze when we decided that we could actually go out and do a fucking compilation.The effort was great; the involvement was spot on, but the studio and the mixing engineer sucked. The release was well received though we were never really studio ready, but then what mattered back then was the DIY approach – people dug it.”
“Back then, the only gigs that were happening were college and other miscellaneous competitions. We took part in as many. We didn’t give two hoots about winning and all that; we just wanted to play live. The law of averages caught up and won a few. One of the prizes was that we could record a couple of songs at this studio called Throatlatch Studios in Navi Mumbai. The owners then released one of the songs, Descension, on a compilation called Deep Throat.”
10 years of Spiral Ascent:
“Man, that album took forever to record. I don’t remember the sequence of events but we recorded and tracked everywhere! From Warren’s [Mendonsa] place in Dadar to a few studios in Bangalore, including Ricky Kej’s – he is a Grammy winner today – w00t! Looking back, how I wish we had someone to whoop our arses and helped us save time and money, but I would do it all over again. No regrets.”
“Few Indian bands had released albums a decade ago. “How? We just did. There were quite a few Indian bands that released original music before us. From Thermal and a Quarter to Millennium, Rock Machine to Vulcan Haze. We felt we have 8 odd songs, let’s just put it out and get on with it.”
On the line-up for the album:
“Chinglen Singh had to leave Bangalore and head back to Assam due to personal reasons. Ryan Colaco was then with Angel Dust, we asked him to moonlight for a couple of gigs we had coming. And that was that. With Akshay it was a bit more complicated. I had heard of this guy who’d come to Kryptos gigs, record it and bootleg. I loved that! I am not sure how we met, if he auditioned or whatever – but before we knew he was there. A great guitar player with quite a personality.”
On Writing for the album:
“We never sat down and said, ‘hey! Enough of the beer! Let’s write an album!’ It happened over time, when we had enough material we began the recording process.”
On Recording the album:
The album was recorded by Clay Kelton at his studio. “Took a couple of weeks, months maybe. The process was an on-the-go one – oh Ryan’s here today, eh? Let’s track the drums! Or ‘is that Tiny (Trinity D’Souza, Cryptic)? Dude, play a solo here!’ So, it was all over the place – quite a miracle we actually put something out. Those days were a bloody haze. Bet there are a few. I remember setting Akshay’s vodka on fire once, don’t know why or what happened after. But Clay didn’t like it much.”
On the album art:
“The cover art was design by Niklas Sundin (Dark Tranquillity). Being fans of DT’s early work – musically and cover art-wise, we decided to mail him for fucks sake. When he replied it was like ‘Woah! We need to pay him money now!”
If they had to change anything…
“Apart from playing to a metronome, not a bloody thing.”
“Eat shit, drink beer and bark at the moon! Also, buy our merch!”
This week Kryptos head to Germany on tour with Death Angel. Those in the area should definitely head to one of the show, tour dates are below.
Who: Corpse Garden The band consists of Felipe Tencio (Vocals), Carlos Venegas (Bass), Federico Gutierrez (Guitar), Esteban Sancho (Guitar) and Erick Mejia (Drums)
Where: Heredia, Costa Rica
What: “First of, ‘Entheogen’ is a chemical substance that is used in spiritual rites or such to aim for transcendence, so, under that premise the record talks about the stages that are performed in the Alchemy’s Magna Opus and also about theories of Individuation by psychologist Carl Jung.” said drummer Erick Mejia describing their second album.
How: “It was extensive, it took from mid 2012 to late 2013 to compose and write the songs for the record and to come up with the concept.” said Erick about the songwriting process for the album. “In between we got the line-up changes that were good for the band but there’s always a little bit of a ‘learning curve’ so to speak, musicians need to get used to the band and hopefully that was incredibly fast.”
“A lot of hard work, we really wanted something very specific for this record and that had a lot to do with our performances on each instrument so we needed to play as good and precise as we could.” said Erick about the recording process for the album. “Also we experimented a lot with effects, ebows, synths and so on and so forth, so, those we needed to be very careful not to over do something and get it just right and just the right amount.Recording took around 6 months all together: recording, mixing and mastering.”
Listen to ‘Entheogen’ below
Progressive metal band Anuryzm should not be strangers to readers of this blog. I had interviewed them in January 2012. Since then they have been featured in publications like Metal Hammer and even opened for bands like Black Sabbath last year. Last week they released their second album ‘All Is Not For All’. I spoke to vocalist Nadeem Bibby via email about their new album and their plans for the rest of the year.
Tell us about your new album ‘All Is Not For All’. What is it about?
Hi Peter and thanks for getting in touch, the new record “All Is Not For All” is set as a prequel to 2011’s “Worms Eye View.” Conceptually, the themes of the “worm man/corruptor” are taken back in time to confront the prevailing good in the world, almost like the seeds of a lot of today’s major issues were sown or debated in the past. This is quite an over-simplification of the concepts and themes; it’s kind of like a “use the force” moment where you can be corrupted towards the “dark side” and vice versa. I don’t want to give too much away, but that’s the gist of it.
Lyrically and thematically some themes we cover in “AINFA” include minimalism, re-birth, illness, extraterrestrial encounters, Japanese Bushido code and third culture upbringing to name a few.
What was the writing process for the album?
For AINFA, John (Bakhos, Guitarist and main composer) and I wanted to create something that reflected the current ANURYZM sound and take our time to make something that we were very happy with. John worked his magic as usual while I took the time to digest, conceptualize and deliver my parts. We then spent some time letting it all sink in while the guests were doing their work and we then crafted themes and compositions that excited us. The process took about two years including purposefully taking lengthy periods of time to let things sink in as well as the usual logistics involved with working with guests overseas.
Unlike the making of “Worms Eye View,” which was a challenging but fairly linear and enjoyable process; the writing process for AINFA took us through a lot of struggles and difficulties because as always, life gets in the way of everything. It was a tough couple years for me and maybe some of the other guys in the band. I think this is reflected in the passion and energy on the record which is quite literally crafted of everyone’s blood, sweat and tears.
What was the recording process for the album? Did you try anything different this time around?
Not particularly, of course everything is a learning process but I think everyone kind of did what they are used to, the only major differences being that I recorded my vocals in Abu Dhabi instead of Dubai under the hawkish eyes of Miltiadis Kyvernitis who always pushes me to deliver well. The mastering was done by Bob Katz, which was a new and valuable experience for us
The album was mastered by Bob Katz at Digital Domain studios. How was it working with him?
It was very educational, firstly because he is a two time Grammy-award winning mastering engineer, so his methods and more specifically, methodology was fascinating to watch and learn. However, because we wanted the album to sound very organic and not artificially loud (like a lot of modern metal is nowadays); we found the collaboration to be perfect! So much so that when the final masters came in, we didn’t even feel the need to ask him to change the sound as we had learned the virtues of this type of mastering along the way. I think it was a rewarding and very interesting process for all involved in the album.
‘All Is Not for All’ features guest performances by Michael LePond (Symphony X), Charlie Zeleny, Uri Dijk, and Christopher Chaplin. How did that happen?
Uri Dijk, we’ve known for a while now as he also featured on “Breaking The Ballot” from our first record. It was such a pleasure working with him and he is very talented that we really wanted to work with him again on AINFA. Charlie Zeleny is a very solid and versatile drummer from NYC who is also a good buddy of ours and was able to work with our hectic schedule.
Mike LePond is an incredible bassist, I think we all know that so it was a pleasant surprise when we reached out to him through some friends and he was interested in performing on the record. Christopher James Chaplin is a very nice person with a very eclectic taste in classical music and I loved his work with Hans-Joachim Roedelius so I really wanted him to play stringed instruments on the track “Oceans Apart.” I think all of the guests did a stunning job and we are very humbled and proud to collaborate with each of them.
How does ‘All is Not for All’ compare to ‘Worm’s Eye View’?
Well, it’s definitely more indicative of the stylistic evolution of our sound and thus by default more mature I suppose. For me the most major difference is that the songs will appeal to a lot more music aficionados that just rock and metal enthusiasts due to the sheer nature of the compositions. I don’t like to be pigeon-holed, if it’s heavy music, its heavy music. I think good bands should always surprise and captivate their audiences while maintaining signature sounds. A complete contradiction, I know, but when you are able to do that, it’s very inspirational and rewarding for both the listener and the artists and that’s when the magic happens.
The album is being released by Melodic Revolution Records. How did the deal with them come about?
Sometimes things just happen for a reason I suppose! We feel very blessed in this regard.
How important is the support of a label at present when bands prefer to release their music on their own?
I don’t think anyone has truly found the answer to this question yet! For me it really comes down to how hardworking the band is and what type of label we are talking about. The two go hand in hand.
With Nick Katona and his team over at MRR, they are a different kind of label that focus on progressive music from an over-arching viewpoint. With a lot of different types of prog bands from experimental to rock to folk to metal, it’s a more realistic and natural type of grassroots label that aims to inspire the artists and fans and have more people discover new music. I think this mentality coupled with a lot of hard work from our end, (remember , we are in the Middle East and thus have limited resources available to us as artists,) make for an interesting combination that tends to garner very informed and educated critics and fans.
At the end of the day music is a very personal thing and if we can be part of someone’s personal consciousness for a little while then it’s a beautiful thing. That is some of the credibility afforded to us by being on a label, but by no means is it a substitute for hard work.
What are your plans for the rest of the year?
Tune in to http://www.ANURYZM.com to find out! We are still working on some things and are usually pretty good about updating our websites and social media.
Any Final words.
Thanks for the interview, shout out to all the Indian fans!! We hope we can play your beautiful country one day soon and I dream of kicking back and hanging out in Bangalore Rock City and other awesome destinations with you all! Love and Respect
Listen/Download ‘All Is Not For All’ below
Who: Irreversible Mechanism The band consists of Yarolsav Korotkin (Vocals, Bass), Vladislav Nekrash (Guitars). Lyle Cooper (Ex – The Faceless) played drums on the album.
Where: Minsk, Belarus
What: “Infinite Fields is an album of post-apocalypse, of perception of a destroyed world by the few survivors.” said the band about their debut album. “It is about cataclysms and human mistakes that may lead to destruction of the planet and its biosphere. It describes the concept of devastation versus creation. It tells of nature’s forced decadence, ignorance in history, physics and karma. Each of the tracks is a chapter in a book you must finish.”
How: “We started writing November 2012 and finished May 2013.” said the band about the songwriting process for the album. “Designing a concept album is a rigorous and demanding process. But first and foremost we wrote the music we’d liked”.
“We were very scrupulous when it had come to recording: from guitar tuning, to each of the instrument sounds. We were recording at studios in Minsk and Kiev.” said the band about their recording process. “The only troubles we’ve had were related either to the time we’ve had to spend or the distance we’ve had to travel.”
Listen/Download ‘Infinite Fields‘ below
Poland holds a special place in my heart. I got to see a lot of my favourite bands during the 2 years that I stayed in Wroclaw, Poland. During that time I also got a chance to discover other Polish bands than Vader and Behemoth. The Dead Goats are a band that I have recently discovered. They have 2 new releases out now, “Don’t go in the tomb” MCD and a split with Icon of Evil. I spoke to their vocalist/guitarist Pavlo about the origins of the bands, their new releases and also their plans for 2015.
“It was on the Neuropathia’s last european tour in 2010 when the idea of The Dead Goats first surfaced.” said Pavlo about the origins of the band. Jaworski and Pierściński are part of Neuropathia “I was there with them as a substitute guitarist, Marcin and Radek approached me with the idea and so it went. As simple as that.”
Poland is a country known for its black and death metal bands. The Dead Goats play old-school death metal similar to Swedish bands like Dismember and Grave. “As you surely know, years before The Dead Goats was conceived it was Neuropathia that first delved into the old school swedish sound, so it was there really from the beginning.” said Pavlo explains how they decided the sound their new band. “We just shifted from the more grindcore approach to more of a punkish death metal style and then took it from there to see what happens.
The band has covered Napalm Death, Repulsion, Autopsy on their releases. “Well, obviously the bands you mentioned played a huge role in our musical upbringing as well as of course all of the 90’s stockholm bands like Entombed and Dismember.” said Pavlo describing the bands that have influenced them. “Personally, I also listen to a lot of punk rock/hardcore punk like Minor Threat, Black Flag, The Clash and so on, because it helps me keep my songwriting within the frames of a mindset that I cherish the most, which is all about rawness and pure emotion rather than technical masturbations.”
The Dead Goats have released a MCd “Don’t go in the tomb” on Arachnophobia Records “This mCD came about I’d say pretty accidentally. Songs that it’s composed of were meant to serve different purpose and be released in a different way, but our plans changed and we decided to indulge our CD-loving fans and put them out this way.” said Pavlo describing
“This time we decided for a different approach to songwriting, more akin to what we did with the first album, which is having only one, two riffs written beforehand and then just improvising the rest of the song at the rehearsal, trying to determine the feeling and dynamics of the piece.” said Pavlo describing their songwriting process for the release. “It was really fun and really quick. I think we wrote these songs over the course of three rehearsals.”
“Apart from what I mentioned earlier, I think “Don’t Go In the Tomb” shows a natural next step for us, as we progressively try to experiment with different things, different methods of, let’s say, assembling our songs.” said Pavlo about how “Don’t go in the tomb” compares to their previous releases. “It’s still as old school as it gets, but less “primitive”. I’m not saying our previous releases were primitive, but I think the progress is noticeable.
“The tracks has been laid in our good friend’s place, Sphieratz Studio and then we’ve sent the whole thing to be mixed and mastered at Satanic Studio by Haldor Grunberg.” said Pavlo about the recording process for the MCD. “The recordings took place over the span of two days, as we tend not to fuck around in the studio, lest we go insane.”
The Dead Goats also have another release out, a split with Icon of Evil. “The guys from Icon of Evil and us have known each other for a while, we’ve even shared stage. So when the idea of a joint release came from them, we had literally no reason not to do it. I remember we had some delays, but when we finally got to it, the songs came about pretty fast.” said Pavlo about the release. “I’m pretty happy with how this split turned out, I love its’ animal-like rawness and morbid themes behind the songs.”
The band go on tour with Icon of Evil this week. “We plan to hit Germany, Holland, Belgium, as well as our home country. We’re also supporting At The Gates at their gig in Warsaw later in the month, which is awesome. ” said Pavlo about their plans for the rest of the year. ”All in all, the time has come to put out a new full-length album (at last) so we’re gonna have to try and focus on that. Keep your fingers crossed, because I’m pretty excited for that. Thanks for the interview!”
Listen to “Featherless” from “Don’t Go In the Tomb” below