This new album promises to be a continuation of Asgrauw’s tradition of thematic and sonic exploration.
“Oorsprong” delves into the existential journey of modern man, exploring the disconnection from our ancestral roots and the quest to rediscover our origins. The album’s narrative is inspired by the Annunaki, the ancient deities said to have come from the sky. Through a blend of storytelling and music, Asgrauw weaves a tale that highlights the legacy of these celestial beings and offers a perspective on the modern age as seen through their eyes, culminating in a dramatic portrayal of humanity’s fate.
Asgrauw takes you through the stories of Anu and Alalu, Enki and Enlil, but also those of Gilgamesh and Nergal for example. How centuries of struggle for land and gold drove exotic species to turn primates into a slave civilization and by portraying themselves as devine beings, could keep them under control.
“Oorspong” is not just an album; it’s a sonic odyssey that transports listeners to the dawn of civilization. Asgrauw’s music serves as a conduit to the past, where myth and history converge. Each track is a chapter in a grander tale of creation, power, and the indomitable spirit that persists through the ages. Prepare to be immersed in a world where gods walk among men, and the quest for control over the earth’s riches leads to the rise and fall of empires. This is Asgrauw’s most ambitious project yet, a testament to their evolution as artists and storytellers.
True to their ethos, Asgrauw has crafted “Oorsprong” entirely in-house, with the band members writing, recording, and mixing the album themselves. This hands-on approach ensures the preservation of their unique identity and sound, which has been a hallmark of their work since inception.
This new album promises to be a continuation of Asgrauw’s tradition of thematic and sonic exploration.
Album name: Oorsprong Genre: black metal Type: Vinyl / CD/ MC / Digital Label: Zwaertgevegt, Hidden Marly Production Release date: 31/10/2024
With “Oorsprong,” Asgrauw is poised to once again captivate the black metal community. The album is not just a collection of songs but a journey through time and space, inviting listeners to ponder the profound questions of existence and identity.
Established in 2010, Asgrauw has become a name synonymous with authenticity within the genre. Known for their atmospheric and second-wave black metal sound, Asgrauw adds a unique twist to their music, creating a fast-paced yet hostile ambiance that has captivated fans for over a decade.
Asgrauw has touched on various themes in the past, such as negative thoughts and feelings, apocalyptic settings, death cults, local myths and even death itself.
Asgrauw has arrived at its sixth full-length album, musically a successor to Façade but with a new theme. This time Asgrauw has delved into the past, not contemporary history but that of ancient civilizations and what may have happened before on this earth.
Nowadays it is very easy to record your metal band or project at home. Anyone can get started with (free) recording software such as Reaper. Thanks to plug-ins, you can achieve a cool guitar sound in no time and with easy software drums can be programmed. This has advantages, but also a dark side. Floris has opinions about this…
I started recording my music projects at home in the late nineties. Black metal was a music style where very primitive sound was allowed, so it was ideal music for inexperienced kids, like me…
Early days
It all started with my project Meslamtaea, late 90’s. I recorded all the instruments on my own, using two tape decks that were linked together with a self-soldered cable and only one cheap-ass microphone. The process started with the drums which I recorded in my bedroom in mono on a tape recorder. I didn’t have a click- or scratch track. So I played the drums from the top of my head with no reference. Next was the guitar: Tapedeck ‘1’ played the drums, while on tapedeck ‘2’ these drums plus the new guitar part were tracked ‘live’. Then back to tape deck ‘1’ with another guitar track, and so on with the bass and vocals. So in fact I stacked all the instruments step by step, from one deck to the other. I couldn’t mix, apply EQ or correct anything at all! It had to happen ‘on the fly’, with only the volume input from the tapedeck as a real-time mixing option. I just had to live with a mistake, or two, I made earlier in the recording. ‘Punching in’ was not possible so every part had to be recorded in one take. It was actually surprising that it sounded quite okay’ish! And Mono!
Only one early tape-dubbed track was ever released, called “Origin of Gods” coming from the ’98-02’ demo.
First recording software
Later I met a local black metal musician, Arjan, who was doing something similar. If I remember correctly, he recorded several instruments by running multiple tape decks simultaneously. Or something like that. This resulted in songs with instruments that didn’t run exactly parallel, because one deck was spinning slightly faster than the other. Today’s youth probably can’t imagine something like this anymore, but we enjoyed playing around with cables and tapes. Good old times!
Together we started the project Sagenland. We already had discovered that outside our remote region of Twente, there was something invented called ‘a computer’. And that there was something available named multi-track software. We used a cracked old version of Cool Edit. This was quite primitive but it did the job. Although, the computer kept crashing and the ‘blue screen of death’ is etched in my memory as a traumatic experience. We still recorded everything with one mic, that was plugged directly into the PC sound card. We had only simple effects and we never heard of things like compressors etc.
Sagenland – Bosvolk’ EP (coming from the split vinyl with Vargulf)
Also Meslamtaea started recording on the computer. At one point, a Line-6 with amp simulator was used for the guitar. Drums came out of a digital drum kit over time, of which the line-out output was used.
Asgrauw ‘Krater’
Years later I became the drummer of Asgrauw. After our debut album, we decided to do the production-part ourselves. For the album ‘Krater’ we recorded drums with an 8-track recorder. The guitar cabs were recorded with two microphones under a tent of blankets and pillows. I bought Cubase for recording and mixing. We had no experience in this area and the album was done in a process of trial and error. In retrospect it may not be a super professional sounding record, but it suits the band at that time and the sound is unique and raw. Maybe just because of the imperfections?
Meslamtaea – Niets en Niemendal
Meslamtaea’s ‘Niets en Niemendal’ was the first album that I used guitar plug-ins for, instead of (re)amping. It was said that this Cubase plugin was developed for Meshuggah and was also used on an album of theirs. That gave confidence to try it, while it was still quite a taboo those days. Nowadays digital rigs have become an indispensable part of metal music. Also new to this album was the use of a hybrid drum kit in which analog recordings of cymbals were mixed with sample replacement on the drums. Furthermore, for the first time I worked remotely over the Internet together with another musician. You can say, I started embracing the whole digital process.
Home producing anno 2024
Home producing has become commonplace in the world of nowadays (metal) music. There are countless tutorials on YouTube. Equipment has become affordable and there are many plugins and midi applications that make home producing at your fingertips. Good home-made productions are hardly distinguishable from professional productions. The benefits are numerous. Think about budget… No more time pressure on your recording process. Being in control of your end product. Etc. Etc.
But there are drawbacks. There are a handful of popular guitar- and bass plugins that everyone and their dog uses. Pre-recorded drum samples from the well-known suppliers are also available on the PC of every home producer. The result? Many (black)metal productions sound kind of generic.
I myself make use of the conveniences of digital software. I use plug-ins to shape my guitar-, bass- and vocal sound. Also a part of my drum-kit is triggered, so I can switch sounds afterwards by choosing certain samples that fit in the mix. Does it sound better than ‘the real deal’ (analog)? That of course depends on who’s at the controls! At the end of the day, nothing beats a professionally recorded analog drum kit or guitar-amp. But you have to know what you’re doing, while plugins are sounding great instantly. The ease of use of plugins is a handy side effect for many hobbyists… and for professionals! Many well-known metal productions have been recorded with extensive use of digital plugins. But of course they won’t admit it out loud.
Meslamtaea – Nihil Vincit Omnia was mixed at home and stem-mastered by Devi Hisgen
Brick walls and quantizing drums
Modern productions apparently need to sound as loud and full as possible, while all instruments need to be clearly audible, too. This results in productions with extreme compression and over-saturation. It sounds tiring to my old-skool ears, there is no breathing space left, all dynamics are gone. As a drummer I pay a lot of attention to drums. With new extreme metal I regularly have to check Metal Archives to see if a real drummer was recorded, or if drums have been programmed. Drums nowadays often sound too perfect, flat and lifeless. Why quantizing drums, and banish all human character out if it, when you have a real drummer of flesh and blood?
But on the other hand… What I absolutely don’t understand is that some black metal bands these days still want to sound as bad as possible on purpose. As if the album was recorded with a rotten potato that’s been rolling down the stairs. I mean, our own records used to sound that bad back in the days. But that was because we had no equipment. Not because we wanted to.
Nineties
I love hearing metal productions from the nineties. That old sound always remains my reference. Dynamics, liveliness, room for small ‘human’ mistakes. There may be room to breathe. Emperor’s ‘Anthems’, for example, I think is a fantastic mix. There’s a lot going on musically, but your ears have to dig in it for every part to hear. As a result, the album stays fascinating, you’ll hear new things every time. I also find very unique productions such as Covenant – In Times Before the Light, interesting. It is not necessarily sounding great, but very unique and recognizable.
I am aware that the current generation of metalheads like to hear things differently than I do. I grew up with old rock and roll and the nineties were my heyday. Today’s kids grow up with electronic music, computer beats and autotune vocals. When they make the step to metal, it’s not surprising their ears are used to a different sound.
Special guest: J. and K. of nether. J. and K. took Floris and Ward back to the track that drew them into heavier music. Talking about the Dutch and Belgian black metal underground.They all show you their latest gems, giving an update on Zwotte Kring bands and let the wheel of fate decide which song of nether – Between Shades and Shadow, will end the show.
Unfortunately this time Gerhans couldn’t make it to the recordings.
Even though both acts have a very different approach to their music, they’ve both proved to bring something new to the table, seamlessly blending different subgenres into a sound that is inherently their own. Lyrically, Nihil Vincit Omnia is a very dark and nihilistic view of the world and humanity. Musically, both bands have furthered their experimental and eclectic style. The Color of Rain have upped the ante and produced an offering that’s even more symphonic and dark than their debut album Oceans Above. Meslamtaea has broadened its jazz-like qualities with dissonant and alienating melodies and rhythmic patterns not unlike those found in fusion. An exciting and brooding offering, showcasing two of the most unorthodox acts in Dutch extreme metal.
Prepare for yet another offering from the Dutch Zwotte Kring collective. Sharing multiple musicians between them, Meslamtaea and The Color of Rain decided to join forces for a split EP.
The Color of Rain: For fans of: Harakiri for the Sky, Cynic, Revocation, Ulcerate, Deathspell Omega, A Forest of Stars, Mgla
Line up: Gerhans Meulenbeld – guitars and compositions. Floris Velthuis – drums, bass and synths. Devi Hisgen – vocals and keys.
Meslamtaea: For fans of: Dodheimsgard, Ved Buens Ende, Fleurety, Sear Bliss, Imperial Triumphant
Line-up: Floris Velthuis – guitars, bass, drums, vocals and keys. Ward Theunissen – vocals. Izzy op de Beeck – horns. Gerhans Meulenbeld – lead guitars.
Mixing and mastering by Floris Velthuis and Devi Hisgen. logo and artwork by Bram Bruyneel
Album name: Nihil Vincit Omnia Genre: black metal, post-black, extreme metal Type: Vinyl / Digital Label: Zwaertgevegt Release date: 28/06/2024 Order HERE
The project was founded in 1998 as a one-man formation by Floris Velthuis. After a demo and split single, the first full length was released in 2005, followed by a split EP. After a 10-year hiatus, Meslamtaea came back stronger than ever. While releasing a split single and a trilogy of full-length albums, Ward (vocals) and Izzy (trumpet) joined the band.
Meslamtaea is an expressive and experimental black metal band from the Netherlands. Their unique style is characterized by jazz-passages, expressive vocals and a diversity of atmospheres. Ranging from aggressive to psychedelic and dreamy. Trumpets are frequently used in the music. Their style is influenced by Fleurety and Ved Buens Ende and a number of jazz fusion bands. The lyrics paint a negative worldview and are often dystopian in nature.
Meslamtaea is now a quartet since the band has been joined by Gerhans who provides guitar solos. Just like Floris, he is part of The Color of Rain and they joined forces to produce a split record. Four new tracks have been recorded, all of which represent a cold and dark urban landscape where the downside of humanity reigns supreme.
For fans of: Dodheimsgard, Ved Buens Ende, Fleurety, Sear Bliss, Imperial Triumphant
Line-up: Floris Velthuis – guitars, bass, drums, vocals and keys. Ward Theunissen – vocals. Izzy op de Beeck – horns. Gerhans Meulenbeld – lead guitars.
Mixing and mastering by Floris Velthuis and Devi Hisgen. logo and artwork by Bram Bruyneel
Album name: Nihil Vincit Omnia Genre: black metal, post-black, extreme metal Type: Vinyl / Digital Label: Zwaertgevegt Release date: 28/06/2024 Preorder HERE
Prepare for yet another offering from the Dutch Zwotte Kring collective. Sharing multiple musicians between them, Meslamtaea and The Color of Rain decided to join forces for a split EP.
Even though both acts have a very different approach to their music, they’ve both proved to bring something new to the table, seamlessly blending different subgenres into a sound that is inherently their own. Lyrically, Nihil Vincit Omnia is a very dark and nihilistic view of the world and humanity. Musically, both bands have furthered their experimental and eclectic style. The Color of Rain have upped the ante and produced an offering that’s even more symphonic and dark than their debut album Oceans Above. Meslamtaea has broadened its jazz-like qualities with dissonant and alienating melodies and rhythmic patterns not unlike those found in fusion. An exciting and brooding offering, showcasing two of the most unorthodox acts in Dutch extreme metal.
TCOR started during the corona pandemic, when life once again proved to be fragile and meaningless. This feeling of insignificance inspired founder Gerhans Meulenbeld to create the band. As a growing contempt for humanity and its ridiculous attempts to understand everything developed, his desire to create was fueled. Using his broad love for different metal styles, The Color Of Rain quickly became an exciting combination of atmospheric black metal and technical death with progressive passages. Floris Velthuis and Devi Hisgen joined and quickly their first offering Oceans Above was written. The album came out in 2023 through Void Wanderer Productions to great critical acclaim.
For fans of: Harakiri for the Sky, Cynic, Revocation, Ulcerate, Deathspell Omega, A Forest of Stars, Mgla
Line up: Gerhans Meulenbeld – guitars and compositions. Floris Velthuis – drums, bass and synths. Devi Hisgen – vocals and keys.
Mixing and mastering by Floris Velthuis and Devi Hisgen. Logo and artwork by Bram Bruyneel
Album name: Nihil Vincit Omnia Genre: black metal, post-black, extreme metal Type: Vinyl / Digital Label: Zwaertgevegt Release date: 28/06/2024 Preorder HERE
In the age of digital streaming, the act of purchasing physical music—be it CDs, tape or vinyl records—has become a statement of support, a tangible connection between fans and artists. But where should one buy these musical artifacts? Directly from the band or through the record label? It’s a question that touches on the heart of the music industry.
Supporting the Band vs. Supporting the Future
When fans buy directly from the band, they’re often under the impression that their money goes straight into the pockets of the musicians they admire. It’s a direct form of support, a way to say “I believe in you” without the middleman. However, this perspective overlooks the crucial role that record labels play in an artist’s career.
Record labels do more than just press albums and ship them out. They’re involved in the artist’s development, promotion, distribution, and often provide the upfront costs for production. When fans purchase music from the label, they’re not just supporting the band; they’re investing in the label’s ability to continue supporting that band—and others like them—in the future.
The Label as a Launchpad
Consider the label as a launchpad for the band’s career. A successful release through a label can lead to more resources for marketing, touring, and producing higher quality music. It’s a cycle of growth: the more successful the label, the more they can invest in their artists.
A Symbiotic Relationship
The relationship between a band and its label is symbiotic. While the band creates the art, the label helps to amplify their voice. Buying from the label ensures that this partnership can thrive, leading to more music and more opportunities for the band to reach new heights.
Conclusion
In conclusion, while buying directly from the band is a wonderful way to show support, purchasing from the label can have a broader impact. It’s an investment in the band’s present and future, ensuring that the music you love continues to find its way to your turntable for years to come. So next time you’re considering where to buy that limited edition vinyl or CD, remember that the label’s role is pivotal in the grand tapestry of the music industry. Your purchase there could be the reason we see more from the band in the future, under the nurturing guidance of a label that believes in their potential just as much as you do.
Bram Bruyneel is one of the most talented artists in Belgium at the moment. He already decorated many Zwotte Kring albums with beautifully drawn covers. He also supplied the logos for, among others, The Color of Rain and Meslamtaea. It was high time to check in with him and ask about the countless projects past and present, his motivations and the developments in his busy life.
1. Hey Bram. Thank you for making some time for us. You’ve been involved in various Zwotte Kring projects for quite some time now. How did that happen?
First and foremost, thanks for this conversation! If I go back in time and am not mistaken, it all started with Marquis, a project by Devi (Hisgen). I was asked to design the logo and cover artwork for the full length “Mitclan” in 2015. Man, how time flies! I have many fond memories of this design. This was also one of my first designs that I made in black ballpoint pen. After this, Devi came along with another project “Teitan” for which I was also allowed to come up with the logo.
Years later I came into contact with Floris for Schavot and we immediately had a very pleasant relationship and conversations about music, art and everyday things. Personally, I am a big Schavot fan, I think the debut album “Galgenbrok” is magical! He also challenged me to do a digital painting for his next album with pastel, inspired by the works of Anton Pieck. This is one trait of the Zwotte Kring, they challenge people in a very positive way to get the most out of it!
After a while designing for Schavot I also came into contact with Asgrauw and Void Wanderer Productions where I had the honor of doing a shirt design for both + the cover of their sampler CD, which also gets many spins here. The last projects for the Zwotte Kring were designs for Meslamtaea and The Color Of Rain. Bands that also give me enormous satisfaction and happiness to be allowed to design. Gerhans is another person who can bring out the best in someone! A true musical talent. I hope that this fruitful collaboration will continue for a long time!
2. You are of course proud of every artwork you deliver. Still, you’ll probably have a few favorites? Are there certain works of art that you are just a little extra proud of? Certain projects that are still fresh in your memory in terms of depth or communication?
There are indeed many designs that stick with me, but a number of them stand out with flying colours! Years ago I was able to make many designs for Bodyfarm. I then had a lot of contact with Thomas Wouters, who is unfortunately no longer with us. He had such an enormous passion for music and art. So my first shirt design I made for them (a reaper in medieval woodcut style) is very dear to me.
In addition, the designs I made for Fleshcrawl are also very special to me. Thanks to the Elpee Music Club in Deinze (with the always enthusiastic Katelijne!) I came into contact with a huge number of bands, including Sven Gross (r.i.p.) from Fleshcrawl. He also believed in my designs. The collaborations with Memoriam (Karl Willetts) and Milking The Goatmachine (Daniel Jakobi), still bring me enormous joy. These were childhood heroes for me and to see my drawings adorn their merchandise… that’s pretty cool! I also really appreciate the collaboration with labels such as Into It Records and Void Wanderer Productions!
3. How did you actually get into metal? What were your reasons to start using your talents in this culture? What is your own favorite style of music?
I got into the metal world thanks to my father. It was literally and figuratively instilled in me. On my tenth birthday he took me to a Kiss concert and I can still remember their show vividly! The cap from the show that I received then still hangs in my drawing room. After this we spent a lot of time in the Biebob and the Trix (formerly Hof Ter Loo). As a result, my interest quickly shifted to black and death metal. Immortal, Marduk, Limbonic Art all had a very big impact on me. The Xmass festivals etc. became an annual tradition. Here I got to know many bands (Deicide, Bal – Sagoth, Aborted, Dying Fetus…)
What especially appealed to me about these genres was their artwork/merchandise… For me it was fantastic to go to school with a Bloodthirst long sleeve from Cannibal Corpse or with the Panzer Division shirt from Marduk. Of course, all my school books were decorated with album artwork and logos of all my favorite bands. The teachers at the time did not always like them. My preference for old medieval designs developed very quickly.
I ended up in the “design world” very spontaneously. A local band liked my drawings and thought they could use them for our shirts. After this the ball slowly started rolling to where I am now. I have an extremely varied taste in music genres. If I’m in the mood for metal, I’ll primarily go for black and death metal. I also really enjoy listening to prog, heavy metal, etc., but the poetic music of Frank Boeijen can also move me. The people who know me very well know that I also have a huge guilty pleasure and that is Taylor Swift… now I imagine that a lot of readers will frown their eyebrows but I can’t help it, my playlists are also very varied. From “Hammer Smashed Face” to “Shake it Off”. The confusion in the eyes of the people around me always makes me laugh.
4. In an earlier interview with The Color of Rain’s Gerhans Meulenbeld we could read that he sees you as a kind of ‘secret’ fourth band member. Does it feel that way for you too? How do you try to internalize the identity of a band you work for?
It certainly feels that way! The collaboration with TCOR is very precise. Personally, I am not the fastest draftsman/painter, but we keep each other informed of every step. From sketches to updates and finished product. I really feel part of the band this way.
As I said before: I fully appreciate the constant challenge to go further creatively and to experiment with new techniques. First of all, I have to connect with the music and the idea behind the band (theme, lyrics, etc.). Only then can I convert those ideas into drawings and paintings. The band also gets to see my vision in this way. The merging of different opinions then forms the identity of the band.
5. You have delivered colorful covers for both Schavot and The Color of Rain. A striking thing because most of your work is fairly monochrome. How did that happen?
That colorful collaboration came about because Floris saw something in me that I myself didn’t know was present yet. My preference for dark, black and monochrome works will always be there, but it is very nice that I can now turn to other mediums to put my vision and thoughts on canvas. I’ll be honest, the color designs are in collaboration with my lovely wife. Because I am mainly used to thinking in monochrome designs, I sometimes have difficulty translating my vision into color. If I get stuck with that, I ask my wife. She then gives me instructions about her vision of how she would approach it.
This has now resulted in some colorful designs, such as bringing life to the fire of the Schavot funeral pyre and the color patterns on the back cover of Fleddy Melculy. So expect even more colorful designs in the future!
6. Can you tell us something about some projects you are currently working on? Are there bands that you have a longer agreement with for a series of albums or do you work one album at a time?
This is often viewed album by album, but over the years I have built up very nice contacts with people and bands who often return to receive a design from me which is an extremely good feeling. I am currently working on some very nice assignments for some local and international bands, not all names can be mentioned of course. Bands I can give you are: Wallfahrer and Lay Down Rotten. As always: “All will be revealed in due time!”
7. You have recently also started working in the tattoo industry. How did you end up there? What style can we expect your ink to be?
I also fell into this very spontaneously. This is thanks to my in-laws. My father-in-law wanted an extension of an original tattoo of his so I made a sketch/design for that (like a good son-in-law does who can draw haha). They then ended up at Cee’s Pendulum Swing Tattoo. Cedric is an artist par excellence and a true Jedi master with ink. During his tattoo appointment, the subject of a ‘tattoo apprentice’ came up and that Cedric would like to have one in the future. My mother-in-law let me know immediately and believed this was something for me. I saw this as a golden opportunity and sent him a message that evening to introduce myself.
There was an immediate friendly click that over the months grew into a professional mindset to convert my drawing skills into tattoos. I am currently still a student aka padawan (my nickname in the shop) who eagerly and enthusiastically accepts all opportunities. Regarding the style; you can expect a continuation of my dark, obscure medieval woodcut drawings that I will translate into tattoos with a twist that is my own.
8. You work a lot with both Dutch and Belgian bands. Do you notice a difference between the northern and southern neighbors in terms of how metal lives? Does Belgium also have collectives such as the Zwotte Kring? Which bands from Belgium would you recommend when it comes to the heavier styles?
Personally, I don’t notice many differences between the Dutch and Belgian bands that I design for, although Dutch bands are often a bit more direct in their approach. Something that I certainly do not experience as negative. If the passion is there and I notice that there is a gigantic driving force behind the band and I fully agree with the theme and story behind the music, then this is simply great.
I have never thought about whether there are collectives present or consciously looked for Belgian collectives, but I do know of one, namely The Nox Entity with bands such as: Rituals Of The Dead Hand, Entartung, Lhaäd, Wolven and Nox. Bands that I definitely recommend checking out!
9. Thank you so much for your time. We hope to enjoy your work and collaboration for a long time to come!
This is very much appreciated! Thank you also for your interest and very nice cooperation!
Special guest: Kevin Kentie (Ibex Angel Order, Funeral Goat, Verbum Verus, Zwart, Sauron, etc..)
Kevin takes Floris, Gerhans and Ward back to the track that drew him into heavier music. They all show you their latest gems and let the wheel of fate decide which song of Kevin’s discograpy should be listened to.
Thanks to de Schuur for making it possible to record the Podcast at this place.
