VOID WANDERER PRODUCTIONS is thrilled to announce that the Asgrauw logo shirts will come back. This time with the logo printed in grey on a Black or White shirt. To be released on teh 25th of August.
SPIRITS25 – 27/09 Tormented Spirits Blackfest, Engelenbak, Doentinchem. W/ Tsatthoggua, Asgrauw, The Chösen, Bezwering, Hellevaerder, Prophecy of Asag.
RMS25 – 08/11 The Rock & Metal Society Meeting, Popei, Eindhoven. W/ Verloren vertellingen (Asgrauw, Duindwaler, Hellevaerder & Schavot) & many more.
Enter coupon code upon checkout.
A small update on the delay of IBEX ANGEL ORDER second album, entitled “II – VOID SERMON”
The vinyl is in production according the pressing plant. Next week they will tell us when to expect the delivery. We will tell you ASAP if we know more.
The album is set for release on a limited run vinyl: -140g 12” Red Vinyl -Black Innersleeve -Gatefold Jacket -Wrapped
Planned to be released in summer 2025. Will be shipped out ASAP after we received the vinyl.
1. Introduce the band Veenlijk. Who are you and where are you from?
We are Veenlijk, from the Amersfoort region in the Netherlands. With Loek on drums, Gilios on bass, Tim on “vocals” and guitar, and Geri on guitar.
2. On Galgenberg you can hear a mix of styles – punk, grunge, thrash, hardcore, and of course old school black metal. Which bands have inspired you?
So many! The four of us all listen to different types of music, and we bring those influences into the songwriting.Asgrauw and Darkthrone are definitely key black metal inspirations.But we also draw from other directions – Hellripper, Death, Amenra, and Refused.Very diverse!
3. Your drummer hits ridiculously hard. I hear elements of punk and grunge in his playing, and it grooves like a steam train. The raw guitar solos aren’t very typical for black metal either. Is it easy for you to fuse all those styles with black metal?
How does that work in the writing process? Is there a division of roles in the band?Our drummer doesn’t come from a metal background at all, so basically everything he plays naturally leans into punk/hardcore territory.The writing process is pretty straightforward. We jam on riffs and tasty little licks we’ve come up with and build things from there.
4. With your EP Galgenberg you immediately set the bar high. You recorded in a professional studio – The People’s Noise – with experienced producer Hans Pieters, who, I’m told, is also known for the hit “Het is altijd lente in de ogen van de tandartsassistente”. In a YouTube documentary, you show how the EP came together. How did you end up at this studio, and did the producer have an affinity with black metal? How did the collaboration go?
The collaboration went really well! Hans has tons of experience and a real love for the craft. He’s recorded many different genres, which we think is important.He’s also hilarious – which these lads definitely appreciate!We recorded the EP live, without a click track, which helped create a very lively and cohesive feel.We ended up at Hans’s studio thanks to a tip from the drummer of Gogmagore – who also makes a brief appearance in the documentary.
5. I heard the studio sessions were pretty stressful due to time pressure, but that it also led to a steep learning curve. What lessons will you take into your next recording?
Next time, we’ll take more time to really perfect the songs. We want to add more layers to our music – make the heavy parts really hit, and give the atmospheric sections more depth.
6. The lyrics are in Dutch. Why did you choose that, and what themes do you explore in Veenlijk?
Our lyrics are heavily inspired by Dutch folklore, but often they carry a more timeless and deeper meaning underneath.
7. The logo and cover art are striking. What can you tell us about them?
The logo was originally designed by our bassist, and later redrawn by @kalimacabre.She also did the cover art for Galgenberg. It depicts Death standing on the Galgenberg (Gallows Hill) in Amersfoort, overlooking the medieval town.
8. Galgenberg has been really well received by both the public and critics – especially impressive for a debut. Did you expect that, and how do you deal with the feedback?
We don’t really do much with the feedback. Of course it’s amazing to hear that people appreciate it, and we absolutely welcome that. But we’re mostly just doing our own thing and we’ll see if people vibe with it.
9. You’re already gaining a reputation on the live circuit for your energetic shows. You’ve recently played with a larger Scandinavian band (Scitalis) and had a great gig at Diabolical Echoes in Arnhem alongside Asgrauw, Grafjammer, and Nyrak. What was that experience like?
Yeah, we absolutely love playing live! We have so much fun during the shows, and especially connecting with the other bands we’ve met along the way.Playing with Asgrauw was always a big dream for us, and it has already come true several times. Really great guys!
10. What are the plans for the future, any new recordings or shows coming up?
We’ve got a show lined up in Germany at the end of the year, but we’re mainly focusing on writing new material – and possibly working toward a full-length.
1. You’ve been active for quite a few years, and your musical journey dates back to the early ’90s. Many people know you primarily from Wurgilnõ and Vergankelijk, but you have much more in your history, such as Inverted Pentagram. Can you tell us about your musical career and how it has developed over the years?
My musical journey began, like many guys in the regio of Limburg (South of the Netherlands) at the time, at a young age with a brass band. At one point, we had three generations playing in the same band: my grandfather on horn, my father on bass, and myself on tuba. After my grandfather passed away, we stopped, and in 1989, I switched to bass guitar. In the summer of 1990, the predecessor of Belphegor was formed, which was renamed Inverted Pentagram in 1992. In 1991 we started Corpusculum as a side project with some members of Belphegor. In 1996, I decided to stop with Inverted Pentagram because things weren’t running smoothly anymore, and there was too little progress.
In 2000, I was asked to collaborate on A Challenge of Honour: a project that combined industrial with folk influences. I worked on that until 2012, with my last performance being at Summer Darkness in Tivoli, Utrecht. After that, I started writing music again for Corpusculum, and since then, I have focused entirely on black metal. This resulted in several demos and, eventually, a full album at the end of that year.
During the 2020 lockdowns, I decided to start a Dutch-language project called Mergelland, with the main theme being Limburgian legends and myths. This project evolved into Wurgilnō in 2022.
2. You’ve witnessed the rise of black metal up close. How do you look back on the early days compared to the scene today? What, in your opinion, has changed—both positively and negatively? And what is, for you, the essence of ’90s black metal, and is that essence still attainable today?
My first encounter with black metal was in 1986 when I saw the Seven Dates of Hell concert by Venom on Sky Channel. It made a huge impression on me at the time. Through VARA’s Vuurwerk and magazines like Aardschok, I quickly discovered a whole new world, with bands like Bathory and Celtic Frost—still my favorite bands.
When I bought my first guitar in 1989, I didn’t initially know how to approach it. That changed when I ordered the Medieval Prophecies EP by Samael. That record made me realize that music didn’t have to be complicated to sound powerful. From then on, that became my guideline: it has to sound heavy to my ears—the rest doesn’t matter much.
When the second wave really started breaking through in 1990, with a flood of new music coming through tape trading and demo exchanges, you could feel that something special was happening. We were entering a new era. Especially the demos from Enslaved, Emperor, Rotting Christ, and Necromantia made a big impact on me. The first album that truly grabbed me by the throat was A Blaze in the Northern Sky by Darkthrone. That album felt like a sign: our time had come!
The biggest difference with the past, I think, is that the ‘romance of discovery’ is gone. Back then, tape trading and writing and exchanging with people all over the world were essential parts of the scene. I would receive packages and letters from all corners of the world every day – sometimes people would even come to the door to collect stamps. Nowadays, you just open Spotify or Bandcamp, and the algorithm tells you what you might like. Contact with bands happens via chat or email, and it’s a matter of seconds instead of waiting weeks for a letter with a trade list. Sometimes, I miss that era. Personally, I’ve always been purely focused on the sound – either I think something sounds heavy, or I don’t. Occasionally, I change my mind about a band. Mayhem or Burzum, for example, never really interested me – too much drama and theatrics, and I still don’t connect with that.
What strikes me is that many bands today are going back to the ’90s sound. That’s fine by me because that style is closest to my heart. But at the same time, it means that, with a few exceptions, there’s not much progression in the genre.
3. You’re a multi-instrumentalist and do everything yourself: guitar, bass, keyboards, vocals, and drum programming. How did that come about? And how do you experience working on studio albums alone compared to playing in a full band?
It’s mainly due to a lack of fellow musicians- the black metal scene here in the region is practically non-existent. Additionally, my full-time job makes it hard to keep regular days or weekends free for rehearsals.
During the years I played with A Challenge of Honour, I taught myself how to make music on my own. I now apply that knowledge to my current material.
The biggest advantage is that, as soon as I have an idea, I can immediately go into my small studio to turn it into music. The biggest downsides are the lack of social interaction, writing songs together, and exchanging ideas. As a solo artist, you often miss the constructive criticism you need to stay challenged. Fortunately, I have a network of people around me who can provide that feedback.
4. Do you record all your music yourself? Do you also handle mixing and mastering, or do you work with others? How does that process look?
Yes, except for one track by Wurgilnõ, where Suffering Souls from Germany played a part. I mix everything myself, but I leave the mastering to someone with more expertise. The Krijtland album was mastered in Sweden, and Vergankelijk – thanks to your tip – was mastered by the very talented Devi Hisgen, who will also handle the mastering for the next Wurgilnõ album.
I usually start by setting the tempo of a track. Then I write a guitar riff and come up with a second guitar part. Next, I experiment with the drums and come up with a bassline. This is how the song slowly grows. Once the rough sketch is done, I fine-tune and “embellish” it, after which I write and record the vocals. Then, I mix everything until I’m satisfied and send it for mastering. This process differs from track to track – some are finished in a few days, while others take weeks to ferment.
5. What has Wurgilnõ released so far, and what does the name Wurgilnõ mean?
Wurgilnō has two albums, an EP, and a South American release where the debut and EP were combined. Originally, the first CD, De Doden Rusten Niet in Vrede, was intended as a demo tape, but Fetzner Death Records wanted to release it as a CD – and who am I to say ‘No’ to that?
The name Wurgilnō is an Old Saxon word that means “body on a gallows.” This is based on a family story about one of my ancestors, who was sentenced as a Bokkenrijder (a notorious bandit) and hanged, with his body left hanging until it fell down by itself. In black metal, it doesn’t get much more grim than that.
6. The music of Wurgilnõ heavily draws from the first and, to a slightly lesser extent, second waves of black metal. What attracts you to that raw sound? And which bands or artists have inspired you the most?
That raw, often simple sound has always appealed to me. I’m not a fan of solos or fiddling around— the rougher, the better. If something sounds heavy, there’s nothing left to improve. The gritty, unpolished sound of bands like Hellhammer, Bathory, and Sarcofago has always affected me more than the polished albums that came later. That’s still the case. Take, for example, the first four albums by Amenra—I think they’re amazing. You can hear the crackling, the noise, and even the mistakes, and that’s what makes an album feel organic.
As for inspiration, I would mention Bathory, Celtic Frost, early Samael, and Sarcofago, but also bands like Beherit and the old Greek scene have had a huge influence on me.
7. How does your music come about? Do you start with a specific feeling or idea?
With Wurgilnõ, I always put together a list of local myths, legends, or historical events from the Limburg region in Belgium and the Netherlands. I then do extensive research into these topics, which forms the basis for my lyrics. Part of it is based on that research, but I also add my own fictional elements.
Musically, it usually starts with a riff, a feeling, or an emotion. From there, I build and try to keep the music as exciting and varied as possible. I’m someone who loves repetitive riffs that go on for a long time, but I have to remind myself not to make them last too long.
8. You choose to write your lyrics in Dutch. Why that choice? And do your lyrics have a specific Dutch or even Limburgian theme?
I actually did everything in English for thirty years, but I discovered that I express myself better in my native language. Plus, we’ve been listening to a lot of Norwegian music since the ’90s, and that was never a problem. Many of my favorite Dutch bands sing in Dutch, and for foreign fans, it has the same exotic appeal as Norwegian, French, or Spanish does for us.
The theme of Wurgilnõ is primarily focused on Belgian and Dutch region of Limburg. This region has a very rich history, and as a history nerd, I found it fascinating to delve into it. There’s more to Limburg than marl and Bokkenrijders!
9. Your latest project, Vergankelijk, with Joris from Nether on vocals, recently released an EP. This project has a very specific theme. Can you tell us more about that? How did you and Joris come together, and how does Vergankelijk differ musically from Wurgilnõ?
Joris and I met at the Samhain Festival, where he and his wife were sitting at a table eating while Benjamin (Saturni Records) and I were looking for a seat. We started talking, and there was an immediate click. After a while, I asked him if he would like to record some lyrics for Vergankelijk. Since he is also a doctor and the theme fit within his professional field, it seemed like a fitting choice. He enjoyed it so much that he ended up wanting to do the entire album—and so we became a duo.
The theme of Vergankelijk is a trilogy about the transience of the human body, divided into three chapters: De Geest (The Spirit), Het Lichaam (The Body), and De Ziel (The Soul). We are currently finishing De Geest, which is primarily about Alzheimer’s and dementia. Before the album, Saturni Records will release two tracks as an 8” EP in early May.
Musically, Vergankelijk is less black metal and leans more towards doom/sludge, with a hint of black metal here and there. It’s all about the feeling, not about sticking to a specific genre—the lyrics of Joris are intense enough.
10. What stands out about Vergankelijk is the prominent and beautifully crafted basslines. Are there certain bassists who inspire you, or does that just come naturally in your playing?
I’ve always found Peter Hook of Joy Division/New Order to be a very influential bassist. Although he mainly plays a Bass VI – a cross between a guitar and a bass – that’s an instrument that’s still on my wishlist. For me, a bass doesn’t necessarily have to be a background instrument; it can take the foreground. Something that the guys from Necromantia understood very well.
11. You also run Merg & Been Records. What does the label specialize in? What kinds of bands do you release? And how is it to run a label in an era of streaming and an overabundance of monthly releases?
Merg & Been grew out of Tenebrae Sumus Records, where I used to release tapes for various international and national acts. For example, I’ve done releases for Salqui, Sacred Son, Apothecary, and Satanic Death. Since Merg & Been, I’ve mainly used it for my own music and focus solely on tapes. The next release will be the Galghe (black metal) tape, followed by Broken Ground (sludge/doom), which looks like a tape but is actually a USB drive.
The market is saturated; nowadays, you have to rely on your loyal followers. That’s why I always work in small editions. Streaming is an inevitable, dark force, but fortunately, the metal scene is still a scene that values physical releases.
12. Merg & Been seems to have become more than just a label; it’s turned into a media platform. Can you tell us more about that?
I’ve been writing for the Portuguese online magazine Blessed Altar for a while now, though it’s only twice a month. Since I really enjoy this activity and discover a lot of new music this way, I decided to add a magazine to the Merg & Been website.
I’ve been working on it for almost a month now, and I’ve already written several interviews and reviews. It’s still new, and the site needs to be filled further. Over time, it won’t be daily anymore because it takes quite a bit of time to do on my own. If anyone is interested in contributing, they can always reach out.
13. You operate deep in the south of the Netherlands. Is there even a black metal scene there? And since you’re so close to Belgium and Germany, do you have many connections with the Dutch scene and bands across the border?
I mainly have connections within the Dutch and Belgian scene. The German scene feels a bit less accessible, even though my German is quite good because I live only a few kilometers from the border. There isn’t really a black metal scene anymore; there are still a few bands here and there, but it’s not what it used to be. However, that doesn’t matter, and thanks to technology, it’s no longer a major problem in 2025.
In the labyrinthine world of underground music, where authenticity reigns supreme and artistic vision eclipses commercial ambition, choosing a format—vinyl, CD, or cassette—is more than just a logistical decision. It is an act of storytelling, a way to encapsulate the spirit of the music and the ethos of the label.
For underground labels operating on tight budgets and even tighter margins, this decision can feel like choosing between children. Each format comes with its own advantages and challenges, requiring a careful balancing act of artistry, practicality, and market appeal.
Vinyl: The Prestige Player
Vinyl is the undisputed champion of physical music formats in terms of cultural cachet. Its large, tactile artwork and rich, warm sound have an almost romantic allure that resonates with audiophiles and collectors alike. In the underground scene, vinyl can elevate a release, bestowing it with an air of permanence and gravitas.
However, vinyl production is fraught with obstacles. Pressing plants are often backlogged, with wait times stretching into months, and costs can be prohibitive for small labels. For a niche audience, the higher price point may also limit accessibility. Nonetheless, for those seeking to make a lasting impression, vinyl remains the crown jewel.
CDs: The Workhorse
Often dismissed as passé, the CD remains a practical and versatile option. It offers excellent sound quality at a fraction of the cost of vinyl and is straightforward to produce. For underground labels looking to reach a wider audience or fund riskier projects, CDs can be a reliable revenue stream.
Yet, the CD’s lack of a “cool factor” can be a stumbling block. In a scene where aesthetics matter as much as the music, the humble compact disc may struggle to excite fans. However, pairing CDs with creative packaging can rekindle interest and make them a viable contender.
Cassettes: The Cult Classic
Cassettes embody the true DIY spirit. Their low production costs and quick turnaround make them ideal for underground labels operating on shoestring budgets. They also cater to a growing niche of fans who appreciate the nostalgic charm of analog audio.
However, cassettes are not without their limitations. Their sound quality falls short of modern standards, and their fragility can pose issues for collectors. Despite these drawbacks, their retro appeal and affordability make them a staple in the underground scene.
The Crossroads
Ultimately, the choice between vinyl, CD, and cassette boils down to the label’s identity and goals. Are you aiming to create a collectible artifact, reach the broadest audience, or tap into a retro aesthetic? Each format tells a different story and serves a different purpose.
In an era dominated by digital consumption, physical formats remain a symbol of dedication and passion—an avenue for underground labels to forge deeper connections with their audience. Whether it’s the crackle of a vinyl record, the clarity of a CD, or the hiss of a cassette tape, each choice reflects the unique voice of the underground.
Each time a label prepares a new release, it faces the daunting decision: which format should we choose this time? Behind this choice lies a series of critical questions—how many copies are likely to sell? Is it an EP or a full-length album, and does the runtime influence the choice? Most importantly, which format best complements the subgenre?
It is undeniably encouraging for labels when one format consistently outperforms the others. This success often streamlines future decision-making, leading to quicker format selections for upcoming releases.
Of course, it is even more motivating when a label receives direct requests for a second format alongside the original release. However, such enthusiasm is usually contingent on the initial release performing well in the first place.
But the charm of our collective is that I can call Zwotte Kring my home. Like-minded people, everyone with a vision of their own and a skill of their own. To be a part of this group of people and ideas suits me well, we can learn from one another and share our critiques with one another.
On our Zwotte Kring platform we interview people who we find interesting and appreciate for their commitment to the scene. Today we pay attention to Daan, the newest member of Zwotte Kring
1. Can you introduce yourself?
I’m Daan Bleumink, 31 years old and I have been writing music in the black-and death metal style for about 17 years now.
I started as a guitarist and fairly soon after I picked up the drums. The only thing which has always interested me was creating fast-paced and dark music. Being able to express myself and immerse myself in music was the main reason I became versed in multiple instruments.
A few of my current favourite bands and influences are: 1349, Hate Forest, Thy Darkened Shade, Golgothan Remains, Belphegor, and so many more, it would be impossible to name them all.
2. How did you end up in black metal?
Ever since I was young I was thrashing along to Rammstein, but when I got a little bit older the urge to discover harder and faster music took over.
It was through Beavis and Butt-head that I found these extremes. During these episodes they tore into music videos and one of those clips was Heartwork by Carcass. I instantly fell in love with the fast-paced drums and the ripping guitars. From there on out I’ve spent years devouring everything by Carcass, especially ‘Symphonies Of Sickness’ is a record I still enjoy very much after all this time.
During a class (second year in highschool) I was so bored that I was just mindlessly scrolling through Youtube, and that’s when I came across One By One from Immortal. Man, that’s where a whole other world opened up for me. The sonic violence, the whole image… the drums! Just incredible.
Ever since that moment I dove into the realms of black metal, and haven’t left. So much so that I don’t listen to anything else but black, death and all crossover genres between.
3. Your style fits the one we call 2nd wave black metal, if I’m correct. Both the Scandinavian style as the more primitive and raw Slavic styles. Besides that you currently experiment in the down-tuned cavernous blackened death metal. What –as a musician and listener– is it you look for in extreme metal exactly?
Dark, poisonous sounds accompanied by thunderous drums. I can’t exactly place my finger on it, but certain tones and frequencies resonate well within me. The flow of the music is also very important to me. Riffs have to flow into one another properly, drums have to powerfully accentuate certain moments and the entirety of a song has to convey a specific energy to me. Melody is quite optional, because I can easily listen to bands like Brodequin or Defeated Sanity all day.
4. You play multiple instruments, did you take classes for this or are you self-taught?
When I was 14 I started playing the guitar. I took one year of private classes and pretty much only practiced techniques that would allow me to play music from bands like Death, Immortal and Mayhem through tabs. My guitar was practically glued to my hands and I averaged about 6 hours a day on practice and playing. From the very start I also began to create my own music.
During those times I made use of a drumming-pc, but my true desire was being able to create everything myself. That’s where I acquired a cheap electronic drum kit and began playing. My itch wasn’t truly scratched through, because I missed the bombastic sound of a proper drum kit, so eventually I purchased one for myself. Alongside that I gathered some cheap microphones and mixing equipment and that’s where I delved into the world of recording and mixing music.
It was quite a journey of falling and crawling back up and I taught myself a fair few things, mainly because I never took lessons. I just watched my idols (Frost, Dominator, Bloodhammer) and tried things for myself. Having fun was the biggest factor!
Because the tracks that I wrote sounded empty, I took up bass guitar as well. I started off by quite simply playing lower bass lines along to the guitars, but by now I’ve realised that the bass guitar can make or break a track. Nowadays I spend a lot of time creating solid bass lines that accentuate the structure of a song rather than merely filling up empty space.
5. You are known as the drummer from Hellevaerder. This band comes across as quite unique to me. The music is melodic, but not too polished, and has interesting bass lines, memorable compositions and a fantastic front woman. The live performance is very strong: the band dressed in black, and Miranda all in white. Can you tell us something about Hellevaerder?
Hellevaerder tells our life stories, with an extra touch of darkness. The so-called ‘call of the void’, the attractive force of darkness. And the opposite of this; the fear of taking the leap, the pull to the light. This duality of forces is a recurring theme in our music.
About 95% of the music and lyrics were previously written by me, with the other band members giving it their final touches. However this dynamic has changed quite a bit since this year. We now have a stable and complete lineup with incredibly talented and intelligent musicians who have a lot to offer. Because of this, our upcoming record will be the first one on which every member has individually contributed to the writing process. We are all facing the same direction now, and with our theme and image established, this was the right moment to fully cooperate on this album. And we all grasped this moment, together.
Celebrate life, worship death!
6. How did the band originate, what was your goal, and what lies in the future?
As I’ve mentioned previously, I had been writing my own music for quite some time now. This is where ‘Throne Of Time’ (ToT) came into existence. After a few shows and ideas for a new record I wrote two songs: ‘Langs eindeloze paden’ and ‘Heksensabbat’.
The lyrics were in Dutch and written by my good friend and artist A.A.W.R. — However at that time ToT’s guitarist-and frontman wasn’t interested in black metal sung in Dutch, but his girlfriend at the time sure was.
Miranda Visser, what a voice!
After she heard these tracks she was instantly excited, and because ToT suffered from differences in what our goals with this band were, we decided to create a new group with a second guitarist, and the bassist from ToT. A.A.W.R. and myself were picking our brains for a very long time on what the band should be called… until she suddenly shouted, ‘Hellevaerder!’
Our goal has always been very clear: to create filthy Dutch black metal. Loud, fast, and mean. Until this day this goal has been met, and we will continue doing so.
After a few changes in the lineup we have had a solid foundation for the past few years now. With this lineup we recorded ‘Verloren vertellingen’, and next year our second full-length will be released. Of course we would love to convey this record in a live setting and are aiming to gather some fresh souls to corrupt at these performances.
7. As drummers, we both complain about playing live to each other, where we give it our all until our hands bleed and our vision starts to blur. But afterwards, we can enjoy ourselves a lot. How do you prepare mentally and physically for such a performance?
For years I only drummed during Hellevaerder rehearsals, as I knew these songs by heart. It was just that there wasn’t much improvement in my game, which isn’t all that strange when you only drum about eight times a year.
For a year and a half now I have my own rehearsal space, where I can actually practice playing the drums. I still don’t really practice Hellevaerder all that much, but I can focus on creating and writing new music. I challenge myself to play faster, more technically and diversely which helps me in performing the existing Hellevaerder music. It’s still difficult to play our new music, but as time progresses this also comes more naturally as my skill continues to improve.
My preparation before shows doesn’t consist of very much. On the day itself I am extremely stressed; did I bring all my gear, can I remember the setlist (even though I’ve gone over this a million times in my dreams). Take a deep breath and move on, switch off my brain once I’m behind the kit and try to enjoy the moment of how our musicianship comes together during the show and how I can positively influence our execution on stage. Physically I don’t prepare much at all, I’ll just have a beer and a smoke. Now that I’m getting a bit older I realise that warming up might be needed, however — but for now I can still manage to play a full set without one. I’ve been slowly trying to create a routine for myself where I try to activate my muscles before the first track of the show, and not during it.
8. Is Hellevaerder the only live band in your arsenal? You’re a multi-instrumentalist playing in several solo projects such as Duindwaler, or other projects where you play multiple instruments. Can you lift the veil a little on your other projects?
At the moment, Hellevaerder is indeed my only live-performing band, and as a drummer I’d like to keep it that way for now. I’m open to playing live as a guitarist and vocalist, however. But for now I have to find a balance and the time between all my other projects.
In the first quarter of 2025 a limited release of Throne Of Time will be unveiled, one which will contain both EP’s and several new tracks. This time I recorded, mixed and mastered everything myself, with the exception of a few guest performances by other Hellevaerder members. It’s the closing of a chapter in which we showcase the growth of both musician and human being, in nearly one and a half hours of music.
For my solo-project Duindwaler there’s lots of material lying around, and I’m currently planning to move this band forward. I can assure you that the next release will be an absolute banger, faster and viler than ‘In het Heemskerks duin’.
Together with Hellevaerder guitarist Bas Cuperus, another record is currently in the process of being created. Our writing sessions have reached their end-stage and our goal is to release a full-length in 2025.
Quite recently I was asked to record the drums for a project called ‘Dwalend’, with our very own Gerhans Meulenbeld on guitar. The music and ideas for this endeavour were quite appealing to me and I have since begun to record the drums for this upcoming EP.
Lastly, a record in the death/cavern death style is in the pipeline, however this is something I only work on when I have space and time, so I can’t really say when you’ll hear more about this.
9. What inspires you while writing lyrics?
Life itself, in a few shades darker than actuality, warped images of the brain and mind dragged through a filthy, disgusting black sludge. History is also a very interesting thing, there are so many stories out there to be told.
I write lyrics in the span of a few minutes, if I can find the moment. I’ll play the track a thousand times (which is very much appreciated at home) and write along with pen and paper. The choice of words depends on the flow of the music, but the overall tale that’s being told has to fit, as well. Often there’s an intricate meaning behind those lyrics, but everyone can interpret these for themselves. Besides a few passages here and there I don’t really share our lyrics, because the vocals are an instrument in itself, and these are responsible for conveying the energy. Everyone can decide for themselves what our music means to them. That’s what makes it art.
10. Zwotte Kring is closed off to new members. With an exception we managed to lure you in because we feel such a great connection. How do you view this collective?
Every musician knows a few other musicians. But the charm of our collective is that I can call Zwotte Kring my home. Like-minded people, everyone with a vision of their own and a skill of their own. To be a part of this group of people and ideas suits me well, we can learn from one another and share our critiques with one another. We can improve on what we already know, and do this in a great environment of harsh metal. We can build friendships and really push ourselves while doing so. It’s not simply a group of musicians who happen to be friends, it’s a group of people with the same vision.
Long live Zwotte Kring!
11. Black metal in the Netherlands and Belgium, what’s the state of it, in your opinion?
What these two small countries can provide in terms of such quality is quite bizarre. Especially in the Netherlands the proficiency has grown exponentially, the last few years have unleashed some true diamonds in the rough. The scene remains small, but the love for this genre is immeasurable.
It’s major that a great deal of attention goes out to the more underground bands too. The overall level of quality and skill is very high in my opinion, and it’s only continuing to improve. The only downside is that I don’t have the time to listen to everything, the supply of quality is simply too large.
12. What does the musical future hold for Daan?
As I’ve mentioned earlier, there’s enough in the pipeline. The one new thing for me however is that I have to place my trust in the craft and knowledge of others. Instead of being a ‘jack of all trades’ and focusing completely on my own thing. Writing music, it’s more fulfilling now because I focus on what I actually like.
At the same time that gives me more opportunity to fill my already overflowing agenda. Everyone has their strong sides and to make use of those is what gives music more layers, depth and dimension. A beautiful thing about music is that you’re never done learning.
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
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