NEW ALBUM ANNOUNCEMENT! Today we proudly present you the cover artwork, album title, release date, track list + other information for Hellevaerders second full-length album “Fakkeldragers”
TRACKLIST 1. Een bepantserde kroon 2. Krijgers van het niets 3. De laatste dageraad 4. Handen geketend in ijzer 5. Fakkeldragers 6. Schaduwen van satijn 7. Waar wij vlammen trotseren 8. In de ban der lusten 9. Akelig gefluister (bonus track CD)
“Fakkeldragers” will be released on June, 21, 2025. Coming in various physical formats such as: ∆ 12″ Vinyl. ∆ 4P Digipack CD limited to 200 copies. ∆ Pro-Tape. -CD by Void Wanderer Productions (NL) / War Productions (PT) -Vinyl & Tape by Zwaertgevegt (NL) As well as on Digital format through all major platforms and the Hellevaerder bandcamp
Alongside the new album, Void Wanderer Productions will also release a new Merch items: × T-Shirt/Long sleeve/Crew Neck ‘Fakkeldragers’ Preorder runs till May 3th.
FIRST SINGLE Handen geketend in ijzer, is out now. Check it at No clean singing / black metal streams
Additional Album Information: Music and lyrics by Hellevaerder. Recording by Arjen Kleiss. Recording & Mixing by Daan Bleumink. Mastering by Devi Hisgen. Artwork by A.A.W.R. Logo by Viral Design.
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
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
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