Out of the steaming necropolis of the Texas underground comes an onslaught of roiling hate otherwise known as Humut Tabal. Describing themselves as “epic thrashy technical black metal”, they released their debut album “Gods ov darkness, hate and flame” onto an unsuspecting world earlier this year following a rough demo and a few live performances.
Arjen Lucassen is a musical maestro beyond compare, with fingers in so many pies it’s a wonder he can still play the guitar! However there is no escaping the buzz that hits the streets when a new Arjen album is about to scratch the vinyl. With the Star One album just released, naturally the Metalcast wants to get involved! Hopefully we may have a more in-depth talk with Arjen at a later date, until then let us whet your appetites with some quick-fire questions and answers from the man himself
Forbidden Magazine has everything you would expect from a publication designed to promote underground metal, from gritty black-and-white graphics to honest CD reviews to interviews with the dark and mysterious alchemists of black metal. Beginning as a webzine and now having produced its first printed copy (with free covermount CD of underground material), the publication is the brainchild of Sleepwalker, also owner of Forbidden Records and creator of A TRANSYLVANIAN FUNERAL. I tracked him down in his underground lair:
In an age where mainstream record shops seem to only stock “mainstream” metal, where is the resting place for the selective connosseur of true underground metal? In times of old it was a battered C90 cassette with photocopied cover and a hastily scribbled insert that promised dark, forbidden metal from some new unheard-of talent in the underground. But now in the age of digital media, THE DREAD LAIR stands as an alternative to the mainstream; a consortium of underground bands committed to promoting each other’s material, grown from humble beginnings and gradually evolving into an ever-increasing, ever-expanding source of Underground metal for those in the know.
Myrkgrav produces the kind of metal that evokes an imaginary panorama of Nordic beauty, complete with folkloric figures and local historical dramatis personae; a tuneful journey into another place, like all good music of this ilk. Is this just the heartwarming fancy of a contented rustic, or is it the product of some deeper inner conflict that sometimes claws its way to the surface accompanied by hellish shrieks? I talked with Lars Jensen, composer and creator of Myrkgrav: