#shatraug

[triste-guillotine]

HORNA "Envaatnags Eflos Solf Esgantaavne" LP 2004 (Fourth album from the Finnish Satanic Horde, and an excellent one. Reading only odd letters, from the beginning or from the end, title is "Evangels of Satan")

Envaatnags Eflos Solf Esgantaavne | Horna | Woodcut Records (bandcamp.com)

[inside-thecityof-glass]

12.05.24 SARGEIST KONSERİ (BEŞİKTAŞ IF)

Beşiktaş IF’te metal müzik rüzgarı tam gaz devam ediyor. Neredeyse her hafta başka bir etkinlikteyiz. Cüzdanlar yoruldu ama bu işe gönül veren dinleyici asla yorulmuyor! Önceki yazılarda bahsettiğim gibi eski, güzel günler tekrardan gelecek ve severek dinlediğimiz grupları bu seneki gibi tek tek değil, güzel bir festival çatısı altında topluca dinleyebileceğiz. Böyle haberleri yakında duyacağımızı tahmin ediyorum. Uzun zamandır hayranlıkla karışık bir şaşkınlıkla dinlediğim Finlandiyalı “Horna” grubunun gitaristi “Shatraug” tarafından kurulan “Sargeist” (Sarg-Tabut / Geist-Hayalet,Ruh demekmiş.) konseri aylar öncesinden duyuruldu. Grubun bir önceki vokali “Profundus” projeden ayrıldıktan sonra vokalleri son bir senedir “Shatraug” üstleniyor. Hem grubun performansı hemde “Shatraug”un vokal uyumunu görmek, dinlemek için güzel bir “Black Metal” akşamında yerimizi aldık.

Şartlar uygun, zemin iyi, hava güzel, viskimiz var! Erkenden gidip IF’in önünde beklemeye başlıyorum. Sohbet, muhabbet, kaka, kiki, sokakta güzel bir Mayıs enerjisi var. “Sargeist” elemanları bir cafeye oturmuş nargile içiyor. Ortam çok kalabalık değil, bizbize az ve öz olacağız gibi duruyor. Konser alanına geçince de durum beklentimi karşılıyor. Seyirci sayısı hakkında bir çok kişiden aynı yorumu duydum. Daha ufak bir mekanda, daha kalabalık gözükecek şekilde bu etkinlik planlanabilirdi. Doğrudur, bununda avantajları ve dezavantajları var belki ileride bu tarza yakın konserlerde bu görüş değerlendirilebilir. Dışarıda takılma işini muhtemelen biraz abartmışız, (Viskiler zayi olmasın.) kapıdan birisinin “Konser başlıyor” anonsunu duyduğumuzda koştur koştur içeriye girmeye çalıştık. Merch standına şöyle bir göz atınca grubun sadece logosunun olduğu düz bir tişört, CD ve LP yanı sıra başka gruplara ait tişörtlerde gördüm. Fiyatlar... Geçelim…

Metal Archives’a bakarsanız eğer, “Sargeist” yazdığınızda, “temalar” kısmında şöyle şeyler görürsünüz. Satanism, Death, Depression, Misanthropy, Nihilism, Evil, Darkness, Allah Allah, yok yok! Bir insanın kendini öldürmesi için gereken her şey mevcut gibi duruyor. Tabiki özellikle müzik yapan grupların (Bazıları hariç diyelim.) bu konudaki ciddiyetleri tartışılır. Bunlar genellikle grubu pazarlamak için kullanılan temalardan öteye nadiren gider. “Şeytan” hep iyi satar. “Alice Cooper”ın “A Headbanger’s Journey” belgeselinde ki “Black Metal” yorumunu izleyenler demek istediğimi belki daha net anlar. Sonuç olarak oraya yazılı olan şu temaları konsantrasyon halinde okuyan yoğunlaşmış birisi;

1- Anksiyete krizi geçirip hastanelik olabilir.

2- Zevkten dört köşe olabilir.

Dolayısıyla 2 numaralı bizler için beklenti bir hayli büyük. Genciyle, orta yaşlısıyla içeride karışık bir kitleyiz, meraktayız. Sahnede dört tane sırtı bize dönük olan adam var. Salonda full sessizlik, çıt çıkmıyor. Bu sessizlik bir dakikaya yakın devam edince seyirci pireleniyor, bir an önce “o anın” gelmesi bekleniyor, yürekler kabarıyor. (Tamamiyle bundan oluşan konser örnekleri ve hatta ulusa sesleniş konuşmaları vardır. En meşhur konuşmacılardan biri bu “sessizlik” unsurunu her mitinginin öncesinde kullanırdı. Kim olduğunu bilirsin sen...)

Adamlar arkasını dönüyor, “Sargeist” sahnede! Ses çok iyi, adamlar canavar gibi çalıyor, kostümler harika. “Sargeist”ın “Raw” dönemlerinden daha “Melodik” diyebileceğim son eserlerine kadar her şarkıda çok iyi ses aldık. Mart ayında yine IF’te sahneye çıkan “DSBM” grubu “Psychonaut 4”da çok iyi ses almıştı. Adamlar belki hayatlarında o kadar temiz seste konser vermemiştir. “Sargeist”ın Özellikle daha “Raw” olan ilk dönem şarkılarında “ulan şu sesi biraz bozun ya” demedim değil. Eski “Gorgoroth” kayıtları gibi geçerdi konser valla. Gerçekten iyi bir hazırlık vardı, bu konuda tebrikler. Konser neredeyse ritüel gibi bir atmosferde geçti. “Shatraug”un kostümünü yakından görünce hafif bir ürperdim desem yeridir. Davul, bas, gitar işlerini hakkıyla icra ederken, vokal seyirciyle şarkı isimlerini söylemek dışında herhangibir iletişim kurmadı. (Eh “Mgla” onu bile yapmaz Tribal Black Metal.) Fakat bunun dışında “Shatraug”un sesine diyecek yoktu. Beklentimi karşılamakla kalmadı, üzerine çıktı, koca bir helal olsunu buradan haketti.

Bu konserdeki bir başka gözlemimiz “Işık kullanımı” üzerinden oldu. Yani flaşlar özellikle ilk iki şarkıda o kadar gözümüze girdi, çaktı, patladı ki bereket güneşli bir gündü, anneler günü gezmesine “Rayban” gözlüklerimle çıkmıştım. Epilepsi geçmişi olanlar ya da benim gibi bu konuda hassasiyeti bulunanlar böyle işlere tedarikli gelsin. (Organizasyon 3D gözlük dağıtsın. Yurt dışında katıldığım bir etkinlikte tek kullanımlık kulak tıkacı dağıtıyorlardı mesela. Güzel şeyler bunlar ama hep maliyet işte.) Aslına bakarsanız bu ışık kullanımı belli bir kafa yaşatıp sizi atmosfere sokmuyor değil tabi. Muhakkak özenle tercih edilmiştir ama inceden aklıma bir “Meshuggah” konseri gelmedi değil. (Bu arada bir “Meshuggah” konserine sadece “Rayban”le falan değil “Kaynak gözlüğüyle” gitmeniz lazım. İleride gelirler melirler ben buradan uyarımı yapmış olayım, kayıtlara geçsin.)

“Sargeist” sahneye yıldırım gibi indi ve bize az gelen bir süre sahnede kalıp aynı hızla yok oldu. Bizlemi alakalı oldu bilemedim ama tam kendimi kaptırmış “Black Metal” dehlizlerinde yüzerken konser bitti, boşa düştüm. Keyifli keyifli biramı içerken bir anda sahneden yüzümüze sarı ışıkları bastılar, far görmüş tavşan gibi kaldık. Arkadaşla bakıştık, birbirimize “Yok canım” dedik ama “Sargeist” bir daha sahneye geri gelmedi. Konser “Setlist”lerine o kadar hakim olmasamda en azından kendi adıma “Let The Devil In” ya da “Black Fuckin Murder” çalmalarını beklerdim. Bu açıdan tadı damakta kaldı. Umarım ülkemize tekrar gelirler ve o konsere de gitme fırsatı yakalarız. (Belki “Horna” bile gelir neden olmasın.) Bu konserde alt grup olarak Bursa’dan “Archaeic Damnation” isimli bir “Black Metal” grubunun sahne alacağı açıklanmıştı ama son dakika iptal oldu sanırım. Belki alt grup olsaydı konser daha uzun soluklu olarak hissedilip gerçek bir “Black Metal” şölenine dönüşebilirdi. Onlarıda dinlemek istiyordum ama artık birdahakine. Konserden çıktık, ertesi gün pazartesi ama arpamız az gelmiş. Yapacak birşey yok koşa koşa en yakın tekel’e. Bir sonraki konserde görüşmek üzere!

[albumarchives]

Horna | Kohti Yhdeksän Nousua (1998)

[son-of-thunders]

Horna live in germany (29.09.17)

[grev777]

Even it takes so long (album released end of November '16) here if is... Mortualia latest masterpiece "Wild, wild misery" I decide to wait this to support straight to Ville. Thank you my friend #mortualia #finnishblackmetal #horna #sideprojects #shatraug (paikassa Grev's Metal of Death dungeon)

[shores-in-flames-blog]

Album of the day: HORNA - Envaatnags Eflos Solf Esgantaavne

The perfect winter soundtrack!

[fairestfall]

@menelvagorr for the Witch-King 

        Just as her sire took a corrupted Maia under his tattered wings, so too had Sauron reached out his hand and bent other creatures to his will. She had done well in limiting his influence in Dol Guldur and of sabotaging his precious lieutenant’s attacks when she could, but alas, men were still weak and scattered and the elves were fading. Besides all this, she had her own people to protect against Arda’s cruelty. She could not afford to be grievously injured in another battle; the last time she died, she had been the cause of so much sorrow. 

And yet, she feared she could no longer stay her hand. Sauron’s influence in Mordor was growing. She would need to move her people to safety, and she would have to deal with her old friend and his obedient little magician. 

She could sense him far before she could see him. Stiffening, she drew herself up to her full height and turned her head with an avian swiftness. She bore her teeth, growling a warning at the manifesting dark energy. 

“Kramp lat nargzab? What do you want, Shatraug?” 

[mysterygarbage]

I saw it on Twitter and I find it interesting to comment?

(I'm writing this fast, srry)

How beautiful she likes Nazi band.

When she posted, she deleted it after people said it was a Nazi band.

... 1 out of 2. Either she knew the band and deleted the photo for fear of being lynched on the internet or she bought the t-shirt without knowing about the band, which I think is a bit nonsense, but who knows?

First of all, I don't know this band and I don't know the beliefs of the band members, but it is labeled as a racist band and here's why.

A little information about the band.

Sargeist is a Finnish black metal band formed in 1999. Originally created as a solo project by Shatraug of the Finnish black metal act Horna, he was joined by other members since 2000, who were subsequently released from the band.

Sargeist

(X)

NSBM

(X)

Blood and Soil

(X)

•Draw your own conclusions I'm just passing on information about what I saw.•

[donaghue]

HORNA - Hengen Tulet 2015 (WTC Productions) VG+/VG+

Latest Horna album on black vinyl. 

€18

[indigoskyeart-blog]

First night of d&d 💀👻👿 #dnd #wizard #halforc #illustration #drawing #shaman #highpriestess #witch #hag #shatraug #orc

[saiurus]

#MONOGRAFIA #SARGEIST (( The Dark Embrace ))

Con una copertina come quella, non potevano smentirsi nemmeno in questo breve (ma intenso) EP. I Sargeist allora si mostrano nuovamente al pubblico, esercitando il maligno suono degli strumenti grazie alle idee di Shatraug e Horns.

(Andrea Mion)

[aearmstraing]

2003 - The embers’ smolder thins to wisps, its black, skyward smoke now nearly invisible

See?  What’d I tell you? All of a sudden, the raw shit, which is always immediately identifiable by its album covers, is almost non-existent.  To reiterate, the same applied to NSBM, albeit to a much greater extent, to the point that I can’t even tell you a single album in that style that came out this year.  What did come out proudly flying the raw flag, though, were Horna mainman Shatraug’s side-project Sargeist, which basically sounds like Horna covering Transilvanian Hunger - the whole thing - but that’s fine by me because of my deep, intense, borderline-inappropriate love for both.  Also check Satanic Warmaster’s sophomore Opferlut, which is a serious classic and a remarkable improvement over the debut, an impressive feat in and of itself.

Then there’s Battlefields, which is far and away my favorite Hate Forest release.  It’s interesting to me, given their lack of geographical proximity and the concurrence with which they were released, that Battlefields occupies very, very close terrain to Blut Aus Nord’s The Work Which Transforms God.  Both assume on a queezy, doomy, disorienting industrial vibe, reminiscent more than a bit of Godflesh’s Streetcleaner, a longtime favourite of mine, and both are utterly incredible because of it, Blut Aus Nord’s take sounding urban-decaying-building, Hate Forest’s sounding rural-scorched-earth-policy-war-field.

2003 was also the year of the very, very beginnings of what would come to be called orthodox black metal, which has a two-fold meaning: the bands play more-or-less traditionally- (read: Nordic-, above all 1994-era Mayhem- and Marduk-)inspired black metal, albeit updated a bit; the bands tend to have very religiously literate lyrics, often espousing a sort of inverse, devout Catholicism, itself something of an update on the hardline, medieval devil-worship of the Norwegian innovators.  The two culprits in this case are Swedish SOBs Watain and Funeral Mist.  Casus Luciferi was not Watain’s first record, they having debuted in 2000, but it was the first on which they really started with the orthodox business, and amped up the DMDS influence considerably, which made for quite the enjoyable record for yours truly.  Marduk-associated Funeral Mist actually released a pretty orthodox-sounding minialbum in the form of Devilry in 1998, but the content doesn’t hold a torch to what’s on Salvation, all sick-sounding, utterly unrelenting, blasting noise in the best sort of way, all topped off by one of the most dynamic vocal performances in all of black metal courtesy of mastermind Arioch.

Speaking of orthodox, there’s also an entry from French lunatics S.V.E.S.T., who both operate within that very paradigm, and also take the raw vibe to its (il)logical conclusion by draping everything on Urfaust in a thick, nigh-impenetrable layer of static hiss.  It’s otherworldly, and I can’t recommend it enough.

Longtime Ukrainian favorite of mine Drudkh debuted with the superbly folkish Forgotten Legends, and along with albums by Hate Forest, with whom they share members, helped kickstart a flux of Slavic folk-infused black metal albums emerging from Eastern Europe, and which somewhat mirrored the folk metal explosion that was sitting just over the horizon.

Now, let’s talk about Norway.  Dakrthrone returned with Hate Them, a vast improvement over the ho-hum Plaguewielder from two years prior.  At worst, it sounds like a rehash of Ravishing Grimness, which is fine by me; at best, it sounds like a band who’s had the life breathed back into them by listening to Discharge and old Celtic Frost.  There’s also the debut of 1349 floatin’ around up there, and I’ll be honest: I know full well that there are “better” things out there than this band.  There are more innovative, more rewarding, and all around more immersive records than anything this band has ever done.  However, I just can’t help myself: they sound like a distillation of everything that made the early Norwegian scene great, and they offer it up in conveniently bite-sized nuggets of black metal barbarism.  It’s like candy-coated nostalgia.  Don’t judge.

Honorable mentions this year go to Katharsis’s Kruzifixxion - the raw scene, probably more accomplished than the 666 debut - and Hate Forest’s Purity - more along the lines of The Most Ancient Ones than the headfuckery of Battlefields, but more pure and clear of vision - both of which are actually just as worthy as anything else pictured here, but I can’t do anymore than ten photos, and if I start doing multiple posts for a single year, this is gonna get out of hand real quick.

[rp-kat]

Horna & Acherontas - Atavistic Resurgence

2015

[patriciathomasbandmanagement]

BLACK METALLERS DOEDSVANGR REVEAL TRACK AND DETAILS FROM UPCOMING DEBUT FULL-LENGTH ALBUM

BLACK METALLERS DOEDSVANGR REVEAL TRACK AND DETAILS FROM UPCOMING DEBUT FULL-LENGTH ALBUM

With a lineup comprising  Shatraug (HORNA, SARGEIST, BEHEXEN and NIGHTBRINGER),   Anti-Christian (TSJUDER,  BEATEN TO DEATH) and founder and frontman Doedsadmiral (NORDJEVEL, SVARTELDER, ENEPSIGOS),  it was inevitable that there would be interest in DOEDSVANR’s debut full-length album, “Satan Ov  Suns”, and today the band have revealed details. Satan Ov Suns”  was recorded at Velvet Recording in…

[thenoisebeneaththesnow]

To those in the black metal field, the legendary names Sargeist and Horna need no introduction.  Guitarist Shatraug is at the center of each of these projects and has contributed to a number of others.  We are pleased to bring you this interview and are grateful to Shatraug for his time.

  Sargeist and Horna unarguably are the two biggest names in all of the projects you have been involved with.  Is there a ideological or motivational difference between those two?

-Horna is my firstborn and priority, always keeping it along a straight path to Hell, writing lyrics in Finnish as it was in the beginning of forming the band covering all sort of reaches and visions. Sargeist then, is entirely satanic in it’s essence and the most melodic of my creations. Motivation for both bands is no different from anything else I do – from the heart with devotion.

There are a number of projects that are listen on metal-archives.com that you have been involved with.  When you are creating your work, do you go at it with the mindset of what project you want to aim for, or do you just let the music take on a life of its own and go from there?

-It happens both ways. Sometimes I don’t know in advance what will happen and other times I have a clear vision on what to aim for. Now and then ideas also intertwine with each other and there’s several occasions when decisions were based on a whim which project/band a certain song would go for rather than being precisely into it.

It’s been nearly 4 years since the last full-length Sargeist album and nearly three for Horna.  What’s the status on these two projects?

-The new Sargeist album “Unbound” is recorded, mixed and mastered. We are doing final work for layout and the album will be out on World Terror Committee during this year. With Horna we have been focused mainly on live activities, but alongside I have been working on a new album as well. Before that we are releasing a special album for Japan made entirely of old ideas which were never recorded for one reason or another, featuring even as early material as two songs from 1994 before the band was even called Horna. Rest of this release is similar, forgotten script from the past. A real new album perhaps next year.

Do you have any planned releases for any of your other projects?  Are there any that might not be mentioned on metal-archives?

-Any projects not mentioned there are of no relevance, nor does it really matter if I have been doing something additional or not, I certainly do not make music just to keep my name in publicity or celebrated… Even so, there will be a new Finnentum album and a compilation album from project Vritra. Both recorded long ago but I haven’t been too busy getting them released…

I gather from interviews that I’ve read that perhaps you view yourself as more of a “channel” through which you receive inspiration.  Is that not accurate and could you perhaps expand upon that?

-What it means is I write music whenever it feels like it. I usually never grab my guitar just to try to make something, the feeling to create is already there before.

You just released a very limited (150 copies) edition 2 cassette box set of Sargeist through Goatlordth Records including “Satanic Black Devotion” and “Disciple of the Heinous Path.”  How did this release come about?

-It was simply licensed from Moribund Records, nothing to do with us in fact.

It’s been argued in regard to these “Unblack” or Christian Black Metal bands that the “black” element is perhaps more of an abstract concept or could even refer to some of the darker moments of Christian history and the Bible; that it doesn’t have to refer to “Satan” per se.   What is your response on this?

-Without satanism Black Metal is mere music. People can say whatever they want to justify their “music”, but to me it’s as holy as gospel and such, can not be fathomed without spiritual and religious bonds.

Have any of your shows been met with controversy, protests or threats of violence and if so… in what countries?

-Nothing to concern about. There’s always Antifa choking on their own vomit for having nothing better to do in their lives. I have always wondered why they do not go after actual skinhead bands and racists but black metal, but I guess it is because of the lame sheep mentality of “metal brotherhood” and other humanitarian crap which makes it an easy target…

How important is ritual to you when composing or performing?

-Everything is, in one way or another. Not every rite becomes a ritual, but every ritual is rite.

What other plans have you got for 2018?

-Missionary work for our Lord spreading his word on tours and with new music.

Many many years down the road, a very distant relative locates a box in the attic of an old home.  In that box they find a box set labeled “Shatraug” including a series of albums from your history.  What would you like this person to know about your legacy simply from listening to the music?

-Simply feel it.

  https://www.facebook.com/HornaOfficial/

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Interview: Shatraug of Horna/Sargeist (black metal) To those in the black metal field, the legendary names Sargeist and Horna need no introduction.  Guitarist Shatraug is at the center of each of these projects and has contributed to a number of others. 

[columnistfromtheabyss]

Now Playing: Horna - Kuolleiden Kuu

Recorded and mixed at Blackvox Studio, during the "Hengen Tulet" album sessions. Mastered by T.T. "Tähdet Tähdet" originally by Rauli Badding Somerjoki. Artwork by Valeria RS. Layout by Elena Vasilaki. Shatraug - guitar Infection - guitar Spellgoth - voice Hex Inferi - bass Vainaja - battery

released January 4, 2018