Dargedik Rock Metal Webzine

Cuarto álbum de este proyecto solista de Marrock quien es el que se encarga de darle vida a Anomalie, haciendo una especie de black melódico, con algunos momentos de rock atmosférico, y con letras alejadas del común denominador del género, razón por la cual se considera a esto como post black metal.

En este álbum tiene como músico invitado en batería a Lukas Schlintl (Bifröst) en batería, mientras que el arte de la portada del disco fue hecha por el conocido Misanthropic-Art que tiene en su haber bastantes portadas.

El disco es de lo mas variado, siempre inclinado hacia lo atmosférico y melódico, para lo cual le ha dado nombre a cada canción como "Trance" y una numeración, como para englobar un solo concepto. De esta manera "Trance I: The Tree" inicia descubriendo partes de voces limpias en plan folk o rock progresivo y con un timbre especial también no muy común, entonado y con fuerza, la canción va evolucionando sobre sí misma llegando a blast beats sin variar la voz, pero con ese toque épico y hasta podría decirse oscuro. 

En "Trance II: Relics" se usa una voz mas en plan canto gregoriano, y cuenta a la vez como invitado a Nornagest (Enthroned), para algunas voces black mas directas. Hablábamos de variedad y esta se puede escuchar en "Trance III: Alive" en donde el inicio asemeja a una banda de rock alternativo, con voces menos comprometidas con lo clásico. "Trance IV: Nemesis" y "Trance V: Cerulean Sun" son parecidas con esos toques mas relacionados al black metal, incluso ésta última tiene como invitado a Sakis (Rotting Christ) y realmente encaja tan bien que de por sí, la recomendación para que escuches este material es una obligación.

Buena música, con un toque personal, que tiene lo necesario para destacarse, apelando en hacer sus bases musicales en el black metal y a partir de ahí no limitarse.

Calificación: 8.6/10

Lista de Canciones:

The German Black Metal band, Waldgeflüster, released their sixth album under the name "Dahoam" on September 24, 2021. Their sound ranges between classic Black Metal and atmospheric Black Metal, with lyrics sung in their Bavarian dialect, as a way of reassessing its origins perhaps. The music of this album has certain folk elements especially in the instrumental parts, atmospheric, and melancholic parts accompanied by typical Black Metal voices and some sections of clean voice under their local dialect that end up creating a very expressive and sentimental songs that make us forget that we don't understand the lyrics. Prior to this release, we were able to interview Winterherz who is in charge of vocals, keyboards, and samplers, as well as being a founding member of the band. In the interview, we were able to talk about the band, their latest album, and other aspects of the Metal scene.

Lee la entrevista en castellano en: Entrevista a Waldgeflüster

DARGEDIK: Welcome Winterherz to Dargedik webzine pages. It’s a great pleasure to talk with you about the band, the new album and more things. Starting, Waldgeflüster was born as a personal project. What made it a band and at what point?

WALDGEFLÜSTER: Hi, thanks for having me. I asked the live members around 2014/15 if they wanted to join me as full members. At this time, we played together for a couple of years, and I had the feeling that I finally found some people I not only loved playing music and hanging out with, but who are also committed enough to be full members. Something I always found a bit lacking in people I played with before. Ultimately it was the right decision, as we are writing music together since 3 albums now and their contributions have just made the music better.

DARGEDIK:  Is there a current member of the band who caused this evolution? After a couple of records, how do you feel about it?

WALDGEFLÜSTER: I guess it was me who was eager to get some fresh elements into the Waldgeflüster sound. As stated above, I am very happy with this decision.

DARGEDIK: How old are you? I don't like to associate music with age, but creating a project of this type in 2005 was not common. But you have shown us with many albums that you don’t do it for fashion. What inspired you to form a project of this style? Do you still have that same feeling today? What do you feel about your music today?

WALDGEFLÜSTER: I am 36 now. And on the contrary, I think back then a couple of bands like Waldgeflüster were formed. It was just the start when the technology was available and affordable to start recording a couple of guitars, some vocals and a drum computer. Originally, I started Waldgeflüster, because I had some ideas that just didn't fit to my main band back then. Also, I wanted to write in my own tempo. The goal was to create nature inspired, melancholic Black Metal, as an outlet of my thoughts and feelings. I still have that same feeling, although the musical style definitely is not as restricted anymore as back then. In fact, it is not restricted to BM at all anymore, whatever we want to write we will write.

DARGEDIK:  At the lyrical aspect ¿Is ethenism the basis of your lyrics on this latest album? Could you explain to us what is the main difference between the pagan influence of other bands that play Folk Metal and what you do in Waldgefluster? Do you consider that paganism is more traditional practices than religious worship? I would like to know your opinion of this new trend.

WALDGEFLÜSTER: There is some misconception of us being a pagan band. We are not. I used Pagan symbolic when I started with Waldgeflüster and I also wrote some lyrics from that perspective. But nowadays our band is not connected to paganism in any form, except for nature being one of our main inspirations, and accepting nature as the only thing that stands above me. That is what connects me with paganism, the acceptance of nature as being bigger as oneself. I do not really care about the religious aspect of paganism; the old gods were always just symbols to aspects of life to me. But again, our music today deals with inner struggles, with my own demons, or on the newest record with the term home. 

DARGEDIK: What bands outside of Metal do you listen to? is there a current band that has caught your attention? Or maybe you are one of those who think that everything good has already been done?

WALDGEFLÜSTER: I am listening to music all the time, and I am searching for new music all the time. I buy around 4-6 new records each month I would say. So I definitely do not dwell in the past. And I listen to all kinds of music, Folk, Country, Pop, Elektro, HipHop. The genre doesn't matter to me, as long as it touches me on some level. I listened to a lot Lost Dog Street Band this year. And the last song that really got me is "Casper - Alles war schön und nichts tat weh". An incredible piece of music, and I can't wait for the whole album to come out.

WALDGEFLÜSTER: Very difficult question as there is way too many to reduce them to 5. But definitely those records would be part of the list: Tool - Aenima, Ulver-Bergtatt, Casper - XoXo, Austere - To lay like old Ashes, Daughter - If you leave.

DARGEDIK: What are the plans for the future? After the surprising Split and tour with Panopticon, with which another band would you like to release a split album?

WALDGEFLÜSTER: We hope to play some live shows next year, maybe even another tour, and then start writing new music again. The only band we will do splits with as of now is Panopticon. Austin and me connect a 10-year-old and very deep friendship, he is the only one I want to do splits with at the moment. I am not a big friend of splits. To me they only make sense if they do not consist of 2 unconnected sides, but if both sides tell a story together and are connected. That's what we tried with the Split with Panopticon back then and the only way I would do another one.

DARGEDIK: If there was the possibility of making an album in another language, do you think it would completely affect the spirit of the group?

WALDGEFLÜSTER: I mean the possibility is always there, I write in English for my other band "Uprising". But yes, this would completely alter the sound and the feeling of Waldgeflüster. I would never be able to write lyrics at the same level in English as I do for this project in German

DARGEDIK:  Why is it important to use the Bavara language for you? There are so many languages that have their own character in the world and many are being forgotten, do you think that the musician is a vehicle for their survival?

WALDGEFLÜSTER: This record is a concept album about the term home. We live in Bavaria, we are surrounded by this dialect each day, and to us it feels like home. This is one aspect. The other aspect is that I also wanted to "occupy" this dialect with my own ideas and identity. I cannot speak for other languages and if musicians are a vehicle for their survival. But I definitely know that the Bavarian dialect doesn't need us as a vehicle, it survives pretty good on its own.

DARGEDIK: What about the new members of the band? Does anyone have an important project in parallel? They are spectacular musicians, but there is not much information about it.

WALDGEFLÜSTER: Domi is playing in a Melo-Death Metal Band called The Course is Black. Tom has several musical projects running in parallel, but none have seen the public yet. Arvagr is working on something of his own as well, but this also is in the making still. He had another project called Dagnir en Gwann some years ago.

DARGEDIK:  How is a live show with Waldgefluster? As you organize the setlist, I consider that it is very difficult to intersperse songs from different albums even though they carry the same atmosphere. I think they have a connection to each other. Is it complicated?

WALDGEFLÜSTER: The most complicated thing is to get a setlist, that fits into the timeslot we have. Our songs are usually pretty long, so it is always hard to decide the 4-6 tracks that we can play in 45 minutes. We tend to choose the songs that we want to play, it doesn't matter from which album they are. When it comes to the live show itself, I can't really judge this myself. Best would be to make up your own mind, either live, or via the several YouTube videos that are available from different sets.

DARGEDIK: Now we’ll speak about other matters into the metal scene. As for how an underground band and a mainstream band should be considered, there are patterns where more vinyl or cassette productions stick to this concept, and the CD according to some fans only expands the collections. What do you think are the factors for fans to stick with this concept of underground metal?

WALDGEFLÜSTER: I think Vinyl and Cassettes are so popular because it always feels like a kind of ritual when putting them on. They have this vibe of something valuable and old, that a CD just can't transport. When putting the music on becomes a ritual one tends to listen to the music more carefully as well. I think that is also part of the reason.

DARGEDIK: Another detail is about the listening methods of the fans, because this new generation prefers to listen to a song or two on digital platforms. What do you think about the albums doesn’t having the same impact compared to the 80s and 90s? And what are your solutions to improve the listening of all the songs on the albums?

WALDGEFLÜSTER: I hate the fact that a lot of young kids do not listen to records anymore but only to specific songs. Same goes for artists that put out a new song every one or two months but no album. To me an album tells a story in its completeness, and a song is just a song. But I guess nothing can be done about that fact. Some people will still listen to albums, others will stay with the singles. 

DARGEDIK: Well, Winterherz, the sad time arrived at this interview, I hope you enjoy this one as I did and thank you very much for your time. Take care during this pandemic situation and our best wishes from this part of the world. Any last words for your new in Latin America and Dargedik readers?

WALDGEFLÜSTER: Thank you very much for the interesting interview and helping us to promote our music. I hope we can visit Latin America someday!

Made by LHP

Agrypnie (sleep disorder, from the Greek Άγρυπνος agrypnos Or Latin Agrypnia) is a German band whose origins date back to 2004 when it was born as a solo project by Torsten Hirsch (Nocte Obducta). The band's sound can be located in the Post -Black Metal although there are progressive elements in their music, however Hirsch claims not to belong to the scene or similar nonsense. This 2021, they bring us their sixth album, "Metamorphosis" where we can find the aforementioned sounds although with elements of Melodic Death Metal, directing all sound towards darkness and melancholy in their atmospheres. The current line-up of the band includes Torsten himself on vocals, guitar, keyboards, and programmed drums, Marc on bass, and Flo Musil on drums. The art of the cover was in charge of the Austrian artist Carstismandua while the mixing and mastering were done by Torsten himself. Prior to the release of this new album, we were able to interview Torsten Hirsch about the band and their latest release.

Lee la entrevista en castellano aquí: Entrevista a Agrypnie

AGRYPNIE: Hey man, to start with your last question: When I was writing the first songs for Agrypnie back in the days I never had any thoughts about how the music should be or sounds like. I basically just played guitar and recorded the riffs I really liked while I was playing. That ́s actually the method I am writing my songs until today. What I try to explain: I can ́t write/copy songs like/from “Band XY” even if I would like to. I do have my flow/way how I write my music and I am unable to construct songs or try to include certain elements by purpose. And well, my natural flow includes progressive and post elements from time to time. Easy as that. 

The new artwork did Marco, a very good friend of mine, who was also involved in the artwork of the Grenzgaenger/Pavor Nocturnus releases. 

After the “Metamorphosis” concept was elaborated we had five different shootings, all of them lasted several hours. The cover (and some shots inside of the booklet) had been taken at a place in the woods I am really in love with. This place is one hour away from my hometown and we drove there one day very early in the morning to take the pictures. 

It was pretty freezing that morning and I was running around for over five hours... topless, totally covered in mud and wet from the creek I, again and again, was walking through. In between, I started getting really pissed off from the shooting but it was a great and intense experience. At a certain point, some part of myself stepped into the background and I felt like some kind of animalistic old spirit came to the front. 

As I wrote in the first passage my composition process is pretty unspectacular. I play guitar until something suitable comes into being :D Though this time I wrote and included two tracks which are arranged with orchestral instruments only. 

I am a huge fan of movie and game soundtracks (I am not a gamer) and I always wanted to write this kind of music. During the pandemic, I decided to invest money into a new gear to enlarge my little studio at home and this included proper orchestral software to arrange suitable songs. 

The very first tracks I wrote are the opening and the ending tracks of “Metamorphosis”. This was a pretty new experience for me, I had a lot of fun but it seriously took me a shitload of hours to arrange and mix them. There is a huge difference between writing a metal song and a full orchestral track with strings, choirs, piano, and so on. 

To make things worse... My over ten years old Mac Mini was totally overstrained with the needed resources and I had several workarounds to make things work. 

In the end, I finally bought a new PC to finish those tracks, to be able to produce better pre-productions for Agrypnie and to keep continuing working on this kind of orchestral music with my new project which is called “The wreckage of Erebus”. I guess in the next life I definitely go for a less expensive passion :D 

DARGEDIK: Continuing talking about this "Metamorphosis" and your discography, I see that the name of the album is in english and the names of the songs are in german. What is the message you keep when using two languages in each production? Coz names like "F51.4" (2006) and "16 [485]" (2010) looks like secretor codes or files from some secret area of some government. 

AGRYPNIE: Well, the word is based on the Greek word metamórphōsis and it is more or less “creative freedom” to use the English notation / the Greek one just without the special characters. There is no deeper meaning in using Greek or Latin words/terms from time to time. They are sometimes more suitable for a song and/or the lyrics rather than using/searching desperately a German term just to don ́t mix-up languages. Also, I am a really big fan of those languages, the old terms, and the deeper meanings behind them. The lyrics though will always be in German and I am never going to change this. 

DARGEDIK: One important thing when a band does Black Metal is ideology, coz a lot of magazines and people believe that Satanism, the occult, Thelema and all that kind of stuff is related to the pagan in Black Metal. For you, how is the ideological expression of Agrypnie? Is it necessary to be a Satanist to do Black Metal today? or is it necessary to talk about these issues within Black Metal? 

AGRYPNIE: I totally don't give a fuck about all those do, don'ts, what you need to be and think, what not and so on. Of course we are still talking about black metal and I think you need some certain view on mankind, things and life in general if you write/listen to this music. So I am also not some sort of hippie, running around with flowers in my hair and deeply in love with all the people around. 

But to define a particular sort of music and way of life by certain “does” and “don't” is stereotyped thinking and I have never been a fan of this. Being a stereotype means stagnancy. And stagnancy sometimes leads into death. 

Though that's only my point of view and my way of life. If someone else thinks different and is into this appropriated “old school” black metal way of life, that ́s fine of course. I don't judge other people by there opinions and views as long as they are no assholes. 

There was never any certain ideological expression behind Agrypnie and there will never be any. 

DARGEDIK: In this type of matter, many people think that Black Metal is related to the underground scene of satanic symbols and especially in South America; And when a band like Agrypnie plays more progressive and technical things, the fans react very badly with these kinds of changes, coz they seem offended that they are not listening to a Mayhem, Impaled Nazare from 90s or things like that. What do you think about when fans are too closed with their thoughts and tastes, especially on Black Metal? 

AGRYPNIE: Well as I answered before I really don't care about scenes and everything related to them. Of course, I am connected to the (extreme) metal scene, I know many different people, artists, and musicians all over the countries, but I am open-minded to different opinions of different people. 

I guess this world would be even more fucked up as it is already if every single person would have the same opinion about everything. So if people don ́t like my style of music because of whatever reason, that ́s really fine for me... and I do really love many different albums from the 90s as well and some spirits of those old albums can ́t be recreated no matter which band is trying to do so. 

DARGEDIK: Speaking of extreme metal, one of the things that caught my attention on the extreme side since the early 90's in Germany is that it doesn't have a personal sound like Canada, Norway, Finland, Sweden, the Netherlands, Brazil. But when we talk about Heavy, Power Metal, Thrash Metal, Germany has great bands as we know it. So why doesn't Germany have a definite sound in extreme metal as we know it today? If I'm right, what do you think Germany is missing to make it stand out as a country of extreme metal? 

AGRYPNIE: Is it really like this? That is actually a question I never thought about. But I don't think it is potential necessary to have a very own and unique sound to release very good music. We do have many great extreme metal bands in Germany and this is actually everything which matters, don't you think? 

DARGEDIK: Going back to Agrypnie, when the new album is released in July via AOP Records, what are the future plans after release this new “Metamorphosis”? Maybe a tour of Latin America? Do you know bands from here? 

AGRYPNIE: Just one week after the release of “Metamorphosis” our Drummer Flo and I will enter once again the SU-2 Studio to record the drums for the following album. All songs are written, though everything else (lyrics, keys, concept, etc.) is still work in progress. 

A tour in Latin America would be fucking amazing, though we don't have any plans so far. Unfortunately, I can't name a Latin American Black Metal Band out of the box, although I am pretty sure I know at least a very few. 

Also, we hope the Covid shit is going to end in the near future and we can return as soon as possible to the stage. I really miss a lot being on stage. 

DARGEDIK: Beyond finding dark and melancholic sensations in this “Metamorphosis” or relating to style labels. We will talk about an abstract topic such as synesthesia. How would you describe the smells and flavors that the listener will find in this “Metamorphosis” Coz for me the taste is like bitter or cold and smells like a rain in the nature. 

AGRYPNIE: Indeed, this album has a way closer connection to nature than every Agrypnie album before. This was some sort of natural progress and not really intended. 

I guess there is also some earthy flavor included besides the rain as well as some salt from the sea. But I actually never talk too much about the concept, the lyrics, the ideas, and so on behind my albums. I want to encourage the listener to draw their own conclusions rather than explain everything from my point of view. 

Also, some songs are about topics, I don't want to talk about because they are pretty personal. Writing lyrics and music is a good way for me to process personal experience... In some sort of cryptic way. 

DARGEDIK: Speaking of other matters in Heavy Metal world, Into the matter of how an underground band and a conventional band was should be considered, there are patterns that more vinyl or cassette productions stick to the underground concept, and the CD only expanded the collections of the fans. What do you think are the factors for fans to stick to this underground metal concept? And where is located the digital platforms? 

AGRYPNIE: I guess Metal Fans in general are one of those great fans, who still want to have collector items and want to support the bands. This devotion is missing in nowadays non-metal music fans in my opinion. 

Though in my opinion, it is not a question if a band is underground or not if they release tapes or whatever. It is probably just a matter of taste if bands want to release some sort of special items (and do have the money for it) or not. 

Currently we are working for example on a limited wooden tape box and I really looking forward to the final result. Nikos from Razorbleed (who will publish the box) and I already invested many hours to release something very unique for the fans. 

The digital platforms are quick ways to get instantly the latest release of a band. Though they can't replace a great collector's item a band worked one ́s ass off and invested a lot of heart blood and time to create something special for their listeners. 

DARGEDIK: Another detail is about the listening methods of the fans, coz this new generation prefers to hear one or two songs into the digital platforms. What are you think about the albums doesn’t have the same impact in compare of the 80s or 90s? And what does bands need to do for improve the listening of all songs in albums? 

AGRYPNIE: Well, I am pretty ambivalent about this. When you listened a few times the same album, at a certain point you start to skip the songs you don't like (in case there are some you don't like) and you only listen to the songs you like. That ́s pretty normal and everybody is doing this. 

Though today it seems like some people don't really invest the time to listen to and to engage themselves to a new full album and already start skipping at the very first round and seconds. I think that ́s a typical behavior for nowadays fast-moving society. 

I don't think artists are/should be in the position to improve something just because some listeners are not willing to invest time into a full album. That's not our duty. 

DARGEDIK: Well, ppl from Agrypnie the sad time arrived at this interview, I hope you enjoy this one as I did and thank you very much for your time. Congratulations for the new album! Take care during this pandemic situation and our best wishes from this part of the world. Any last words for your fans in Latin America and Dargedik readers? 

AGRYPNIE: Thank you very much for this interview, the interest in Agrypnie, and take care as well. We hope we will play one day some shows in Latin America!

Hecha por LHP

Agrypnie (trastorno de sueño, del griego Άγρυπνος agrypnos O latín Agrypnia) es una banda alemana cuyos orígenes se remontan al año 2004 cuando nace como un proyecto en solitario de Torsten Hirsch (Nocte Obducta) El sonido de la banda puede estar enmarcado en el Post-Black Metal aunque hay elementos progresivos en su música, sin embargo Hirsch afirma no pertenecer a la escena o tontería similares.Este 2021 nos traen su sexto álbum, "Metamorphosis" en donde encontramos los sonidos antes mencionados aunque con elementos del Death Metal Melódico, encaminando todo el sonido hacia la oscuridad y melancolía en sus atmósferas. La formación actual de la banda incluye al mismo Torsten en voz, guitarra, teclados y batería programada, Marc en el bajo y Flo Musil en la batería. El arte de la portada estuvo a cargo de la artista austriaca Carstismandua mientras que la mezcla y masterización la realizó el mismo Torsten. Previo al lanzamiento de este nuevo disco pudimo hacerle una entrevista a Torsten Hirsch sobre la banda y su último lanzamiento.

Read the interview in english here: Interview with Agrypnie

DARGEDIK: En este tipo de temas, mucha gente piensa que el Black Metal está relacionado con la escena underground de los símbolos satánicos y especialmente en Sudamérica. Y cuando una banda como Agrypnie toca cosas más progresivas y técnicas, los fans reaccionan muy mal con este tipo de cambios, porque parecen ofendidos porque no están escuchando a Mayhem, Impaled Nazarene de los 90 o cosas así. ¿En qué piensas cuando los fans están demasiado cerrados con sus pensamientos y gustos, especialmente con el Black Metal?

AGRYPNIE: Bueno, como respondí antes, realmente no me importan las escenas y todo lo relacionado con ellas. Por supuesto que estoy conectado con la escena del metal (extremo), conozco a muchas personas, artistas y músicos diferentes en todos los países, pero tengo la mente abierta a diferentes opiniones de diferentes personas.

Supongo que este mundo estaría aún más jodido como ya está, si todas las personas tuvieran la misma opinión sobre todo. Entonces, si a la gente no le gusta mi estilo de música por alguna razón, eso está muy bien para mí ... y realmente amo muchos álbumes diferentes de los 90s también y algunos espíritus de esos viejos álbumes no se pueden recrear sin importar qué banda está intentando hacerlo.

DARGEDIK: Hablando de metal extremo, una de las cosas que me llamó la atención en el lado extremo desde principios de los 90 en Alemania es que no tiene un sonido personal como Canadá, Noruega, Finlandia, Suecia, Holanda, Brasil. Pero cuando hablamos de Heavy, Power Metal, Thrash Metal, Alemania tiene grandes bandas como las conocemos. Entonces, ¿por qué Alemania no tiene un sonido definido en el metal extremo como lo conocemos hoy? Si estoy en lo cierto, ¿qué crees que le falta a Alemania para destacar como un país de metal extremo?

AGRYPNIE: ¿Es realmente así? En realidad, esa es una pregunta en la que nunca pensé. Pero no creo que sea potencialmente necesario tener un sonido propio y único para lanzar muy buena música. Tenemos muchas grandes bandas de metal extremo en Alemania y esto es todo lo que importa, ¿no crees?

DARGEDIK: Volviendo a Agrypnie, cuando el nuevo álbum se lanza en julio a través de AOP Records, ¿cuáles son los planes futuros después del lanzamiento de este nuevo “Metamorphosis”? ¿Quizás una gira por Latinoamérica? ¿Conoces bandas de aquí?

AGRYPNIE: Apenas una semana después del lanzamiento de “Metamorphosis” nuestro baterista Flo y yo entraremos una vez más al estudio SU-2 para grabar la batería para el siguiente álbum. Todas las canciones están escritas, aunque todo lo demás (letra, claves, concepto, etc.) todavía está en proceso.

Una gira por Latinoamérica sería increíble, aunque no tenemos planes hasta ahora. Desafortunadamente, no puedo nombrar una banda Latinoamericana de Black Metal, aunque estoy bastante seguro de que conozco al menos a unas pocas.

Además, esperamos que la mierda de Covid termine en un futuro cercano y podamos regresar lo antes posible al escenario. Realmente extraño mucho estar en el escenario.

DARGEDIK: Más allá de encontrar sensaciones oscuras y melancólicas en este “Metamorphosis” o relacionarse con etiquetas de estilo. Hablaremos de un tema abstracto como es la sinestesia. ¿Cómo describirías los olores y sabores que el oyente encontrará en esta “Metamorfosis”? Porque para mí el sabor es como amargo o frío y huele a lluvia en la naturaleza.

AGRYPNIE: De hecho, este álbum tiene una conexión mucho más cercana con la naturaleza que todos los álbumes de Agrypnie anteriores. Esto fue una especie de progreso natural y no fue realmente intencionado.

Supongo que también se incluye un poco de sabor terroso además de la lluvia, así como un poco de sal del mar. Pero en realidad nunca hablo demasiado sobre el concepto, las letras, las ideas, etcétera, detrás de mis álbumes. Quiero animar al oyente a sacar sus propias conclusiones en lugar de explicar todo desde mi punto de vista.

Además, algunas canciones son sobre temas de los que no quiero hablar porque son bastante personales. Escribir letras y música es una buena forma de procesar la experiencia personal ... de alguna manera críptica.

DARGEDIK: Hablando de otros asuntos en el mundo del Heavy Metal, en cuanto a cómo se debe considerar una banda underground y una banda convencional, hay patrones en los que más producciones de vinilos o casetes se adhieren al concepto underground, y el CD solo expandió las colecciones. de los aficionados. ¿Cuáles crees que son los factores para que los fans se apeguen a este concepto de metal underground? ¿Y dónde se ubican las plataformas digitales?

AGRYPNIE: Supongo que los fanáticos del metal en general son uno de esos grandes fanáticos, que todavía quieren tener artículos de colección y quieren apoyar a las bandas. Esta devoción falta en los fanáticos de la música no metal de hoy en día, en mi opinión.

Aunque en mi opinión, no se trata de si una banda es underground o no si sacan cintas o lo que sea. Probablemente sea solo una cuestión de gustos si las bandas quieren lanzar algún tipo de artículo especial (y tienen el dinero para ello) o no.

Actualmente estamos trabajando, por ejemplo, en una caja de cinta de madera limitada y tengo muchas ganas de ver el resultado final. Nikos de Razorbleed (quien publicará la caja) y yo ya invertí muchas horas para lanzar algo único para los fanáticos.

Las plataformas digitales son formas rápidas de obtener instantáneamente el último lanzamiento de una banda. Aunque no pueden reemplazar un gran artículo de colección, una banda se esforzó mucho e invirtió mucha sangre del corazón y tiempo para crear algo especial para sus oyentes.

DARGEDIK: Otro detalle es sobre los métodos de escucha de los fans, porque esta nueva generación prefiere escuchar una o dos canciones en las plataformas digitales. ¿Qué piensas de que los álbumes no tienen el mismo impacto en comparación con los de los 80 o los 90? ¿Y qué deben hacer las bandas para mejorar la escucha de todas las canciones de los álbumes?

AGRYPNIE: Bueno, soy bastante ambivalente sobre esto. Cuando escuchaste un par de veces el mismo disco, en cierto punto empiezas a saltarte las canciones que no te gustan (por si hay algunas que no te gustan) y solo escuchas las canciones que te gustan. Eso es bastante normal y todo el mundo está haciendo esto.

Aunque hoy parece que algunas personas realmente no invierten el tiempo para escuchar y comprometerse con un nuevo álbum completo y ya comienzan a saltar en la primera ronda y los segundos. Creo que es un comportamiento típico de la sociedad actual en rápido movimiento.

No creo que los artistas estén ni deban estar en condiciones de mejorar algo solo porque algunos oyentes no estén dispuestos a invertir tiempo en un álbum completo. Ese no es nuestro deber.

DARGEDIK: Bueno, gente de Agrypnie, el momento triste llegó a esta entrevista, espero que disfruten de esta como yo lo hice y muchas gracias por su tiempo. ¡Felicitaciones por el nuevo álbum! Tenga cuidado durante esta situación de pandemia y nuestros mejores deseos desde esta parte del mundo. ¿Alguna última palabra para sus fans en América Latina y los lectores de Dargedik?

AGRYPNIE: Muchas gracias por esta entrevista, el interés en Agrypnie, y cuídense también. ¡Esperamos tocar algún día en algunos shows en América Latina!

Sexto álbum de esta banda alemana y mi primer contacto con su música, que camina entre el black metal clásico y el black metal atmosférico, en este caso siguiendo un sólo concepto y cantado en dialecto bávaro, para realzar la intención de la banda hacia sus historias.

Waldgeflüster son: Winterherz en voz, guitarra, teclados y samplers, Dominik Frank y Markus Frey en guitarras, Arvagr en el bajo y coros, y Thomas Birkmaier en batería. El álbum fue producido por Markus Stock.

Este black metal es el que muchas veces usa las mismas características del "pagan metal", por lo que yo considero a este último como parte del otro, entonces, se deduce que lo que escuchas en gran parte de esta producción son voces clásicas del black metal, voces limpias en plan épico, bastantes melodías de guitarras que combinan bien con momentos atmosféricos, y en cuanto a la temática de las letras, ya adelanté que se trata de un álbum conceptual en donde se explora aspectos de la naturaleza y los orígenes del pueblo bávaro, todo para tratar de describir algo tan usual pero poco explorado, sobre lo que es el hogar en realidad, y para variar usan el dialecto original del lugar. Entre algunas canciones, la banda ha colocado instrumentales como puente, y estos son con alguna influencia folk, entonces cual es la diferencia del black metal con el pagan metal, pues no lo se, pero creo que hay términos que están de más en estos días.

Obviamente, son las canciones largas las principales en esta obra, destacando "Im Ebersberger Forst" (En el bosque de Ebersberger) con momentos melancólicos y épicos a la vez, que hacen que la mente vuele hacia otros paisajes. "Am Tatzlwurm" (En el Tatzlwurm) presenta las mismas características con pasajes atmosféricos y dándole algo de tristeza a su música, en lo que en varios momentos no se siente la oscuridad del black metal, aquí la música está repleta de melancolía. y esto se comprueba en otra canción extensa del disco, "Mim Blick aufn Kaiser" que en sus mas de once minutos introducen melodías muy buenas, con bastante sentimiento, y eso logran transmitir.

Aunque el idioma una vez mas sea una molestia, este álbum está lleno de sensaciones transmitidas por la música mas que por las letras, sólo la música de por sí ya logra situarte donde la banda ha querido. Recomendable.

Calificación: 8.6/10

Lista de Canciones:

Por lo general cuando una banda irrumpe contra lo estándar, pasan dos cosas: surgen bandas haciendo lo mismo por todas partes, y surgen detractores, que no admiten el "éxito" o la masificación de una banda que sale del underground. Ese fue el caso de Mgla, una banda polaca que empezó a tocar bajo sus atuendos anónimos, anonimato que no duró mucho, y que tocando un black metal con mucha melodía (algo ya hecho antes), se hicieron de una legión de seguidores y también de una de haters, que por lo general no aceptan el hecho de que una banda sea "popular" (aunque esa "popularidad" sea aún dentro de un círculo minúsculo)

Dentro de las bandas imitadoras tenemos a estos alemanes Groza, quienes hacen lo mismo que Mgla, tal cual, ahora, ¿tiene algo de malo?, pues no, la mayoría de bandas en el metal sale porque se quiere hacer la música que les gusta o de bandas que admiran, eso siempre ha sido así y no cambiará, al final es problema de cada banda el saber que eso puede restarles o no, no se hace daño alguno a nadie con esto. No me vengan con que no hay bandas que "no suenan a..." en el mundo del metal, porque es al revés, es lo que mas abunda.

Musicalmente tenemos un gran sonido en este álbum, buenas canciones, con la melodía necesaria sin llegar a ser extremadamente melódicos, destacándose canciones como "Sunken in Styx - Part II : Descent", la rítmica "Elegance of Irony" y la veloz "Homewards". Suficiente para que este disco sea entretenido por mas que se parezca a...por otra parte a estas alturas la originalidad es lo que menos abunda, e incluso Mgla, Uada, Batushka y esta banda son refritos de las bandas escandinavas pioneras de ese sonido melódico mezclado con metal extremo, que seas un niño que piensa que Mgla fueron los primeros indica que poco o nada sabes de metal extremo.

Calificación: 8.8/10

Lista de Canciones: