Recently, DutchMetalManiac's Alessandro reviewed Tribulance's The Aftermath Of Lies here. Now he also has interviewed their bass player Gino Silva and guitar player Sal Flores, which you can read below.
Guys, I’m very honoured to be granted this interview! I want to say again, I love your album. I hope my 10/10 at DutchMetalManiac means something for you! Actually I’m giving it an 11/10 in honour of RIP Jim Marshall.
Gino Silva: Thank you for this! And it does mean a lot! Let me give you a quick rundown of who is who in the group; I’m the bass player; Mike Vidal, lead vocals; Brandon Lee, drummer; and Sal Flores, guitar player.
So, tell us the origins of your band name, I try not to Google too much so what DOES that word mean?
Sal: Tribulance is a made up word derived from the term “trials and tribulations”.
How and where’d you meet?
Sal: I have known Gino and Mike from other musical endeavors around the late 80’s, early 90’s. We had a couple stints with some bands but actually got together and formed Tribulance in the early 90’s. Brandon was introduced to me and Mike by Gino around 2011/2012, when we reformed the group and needed a new drummer. Although, we all grew up on the south side of Tucson so it feels like we’ve all known each other all our lives since we’re from the same area.
Are you all actually friends or is it just business?
Sal: The friendship HAS to be there or else nothing else will fall into place properly…so yes.
Gino: But, we as a band also understand it’s a business and can separate the two.
Is the world a better place with all this new technology for spreading the gift of music or was it better to copy LP’s to cassettes and spread it around?
Sal: I think new technology already has made the world a better place to spread music. The music industry hasn’t harnessed a way, however, to balance how music is marketed and sold. I think we are in an infancy stage with where the world is at with technology and the spreading and selling of music.
Your music is powerful and heavy; tell us when and where your best times for inspiration are.
Sal: My inspirations for writing music mostly come from my own personal life experiences.
Gino: For me, it’s thoughts that just pop into my head, like a movie scene, that turns into music.
Without being disrespectful to a band’s originality, I always like to cite some influences that my ear picks out or I think picks out; do you guys do this when you’re working out your arrangements? You have some great influences! Who’s everyone’s favourite band?
Sal: I really don’t have “favorites”. I could spend all day talking about artists that I’ve admired and still admire. I even admire artists who are new and just coming out with music. I can name some bands who I’ve looked up to: Boston, Van Halen, Dokken, Judas Priest, Metallica, Beastie Boys, Fear Factory and Enya just to name a few.
When writing music there is no effort on my part to purposely sound like any particular band. If it just sounds good and pretty killer to us then we roll with it. It’s not intentional if anything we do sounds or reminds anyone of another band. I realize that some inspirations may show through. But again, it’s not intentional.
Gino: For me, of course, my favorite band is Motley Crue!
Onstage, 90% and live to fight another day or 110% and see what happens the next day?
Sal: 110% all the time…every time.
Speaking of stages, you’re not on an especially heavy tour schedule as of yet; are there more dates lined up for this year? Any chance you’re coming to Canada?
Sal: If the chance presents itself and we could all pull it off and make it happen then absolutely! We would love to go to Canada!
Gino: If Canada wants us, sure! As for any future dates, we have some local shows lined up.
I want to thank you so much for taking the time for us!
Gino: No, thank you!
As we go, give us “Tribulance’s Turbulence” for 2017:
WW III or Peace on Earth?
Sal: Of course peace on earth would be awesome. But whatever happens, we’ll go out playing Metal to whoever wants some.
Aliens Land – Aliens Keep On Going?
Sal: Let the Aliens land so we can play for them and get some new fans.
Music Industry Better – Music Industry Worse
Sal: Better in some areas….worse in others. We hope that it’ll ALL gets better.
USA Beer Better – Canadian Beer Better
Sal: If they both can do the job and get us drunk enough then both sides win!
Currently reading….which books?
Sal: Way too much of a busy schedule to read. Too bad. I barely have time to read text messages!!
Gino: Not currently reading any, but the last one I read was Nikki Sixx, The Heroin Diaries.
Thank you again for taking important time to talk to little ol’ me. Do you have any last comments for DutchMetalManiac’s readers? All the best success!
Gino: Only that the album will be released May 5th. Although you can pre order it on both iTunes or at Google Play . Make sure to check us out on Facebook, Instagram or Twitter...and to all the fans, thank you!
Sal: AND THANK YOU!!!!
Saturday, April 22, 2017
Created in late 2011, French death metallers Creeping Fear have spent their time honing their skill-set with a series live dates and well-received demos that have set the group on the path to the present day as they’re finally able to put the finishing touches on their debut effort. With their work finally able to be exposed to the public, their full-length debut was released March 3, 2017 on Dolorem Records.
From the onset, this one offers plenty of utterly enjoyable elements that come about due to the bands’ rather strong and charging atmosphere. Efforts like “Life Denied,” “Swallowed by Death” and “Spreading Disease” are fueled by strong, raging riffing that takes a ravenous, buzzsaw-style of riffing to the forefront while adding together a frantic beat to the proceedings, all of which adds together into a rather pummeling onslaught of more modern templates in the genre. When these are added together alongside efforts like “Divine Casualties,” “Trenches of Desolation” and the title track which offer more loose chugging rhythms and swirling riff-work rather than the tighter buzzsaw rhythms elsewhere throughout here and brings for a crunchy variant to the faster efforts throughout here, letting this get some nice disparate elements into their sound. The problem is these are the bands’ more epic and overlong arrangements due to the slow chugging style in the riff-work, and these are on the whole far blander than they need to be since the band has plenty to like on the more plentiful faster tracks here so even with the more enjoyable tracks taking up a majority of the album these long-winded efforts aren’t that exciting on the whole. Still, this is a debut and that doesn’t strike as big a detriment as it really deserves to be since most everything else on the record comes off enjoyable enough to overlook this.
Despite having some problems with maintaining some interest in their longer efforts here with some overlong tracks, there’s plenty to like elsewhere here with the bands’ faster and frantic material that it should be appealing to those who prefer this style of thick, crunchy death metal and can overlook the few flaws here. 7.5/10
Written by Don Anelli
Creeping Fear Facebook
Thursday, April 20, 2017
In January French metallers Assent released We Are The New Black. DutchMetalManiac's Alessandro already reviewed it for you here. Now he interviews Aurel, who is responsible for the vocals, bass and drum programming in Assent, you can read it below.
Guys, I’m very honoured to be granted this interview! A very good album here. So tell us about the “ascent of ASSENT!”
Hi there ! The honour is all mine, thank you very much for your enthusiastic review ! The project started in 2016 when my former band Human Vacuum split up. I was suddenly on my own and I had a ton of old songs lying in my computer in Guitar Pro format, stuff I had written along the years but never used because it didn't fit with my former band's style (which was more nu-metal). I can't stay without an active musical project since it makes my hair and skin go bad. So I began to make a selection among those songs and rewrite over them. After a few months of working alone I presented the songs to Greg (guitars) and there we are.
How and where’d you meet?
Greg used to be my boss. We both worked in retail in the same video game store and we hit it off instantly. We already had an acoustic cover band together before starting Assent.
Are you both actually friends or is it just business?
We're close friends. I got hired in that store where he was assistant manager in 2012, and we realized after a few hours that we had so many common points it was uncanny. Same love for metal, same love for video games obviously, same sense of humour, same work ethic (which now proves crucial for the band), etc. It was a match made in heaven. I knew he was a very good guitar player so when I became available and needed someone he's the first and only person I considered. Luckily, he loved the songs instantly.
Is the world a better place with all this new technology for spreading the gift of music or was it better to copy LP’s to cassettes and spread it around? Which sounds better to you?
That's a tough one. I'm 37 so I do remember the old days, where you had to buy your music first and listen to it later, read reviews in magazines, copy your records on tapes and so on. Unsigned bands would go unnoticed for decades unless the right person got the right tape, and there were less bands around because of the money and skills barrier. Nowadays there's a band at every corner because it's so much easier to make music and get it spread around (I mean, look at us !) but it doesn't make it easier because the market is saturated. There's one aspect that makes me think things haven't changed that much : money is still the decisive factor. In the old days only bands that could afford to record an album on their own to get it sent to labels had a chance. Nowadays only bands that can afford to buy a promotion plan and pay for Youtube views have a chance. I could make Assent become huge overnight if I had the funds, through paid social media harassment alone. Different system but same criteria I guess.
Your music is guttural and raw yet, I find, going to progressive lines. Which one influences this?
Well, I'm the sole songwriter in Assent so that would be me ! As a songwriter and as a music fan, that's pretty much my ideal. I've always been attracted to catchy and progressive music. I love violence, groove and technicality… at some point my favourite albums were Dream Theater's "Scenes From a Memory" and Korn's "Issues". So that's what I've tried to achieve with Assent, and I'm really happy to get this comment from you.
Without being disrespectful to a band’s originality, I always like to cite some influences that my ear picks out or I think picks out; do you guys do this when you’re working out your arrangements? Who are your favourite bands but not necessarily influences?
Nowadays I'm deeply in love with bands such as Madder Mortem and Destrage because of what I told you in my previous answer. That's exactly what they manage to pull off : songs that get in your face and make you jump around, while still being full of strange ideas, uncanny parts and innovation. I don't think they're an inspiration for the EP because a lot of it was written before I'd even discovered those bands. The very first part I wrote was the verse riff for "Remain in Darkness" fifteen years ago, and back then I was a huge Paradise Lost fan. And it shows, it's pure gothic metal ! I think another big influence I had during the writing process was Soilwork : listen to "A Part of Me" by us, then go listen to "Needlefeast" by them, and I think the similarities will appear clear as day. It's kinda hard to pinpoint a band beyond that because the EP was written on such a long period of time… some songs started out in 2003, some in 2008, all of them were reworked in 2016, and I've listened to many bands in the meantime that may or may not have influenced me.
Tell us about your guest artists F. Lemonnier and N. Muller! Are they going on tour with you?
I hired Florentin from the band Far Away for two reasons. Firstly, I needed someone who could play fast bass with a pick on the first song. The song required it, I play fingerstyle myself and I was too lazy to learn to play with a pick just for the EP. Secondly, I knew Flo can play the bass and growl at the same time, and I knew I would need someone like that for the live line-up at some point. So having him as a guest was a way to get him involved with the project and secure him as our future live bass player. And since he plays with us now, that mission has been a success. Nicolas is the mastermind behind Helioss and a very accomplished player who already performed a guest solo on Human Vacuum's album. I would love to have him as part of the live line-up, but he's a recluse who writes and records music on his own in his bedroom and hates playing onstage. Some people are just weird that way.
At what stage of your production do you decide that a particular sound is the one you want?
I had a clear vision of what I wanted productionwise : our producer Zoé H. was tasked to find the perfect balance between heaviness and clarity. What I told him was "I want this to rip faces off BUT I want everything played by every instrument clearly audible. And I want to hear the bass. Give me something modern, sharp, where every subtle arrangement can be studied with headphones on. And don't forget that bass. Basically it's whatever works as long as it's loud and crystal clear. Oh, did I mention the bass ?" And the guy delivered. He presented us with options during the whole recording process, I told him to turn up the bass… good times.
Speaking of stages, you’re not on an especially heavy tour schedule as of yet; are there more dates lined up for this year? Any chance you’re coming to Canada?
We've played one gig and we have another lined up, and that's it for the moment. It's kinda hard to get gigs in Paris because the scene is completely saturated. There's a metal gig every night somewhere, and venues are flooded with requests from bands like us. When you're starting out you're not gonna bring many people because you're unknown, so booking you is a risk organizers must be willing to take. It's a conundrum : you need to get famous to bring an audience, but you need to play in order to get famous. We're actually lucky because our live bass player Florentin has a booking agency on the side, without him there would have been no gigs at all. I'll come play wherever so like every other band around I'm just gonna say it : PLEASE BOOK US. Just give us money for the journey since gasoline isn't cheap and we need food in order to survive. But if you're willing to take a chance and have us play at your venue, let it be in Canada or Zimbabwe or anywhere, book us and we'll come.
I want to thank you so much for taking the time for us!
As we go, give us “Assent’s Assertions” for 2017:
1. WW III or Peace on Earth?
WWIII is coming our way fast, so please make sure you buy a lot of our records before it happens.
2. Aliens Land – Aliens Keep On Going?
One of them is President of the United States as we speak.
3. Music Industry Better – Music Industry Worse
I'd say worse. Some platforms work well (Bandcamp is a fantastic place for musicians and they're successful, kudos to them), but overall the system still has to find a way to allow musicians to make a living. We still pay to record, pay to play, pay for everything and don't get much back. The Assent EP alone is 4000€ I won't get back, ever. It was my choice, but it's not sustainable as an economic model. And it's the same for everyone.
4. French Champagne or Canadian Beer?
I'll go with French Champagne, but that's only because I haven't tried enough Canadian beers yet. Please educate me in that matter, my mind may change.
5. Currently reading….which books?
I used to read books, but then Zelda Breath of The Wild came out and now I can't remember what a page looks like.
Thank you again for taking important time to talk to me. Do you have any last comments for DutchMetalManiac’s readers? All the best success!
Thank YOU for the time you took reviewing our EP and preparing these questions. I hope everybody on DutchMetalManiac will give the EP a chance, you can listen to it in full on everything (Deezer, YouTube, Spotify, SoundCloud, Bandcamp…) and just getting comment is a reward in itself for us. If you want to give us some support the digital version is only 3€ on Bandcamp so knock yourself out. In general please always consider buying stuff from the bands you love as long as they don't try to rip you off : a shirt, a digital album, a sticker, a keychain, whatever… every little helps, really. We're poor bastards who fell in love with the wrong music genre.
Assent Official Website
The Lightbringer is a relatively unknown band hailing from Québec, Canada and was founded in 2008 by two brothers, Olivier and Simon Vaillancourt-Girard. They are responsible for about everything that has to do with The Lightbringer. From composing to mixing to producing to playing guitar, bass and drums to vocals, these guys do it all. They are not a two-man outfit, though. Apart from the two brothers, whose artist names are Auraeon and Archan, the line-up is completed by vocalist Fanny Grenier aka Celestheia, Amélie Coté aka Aethera on keys and Stanislav Stefanovski aka Sol-Orcus, also a vocalist. The boundaries of their musical spectrum is set by, in no particular order, death, black and power metal, which they combine into songs with distinct melodic, symphonic touches and fantasy-themed lyrics, also known as melodeath. Having released their first fruits of labor back in 2010 in the form of the full-length ‘Quintessence Of Dawn’, they recently unleashed their latest creation on the world, another full-length called ‘Heptanity’. As the name already more or less suggests, the album, which is a concept album, has the seven primordial divinities and their power as leading subject. In their own words: The Heptanity symbolizes the alliance of the seven Gods in one omnipotent entity, creating the material dimension of Existence.
Of course a good concept, which to me is one with strength, depth and caliber, is nice, but what really counts is the music and, in case of a concept album, the interaction between music and storyline. My first impression after a few minutes of listening to ‘Heptanity’ was not exactly straight-forward, most likely because The Lightbringer’s music is far from straight-forward, and that impression never changed. All songs clock well over 6 minutes, most of them even exceed the 8-minute mark with ease, and they are all packed with an enormous amount of musical and vocal textures, soundscapes and surprises making them impossible to describe accurately. Not often have I come across a release that has been so rich in and filled with details, this must have taken a huge amount of time and patience. Take the vocals for example. There’s three vocalists, each of them with a different reach and range and each of them with a significant part in (many of) the songs. Where the male vocals vary from high-pitched, power-metalesque to deep, ominous growls via psychotic screams, Celestheia’s vocal lines are mainly operatic, bombastic although at times she sings less soprano-like as well. The music can be described in an equal manner: widely ranged and highly varied.
Variety usually is a good thing, but adding these amounts of it to your music without losing coherence is quite the challenge, especially when power metal, which in itself is prone to getting chaotic easily, is one of your main styles. ‘Heptanity’ consists of multi-layered songs that alternate between brilliant, exciting, beautiful, boring and chaotic. Now don’t leave this review after reading the last two qualifications, I will explain this. First let me emphasize that if anything ‘Heptanity’ most certainly is a great album with some amazing music, well worth your attention. I’d also like to emphasize that all members of The Lightbringer are more than capable musicians, to which I count the vocalists as well of course. The combined reach of the vocalists allow them to use extremely versatile vocal lines where multi-instrumentalists Auraeon and Archan seem to be able to skillfully cover every single style available in metal and Aethera’s key-work, though at times a bit underexposed, are an addition at about any given time without distracting too much. Nevertheless I do have some minor criticism: Every time I played this I couldn’t help but get a bit restless every now and then. And why? Well, speed, heaviness, sootiness, anger, atmosphere, variety, choirs, you name it, it’s all there… And at the same time that is exactly this album’s weakness and the reason for my restlessness: It’s ALL there.
In general the brothers Vaillancourt-Girard did a more than good job composing and mixing this, but in their attempts to cover (and use?) everything they overdid things here and there. I haven’t made a case study of this, but to me it feels as if they tried to capture every single atmospheric change and detail from the story in the music. A noble cause, but one that sadly tends to make things sound a bit disorganized at times. Adding to that a wide variety of loosely integrated musical styles, some of which aren’t exactly known for being tight and organized either, and it’s quite easy to lose track of things when you’re composing this, something the excellent sound of the production cannot cover up entirely. Having said this I still think ‘Heptanity’ definitely is worth anyone’s time. The shards of brilliance are way more common on this album than the flaws are, so I for one could quite easily listen past those flaws. Despite the fact this one probably won’t be a contender for album of the year, but I do think that, with a few tweaks, the guys and girls from The Lightbringer should most certainly be considered capable of delivering one. There is so much to discover on this release that I’m certain most metal fans will find something to their liking, regardless their preferences where it comes to genre. Try my personal favorite ‘The Sundering Hammer Of Earths’ on for size. Despite its flaws I urge you to really give this musical chameleon a chance. I’ll definitely keep an eye out for them from now on.
Written by Henric van Essen
The Lightbringer Official Website
The Lightbringer Facebook
Hailing from Portugal in a digital format, this is the latest in the Black Progressive Metal One Man Band genre! It gargles well within this genre and I think you’d need to see a live show to appreciate it more. At first glance, this is only another deathcore/grind’em up piece but it swells with progressive pride. Digging deep into their rich history, he speaks of important historical events with a hardcore attitude.
‘A Portuguesa’ is a railing, Maiden like musical rendition of their national anthem that introduces us quickly to the playing of the band. ‘Viriato’ is a sluggish, cranky piece that I don’t like at all personally but the rest of the record is very well engineered and produced.
The 11 plus minute opus ‘Sagas de Portugal’ is good then so-so for me, as the musical overlays are kind of slow at first. It is suddenly then good again, mixes classical overtones, orchestras and other stuff in a new and unusual way. The pseudo-rap and guttural hopscotch from about 5:55 to 6:21 was neat and innovative.
If ‘Terramoto 1755’ on Nov 1, All Saint’s Day could have had a soundtrack, this would have been it. The actual 8-9 Richter scale quake, causing tsunamis and the like, destroyed most of Lisbon. Maybe they are trying to do that with a wall of sound and guitars and might quickly succeed; a powerful piece that brings some historical overtones with it.
Terribly impressed with the rest of the record! The finest elements of many genres pieced skillfully together by one person makes this an easy, willing listen. The more I heard it and found its deep underbelly of prog roots, the more I liked it. The barrage of lyrical virtuoso and hard metal playing instantly captivates and resonates and you have to be amazed at the skills of Rotem.
A classy historical play that does a great homage to his country, this would be interesting to see in concert, and would hopefully break down the stoic barrier of the classic lineup, but not replace it. The skill and grace of this composer is not to be taken lightly. I akin Rotem’s skilled underpinnings of such solo innovators such as Jean Michele Jarre of electronica fame and Aldo Nova, a classic rock 80’s solo composer.
A novel, biting piece! 8/10
Written by Alessandro
Rotem Official Website
Monday, April 17, 2017
A quite interesting album to review for me, Skyclad gave me something to think about. The band combined a lot of styles, instruments and melodies in this album, and for me as a musician in a band that has a similar approach in making music but in a different light, it made me think about new experimentation.
The tracks are all different, and the styles of music in them varies in riffs not only songs, as you can find hardcore influenced riffs, prog metal riffs, folk metal riffs and more, all over layered with folk melodies and sharp vocals. There is an instrumental track on the album that can be mistaken for a Blind Guardian song if you did not know better. The instruments used vary, I at least heard some classical folk instruments, combined with modern instruments and the fusion is brilliant. Now, the quality is over the top, the instruments are heard with great ease, the vocals as well. The only small complaint I have is that at some minute points of the album it is a bit too loud for my taste, because of the layering of all of the instruments and really high vocals. I like the vocals as they are not too high in the mix, they do dominate but even then it is not deafening to the point that you need to reduce the volume. The theme of the album gave a bit of a Irish feel while listening to it, and the lyrics for the songs are great, as it gives off the feeling that you are around a campfire and listening to bards telling stories, a much more power metal feel than most.
All in all, the album is great, and I absolutely loved it from begin to end, and in all retrospect this album is one of the masterpieces that can be introduced as a power metal masterpiece. I give it a 10/10.
Written by Nikola Milošević
Skyclad Official Website
Saturday, April 15, 2017
Last year Spanish metallers Noctem released their latest effort, called Haeresis. DutchMetalManiac's Nikola Milošević already reviewed it, you can check his review here. Now, DutchMetalManiac's Tim van Velthuysen interviewed Noctem's vocalist Beleth, you can check the interview below.
Hey, how's life?
Hey! hehe not bad. In this country if you know how you can live relaxed… Looks like I’m already learning.
For people who don't know you (yet), can you tell us a bit of Noctem's history?
Noctem is a Blackened Death Metal band with a long trajectory of more than 15 years. With 2 demos, 1 live LP and 4 albums, released with Prosthetic Records, Art Gates Records, NHR and Metal Blade Records.
After 16 years career, Noctem is one of the most active bands from Spain.
The band played on many festivals, more than 15 tours around Europe and Asia, supporting lot of bands like Marduk, Enthroned, Impiety, Napalm Death, Samael, Gorgoroth, Nargaroth, Keep of Kalessin, Taake, Immolation, Vomitory, Malevolent Creation, Incantation, Hate, Ragnarok, Melechesh and many more...
Noctem started in 2001, took a break in 2005 and is back with a new version since 2007. Now, in 2017, you have 10 years with the new Noctem behind your back, how do you look back at the last 10 years and the period before 2007?
Before 2007 the band's activity was almost nothing. Record a demo and make 5 concerts became Noctem's biggest goals in a year.
The last 10 years have been the most active period of the band, we have done about 400 concerts, we have released 4 albums since then and this has made us grow a lot and position ourselves better and better on the European scene, and find the attention of good labels outside this continent.
I do not like to look back because I think that with work you have to look forward and there is still much to do.
What makes Noctem's music unique?
I think it is this kind of Blackened Death Metal mixed with thrash, the sound is raw but not so old school like the classics of the genre. That is my opinion but people usually say that they are epic passages in songs, guitar melodies and Spanish guitars that we use in some songs.
You are from Spain, how is the metalscene in Spain?
It is a metal scene growing up faster and strong in the last years, lot of new bands are making a great job, I mean bands like, [IN MUTE] (winners of Wacken metal battle), Trallery, Angelus Apatrida, Crisix… and many more are hitting the stages outside our country. Some really great festivals like Leyendas del Rock or Resurrection fests are growing up and calling the attention outside of our borders.
A couple of days ago I saw comments in internet about Resurrection Fest poster. Foreign people saying… “Spaniards lucky bastards to have this great festivals…”, "you dont know how lucky you are..." well this is simply amazing. 10 years ago no one thought about this can happen. So we need to continue working and supporting our scene, festivals and bookers to continue growing up.
In September last year you released your latest album called Haeresis, how's the response you get from press and fans so far and are you satisfied with it?
The answer is being great. The new album Haeresis is getting a great impact in the specialized press and the metal heads. So we can be more than happy.
I don’t know the total sales yet but the special edition we made of 666 copies with cadaver scent is almost sold out. This had a great impact, Haeresis was the first album in the world released smelling to rotten flesh. We have less than 50 copies and we will sell it in the next concerts.
What's the story behind the cover art of Haeresis?
The cover was made by Seth Siro from Septic Flesh. We know Seth from some years ago and we asked him for a special artwork, we just gave him some info like “topic”, “something explicit”, “big impact” and he unleashed his magic. About the final result we haven’t changed almost anything, it was perfect from the very beginning.
You've toured a lot during the years, what is the most fantastic memory you have from it?
We made a lot of friends in the last years touring Europe. It is a great satisfaction when you are going to play in some city and you receive lot of whatsapp and facebook messages telling you “see you there fuckers”, “Party night after the show”… We are simple people and very friendly, so it is very easy to us to connect with the people.
The best memory I can remember right now is play in front of full venues in China. I never thought it can happen. I think this is the reason why we will tour again there.
About touring, you already announced a few festival shows and an Russian tour, can we expect some more shows in 2017?
Yes we announced this week a new European tour with the Polish metal band Batushka. We will take part in the European Pilgrimage part 2. Was a great surprise when Massive Music contacted us and asked "guys are u available to do this tour?" We said... for sure!
We felt like after so many efforts for years people value and consider the band in a good position.
We will be in Netherlands the following dates.
26.05.2017 – Rotterdam / Baroeg.
27.05.2017 – Nijmegen / FortaRock In The City.
28.05.2017 - Utrecht / De Helling.
Any other future plans for Noctem?
Yes we will release next month a new single. Called “A Cruce Salus”. This was a bonus track recorded in one of the best studios of Spain “Millenia Studios” in Valencia. Raul Abellan offered us the possibility to record a new song and we didn’t doubt it.
This song is in the same thematic of our album Haeresis and will be online very soon, accompanied of new merchandising designs and cover artwork. We will play it in our upcoming tours.
Is there anything you want to say to DutchMetalManiac's readers?
I want to thank you for this great and complete interview, and say Hey! to all the Dutch Metal Maniac readers, we meet you guys next month in the upcoming gigs. Stay brutal brothers and sisters.
Noctem Official Website