Tag Archives: Lubbert Das

5 Years of Haeresis Noviomagi

Rarely have I taken the time to pay homage to a label (though I have a share of favorites that I should perhaps create some articles about), but this one is quite special and one I appreciate extremely: Haeresis Noviomagi. I’m saying a label, but it is in fact more of a collective of musicians that loosely expands, encapsulating other bands and projects as it morphs and grows.

Header image from Facebook page Haeresis Noviomagi

Flag bearers of Dutch Black Metal

I have not been following black metal music in the Netherlands so long to know what have been pivotal collectives or points of interest where meetings of minds took place. You see throughout the history of the genre that interesting things happen where like-minded spirits meet. A few years ago now, there was much ado about the ‘new wave of dutch black metal’, particularly focused on the region of Utrecht and bands like Terzij De Horde, Laster, Verwoed and others (I would not understate the importance of a band like Dool). Bands like Grafjammer and Wrang are essential bands that feed the underground spewing forth these bands. But at the same time, the hermetic group of Haeresis Noviomagi may have played an essential part in crafting this new, quintessentially Dutch sound. By now, they’ve solidly merged with the Utrecht scene, bringing forth collaborations such as Nusquama and playing in the aforementioned Dool (O. from the group joined them in 2019).  More significantly, the group was deeply involved in the thematic one-time work for a performance at Roadburn, which was titled Maalstroom. I was there and enjoyed the spectacle immensely (read the interview here).

Hence a look back at some of their noteworthy releases from the Haeresis Noviomagi front, that I feel embody the best that has come out of their stables.

Galg – Monochroom (2014) Galg - Monochroom

You won’t find any references to Galg on the website of Haeresis Noviomagi and only scarce mention of the project in any interviews. The reason for that fact is that Galg proceeds Haeresis Noviomagi. It’s an entity that has existed outside of their realm, but to me has been pivotal in shaping the final form the collective took. Much of the typical sound and visual art of the group can already be seen in this early release. It also happens to be a record I came across and conducted an interview about. Instead of conjuring up new words, I’ll just quote what I wrote at the time:

Monochroom‘ is a 26 minute descent into despair. The opening is like a bell tolling for mass. A bleak buzzing evokes dark clouds and a grim day. Samples from speech add an atmosphere of unholy ritual to the sound while the buzzing sound of the amps continues like an abysmal depth for the listener. A slow chanting arises from that deep bass sound. The sound swells up and suddenly blast beats emerge and intense guitar work lays out a barrage of dark sound while the sound of wind is sweeping through.

Lubbert Das – Deluge (2015)

The watershed record for the collective is the debut EP from Lubbert Das, their most focused black metal outlet in my opinion. It’s dirty, decadent, and violent at times, but also illuminated by the unique approach of the band and ability to implement influences like Hieronymous Bosch in their work. In a way, Lubbert Das is always on par with Turia. These projects feel like two sides of the same coin to me. ‘Stone, God’s Blood’ is the first track on this EP, unleashing after a solid build-up. The track takes a slow pace and offers a lot of room for distant screams and generates a lot of atmosphere. It becomes a seductive feast of entrancing darkness.

The second half is ‘Forlorn Ages’, delivering atmospheric black metal with that ferocity in its foundation. Blast beats and furious screams, in a tapestry of sound. Descending slowly down into a pit of despair. The song flows in all majesty, as the train rattles on and on at a high pace. The movement of the sound slowly mutates over the 14-minute course of the song, but that tremolo guitar with the big echo makes everything sound so cavernous, so immense.

Iskandr – Euprosopon (2018)Eurposopon

Iskandr is a project by O., who also plays in Turia and previously was active in Lubbert Das. After the formative full-length ‘Heilig Land’ and the EP ‘Zon’, the second full length has become a record I return to frequently. The project’s name refers to Alexander the Great, who people called Iskandr in the eastern parts of his realm. The title refers to the impossibility of the perfect man and explores the concept of new ‘heroism. Steeped in the masters of pagan black metal and exploration, this is a record full of majesty and vigor.

Though black metal is the foundation of the sound, ‘Euprosopon’ floats with big arches and esoteric chanting, while the fundaments of the sound surge forward with blast beat drums and rigorous guitar riffs. There’s something specific about the melody lines that rhythmically speaks to you from realms beyond the Occident. Further from the rigid reaches of the west, maybe even from beyond lost in the mists of time the guitars resound. It’s as if the songs are the soundtrack to what is to come, with a mid-paced black metal subtlety and highly sophisticated effects. Iskandr embraces you and shows you magic on ‘Regnum’, unleashes a show of force on ‘Verban’, and takes you to a dreamy state on ‘Heriwalt’. It’s an album that is solid as a rock, but furtive in its mythical state. In other words, it’s great stuff.

Nusquama – Horizon Ontheemt (2019)Nusquama

With the apparition of Nusquama, the Haeresis Noviomagi group joins forces with musicians from Laster, Vuur & Zijde, Fluisteraars, and more. This musical endeavor has a wholly different vibe, yet also feels like a good fit within the overall opus of the group. Sun-touched black metal, with all the harrowing aspects as well as the soothing nature of warm riffs and melodies. The name comes from Latin and Thomas More used it to refer to the necessity and impossibility of a hopeful alternative. Those are the words the band shared, not my own, as they tell it best in my humble opinion. The record was written in a period of over 2 years, and recorded in 2018 in an old coach house. An affable nod to their nostalgic inspirations of poetry and naturalism.

The contrast is clearly audible on opener ‘De Aarde Dorst’. The guitars soar, while the drums and bass weave intricate patterns on the ground. The voice spits venom, particularly audible on ‘Wrevel’ where it is vitriolic in its vehement assault. The melodies don’t balance it out much in this track, though there are soothing passages and ominous chanting to boot. But there’s also a sense of majesty and pride in the music like you can hear in the big movements on ‘Vuurslag’. It’s as if the waves of the music imagine the rising of the sun, which I feel the lyrics refer to.

I can go on because a track like ‘Eufrozyne’ employs the furious blast beats and rising guitar riffs as a herald’s call, where ‘Ontheemd’ offers another thick slab of atmospheric black metal. ‘Met Gif Doordrenkt’ is then the final track and a worthy closer of the album. Intensive drums, soul-crushing riffs and so much feeling in that sound, it’s imposing. Clocking over 7-minutes, it feels like the song takes you on an upwards trajectory, ever higher and warmer.

Turia – Degen van LichtTuria Degen Van Licht

For me, ‘Degen van Licht’ has been a ray of light in 2020. I feel that I can say this unironically (the title translates as ‘rapier of light’) because this is one of the best albums this year for me. I don’t need to point out how shit this year was. Turia has released multiple great records, and I would recommend all of them. Yet, this is something else by the mysterious threesome from the east of the Netherlands. It’s their third release and was preceded by split records with Vilkacis and Fluisteraars. Ok, so I’m a huge fan of this album and the reason is its remarkable clarity and cohesiveness. It feels like one, big slab of music,  meant to quiet the turmoil in your head and focus your energies. it obviously has a dark edge. It is black metal, but also a radian beauty that I admire.

The album has a brief intro, but how good is it to hear those clear notes break the murmuring thunder. Similarly, the main riff on ‘Merode’ is an absolute beauty, calm and soothing, while also speaking of dreams of another world. Waxing and waning over the aggression brought on by the scratchy bass lines and screechy vocals, it’s a contrast again, like in much of their work. ‘Met Sterven Beboet’ is a bit more crunchy in its sound, also packing a bit more of a punch along the way. The guitar that weaves those clean notes, however, is what I find most spectacular and warm.

I keep hoping for another glimpse when listening to this song. More majestic, but sticking with the theme, is the title track. The sound feels fuller, grander, more stiffly in its expression. In a good way, much like the playful sound of ‘Storm’ doesn’t diminish the bleakness that is inherent to this album. After a brief interlude, we get to ‘Ossifrage’. That’s an old name for a vulture that likes to drop bones to break them, so that’s a good black metal title. It’s a richer song, showing the full diversity of the band and craftsmanship behind their songs. It’s all good, isn’t it?

Empyrean Grace -Bestowment of the Seraphic KeyEmpyrean Grace

I guess this is the birthday release for the five-year anniversary Certainly, there was a Lubbert Das/Turia split, a Iskandr EP, and re-releases, but this one took the cake. A one-track wonder of almost 30 minutes of ephemeral black metal of the highest order. This is truly majestic stuff. It’s not clear who is involved in this project and if it will see further releases or any form of continuation (much like other side-projects of the Haeresis Noviomagi family, it is all shrouded in mists). But it is fantastic and I wish I could get my hands on the tape, for the collection you see…

The shimmering guitars in the intro unfold into a black metal sound that has a certain ‘kosmische’ feel to it. Yes, I’m referring to the kraut rock-like dreamy state the first few minutes of the song bring you into, not least due to the ethereal vocals that resound through the wall….nay, flow of music. The song changes, and fierce blast beats and a threatening sound follow a bit later. Yet, the music retains an almost ritualistic atmosphere, though I won’t mention the band that springs to mind when I say that. Kaleidoscopic, is how they describe it, layered, hallucinatory and all those words make perfect sense to me with this album. It’s like fata morgana, a mirage, a dream state, this record brings you into. That’s what makes it so wonderful and moreover, so promising for more.

New Wave of Dutch Black Metal Part 2

The New Wave of Dutch Black Metal was coined by Never Mind The Hype and I was amazed by the sudden realization that we have so many good bands in the Netherlands.

This is my attempt to give you an overview of the amount of stunning bands that the Netherlands has to offer, but there is more in part 1.  I have to say though, the more I’m looking into it, the more I seem to find!

Black metal fury with Cirith Gorgor, Tarnkappe and Turia

Some bands stick to the fierce sound that characterizes the original outlets of black metal. Almost unrecognizably mutated from the Venom-roots, the sound is furious, overwhelming and battle-ready. These bands to my experience hold the fort, while adding distinct own aspects to it.

On their last album, ‘Visions of Exalted Lucifer’, the band Cirith Gorgor pretty much showed that they are one of the most esteemed black metal bands from the Netherlands, producing a sound very close in praise of the traditinol, thunderous black metal from the nineties. Their latest offering is an EP titled ‘Bi Den Dode Hant’,  a reference to the infamous ‘Bokkenrijders’ from my parts of the world in the older days. Their four track EP has two absolute gems on it, but also one of the songs from the previous album. Bummer, because I knew it already. On ‘The Luciferian Principle’ we actually get a bit of a weird atmospheric outro, which is pretty cool. It’s the title track though that completely takes the cake here, a blistering surge of hatred. A continuous abyssal assault, lead by singer Sathanael and the vicious guitar assault.

Tarnkappe was featured earlier on my blog, but this band really fits in that traditional black metal framework. Maybe a bit towards the natura-inspired sound, but the artwork and vibe is staying close to the core. The band name means something akin to ‘Wizard’s hat’ in the old tongue of these lands. Looking at the cover and the landscape depicted there, you might easily link this band to a Burzum, but their sound is much less hazy and dreamy, filled with repetition and firm waves of guitar sounds. The vocals really speak to the listener in my opinion.

When it comes to unleashing minimalist fury, the band Turia needs to be mentioned here. I’ve seen them play at Roadburn as a three piece act and there is just something completely desparate about their flow of misery that takes you to the vast desolation that only black metal can evoke. Their album ‘Dede Konde’ is a steady swirl into darkness and well worth listening to. Every sound on this record is measured, directed and controlled to evoke the maximum of feelings from the listener.

Outsider music with Iskandr, Kjeld, Folteraar and Fluisteraars

Black metal is an expression of the individual, of that which makes us distinct from others. These groups clearly have found a way to give shape to their own identity and place in the world, wether it is with language or other elements.

There are some bands that I find hard to place, though everything above is done on an overall feeling and emotion it evokes with me as a listener. A band I find harder to really put somewhere, but would not want to set apart is Iskandr, which hails from the Nijmegen area like Turia. Iskandr feels much more atmospheric, almost filmic in the tragic, impressive melodies the band uses on their album ‘Heilig Land’. Iskandr is also a one man band, with just O making the music, which is something you can sort of hear in the focussed stream of energy in the music. O also plays in Turia, Lubbert Das and Galg, some pretty great bands. The sound is so immensely tragic and harrowing, I love it.

The Netherlands has a second language, which you may or may not know, namely Frisian. One of the best bands to come out of the wood work in recent years happens to sing in that language and that band is Kjeld, who truly hit a high note on their album ‘Skym’ from back in 2015. The production of this band sounds a bit cleaner and more focussed, but remains firmly rooted in the Northern tradition. The musicianship is one of the claims to fame from this group  of four with much experience in other ensembles (like Asregen, Krocht, Kaeck, Gheestenland and many more).  Though the band has been in existence since 2003, the last few years saw them at their most productive, releasing a split with Wederganger recently.

Folteraar is another gritty project of excellent noisy, fierce black metal. It seems that this duo leans towards a bit of an industrial approach to the musical expression. With a thick layer of distortion and a gritty sound with low paced rhythms and grim barks this is some intense stuff. It seems there’s even a mild death metal influence to create the severely intense sound this duo produces. Originally the releases came out on an own label of bandmember K., namely ‘The Throat’, but now Iron Bonehead has picked up on this excellent band.

Folteraar is not for the fans of catchy melodic or atmospheric black metal, their sound is harsh, repetitive and ugly. The delivery is excellent though, offering a rather different take on the genre.

From there on, we move to Fluisteraars, who’ve done a magnificent job on their EP ‘Gelderland’ to create black metal that sometimes almost feels like indie rock. That’s how streamlined the riffs are, with a strange, playful melody in there. I wouldn’t go so far as calling them a gentle sounding band, but the strength of Fluisteraars is the use of melody and catchy hooks, while remaining loyal to the grim and black sounds. The 7″ is out on Eisenwald Tonschmiede in Germany, a label that knows how to deal with the narrative, gripping sound of bands like Agalloch. Fluisteraars fits in there somehow, though they can also unleash hell if they need to.

Into the underworld with Lubbert Das and Wederganger

Two more names that have a sound that is particularly haunting to round up this second installment, two names that are definitely worth checking out.

Lubbert Das is an odd reference to the work of Jheronymous Bosch, in which we find a painting, titled “Cutting the stone’. A text surrounds the painting in golden letters, saying: “Master cut away the stone, my name is Lubbert Das”. So, there the band found their name and a logo. The sound of these guys is really a lot of doom and gloom, with long, repetitive passages. The cavernous sounding guitarplay and drums really makes you feel that the sound is all submerged, under the earth’s crust where madness reigns. Tumultuous and unrelenting, this is some bad ass black metal.

Born out of some of the best bands in the more Folky corner that the Netherlands have on offer, namely Mondvolland, Heidevolk and more, Wederganger is one hell of an outfit. They combine theatrical swagger with dark, gloomy black metal. Clean vocals and ghoulish barks and howls work in concert to create a special eerie atmosphere. Wederganger translates as ‘one who walks again’, and their debut album is titled ‘Halfvergaan ontwaakt’ (‘Half decayed, awakened). After the succesful release of that album and numerous really cool live shows, the band has unleashed splits with LasterKjeld and Urfaust. This group definitely is part of the elite of the dutch black metal scene witgh a well thought out act.