Tradition Intolerance Militia

23/12/2024

Review: Deus Mortem Official * Thanatos* ( 2024)

English/Italiano

English

On November 15th of this year, from frozen Poland the third chapter of one of the most interesting discography of the current scene was released.

Today we talk about "Thanatos" latest release of the "Deus Mortem" project; In Ancient Greek mythology, Thanatos is the personification of death, and the death drive in the human psyche.

But let's start talking about music. The album begins with "Krwawy Swit": Right away we are overwhelmed by a perfect mix between extremely melodic sounds and a raw and cold Black Metal accompanied by an incessant Blast Beat dominated by Pavulon. About halfway through the track we arrive at a pre-solo with Rock/Heavy appearances, which introduces us to a wonderful solo devoted to the old school in the most absolute way. Exceptional start.

Now we come to "Slow Death"; As the title suggests, the song is immediately decidedly slower and more rhythmic than the Opening track. However, it gradually grows leaving room for double pedal rides, Blast Beat and more dissonant riffing. At the end we find a solo again, perfectly in line with the previous one.

"Resurrecting the Pillars of Fire" is pure violence; The drums are extremely fast and the guitars are like a punch in the face even in the slowest riffs. The composition is anything but predictable; we notice several changes in tempo and pattern; wonderful.

"A Lamb in the Arms of a Wolf" immediately offers a decidedly darker and more melancholic sound, much more cadenced and martial than the previous ones. Although it is less articulated than the previous ones, this track is extremely effective and well done, also thanks to the acoustic closing, which opens the doors to the next track;

"W serce płomiennej gnozy" kicks off the second half of this work. Cold, fast, Old School, are the 3 key words that identify this track. Although it is Black Metal in all respects, this great Heavy / Rock influence continues to be present, intelligently inserting itself with short interludes that are absolutely spot on. Halfway through the track, a very symphonic clear break directed by beautiful strings and choirs leads us to the closing that picks up speed and returns to embrace an almost atmospheric Black Metal.

"Czarny kruk" is the third to last track of this journey; the rhythms return to being martial in the first part of the song, but, as before, they soon leave room for speed and sound assault. However, another sudden break gives us a beautiful, cleaner and slower riff. Really interesting.

One step away from the end we arrive at "When the Creation Tastes of Dionysian Wine". At first glance it seems very dissonant and direct compared to the one heard previously, in fact until halfway through the track, the distorted guitars and Pavulon's snare drum dominate. From the halfway point onwards everything seems more rhythmic, moreover, more orchestral sounds take over and act as a background to this dark symphony, and close the song opening the doors to the last track that personally left me speechless.

"Noesis", in fact, collects the incipit of the previous one, with a beautiful acoustic intro bordering on Folk/Symphonic. The song is melodic on all fronts, even if the Blast Beat and the exceptional voices of Necrosodom keep it anchored to the most violent Black Metal. Noesis keeps the attention high from the beginning to the end, it is extremely articulated, with different changes of pattern and speed, I would define it almost experimental. Absolutely the track that I preferred, it is the perfect closure of a perfectly executed Album.

In conclusion, I consider this album a pearl of extremely high quality. In fact, Deus Mortem have managed to differentiate the style offered with "Kosmocide" (2019) by inserting overwhelming and perfectly calculated influences and melodies. As far as I'm concerned, each individual member has done an exceptional job, from the impeccable voices of Necrosodom, the sharp guitars of Tom Hermies to the bass of L.Th that I would have liked to hear emerge further in this work. The drums of Pavulon obviously deserve a mention, not only thanks to the difficulty due to the high speeds, but above all for how extremely articulated each song is. The more Rock/Heavy influences present are, in my opinion, those that give an added value to the whole. It doesn't happen every day to find such a perfect synergy and balance between two very different genres. Wanting to make an analogy (which will surely be criticized by many), this mix of genres moved me like only a project like Jön Nodtveidt's Dissection has managed to do.
An absolutely due mention goes to Luciana Nedelea, an exceptional artist with dozens of works behind her who gave life to the artwork that Thanatos proudly transmits.

The album was produced on CD (Jewel case and Digipack) by Profane Spirits Productions, directed by Necrosodom himself.

Italiano

Il 15 di Novembre dell'anno corrente, dalla gelida Polonia è stato rilasciato il terzo capitolo di una discografia tra le più interessanti della scena attuale.

Oggi parliamo di "Thanatos" ultima uscita del progetto "Deus Mortem";
Nella mitologia della Grecia Antica, il Thanatos è la personificazione della morte, e la pulsione di morte nella psiche umana.

Ma iniziamo a parlare di musica.
L'album inizia con "Krwawy Swit":
Da subito veniamo travolti da un mix perfetto tra sonorità estremamente melodiche e un Black Metal crudo e gelido accompagnato da un Blast Beat incessante dominato da Pavulon.
A circa metà traccia arriviamo ad un pre-solo dalle parvenze Rock/Heavy, che ci introduce ad un meraviglioso assolo devoto all'old school nella maniera più assoluta. Inizio eccezionale.

Arriviamo ora a "Slow Death";
Come suggerisce il titolo, il brano risulta da subito decisamente più lento e cadenzato della Opening track.
Tuttavia, cresce gradualmente lasciando spazio a cavalcate di doppio pedale, Blast Beat e riffing più dissonanti.
In chiusura ritroviamo nuovamente un assolo, perfettamente in linea con il precedente.

"Resurrecting the Pillars of Fire" è violenza pura; La batteria risulta estremamente veloce e le chitarre sono come un pugno in faccia anche nei riff più lenti.
La composizione è tutto tranne che scontata; notiamo diversi cambi di tempo e di pattern;
meravigliosa.

"A Lamb in the Arms of a Wolf" offre da subito sonorità decisamente più oscure e malinconiche, molto più cadenzata e marziale rispetto alle precedenti. Per quanto sia meno articolata rispetto alle precedenti, questa traccia risulta estremamente efficace e ben riuscita, anche grazie alla chiusura in acustico, che apre le porte del brano successivo;

"W serce płomiennej gnozy" dá il via alla seconda metà di questo lavoro.
Fredda, veloce, Old School, sono le 3 parole chiave che identificano questa traccia. Per quanto sia Black Metal a tutti gli effetti, questa grande influenza Heavy/Rock, continua ad essere presente inserendosi intelligentemente con brevi intermezzi assolutamente azzeccati.
A metà traccia uno stacco netto molto sinfonico diretto da bellissime strings e cori ci porta alla chiusura che riprende velocità e torna ad abbracciare un Black Metal quasi atmosferico.

"Czarny kruk" è la terzultima traccia di questo percorso; i ritmi ritornano ad essere marziali nella prima parte del brano, ma, come in precedenza, lasciano presto spazio alla velocità e all'assalto sonoro.
Tuttavia un altro stacco repentino ci regala un bellissimo riff più pulito e lento.
Davvero interessante.

Ad un passo dalla fine arriviamo a "When the Creation Tastes of Dionysian Wine".
Ad una prima impressione risulta molto dissonante e diretto rispetto al quello ascoltato in precedenza, infatti fino a metà traccia, a dominare sono le chitarre distorte e il rullante di Pavulon.
Dalla metà in poi tutto risulta più ritmato, in più, subentrano sonorità più orchestrali e fare da sottofondo a questa sinfonia oscura, e chiudono il brano aprendo le porte all'ultima traccia che personalmente mi ha lasciato a bocca aperta.

"Noesis", infatti, raccoglie l'incipit della precedente, con un bellissimo intro acustico al limite del Folk/Symphonic.
Il brano è melodico su tutti i fronti, anche se il Blast Beat e le voci eccezionali di Necrosodom lo tengono ancorato al Black Metal più violento.
Noesis tiene alta l'attenzione dall'inizio alla fine, risulta estremamente articolato, con diversi cambi di pattern e di velocità, lo definirei quasi sperimentale.
In assoluto la traccia che ho preferito, è chiusura perfetta di un Album perfettamente eseguito.

Concludendo, reputo quest'album una perla di qualità estremamente alta.
I Deus Mortem, infatti, sono riusciti a differenziare lo stile offerto con "Kosmocide" (2019) inserendo influenze e melodie travolgenti, e perfettamente calcolate.
Per quanto mi riguarda ogni singolo membro ha svolto un lavoro a dir poco eccezionale, dalle voci impeccabili di Necrosodom, le chitarre taglienti di Tom Hermies fino al basso di L.Th che mi sarebbe piaciuto sentirlo emergere ulteriormente in questo lavoro.
Le batterie di Pavulon ovviamente meritano una menzione, non solo grazie alla difficoltà dovuta alle alte velocità, ma soprattutto per quanto ogni brano sia estremamente articolato.
Le influenze più Rock/Heavy presenti, sono secondo me quelle che danno un valore aggiunto al tutto. Non succede tutti i giorni di trovare una sinergia e un equilibrio così perfetti tra due generi molto diversi.
Volendo fare un'analogia (che sarà sicuramente criticata da molti), questo mix di generi mi ha emozionato come solo un progetto come i Dissection di Jön Nodtveidt è riuscito a fare.

Una menzione assolutamente doverosa va a Luciana Nedelea, artista eccezionale con decine di lavori alle spalle che ha dato vita all'artwork che Thanatos trasmette con fierezza.

L'album è stato prodotto in Cd (Jewel case e Digipack) dalla Profane Spirits Productions, diretta dallo stesso Necrosodom.
Assolutamente consigliato, disco meraviglioso.


Luciana Nedelea - Artworks

14/12/2024

Black Raptus at black winter fest / Slaughter Club

13/12/2024

Interview: Silvia Palmeroni art (English)

Intervista: Silvia Palmeroni art

You use mirrors to look at your face, and you use art to look at your soul.' Through this maxim, we welcome Silvia Palmeroni and her artistic universe.

1- Silvia, Tradition.Intolerance.Militia. welcomes you. Could you give the readers of this interview a brief portrait of Silvia Palmeroni?

S: Hail to you of Tradition.Intolerance. Militia and also all regular and passing readers! A short portrait? One hundred constantly evolving aspects that intersect between the earthly and the spiritual, I can be Here and Elsewhere with my mind, where others sleep at night and have peaceful dreams, remember that there is someone awake to observe us, to study you and channel you onto canvas or perhaps non-existent places flying towards the vestibule of Avernus from which inspiration is drawn.... There is some variable... A lot! The hundred aspects of the Night are many to show and so are we and I am not exempt either, this is a portrait of myself.

2- Let's start from the beginning in retracing your creative journey. Was there an event/painting/artist that lit the flame within you in wanting to embark on an artistic journey?

S: I was very little, I was 3 years old when I held the pen in my hand, but I have always found motivation in the works of Kay Nielsen, this name will not mean anything to many but the clue can be found in the musical piece Una Notte su Monte Calvo included in Fantasia , the Chernabog, the Sabbat, devils, demons and witches and dark settings illustrated in dark Art Nouveau; a good dose of classicism within the walls of my hometown, ruins and the grandeur of the Roman city has always revealed the perfection and sensation of the appreciation of Beauty that our ancestors had and the whole concept that the Romans had of the sacred . As a special mention I would say Theodor Kittelsen that I consider him the Satan (in the Rival sense) of the academic world: he was anachronistic since his works were considered neoclassical in a historical period where industrialization and artistic currents were turning towards more modern directions, consequence The Academy of Art deleted the well-known Norwegian artist from the roll of honor of artists, condemning him to oblivion. When I went to high school, talking about Kittelsen to the teacher was as annoying as talking about Martin Luther to the nuns, so much so that because of this they prevented me from taking him to the state exams. I don't know if the academic world in Italy has changed its mind about Theodor Kittelsen, but I can say with certainty that he is the symbol of the fight against the modern and also against the sick academic system in which Damien Hirst, Cattelan and Banksy and many as artists accept people. Therefore I have a tendency to favor artists from the past and in more recent times in works that recall the ancient splendors of the eternal city.

3- In an interview you expressed a profound concept, namely: "I don't like to be defined as an 'artist', but rather a surgeon of the soul and storyteller". What is the common thread that unites the surgeon of the soul and tells stories?

S: I made this statement so that it is not seen like the others, everyone is unique in their own way as well as those who put pen to paper: the approach is different and musicians and people inherent to the underground scene are witnesses to this, I travel in the realm of Sleep and I delve into what I see of the designated person, I also ask questions about the day and month and I base everything on the Kalendarium (ancient Roman calendar) through its holidays and meanings of the month giving a "historical" connotation and an apparent aspect to the canvas, the extensive work/commissions, the use of certain incenses and the use of certain practices, I consider it a metaphysical surgical operation in which an autopsy is carried out in which what you see are not physical organic subjects , but the personality and the subtle (occult) part of the person, you would be surprised.

4- In this sterile worldly era, the synonym of the word art is very often the reflection of nothingness. Nowadays even those who ej*****te a squiggle or scream a convoluted burp call themselves, or worse still, called artists. In your view, what is happening to this Universe today?

S: I believe that art has gradually faded its meaning, with industrialization and the desire to run at all costs, they wanted to f**k in a mechanical and automatic way to make money and for a few likes like wh**es looking for the rich man that fixes them like in Pretty Woman, but in the end they remain on the street with AIDS and syphilis between their legs and then are forgotten! The divine concept is put aside and consequently the sense of Beauty, the artist's brand is lost to give space to nothingness and standardization/industrialization, destroying history and art itself... We are seeing the same concept in metal unfortunately but if you know how to dig well not all the bands in the underground open their legs wide to the first customer without aptitude and still have the balls and the same goes for art. Currently we have to guard against two enemies: firstly artificial intelligence and secondly those who are satisfied with "operettes". With artificial intelligence there have been lazy artists and those who improvised as artists who have improperly exploited this Artifice to make money, or some idiot bands (both famous and emerging) have used it to save money, and by the way the latter are the same ones who wouldn't even pay 20,000 lire for an artwork done in a traditional way! I have faith in Chaos, a Duce Nature that turns against the unnatural and in the theory of Expansion in which absorbing too much knowledge, greedily feeding itself like a black hole of information until it causes implosion.

5- Let's talk specifically about your creations. Certainly over the years, your way of shaping ideas and inspiration has evolved. What were the first works you created?

S:Before talking about evolution, in order to move forward I had to go back and read treatises from past eras, de-Christianize my mind in order to accommodate social and religious concepts inherent to the Imperial period if not to the Roman origins, these two things seem unrelated between of them but when you get to the heart of the matter you will understand the reasons why I became a fantastic religious woman, a crazy Flamen in constant search of perfection and Beauty! Consequently this led me to express more symbolic concepts, I have very little to say and it is easier to show it on paper than in words. What I represent was the last bastion of a dream that risked disappearing, an act of rebellion against those both within the family and outside who wanted to undermine me, they had done everything to destroy me and I was secretly praying and working bringing secretly move forward with willpower, people sleep at night and it is precisely there that they must be afraid when they realize that someone could attack them like a nocturnal predator!
If we want to start from oil painting, my works began with some portraits and Nordic landscapes in 2007, then after a long absence they resumed in 2015 to have a sort of epiphany, in a dangerous way for the modus operandi in which I evolved in less than a year drinking large cups of espresso at night and painting every night for 6 months, in the sixth month I risked going to hospital because all this was hurting me but I am of the opinion that sacrifices and perseverance even if at the expense of one's health, they were fundamental and I have no regrets since there was Faith and Attitude in what I did, giving life to new portraits and slowly moving towards Cosmic horizons such as the artwork I did of the Sathara Ashtika and at the same time Organici like the artwork for Babylonish

6- Before talking about your music related illustrations, I would like to ask you outside the Metallic context. What are the subjects you prefer to increasingly forge your skills?

S: Being an esthete and lover of the ancient I would say landscapes and elements inherent to the classic with dark and non-dark contaminations, to take a break from the kingdom of Avernus I dedicate myself to watercolors representing mermaids with 1920s clothing and style, Monumentalism, Art Decó and futurism were a great inspiration, giving me the opportunity to relax and a sense of reset created by the Order.

7- There are various ways to bring a drawing or painting to life. In your case, what are the techniques with which you have a particular affinity?

S: The will is iron if you want and have the time to learn watercolour, pencil, pen, oil and in recent times I have had to open myself up to using the graphics tablet due to space issues. All this obviously recognizing one's limits, in my case the limit is called sculpture.

8- I quote Dalí: "Art is made to disturb, science to reassure". In your case, what meaning does this noble construct have for you?

S: I don't agree and I'll ask you a counter question that I automatically propose to readers: have you ever seen Gustav Dore destroy two cities and bring an entire nation to its knees with his works? I would like to point out that those who invented artificial intelligence are destroying entire work sectors, bringing both tertiary and office sector jobs to ruin, leading to global crises. In the figurative field in which I myself work, I say that I have never seen a painting cause enormous damage beyond scandalizing, disgust for certain themes or "small" censorship, or perhaps I don't notice certain things because I'm too busy with something else rather to give credence to the questions of mortals.

9- Your name is associated with several magnificent aberrations that we can admire in the world of Metal Underground. How did this alliance between your art and the world of music come about?

S: In a completely random way to tell the truth, the series of portraits was the one that gave me the opportunity to give voice to underground and non-underground musicians and bands, there are those who write or make videos to make zines in which they review albums , I did something revolutionary: in my own way I gave visibility and support in a way that no one had ever thought of, I laid bare metaphysically and metaphorically the attitude and the music of which each person portrayed is the creator. Then some artistic ramifications developed by looking at the prints of Haasiophis (Antediluvian/Revenge), I consider him the father from whom my cosmic art and some Lovecraftian illustrations were born, in the Organic part it is mistakenly thought that Paolo Girardi inspired me, in reality it was all the result of how Avernus appeared to me in my dream. Seeing all this sparkle of contrasts, psychedelia and visual violence, people began to become curious and approach me, seeing as I was decoding and coding the music and lyrics of bands, they became fascinated by the atypical processes I was doing and they began to open the door to their world for me, from there it continued through word of mouth. Currently the search for Beauty has not stopped, it has gone overseas and started practicing to reach the levels of Rodrigo Pereira Salvaterra and Daniele Valerani, the latter I had already unconsciously known since 2005 such as the Dark Funeral album's artwork Diabolis Interium but I didn't know the author, Daniele is my fellow citizen and I was very excited and honored to have met him during a concert.

10- Are there any bands you would like to collaborate with?

S: It's undeniable to say that I would like to work with the Ross Bay Cult and O.S.I. bands, I would be truly hypocritical if I claimed otherwise! I have no particular ambitions given that I have achieved many satisfactions such as, for example, I collaborated with Antichrist Kramer by making his portrait and included it in his book "Rage Psychopath 25 years of antisocial hatred & score" and the Japanese Reek of the Unzen Gas Fumes. As a band to work for, Imprecation, Morbosidad Obeisance, Deiphago and Profanafica would be interesting. When Sabbaoth and Virrugus were alive there was a frantic desire to do the artwork for Goatpen*s, which the latter will never be able to happen! Then for the rest I would like to work more with Italian but also European bands if it were possible, I have worked little and I have a certain nostalgia for "home", having a strong bond with the Motherland and in particular with the Genius Loci of the Campo Marzio district of Rome.

11- Always remaining on the musical/artistic theme, in recent years there has been an intense saturation of illustrators. In your opinion, is there a lot of stupid envy and competition within the underground?

S: I began to notice the decay after the death of Timo Ketola, then the straw that broke the camel's back was during covid and then accentuated in the IA period, with the first mentioned and people of the old guard it was a competition and healthier competition in which you wanted to surpass the legendary artist by encouraging you to improve yourself technically, a lot of attention was paid to care and aesthetics to package impeccably. After the death of the Finnish artist but perhaps shortly before the masquerade began with "he who is satisfied enjoys" with the excuse of the old school cult, the desire to spend as little as possible the standards lowered leading the product to massification and a reverse process that from the Baroque we moved (pass me the term in a broad sense) to the vulgar Middle Ages, I'm not talking about 30/40 years ago but only almost a decade or so, not to mention the various Trilussette and recommended...
Saturation as we understand it today is given by certain elements of the scene that have given great importance only to the name and scene points given to certain artists, therefore they have given way to creating artistic clones and "Chineseizing" the known works, bringing an atrophy mentally convinced that this thing could also give visibility and glory to scrause bands, but in reality it brought none of this if they were terrible before they only demonstrated that they are the usual copy-paste band that based everything on unbridled consumerism like a 90s boyband with a glossy cover. On the one hand we find the inflation of the usual suspects and on the other artwork all the same at very low cost, and we also have those who sell artwork generated by artificial intelligence by lazy artists or those who don't know how to pick up a pencil... And who It's in the middle, slaloming between small and medium-sized bands at the mercy of other people's bu****it. I am convinced that all this rubbish will stop and that over the years we will see who really matters.

12- Straight question, straight answer... -
Describe your personality through 3 paintings...
1) Joseph Boniface Franque - Hercules Tears Alceste from Hell
2) Domenicus Van Wijnen - Allegorical Scene
3) Nicolas Francois Octave Tassaert - La Femme Damnée

- Painter you would bring back to life... S: Toulouse Lautrec

- Censorship in the art world...

S: No to censorship!

- An overrated and an underrated artist

S: Monet is overrated and William Hogarth is underrated

13- Silvia, our interview has come to an end, many thanks for your availability. T.I.M. wishes you the best, last words to you...

S: Thanks to you and the entire editorial team, I thank you for giving voice to part of my dormant thoughts. I hope that this first release of yours brings you luck and is spread as widely as possible around the world.
Noctis Imperat! I would like to leave a message but not the usual leitmotif about supporting artists, but a problem that I've been encountering since just before Covid is taking hold: bringing small children to black metal, be***al war metal, even war metal and similar events. I don't often go to evenings but when I go I notice more and more this constant presence of families with the brat at a concert such as the Diocletian and other similar evenings, there are even those who came with the stroller to the Archgoat!
This environment is only for adults and there is no room for family friends, by doing so you destroy this Ecosystem through your selfishness and whim! Isn't it right that there are drug addicts, alcoholics, violent people, ex-convicts and dangerous ex-war veterans? It has never been anything reassuring, much less politically correct, have you forgotten that since its inception black metal was born from Blood and Attitude and if we changed for your weak minds we would end up like certain environments that have become the speck of themselves! I heard a speech that these new parents didn't want to miss the evening, that they had no one to give the baby to and that the Archgoat evening was calm and safe anyway... Are you firmly convinced that you know everyone? The pe******ia case of Phil Kusabs known to most as VK former member of Vassafor who was also ex Blasphemy and ex Diocletian as deplorable as it is and the other bands have dissociated themselves from that individual, it hasn't taught you s**t at all! You will say eh but someone knew and therefore there is no danger of others, so are you really seers who know the mind of every single person present at the concerts? How deluded and pathetic you are! If you want to take your kids to concerts, why not go see Rhapsody of Fire or The Cure? Don't like them? It's not our problem, but don't be modern Conquistadors who colonize other people's lands because you think the world revolves around you.

30/11/2024

In the Finnish depths there exist these black pearls, which in the silent journey continue to burn their passion for Black Metal. Band far from the spotlight, media circus and useless circuits...
This is Black Metal Underground!!!

Subscribe to my channel! I liked the video!00:00 1.Black Metal Hell04:01 2. Once More Against the Light (For Satan)09:24 3. Witchcraft and Blood12:42 4. ...

20/11/2024

Satanicristo: Bastardize the Holiness.

A união entre os titãs do Underground brasileiro como: Ron Seth (Impurity) e Leprous (ex - Sarcófago, ex Holocausto e ex Mutilator), deu origem à criatura SataniCristo.

A banda lançou recentemente seu primeiro EP “Bastardizing the Holiness” pelo selo japonês S*x Desire Records.

Este caos satânico desdobra quatro músicas em um total de apenas 12 minutos. O charme sombrio deste trabalho está naquele som particular, atemporal e cru, nascido há 40 anos em Belo Horizonte. Guitarras que disparam riffs e solos violentos, uma voz que parece emergir das catacumbas e tambores primordiais. Qualquer pessoa cuja alma esteja envolvida no ruído Black/Death/Thrash achará este EP muito válido.

Aguardamos a próxima invocação caótica do Satanicristo!!

Italiano

L unione fra i titani dell Underground Brasiliano quali: Ron Seth (Impurity) e Leprous ( ex - Sarcofago, ex holocausto ed ex Mutilator), ha scaturito la creatura Satanicristo.

La band ha recentemente lanciato il primo ep "Bastardizing the Holiness" attraverso l etichetta Giapponese, S*x Desire Records.

Questo Chaos Satanico dispiega quattro canzoni per un totale di soli 12 minuti. L oscuro fascino di questo lavoro risiede in quel particolare suono atemporale e grezzo nato 40 anni fa proprio a Belo Horizonte.
Chitarre che sparano riff ed assoli violenti una voce catacombale ed un drumming primordiale.
Chiunque abbia l anima avvolta nel frastuono Black/Death/Thrash troverà questo Ep molto valido.

Attendiamo la prossima caotica invocazione dei Satanicristo!!

02/11/2024

Entrevista: Katiuzca Guerrero

"La expresión de un artista es su alma manifestada". (Bruce Lee).
A través de esta máxima nos adentramos en el oscuro universo artístico creado por Katiuzca Guerrero (Kali Temple Project).

1- Katiuzca Guerrero, Tradition.Intolerance.Militia. te da la bienvenida.
Antes de descender al abismo de tu mente, ¿podrías ofrecer a los lectores de esta entrevista, un breve retrato de ti misma?

K: Saludos malditos, aquí Kali!
Soy ilustradora, guitarrista y profesora de Muay Thai desde hace 14 años aproximadamente y en cada aspecto artístico trato de manifestar coherencia, devoción y fuerza.

2- Empecemos desde el principio de tu camino artístico. ¿Qué artista, pintura o evento peculiar desencadenó en ti el deseo de expresarte a través de este medio?

K: PESADILLAS!
Definitivamente mis experiencias oníricas me impulsaban constantemente a “tratar” de revivir en papel los rostros que se manifestaban en mis sueños. Desde mi adolescencia tenía sueños muy inquietantes y me obsesioné tratando de darles un sentido.
Los dibujos de Gustav Doré!
Sus ilustraciones en “La divina comedia” fué para mí el punto de partida, fué esa inspiración oscura que necesitaba, fue el impulso y el método que buscaba para mi liberación personal a través del dibujo y que posteriormente con los años sin saberlo me estaba preparando para el desarrollo de este proyecto ya que cambió toda la tendencia y concepto que yo tenía sobre el dibujo hasta ese entonces.

3- ¿Cuáles fueron los primeros dibujos con los que empezaste a desarrollar tu habilidad?

K: Los animes y mangas!
Los primeros animes que vi fueron Akira, devilman, ninja scroll y Berserk desde mis 12 años ya tenía dinamita en la cabeza, de alguna u otra manera ya tenía la tendencia hacia lo “retorcido” jajaja no lo sé… pero con la inspiración de esos animes empecé a dibujar con otro nivel técnico, me esforcé mucho por dibujar cada vez mejor.

4- Kali Temple Project, es la marca diabólica forjada por tu mente y está asociada a diversas ilustraciones aberrantes que podemos admirar en el Underground profano. ¿En qué momento surgió esta nefasta alianza?

K: Nunca estuvo en mis planes ser ilustradora en la música extrema, yo siempre dibujé por una cuestión de “liberación”, era mi pasatiempo personal y muy poco lo mostraba a los demás.
Todo empezó cuando a una banda de amigos que hacían black metal, se me ocurrió dibujarles una idea inspirada en uno de sus temas, les gustó! Creo que eso pasó en el 2009 de ahí en adelante ellos me recomendaron con otras personas y así empezó este proyecto.

5- Las ilustraciones nacen en base a las necesidades y concepto que una banda quiere expresar.
Mirando tu minucioso trabajo, ¿qué importancia tiene tu libertad para evocar estas siniestras obras?

K: ¿Cómo podría ponerle tanta pasión a una portada sin tener libertad? Imposible!. La libertad del artista es fundamental para un desarrollo pleno de su creatividad. El concepto que puede tener una banda siempre debe respetarse y jamás he tenido ningún inconveniente con ningún “cliente” en ese aspecto. Ahora también debes tener en cuenta que para que suceda esa armonía maligna entre la “banda y el ilustrador” es importante cohicidir en algunos otros aspectos como afinidades musicales, ideas, gustos etc.
También debo mencionar que casi siempre la banda ELIGE a su ilustrador sin que él lo sepa con anticipación, ya sea por su estilo de dibujo o su técnica de trabajo, de esta forma cuando llegamos a conocernos todo fluye demasiado bien, ellos ya saben el resultado final que tendrán!

6- Es destacable la lista de bandas marcadas por tu arte.
¿Cuáles de estos recuerdas con placer y cuáles te hicieron pasar momentos difíciles?

K: Si se trata de momentos difíciles, se viene a mi mente la portada de Necrofagore en su álbum “into the gloom of the buried valley” porque fue doloroso trabajar la técnica de puntillismo, pero la adoré!.
Una segunda que puedo mencionar y que disfruté mucho fue una portada que tenía como concepto dibujar a supay, inti, killa e Illapa, deides incas congregados en una especie de celebración oscura. Esta portada fue hecha para un webzine llamado Dargedik (peru) incluso salió un tiraje especial el t-shirts, fue brutal!
Ahora último he terminado una portada hecha para mi banda Disinter para una edición especial de nuestro demo en formato LP 12” y CD. Hubo mucha exigencia técnica y le puse un especial cariño morboso por ser mi banda jajaja.
Honestamente no hay portada que no haya disfrutado al extremo portadas para EXCRUCIATE 666, PATHETIC, SEPULCHRAL VOICES, GRAVE DESECRATION, PUTRID … de verdad cada una de mis portadas fue una satisfacción total y orgullo.

7- En los últimos años el panorama musical está repleto de artistas o pseudoartistas, generando sin duda competencia.
Esta situación también puede ser la "clave" para superarse y superar los límites.
Dicho esto, muchos artistas reciben más apoyo del extranjero que de su propio país, ¿es este tu caso?

K: Honestamente no me siento en competencia con nadie, el artista trabaja por amor a su oficio y lo hace siendo fiel a sus códigos y estilo. Cuando alguien empieza a forzar su trabajo por afán comercial SE VE DESDE LEJOS, SE NOTA, no se siente real y hasta donde yo tengo entendido las bandas buscan artistas comprometidos con su estilo y su seriedad.
Podría decirte con sinceridad que si bien es cierto que he trabajado con más bandas del extranjero, jamás sentí ganas de quejarme de “falta de apoyo” de las bandas de mi país, sencillamente las oportunidades se me presentaron de manera diferente en mi camino y soy una persona de aceptar las cosas como vengan y resolverlas, sin quejas, sin excusas, sin dramas.
Hay que tener los pies bien sobre la tierra para no caer en éstas ridiculeces de “llorar por apoyo”, acá en mi país hay artistas que tienen una trayectoria más antigua que la mía, así que sencillamente respeté a sus clientes (bandas) posteriormente me llegaron las oportunidades de trabajo por recomendaciones de manera interna, pero se dio con el tiempo. Nunca sentí la necesidad de ir detrás de todos para que me contraten, todo fluyó de manera natural y sin presiones.
Me gusta la frase que usas “superar tus límites”, yo la uso mucho con mis alumnos durante las clases de muay thai, pero siempre aconsejo no tener como referente a alguien más, porque cuando te comparas con alguien más todo el tiempo nunca logras ver tu progreso, nunca te sientes satisfecho de tus logros personales. La sana competitividad es importante para nuestro desarrollo profesional, aplicado al ámbito de la ilustración se trataría de aprender nuevas técnicas y métodos pero es vital que el artista no pierda su pasión porque nosotros trabajamos con las emociones que provocamos en el espectador.

8- El tiempo y la constancia son componentes esenciales para dar forma a habilidades e ideas, dando mayor elasticidad y profundidad a la mente en correlación con la fuente primaria que es la inspiración.
Mirando tu génesis artística, mental y humana, ¿cómo has evolucionado gracias a la inmersión en este abismo?

K: Mi evolución técnica ha sido brutal! Me siento muy satisfecha de mis progresos. Eh logrado sostener la esencia de lo que siempre he querido manifestar con cada dibujo, las emociones!. No hubiera podido lograr esas expresiones de dolor, morbosidad, ira, agonía si no hubiera sido por la cantidad de material fotográfico que usé como referencia. Estudié mucho la composición anatómica, expresión de manos y hasta información criminalística como punto de observación para detallar portadas muy viscerales.
Por otro lado, está la madurez intelectual por así decirlo, digamos que soy una persona que me gusta mucho profundizar en la observación y autocrítica, esto me ha permitido conectarme profundamente con el concepto que cada banda quiere porque comprendo lo que desean manifestar. El entendimiento del comportamiento humano es demasiado complejo, aun así a lo largo de mi trayectoria como ilustradora creo que era fundamental la lectura, sobre todo la lectura que abarque todo sobre la moral, religión, la espiritualidad, el autoconocimiento y todo lo que me pudiera dar una visión más amplia sobre nosotros mismos y nuestra existencia.
Aun así con todo lo que te digo, me sigo sintiendo profundamente ignorante, moriré y seguramente sin entender nada.

9- Hay varias formas de darle vida a un dibujo o pintura.
En tu caso, ¿cuáles son las técnicas con las que tienes especial afinidad?

K: Bien, las técnicas que he usado en estos son años son el puntillismo y según yó, es una variante del cross hatching que es básicamente el uso de líneas rectas cruzadas entre sí, solo que en mi estilo de hacerlo no son exactamente líneas rectas si no como una especie de pequeñas “líneas curvas” amontonadas entre sí y con esto puedo dar la textura que quiero. Ahora habrás notado que no uso la misma técnica de texturas para todos los elementos de una composición. Es una textura diferente si se trata de cuerpo humano o estructuras inanimadas, creo que en esos detalles radica la riqueza visual. O al menos eso es lo que trato lograr…

10- “El arte está hecho para perturbar, la ciencia para tranquilizar”
Una ilustración puede representar una historia, un viaje metafísico y un artista puede sentirse un cirujano del alma. Describe tu profunda conexión con la palabra arte y lo que representa para ti...

K: El arte para mí es libertad, eso es lo que puedo sentir cuando estoy en ese momento de creatividad. Mi conexión se basa en las emociones que puedo liberar, ese momento donde estás completamente sumergido dentro del dibujo y hasta te sientes como un protagonista más del concepto que estás dibujando y sientes las emociones del protagonista que estás creando. Creo es difícil describir en palabras exactas…
Mucha demencia, solo quiero aclarar que no estoy drogada jajaja. SIGUIENTE PREGUNTA!

11- En esta era de mundanidad estéril donde prevalece una preocupante aridez de ideas, la palabra arte se asocia con demasiada frecuencia a contenidos vacíos.
En tu opinión, ¿qué le está pasando a este Universo hoy?

K: El universo sigue su curso de constante evolución, nuestra existencia parece solo una especie de capricho de la naturaleza y lo que vivimos hoy en día como sociedad es la consecuencia de nuestro libre albedrío.
Nuestro vacío o carencia de profundidad creo que está asociado varios factores que hicieron que las generaciones crescan con una absoluta falta de valores y autoconciencia. Las sociedades crecen empobrecidas de educación algo muy conveniente para los gobiernos que necesitan de poblaciones estúpidas para prevalecer en el poder, nos mantienen distraídos y manipulados, nos necesitan obedientes y esclavos del trabajo y así es como nuestra existencia se resume a nacer, reproducirse y morir según el sistema lo dicta.
Entonces yo me pregunto ¿cómo es posible desarrollarnos como seres humanos en un mundo dirigido por líderes tiranos hambrientos de poder? El panorama no es muy optimista verdad?, sin embargo creo que todos nacemos con las mismas preguntas existenciales ¿Pára que estoy aquí? ¿Cuál es mi propósito? ¿Qué soy? Y aquí es donde el arte hace su aparición como una forma de explicar o expresar nuestra propia existencia.
El arte moderno es tan id**ta y carente de profundidad porque es precisamente el reflejo de una sociedad carente de autoconocimiento, es un arte vacío y superficial hecho para la simple vanidad de tener algo caro en tu colección.
Sin embargo la percepción de arte cambia según los ojos que lo ven, lo que yo veo estúpido otro lo ve como “profundo” y eso es así porque no todos tienen la misma formación cultural entre otras razones, así será siempre es algo que no podemos controlar.
Si somos una sociedad sin hambre de conocimiento, vanal, sin disciplina, débil de autoestima, todo lo queremos rápido y sin esfuerzo, sin sensibilidad… ¿Qué clase de “arte” podemos expresar?
Lo dejo a la reflexión de cada uno…

12- Dedicamos esta entrevista a tu faceta como diseñador, pero también eres el guitarrista de la banda de Death Metal Disinter. ¿Qué mecanismo se activa en tu mente cuando creas nuevos riffs y cuando empiezas a dibujar? ¿Existe una analogía entre estas acciones?

K: Definitivamente si!
Durante el proceso creativo se mueven muchas emociones, el arte es así el arte tiene que emocionar. Es muy similar el proceso creativo de un dibujo y de una canción, es como un momento de calma antes de la tormenta donde estás probando distintos elementos, buscando cuales funcionan mejor que otros, es experimentación. Pueden pasar varios días y tu experimentación no te convence del todo y vuelves a empezar, debes tener paciencia en esta primera etapa creativa porque de esta etapa depende el impacto final, la intención es transmitir un mensaje y por esa razón se requiere paciencia.
Una vez haz finalizado la parte creativa empiezas a pintar, en el caso de la música escogo el matiz que deseo darle a mi distorsión de guitarra o el matiz que deseo darle a los solos de guitarra, es lo mismo, es la etapa donde le das tu toque personal, tu esencia, tu alma a lo que estás creando. En esta etapa la tormenta se manifiesta con toda su brutalidad!
La etapa final es el retorno a la calma y la satisfacción de haber logrado un mensaje contundente.

13- Preguntas rápidas y respuestas rápidas.

- Banda con la que te gustaría colaborar.
INTERMENT

- Describe tu personalidad a través de 3 cuadros...
SATURNO DEVORANDO A SU HIJO (GOYA)
EL PARAÍSO de La Divina Comedia (GUSTAV DORÉ)
LA CAZA SALVAJE DE ODÍN (PETER NICOLAI)

- Pintor al que devolverías la vida...
BEKSÍNSKI

-La censura en el mundo del arte...
En una oportunidad un sello de Alemania me pidió una portada en la cual no dibujara nada sobre antisemitismo.

-Un artista sobrevalorado
Salvador Dalí

- Conexión entre Death Metal y Arte...
La adrenalina!

14- Katiuzca Guerrero, hemos llegado al final de este cuadro infernal.
Concluye la entrevista con un último mensaje a la Legión Negra...

K: Les extiendo un brutal saludo desde el in****no peruano, si alguno tiene alguna idea maliciosa para compartir pueden escribirme.
SOLO LA MUERTE ES REAL!

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