Blackened Southern Blues Glorior Belli
Glorior Belli crept out from the temperamental suburbs of Paris in December 2002. What started as a notorious duo soon became a remarkable Beast, acting as a beacon for everyone looking to free themselves of the influence of the Demiurge. A symbolic demo Evil Archaic Order was released in June 2004. If the term avant-garde defines a band that sets out some novel lines of demarcation, then Glorior Belli’s reconfiguring of black metal’s internal/infernal structure means they undoubtedly deserve the moniker. From the raging, raw ferocity of their 2005 debut, Ô Laudate Dominvs, to the widely acclaimed 2007 release, Manifesting the Raging Beast, right on through to 2009’s Meet Us at the Southern Sign, the band has been steadily resetting its compass, creeping exponentially towards the grimy magnificence to be found on its new album, The Great Southern Darkness.
Over the course of four full-lengths, the band has progressively developed to become a more sophisticated musical entity, while conversely exploring the devolution of black metal’s heritage. With a captivating mix of bluesy, heavy stoner grooves, doom-laden lyricism, retro prog-rock flourishes and some thickly distorting sludge, the band has reaffirmed the diabolical principles of black metal while avoiding its most mind-numbing clichés. Lyrics and themes explored over the years reveal a sincere inclination for rebel-ism and developed sense of poetry. The experience would be described as an intriguing and almost hypnotic journey through dark deserts and evil fields with Lucifer as personal guide. In June 2013 Glorior Belli have inked a worldwide deal with Agonia Records in anticipation of their upcoming album ‘Gators Rumble, Chaos Unfurls’ to be released on October 29th (EU) and November 12th (NA) 2013.
HMA: Your latest release “Gators Rumble, Chaos Unfurls” feels a lot more blues than Black Metal. Why has the band taken this direction?
Glorior Belli: I always knew Glorior Belli wasn’t going to stay in the shadows of some other bands but rather will act as a shining beacon for every soul looking to free itself of the influence of the Demiurge. And now over the course of 5 full-lengths Glorior Belli simply became the pioneers of a new genre, mastering the perfect blend of Black Metal and Americana/Blues influences. I personally have a thing for Howlin’ Wolf, Robert Johnson obviously, John Lee Hooker, more or less all the classics of the genre. Primal, deep and going straight to your guts and soul. That’s how I like my Blues. Down, CoC, EyeHateGod… are definitely amongst my top favorite bands as well. It’s just naturally that I mix those influences all together and create an exalting maelstrom of inspirations.
HMA: With the latest incarnation of “Black Jazz” type of Black Metal. Are we likely to experience a new amalgamation of “Black Blues”?
Glorior Belli: This is kind of the first time I’m hearing about this Black Jazz thing, unless you’re referring to Norwegian Shinning, I really can’t say whether people will be walking the same path as we do following our steps, or not. I guess time will tell though.
HMA: Your choice of album art has always been monochromatic. Is there are a reason for this?
Glorior Belli: I like it this way mostly because I am a huge fan of woodcuts, engravings and manipulating and perverting them, which are by extension “monochromatic”.
HMA: “Gators Rumble, Chaos Unfurls” is beautifully chaotic and full of symbolism. How was it conceived and does it reflect the music?
Glorior Belli: The concept and texts are essentially inspired from the principles that rule the anti-cosmic/Chaos-Gnosticism, the pursuit of the absolute knowledge to free ourselves from our enslaving condition and our obsession with the ego. Ultimately the goal is to overcome the vulgar aspects of the matter, the lies imposed by the Demiurge and to set our spirits free. The lyrics are seriously beautiful and will transport the listener into a whole new level of consciousness. I’m giving people the opportunity to forge the weapons of their own liberation, may they find in their hearts the strength to do so.
HMA: “Gators Rumble, Chaos Unfurls” has very interesting song titles and lyrics. Would you like to give a run on each of the pieces?
Blackpowder Roars – “The bigger the crime, the louder the black powder roars!” The crime in question here is the lying of the Demiurge regarding the creation of the Universe as we know, and the black powder is used as a metaphorical representation of the black flame.
Wolves at My Door – Isolated and trapped inside a cabin with terrifying wolves waiting at the door, this is in fact another metaphor to represent the chains that hold us down to our human condition. The wolves obviously illustrate the stuff of nightmares, the fear that we all have and must fight of what lies beyond the unknown. The biggest enemy is yourself.
Ain’t No Pit Deep Enough – For Him there ain’t no pit deep enough to provide His thoughts from spreading. They reach out to the bravest of all, in this case the intrepid shepherd who seeks knowledge from Lucifer, bearer of the forbidden light. A light that shines through the deepest of darkness, freely given to you folks with madness.
A Hoax, A Croc! – A reptilian perversion of the idiomatic “A Hoax, a crock!” which I believe is used when someone is calling out on a scam. The lies that I already mentioned before have been exposed and one’s former faith now is turned toward a different path, the path of might.
From One Rebel to Another – This song is a straight out call to all our brothers in arms out there, for us to gather up and fight in a final revolt to break the spells of the Demiurge.
I Asked for Wine, He Gave Me Blood – I was asking for wine, the nectar of the gods and all he gave me was some goddamn blood! If blood was said to have been miraculously turned into wine, then wine can be turned into blood as well. Blood that serves to illustrate the act of the passing of knowledge. Blood that can only satisfy my thirst for stolen truths.
The South Will Always Know My Name – A liberating arid soil, to retrieve back my freedom lost. The South will always know my name, and yours too.
Le Blackout Blues – Treacherous thoughts that should free my soul. One of the most Blues influenced song, starting off with slow dissonant arpeggios. There’s a lot of feelings in this song and I’d rather not divulged too much information, but rather suggest the song has to be experienced from the CD, in the dark.
Backwoods Bayou – This is the one instrumental song of the record, inspired from a night in the bayou.
Built for Discomfort – The first song that was composed for the record. I wouldn’t include it at first until I decided to work over some riffs again. Now this is may be one of my favorite song from the record. It is very mid tempo for the most part, except for the break part that starts with a groovy Pantera-like riff and finishes with uneven rhythmic. Built for discomfort! A song about the duality of Lucifer as the bearer of light and the destroyer of feeble souls, and one’s quest for “Never are his secrets exposed to the weak human eye unclosed, so insists God who hath forbid the uplifting of our poor lids”.
Gators Rumble, Chaos Unfurls – The CD closes on the eponym title song, bearing the majestic yet uneasy task of ending the record and emphasizing its concept. The lyrics are developed from the cover artwork, which was done by emerging artist Brooke Harding. Gators Rumble, Chaos Unfurls finally reveals the true story behind the creation of the universe and the fight that occurred between the forces of Chaos and the bastard gods, the imprisonment of the spark of Divinity and the return to its initial form of freedom.
HMA: Thanks for being part of Heavy Music Artwork
Glorior Belli: “Let us be drowned without remorse in the maelstrom that will distort the laws of the cosmic order, gators rumble, chaos unfurls!”
Interview by Alex Milazzo – Copyright 2013 © Heavy Music Artwork