Blut Aus Nord which is German for 'Blood from the north' hailed, naturally, from Mondeville, France! Formerly using the name Vlad upon formation in 1993, Vindsdal's project plays black metal and recruited Ira Aeterna on bass. Vlad had released two demos in 1994 called In The Mist and Yggdrasil. The band’s name was changed from Vlad in 1994. The Work Which Transforms God was released on May 18th, 2004. Mort was due in early 2006, but appeared in late summer. The album’s name was an abbreviation for Metamorphosis Of Realistic Theories. The band released a new album, called Memoria Vetusta II - Dialogue With The Stars, on February 23rd through Candlelight Records in 2009. The band members formed a new industrial project called 777.
Blut Aus Nord signed with Debemur Morti Productions. The band was in the studio recording its vinyl-only album, What Once Was EP.... 777 - The Desanctification, Blut Aus Nord's second part of the '777' trilogy was currently being recorded and scheduled to be released through Debemur Morti Production in September of 2011. 777 - The Desanctification was issued by Debemur Morti in the autumn. 777 - Cosmosophy, the third part of Blut Aus Nord's 777 trilogy, was released on September 21st, 2012 through Debemur Morti Productions.
BLUT AUS NORD -THE WORK WHICH TRANSFORMS GOD - CANDLELIGHT
This is not blood from the north nor is it a work that shall transform God, but the new album by these French underground dwellers is certainly creative, abstract and insane. The qualities come to the fore in two ways. First there is the raw savagery emanating from the anguished black metal tracks. The band's primitive clash of steel and nerve matches that of Bathory's first three albums. Then there is the ambient and obscure delivery of alternate tracks taking a club to Godflesh and Samael combined. The result is not a synopsis or synergy, but a fusion of atomic noise proportions. Speaking of which, the result is not far from the soundtrack to a post-apocalyptic land drenched in darkness either. - Ali "The Metallian"
BLUT AUS NORD - MORT - CANDLELIGHT
Mort - or Metamorphosis Of Realistic Theories to spell out its Kant-influenced title - is not quite metal of any sub-genre, but certainly emits so many metallic sounds that its inclusion in these metallic pages cannot be questioned. The new album of the French band (man?) is abrasive, offbeat and experimental. It is not conventional, full of riffs, rhythms or rhyme. Apparently, as the band grows and ages singer and guitarist Vindsval penchant for experimentation grows to the point that Mort ('death' in French) eschews black metal, the band’s traditional stomping grounds, for an eerie take on industrial hypnotism. In fact, largely devoid of vocals the album’s songs, listed as Chapters I to VIII, pass by as icons of new age.
Vocals, where they exist, are mere effects of sinister atmosphere. They are chants to qualities unknown. The percussion is a programmed backdrop to anti-commercialism and the guitars are abnormal tributes to freedom of expression and sadistic practice. Think of it as mechanized warfare in slow motion.
Some may call Mort black metal and be content - and others would point out that Abruptum was also considered black metal in some circles - but this disc is Blut Aus Nord’s declaration of independence or industrial dominance. - Ali “The Metallian”
BLUT AUS NORD - MEMORIA VETUSTA II: A DIALOGUE WITH THE STARS - CANDLELIGHT
The only reason anyone ever relates Blut Aus Nord to black metal these days is the typical, but very real, unawareness of the trendy kiddos dominating the metal market these days. While every effort is expended to seem kewl and kvlt, while not being seen as being kewl and kvlt of course, these little boys and girls hop from trend to trend (still into Pantera and Cradle Of Filth?) with the same abandon usually reserved for right-wing politicians and corporatists posing as do-gooders interested in god and country.
Memoria Vetusta II: A Dialogue With The Stars - take me with you! - exceeds my expectations with ease. It has as much to do with black metal as Princess Di does with class or propriety, but when one is only expecting another synthesized new-age abomination in lieu of superior art i.e. metal, anything is set to look good and so does this record. In fact, while the transcendental trippy passages are everywhere the mix of harsh vocals and melodic riffs work. Speaking of which, song after song is built essentially upon variously melodic pop notes and riffage that comes across as extreme only for its loudness and the aforementioned distortion and vocals. In fact, much of these drawn-out songs have a neat catchiness to them. The vocals are kept to a minimum so the band can explore the hazy stars of its mind, which isn’t much different from the group’s cultish fandom come to think of it. - Ali “The Metallian”