Saturday, November 30, 2013

Hamferð (Hamferd)

Author note: any questions, comments, complaints regarding the Faroese Whalegrind, Faroese policies, Hamferd's involvement/non-involvement or standpoint on the whalegrind, Ceticide (means "whale killing"- a band with members of Hamferd), or the opinion of their industry partners should be addressed directly with Hamferd, their German management company Factory92, Tutl, and Sea Shepherd (Operation Grindstop), among other conservation groups. I am not a representative of Hamferd, nor am I in the position to relay comments to them.  They can be reached directly if there are any questions regarding involvement/non-involvement in the whale hunts, opinions of Sea Shepherd, intentional provocation of Sea Shepherd and other animal rights groups, Ceticide (the band) and their Wacken performance and intent, and the exact nature of why they rejected Nuclear Blast's offer for a recording contract, and how unprofessionally they prefer to manage business affairs.


, of the Faroe Islands, opening for Corvus Corax at the Essigfabrik, Cologne, Germany.

Long-format interview below.

Jón Aldará Vocals
Esmar Joensen Keyboards
Theodor Kapnas Guitar

Jenus í Trøðini Bass

John Egholm Guitar

 Remi Johannesen Drums


 Fríði Av Vollanum Sound

Hamferð's Evst, by far, tops my list of albums from a rather strong 2013.  This is no small feat for a fledgling band in the already-overcrowded arena of doom metal to achieve.

Cover of Evst, created by Jón Sonni Jensen

In recent years, doom metal has enjoyed a resurgence in popularity that has resulted in the field becoming extremely crowded, with seemingly more releases and tours than ever.  Much of the output, while very enjoyable, is more similar than different, with a shortage of uniqueness and innovation.

In the case of Hamferð, they produced what quite possibly could be a future classic in metal.  The music is classy, emotional, unique, and defies simple categorization as "doom metal".  They seamlessly merge delicate elements with sometimes brutally heavy components. Application of their technical and progressive elements are done in a classy manner.  As Solstafir does with Iceland, Hamferð appears to paint an image of the Faroe Islands and their people in the minds of listeners.  The music of Hamferð appears to parallel the duality of the Faroe Islands- extreme beauty on one hand, with sometimes harsh, unforgiving conditions on the other.  It is due to this that the following interview was biased towards the culture of the Faroe Islands and understanding how they gave rise to Hamferð.

Interview with Theodor Kapnas and Jón Aldará, Hamferð.  Conducted in various sessions between July 2013 and December 2013.

Additional content kindly provided by Markus Laakso

Where does the band’s name come from? How does it tie in with the themes of the music?

Theodor (Kapnas): It’s a Faroese word that refers to seeing the ghost or apparition of a person that is still alive.  It’s from old folk tales and is a warning of that person’s imminent death.

There’s a nightmare scenario when one knows a loved one is going to die, but can’t say anything about it.  It’s something like a curse, but if you tell anyone about it, it becomes yours instead.

It also has something to do with the sailing and shipping history of the Faroe Islands, correct?

Theodor: Yes.  It’s a bunch of islands in the middle of the Atlantic Ocean, so the history will be strongly influenced by the sea. 

It’s not too many years since the invention of the radio and one didn’t know if [a loved one who went out to sea] would be returning home until they were back a few months later.  This whole uncertainty led to tales of people seeing things, such as ghosts.

…and perhaps many actually did believe they saw the ghosts. 

It can be misty here for weeks and to have someone out on a boat, no radio, no nothing, leads to a lot of uncertainty.

Jón (Aldará): “Hamferð” is connected to various aspects of the band’s themes, which, in turn, are very much connected with Faroese culture, history, and language.

The word “hamferð” literally translates to “skin journey”, as in a person travelling as a mere skin. In this case “hamur” might refer to something akin to the transparent skin that is shed when a snake molts, which gives a traditional “ghostly” appearance. However, the general meaning is that a person appears before someone (e.g. spouse, family, friends) even if he is not physically present, like an apparition. 

The typical tales of a person in hamferð deal with wives of fishermen who see their husbands appear before them, even though the husbands are far away at sea. This was considered a dire warning of death, and many such sightings have been recounted throughout Faroese history.

The band’s themes revolve around similar dark or sorrowful aspects of the history and culture of the islands, and are described through poetically tinged lyrics extracting a core Faroese language in order to distance itself from trends of any era. 

An attempt at remaining timeless, if you will.

Similarly, the themes themselves – although containing distinct Faroese imagery – are quite timeless and universal. Love, loss, sorrow, self-deceit, the inherent bewilderment in us all; themes quite familiar to most, no matter the place or time in history.

The sailing and marine tradition still exists in the Faroe Islands?

Theodor: I think I read a few days ago that 97% of the Islands’ export economy is based on fishing. 

Is there still that fear in the culture?  In the rest of the world, we have such shows as Deadliest Catch, displaying how dangerous being at sea can be.

Theodor: I’ve not really watched those shows.  I think the fear is not there like it used to be.  The ships are fairly safe and everyone has radios.  The boats have broadband, so they can get in touch with people.  So there’s none of this uncertainty of waiting for someone for months at a time and not knowing anything about them.

I think that kind of uncertainty is in the soul and the tradition of the Faroese Culture though and somehow it has survived through the generations.  

The Faroe Islands is an extremely tight knit community, whenever there is some sort of accident everybody knows someone who's closely affected by it so the whole community feels it.

How does the culture and history of the Faroe Islands tie in with and influence Hamferð?

Jón: Our representation of Faroese culture and history is more of an emotional and poetic nature. We’re not history teachers, so we leave that stuff to Týr. There are no specific names, places, or historical occurrences included in our lyrics or concept. Instead, we try to convey the darker emotions associated with both the physical realm of the Faroe Islands and the cultural heritage that unifies the Faroese people.

Our main influence must be the nature and the weather on the islands. It is a harsh and unforgiving landscape with violent winds and icy storms hitting at any moment (author note: indeed, a strong storm hit the Faroe Islands in December, at the end of this interview). In modern times people can mostly overcome these difficulties, but in the past there have been periods of great sorrow and famine as a result of the natural conditions on the Faroes. Villages relied on fishing as the main sustenance and if a ship was lost and wrecked at sea the consequences would be dire for the community. Since the population was small, legends and superstitions traveled fast and grabbed hold of the fearful people. This is where ideas such as hamferð and the huldur – grey people in the mountains – originated. Those legends surely are an important part of our influences.

How did the band come together?

Theodor: John [Egholm], the other guitarist, was in another band called Synarchy. He got fed up with it and wanted to do something different, so he made a doom metal band for the competition "The Global Battle Of The Bands". Hamferð played two shows for it, and then nothing happened for a year.  The summer after, we began making demos and it went on from there.

Was it hard finding people within the Faroe Islands who played this type of music?

Theodor: You'd have to ask John about that, but I don't think so, not really.

The music is rather unique, so it seems it would be likewise difficult to come together from such a small pool of people…

Theodor: If you listen to most Finnish or Swedish metal bands, they have a “sound”.  If you hear a Finnish band, you can hear right away if they are Finnish or not.  The same with the Swedes.  It has to do with the culture, your heritage, and all the surroundings that influence you. Strictly speaking, I’m not Faroese myself (indicated is a Greek-Finnish background, by way of Belgium), but I’ve lived here for many years and I think it just comes naturally. I do feel Faroese though!

We’re lucky to be in such a small place where what comes naturally also happens to be unique.

What are your influences (music, art, TV, film, pop culture, etc.), including ones that might not directly tie into Hamferð?

Jón: Well, personally I have a lot of bands and artists that affect my musical work, and it is mostly subconscious. It is hard to pinpoint exactly which influence is the strongest, since they are typically obscured by more general conventions also used in our music. When you try to avoid a certain “genrefication”, you will often try to meld ideas from different genres and use chords or melodies with a somewhat unique character, but it is often set to a backdrop of something familiar. 

In our case doom metal. 

Only a small portion of the music I listen to can be called “doom metal”, so naturally other, completely unrelated music will creep into the songwriting. Faroese troubadour artists like Hanus G. and Kári P., prog bands like Pain of Salvation, more traditional stuff like Iron Maiden, and even Electric Light Orchestra I would consider a great influence.

Has studying science influenced you as an artist/lyricist?

Jón: With Hamferð I would say no, as I have yet to figure out a way to combine the science of biology with sorrow. I suppose I could delve into some neurobiology if I so wished, but that would end up being quite a departure from what we’re doing now. Nevertheless, I am dreaming of incorporating my subject with some form of music at some point, perhaps in the same vein as Bill Steer’s lyrics for Carcass.

Who knows what will happen in the future?

Can you discuss some of the art from the debut EP Vilst er Síðsta Fet?

Jón:  We wanted to make something unmistakably Faroese that reflected the longing for redemption as well as the ghosts of solitude that are the center of the albums themes. Lydia Hansen was able to very aptly communicate this though a collage of her beautiful, solemn pictures taken throughout the Faroes. The cover depicts the silhouette of a person behind a fence or rail gazing out towards a grey and cloudy horizon. This imagery has become – to us – inseparable from the music in a sense, as the visual presentation, for us, is a defining way to enhance the sonic core.

A translation of the EP title (Vilst er síðsta fet) and meaning/story behind it?

Jón:  “Vilst er síðsta fet” roughly translates to “Lost at the Last Footstep”. It refers to the inescapable fact that most people at the end of their lives – despite everything learned – have precious little knowledge of themselves, their passions, their dreams, and are completely oblivious about the nature of death.

Many even chase a dream or a goal for an entire lifetime and never even come close to fulfilling it.

In the case of Vilst er síðsta fet, the four songs describe the thoughts and emotions of the main character as he lives his death. The first song, “Harra Guð, títt dýra Navn og Æra” (“Lord God, Thy Precious Name and Honour”) is a psalm traditionally sung at the funeral site as the coffin is lowered into the grave. It is dramatic and simplistic, emphasizing the might and eternal glory of God’s kingdom in comparison to the feeble nature of the physical world. It stands as a strong contrast to the following three songs, who deal with complex issues of a life lived in pain and inescapable death without certainty of redemption.

 “Harra Guð, títt dýra Navn og Æra” at the G! Festival

“Vráin” (“The Alcove”) looks back at the existence of the main character as a strong individual struggling in a bigoted society. After the death of a child, he corners himself within his own mind, losing contact with his wife and other child and is defeated by the pressure of his surroundings. Constantly he tries to overcome the natural pain of his loss and his inability to reach out to his loved ones, who need him desperately, but time drags on.

In “Aldan revsar eitt vargahjarta” (“The Wave Smites a Wolf’s Heart”), he recalls his wife’s suicide and the crippling guilt that remained. He goes down to the seashore and remembers a time of joy, when he could watch his children play in the sand. But the memory quickly fades as a storm hits and he throws himself into a ferocious wave – his judge, jury and executioner.

“At enda” (“At the end”) explains his final, silent seconds of letting go. Uncertain of it all, he feels lost yet at some kind of bittersweet peace, knowing that the wretched love he had in life was still love after all, and would perhaps exist eternally.

Theo, Where are you originally from?

My mother is Finnish and my father is Greek. 

Almost seems strange to end up in the Faroe Islands...

Oh yeah, but shit happens (laughs).

You mentioned the metal scene in the Faroe Islands is strong.  Is your music widely accepted and respected among the people?

Theodor: It is surprisingly accepted.  We just set out to do something different; it is pretty heavy, but melodic and not so intense, like death metal, so “normal people”, who are not metalheads, can appreciate it.  Throw blastbeats at them and they hate it, but I think they can grasp our kind of doom. 

The Faroe Islands is a small place and basically, anything you do, if you do it well enough, it’s going to get recognized.

From the various pictures, videos, and other postings Hamferð makes, it almost seems like the band is “mainstream” there, for lack of a better term.  I also saw you playing in a Church (“Vráin” live at Tórshavn Cathedral)
 “Vráin” live at Tórshavn Cathedral

Theodor: We played in a church in central Tórshavn in January.  One of the songs on our EP, Vilst er síðsta fet, is an arrangement of a classic Faroese psalm, "Harra Guð, títt dýra navn og æra". It got lots of radio play here and gave us a wider audience.  The religious tradition here is very strong…though we’re not religious; we’re neutral.  However, there is a cultural importance of entering a church here…it’s got a special atmosphere, so we approached them and asked if we could play a show in the cathedral and they allowed it.

It was a fantastic event.  People of all ages and all backgrounds were there.  

Are you seeing as positive a response from outside of the Faroe Islands?

Theodor: Yes, people are reacting very positively.

We’re still a relatively new band; internationally we haven‘t done very much.  We’ve been on one tour and released one EP (author note: at the time of this portion of the interview was conducted).  I think it feels like it’s slowly growing and it takes time, but so far, the response has been great.

It appears you’re gaining momentum, particularly in the rest of the Nordic countries…

Theodor: Yes, we’ve never really played in the Nordic countries, aside from Iceland and Denmark, but they seem to like what we’re doing. We've played a few shows in Denmark and hope to be able to play in a few more Nordic countries soon.

Originally, Hamferð was offered a Nuclear Blast deal as part for winning that battle of the bands contest.

Theodor: Yes.

 On stage, Wacken (courtesy EIJA MÄKIVUOTI)

Why did Hamferð decline the deal?

Theodor: We had already been working on a release setup with Tutl for some time when were offered the Nuclear Blast deal.

Tutl has supported us since day one and for this release they've actually gained the capacity to do a proper international release with proper PR, distribution, etc. We know the people at the label and we know that they believe in the band and we decided that we wanted to continue working with them.

Declining a deal from Nuclear Blast is obviously never easy. We're talking about one of the biggest metal labels in the world. However, at this stage of the band's career, we felt that the best way to go for the band was to continue on with Tutl.

…and so far we haven't regretted that at all.

Back to the theme of the Faroe Islands.

You mentioned having a Greek-Finnish background. When did you arrive in the Faroe Islands?

Theodor: ‘98, when I was about nine years old. 

So, you might end up being the perfect person to ask about the FI culture from both an insider’s perspective, as well as that of an outsider.

Theodor: One thing which is really strong here is the music and singing tradition.  Pretty much everyone here knows how to sing, except me, because I didn’t grow up here.  (laughs)

There’s a famous Faroese tradition of the Sagas (FæreyingaSaga) and their music.

The culture here is very strong.  I think it has something to do with being isolated in the North Atlantic.  Maybe there isn’t always much to do, but the surroundings are very inspiring. 

There is a very high proportion of artists, and not just musicians.

I researched into the weather a bit and saw it’s essentially always cloudy and rather cold, even in the summer.

Theodor: Yes, the FI is in the middle of the North-Atlantic Gulf Stream, so the ocean is at the same temperature, all year-round. The average temperature is 5 degrees in the winter and 10-15 in the summer.  So it doesn’t fluctuate much, but there is lots of wind and lots of rain.

What are the people there like? Relaxed and open?  That’s the impression I get from their acceptance of your [extreme] music and something we don’t often see in North America and mainland Europe.

Theodor: It’s probably like any small society.  The families are big, lots of people are related.  It’s hard to describe.  To me, they’re just “people”. Very relaxed.

Parts of the society are very open, and I think parts that are not so open, just like anywhere else.

What is the role of the Church today in the FI?

Theodor: It has the same role that it’s always had, but I think they’re trying to reinvent themselves, much like everywhere else, as Church attendance is dropping.  I think it’s been like that all around the world for a number of years, but I’m not really the person to answer that question as I don’t go to church.  I have a great respect for the cultural heritage and what the church has brought to society, but I’m no expert on current matters.

They hold concerts now and then, but they're mostly classical matinees and stuff like that. There are many choirs in The Faroe Islands and, as I mentioned, the Faroese people love to sing.  The Church plays an active role in that kind of music, but not in popular music.

It’s funny; when I hear your music, particularly Jón’s singing, I wonder if you are classically trained.

Theodor: Our bassist, Jenus [Í Trøðini], plays the tuba.  That’s about it.  I’ve played violin and a piano as a child for a short time.  I don’t think anyone else has any classical training.  Jón is just talented.  It’s ridiculous.  I don’t think he’s had any training (laughs), except what he’s done himself.

That’s pretty incredible to hear
(laughs).  His voice is astounding.  Do you guys play any other types of music outside of metal?

Theodor: We’ve all got side projects, but nothing really that serious.   

John [Egholm, guitar] has a southern rockish band called Jürghinn.

Me and Remi [Johannesen, drums] and two others have a rock n’ roll band called Rock N’ Rolls-Royce.    

Jenus [í Trøðini, bass] is in a really cool thrash metal band called Incurse.  They’re working on an album (bass and guitar sessions in January).  

Esmar [Joensen, keyboard] has a ZZ Top cover band. 

Just stuff like that.

Just to keep yourself immersed…

Theodor: Yeah, when we’re bored, it gives us something to do (laughs).

Can you discuss what art is like there?

Theodor: Very dark.

There’s not much upbeat stuff coming from the FI.  We don’t really have summer days with girls in bikinis dancing happily (laughs).

Who are the prominent artists out there and what type of themes do/did they deal with?

Theodor: It’s not like everyone here plays doom metal and dark stuff.  There are undertones in everything that are usually pretty dark.  Looking at music, Eivør [Pálsdóttir, guest on "Sinnisloysi"], Teitur [Lassen] are really good and known internationally. 

Looking at visual art, there’s a painter by the name of Sámal Joensen-Mikines whom I admire a lot. He died about 40 years ago and I think his paintings are among the darkest things I've seen.

 1991 stamp of Vetrarmorgun (Winter Morning), 1958, 105x120cm (wikipedia)

I’m really bad at writing happy music.  I’ve tried and I’m just really bad at it (laughs).  So whenever I end up writing something, it always turns out like that.

What kind of music did you grow up with?

Theodor: Maiden.

Excellent.  What are your favorite albums?

Theodor: You’re opening a can of worms (laughs).  Pretty much everything up to 7th Son is fantastic.  Depends on my mood.  If I had to mention one, it would be 7th Son Of A 7th Son.

Amazing album.  Do you have progressive leanings in your tastes?

Theodor: Oh yeah, definitely.  There are many funeral doom bands that do the same thing over and over for minutes and minutes.  We’re all way too progressive to do that, which is why we’re changing things around.

One of the prominent features of your music…

Theodor: I love progressive music.  Our drummer and pretty much everyone in the band loves it.  Everything from Meshuggah to the Symphony X.  There’s so much good progressive music.

What is the future for Hamferð?

Theodor: We finished our new album and it will be released later this year.  We’re also working on a European tour.  We’re going to do a proper promotional campaign this time around, release it internationally, and see how the tour turns out.

"Deyðir varðar" from Evst

We have a few other things we’re up to, but we’re taking this next half-year to see what happens.

How many songs?

Theodor: Six songs, 45 minutes, and it will be a concept album.

1. Evst (Highest) 5:50
2. Deyðir varðar (Dead Beacons) 8:46
3. Við teimum kvirru gráu (With The Silent Grays)  7:25

4. At jarða tey elskaðu (To Bury The Beloved) 4:07 
5. Sinnisloysi (Mindlessness) 8:46
6. Ytst (Outermost) 10:26

*sketch panels created by Jón Sonni Jensen
When we did the first album, we were a new band and we didn’t play any shows.  We spent more time writing this one.  It’s more mature, more worked out, and in some ways, a bit more raw.
The music sounds very intricate, sophisticated, and focused.  What type of problems do you encounter in writing and recording it?
Theodor: It takes a lot of time.  We never rush the writing and we’re probably one of the slower bands out there.  For writing, it’s me; I come up with a few riffs, put together a demo, and I’ll take it to the rehearsal space with a couple of us and we try to work out the details and get the flow of the songs.  We spend some time arranging it and then recording it.

The biggest difficulty with writing this one was incorporating the vocals since Jón has been living in Denmark and we couldn't do it until quite late in the process.

...but they worked out really well!

Jón studies in Denmark and is now on the way to South Africa for his bachelor thesis.

It appears from my research that Denmark has had the most influence on the Faroe Islands. Do you see a large divergence between Denmark and the Faroe Islands?

Theodor: Yes, recent history, at least.

The Faroe Islands are a very unique place.  When one flies out of FI, they go through Copenhagen and when most people go to University, they go to Copenhagen.  So for younger people, it’s like a second home, but the Danish culture is quite different from the Faroese culture and I have an impression that very many Danes don't know very much about The Faroe Islands.

There are no significant cultural barriers?

Theodor: I think in places like Copenhagen, there are so many Faroese studying there that they integrate pretty easily and hang out with the Danish people and society. 

Nightlife in the Faroe Islands?

Theodor: Oh yeah (laughs).  There’s not much else to do besides go out and get wasted.

What countries do you plan on touring?

Theodor: Definitely Germany and focusing there because that’s where all of our [industry] partners are based.  We'd love to tour the other Nordic countries since we've never done that and obviously it'd be fantastic if we could ever make it outside Europe, but in the foreseeable future we'll probably do most of our touring in Central Europe.

Jenus [bass] wasn’t there for the recording of the EP, correct?

Theodor: Correct. When we won our first local competition he was a stand in bassist for our previous bassist, Tinna [Tótudóttir]. She left the band because it didn’t really work out and as soon as she left, we wanted Jenus because he’s a really good friend and a great bassist.  It was pretty much a no-brainer.

Has he lent a lot to the creative process that wasn’t there before?
Theodor: A bit, yeah. He wasn't that involved in writing the core structures of the songs, but the bass parts are a lot more varied on this album, which is cool and adds another dimension to the music.

 "Evst", title track of the debut LP

What was it like touring mainland Europe (fall/winter 2013)?

Theodor:  We love touring mainland Europe. It's one of the things which really makes all the work worthwhile, at least for me.

The Faroe Islands are tiny, so we've played most venues here and after a couple of years you usually see the same people at our shows. Playing here is important to us but it's hard to justify playing more than a few times a year without something new. Going to Europe opens us up to an audience which is about 15.000 times bigger. It's impossible to play two weeks straight here, but in Europe it's possible. You get into the whole routine of driving -> playing -> sleeping, etc. and I really enjoy that. It's also amazing to turn up in small, random places (not that there are smaller, more random places than The Faroes) and have people there who know and love our music.

The Tutl Bus

Can you tell us about Factory92?

Theodor: Factory92 has been a huge help to us. I first met Christian Buhl at Wacken Metal Battle 2012 and we agreed to work together after that.

Factory92 runs the so-called "Tutl Management" which works with promoting Faroese music and managing a few Faroese artists, and it's because of them that we're able to release Evst internationally with good PR.  Before they got involved we probably couldn't have released Evst as we did on Tutl, so they've had a huge impact, not only for us, but for a lot of Faroese artists. We work day to day with Fróði [Stenberg] and Christian and we're really optimistic that it'll prove to be the decisive factor which allows the band to take a few steps forward which we couldn't do by ourselves.

Why suits on stage? 

Theodor: We dress as if we were going to a funeral. We always wear suits, white shirts, and black ties. It's something Hamferð has done since the first ever show and we feel that it adds a dimension to the atmosphere of our shows. Nowadays I have a really hard time imagining a Hamferð show without us wearing suits.

You’re a recording engineer. How long have you been doing it?

Theodor: Proper engineering- five years and other roles in ten years.

Last question: Where do you think the recording industry will be in the next 5-10 years?

Theodor: Ooooh, if I knew that…

I try not to think about it because I work in it and it’s too depressing (laughs). 

More and more people are recording at home and it’s getting easier and easier.  Now people are starting to realize that if you want something that sounds great, that you have to go to a proper studio and get people who work in audio to get the best sound.

You need that expertise…

Theodor: Definitely…

There’s a reason that producers exist.  Musicians are really good at music, but there are so many aspects to arranging a CD and recording it properly and having the whole picture in your head of where you want to go... and that takes experience.

2013 Album Lists:

Theodor: My favorite album of 2013 has to be Extol's self-titled comeback album. I don't care about the lyrics; thankfully I have the ability to ignore them. But the music is absolutely outstanding and the album has the most tasteful lead guitars I've heard in a long time. And Jens Bogren totally nailed the production like he always does. Honorable mention goes to Karnivool's Assymetry album which is also great.

Jón: Unfortunately, I didn't listen to as much new stuff this year as I would have liked. Nevertheless, I did pick up a few gems. The new Dan Swanö project, Witherscape, really stands out as the best of the bunch, mixing all the classic Swanö styles and sounds and adding some new touches. Great album! Also right up there are the new albums from Leprous, Extol, Omnium Gatherum, Haken, Steven Wilson, Amorphis, Tristania, Phil Anselmo and In Vain. Long-time favorites, such as Katatonia (re-imagining an already boring album) and Rotting Christ disappointed a bit this year. Better luck next time. Still awaiting analysis: Ayreon, Ihsahn, Dream Theater and Pestilence, to name but a few.

Esmar: There weren't that many good releases this year, but still some that I really liked: Suffocation - Pinnacle of Bedlam, Black Sabbath - 13, Beastwars - Blood Becomes Fire, Ulver - Messe I.X - VI.X, Ghost - Infestissumam, Summoning - Old Mornings Dawn, Deafheaven - Sunbather and Deicide - In The Minds of Evil

John: Dark Tranquillity - Construct and Beastwars - Blood Becomes Fire

Remi: Leprous - Coal and The Ocean - Pelagial, no particular order

Visit The Faroe Islands:

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