#193 Flork Reviews: Ničiteľ - Biela (2026)

 

Ničiteľ - Biela (2026)
By Flork

A while back, when I previously reviewed Ničiteľ‘s previous album, I was immediately floored by the band‘s thunderous sound and uncompromising vision. It was like discovering one of Slovakia‘s best-kept secrets (in terms of heavy music)—a band whose combination of heavy emotional intelligence and fearless social commentary deserved far more attention than it has so far received. Since this time, Ničiteľ have quietly built one of the country‘s most compelling discographies, even if they‘ve often remained overshadowed by more visible names in the underground. Their fourth full-length album Biela, which is due out on July 7, proves that this is no accident. While Anna examined the destructive legacy of patriarchy, Biela abandons a single overarching narrative in favour of nine interconnected songs named after colours: White, Black, Blue, Grey, Purple, Yellow, Green, Red and Brown. Each of these tracks become symbolic entry points into different aspects of the modern human condition. Complementing the concept, vocalist Tamara has created an original painting for every track, giving the album a visual identity that mirrors its lyrical ambitions. Sung predominantly in Slovak and delivered through an exhilarating collision of blackened crust, sludge, d-beat and hardcore, Biela is another reminder that Ničiteľ belong among the finest heavy bands currently emerging from Central Europe.

Starting of course with the title track Biela (White), which may possibly serve as the emotional heart of the record, the track confronts mortality with a rare sense of grace rather than despair. Its repeated reminder that „you can‘t stop time“ is a call to value the fleeting moments we have. From there, Ničiteľ guides the listener through a series of sharply focused reflections on contemporary life. For example, Čierna (Black) channels climate anxiety into unforgettable imagery of burning forests and a dying black swan stranded in a muddy riverbed, while Modrá (Blue) lashes out against misinformation and the deliberate blurring of objective truth, insisting that opinions should be questioned, but facts should not. Sivá (Grey) offers one of the album‘s most affecting moments by portraying a person consumed by ecological grief and social injustice until they become emotionally hollow. All throughout these songs, the band avoids simplistic slogans, instead relying on poetic imagery and emotionally-charged metaphors that linger long after the final notes fade. Compared to Anna and previous releases like Matka (mother), Ničiteľ have taken their craft again to a higher level. Tamara‘s impassioned vocal performance gives every lyric an unmistakable urgency, while the band‘s heavy riffs and thunderous rhythm section ensure the emotional impact remains as crushing as the music itself. The music of course is top-notch with talent resonating at the highest peak from each instrument. 

 

 

The remaining tracks lose none of that intensity. Purpurová (Purple)is a furious condemnation of abuse within the Church, refusing to separate institutional authority from the suffering inflicted upon children. Žltá (Yellow) transforms pain into empowerment, rejecting manipulation and reclaiming dignity after emotional abuse. Zelená (Green) dismantles the comforting myth that poverty can always be overcome through determination alone, exposing the privilege behind those assumptions with heartbreaking clarity. Červená (Red) celebrates artistic sincerity over performative celebrity, especially by encouraging artists to stand for something instead of merely posing on the proverbial red carpet. The closing track Hnedá (Brown) confronts the spectre of fascism through images of brown shirts, disappearing bodies, and humanity standing at the edge of annihilation. Despite its bleakest moments, this composition searches for love as an act of resistance, beginning with pounding guitars then switching to the sombre sounds of a church organ, concluding the album on a thought-lingering note. 

And the Florkman’s prognosis? What makes Biela so remarkable is not simply its weight, but rather its empathy. Every song tackles a different issue, whether it’s death, environmental collapse, inequality, abuse, corruption, artistic integrity or authoritarianism, they all feel connected through the band‘s deeply human perspective. The colour concept could easily have been reduced to a clever gimmick, however, Ničiteľ transform it into a thoughtful framework that ties together an album of extraordinary thematic breadth. Their music remains abrasive, uncompromising and often devastatingly heavy, yet beneath the distortion lies compassion and genuine conviction. Few bands manage to balance ferocity with introspection as effectively as Ničiteľ do here. Biela is not just another excellent record from an already impressive band, but feels like the work of artists continuing to refine both their sound and their message. If there was ever any doubt that this overlooked group deserves a place among the leading voices in European extreme music, Biela should finally put it to rest.

 

#307 Rana & Diktät // Post Metal & Disbeat // Andrej // 20.5.2026

 

 

 

 

1. Kto si, čo robíš a čo ťa najviac zaujíma práve v týchto dňoch?

Dobrý deň prajem, tu je Andrej Bartek zo Svitu. Čil v marci som mal 35 rokov a 300 rokov som opitý robím muziku. Mám teraz trochu viac času, tak to využívam a snažím sa tlačiť kapely.  

Scéna a aktivity
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2. Andrej, minulý rok v novembri došlo k požiaru Koľaje 22 — kultúrneho priestoru v Poprade, kde si dlhé roky organizoval akcie (napr. Popradské garáže). Čo sa vlastne stalo a aký dopad to malo na miestnu komunitu a scénu?

Dlhé roky to neboli, Koľaj 22 fungovala cca 2 roky. Čo sa presne stalo, dodnes nevieme a nechcem rozširovať špekulácie a konšpirácie, keď nie je nič potvrdené. Zmenilo to naše plány, ale v okresanej podobe pokračujeme s podujatiami na iných miestach. Myslím, že komunita drží a podporuje. U mňa tento požiar trochu upravil vzťah k hmotným veciam.


3. V akom stave je dnes Koľaj 22 a čo bude nasledovať?

Nič okrem pár obhorených harabúrd neostalo. Iba betónový základ.  Pred pár dňami sme tam dokonca natočili videoklip k piesni Koľaj 22 od Diktätu. Nová skladba na počesť tohto miesta. Verím, že ňou aj klipom dokážeme trochu podporiť morálku. Aj samotné nahrávanie bola zábava a zaujímavé podujatie, kde sa zhromaždila kopa ľudí. Popri tom sa snažíme nájsť nové miesto, kde by sme mohli fungovať, ale nie je to jednoduché. V lete možno niečo spravím opäť na garážach ako predtým.

 

 

4. Si aktívny vo viacerých kapelách - koncertuješ, nahrávaš novú hudbu, organizuješ akcie. V ktorých projektoch aktuálne funguješ a ako sa to všetko dá zvládať?

Po dlhej dobe mám už len dve kapely. Rana a Diktät, na to sa teraz plne sústredím. Bolo tam teraz veľa práce. Distax sme zatiaľ rozpustili, Concussu som opustil, nestíhal som dochádzať do Vranova na skúšky, tak ma tam nahradil Jožko Korady. Udande je tiež na odstávke. Možno sa ešte mihnem niekde, ale to bude skôr príležitostné hranie. Zároveň organizujem koncerty a dohadujem ďalšie, či už nám alebo aj iným kapelám.

Človek si musí určiť priority a nebrať hudbu ako koníček alebo hobby. Pre mňa je to môj život a všetko ostatné tomu prispôsobím.

Rana a Diktät
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5. Rana funguje od roku 2017, keď vyšlo prvé demo. Mali ste pri založení Rany konkrétnu predstavu o zvuku a textoch?

Rana funguje od jari 2014. Vznikla z môjho pretlaku melodickejších a pomalších nápadov. Tak je to dodnes, jej hlavnou úlohou sú melancholické, smutné a temné emócie.

 
6. Kto okrem teba tvorí Ranu a ako sa ostatní členovia podieľajú na výslednom zvuku a tvorbe?

Samí skvelí ľudia. Prakticky od začiatku je so mnou gitarista Maťo, docent v energetike s rodinným vinárstvom na Devíne, stará sa o skúšobňové záležitosti, moderné technológie (napr. streamovacie platformy) a je sekundárnym šoférom.

 

Pady na basgitare. Známa bratislavská postavička v tom najlepšom zmysle slova. Zábavný milovník bicyklovania. Momentálne drtí basu aj v Adacte. Je hlavnou príčinou zastávok na diaľničných pumpách. Či už input alebo output.

Bubeník Ďuri, rozhlasový technik pôvodom z Kežmarku. Občas aj roztočí kotúče a púšťa hardtek a podobné zveriny pod menom Rayaa. Je to on, kto na našej nahrávke editoval nepresnosti alebo iné veci. Niekedy nenápadný, no o to dôležitejší.

Možno to bude znieť smiešne, ale najväčší prínos kapelníkov je to, že nešpekulujú a neprotestujú. Nie preto, že by nerozmýšľali, ale preto, že chápu moju víziu a podporujú ju. Kapelníci, ktorí sa riadia dojmami, prd vedia a popri tom špekulujú, sú pre mňa brzdou. Okrem Padyho sme v Rane traja zvukári. To znamená vysokú mieru pochopenia toho, čo sa deje vo zvuku či už na koncerte, pódiu alebo v nahrávke, takisto komunikácia so zvukármi je jasnejšia, takže samá radosť.

V tvorbe sa chlapci niektorými nápadmi podieľajú buď v kompozícii alebo doplňujúcimi vyhrávkami. Inak je zvyšok môj.


7. Nové EP je prvá nahrávka po ôsmich rokoch. Vznikal materiál priebežne počas celého obdobia, alebo skôr intenzívnejšie v kratšom čase? A čo boli hlavné úskalia nahrávania a tvorby?

Začiatok kovidu a my sme do toho nemali ani bubeníka a basgitaru. Takže ako štart od znova. Materiál sme dali dokopy v cca 2021-2023. Nahrávanie november 2024, a rok a pol ešte, kým sme s Ďurim dotiahli korekcie. Teraz posledný február som len donahrával spev. Potom to už išlo naspäť k Peťovi do Vranova na mix a mastering. Takto na papieri tie roky vyzeraju hrozne, ale mali sme nabitý program a zároveň už sa nechcem ponáhľať na úkor kvality.

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8. Hudba Rany je pomerne rozmanitá - počuť blackmetalové aj sludgeové vplyvy na silnom crustovom základe. Odkiaľ pochádzajú hlavné vplyvy, ktoré formujú zvuk kapely?

Tu ťa zastavím a vyzývam hudobných znalcov, aby sa vyjadrili k „sludgovým vplyvom“. Asi viem, čo myslíš, ale ja to vnímam ako postmetal a teraz už aj trochu black metal vychovaný na neocruste a eme. Sludge som ja nikdy hrať nechcel a jeho atmosféru vnímam inak. Tak ako? Ako to je? Počuje tam ešte niekto sludge? A kde? Rana vznikla a znie tak ako znie vďaka Downfall of Gaia, Deftones a Shallov.

(TOM/EZR: Čo sa týka sludge vs. post-metalu, dobrý point a máš pravdu. Ja som to štandardne zjednodušil a hodil pomalý (emo) crust do jedného vreca so „sludgeovými vplyvmi“. Súhlasím, Rana je niekde inde.)

9. V približne rovnakom čase ako nové EP Rany, si so svojou ďaľšou kapelou Diktät vydal po siedmych rokoch album Problémy prvého sveta. Ako sa líši tvorivý proces Diktätu od Rany a bolo načasovanie nového album s Ranou náhoda alebo zámer?

Dnes ti tie roky akosi nejdú. :D  Predošlá nahrávka vyšla v 2021. Tvorivý proces je silné slovo, ak sa bavíme o Diktäte. Dva rify, dohodnúť úvod, prechod pred sólom a záver. Homár, zahraj nejaké sólo! A keď všetko šlape, napíšeme 4 riadky textu. Hotovo. Hups, prezradil som celé know how. V Rane to pohltí desiatky až stovky násobne viac úsilia, energie a času.

Načasovanie pekná náhoda, ale pomohol som jej, lebo som mal posledné mesiace oveľa viac času oboje tlačiť.

(TOM/EZR: Tých 7 rokov medzi nahrávkami Diktätu som vypočítal podľa jednoduchej rovnice: 2026 - 2021 = 7 ☺ )

 

 
10. Keď počúvam Diktät, mám pocit, že sa dala dokopy partia kámošov vyhratých v iných kapelách a žánroch, aby si spolu zamastili disbeat. Je na tom niečo pravdy, alebo som úplne mimo?

Áno aj nie. Ja (gitara), Samo (bicie) a Homár (sólo gitara) sme hrali spolu v Distax. Spieva s nami teraz Heďo, chvíľu spieval v Samoraste a na basu máme Jakuba, ktorý teraz s nami zahral svoje prvé dva koncerty v živote.


11. Myslíš, že nás budú problémy prvého sveta trápiť dlho, alebo by sme mali pomaly chystať na problémy druhého prípadne tretieho sveta?

Myslím, že každý si vyberá, ktoré problémy ho budú trápiť. Stret s realitou to potom u ľudí môže zmeniť.

12. Bez ohľadu na svoje kapely, čo je tvoj prirodzený „trademark“ riff? Čo z teba spontánne prvé vylezie, keď chytíš nástroj do ruky?

Asi veci ako Únik od Rany alebo Diktätovské kolovrátky, čo sa ti zaryjú do hlavy.

DIY koncerty a vydania
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13. Ako sa podľa teba zmenila UG kultúra pred kovidom, počas neho a po ňom?

Asi by som použil radšej slovo DIY kultúra? Dnes neexistujú represie za to, že v pesničke nadávaš na štát a politikov. Dnes nemusíš komunikovať tajne kvôli svojej tvorbe a koncertom. Možno ak hráš náckovské sračky, tam možno underground existuje. Takto to beriem ja.

Počas uvoľnení lockdownov to vyzeralo nádejne, po kovide ale všetci zistili, že nemusia nikde chodiť a je im dobre aj doma. Našťastie vyrástla nová generácia mladých a tí zamiešali trochu karty. Musíme sa tomu prispôsobiť.


14. Chodí na Popradské garáže určitý typ ľudí, alebo sa tam prirodzene miešajú rôzne komunity a subkultúry?

Keď som presunul v roku 2024 koncerty z garáží na Koľaj 22, tak sa prirodzene ten typ návštevníka premiešal. Proste bola časť ľudí, ktorí chodili na všetky akcie, ktoré sa organizovali na Koľaji a bolo to pekné.

15. Poznáš žánre alebo subkultúry, pre ktoré sú garáže stále príliš „málo profi“ a odmietajú tam hrať?

Myslím, že to nezáleží od žánru, ale skôr od preferencií daného interpreta a toho, na čo sú zvyknutí. Verím, že by aj všeobecne známe mená za istých okolností zahrali na garážach. Potom existuje ešte otázka produkcie, nie každé vystúpenie sa na garážach dá uskutočniť technicky.


16. Čo si myslíš o extrémne DIY releasoch - napríklad xeroxová kazeta s úmyselne surovým alebo nekvalitným zvukom? Má to pre teba stále hodnotu?

Nemyslím si o tom nič. Ak to z kontextu a žánru dáva zmysel, tak to môže byť dobré. Pri takej Rane si to predstaviť neviem. Hodnotu to určite môže mať aj pre mňa, ale ako hovorím, ak to funguje v kontexte.

17. Aký máš vzťah ku kazetovej kultúre a mikro labelom dnes?

Kazety moc neobľubujem. Naposledy mi jednu požul prehrávač a Distress, čo som si doniesol z ruska, mi zničila magnetka. Všetky kazety vždy presmerujem k Samovi z Diktätu, on to má rád, niekedy si ich pôjdeme vypočuť. Mikrolabel, nech už je to čokoľvek, platí to isté ako v predošlej otázke.
 

18. Čoho je dnes v UG veľa a čoho naopak nedostatok?

Je tam veľa milých ľudí, no zároveň aj veľa nekritického preberania názorov a dvojakých metrov. A nedostatok, ako všade, peňazí.

 

Plány
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19. Plánujete s Ranou a Diktätom ďalšie koncerty alebo nové nahrávky, alebo už prirodzene prichádza priestor pre iné projekty?

Teraz iné projekty nebudú nejaký čas určite a ani nahrávky. Takže áno pre koncerty, a koncerty aj zahraničné.

20. Chystá sa fyzický nosič alebo videoklip k novým albumom?

Chystajú sa nosiče. CD Rany už sú hotové. Pre viac detailov aj k ďalším nosičom trpezlivo sleduj náš instagram. Videoklip sme nahrali ako som už spomínal. Diktät – Koľaj22. Plánovali sme aj s Ranou, ale zaseklo sa to a neviem, či sa to ešte uskutoční.

21. V ktorom klube alebo na ktorom festivale hrajú Rana a Diktät najradšej a prečo?  

Najradšej hráme na FFUD Feste alebo celkovo v kempingu v Seredi. Ten areál a ľudia. Mám tam odžité, odpité, odrobené, odohraté, proste všetko. Jedno z najdôležitejších miest môjho života popri skúšobniach a šoférskeho sedadla.

Finále
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22. Čo počúvate, pozeráte a čítate v týchto dňoch?

Najviac som počúval samozrejme pri finalizovaní nahrávok Ranu a Diktät. Mimo toho nedávno objavený Sibiir alebo nové veci, čo vychádzajú. Prekladané klasikami Deftones, Billie Eilish, Hypocrisy, Downfall of Gaia, Disfear. Čítam len maily a správy, a ďalšie maily a ďalšie správy.


23. Je niekto s kým by ste si radi prečítali rozhovor na JDØS?

Oliver z Bratislavských garáži – Gulomet Masaker. Keď sa ti ho podarí k tomu dokopať, dostaneš pusu na čelo.


24. Motto alebo odkaz na záver. 

Studený máj, fuck off and die!

 

 

1. Who are you, what do you do, and what interests you most these days?

Good day, this is Andrej Bartek from Svit. This March I turned 35, and I’ve been doing music for 300 years while being drunk. I now have a bit more time, so I’m using it to push bands.

Scene and activities

2. Andrej, last November there was a fire at Koľaj 22 — a cultural space in Poprad where you organized events for many years (e.g. Popradské garáže). What actually happened and what impact did it have on the local community and scene?

It wasn’t many years, Koľaj 22 existed for about 2 years. What exactly happened is still unknown, and I don’t want to spread speculation or conspiracy theories when nothing is confirmed. It changed our plans, but in a reduced form we continue events in other places. I think the community is holding together and supporting it. For me, the fire slightly changed my relationship to material things.

3. What is the current state of Koľaj 22 and what will happen next?

Nothing remains except a few burnt scraps. Just a concrete foundation. A few days ago we even filmed a video clip there for the song Koľaj 22 by Diktät — a new track in tribute to the place. I believe it can help support morale a bit, both the song and the video. Even the recording itself was fun and a very interesting event where a lot of people gathered. In the meantime, we are trying to find a new place where we can operate, but it’s not easy. In summer I might do something again in the garages like before.

4. You are active in several bands — you play concerts, record new music, organize events. Which projects are you currently involved in and how do you manage it all?

After a long time I now only have two bands: Rana and Diktät, and I am fully focused on those. There was a lot of work recently. We have temporarily dissolved Distax, I left Concussa because I couldn’t travel to rehearsals in Vranov anymore, so Jožko Korady replaced me there. Udande is also on hold. I might still appear somewhere, but only occasionally. At the same time I organize concerts and book other shows, both for us and for other bands.

You have to set priorities and not treat music as a hobby. For me it is my life and everything else is adapted to it.

Rana and Diktät

5. Rana has existed since 2017, when the first demo was released. Did you have a specific vision of sound and lyrics when founding Rana?

Rana has existed since spring 2014. It was born from my overflow of more melodic and slower ideas. That remains the same today — its main purpose is melancholic, sad, and dark emotions.

6. Who besides you is in Rana, and how do the other members contribute to the final sound and songwriting?

All great people. From the beginning I have been joined by guitarist Maťo, a university lecturer in energy engineering with a family winery in Devín. He takes care of rehearsal logistics, modern technologies (e.g. streaming platforms), and is the secondary driver.

On bass is Pady — a well-known Bratislava character in the best sense of the word. A funny cycling enthusiast. He currently also plays bass in Adacta. He is the main reason for stops at highway gas stations — both input and output.

Drummer Ďuri, a broadcast technician originally from Kežmarok. Sometimes also a DJ playing hardtek and similar madness under the name Rayaa. He is the one who edited inaccuracies and other things on our recording. Sometimes inconspicuous, but all the more important.

It may sound funny, but the biggest contribution of the band members is that they don’t overthink or object. Not because they don’t think, but because they understand my vision and support it. Band members who act based on impressions and constantly overanalyze are a brake for me. Except for Pady, we are three sound engineers in Rana. This means a high level of understanding of what is happening in sound — whether at a concert, on stage, or in recording — and communication with sound engineers is therefore very clear, which makes everything a pleasure.

In terms of creation, the guys contribute with some ideas either in composition or additional musical parts. Otherwise, the rest is mine.

7. The new EP is the first recording after eight years. Was the material created continuously over that whole period, or more intensively in a shorter time? And what were the main obstacles in the recording and creation process?

The beginning of COVID hit and we didn’t even have a drummer or bassist. So it was basically a restart from scratch. We put the material together roughly between 2021–2023. Recording took place in November 2024, and then another year and a half of refining corrections with Ďuri. This February I only recorded the vocals. Then it went back to Peťo in Vranov for mixing and mastering. On paper, those years look terrible, but we had a packed schedule and at the same time I don’t want to rush at the expense of quality.

8. Rana’s music is quite diverse – you can hear black metal and sludge influences on a strong crust base. Where do the main influences shaping the band’s sound come from?

I’ll stop you there and invite music experts to comment on the “sludge influences.” I think I know what you mean, but I perceive it as post-metal and now also a bit of black metal raised on neocrust and emo. I never wanted to play sludge, and I perceive its atmosphere differently. So what is it? How is it actually? Does anyone still hear sludge there? And where? Rana was formed and sounds the way it does thanks to Downfall of Gaia, Deftones, and Shallow.

(TOM/EZR: Regarding sludge vs. post-metal, good point and you are right. I simplified it and lumped slow (emo) crust together with “sludge influences.” I agree, Rana is somewhere else — you explained it very well.)

9. Around the same time as Rana’s new EP, your other band Diktät released the album Problémy prvého sveta after seven years. How does Diktät’s creative process differ from Rana’s, and was the timing of both releases coincidence or intentional?

Today your math is somehow off. :D The previous release came out in 2021. “Creative process” is a strong term when talking about Diktät. Two riffs, agree on an intro, transition before the solo, and the ending. “Homár, play a solo!” And when everything works, we write four lines of lyrics. Done. Oops, I just revealed the entire know-how. In Rana, it takes tens to hundreds of times more effort, energy, and time.

The timing was a nice coincidence, but I helped it along because I had much more time in recent months to push both projects.

(TOM/EZR: I calculated the 7 years between Diktät releases using a simple equation: 2026 - 2021 = 7 ☺)

10. When I listen to Diktät, I feel like a group of friends who are well played in different bands and genres got together to have fun with d-beat. Is there any truth to that, or am I completely off?

Yes and no. Me (guitar), Samo (drums), and Homár (lead guitar) played together in Distax. Heďo now sings with us — he sang for a while in Samorast — and on bass we have Jakub, who played his first two concerts ever with us.

11. Do you think “first world problems” will bother us for a long time, or should we slowly start preparing for second or third world problems?

I think everyone chooses which problems will bother them. A confrontation with reality can then change that for people.

12. Regardless of your bands, what is your natural “trademark riff”? What comes out first when you pick up an instrument?

Probably things like Únik from Rana or Diktät-style looping riffs that get stuck in your head.

DIY concerts and releases

13. How do you think UG culture has changed before COVID, during it, and after it?

I’d rather use the term DIY culture. Today there are no longer repercussions for swearing at the state and politicians in a song. You don’t need to communicate secretly because of your music or concerts anymore. Maybe if you play Nazi bullshit, then underground might still exist. That’s how I see it.

During the easing of lockdowns it looked promising, but after COVID everyone realized they don’t need to go anywhere and they are fine staying at home. Luckily, a new generation of young people has grown up and shaken things up a bit. We have to adapt to that.

14. Does a specific type of people go to Popradské garáže, or do different communities and subcultures naturally mix there?

When I moved concerts from the garages to Koľaj 22 in 2024, the audience naturally mixed. There was a group of people who attended all events organized at Koľaj, and it was nice.

15. Do you know of genres or subcultures for which the garages are still too “unprofessional” and refuse to play there?

I don’t think it depends on the genre, but rather on the preferences of the performer and what they are used to. I believe even well-known names would play at the garages under certain circumstances. There is also the question of production — not every show can be technically done in garages.

16. What do you think about extremely DIY releases — for example Xerox cassettes with intentionally raw or low-quality sound? Do they still have value for you?

I don’t really think anything about it. If it makes sense in the context and genre, it can be good. With a band like Rana, I can’t imagine it. It can definitely have value for me too, but as I said, it depends on context.

17. What is your relationship to cassette culture and micro-labels today?

I don’t really like cassettes. The last one got chewed by my player, and Distress that I brought from Russia got destroyed by a magnet. I always pass cassettes to Samo from Diktät — he likes them, and sometimes we listen to them together. Micro-labels, whatever that means, is the same as in the previous question.

18. What is there too much of in UG today, and what is there a lack of?

There are a lot of nice people, but also a lot of uncritical acceptance of opinions and double standards. And what’s missing, like everywhere, is money.

Plans

19. Are you planning more concerts or new recordings with Rana and Diktät, or is there naturally space opening up for other projects?

Right now there won’t be any other projects for a while, and no recordings either. So yes to concerts — including shows abroad.

20. Is a physical release or music video planned for the new albums?

Physical releases are coming. Rana CDs are already finished. For more details about other releases, follow our Instagram patiently. We already filmed a video clip, as I mentioned — Diktät – Koľaj 22. We also planned one with Rana, but it got stuck and I’m not sure if it will still happen.

21. Which club or festival do Rana and Diktät enjoy playing the most, and why?

We like playing FFUD Fest the most, or generally the campsite in Sereď. The place and the people. I’ve lived there, drank there, worked there, played there — basically everything. It’s one of the most important places in my life, along with rehearsal rooms and the driver’s seat.

Finale

22. What are you listening to, watching, and reading these days?

Most of what I’ve been listening to lately was during the finalization of Rana and Diktät recordings. Apart from that, recently discovered Sibiir, and other new releases. Mixed with classics like Deftones, Billie Eilish, Hypocrisy, Downfall of Gaia, Disfear. I only read emails and messages — and more emails and more messages.

23. Is there anyone you would like to see interviewed on JDØS?

Oliver from the Bratislava garages — Gulomet Masaker. If you manage to get him to do it, you’ll get a kiss on the forehead.

24. Motto or final message.

Cold May, fuck off and die! 

 

============================================================================ 

Links:

https://rana.bandcamp.com/album/cesta-k-ruin-m-2026

https://www.facebook.com/RanaBandOfficial

https://www.instagram.com/rana___band/ 

https://diktaat.bandcamp.com/album/probl-my-prv-ho-sveta 

 

Rana, Diktät and Distax @ JDØS:

https://jablkadaleko.blogspot.com/2026/05/187-flork-reviews-rana-cesta-k-ruinam.html

https://jablkadaleko.blogspot.com/2022/05/rk19-citanie-po-rannej-kave-s-andrejom.html 

https://jablkadaleko.blogspot.com/2022/05/26-flork-reviews-distax-bozska-komedia.html 

https://jablkadaleko.blogspot.com/2020/07/12-distax-crust-z-popradu-odpoveda.html

 

#187 Flork Reviews: Rana - Cesta k Ruinám (EP, 2026)

 

Rana - Cesta k Ruinám (2026)
By Flork

For a while now, Rana seems to have occupied a curious corner of the Bratislava underground. Formed in the spring of 2014 in a garage beneath the Prístavný most (Harbour bridge), the band began as an outlet for Andrej‘s overflow of ideas, which at that time didn’t quite fit his other projects. And so, while never being entirely fixed to one sound, the band is unmistakably shaped by a restless creative drive. Over time, however, there have been numerous shifts in the lineup. Yet after years of relative silence, the arrival of Cesta k Ruinám marks both a return and a recalibration in their sound and identity. The lineup changes, long gaps, and that early demo/first album period gave them a foundation, but Cesta k Ruinám (The Road to Ruins) appears to have led them to the centre of their gravity.

Now operating as a four-piece with Andrej (guitar, vocals), Mattto (guitar), Pady (bass), and Ďuri (drums), Rana lean into a dense hybrid of black metal, emo punk, neocrust, and post-metal textures. Recorded at the tail end of 2024 and finalised in March 2026, the EP feels less like a spontaneous outburst, but more like something carefully unearthed. Across its four tracks, which are Ego, Spád (Fall), Únik (Escape), and Sen (Dream), there‘s a certain kind of tension that teeters between chaos and control. The production retains enough grit to feel immediate, but there‘s also a clarity that allows each layer to breathe, particularly in the interplay between the dual guitars.

Ego opens the set and establishes the tone with a jagged urgency, fusing tremolo-picked aggression with emotionally charged vocal delivery that borders on desperation without losing focus. Spád pushes further into neocrust territory, its pacing shifting between relentless propulsion and slower, weightier passages that hint at post-metal expansiveness. On Únik, the band explores atmosphere more openly, with melancholic melodies drifting over restrained percussion before collapsing into a cathartic surge. The closing track Sen feels almost reflective by comparison, weaving together the EP‘s contrasting elements into something that lingers rather than explodes, suggesting a band which is increasingly comfortable with restraint as a tool.

And Flork’s prognosis? Refreshing and exhilarating. Cesta k Ruinám doesn‘t attempt to reinvent the genres it draws from, but instead recombines them with sincerity and intent. Rana sound like a band that has taken the long way around—through lineup changes, pauses, and quiet evolution—and emerged sharper for it. One could also that Rana‘s most fully realised work may still be ahead of them.

#181 Flork Reviews: Elicea - OD (EP, 2026)

 

Elicea - OD (EP, 2026)
By Flork

Sometimes the most interesting releases come in the smallest packages. The new EP from Elicea clocks in at barely six minutes (there are 4 tracks), yet it manages to cram a strange and compelling blend of styles into that short runtime, with elements of crust, punk , black metal, and touches of DSBM atmosphere sprinkled throughout. There might even be hints of folk and definitely pop-punk melody. I like their sound, because the result feels raw and captivating, kind of like stumbling upon a one-man show street busker rocking out extreme metal through a battered guitar and foot-pedal drum set. The opening Intro (Prod. Wynn) is brief and sets the tone in just over a minute. It is a bit lo-fi and slightly eerie, and intentionally minimal. Perhaps it prepares the listener for the stripped-down aesthetic that defines the whole release.

But the EP really begins with Till Fucking Overdose. Here the project’s character becomes clear. The track moves slowly but carries a noticeable bite. Instead of relying on speed, it builds tension through its raw guitar tone and surprisingly expressive percussion. The hi-hat patterns stand out in particular, which gives the song a rhythmic texture that keeps it moving despite the slow pace. But I must note that the vocals are one of its strongest elements and cool as well. They are harsh, demonic, and undoubtedly emotionally charged.

 

Free Yourself follows with a similar structure but pushes the intensity slightly further. It feels heavier and more focused, almost like the emotional center of the EP. Again, the percussion plays a crucial role, with simple but knocks on the cow bell that add character to the minimal instrumentation. The song gives the impression that this project might be a one-person operation because of its roughness around the edges. But it is defintely full of personality. The set closes with the Rudimentary Peni cover, Army of Jesus, which serves as a fitting bonus track. Stripped down and labeled as a “raw free cover,” it embraces the DIY spirit completely. This is a sort of "snap your fingers to the beat of black metal" kind of tune, if that makes any sense.

And the Florkman's prognosis? In just a few minutes, Elicea delivers a rough, but pretty cool mix of black metal, crust punk, and DSBM, with elements of folk and flashes of pop-punk attitude. It's a bit of a mess, but I have to admit that I like the Ep. It’s brief, raw, and imperfect, which gives it its charm. Elicea is not new to the scene, but are so underground that you might miss them if you blink to long and hard. For listeners who appreciate DIY, this tiny EP nevertheless leaves a surprisingly strong impression.

#290 Hors de Combat // Crust Punk // Paťo, Iwo, Vilo // 30.11.2025

                                                //// SCROLL DOWN FOR ENGLISH ////
 

1. A vy ste kto? Čo práve robíte a čo vás najviac zaujíma v týchto dňoch?

Paťo: Nazdárek, zajtra akurát nastupujem do novej roboty po polročnom pokoji na úrade práce.

Iwo: V práci robím otroka, riešim práve nový domov a trápi ma, či tento rok bude na horách sneh.

Vilo: Asi to isté čo Iwo, len ten domov zatiaľ nemusím riešiť a o to viac ma trápi sneh.


2. Hors de Combat je z francúzštiny „neschopný boja“. V roku 2023 viac ako 50 000 mužov podpísalo vyhlásenie, že v prípade vojny odmietajú „brániť vlasť so zbraňou v ruke“. Je meno kapely poctou týmto odvážnym vlastencom?

I: Aj keby som nemal modrú knižku, určite by som dezertoval a ušiel do exilu. Nenávidím vojnu, mocnosti, ktoré medzi sebou súperia a posielajú nevinných ľudí na smrť. Vojna je nezmysel a žiť sa dá všade, kde sa nebojuje. Nerozumiem ľuďom, čo tu hlásajú ruZZké nezmysly a prví podpisujú vyhlásenie…

Vilo: Modrú knižku by som asi mal, keďže mám cukrovku, ale ak by som videl, ako mi niekto rozbombarduje blízkych, tak by som asi od nervov „zahral Battlefield“.


3. Kapela uvádza miesto pôsobiska Zvolen — mesto s tradíciou death metalu, grindu a HC/punku. Ako došlo k vzniku Hors De Combat? Je to prvá kapela, alebo ste ostrieľaní z iných projektov?

P: Sme taký miešung Banskobystrického kraja so skúšobňou vo Zvolene. Každý z nás pôsobil alebo pôsobí v iných bandách — spomeniem Paskuda, Samorast, Hopsasala, Basal Banar, Nä, Dadcare, Ďas, Ruineum, Tramal…

S Iwom sa poznáme pomerne dlho, tak padol návrh na spoločný projekt. A zákon padajúceho hovna priniesol Vila a Dávida do počtu, hehe.

4. Ako je na tom zvolenská UG scéna dnes? Je v meste veľa koncertov, poznajú sa kapely navzájom a premiešavajú sa scény, alebo si každý hrá na svojom piesočku?

P: Hneď na začiatok pozdvihnem nový klub u nás v ZV — Barbar Podzemie. Za týmto projektom stojí Adam a.k.a. Wynn (bubeník Ruineum, kde tiež hrám) plus ďalší ľudia okolo. Veľký rešpekt za navrátenie UG priestoru do mesta!

Zvolen bol vždy plný kapiel a nie je tomu inak ani dnes. Čo sa týka HC smerov, je to v podstate komunita.

I: Toto je skôr otázka na Pata, keďže som z BB. Ale čo tak sledujem, kapely sa medzi sebou poznajú, väčšina skúša v jednej budove a je to pestré. Mám radšej, keď sa na koncertoch miešajú žánre, než počúvať celý večer jeden štýl. :)


5. Demo 2025 ste nahrali a zmastrovali v skúšobni. Ako dlho vznikal materiál a ako ste spokojní s výsledkom?

P: Matroš vznikal asi rok. Nahrávali sme to v priebehu pár dní, live, cez analóg mix do dvojvstupovej zvukovky. Master zariadil kamoško Dominik (Cable Nest Studio). Nemôžem sa sťažovať.


 

6. Koľko prispel pán Machala z Donatellovej busty na novú diaľnicu do Lučenca? A boli ste sa po nej už previezť?

P: Haha, keby radšej spravil obchvat Zvolena — človek by nemusel bojovať o život pri prechádzaní cesty po pivo na čerpačku.

I: Fúú, Machala… Nemôžem odpovedať, prišlo mi nevoľno…

Vilo: BIKEPUNX!!


7. Kapela deklaruje na Bandcampe „Crust Against Smer“. Ako vznikol tento sympatický subžáner a aké účinky má na vás či vašich fans?

P: Aktuálna téma, hnev a frustrácia. Za mňa len toľko.

I: Sila jednotlivca nezakryje ľahostajnosť ostatných. Chceli sme byť hlasom frustrovanej spoločnosti, ktorý pomôže ľudí spájať a uistiť ich, že v tom nie sú sami.

Vilo: Keď sme mali dať žáner na náš prvý koncert, tak som to nejako vypotil a zistili sme, že to je popiči.


8. Má kapela za sebou nejaké koncerty? Ak áno — kde všade a aký bol ohlas?

P: Asi päť akcií SK/CZ. A ako píše Iwo…

I: Vidno, že mladých ľudí Ficova vláda poriadne serie.

 

9. Na scéne momentálne rastie boom OSDM. Aký je váš názor na tento druh hudby? Nie je crust trochu odrazový mostík k špinavému death metalu?

P: Kto nemá rád death metal?


10. Čo kapela počúva, pozerá a číta v týchto dňoch?

P: Poväčšine OSDM ako zdroj inšpirácie. A po večeroch Akty X.

Vilo: Incident! — a drvím Xbox vo voľnom čase, pokiaľ nerobím nejaký šport.


11. Nie je spoločenský život preceňovaný?

I: Áno, je. Nikto mi nechýba. V dezolátnej spoločnosti skôr vyhovuje samota — ale vo všeobecnosti je dôležitý pre formovanie identity a vzájomnú podporu.

Vilo: Za mňa asi tiež je. Neviem… skúsil by som žiť aspoň mesiac sám.

12. Čo hovoríte na nového Frankensteina a Draculu?

Vilo: Frankensteina som kukal v robote :D. Natočené fajn, ale za mňa veľmi modernejšie, uplakané pičoviny — ako sa Frankie cítil atď. Bolo tam málo akcie.


15. Čo hovoríte na trend foodbloggingu, cestopisných relácií o varení a spoločenskú obsesiu konzumovaním jedla?

I: Smejem sa nad tým, ako si každý fotí jedlo a hádže ho na sociálne siete. Jedlo sa stáva symbolom spoločenského statusu, čo je veľmi smutné, keďže bezpečné a zdravé potraviny by mali byť dostupné pre všetkých. Food Not Bombs.

Vilo: Haha, akurát si moja sestra kúpila GoPro (veľa cestuje) a že ide točiť travel vlogy… asi na to nejdem nič hovoriť.


16. Kde by podľa vás mala byť nová priehrada — v Málinci, Očovej alebo Banskej Štiavnici?

Vilo: Určite Štiavnica. Tam sa nemáš kde kúpať.

17. Je niekto, s kým by ste si radi prečítali rozhovor na Jablkách ďaleko od stromu?

P: Chalani z PlusMinus Soundsystému.


18. Motto alebo odkaz na záver.

I: Buďte ohľaduplní.

Vilo: Neseďte doma zavretí v izbe, vy lenivé hovná — hýbte sa!

 

============================================================================ 

Links:

https://horsdecombat.bandcamp.com/album/demo-2025

============================================================================

 

1. And who are you? What are you doing these days and what’s occupying your mind lately?

Paťo: Hey there. Tomorrow I’m starting a new job after half a year chilling at the unemployment office.

Iwo: At work I’m basically a slave, right now I’m sorting out a new place to live and worrying whether there’ll be any snow in the mountains this year.

Vilo: Pretty much the same as Iwo, except I don’t have to deal with the housing thing yet — so I’m worrying about snow even more.


2. Hors de Combat is French for “incapable of fighting”. In 2023 more than 50,000 men signed a declaration that they would refuse to “defend the homeland with a weapon in hand” in case of war. Is the band name a tribute to these brave patriots?

Iwo: Even if I didn’t have an exemption, I’d definitely desert and run into exile. I hate war, and the powers that compete with each other while sending innocent people to die. War is pointless, and you can live anywhere as long as no one’s fighting there. I don’t understand people who spout ruZZian nonsense and are the first to sign such declarations…

Vilo: I’d probably get exempted anyway because I have diabetes, but if I saw someone bomb my loved ones, I’d probably “play Battlefield” in real life out of pure rage.


3. The band lists Zvolen as its base — a town with a tradition of death metal, grind, and HC/punk. How did Hors De Combat form? Is this your first band or are you veterans from other projects?

P: We’re a kind of mixture from around the Banská Bystrica region with a rehearsal room in Zvolen. Every one of us has been or still is in other bands — Paskuda, Samorast, Hopsasala, Basal Banar, Nä, Dadcare, Ďas, Ruineum, Tramal…

I’ve known Iwo for quite a long time, so the idea of a joint project came up. And the law of falling shit brought Vilo and Dávid into the mix, hehe.


4. How is the underground scene in Zvolen these days? Lots of gigs? Do bands know each other and cross scenes, or does everyone play in their own sandbox?

P: First I have to shout out a new club here in ZV — Barbar Podzemie. It’s run by Adam a.k.a. Wynn (drummer of Ruineum, where I also play) and some other people around him. Huge respect for bringing an UG space back into the town!

Zvolen has always been full of bands and it’s the same today. As for HC directions — it’s basically a community.

Iwo: This is more a question for Pato since I’m from Banská Bystrica. But from what I see, bands know each other, most rehearse in the same building, and it’s pretty diverse. I prefer mixed-genre gigs rather than listening to one style all evening. :)


5. You recorded and mastered the 2025 demo in your rehearsal room. How long did the material take to create and how happy are you with the result?

P: The material took about a year to make. We recorded it over a few days, live, through an analog mixer into a two-input sound card. Mastering was done by our buddy Dominik (Cable Nest Studio). I can’t complain.


6. How much did mr. Machala from that Donatello bust donate to the new highway to Lučenec? And have you driven on it yet?

P: Haha, he should’ve built a bypass around Zvolen instead — so one doesn’t have to fight for their life just crossing the road to grab a beer at the gas station.

Iwo: Ooof, Machala… I can’t answer, I suddenly feel sick…

Vilo: BIKEPUNX!!


7. On Bandcamp you label yourselves “Crust Against Smer”. How did this sympathetic subgenre originate and what effect does it have on you or your fans?

P: Topical themes, anger, and frustration. That’s all from me.

Iwo: The strength of an individual can’t hide the indifference of the masses. We wanted to be a voice of a frustrated society — something that helps people unite and assures them they’re not alone.

Vilo: When we had to put down a genre for our first gig, I just blurted it out — and we realised it was badass.


8. Have you played any gigs yet? If so, where and how was the response?

P: About five shows in SK/CZ. And as Iwo says…

Iwo: You can clearly see that young people are seriously pissed off by Fico’s government.


9. The scene is currently experiencing an OSDM boom. What’s your view on this style? Isn’t crust a bit of a springboard toward filthy death metal?

P: Who doesn’t like death metal?


10. What is the band listening to, watching, and reading these days?

P: Mostly OSDM as a source of inspiration. And X-Files in the evenings.

Vilo: Incident! — and I crush Xbox in my free time unless I’m doing some sport.


11. Isn’t social life overrated?

Iwo: Yes, it is. I don’t miss anyone. In a miserable society, solitude is almost preferable — but in general, social life is important for forming identity and mutual support.

Vilo: For me, yeah, probably overrated too. I don’t know… I’d try living at least a month completely alone.


12. What do you think of the new Frankenstein and Dracula?

Vilo: I watched Frankenstein at work :D. It’s shot nicely, but for me it’s too modern, too many whiny “how Frankie felt” bits — not enough action.


15. What do you think about the trend of food-blogging, travel-cooking shows, and society’s obsession with consuming food?

Iwo: I laugh at how everyone photographs their food and posts it online. Food is becoming a status symbol, which is sad — because safe and healthy food should be accessible to everyone. Food Not Bombs.

Vilo: Haha, my sister just bought a GoPro (she travels a lot) and she’s planning to start travel vlogs… I don’t think I should comment on that.


16. Where should the new reservoir be — Málinec, Očová, or Banská Štiavnica?

Vilo: Definitely Štiavnica. There’s nowhere to swim there.


17. Is there anyone you’d like to see interviewed on Jablká ďaleko od stromu?

P: The guys from PlusMinus Soundsystem.


18. A motto or message to end with.

Iwo: Be considerate.

Vilo: Don’t sit at home shut in your room, you lazy shits — move your ass! 

#280 Spirokëte / Raw Punk, D-Beat / Anatomical Scarecrow, Hueman, Shadowee, Corpse / 30.8.2025

 

1. Who are you, what do you do, and what has been capturing your interest the most these days?

Anatomical Scarecrow: I play guitar and do vocals for Spirokëte and D-Cline. I also draw, collage, paint, screen print, write, tattoo. Lately, I've been into Disclose, Argue Damnation, Nemetona, Varukers, Doom, Excrement Of War, G-Anx.


2. Could you introduce Spirokëte to our readers? Where are you based and who’s currently in the band?

Anatomical Scarecrow: Spirokëte is Anatomical Scarecrow - Gu/Vo, Hueman - Gu, Corpse - Ba, Shadowee - Dr. We live all over the Hudson Valley in New York State.


3. Before Spirokëte, there was Unknown Liberty - was that essentially the same project under a different name, or are these two distinct bands with separate concepts?

Anatomical Scarecrow: Spirokëte grew out of Unknown Liberty. The lineup is the same except for the addition of Hueman on second guitar. Unknown Liberty was more of a peace punk band, while Spirokëte went in more of a raw punk direction.

 

 

4. Your songs tackle war, desperation, and the abuse of power—Spirokëte feels like a fitting soundtrack to today’s crumbling world. Do you see any hope for a brighter future, or are we locked into a one-way march toward dystopia?

Hueman: I think there is always hope, it seems to me that the first step in solving a problem is identifying the problem and I think that is what the goal of addressing these dark realities through art such as ours is. It seems that most of the terrible things done in this world are only able to occur in the dark or under deep layers of distraction and sensationalism in order to keep the masses from collective outrage and unrest. In a world where evil thrives in the shadows hidden behind the sensationalism of materialist popular culture I think underground radical art and music forces the light of awareness into these dark corners and forces history to be defined differently than how the dominator cultures architects intend. It's generally accepted that the exposure of the reality of the horrors committed in Vietnam which is known as the first televised war, completely changed the general population's ability to sit back and accept imperialist horrors committed abroad. When I look at the history of radical punk music I see a similar attempt to bring the reality of imperialism and occupation into sight through art, lyrics and music and therefrom instigate a conversation around popular dissent, resistance and the building of a new and more just reality. 

I also find a lot of inspiration in the actions of the people of Spain in 1936 who seized not only the means of production but also self defense and created a functional alternative model of social autonomy under the oppressive circumstances they were enduring. I also find inspiration in the ways that groups like the Black Panthers identified problems and created autonomous and self actualized solutions for their communities in the face of heavy state oppression.These are just a few examples of radical hope and success no matter how temporal the victories were. Whether or not these endeavors had any long lasting existence doesn't so much speak to the integrity of their values so much as it does that it does remain that historical power simply has historical power, resources and momentum accrued through viscousness to reproduce itself time and again through force. I think this also speaks to the necessity of militant attitudes and action in this world we live in, it has been said that to appeal to the conscience of a monster with no conscience will yield no results. I don't think that there is going to be any sudden flip switched where talking about darkness and dystopia will suddenly erase it from existence but I do have deep trust in humanity and that historically darkness doesn't ever hold complete power over all that it seeks to control and that our collective power only increases through communication and participation. Like weeds through the cracking concrete I think the human will for autonomy and justice can erode at any false structure no matter how viscous and unrelenting it may seem to be.


5. What would you say to bands who already thought we were screwed 20 years ago? Has anything changed — or just gotten louder?

Hueman: As an activist and punk artist of over 20 years I now see more action and engagement and dialogue than ever. The fact that mutual aid is a household word now, that antifascism is a common term among regular people, and the fact that the liberal faith in voting has largely eroded more than ever before.

I think that if folks were hopeless 20 years ago I always understand it, but if you've really been paying attention for these 20 years we actually have gained a lot of ground and that actually means a lot. It's dark and it's always been dark but for those of us living against the grain it's never been for naught, and it may be hard to see results in our own lifetime but our efforts are fractaling out and we are indeed always gaining ground. Bands like Aus Rotten educated me as a kid reading their lyrics sheets and I've gone on to live a life of mutual aid and community building that has yielded real power both for me and my community locally and internationally. 

There is great hope in what we do. I think if you talk to folks who write music like ours that addresses these dystopian realities you'll find the majority of them are not actually nihilistic about things but that reality drives them to articulate and express these feelings for both catharsis and to create meaningful dialogue with a sense of hope underlying all of it.

 

 
6. You're from Upstate NY—how does that tie into (or set you apart from) the wider East Coast punk circuit? What’s unique about your local scene?

Hueman: I would say our local scene is strong and intimate. We put in work to support touring bands and establish a scene that touring bands can come through and play to a crowd that appreciates them and makes sure there's gas in the tank and a place to crash. We work with our friends further upstate with Crisis Isolation booking so between our two connected scenes we try to make something happen for bands in our network. 

I'd say our particular local scene is special because we all really value folks coming through to share their art and we also try to support each other locally when we are sharing in art and community, we don't take it for granted maybe as much as folks in saturated areas like major cities. We have a great mix of community here who don't necessarily all ascribe to one aesthetic or identity so when we're doing diy events it's a diverse gathering of folks who really care


7. Do underground bands in North America get to tour and travel much these days? Is there still a reliable network of promoters and venues you can count on when heading out to a different city or state? And is it still possible to live like a hardcore/punk nomad—or does the lifestyle require a steady side job to stay afloat?

Hueman: We all tour when we can but everyone I know in the scene has jobs, there's no career in rock and roll out here. Even the folks I know that play in bigger bands or supporting big acts on tours half the year still have jobs and often the touring money only covers the rent while you're on the road. Most of the artists I've known my whole life have all had jobs that are their true stability, touring usually requires using vacation time and getting coverage from fellow coworkers and etc. I grew up knowing folks from bands like Agnostic Front who still worked at local Delis most of the time so they could have an income and a bit of flexibility to go on the road. I think punk has always been something you have to do because it's in your nature not because you think it'll replace the hardship and bull crap of working for a living.

That being said, there is absolutely a strong and reliable diy network that runs deep through the country and even every small town between major cities that keep this underground culture alive and in the hands of those that really care. We've been lucky to play routes through this network both in the US and internationally and are proud to also facilitate being the local hosts of the network here in our region.

8. In my recent interview with Yamazaki Helvete from Hiroshima’s Axe Helvete, he mentioned that you first came across the band while visiting Tokyo. What brought you to Japan at that time, and how did you find the experience overall? Beyond discovering Axe Helvete, were there any other memorable encounters or realizations that stood out during your trip in Japan?

Shadowee: I went to Japan with one of my other bands in 2023 to play Kappunk in Tokyo. Axe Helvete was at the same venue as us and their set totally blew me away. After a brief chat I let them know I enjoyed their set and asked if they might want to play the US sometime. We stayed in touch and the rest is history.

Playing Japan was like a dream come true. I noticed the audience was there to actually listen to the bands not just to party. The festival and shows in general seemed better organized and way more professional than what I was used to back home. It felt like there was an actual community aspect to the scene and it was just really refreshing. Also it was amazing to see so many good bands at one festival! Oh yeah and the vending machines and 7-Elevens are next level there.


9. I believe Spirokëte’s latest release is the split album with Axe Helvete. What tracks did you include on it, how do you feel about the final result, and are there still any copies left for those who’d like to grab one?

Anatomical Scarecrow: Our songs on the split LP with Axe Helvete were originally released as the 'Desert Earth' cassette, our first recording under the name Spirokëte. I like how the recording came out, it's raw and lo-fi and it captures the noise and chaos of our live sound. It was recorded by John Gill, who also recorded the Unknown Liberty demo, and mastered by Will Killingsworth. I believe there are still some copies of the LP available from a few distros and stores in the US and Japan, and there is a CD version out on Black Konflik Records in Malaysia.

10. You had Axe Helvete join you for a West Coast tour in the States—how many gigs did you do together, where did you play, and what moments from the trip stand out most?

Corpse: For our West Coast tour we played 7 shows: Tower Bar - San Diego CA at Fear Of Noise Fest, Monty Bar - Los Angeles CA, Stay Gold Deli - Oakland CA, NWP Ranch - Sprague River OR, Blackwater - Portland OR, Lucky Liquor - Seattle WA, and Vancouver BC at the Have A Good Laugh Fest.

There are so many memories from this trip, but some that stand out are first meeting Axe Helvete (plus Teppei from Dissipated) outside of the San Diego Airport.  Only our drummer had met them before so for the rest of us, we didn't really know what to expect. Once finding each other (which is pretty easy between crusties) we quickly hit it off and headed to a hotel to let everyone get rest after a long trip. Beer drinking and crude jokes ensued and I knew we were going to be a great match.  

Another memorable moment was hanging out at the NWP Ranch.  It's essentially a crust punk homestead/encampment? in rural Oregon where we played in front of a boxcar, which some of us then slept in.  This part of the tour was so memorable to me because I felt that it was truly a unique experience for Axe Helvete, as I don't think anything like this exists in Japan.  


11. How challenging is it to record and release physical formats these days? Are there DIY labels that help support these efforts, or do you prefer to handle everything entirely on your own?

Anatomical Scarecrow: We've put out our own releases in small runs on vinyl and cassette but it always helps to have the support of a label. We've had some great labels re-release our recordings in other parts of the world, like Iniquity Records in Germany and the above mentioned Black Konflik Records. Also, our new demo 'Song Of Spirokëte' will soon be out on cassette from Distorted Sedition Tapes in the US


12. What are some of your favorite recent releases on vinyl, CD, or cassette?

Anatomical Scarecrow: Depravity - Demo 2025 CD (featuring Mai of Axe Helvete on drums), Atomic Throat - 'Future Crust' demo comp. CD on Black Konflik, Frigöra - Fullständig Frigörelse studio discography LP, Alambre de Puas - Que Mierda Esperan De Mi? cassette

 

13. A music album, book, film, TV series and video clip that you recommend.

Corpse: Exit Hippies/Stagnation split, Clans of the Alphane Moon by Phillip K. Dick, Star Trek: Deep Space Nine. The only video clip I can currently think of is "We're the rats" on Youtube...


14. Is there someone with whom you’d like to read an interview on Jablká ďaleko od stromu?

Anatomical Scarecrow: We'd like to see an interview with our good friends Schenectavoidz (ex - Devoid Of Faith, Death Is Easy), they're great guys and historians of the Upstate NY punk scene. I'm sure they have a lot of interesting stories from over the years.


15. (thank you for the interview) - what’s one last piece of advice you’d like to leave for our readers?

You're welcome, thank you Tom/EZR for your interest! Free Palestine, free the world! Anarchy and peace - ♥ Spirokëte

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Links:

BANDCAMP: https://spirokete.bandcamp.com/album/desert-earth

INSTAGRAM: https://www.instagram.com/spirokete_rawpunk/ 

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1. Kto si, čo robíš a čo ťa v poslednej dobe najviac zaujíma?

Anatomical Scarecrow: Hrám na gitaru a spievam v Spirokëte a D-Cline. Tiež kreslím, robím koláže, maľujem, sieťotlačím, píšem, tetujem. Poslednú dobu ma baví Disclose, Argue Damnation, Nemetona, Varukers, Doom, Excrement Of War, G-Anx.


2. Mohol by si predstaviť Spirokëte našim čitateľom? Kde pôsobíte a kto je momentálne v kapele?

Anatomical Scarecrow: Spirokëte je Anatomical Scarecrow – Gu/Vo, Hueman – Gu, Corpse – Ba, Shadowee – Dr. Žijeme roztrúsení po Hudson Valley v štáte New York.

 

3. Pred Spirokëte existovala Unknown Liberty – bol to v podstate ten istý projekt pod iným názvom, alebo ide o dve odlišné kapely s vlastnými konceptmi?

Anatomical Scarecrow: Spirokëte vyrástlo z Unknown Liberty. Zostava je rovnaká, len pribudol Hueman na druhej gitare. Unknown Liberty bola viac peace-punková kapela, zatiaľ čo Spirokëte išlo skôr surovejším punkovým smerom.


4. Vaše piesne sa zaoberajú vojnou, zúfalstvom a zneužívaním moci – Spirokëte pôsobí ako vhodný soundtrack k dnešnému rozpadajúcemu sa svetu. Vidíš nejakú nádej na lepšiu budúcnosť, alebo sme odsúdení na jednosmerný pochod do dystópie?

Hueman: Myslím, že nádej tu je vždy. Prvým krokom k riešeniu problému je jeho pomenovanie a práve to je cieľom umenia, akým je aj naše – upozorniť na temnú realitu. Zdá sa, že väčšina hrozných vecí vo svete sa môže diať iba v tme alebo pod vrstvami rozptýlenia a senzácie, aby sa predišlo kolektívnemu odporu. V svete, kde sa zlo darí v tieni populárnej konzumeristickej kultúry, radikálne undergroundové umenie a hudba prinášajú svetlo uvedomenia do týchto kútov a nútia históriu byť chápanú inak, než to plánujú architekti dominantnej kultúry. Je všeobecne prijaté, že odhalenie hrôz vo Vietname – prvej „televíznej vojny“ – úplne zmenilo schopnosť verejnosti mlčky tolerovať imperialistické zverstvá. A podobne vidím aj dejiny radikálneho punku – ako pokus dostať realitu imperializmu a okupácie do povedomia a podnietiť dialóg o odpore a budovaní spravodlivejšej reality.

Inšpiráciou sú pre mňa aj Španieli v roku 1936, ktorí si vzali nielen výrobné prostriedky, ale aj obranu do vlastných rúk a vytvorili alternatívny model autonómie. Inšpirujú ma aj Black Panthers, ktorí pomenovali problémy a vytvárali autonómne riešenia pre svoje komunity napriek tvrdým represiám. To všetko sú príklady radikálnej nádeje, aj keď boli ich víťazstvá dočasné. Ukazujú, že moc sa neudržiava hodnotami, ale zdrojmi a brutalitou, ktorými sa dokáže reprodukovať. Aj preto je potrebný militantný prístup – hovoriť k svedomiu monštra bez svedomia neprinesie výsledok. Nemyslím si, že existuje nejaký magický moment, kedy zmienka o temnote a dystópii zrazu zmaže ich existenciu. Ale mám hlbokú dôveru v ľudstvo a v to, že temnota nikdy nedokáže úplne ovládnuť všetko, čo chce, a že naša kolektívna sila rastie cez komunikáciu a participáciu. Ako burina cez praskajúci betón, aj ľudská vôľa po autonómii a spravodlivosti dokáže nahlodať každú falošnú štruktúru, akokoľvek brutálna a neúprosná sa zdá byť.
 

5. Čo by si povedal kapelám, ktoré si už pred 20 rokmi mysleli, že sme v koncoch? Zmenilo sa niečo – alebo je to len hlasnejšie?

Hueman: Ako aktivista a punkový umelec viac než 20 rokov teraz vidím viac aktivity, angažovanosti a dialógu než kedykoľvek predtým. Fakt, že „mutual aid“ je dnes bežný pojem, že „antifašizmus“ poznajú aj bežní ľudia a že viera v liberálne voľby je erodovaná viac než kedykoľvek predtým. Ak boli ľudia pred 20 rokmi beznádejní, vždy som to chápal. Ale ak si naozaj sledoval dianie, za tie roky sa veľa dosiahlo. Je temno a vždy bolo, ale pre tých, čo žijú proti prúdu, to nikdy nebolo márne. Možno neuvidíme výsledky v našom živote, ale naše úsilie sa rozvetvuje a získavame pôdu. Kapely ako Aus Rotten ma vzdelávali už ako decko, keď som čítal ich texty, a viedlo ma to k životu zameranému na komunitu a vzájomnú pomoc – a to prinieslo skutočnú silu mne aj mojej komunite doma aj medzinárodne. Je v tom veľká nádej. Myslím, že keď sa porozprávaš s kapelami, ktoré robia hudbu o dystopickej realite, väčšina z nich nie je nihilistická. Realita ich núti tieto pocity artikulovať a vyjadriť – ako katarziu aj ako spôsob vytvárania zmysluplného dialógu, kde vždy v pozadí zostáva nádej.

 

6. Ste z Upstate NY – ako vás to spája alebo odlišuje od širšej východokrajinskej punkovej scény? Čo je špecifické pre vašu lokálnu scénu?

Hueman: Naša lokálna scéna je silná a intímna. Podporujeme turné kapiel, aby tu mali publikum, benzín a miesto na prespanie. Spolupracujeme s kamarátmi z Crisis Isolation booking a snažíme sa vytvárať priestor pre kapely z našej siete. Naša scéna je špeciálna tým, že si veľmi vážime, keď k nám niekto príde zdieľať svoje umenie, a aj lokálne sa navzájom podporujeme. Neberieme to ako samozrejmosť tak ako ľudia vo veľkých mestách. Navyše je tu pestrá komunita, ktorá sa neprikláňa len k jednému štýlu alebo identite, takže DIY akcie sú rôznorodé a skutočne zmysluplné.


7. Dostávajú sa dnes undergroundové kapely v Severnej Amerike ešte na turné? Existuje stále spoľahlivá sieť promotérov a miest, na ktorú sa dá spoľahnúť? A je ešte možné žiť ako hardcore/punk nomád – alebo je nevyhnutné mať stabilnú prácu popri tom?

Hueman: Všetci chodíme na turné, keď môžeme, ale každý má prácu – z rock’n’rollu sa tu žiť nedá. Aj ľudia z väčších kapiel často pracujú, a peniaze z turné ledva pokryjú nájom. Väčšina umelcov, ktorých poznám, mala vždy prácu ako základ istoty, turné si riešia cez dovolenky a výmeny so spolupracovníkmi. Poznal som ľudí z kapiel ako Agnostic Front, čo popri tom pracovali v miestnych potravinách, aby mali príjem a trochu flexibility. Punk je niečo, čo robíš preto, lebo to máš v krvi, nie preto, že ti to nahradí ťažkosti každodennej práce. Ale zároveň je tu silná a spoľahlivá DIY sieť po celej krajine, aj v malých mestách medzi veľkými, ktorá drží túto kultúru nažive. Mali sme šťastie hrať cez túto sieť v USA aj medzinárodne a sme hrdí, že sme jej lokálnou súčasťou v našom regióne.


8. V mojom nedávnom rozhovore s Yamazakim Helvetom z hirošimskej Axe Helvete spomínal, že ste ich po prvýkrát stretli počas tvojej návštevy Tokia. Čo ťa priviedlo do Japonska a aká bola celková skúsenosť?

Shadowee: Do Japonska som šiel s jednou z mojich ďalších kapiel v roku 2023 hrať na Kappunk v Tokiu. Axe Helvete hrali v rovnakom klube a ich set ma úplne odrovnal. Po krátkom rozhovore som im povedal, že sa mi páčilo, a spýtal sa, či by nechceli niekedy zahrať v USA. Zostali sme v kontakte a zvyšok je história.

Hrať v Japonsku bol splnený sen. Publikum tam naozaj počúvalo kapely, nešlo len o párty. Festival aj koncerty boli oveľa lepšie zorganizované a profesionálnejšie než doma. Bolo cítiť komunitu a bolo to veľmi osviežujúce. A samozrejme, množstvo skvelých kapiel na jednom festivale! A áno – automaty a 7-Eleveny sú tam úplne iný level.

 

9. Myslím, že posledným vydaním Spirokëte je split album s Axe Helvete. Aké skladby ste naň zaradili, ako ste spokojní s výsledkom a sú ešte kópie dostupné?

Anatomical Scarecrow: Naša časť split LP s Axe Helvete bola pôvodne vydaná ako kazeta Desert Earth – naše prvé nahrávky pod menom Spirokëte. Nahrávka sa mi páči, je surová a lo-fi a zachytáva hluk a chaos našich koncertov. Nahral ju John Gill (nahrával aj demo Unknown Liberty) a masteroval Will Killingsworth. Myslím, že stále sú nejaké kusy LP v distribúciách v USA a Japonsku a vyšla aj CD verzia na Black Konflik Records v Malajzii.


10. Mali ste Axe Helvete so sebou na turné po Západnom pobreží USA – koľko koncertov ste spolu odohrali, kde všade a ktoré momenty zostali v pamäti?

Corpse: Odohrali sme spolu 7 koncertov: Tower Bar – San Diego CA na Fear Of Noise Fest, Monty Bar – Los Angeles CA, Stay Gold Deli – Oakland CA, NWP Ranch – Sprague River OR, Blackwater – Portland OR, Lucky Liquor – Seattle WA a vo Vancouveri BC na Have A Good Laugh Fest.

Spomienok je veľa, ale pamätám si, keď sme sa prvýkrát stretli s Axe Helvete (plus Teppei z Dissipated) pred letiskom v San Diegu. Iba náš bubeník ich poznal, my ostatní nie. Ale rýchlo sme sa našli (crusties sa spoznajú ľahko), hneď si sadli a bolo jasné, že budeme dobrá partia.

Ďalšia nezabudnuteľná chvíľa bola na NWP Ranch – crust punková osada v Oregone, kde sme hrali pred nákladným vagónom a niektorí z nás v ňom spali. Myslím, že pre Axe Helvete to bol jedinečný zážitok, aký v Japonsku asi neexistuje.


11. Aké ťažké je dnes nahrávať a vydávať fyzické nosiče? Pomáhajú DIY labely alebo si všetko radšej riešite sami?

Anatomical Scarecrow: Vydali sme si vlastné veci v malých nákladoch na vinyle a kazetách, ale vždy pomôže podpora labelu. Mali sme šťastie na labely, ktoré naše nahrávky znovu vydali inde vo svete – napríklad Iniquity Records v Nemecku a spomínané Black Konflik Records. Čoskoro vyjde náš nový demo Song Of Spirokëte na kazete u Distorted Sedition Tapes v USA.

 

12. Aké sú tvoje obľúbené nedávne vydania na vinyle, CD alebo kazete?

Anatomical Scarecrow: Depravity – Demo 2025 CD (Mai z Axe Helvete na bicích), Atomic Throat – Future Crust demo comp. CD na Black Konflik, Frigöra – Fullständig Frigörelse LP, Alambre de Puas – Que Mierda Esperan De Mi? kazeta.


13. Album, kniha, film, seriál a videoklip, ktoré odporúčaš.

Corpse: Exit Hippies/Stagnation split, Clans of the Alphane Moon od Phillipa K. Dicka, Star Trek: Deep Space Nine. A jediný videoklip, čo ma hneď napadá, je „We’re the rats“ na YouTube.


14. Je niekto, s kým by ste si radi prečítali rozhovor na Jablká ďaleko od stromu?

Anatomical Scarecrow: Radi by sme si prečítali rozhovor s našimi dobrými kamarátmi Schenectavoidz (ex-Devoid Of Faith, Death Is Easy). Sú skvelí chalani a historici upstate NY punkovej scény. Určite by mali veľa zaujímavých príbehov.


15. (ďakujeme za rozhovor) – akú poslednú radu by ste chceli zanechať našim čitateľom?

Nemáte za čo, ďakujeme Tom/EZR za váš záujem! Slobodu Palestíne, slobodu svetu! Anarchia a mier – ♥ Spirokëte