Newly formed Brazilian metal band Pombajira featuring members of Grave Desecrator and Power From Hell, is set to release their self-titled debut album through Helldprod Records, November 29th, 2019. Self-branded as "Heavy Rock Inferno", you will have quite the experience with Pombajira, that musically encompasses a decent variety of styles, whilst conveying their message. MetalBite was given the opportunity to interview founder and front-man behind the entity, Hellson Röcha.

Alex

Why was Pombajira created?

Sincerely, I don't know exactly why, but probably the importance of a combination of aspects which embraced my personality lately. I was just interested to explore others textures, sonority and purposes. So, fortunately I had a great combination with the two other guys (Blizzard – guitars and T. Splatter – drums), and then the things started to take a good form. The wish to get back to our earliest musical influences from 70's Rock 'n' Roll, a little bit of psychedelic solos and references, Venom, Sabbath, Hellhammer, Pentagram etc... all are cornerstones which supported this creation.

How would you describe the Brazilian doom metal scene is it healthy?

Well, naturally Brazil is a huge country in all meanings, being in positive or negative ways. So, of course we do have a considerable amount of bands into any style here. To be sincere, I never pay attention in an unique or particular scene. But I can say, yeah, I've noticed very cool bands working fine with doom metal as well. Some of them have been taking attention outside Brazil, and that's something really cool!

What is the meaning behind the name Pombajira?

Pombajira (or more well known as Pomba Gira) is a mysterious female entity present in different views into afro-brazilian cults, such as Umbanda, Candomblé or Quimbanda. I must tell you that I do not own a leading erudition regarding those cults, and actually, it was never my goal. I can just express that since my childhood, I felt attracted to the occult that pervade the essence of all the entities which are in league with those cults. I feel Pombajira representing and embodying a marginalized essence which disturbs and defy the moralist shackles of our society, a rebellion and timeless spiritual conception.

Brazil has been a hotbed for many occult tales, experiences and activities; how has this shaped Pombajira's music?

We are a country rooted in misinformations that are part of a perverse structure that we have. Most of what you might have heard about us is probably a product with ordinary references. We have different cultures and traditions here, and all of them bring their own interpretations of spiritual and supernatural. I prefer to stimulate and flirt with the mystery and maybe let people have their own visions, since I use my perspectives collaborating with the foundation of these occult aspects you mentioned. I have no problems to express sometimes in a superstitious manner, as well as sometimes with a more deeply understanding. Most brazilians derived from catholical/protestant christian family heritages without even a decent insight about these dominating religions, and it leads them to an obscurantism that stimulate their fear and stupidity. Be sure that the band name "Pombajira" has caused oddness and reverences in the same time, and I think it's great! And then it comes with the asking for our experiences on this camp, as if our art must be essentially legitimated for the others. But of course that I had experienced, since my younger ages, something that may call attention for its enigmatic and obscure reasons. My mother was a follower and practicing of Candomblé, and I had direct contact with this religion back then (it doesn't mean that I follow or followed it). I saw things, I felt things which were not easy to explain, and I wrote about it in some of the lyrics.

Do you only 'flirt' with spiritual energies or do you take Afro-Brazilian spirituality seriously?

As I aforementioned, Pombajira was created to express my personal views, and it should stick to as for spiritual or material concept. I was never a disciplined person, so I was never bent to carry out something "religious" or ceremonial in my life, even that I was ever in deep interest with the occult. So as I chose music as a tool, I do not play or create anything which I can't have a serious and engaged devoted perform. We want to express us in a lawless and chaotic direction that will converge to a solid result. 

What is the meaning behind the artwork that would strike most as being minimalist?

I could have commissioned to great artists in the underground to draw or paint something very complex and attractive for a cover art. But, you don't know, but I like to draw as well, and then I had the idea to have it intentionally basic, direct and straight to the minds! That symbol on cover has connection with what we are dealing with, the skull (life and death), the colors (blood and darkness), the divine trident up and the down part which represents the earth. I love minimalistic arts, as long as it has some feeling and purpose. I can't say that we'll represent us on this way forever, but as we sound as dirty and basic possible, maybe this kind of artwork suits better with our atmosphere and essence as a band, at least for now.

What would you say Pombajira offers in contrast to many other doom metal bands?

I don't think that we're only too close to doom metal as you mentioned, but of course it's a part of the cake. We've been too much unleashing our heavy/rock 'n' roll formulas and even crudest old fashioned black metal (Venom, early Bathory etc...), that I can't see only doom metal to categorize us. But no problem if so. I let these contrast to be compared and stimulated for those who listen to the songs and have their very own interpretation or interest. Anyway, I must clear up that we do not consider ourselves as a black metal band though. But people can judge it fairly. We do not care, even that it's exciting…

I have heard your debut full-length and I think it's a dirty and direct spear of doom metal; however did you plan to have deeper layers of sound by incorporating other instruments like keyboards?

Well, we've created something in a very primitive concept, where the loudest possible forms of heavy and rock could be perceived at a first sight. Along with dissonances, noisy and bluesy solos etc. Actually I don't see any connection of Pombajira with the additions of keyboards for a while. But we think that some percussions or something similar would sound quite interesting without losing the essence of the band, but it's something very expensive and would take a lot of hard work for a very small band as us. Let's see what future tells…

'The Lost Exit of Darkness' is a favorite off the record; would you care to expand on the message of this song? Or would you rather the listener assemble their own interpretation?

'The Lost Exit...' was composed by the guitarist Blizzard and I agree that's an amazing song! I could never imagine me as a vocalist, I never even tried in my life, and I've experienced a happy surprise about me with this song specially. I did the lyrics, and it fits with the song and its doomed march. I would say that's a song about choices, cause and effect. Obviously I can't explain in details something which has been created uncontrolled, like a spontaneous poetry. I tried to expose the sensation of being supposed in a crossroad, where your acts, choices and philosophies may affect you, and if there's actually a right and correct way to go along.

The album has a very garage metal feeling to it, something I often associate with Venom recordings; was this raw bare-bones sound on your debut record intentionally produced in honoring old bands you cite as influences?

According to our main influences, of course that we would never want something flawless and clean, in the worst meaning of these words. But the idea of simply honoring bands sounds a little bit poor in my opinion. Although we're pretty much crazy with this Venom recording for example, I hope that we have been creating something that won't stand us as a trend. We "pledge allegiance" to stay at the rawest side of what heavy metal and rock stands for!

Please tell us about what caused you to cut off your old drummer, thus replacing that person with T. Splatter? 

T.Splatter was the greatest choice to date. Great maniacal friend! About the previous drummer?? Sorry, I won't waste time with him, as we've already wasted 1 year of hard work, time and money… Going for the next question…

Did you try bringing along any embers from Grave Desecrator for the ride?

Oh no! We're in constant contact, but GD and Pombajira have very different plans and conjectures.

Did recording the material for your debut prove to be a challenge in any way/s?

Yes, at least for myself. I feel Pombajira closer to me than Grave Desecrator was. I mean, I'm very proud of my long time with GD, but this band had not exactly representing what I have in mind lately. Not to blame the guys, we're very friends, but it's a matter of personal things. I needed to form Pombajira in order to externalize a lot of ideas I was keeping inside my cage. And fortunately, I have the company of very talented guys (at least for me), which I could never expect to play with, even that we know each other since a long time. Life's crazy!

You mention rebellion as an influence behind Pombajira's music; could you elaborate on that?

Pombajira is a synthesis of transgression and chocking values for hypocrite moralist flocks into a fanatical society, as the one we have been living in Brazil for example nowadays. It represents the lustful and uncontrolled abundance of feelings. Spiritually, it's basically a female entity living in another vibrational "world" track, very close to our reality, able to feel our fearful conditions and the terror that we face and oppress us all. This essence absolutely fits with what I and others, who have been awaken from a world of fraudulent freedom, thinks on this exact turbulent period of time, being in a metaphorical, political or immaterial mode of expression. 

I hear a lot of potential to take Pombajira into new directions, specifically within the song 'Queen of the Night' through its horror-punk vibe; will there be more of this aspect in future releases?

Yeah, this song is very essence of rock 'n' roll, or maybe punk as you said. And that's why we brand us as Heavy Rock Inferno! We didn't promised anything different than this, despite our doomed essence. We tend to play to what sounds good into our references.

How did you attract the attention of Helldprod records?

Helldprod released some stuffs of Grave Desecrator back then. So, they were one of the labels that I got in touch to have a European release. Most of the labels even didn't answered our requests, others weren't interested, others praised, but their agendas are filled out. So, Helldprod showed interest and then we've been working fine.

What's being done to combat musical piracy (specifically metal) in Brazil?  Are you satisfied with the efforts?

I don't think that piracy is menacing heavy metal in Brazil, at least most of the people who really have some decency in carrying on with this music, keeps on buying original stuffs and so on. Streaming is the new way, people are most interested in having their songs like a file. I can't stand with that, but I need to deal with. That's what we have for today.

Do any of the members practice rituals in honor of the deity?

I think you have it answered in previous questions again, but it's not the main factor in the making of our music wise. I'd say that of course if you're a Brazilian born around the presence of those above mentioned cults, you're supposed to have already taken part of any of the rituals or at least have a idea of what is all about. 

Will Pombajira always be the center focus of the band's musical concepts or will you branch out to cover other deities that may or may not be related to Afro-Brazilian occultism?

No. If you check out the writings of songs like 'The Lost Exit...' or even 'Vital Lucifer', you will dive into other proposals.

Does your knowledge of Afro-Brazilian occultism have anything to do with your upbringing or was it all a sudden interest taken up? 

There're much better persons really involved on it than us. For me, to have a presumptuous position about it would be absolutely stupid. The purpose of the band is not to be a herald of any cult or revelation. We've just follow and found a path to write and compose our music in a closer way to us, if you mean cultural/social/spiritual aspects. In a nutshell, we are just trying to see with our own eyes, instead of eyes which are not ours… 

www.pombajira.bandcamp.com
www.facebook.com/pombajira

Since 1991, France's Gorgon has been a voice for true black metal. They were championed by underground mainstay record label Osmose Productions who played a key role in the distribution of their music early on, and since their official signing to said label in 2018, their product has reached all new levels of viability. But the horde has always been there; ever faithful to Gorgon's brand of unflinchingly essential BM: authentic and proud, Satanic and blasphemous.

Gorgon frontman, Chris, is a deeply insightful individual with an astute black metal IQ, so when the opportunity to interview him presented itself, I jumped on it. There are a ton of so-called black metal bands out there, but very few of them even understand the fact that the music they're creating might be blackened, but at its core, it's not really black metal at all… Imposters! And the people who endorse these bands (Emperor, Dark Funeral, Immortal etc.) are a blight upon what began as something pure; a movement that was never meant to be seen in the mainstream spotlight. There's certainly nothing wrong with a band building a career behind their music, but to call yourself a black metal band when you're not only signed to a major label, but also peddling shit like Emperor brand coffee on social media is sacrilege. Chris and Gorgon stand firmly-rooted in the ways of olde: playing select concerts in modest venues for their diehard followers, releasing albums that admonish the mainstream and holding tight to the idea that true black metal is for true black metal people; people whose ears are always turned to the underground.

During this in depth interview, Chris of Gorgon discusses the early French scene, his opinion on the current state of black metal as a whole, his outlook on Christian progressivism and the music behind Gorgon - the under-sung villains of false black metal…

Jeger

Hails, Chris and welcome to MetalBite. Gorgon was established in 1991 during the onset of the Second-Wave of black metal, which was an era largely dominated by the Scandinavians. What can you tell us about the early French scene and Gorgon's formative years?

Greetings and thank you for having us in your publication. Yes, Scandinavia dominated the scene then, but Greece already had its trio: Rotting Christ, Necromantia and Varathron. Switzerland had Samaël and here and there, groups were starting to make waves around the world. France was under the influence of Thrash and Death Metal, which were sweeping the nation, and most of the bands evolved in these styles. For my part, I wanted to play Black Metal, so against the tide, I formed Gorgon with myself and two female members, who came from the Thrash scene. This trio played concerts and recorded a single demo, and then the adventure continued with different lineups afterwards. We were quickly in contact with various groups from around the world, and we saw the movement grow. France also followed with its share of groups claiming this style, which we randomly discovered through flyers or messages received. This excitement took off here thanks to the commercial success of Cradle of Filth and Dimmu Borgir, but also thanks to the national labels: Osmose Productions, Holy Records and Adipocere Records who also distributed beautiful lists that were to be envied.

The Norwegian and Polish scenes became Nefarious for church arsons and random acts of vandalism by outfits like Mayhem and Thunderbolt. How did you feel about what were then considered by these groups as "acts of war"?

It didn't bother me, because it went with the spirit of that time period, and many groups in the zines claimed to be a part of this crusade. Nowadays, this has dissipated, even though desecration of cemeteries and other places continues to be carried out by people linked to the scene. This extreme music naturally comes from worshipers who are just as extreme in their actions, so it doesn't shock me. Rap music with its share of "bad boys" and delinquents also know this. There is the music, but also the daily life, which is linked and inseparable from it.

Satanism is a common theme in Gorgon's music. I feel like it's coming from a place of genuineness with you, but the same cannot be said about other mainstream bands who only use Satanic themes and imagery as a way to fit in and sell records. What do you think about black metal bands that peddle their merch and records under the guise of faux Satanism?

Imagery is an important element in BM, so many groups are doing like the others to try and exist without understanding the spirit behind it. This desire to identify with others is natural in men in order to feel safe and not rejected by the group to which we claim to belong. Also, it's true, we manage to see photos or covers of particularly ridiculous groups, even distressing, and this undermines their music, which suddenly loses the little flavor that we might have found there. These mainstream groups do not bring a positive image to the scene, but we cannot prevent their creation. However, given the mass of groups that pollute the scene, ignoring them is not a big deal in itself as we can fall back on other groups that deserve our attention if we look carefully. Time will make them disappear and be forgotten. It's just a shame for the other groups who would have deserved our attention, and whose twists and turns we have to dig into to find them, but that's also the underground - a constant search for rare pearls that are not put in the spotlight of popularity.

You've also expressed vehement anti-Christian sentiments throughout your career. The Bible Thumpers of the '80's and '90's are a thing of the past. Now, we find ourselves in the age of Mega Churches and Christian progressivism, but the doctrines will never change, despite this new wave of supposed open-mindedness within the church. What's your take on modern Christendom and how churches are currently operating?

Yes, dogmas will not change and this is the very principle of religions. There are texts considered sacred, which have been written and to which time will not make any alteration. We understand that there can be an evolution or variations to adapt to the century, or the period in which we live in, but the foundations remain the same essentially. This is also normal, because what credibility would a religion have if it regularly alters its teaching? Using television or the internet, or any other means of disseminating their ideas is a normal adaptation to reach their followers and recruit. But in itself, I don't feel concerned by these small changes. It's their business, their way of continuing to exist and maintaining this whole, which is crumbling here and there in the face of the real expectations of many people.

Okay, let's get into the music. You're set to release a new album via Osmose Productions, "For Those Who Stay". This album is the third and final installment in a trilogy of records that have been released from 2019 to now: "The Veil of Darkness", "TraditioSatanae" and "For Those Who Stay". Can you explain the story or concept behind these albums?

Our 2019 album, "The Veil Of Darkness", is the one that makes the most reference to the Evil One, which treats the subject from different aspects such as black magic, worship and its many blasphemous sides. "Traditio Satanae" - released in 2021 - gradually slides toward more personal themes with stories that evoke different ways of approaching the dark side in the broad sense. It is not always easy to reinvent ourselves in our texts/styles, yet we always try to bring different elements and find ideas that stand out from what we have already written about. Our latest album is based on death; with what I consider to be well-researched mournful poetry and some idiosyncrasies we've never written about before. It is a series of independent stories which form a whole in my eyes.

You signed with Osmose in 2018, and I feel like they've represented your music beautifully. How's your working relationship with Osmose and how would you compare that relationship with that of other labels?

Created the same year as us, in 1991, they have always supported us, distributing our demo from 1992 then our EP and also our first album in 1995. We had to wait until 2018 for them to sign us; 2019 being the year of our first album released with them (the fifth of our career). Our relationship has always been good; further facilitated by our common language for our exchanges. They are based in the North of the country, we're in the South, so this may surprise you, but, I've only met the owner once. He was with the label's graphic designer and they came to see us in 2021 during a festival in our capital, Paris. They give us artistic freedom, and all signed contracts have been respected. They have a good reputation, a back catalog so revered by many fans and our good understanding has continued since our signing: CD, LP, vinyl, tape, streaming, merch, YouTube channel, all the classic media to broadcast our music and our name are made available to us. So, over the years we have not tried to break this union. It's a successful partnership for us and one that we hope will last.

Gorgon is an active live band. How have fans been responding to the new material?

They were very impatient for this new opus, which took a long time to see the light of day, and for the moment, we are seeing real enthusiasm for it. The fact that we have been coming back for several years, performing live in different places and reaching people who didn't know us has only increased the number of people who are interested in us. The response is more massive with each album release, and given the work carried out, this reassures us in our efforts. Live, the new tracks fit well into our set list and there is no downtime. We don't notice any drop in pressure.

What does your live ritual schedule look like moving forward?

We've had two new band members for over  a year at our side now, who, throughout rehearsals and concerts, have progressed in both their playing and stage performances. So, our "In your face" side, direct, without compromise, is accentuated. We have very little props on stage. We base our concerts more on the intensity of our performances. We obviously reworked a set list which covers the majority of our discography and includes new titles. We don't do a lot of concerts, so each date has its own particularity. There is nothing routine. To date, we have played in eight countries including Italy and Switzerland where we are returning in 2025, and two new territories are planned, which will increase the number to ten.

I feel like Euronymous is turning in his grave at the current state of black metal commercialization: kids eating nachos while watching Emperor perform at festivals, Dark Funeral touring with nothing but death metal bands and things of that nature. What's your opinion on how the mainstream black metal scene is impacting what was meant to be an underground movement?

Just like Punk and surely other movements before, Black Metal has allowed itself to be perverted by a mass of groups and pseudo fans who dishonor it. Many people who say they are fans of the style are in fact only fans of a handful of affiliated groups such as Dark Funeral, Emperor, Belphegor, Immortal or Behemoth. Apart from these popular groups, they have no knowledge of the underground and do not support the groups that comprise it. In France, if you organize a Mayhem concert, you will have five times more people than a BM concert with groups not exposed to the spotlight. However, in both cases, the listener is supposed to like it and come to see BM live. Taking a step back, we see that the same is true for Heavy Metal. Where Iron Maiden will attract thousands of people, more modest groups also playing Heavy Metal will have much fewer entries. It's all about popularity and media exposure. Many local tribute bands to AC/DC, Megadeth or Pantera bring more people to concerts than groups playing the same style who have their own repertoire. The arrival of the internet and social networks is the major cause of this drift which touches BM. Previously, you had to know someone to be able to enter the scene, see distribution lists, listen to demos and acquire fanzines. For many years now, without leaving the comfort of your home, with a connected computer you can listen to everything for free, see live concerts, get information and order what you want without going through a third party. In the end, there is definitely a lot of waste in this mass of "fans" who access everything without deserving, it or even understanding its spirit.

The French scene has become increasingly grandiose and elegant over the years. There are some enthusiasts who feel like this sort of beauty is unbecoming of what constitutes true black metal. Do you feel like some of these bands are misrepresenting the genre, or are you a proponent of French black metal's evolution? 

I think I see what you mean, but for me, some of these groups that claim to be Black Metal are not according to my criteria. Many groups label their style like that, but do not manifest it in their approach. They make a kind of extreme metal musically, but that's where it ends. Black Metal is not a big catch-all with blast music and screaming vocals. Incidentally, I note that it is the same for Death Metal. Many bands use this name (sometimes even "Modern Death Metal") but they just make metal with a big voice and there's nothing Death Metal about it. In short, in France, Black Metal goes in all directions and deals with everything: the stars, life in the countryside, the history of our country, the First World War, mental illnesses and the "evil" side of historical origins. The "Black" side, in short, has disappeared. So, we have our share of bands calling themselves ridiculous nicknames like Post-Black Metal, and the lyrics go with it. It's not that there's no work behind it, that it's poorly played, that their texts are poorly written or even that they don't have the right to exist; it's just that it's not Black Metal. It's not an evolution of the scene; it's a perversion made by people who don't recognize themselves as Black Metal, but who take ingredients from the genre to spit it out into something else. Therefore, they have "general public" admirers who also have the impression of being fans of black metal when this is not the case.

Do you have a message for the horde?

The story continues for us with this new album - the wildest according to the person who recorded us and who prefers this word to "brutal". A new phase which will involve concerts here and there, and in which we hope to meet those who follow us, have already seen us or are eager to discover us on stage. We have remained faithful to what this style should be, and will enjoy showing it.