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About apocalypse orchestra.

Lodged between medieval times and modern metal, Apocalypse Orchestra weaves a faceted tapestry of music. The tones of ancient drone instruments entwines with heavy guitars and music separated by over 800 years meet.

The band was formed by musical partners in crime Mikael Lindstrom and Erik Larsson, inspired by their love for folk music and slow metal they decided to combine the two. With a foundation of original music and lyrics but also incorporating melodies from as far back as the 11th century the goal was to create a musical homage to a bygone musical era. The songs tell of flagellants, plague doctors, tales of hell, the meaninglessness of war and of suffering; they are all chapters in the bands grimoire. To balance it out they also shine a light on medieval art, science and enlightenment.

After an initial period of writing music, the band needed to prepare for the stage. Jonas, Rikard and Andreas, all long time friends of Mikael and Erik, was asked to join, each bringing their own styles and inspirations, thus completing the band.

The quintet’s debut album, The End Is Nigh, which focuses on tales of the plague, hell, and the meaninglessness of war and suffering, was recorded throughout the latter half of 2016. The drums were recorded at Studio Overlook by William Blackmon (Gadget, Beardfish, Isole) and the rest at Studio Bordun by the band. Per Nilsson of (Scar Symmetry, Zierler, Kaipa) mixed the record at Studio Kabyss.

Since their inception in 2013, Apocalypse Orchestra have become a familiar entity on the Swedish club circuit as well as making the festival rounds. With a live show that features theatrical performances (sometimes utilizing actors and dancers), fire and projected animation, the band has become one of the most talked about acts currently playing out. The band feels the theatrical element can enhance the music, giving it the feel of classic storytelling.

A performance was given live with the Gävle Symphonic Orchestra and a chamber choir, smelting the philharmonic with metal and folk music during a night of cross over music in a sold out concert hall.

Apocalypse Orchestra always looks forward as well as inward, to seek answers to some of history’s biggest questions, as well as have a critical look at some common medieval myths. Lyrical themes ranges from everyday toils of the common man in the dark ages, onwards to art, science and literature, all the way to otherworldly views of existence.

Even though the debut album is named "The End Is Nigh", this is only the beginning…

• The End Is Nigh (2017)

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The Metal Asylum

It's metal…..and then some.

Interview with Apocalypse Orchestra

Apocalypse Orchestra are a folk/doom crossover band from Sweden formed in 2013. I have never really been a fan of folk metal, it being a genre I tended to shy away from, but I love the whole concept of doom, and thought the mix of the two would be interesting, if not unusual. When their debut album “The End is Nigh” landed in the Ever Metal inbox I was lucky enough to not only be able to review it but also to do an email interview with the band. I hope you enjoy learning a bit more about the band that is Apocalypse Orchestra!

“Hi, I’m Dawn King from Ever Metal! I would like to thank you for taking the time to talk to us and I hope you are all well? For those who haven’t heard of Apocalypse Orchestra before can you give us some history about the band?

[Erik] Well, Mikael, Andreas and I have played in various bands prior to AO, and when our most recent, a folk rock band, went belly up, Mikael came up with the idea of trying something different. Building on our love for medieval music and culture, he asked me if I would like to try to mix actual medieval tunes, alongside our own contemporary melodies, and fuse them with metal. Slow metal, since most folk metal acts tend to go in the other direction. Given that we like quite a few doom bands this felt natural. And when we tried some combinations of medieval melodies with this kind of metal, we knew we were on to something!

Where did the name ‘Apocalypse Orchestra’ come from?

[Mikael] We sought long and hard for a name that suited us. Finally we found one that worked. In medieval times the thought of the apocalypse was ever present, be it through famine, pestilence or of a more divine nature. Also, the word apocalypse means “to reveal” which we interpret as, even if it’s the end of the world as we know it, it might also be the beginning of something new. 

Your debut album “The End Is Nigh” was released in May of this year. How is it being received so far?

[Erik] We have been dumbfounded by the amount of positive receptions! Even though we are very proud at what we have accomplished and created, we couldn’t believe that our album, especially being a debut, could spread as far and wide so fast. It has also been really humbling to read all the good natured reviews.

[Mikael] I find it very satisfying that people seem to have really listened to and understood what we wanted to achieve, that we’re not doing “traditional” folk metal but something different.

Before that you released a demo, “The Garden of Earthly Delights” back in 2015. What made you decide to use tracks from that on the album and not write completely new material?

[Erik] We started out composing songs to make an entire album. Along the way, there was suddenly a demand for some sort of release. People wanted to buy CD’s at gigs and whatnot, so we were about halfway through composing for the album, and thus we released what we had at the time.

There is an obvious medieval theme to your music! Is history something you are all interested in or is it the influence of just one person?

[Mikael] We all have some kind of historical interest. Several of us like medieval faires and medieval/folk music. We even have a black smith in the band who knows a lot about medieval smithing.

[Erik] Yes, and we have a great love of medieval art and other cultural expressions as well. Many of our influences can be found in the actual era.

Likewise, your lyrics deal with some very dark themes. Who comes up with these ideas and do you collaborate as a band when writing material?

[Erik] Usually one of us spawns the idea, the better part of a song’s lyrics, and then we throw it back and forth among us. It can be a bit tricky of course, especially when Mikael writes the most part of any song, and it is I who will have to sing it and make it work melodically, haha.

[Mikael] Yes, sometimes the first drafts of any lyrics would require a rapper for it to work.

I watched the video to your track “The Garden Of Earthly Delights” and it was set in a stunning location! Where was it filmed and whose idea was it to shoot the video there?

[Mikael] We looked at several locations to find the perfect one. We even checked an old copper mine but when we found Vasaborgen (The Vasa Castle) in Uppsala, only 100km from our home town, we instantly knew it was the one. The contact at Vasaborgen immediately loved the idea and was very helpful in making it happen.

[Erik] The location is a part of the greater castle area, an unrenovated part of the castle grounds with its original 16th century interior and is now used as a museum. It was monumental to be given the chance to film there, and it left us in awe of being in a place where so many have gone before us. It was also cold as hell that day, which you can clearly see in the video when we exhale!

You all play a vast array of instruments on the album, such as Hurdy Gurdy, Lute, Bagpipes and Rauschpfeife! How important was it to include those authentic sounds when recording and does it present any issues when playing the material live?

[Erik] It is key to have them on any recording. They are a part of our sound, our soul. Live we try to incorporate as much as we can, but depending on the venue and gear, we also have parts of the music playing from the computer. But it’s more fun when can go all out live, like recently when we had our release party, guest musicians, all kinds of weird instruments, and our friend in the choir performing live with us!

[Mikael] Wooden instruments, and traditional strings, always pose a challenge when playing this kind of music but it has worked out well so far.

As much as I don’t like to pigeon hole bands, your music has been classed as Folk Metal meets Doom Metal. Do you think that is an accurate description and if not how would you describe your music?

[Mikael] Someone said we sounded like Contemporary Medieval Metal and we think that fits rather well, but we don’t mind being called folk metal either since we share several elements with that genre.

[Erik] I also get the doom element, since you can most likely hear that we like and listen to a lot of doom bands. But on the other hand, you can as easily find other elements as well…

Which bands and artists have influenced you as individuals and collectively and are there any current bands that you admire?

[Mikael] The bands that started my interest in medieval music were Garmarna and Falso Bordone. Bands and artists that influence me now are Amorphis, Myrkur, Anna von Hausswolf and Obsequiae to name just a few.

[Erik] I agree with Mikael with most of his name dropping. Add Paradise Lost (which all of the band love) and other folk metal acts like Lumsk, Myrkgrav, Otyg combined with different kind of bands like Type O Negative, and you can imagine that we get our inspirations from a wide variety of ‘genres’.

Most of us have musical guilty pleasures, perhaps a band or genre of music that doesn’t fall into what people might expect you to listen to. Who or what are your musical guilty pleasures?

[Mikael] I think we’re too old to be embarrassed anymore ha ha. I listen to a lot of electronic music. My favourites right now are Christian Gabel and the soundtrack to Stranger Things.

[Erik] Haha, probably many that others would label ‘guilty pleasures’, but I am not ashamed of any of them! We can go all the way from 70’s and 80’s AOR to nu-metal to the most horrible kind of eclectic folk music… I like way to much music for my own good. But, for the sake of it, one band that I listen to a lot right now is one of my childhood heroes, Def Leppard!

What was it like to have Per Nilsson, of Scar Symmetry and Kaipa fame, mix your debut album ‘The End Is Nigh’?

[Erik] Like a breeze! He had a really good grasp of our sound to begin with, being a friend of the band. So he simply took our recording and refined it, made it grow, and transformed it into something so much more than we would ever have been able to do ourselves. Still it’s fun that we also could give him a challenge, since we use all these bizarre instruments, and also due to the fact that sometimes our arrangements are well over 100 channels… Still, he is a champ, and as he himself listens to and plays many different kinds of music, we were never even worried.

Are there any plans for a tour? Are you likely to hit British soil?

[Mikael] We would love to, playing live is a reward in itself to us. Meeting listeners and spreading our plague! We feel confident that we will visit your shores in the future as more and more discover our music. We have no shows booked this summer since the album was released a bit too late to play the festivals but hopefully we’ll get to do some concerts this fall.

There are some hugely diverse and major music festivals around the world! If you could play one of them which would it be and why?

[Erik] It is impossible to pick just one, since so many are so good, and between them the diversity in itself makes the choice impossible. We have played both in the “natural metal scene” as well as other non-metal events, both with positive feedback, so we are not necessarily bound to either one. We could just as easily show up on a renaissance fair as well as on a big metal festival, or maybe one day we will just throw a theatrical medieval metal epos in a setting like Alhambra in Spain, Dalhalla in Sweden, or why not the above concept as a traveling show in medieval castles through Europe?

[Mikael] I agree with all of the above. It’s not so much about the festival as it is with a location that magnifies the music and the show.

Is there anything you would like to add before we finish?

[Both] Thank you very much for taking your time and interest with us, it is much appreciated, and we also thank you for helping us spreading the plague. Stay folk!

I would like to take this opportunity to thank the guys at Apocalypse Orchestra for their time and also for their rapid response. I hope to see more of this great band, both on record and on the stage, in the near future and if you haven’t checked them out…..Go and do so!!

Thank You so much

Disclaimer: This interview is solely the property of Dawn King, Ever Metal and The Metal Asylum. It is strictly forbidden to copy any part of this review, unless you have the strict permission of both parties. Failure to do adhere to this will be treated as plagiarism and will be reported to the relevant authorities

Originally posted on Ever Metal

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Apocalypse Orchestra

Apocalypse Orchestra is Swedish band. Standing with one leg lodged in medieval times and the other in doom metal Apocalypse Orchestra weaves a musical tapestry of darkness. The notes of the hurdy gurdy entwines the guitars with their leaden riffs and a timeless marriage is sealed. Music separated by over 800 years meet. In 2017 they released their debut album, which was chosen the best Debut-album of that year here at Folk-metal.nl.

The End is Nigh, Apocalypse Orchestra is here (2017)

Discography/Reviews

The Garden of Earthly Delights (EP 2015) The End is Nigh (2017)

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The End Is Nigh

Flagellants' Song

The Garden Of Earthly Delights

Apocalypse Orchestra Sweden

Standing with one leg in medieval times and the other in modern metal, Apocalypse Orchestra weaves their own special tapestry of music. The tones of the hurdy gurdy and the bagpipe entwines the heavy guitars and music separated by over 800 years meet. The band has been known for their theatrical performances, sometimes featuring actors, fire shows and projected animations to enhance the music. ...   more

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Concert Reviews

Apocalypse orchestra – the end is nigh (despotz).

Something off the beaten path is already a step in the right direction for a newer act. All too often, bands aren’t willing to spread their wings until later on, once word has gotten around. Swedish act Apocalypse Orchestra wear a number of different hats on their debut The End is Nigh , and it’s a breath of fresh air considering a number of the influences involved.

That’s not to say that the band is some sort of smorgasbord effort, as you can get a pretty good idea from a few seconds of one song in what they are shooting for. The bleakness of doom metal combines with folk tendencies and a medieval flair (think Primordial meets Paradise Lost and My Dying Bride at a renaissance faire). Eloquent across the board, and ready to reel you in on the first listen. This isn’t happy and upbeat material – nor does it really ever start moving above the mid-tempo. It’s plodding, dark, and occasionally epic in scale – and yet you’ll find yourself seeking it out again and again. As the band name and title imply, this is music for the end and a fitting tribute as such. The folk instruments, such as the bagpipes, are an excellent fit and aid in designing the more medieval vibe that the band is going for. But there’s still a more modern, almost sludge-y feel at times, but it feels natural next to the rest of the folk instrumentation (see “Here Be Monsters”). A clear highlight is the vocals – mostly sung in a more unique mannerism, with some barks and chanting on occasion, and do a fair bit of pulling you in, despite the gloomy approach of the material.

It’s clear that Apocalypse Orchestra have already figured out their sound and direction, and feel extraordinarily confident for a debut. The End is Nigh has a number of factors that could have caused it to crumble, but each component only strengthens the overall sound. Fans of folk, doom, and medieval music should be into this one – just don’t expect a celebration, this is more of a funeral procession.

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The Unique Burial of a Child of Early Scythian Time at the Cemetery of Saryg-Bulun (Tuva)

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Pages:  379-406

In 1988, the Tuvan Archaeological Expedition (led by M. E. Kilunovskaya and V. A. Semenov) discovered a unique burial of the early Iron Age at Saryg-Bulun in Central Tuva. There are two burial mounds of the Aldy-Bel culture dated by 7th century BC. Within the barrows, which adjoined one another, forming a figure-of-eight, there were discovered 7 burials, from which a representative collection of artifacts was recovered. Burial 5 was the most unique, it was found in a coffin made of a larch trunk, with a tightly closed lid. Due to the preservative properties of larch and lack of air access, the coffin contained a well-preserved mummy of a child with an accompanying set of grave goods. The interred individual retained the skin on his face and had a leather headdress painted with red pigment and a coat, sewn from jerboa fur. The coat was belted with a leather belt with bronze ornaments and buckles. Besides that, a leather quiver with arrows with the shafts decorated with painted ornaments, fully preserved battle pick and a bow were buried in the coffin. Unexpectedly, the full-genomic analysis, showed that the individual was female. This fact opens a new aspect in the study of the social history of the Scythian society and perhaps brings us back to the myth of the Amazons, discussed by Herodotus. Of course, this discovery is unique in its preservation for the Scythian culture of Tuva and requires careful study and conservation.

Keywords: Tuva, Early Iron Age, early Scythian period, Aldy-Bel culture, barrow, burial in the coffin, mummy, full genome sequencing, aDNA

Information about authors: Marina Kilunovskaya (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Vladimir Semenov (Saint Petersburg, Russian Federation). Candidate of Historical Sciences. Institute for the History of Material Culture of the Russian Academy of Sciences. Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail: [email protected] Varvara Busova  (Moscow, Russian Federation).  (Saint Petersburg, Russian Federation). Institute for the History of Material Culture of the Russian Academy of Sciences.  Dvortsovaya Emb., 18, Saint Petersburg, 191186, Russian Federation E-mail:  [email protected] Kharis Mustafin  (Moscow, Russian Federation). Candidate of Technical Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Irina Alborova  (Moscow, Russian Federation). Candidate of Biological Sciences. Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected] Alina Matzvai  (Moscow, Russian Federation). Moscow Institute of Physics and Technology.  Institutsky Lane, 9, Dolgoprudny, 141701, Moscow Oblast, Russian Federation E-mail:  [email protected]

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Copyright В© 1999-2022. Stratum Publishing House

The End Is Nigh

Discography

Medium: Vinyl / CD / Digital Release date: 2017-05-12

ALL SONGS AND LYRICS BY:

Apocalypse Orchestra

MIXED AND ENGINEERED BY:

Per Nilsson at Studio Kabyss

MASTERED BY:

Fredrik Groth at Studio Flåklypa

PRODUCED BY:

Copyright / label.

© & ℗ 2017 Despotz Records All Rights Reserved All tracks published by Despotz Music www.despotz.com

The Garden of Earthly Delights

Born from the void and still pristine Tranquil, vast and cold See the orb of blue and green When he spake the light shone gold

Brought to life, (in) the image of god In this holy place Settled among the creatures odd Eve, dear girl, avert thy gaze

Claims to love them all; his world below Minding not their fall; a mirthful show

Merriments in the centerpiece Weird things in galore Is this the cradle of the disease that man alone must answer for?

Joy and delight, forever ceased Suffering’s abloom Eaten alive by the cauldron beast Let the drones ring to the sound of doom

Dark times ahead Thorns deep in my side Earth is turning red Sacrifice for pride

Wrongfully accused So many deaths in vain Holy faith abused Have you gone insane?

Conjuring the spell Mercury and might I will give you hell I will take your light

Don’t you look at me With your judging eyes Ere I face the flames I will see you die

I will burn forever Torturous endeavour (But..) Hell will not hold me Vengeance you will see

Dark times have come Death will become my bride Flesh consumed by fire Soon I’m by his side

Now there is but one thing My retribution I will break back through To seek my absolution

Flagellants’ Song

Pie Jesu Domine, dona eis requiem Pie Jesu Domine, dona eis requiem Pie Jesu Domine, dona eis requiem

On blistered feet Still marching on Hands held in prayer All hope is gone

Lash on your back with pure intent Welts on your skin The punishment Raise your whip and flay your flesh Join our congregation True believers come with us In corporeal damnation To feel glory, When sinew is stripped from bone And to feel closer To he who made this our life

Embracing the shame Of sins that you’ve seen It won’t go away You are so unclean

The pain and the guilt It all seems so sad The penance is just Or deeds gone mad

So many lies to bestow upon yourself Smiling through tears and screams with wounds so fresh Guilt ridden, all for nothing, wretched still Mortification of the sinful flesh

No matter at birth Born peasant or king You will meet the end In time they will sing

The young child of man Immortally strong Shining vividly But will it be long?

The lifeglass of all It can’t be unturned Everlasting prime Will only be yearned

And not before long you will start to decline And age takes its toll Now heed, (and) fall in line Inhale So deep Breathe in The life You cling to desperately

Anguish building up inside you Trying so hard to be strong Darkness lifting – Eyes are clearer Feeling lighter – Marching on Inhale So deep Breathe in Exhale The life you hold so dear

Theatre of War

Welcome to the show of all shows Front row seats for the murder of crows Draw the curtain, start the play! The cast is ready, join the fray

Dead men walking, trumpets blare Death rides by on his bony mare Triumph is certain in the mind’s eye Truth hides under limbs piled high The machine of war plows on Neverending it’s to far gone

Audience gasping, horrified screams Tears running down in endless streams Humanity’s lost, eclipsed by war Apocalypse knocking on your front door

The Great Mortality

Passing by closed doors No sounds but crying These are our chores Accompanying the dying

Dressed in black we are Pestilence our vanguard Truly bizarre Our sanity’s beyond scarred Rods and beaks, our only shield Funeral pyres light our way Death reaps this forsaken field Then sows only dismay

Hear the devils cheers Everyone’s doomed in this trial No need to waste your tears You’ll join them in a while

Heavenly decree Holocaust divine Anno Domini MCCCXLIX

Here Be Monsters

Venturing into the unknown (Here be monsters) The waves crash and the cold wind roars Widows-to-be they cry and moan (Here be monsters) Set sail for far and distant shores

Unknown shapes Surfacing From the abyss Tentacles Reaching out Sea serpents hiss

All men’s got their own holy grail (Here be monsters) Low born or noble, cursed or blessed The reaper’s chosen won’t prevail (Here be monsters) Six hundred feet below they rest Sinking Slowly No one Will know their fate

Passing the point of no return (Here be monsters) Dreams crushed by the weight of the seas Lanterns by night so lonely burn (Here be monsters) No way home for these absentees Sinking Slowly No one Will know their fate Sleeping Soundly Anchors Upon their graves

“Fettered by cold were my feet, bound by frost in cold clasps, where then cares seethed hot about my heart – a hunger tears from within this sea-weary soul. This the man does not know for whom on land it turns out most favourably, how I, wretched and sorrowful, on the ice-cold sea dwelt for a winter in the paths of exile, bereft of friendly kinsmen, hung about with icicles; hail flew in showers. There I heard nothing but the roaring sea, the ice-cold wave. The shadows of night darkened…”