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Inquisition - Obscure Verses For The Multiverse MP3




Obscure Verses For The Multiverse



MP3 album size:

2176 mb


Season Of Mist




Black Metal



Date of release:

Oct 2013


SOM 315

Inquisition - Obscure Verses For The Multiverse MP3


1Spiritual Plasma Evocation 5:21
2Infinite Interstellar Genocide 5:27
3Force Of The Floating Tomb 4:38
4Inversion Of Ethereal White Stars 5:41
5Darkness Flows Towards Unseen Horizons 3:58
6Obscure Verses For The Multiverse 5:39
7Master Of The Cosmological Black Cauldron 4:44
8Arrival Of Eons After 4:12
9Joined By Dark Matter, Repelled By Dark Energy 6:11


CategoryArtistTitle (Format)LabelCategoryCountryYear
SOM 315LPESInquisition Obscure Verses For The Multiverse ‎(Ltd + 2xLP, Album, Num, Gol + CD, Album, Dig)Season Of MistSOM 315LPESEurope2013
SOM 315LP, SOM 315LPCTInquisition Obscure Verses For The Multiverse ‎(2xLP, Album, Ltd, Cle)Season Of Mist, Season Of MistSOM 315LP, SOM 315LPCTFrance2013
SR033Inquisition Obscure Verses For The Multiverse ‎(CD, Album)Sylphorium RecordsSR033Colombia2013
SOM 315LPInquisition Obscure Verses For The Multiverse ‎(2xLP, Album, Ltd)Season Of MistSOM 315LPFrance2013
SOM 315LPInquisition Obscure Verses For The Multiverse ‎(2xLP, Album, Ltd, 1st)Season Of MistSOM 315LPFrance2013


  • Art Direction [Cover Art Concept]Dagon
  • Artwork [All Others], LayoutAdrien Bousson
  • Booking [Europe And America]Rock the Nation
  • Cover [Cover Art]Paolo Girardi
  • DrumsIncubus
  • Guitar, VocalsDagon
  • Mastered ByMaor Appelbaum
  • Music By, Lyrics ByDagon
  • Other [Assistant At AM Recording Studios] – Jeremy Blair
  • Photography By [Live Photo Of Dagon]
  • Photography By [Live Photo Of Incubus], Photography By [Ritual Photo]Ivo "Oskar" Osvald
  • Producer, ManagementAlfonso Pinzon
  • Recorded By, Mixed ByArthur Rizk
  • Set Designer [Ritual Items Human Skulls And Set Up Credits]Infernal Imperator, Ondřej Husák


Comes with a promotional sticker attached on the jewel case.

Recorded at AM Recording Studio in Oxnard, CA. between June 10th-15th of 2013.
Mixed at Studio 4 in Philadelphia, PA. between July-August 2013.
Mastering [...] at Maor Appelbaum Mastering Studio, August of 2013.

Cover art painted [...] in April of 2013
Cover art concept [...] - "A collision of the multiverse"
All other artworks and layouts [...] @ Season of Mist's graphic desk.

Live photo of Dagon taken [...] in Torgau, Germany on July 5 of 2013
Live photo of Incubus taken [...] in Prague on June 30 of 2013

Ritual photo [...] during an Inquisition ritual in Mlada Boleslav, Czech Republic on December 24 of 2012.

Management [...] at Phalanx Agency Group - Los Angeles, CA.

© & ℗ MMXIII Season of Mist


  • Barcode: 8 22603 13152 9
  • Matrix / Runout (Version 1-2): Sony DADC A0102185129-0101 15 A00
  • Mastering SID Code (Version 1-2): IFPI L555
  • Mould SID Code (Version 1): IFPI 94Y7
  • Mould SID Code (Version 2): IFPI 94K7


  • Copyright (c) – Season Of Mist
  • Phonographic Copyright (p) – Season Of Mist
  • Recorded At – AM Recording Studios
  • Mixed At – Studio 4 Recording
  • Mastered At – Maor Appelbaum Mastering
  • Pressed By – Sony DADC – A0102185129-0101


Steel for Brains
Exploring the Brains behind the Noise

-Incense of Rest - A Conversation With Inquisition-

From its early days in Colombia as the thrash laden Guillotine to last year’s exceptionally brilliant Obscure Verses of the Multiverse, the story of Inquisition has spanned almost thirty years and six full lengths. Sole members Dagon (guitars/vocals) and Incubus (drums) have continually channeled their creative forces into a black metal sound that is both brilliant and challenging. In a testament to the band’s enormous talent, Inquisition’s music has always seemed to eclipse the many controversies and stigmas so often associated with black metal. For this interview feature, SfB asked Dagon a few questions concerning his own growth as a musician as well as his perspective on the black metal aesthetic.

Since Inquisition’s inception as a band…since your beginnings…how have you seen yourselves evolve as musicians and, in addition, how have you seen the music and art you create evolve?

We always want to improve and refine our skills. Maintaining the care free attitude you once had on say your first albums or demos is almost impossible when you are always pushing the limits further and improving your skills. Anyone who competes with themselves knows this and wants to evolve.
We are a much tighter band, meaning we are very precise in our tempos and changes. We are faster and we also use a much wider spectrum of scales and notes than before. I am all over my fret board keeping our music busier yet we still maintain our atmosphere.
To a degree you can say we are more technical now, but you may not notice it because “technical” has a different meaning to other people. We apply more technique and yet we play with much spirituality and feeling as always and will continue to do so. But, technique allows for evolution to be smoother and efficient. Technical simply means to use a technique for a better execution of your goals.
I am aware many listeners would like us to keep our music fully atmospheric at all times, but I think special moments should be kept special. So, we are a very spiritually driven cult but we have become more vicious musically.
I feel that the genre today has evolved quite a bit, so many great musicians, so many great productions both raw and high tier production alike. Black Metal today has so many obscure bands that are absolutely great. I also think that raw black metal productions are a thing of the past unless you intentionally make them raw and ugly. It used to be that productions were raw because thats how the technology was unless you could afford a real studio. Now, you could record a demo with your phone, upload it and sound decent. So musicianship and production has come a long way.
I also feel that artwork has made an enormous step. Many incredible painters and illustrators are within our scene offering their talent and enhancing bands album covers more than ever before.
Where I do feel the genre has stepped back a bit is in the mind sets. Too many people feel that their opinion is the only valid opinion, forums are today’s concert halls for egos , listeners are so spoiled that they act like frustrated rock stars and at times are everything they criticize. I almost feel that this scenario I speak of is a bit like that corporate rule of “the customer is always right” and some fans I feel almost carry that leverage tool with them at all times asking you loaded questions and giving you opinions you honestly could care less about almost being rude and disrespectful. Musicians will always be idolized by some and treated like a slave by others. Hopefully that is one aspect that can evolve a bit. It will not make you less of a man or less of an individual in general.

So much discussion is focused on the aesthetic of black metal even still into 2013. For you, is black metal or the black metal aesthetic one that is open to interpretation, or does it become something else once the dark and Satanic aesthetic is removed?

Image and sound go hand in hand unless you are blind. Some people make too many excuses to say image is not important in Black Metal so much, yet they care about what clothing they are wearing on special occasions in their daily lives. Image can be a form of respecting a theme or ideology of a movement; it can be a way to enhance an atmosphere the music creates. We all know this, it is no secret.
Most women know the power of image. They will tell you well because they know the power of visual attraction and personality enhancement; it may be secondary after substance, but it is important. If image was not important we would not have so many mirrors.
In Black metal, I firmly know that image is something that is used to enhance, not dictate the music’s substance. We are talking about music, so music first above anything else. After that, the image is whatever you want it to be, as long as it too holds some meaning.
Whatever you choose can be fine if it works with your music, just remember that the occasion sometimes demands that you step outside of your comfort zone.
In the end, nothing is right and nothing is wrong but fans will always have an opinion so be prepared. But trust me, I have heard some real good Black Metal being played onstage while looking at the members dressed in standard clothing and it did not affect the music at all. I have seen bands onstage that wore everything you can think of, from massive bullet belts and spikes to real blood and urine poured all over themselves, yet I was bored after the second song.
Respect the music and present yourself for the occasion or ritual. It is a perfect formula.

What was (and is) it about heavy/dark music that drew you in initially to have the desire to create it for yourself? How do you ensure that passion remains ignited?

The sound of an overdriven guitar amplifier. Hearing that distorted guitar of Angus Young was sheer magic to my ears and was the first domino that made me chase heavier and heavier bands.
I liked that sound so much, I told myself I have to create this sound for myself and even start a band. I was 13 years old. So it was not hearing Slayer or Sodom that inspired me, it was the sound of the guitar and amplifier in itself. Obviously it was also Angus Young and his brother, the AC/DC guitars that made me say “I must do this”.
The passion will always be inside of me, because, I still to this day worship that tone and continue to chase it and improve it.

What is the creative process for Inquisition, and how (or did) that process change with Obscure Verses for the Multiverse?

All of our album’s writing process are nearly identical. I write all the riffs, sometimes with Incubus there playing drum patterns for me, other times I write riffs alone in my house.
What makes the newest album “Obscure Verses for the Multiverse” different in the writing process is that all the riffs were written alone and nearly all the songs were written and arranged alone. This why the album sounds so focused and seamless. It was emotionally written as always but it was also written with a somewhat analytical mind; I do feel that music can be both emotional and analytical at the same time.
Always keep in mind that drumming ideas and arrangements come from Incubus. Everything in the drum department comes from him and his creative input; I usually tell him what drum beats I hear in my head for certain riffs but he will usually offer other ideas based on that as well. I feel that a drummer has a handful with his instrument alone, drums can really compliment an album and enhance or take away so I prefer a drummer that really focuses on his drumming and connecting with a song so he know what to add or enhance with his skills.

Were there creative approaches the band would take in the past that you’ve sort of moved past now? If so, what specifically?

No not really. The approach is identical except for the already mentioned process in the last answer.
But overall, write the riffs, assemble the order, add drums, make small changes, add vocals and you have a song. Behind that formula though, is the most important thing to remember and is to always question why does this sound good, why this riff, why why why… Questioning why something should be is good. I was more spontaneous before but musical maturity makes me question more as in life, you get older and you question things more.
I don’t look for cool factors, cult factors or technical factors alone for no reason and I do not simply feed off of adrenaline. I look for everything to work well together; I care about the song as a song, as a hymn that will affect you in a particular way carefully making sure each melody carries the right message I am looking for.

What’s been the most difficult part of Inquisition’s journey so far? What did you learn from the challenge?

The higher you climb the more challenges come your way. It is like all careers, challenges are everywhere.
In our case, we are doing things that can make a lot of waves. We want to be a cult band, yet grow. We like playing everywhere we can and have nearly no limits who we share the stage and that strikes nerves in some circles.
The mainstream sees us as odd; we are a two piece with odd vocals. The underground wonders why we are on some bad tour packages they mostly do not care for due to the line ups and why work with a larger scaled label.
The challenge is to continue moving forward, not look to the sides and remember to achieve your goals. People think that goal is always money and fame. Well, in the underground we made more money, it’s not that. Fame? You can be underground and famous, very ignorant assumption.
It boils down to getting old and looking back at your achievements and knowing you did everything you could to do what you liked, what inspired you and the gods, the spirit and contributed your music to many ears and minds and to the genre. It is an honor to be able to die knowing this and to not let opinions be your compass and trust your intuition until the last day while not losing fan support as you go.
In the end people will always know we are and always will be authentic, we don’t fake anything. But as you climb the ladder the masses challenge you more, question you more. It can be both good and bad.
What I have learned is it makes you better, it inspires you and it makes you very strong like a Samurai sword that gets stronger by hammering layer by layer.

What do you feel about the broader acceptance of extreme music over the last few years? As more listeners are able to discover “underground” music, do you feel this will eventually cause the sound itself to evolve simply due to diversity in musical tastes?

I actually welcome it. I know for a fact that Metal music getting a huge spectrum of recognition does not mean the music has been compromised at all.
There is absolutely a wider acceptance of heavy music now. I wont mention the obvious reasons, but I will mention the not so obvious reasons.
Musicianship has evolved. Skills are sky high in every sense and anyone with a brain knows skill when they see it and hear it. What made metalheads different from the masses years ago is that we could hear talent through the muddy productions and looser performances. Today I feel that Metal is almost the new jazz or classical music. There is tremendous skill and pushing the envelope is the building block of this music much like classical music was or jazz.
Competition. People like competition and fans enjoy sitting in the arena waiting for the next band to top another bands strengths. Music has become almost a sport that invites fans to even challenge each others egos. This has always existed, but today’s high skills has invited more competition between bands and more and more people enjoy witnessing this. Again, this reminds me of the Baroque period, an excellent parallel full of healthy competition that generates mass following.
Why it does not bother me is because I feel we are converting the masses rather than the other way around. Decades ago moralists dreamed of exterminating heavy metal music, the devils music is stronger than ever. It has brought cultural awareness, it has spawned brighter minds, metalheads today are not just drunkards and drug addicts and has become more a form of serious music than simply rock n roll.
If you only want your music to be liked by a very small group of people than smash two rocks together, record it and release it. But again, that will evolve also and eventually gain a large following.
The laws of thermodynamics tell us about momentum in the physical world, but I firmly believe this happens also in the invisible world of sound. You cannot stop growth unless you make everything happen to stop it or do what caused music genres now nearly extinct to go extinct.

What do you see as the biggest challenge facing an artist hoping to maintain their integrity while still making a living in our current cultural climate?

To always be inspired, spiritual and motivated at all times even when the spirit and body are not. To always have the third eye open and be aware that you are making music for the gods, the universe and yourself. Doing this full time will test those who think they do this from the soul.
Fame, unwanted attention, money, toxic people and obsessively judgmental and ignorant mortals will always be wondering around your path. Never let anything stop you, be a spear and pierce everything in your way.

Thanks to Dagon for his time.
Taken from "Heavy Metal Blog Is Heavy" underground metal news and reviews

Inquisition - Obscure Verses For The Multiverse (Season of Mist 2013)

Colombian/American black metal duo Inquisition have returned with a brand new album and a new label, releasing this album with famed French label Season of Mist. It’s been close to three years since they released their last album, the critically acclaimed album Ominous Doctrines of the Perpetual Mystical Macrocosm, which solidified their spot as one of black metal’s best bands today. The new album, Obscure Verses for the Multiverse, expands on that formula. Among many listeners’ most anticipated albums, it is good to know that, while they have retained the formula that put them on the map, they’ve expanded on it enough to keep it fresh and entertaining, with songwriting deep enough for many return listens.

While listening to the album, one thing is for certain: Dagon knows how to create an atmosphere. Whether it be with a rock riff full of swagger and groove, arpeggiated chords that can be quite beautiful, as in ‘Joined by Dark Matter Repelled by Dark Energy‘, or with impressive leads seen on such songs as ‘Spiritual Plasma Evocation‘ and ‘Darkness Flows Towards Unseen Horizons‘, each little melody or riff achieves a certain atmosphere that you don’t see anywhere else. Dagon’s success can also be seen in his vocals, which are very throaty. These are definitely not traditional vocals; there are very rarely moments that could be defined as screams. They achieve a very spoken word quality, and are definitely an acquired taste, but add to the atmosphere exponentially. It is very hard to imagine this album without them.

In addition to the atmosphere, the songwriting also deserves a note. It is absolutely spectacular. Each song gives each riff its time to shine, and has little moments interspersed throughout to keep the listeners attention, whether it be a random pinch harmonic or an interesting drum fill. It also varies the riffing and tempo enough to be unpredictable, which is oft-ignored in black metal and is a very welcome addition to the record. While the album is 52 minutes in length, it feels considerably shorter, a quality that most excellent long albums possess. Ultimately, the songwriting gives the album memorability due to the exorbitant amount of hooks by the guitar, vocals, and even the drums.

Incubus’ percussion provides just as much depth to the record as Dagon’s contributions, ranging the gamut from ferocious blasts, trademark rock beats, and subtle, sensitive playing. They are played with an almost possessive attention to detail, paying careful note to dynamics and groove. There is also a real sense of restraint shown here, allowing the drums to be a tool of the songwriting itself, rather than feeling like an exercise in speed and technicality.

Doing the production on an album such as this is no easy task. However, producer Arthur Rizk has done a truly exceptional job of bringing the atmosphere to life with a production that highlights every nuance of the duo’s performance. It sounds extremely full and rich, which is made even more impressive when you consider than there is no bass player in the band. With Obscure Verses For the Multiverse, it’s clear that Inquisition have created an album as deep as space itself. With a unique blend of influences that are brought to life by truly infectious and catchy songwriting, and an atmosphere that cannot be matched, Inquisition have made an album that deserves to be near the top of every best of 2013 list out there; it’s a truly mesmerizing listen that takes you to another world.
5/5 rating

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