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Sauron Offers Exclusive Track-By-Track Breakdown On "The Baltic Fog"

Polish black metal horde Suaron returns with a new edition of "The Baltic Fog," remastered by Haldor Grunberg at Satanic Audio.

Sporting a new album cover and exclusive double sided A2 poster drawings, this new LP version will be limited to 200 copies and is scheduled for a March 3rd, 2017 release date.

Pre-orders are online here and the band's guitarist Evil checked in with us to offer up some exclusive track-by-track commentary on this classic '95 album:

1. In the Glare of the Black Candles: And so the inevitable happened... My maturing left-hand-path fascinations met P.W.'s eternal and blind Bathory worship. We were not so deep in the underground. Neither had we easy access to Kerrang! or other similar sources, but we knew the 'first wave' classics and together we've eventually started discovering the Norwegian scene. That seed was planted well in our young, hungry, exalted hearts. It was a matter of little short time before I replaced Vico on guitar and shared my life with Sauron ever since...

2. Klasztor: When we started rehearsing together they had couple of new tracks already. Each and every one of them was a pure gem! Slightly more complex than the first demo – “Hellish Requiem“ but equally raw and evil. I've already started discovering my way of using the guitar, so I played those tracks in my way - without death-metallish precision of palm muted power chords, but attacking at least three strings at a time with no muting at all, very often supplemented by inverted power chords played by the other guitar to build up the sound wall. I think the reason why it developed this way was because I was playing at home alone, without any amplifier. I had to really desecrate the strings in order to hear anything meaningful - and definitely with no muting whatsoever. Klasztor is a good example of how much my chaotic style was different than the other guys. It also shows that P.W. always sounded better when screaming in Polish ;)

3. Hellish Requiem: That was my first track 'written' for Sauron after I've joined the ranks. I had some other riffs already but Walec was quite distrustful claiming it's all too complicated. Not that I'm (or was) some kind of freaking virtuoso or something… ;) It was more about my chord-based style that was becoming more and more different than death-thrash riffs we grew up on and knew so well. So, to calm him down and prove that there is still place for regular power cords - I've brought Hellish Requiem to the reh. It very much follows the style of "Enter the Eternal Fire" (although I hope it doesn't sound like a fully-blown pagiarised copy), but even here I could not make it within the limits… The chorus and bridge in the end are definitely played ‘my way’ ;)

Anyway, the most important was that I've managed to convince Walec - he loved that track... Speaking of "Enter the Eternal Fire" - that was definitely one of the most important guideposts for us. I remember that when we first talked to Rzeczy about him joining SAURON as a drummer - that track was one of the few hints we gave him trying to describe where we're heading.

4. The Baltic Fog: One of my best riffs and best compositions. I've had it done before joining Sauron. We were about to form Pagan-Black-Metal horde with P.W. called something like "From the Pagan Forests" if I remember correctly and that was our startup track. I remember we've even had a rehearsal or two with P.W. on drums and me on guitar, but such configuration did not play out well. Eventually P.W. said fuck it and decided about me replacing Vico in Sauron. And believe me, that was no easy decision to make, especially that they were rehearsing in Wico's garage. For us, having basically no gear whatsoever, finding a good and cheap place for rehearsals nearby was close to mission impossible back then. After some time we've managed to hook up at the local culture center where you could (for some small money) rent equipped room for couple of hours weekly.

5. In the Shadow of Svantevit: And so comes side 'B' with the longest and most complex track - "In the Shadow of Svantevit." As our good friend Paffka pointed out, that was a time of the titles built based on the 'In the [sth] of the [sth] ' pattern and Sventevith is yet another variation on that. That's my least favorite track on "The Baltic Fog." As for me, being huge Iron Maiden fan, it just doesn't sound well when riff is played more than 4 times in a row ;). Ironically, Svantevit… is probably the closest to a Black Metal song (as evangelized by Fenriz) that we've ever made with Sauron.

6. Grave: Time for my first cover ;) Recording "Grave" and ‘Necromansy’ seemed to be the right thing to do. Those were the first Sauron steps towards Black Metal and as we wanted to follow that way we decided to record it once again. Nothing changed in the structure, although we played it a little bit faster and with my blurry guitars. These versions fit "The Baltic Fog" as much as tracks like "Hellish Requiem." Not to mention that we had 5 minutes in 2 tracks more to put on the track list ;)

7. Necromansy: Some time after I joined Sauron we started to have different ideas about the band's future. Together with P.W. we were leaning towards Black Metal while Walec wanted to explore Death Metal. Soon we realized that there will be no compromise and more dramatic steps must be taken. Walec was our friend but we wanted to be Black or Pagan or whatever we were thinking back then and so our paths have parted. We also needed a better drummer. We knew that Rzeczy had a break as a vocalist after Ahret Dev antecedent - Venetis disbanded and that he got back to drumming. We also knew he liked Sauron, so we asked him to join and he accepted the offer.

8. The Deepest Night of Arkona: Time for the last track from "The Baltic Fog." I met P.W. in electronic technical high school (ZSE) where we were learning what AC/DC actually means. A couple of my group colleagues started to use school's sound engineering room to air some music during the breaks. That's how I found the place. We were still missing some gear though. I knew one punk-rocker from the neighboring village that had an amazing piece of equipment - dual cassette deck recorder that could record 4 independent tracks! That amazing invention was simply using whole breadth of the tape recording tracks on both stereo channels and both sides (A(L+R) + B(L+R) = 4). There was also an 8-tracks console and a couple of mics around. We started to think how to arrange the rest and guys from Ahret Dev saw the potential and joined that unholy venture (Rzeczy was already screaming there and Benek was also a student at the same electronic highs chool).

Thanks to that we had drums and more support in setting up the recording environment. I've recorder all the guitars on my unforgettable ZAK guitar and 15W Laboga amp. Its onboard overdrive sounded like shit - even for sordid Black Metal standards. Luckily Kordian (Benek's brother and future Sauron guitarist) borrowed me his Boss multi-effect (ME-6 as far as I remember) so I could record second guitar with somewhat better sound. P.W. recorded the vocals using the same Russian delay. I think we used it as well as a reverb for drums track on "Necromansy" and "The Deepest Night of Arkona" - that's why it sounds like potatoes in the tin pot.

I don't remember how long we were recording, but there was no time/ money pressure, so except for some minor technical problems we were rather relaxed. The last missing piece was the cassette inlay. After begging here and there we've finally found a local newspaper willing to sponsor that. Having almost no money we could afford only some cheap tapes, which already had something recorded and I was copying it at home on some shitty Korean recorder so the quality was ultra-low, but I still love to listen to that demo.

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1. Rex_84 writes:

I only know one Sauron and they live in mid-Michigan.

# Feb 27, 2017 @ 3:32 PM ET | IP Logged Reveal posts originating from the same IP address

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