THE WORMLUST COLLECTIVE #1

REYKJAVK
AD SUMPTUS nostrae SANITAS ET TEMPORE MMXII

DISSECTING

CREATION
AN D
INCANTATIONS

THROUGH WRIT

AN

INQUIRY

INTO THE

NATURE AND REALITY

OF THE


PATHS TO THE VOID

AN INTRODUCTORY DISCOURSE, NOTES, AND

SUPPLEMENTAL DISSERTATIONS

VOL. I.

REYKJAVK

MMXII
Past
This creation before you is a collection of thoughts, spells
and reviews that try to project the era of 2009-2011 of
Wormlust to the reader, this is done in tandem with the release
of the CD version of The Wormlust collective by Murder sui-
cide/incidents. By collecting all this mana together we intend
to give these releases one unifed voice, both from the source
of their creation as well as from the interpetation of others.
A collective experience; Not interviews in glossy articles
whispering into an intellectual void but rather a shared space
of magic. This scroll is part archival, part zine but ulti-
mately the ritualistic burial of previous efforts.
Future

This year left in its wake burned instruments, months wasted
in solitude and hours upon hours of nightmarish music created.
The frst evidence of this will be HIN DRSLEGA VISKA which
in english would roughly translate to The celestial/bestial
wisdom. Those interested can contact Wormlust at hafsteinn1@
gmail.com to continue the dialogue.
THE WORMLUST COLLECTIVE #1


I. Martrair,
or: (Nightmares, folk-lore and sleep paralysis.)
II. Dissecting incantations.
Oblivio appositus and the
triune



III. Te review collective.

IV. Kollvrpun; eliminating barriers



I. Martrair

or: (Nightmares, Folk lore and sleep paralysis.)

Words have power is a of-uttered idiom and like so many other weath-
ered thought experiments it has a core truth to it. For example in judeo-
christian myth only the utterence of a single word creates existence itself
for a omnipresent creature and its playthings. In everyday situations we
ourselves breathe the fre of life into every day objects by calling up in our
minds the labels we have learned to place upon them through our years of
living. By learning these words in childhood we have slowly and assuredly
gained dominion over our surroundings. By time select few defnitions and
words even gain more power in our minds than others, some will recant
these words when faced with strife or danger. We may live in a post-press
revolution,post-mythic reality and not really feel the power of all those
words we possess but that doesnt eraze either their power or legacy . Fol-
lowing the logic of old age magic we can by methodically stripping words
down to their core challenge their power and transfer them to our own use.

For long we have experienced the feeling of being trampled upon
by malevolent forces, waking up and being unable to move. Know-
ing what it is to be prisoners of our own bodies in moments that seem
unending. Trying to shake ourselves into waking, only to fall back into
a state of intense visions and afer what feels like an eternity experi-
encing it all over again. Completely immersing ourselves with night-
mares. Years went by before we got to know our enemy and applied the
lyricism and symbolism of myths to these unnamed demons.
Te icelandic word martr which means experiencing intense
nausea and powerlessness while sleeping is a composite of the proto-
Indo-European word mara and the icelandic word traka. Maras can
strangely enough be found both in icelandic folklore and tibetan myths,
sharing a very specifc fate of both being demons. For buddhists Mara
is the tempter, the ultimate enemy and all unknown forces combined in
one entity. Te all-powerful lord of evil. Te icelandic demon has more
in common with the succubi found in islamic mythos, being a fend that
rides on its victims chest and causing the sleeper nightmares. Te literal
meaning of the word is to die. Tr comes from old-norse and means to
trample. Together mara and tr as martr simply mean nightmare.


I. Martrair

or: (Nightmares, Folk lore and sleep paralysis.)

We consider ourselves to be rationalistst but also more in the line with
the old surrealist movement -opting to see the world through nightmare
colored spectacles. Trying to examine true thoughts and emotions through
avenues of macabre visions. If steely matter-of-fact art was the only thing
to remain, then art in that hypothetical world could not really be consid-
ered art, since art remains to realm of other worldy creations. It is how
we distinguish ourselves from the mindless beasts of this world - yet what
does it mean to be a beast? In our culture serial killers are could be consid-
ered beasts yet many of them are also skilled artists. Artists that murder.
Murder, the act which by societys defnitions is what changes us from
man to these lowly creatures that belong only to bad dreams, but it could
be reasoned that murder as an act is to be considered art, - even possibly
the ultimate artform. As it is certainly is thinking outside the box, giv-
ing into pure impulses and then carving these desires permanently unto
other human beings - giving them their last and most intense experience
of their lives. But If we were to accept the serial killer as an artist and his
acts as happening of sorts why stop there? Every moment where we take
someone out of their state of every day trance could be equivelent to a well
crafed melody or a moving painting. Tese small acts might even be last
refuge of art in our desensetized world, like surrealism was a response to
stagnation in its by time taking people out of their comfort zone - could it
even be the next thing?
Most likely not, since these performances are too intimate to have
any impact on a larger scale, it is work thats done under pseudonym done
for the sake of its self, afecting handful of people. Te ruth is that most
seem to feel the need to see their names in headlines, terrorists for in-
stance like many afamed artist do their work under a slogan to promote
their own name rather than the ideal thats supposedly behind the catch
phrases and violence, Smokes and mirrors.
Tis is testament to the fact that the more fame people seek for the
unpurer their art becomes since their goal is not the conception of the art
itself but in fact the lust for being recognized, being idolized by strangers.
We should aspire to rather be the creatures of others nightmares than the
fools in their newspapers.


II. Dissecting incantations.

Oblivio appositus.
Te rough concept of these two recordings were written about two
years prior to being fully feshed out in their current form. Mostly artis-
tic furishes and such were added on later in the process but the idea itself
had always been fully formed in our head. Te larvean Inauguration is
a thought experiment on the sudden self awareness/birth and subsequent
death/devourment of a god by its Id. Te overall theme of the lyrics is a
crude socratic question and answer method within the boundaries of a
tale that poses an argument:
a)What defnes a god as a god in monotheism is that it is a perfect being without any faws, but
this force must also be geo-centric , listening to our prayers so to speak.
b)If a god is a sentient being in our sense of the word then he would
be a slave to the same thought lowly patterns in which we defne it.
c)Terefore this hypothetical god would be fawed and therefore not exist.
Te narrative itself has upon the stage two players, the god and
the Id, in this case Id has found the form of a worm - symbolically eat-
ing through the mind and fesh of its host when it animates itself. In
the background the universe created around is also born and instantly
dies. Not unlike the tale of saturn and his children only with the roles
reversed, the gods subconscious being in efect the child of its mind.
We can also think of the worm in terms of anti-matter, always grav-
itating to a state of unbeing in our sense, the counterpart to matter.
Tis is the essence and meaning of the words that together become worm-
lust, the unknowing desire of all fawed things to become non-existant.
Triune
Reincarnation, a sickening proposal. Similar to being stuck on cosmic
life support without being able to move for all eternity and all subse-
quent perceivable eternities to come. In this scenario since all of lifes
paths eventually lead you to the starting point the number seven which
is being referred to is irrelevent, which might as well be the billionth
path - the number is solely there as a reference to the seven ages of
men. Men stuck in a system of eternal limbo, a system in which to us
enlightenment must then be the pursuit towards the sweet relief of the
void.
Te aformention Seven paths as a release is a part of a bigger narrative,
one work which is split into three by times of their completion, but are
in fact one singular creation.
Te subject matter is the the overall concept of an aferlife, and the
fear of being placed in celestial gardens with the same petty thoughts we
carry with us through live for all of eternity -truly is a ghoulish thought.
Being put in a prison where the bars are our inferior ape-like thoughts
with no hope of parole for all of eternity. Looking out on the unattain-
able, slowly losing taste for life eternal, the golden apples turned sour,
- fear undescribable whispers. Te prospect of watching those around us
struggle with these same terrors as ourself and silently drifing into de-
mentia on the elysium felds.Ultimately the lyrical content is a hymn to
the void or svarthol - asking to be allowed touch the hems of its anti-life
garment.
Te namesake release Svarthol and follow up as a recording to Sev-
en Paths is an attempt to convey the sensation of being pulled towards
the center of a spiritual void and in the end being ground up by the forc-
es that are at work to cancel out any shred of matter.
Following that is Te Opium sleep which as a piece could be stylis-
tically be thought of as anti-music, fnally establishing the fact that what
once was, is no more - Only slowly fading echoes of a sentient being
remain.


III. Te review collective



III. Te review collective

What follows are the writings of others on the project, their interpretations and projections have been collected
here together within to both honour their time and eforts as well to create an independent documentation. To
preserve their work as well as a specifc period in time.
Tis (Wormlust) is another Reykjavk band I discovered through a
reader comment (from Altargoat) on that earlier post about Svar-
tidaui and Vanskpun, and then I saw the name again on a Fa-
cebook status by Gone Postal, who described Wormlust as an ex-
ceptional take on ambient/psychedelic/black metal, and a band
whose music infuenced Gone Postals album-in-the-works.
Wormlust appears to be the alter ego of one H.V Lyngdal, who was
the founding member of an earlier band named Wolfeart. Wormlust
recorded a single-song demo on Volkgeist Productions (Seven Paths)
and a split with an Irish black metal band named Haud Mundus called
Oblivio Appositus, which was released by Total Holocaust Recordings.
In 2010, Wormlust released another single-song demo titled Svarthol,
and then an instrumental demo in 2011 named Te Opium Sleep.
Fortunately for me, Wormlust created a Bandcamp page that col-
lects Seven Paths, Svarthol, and Te Opium Sleep in a com-
pilation called Te Wormlust Collective. Each song is quite long, and
the compilation as a whole totals more than 45 minutes of music
and it can be downloaded on Bandcamp for free (or ordered as a CD).
Because I really wanted to get this post done today, before May
ends, I only listened to Svarthol though it has convinced me to
hear the rest of the comp asap. Te song is more than 16 minutes long
and it travels through a changing soundscape of persistent fascination.
Te beginning casts a spell of slow, dreamlike ambience, with echoing
guitars ringing over a heart-like pulse. In the songs second segment, spacey
synth/guitar efects set the stage, and the guitars then roar like a giant hornet
swarm over submerged, rancid vocals and rumbling drum blasts. A slower,
doomier passage then follows, the atmosphere growing more ominous and
claustrophobic before a moment of silence descends a silence that acts as
a bridge to the gradually building crescendo of the songs next phase. It ris-
es in a cascade of storm-like fury thats nonetheless melodic and hypnotic.
Te storm fnally spends its force, leaving behind an opening sky,
the music painting images of a dark atmosphere slowly pierced by rays
of light, or clouds scudding before the face of an illuminating moon.
Te song ends dramatically with one fnal burst of roiling intensity.
I like this very much.
-Nocleansinging, 2012.
Another fantastic pieces from the defunct but always wonderful icelandic
corpse, Wormlust. Ive talked about this band previously here on FxC, you
can check it out here and here. If youre into high quality Black Metal i to-
tally recommend this band to you. Te atmosphere created by Wormlust is
just mind blowing, simply the best material in this genre ive ever heard in
my life. So, in order to complete Wormlusts discography i bring you today
its fnal breaths, Svarthol from 2010 and Te Opium Sleep from last
year. Sadly, theres only one track to each Demo. Svarthol is a fabulous 16
minute track of the most brilliant atmospheric Black Metal ever made, the
sound is very good and it just makes me mad that a band like this had to
end... why?? I curse you H.V Lyngdal, from the day you came out of your
mothers womb. Why did you had to make such brilliant music like this as
Wormlust and then lef us, wandering blinded by your magnifcent hymns
in this dying world of illusion? Guess we will never know the answer. Te
Opium Sleep is strictly an ambient/instrumental track, clearly the last
expiring last breath of air coming out from Wormlust. Its the perfect song
to hear if you were the only person lef alone on this planet. Tey say eve-
ry genius has touch of madness. But dont we all? Highly Recommended.
-Forevercursed blog, 2012.
Art defned as the act of personal expression

H.V Lyngdal, the main fgure of WORMLUST, has released a new demo,
consisting of just one amazing track, DRENCHED with Atmosphere.
For all Atmospheric BM fans.

Under the infuence of days of sleep deprivation we started record-
ing things we would not have been created otherwise, We kept on pushing
myself and recording until the music started to smother everything out of
us. It is the map to our streams of consciousness for the listener then to
drown in. We like having total control in Wormlust, and idea of control it-
self. With music we can infuence a person aurally into a certain mood by
something that we create. Art defned as the act of personal expression out-
side of the primal urges does not exist we believe. Its all about dominance.
By ourselves we e can keep the overall vision and ultimately the control.
-Te lef hand trident,2010.
Pure, debilitating bleak reveries from the Icelandic genius behind
Wormlust. Te two tracks on display here are monuments of aggression
and frightful visions. Stylistically akin to the more possessed moments
of Leviathan, Wormlust weaves horrifying atmospheres with drawn out
ambient sections and angular guitar melodies. Te vocals, an acerbic
mixture of full-bodied howls and throat-centered murmurs, cap the
lyrical content perfectly. Wormlust has more in common with the mod-
ern school of black metal, with tremolod, drawn-out rifs and predilec-
tion for grandeur atmospheres: a haunting, visceral journey through the
catacombs of delirious nightmares. Varied and engaging, a voyage quite
unlike the stagnant beast that was Wrests latest efort.

Haud Mundus meet Wormlust with a more restrained take on proceed-
ings. Sections of haunting ambience are interspersed with powerful for-
ays into minimal but engaging black metal, akin to the industrial tinge
present on Lunar Auroras latest opus. Haud Munduss strength difers
from the abrasive, engaging and manifold textures of Wormlust by bur-
rowing into your consciousness with hypnotic, subliminal tones. You
become entranced. Both projects represent varied, upper-tier black met-
al complete with deep, empowered production values and should not be
missed. One of the most under-acknowledged splits in recent years.
-Lurkers path,2012.
Something else Ive been sitting on. Wormlust is a defunct black metal
band out of Iceland consisting solely of H.V. Lyngdal. His discography
consists solely of a fstful of demos and one split with Haud Mundus,
which is a shame because what little exists is really top quality stuf.
Orthodox black metal intermingles with dark ambient in Wormlusts
compositions, creating an aura that is at once claustrophobic and at-
mospheric, brooding, and desolate. And also only tangentially related to
orthodox, second wave black metal.

Lyngdal eschews the shitty-on-purpose production values and
plodding tempos typical in bedroom black metal. Wormlust goes way
beyond that. Tis is truly haunting material think Sunn O)))s Black
One, GY!BEs F#A#, or 2001s stargate sequence for some totally
not-black metal comparisons. Yeah, theres tremolo picking and blast-
ing and all that good stuf, but that doesnt describe how it feels, man.
Moreover, those pure black metal sections have more in common with
WitTR or Panopticon than Mayhem or Darkthrone.
-Junkyard god, 2012.
Wormlust became the talk of the ber-underground town
with the release of demo and a split with Irelands Haud Mun-
dus. An impressive Black Metal project with twisted ambience se-
curing it in the modern yet mysterious and dark spectrum.
-Reykjavik Grapevine magazine, 2010.
Wormlust is a newer black metal band from Iceland. Im hesitant to
call it atmospheric black metal because I dont want to give the wrong
impression. Wormlust doesnt throw atmosphere on top of black
metal - it uses black metal to create atmosphere. Lyngdal, the only
musician currently behind Wormlust, has also brought up the psyche-
delic infuences in his music, but theyre not the focus of the project.
Te sound bears some resemblance to both Fell Voices and Rebirth of
Nefast, but Wormlust is superior to both. If youre into droning black
metal (and not the Russian kind where theyre so busy being Nazis
they forget to write music) with crushing atmosphere, give this a shot.
Recommended listening: Start with Seven Paths (their best IMO) and
then move onto Svarthol. Oblivio Appositus is good but features a guest vo-
calist for its entirety. Sadly, Ive been unable to track down the 2006 demo.
-Loadown,2010.
Oblivio Appositus brings together the talents of two of the younger, dour
acts of the North Atlantic Ocean, a form ftting collaboration that sees its
share of both atmospheric metal rifng and long, beautiful passages of
ambiance. Irelands Haud Mundus is the product of Wann and Gast, both
members of the more traditional black metal band Myrkr; Gast also late
of the promising Sol Axis and Slidhr. Wormlust is the brainchild of H.V.
Lyngdal, who spends time between his native Iceland and England. I had
already some exposure to the latter, reviewing the 2009 Wormlust demo
called Seven Paths, which consisted of a single, 12+ minute long track,
and a damned good one at that. But outside of Sol Axis and Myrkr, I had
not heard Haud Mundus prior to the split...
Clearly, judging by their contributions to this release, I have been
missing out, because their two tracks here are quite magnifcent examples
of the balance possible between the black and ambient genres. Veins of
Stone is over 13 minutes, opening with a cavernous cacophony of morbid
gloom and ringing hammer-like strikes, from which a slicing, huge guitar
tone soon erupts, and becomes even huger as the duo lumbers through a
number of devious, crashing poles. Forever Desiccate the Seed is briefer,
at around 8 minutes, but its also denser and faster, more of a traditional
black metal at frst, then branching out into a number of ambient segues,
like a mix of Shining and Raison dEtre. Id also point out that the produc-
tion used by Haud Mundus is massive and accessible, a sure sign that the
band could be taken very seriously in this particular sub-strain, courted
by labels who value fdelity alongside other credibility.
Wormlust, too, has adopted a more bold if calamitous sense for pro-
duction, and his two pieces here trumph the Seven Paths demo by meas-
ure of aggression alone. Truly, this is a frightening experience, Lyngdals
full, bloodied throat casting a ghastly pallor over the surging threads of
Surge - About the Death of a God and the dusky, swelling phantasm
that is Te Larvean Inauguration (Or: A Feast for the Animal of Refec-
tion). Tematically and stylistically, the material is not a far shot from
Haud Mundus, so together the two fow like of wet stream of cursed con-
crete, its mortar drawn from the blood of angels and innocents. I felt that
Wormlust was inherently more caustic and chaotic, with almost random
segues into wild ambient, but he compensates by being the more horrifc
entity of the split.
Te release itself is quite attractive, with a striking bloodied crown
on its face, and a lyric booklet included with the digipak. Im not accus-
tomed to splits with great art direction, and though by all appearances
this is minimal, I really loved the cerebral imagery it projected as I was
listening to these interesting bands. Haud Mundus and Wormlust are
both worthy of taking the reins from the now-defunct Xasthur, perhaps
Leviathan, oining their voice into the chorus of obscurity championed
by many devotees of Burzum and other dire progenitors. Teir pairing
here can be no accident, because they both share the same skill at creat-
ing discomfort through laxing and swelling climes of glacial fascination.
-Autothrall, 2010.
Te split release of Irish Haud Mundus and Icelandic Wormlust is dif-
fcult to put into words. Tis is how the label starts their presentation
of this split album, and it couldnt be put more accurately. Te task of
forming words while listening to this seems useless but perhaps in-
credibly important. I rate this split highly. Tis is just the kind of mu-
sic that sinks in if youre in the mood for it; and if you are, this ones
a grand jewel. Violent and rich in sound and details, Haud Mundus
transports the mind attached to human fesh into something unexplain-
able. Remind yourself to play this when youre in the right mood. If you
crave awesome rifs, put Slayer on. Tis is a multi-complex afair that
one only copes with individually and in solitude. If I had to make some
sort of tabloid explanation, I would say that, whereas Haud Mundus
would appeal to those of you who enjoy the more violent and chaotic
parts of Deathspell Omega, Wormlust seems to conjure music into an
unworldly dream-state. And these are not the dreams your parents want
you to have. Both these bands have a weird way of putting their music
together. It can still be termed music, but it somehow also challenges the
defnition of music. Teres more to this than words can describe. Scum
-Nordic vision magazine, 2011.
Split-Verfentlichungen sind zu einer sonderbaren Erscheinung am
Plattenmarkt verkommen, weil in Zeiten des superschnellen Internets
[und der nicht minder beeindruckend fotten Medienpiraterie] in fast
jede beliebige Band reingehrt werden und sich ebenso rasch entschei-
den kann, ob einem das vorgelegte Material nun taugt oder nicht. Der
Weg, an Frischfeisch fr die Anlage zu kommen, hat sich durch den
Wegfall von Mailorder-Listen und Gratis-Beigaben bei groen Bes-
tellungen verkrzt, womit nur noch die untergrundigsten PC- und
Netz-Verweigerer im Black Metal auf dieses Format zurckgreifen.
Bei aller knstlich herbeigefhrter Romantik, die bei Splits anno 2010
zwangslufg mitweht, muss man ganz nchtern attestieren, dass die
letzte ausnahmslos tolle Angelegenheit in dem Bereich auf den Namen
Te Forest is My Trone / Yggdrasill, fnfzehn Lenzen zhlt und seit-
dem nie wieder qualitativ eingeholt wurde. An dieser Tatsache ndert
auch die vorliegende Zweisamkeit im Plattenformat zwar auch nicht
viel, lsst aber rein vom Inhalt her hier und da durchaus auforchen.
Den Anfang machen die bis dato recht unbekannten Ge-
sellen von HAUD MUNDUS, dessen Personal sich mit dem des Ge-
genspielers berschneidet; schlielich werkelte Gitarrist Wann
auch kurz bei den Islndern. Musikalisch verfolgen die ersten zwei
Stcke einen RUINS hnelnden Black/Death-Mix, hier allerd-
ings auf epischen Lngen ausgewlzt sowie dank Einsatz einer stim-
mungsvollen Hintergrundklangwand um einige Grade dsterer.
Es ist interessant, zu beobachten, wie verschiedene Stufen der Intensitt
erreicht werden; der Vergleich eines mal strker, mal schwchender wer-
denden Monsunregens drngt sich geradezu auf: Die Gitarren sind im S-
gen und Beien genauso gut wie im Erzeugen semiakustischer, verstrend
traumhafer Klangwelten. Von einem Moment auf den anderen schlgt
die Stimmung um, wobei sich das Duo in der Darbietung selbst keine
Schnitzer erlauben, sondern einen mit der schieren Wucht ihres Sounds
aus den Socken hieven; vor allem deswegen, da das Gesamtpaket einfach
stimmt. Es kommt den beiden Protagonisten nicht in den Sinn, in die bli-
chen Fettnpfchen wie Standard-Fllerideen und dergleichen zu tapsen,
was man schon als eine wohltuende Abwechslung in diesem Genre sehen
kann. Veins Of Stone und Forever Desiccate Te Seed protzen jeden-
falls voller Charakter, der zum erneuten Hren einldt. berraschend gut!
Weniger euphorisch hingegen fllt das Urteil fr die nchsten beiden
Beitrge zu diesem Gemeinschafstontrger aus. WORMLUST verste-
hen es zwar formell sehr gut, rohes Schwarzmetall abzuliefern, allerdings
ist den Songs genau jener Fehler behafet, der zuvor vermieden wurde: stil-
istische Gewohnheiten, denen man schon zu of Gehr geschenkt hat und
mir zumindest schon gehrig am Sack gehen. Diese Baustelle gewhrt ihrer
Leidenschaf fr rohes, ber weite Strecken monotones Gerdel, der ohne
geniale Geistesblitze auskommen muss. Form minus Inhalt also. Sonder-
lich schrecklich klingt das hier zwar nicht, jedoch verliert es sehr schnell
an Reiz. Angesichts dessen, was uns Gast [ich wei...] sonst so - insbeson-
dere bei REBIRTH OF NEFAST - vor den Latz geknallt, ein wenig schade.
Wenn man nach mathematischen Mastben verfhrt, so muss
man natrlich die fade Masse, mit der WORMLUST ihren Teil zur
Platte beitragen, bei der Bewertung genauso in Betracht ziehen wie
das bislang fantastische Schafen von HAUD MUNDUS. Ich bin aus
zwei Grnden nicht bereit dazu: Das Digipak macht einen schnieken
Eindruck und gefllt mir rein von der Aufmachung als fast alles An-
dere in dem Gebiet da drauen und zum Zweiten macht es keinen
Sinn, angesichts der klaren berlegenheit HAUD MUNDUS strikt
nach dem Gleichheitsprinzip vorzugehen. Fnf knappe Punkte also
fr eine Verfentlichung, die ab dem dritten Stck verzichtbar ist? JA!
-Metalnews, 2010.
Wormlust released an absolute gem of horrifc black-ambient this year
in Svarthol; a record good enough, in fact, to get me to fork out for this
split from last year with Irelands Haud Mundus. On Oblivio Appositus,
though, you can largely forget Svarthols washed-out expanses of proggy
clean ambiance. Both bands are largely on the same hideous page here, of-
fering a portmanteau of misshapen and grumbling depressive black met-
al. And, if you are in the mood, it is a captivating forty minutes of music.
Haud Mundus open with two contributions. Te 13-minute monstrosity
that is Veins of Stone is slithering and formless, repeatedly dying away into
passages of abstract noise and sinister melody, before kicking up again into
pulsating, barbarous rifng that evokes a more muscular Ruins of Bever-
ast. Its hard to fnd any real structure to it, but perhaps this doesnt really
matter if you are craving the aural equivalent of being dragged through a
thorny ditch by your hair, for the entire duration of an icy winter night.
And thats why you buy sort of thing, isnt it? Forever Desiccate the Seed
initially seems more shapely, opening with some almost Opeth-ian 6/8
melodic fre, but this too derails again and again into ghastly catacombs
of hissing death sound efects and grimly mumbling clean melodies.
Not to be outdone, Wormlust follows this Lovecrafian weird-
ness with something quite similar. Tis Icelandic projects contribu-
tions are an exceptionally dark brace of tracks, winding slowly through
crawling, dissonant rifs and dripping, fuzzy ambiance to create some-
thing quite spectacularly horrible. Te Larvean Inauguration opens
with a formlessly writhing mess of hazy black metal guitar and rusty
percussion, building up a kind of shambling steam into a decayed pro-
cession of groaning non-rifs. I cant think of anything which just
sounds as unrelentingly pestilential, and as cacklingly otherworldly.
If you search, you will fnd melodies here, sometimes touching ones,
but dont listen to it for that reason. If you pay attention you will also fnd
rifs, ofen crunching and menacing, but dont listen to it for that rea-
son, either. Listen to Oblivio Appositus because it is a frightening record,
which evokes unfathomable cosmic horror in your mind as powerfully
as any flm or literature. Tis is what black metal should really be about.
-Metalreviews, 2011.
Now this has become my latest drug. Te split release Oblivio Ap-
positus of irish Haud Mundus and Icelandic Wormlust is difcult
to put into words. Haud Mundus presents insight into the failed spir-
it of man, while Wormlust ofers an indescribable passage into oth-
erworldly desolation. Tis collaboration between both sees its share
of atmospheric metal rifng and long, beautiful passages of ambiance.
Haud Munduss two tracks are quite magnifcent examples of the
balance possible between the black and ambient genres. Veins of Stone
is over 13 minutes, opening with a cavernous cacophony of morbid gloom
and ringing hammer-like strikes, from which a slicing, huge guitar tone
soon erupts, and becomes even huger as the duo lumbers through a num-
ber of devious, crashing poles. Forever Desiccate the Seed is briefer,
at around 8 minutes, but its also denser and faster, more of a traditional
black metal at frst, then branching out into a number of ambient seg-
ues. Te production used by Haud Mundus is massive and accessible,
a sure sign that the band could be taken very seriously in the future.
Wormlust, too, has adopted a more bold if calamitous sense
for production. Truly, this is a frightening experience, Lyngdals full,
bloodied throat casting a ghastly pallor over the surging threads
of Surge - About the Death of a God and the dusky, swelling phan-
tasm that is Te Larvean Inauguration (Or: A Feast for the Animal
of Refection). Also the artwork for Oblivio Appositus is beauti-
ful. Be the privileged one to own not only this beautiful Digipack but
a splendid piece of sonic art here. One of the best BM releases i heard
so far, although its release is from 2009(!). Highly Recommended!
-Forever cursed, 2011.
one song demo, nasty atmospheric black metal from Iceland. ran-
dom kind of wanky rock parts towards the middle/end that ac-
tually are pretty sweet. formerly known as Wolfeart. dig it.
-Hate your species, 2009.
Icelandic Wormlust was previously known as Wolfeart, having re-
leased several demos in the past. With the change of name has come
a shif in tone, and for this s/t demo the band has produced a sin-
gle 12 minute track that travels from droning, aggressive black met-
al to periods of stark majesty across a desolate grey landscape.
Seven Paths is quite good and hopefully an omen for what is
to come. Te guitars are churning vortices of disturbing chords, and
whenever the band breaks for some sort of interlude we are treated
with introspective guitar work and ringing explorations. Te vocals
are hoarse and troubling, like someone whispering at you from a sew-
er while the sounds are amplifed. Ive been exposed to a great many
underground black metal acts touting atmosphere or ambience, but
Wormlust sounds quite original. Well worth tracking down this demo.
-Autothrall, 2010.
Demo edito dalla Volkgeist Prod. ci racconta le evoluzioni sonore del pro-
getto Wolfeart. Questo era infatti il primo nome del combo fno al 2008.
Questa la line-up del progetto : H.V Lyngdal tutti gli strumenti; Wann
voce. Combo proveniente da Reykjavk (Islanda) e Londra (Inghilterra)
ci propone un particolarissimo black metal con tematiche che vanno dal-
la disperazione pura alla morte. Il gruppo si forma nel 2003 e nello stesso
anno ci regala il primo demo, ne seguieranno poi altri due nel 2004 e
nel 2006 per giungere al nuovo lavoro del 2009. Con questo ultimo la-
voro (il loro quarto demo) ci propongono una lunga ed articolata com-
posizione di dodici minuti che da il titolo al demo. Seven Paths , come
dicevo prima, lunica traccia del demo. Si tratta di uno splendido brano
che ci porta, fn dal principio, direttamente nel mondo, arcano e senza
speranza, propostoci dal combo islan ese. Dopo unintroduzione sulfurea
di appena trenta secondi, lascoltatore viene subito risucchiato nel vor-
tice sonoro prodotto dal duo islandese. Puro black metal tirato, violento
e particolarmente intenso. Per circa un minuto non troviamo nessuna
variazione compositiva e stilistica. Dopodich il pezzo si fa sempre pi
claustrofobico e opprimente, assieme alla voce sussurrata e deprimente.
Dopo un urlo disumano, troviamo il primo vero stacco, la prima pausa
del brano, attorno al terzo minuto. Dopo la pausa, latmosfera del brano,
complice un ottimo arpeggio chitarristico, torna sulfurea e trasognante
(seppur sempre opprimente). Dal quinto minuto il pezzo riprende quota
e torna ai fasti velocissimi iniziali. Puro black metal tirata e sparato in fac-
cia, condito da uno scream-vocals sussurrato che infonde nellascoltatore
unangoscia incredibile. Il black metal dissonante creato dal duo molto
particolare, oserei dire unico nel suo genere. Con lo scorrere del tempo
sar un continuo di cambi di tempo, ritmo e sfumature musicali. Eccezi-
onali gli inserimenti di chitarra e basso, assolutamente rivedibile la bat-
teria programmata e il cantato che sempre sussurrato-parlato, mentre
in alcuni parti uno scream duro e crudo avrebbe senzaltro reso meglio.
Ma sono dettagli proprio per cercare la pulce nelluovo, per intenderci.
Ununica traccia, un viaggio lungo oltre dodici minuti.Un black metal
dissonante che marchia in modo indelebile lonesto lavoro del gruppo.
Levoluzione sonora dei Wolfeart innegabile e questo lavoro la prova
della loro maturazione artistica.
-D85, 2010.
Extremely solid split debut, featuring two tracks each from strong up-and-
comers. Tere is a slight contrast in the styles presented here, with Haud
Mundus putting more emphasis on atmospheric dissonance and Wormlust
clearly going for a more straightforward output (in comparison, their ofering
is anything but straightforward in a larger context), though they mix really
well and still manage to bridge their sides with common themes and sounds.
Mesmerizing rifs and passages, lots of tempo changes, haunting vocals. Pro-
duction is crisp and natural, everything sounds just the way its supposed to.
Its a true pearl, well worth checking out for any fan of bands that play
more technical and atmospheric black metal.
-Madbringer, 2010.
Pretty awesome washed out atmospheric BM. I prefer the Worm-
lust side, though it is probably the more straightforward of the two
bands here. Anyone into the likes of Weakling, Xasthur, and any
of the less rify, more hypnotic black metal should probably check
this one out. Looking forward to full lengths from both bands!
-Manbient, 2010.
Uncompromising, yet varied single track EP, where monolithic, powerful
black metal blasts intertwine with more atmospheric, even droning passag-
es. While the latter remind me of sludgy Jesu shoegaze pop, the metal parts
are simply crushing your head, thanks to unusual drumming style, similar
to chaotic patters of Deathspell Omega, but also due to strange, whispering
vocals and interesting guitars, which blend into pitch-shifing knob work
and slo-mo madness. I hope they experiment more on further releases!
-necro666.
Everybody and their mother is talking about atmospheric black met-
al these days. Sure enough, theres a tidal wave of bands trying to get
their piece of the pie, by throwing in some ambient keyboard nois-
es and drag their otherwise uneventful songs out. As a result they get
passed of as atmospheric black metal. And everybody is happy. Ex-
cept this guy here. I worry about the genre getting played out all
the while coming across far too many acts that think they have a for-
mula and the end result is equally as inspiring as an empty cereal box.

Icelands WORMLUST is Hafsteins Lyngdals latest outburst within
the realm of extreme music. Its is also a project he seems to be most
involved in and content with these days. And it shows on Seven Paths.
Lyngdal efortlessly knits together a soundscape, a journey if you will,
that has an engaging beginning, and a natural and fulflling conclusion.
Being a long, one track body of music there is plenty to take
away from it. Its haunting and atmospheric qualities jump
at you at frst and hook in you but repeated listens will re-
veal successful layering that makes this such a powerful piece.

Lyngdals way of expressing his ideas is more thoughtful, sparse,
carefully timed and brooding than most of the stuf in this genre as of
late. He trims down rather than over-loads. Tus each sound and each
rif is counted for. Te composition does not, like some other bands,
hide shortcomings behind a wall of endless channels, sounds and
multi-layered arrangements. Te essentials are out in the open - na-
ked - for a lack of a better word. Te shortcomings are almost non-
existent. Id prefer a richer drum sound on future releases though.
Were it not for his sensitivity to smart song writing, this ap-
proach might expose this lack thereof. But in WORMLUSTs case
it does the opposite. It highlights said sensitivity, and ultimate-
ly, this young musicians talent and understanding of the art form.

Black metal enthusiasts with a tad conservative streak need not avoid. Te
true factor is present via the monotonous blast-beats and simple rifage. I
like the tasty reverb on the guitar, giving them a feel of hollowness yet flling
out the crease just right. Specifc moment of true is one calm/slow-into-
-fast section transition, using a simple cue of 1,2,3,4, snare break. Fantastic!

Te keyboards and all additional ambient sounds do not saturate
the sound space. Rather, they add something eerie instead of fghting the
songs. On top of that are the cold, hoarse and dynamic vocals. Screech-
ing one moment, howling the next, showing a larger range than Im used
to in the genre. In doing all this, even the true elements are refreshing.

Seven Paths is not complicated nor is it technical. It is demanding and
stimulating. One section is particularly memorable and evil. A single string
rif, minor notes a plenty, climbing up, crossing frets with no regard for the
tempo of the drums, backed up with low-pitched moaning voices. Seri-
ously. Its like a maelstrom of demons approaching. Unsettlingly brilliant.
Another stroke of progressive thinking is the part with buzz
saw rifng, played over drums that slow down and go of-tem-
po on purpose just to fuck with you. Twisted little detail there
that you cant ignore nor help be impressed by. It takes courage.

Seven Paths is remarkably cohesive considering its pro-
gressive nature. Presenting it as one track, connected by fu-
ent transitions was a wise decision indeed. Sporadic its not.
WORMLUST has my attention and then some. Get this demo and watch
this space. Something enigmatically wicked is burrowing to the surface here.
-Reykjavik Grapevine Magazine, Birkir Fjalar, 2010.
Following in much the same vein of the previous demos, this one (Svarthol)
has taken it up a notch in terms of creativity, songwriting, and production.
Its apparently self-released, and I dont know where you can get it, but scour
the interwebs and you will surely fnd the download. Just one song, but one
damn good song of somewhat depressive, and somewhat melodic black metal.
-Hammersmashed sound,2010.
Icelands Wormlust was Hafsteins Lyngdals latest outburst within the realm
of extreme music, he now plays in Pestuus, another cold Anti-Christiani-
ty Black Metal act. But Wormlust was a project he seemed to be most in-
volved in. Wormlust efortlessly knits together a soundscape, a journey if
you will, that has an engaging beginning, and a natural and fulflling con-
clusion. In this Seven Paths Demo, its haunting and atmospheric quali-
ties, jump at you at frst and hook in you but repeated listens will reveal
successful layering that makes this such a powerful and cohesive piece.
Seven Paths is quite good as all material released by Wormlust. Te
guitars are churning vortices of disturbing chords, and whenever the sound
breaks for some sort of interlude we are treated with introspective guitar
work and ringing explorations and Lyngdals vocals are hoarse and trou-
bling, like the cold icelandic wind whispering thru the desolated felds. Ive
been exposed to a great many underground black metal acts touting atmos-
phere or ambience, but Wormlust, thru its originality, has really caught my
attention. Something enigmatically wicked is burrowing to the surface here.
-Forever cursed, 2011.
Tis is the obscure product of an (at present) one man band from Ice-
land; a demo recording that according to the projects website threat-
ens to combine with 2009s Seven Paths to form the frst ever Worm-
lust LP. Tat is an enticing prospect, because this is the kind of esoteric
release that could drive you slightly mad. Svarthol is a single track of
ambient black metal, 16 minutes long, which has really captured my
imagination. It combines moody atmospherics with perplexing compo-
sitional ideas into a feverish quarter-hour of music that keeps you in-
tently focused on the sinister visions that it vivdly narrates, a short sto-
ry of isolated insanity and desolate horror expressed through sound.
So let me try and take you through some of this. We open with a slow
heartbeat, and a crystal-clear wash of meandering guitar reverberations.
Tis feels both warm but intensely uneasy, the latter sensation winning
out when this fades suddenly out, to be replaced by uncomfortable, form-
less whistling sounds. Like Te Clangers in a 1950s mental asylum. But
now jagged, hoarse black metal starts to claw at the sound emitting from
your speakers, like an uncomfortable memory under failing suppres-
sion. Tis isnt a blistering, pit-igniting entry that scatters the ambient
cobwebs. Instead, it falteringly ejaculates distorted noise before abrupt-
ly stopping, and then frantically grasping again, eventually establishing
itself as a lumbering wall of sound; non-rifs awkwardly shifing beats
and pitch like Deathspell Omega lapsing into a vomit-fecked drunken
stupor. And those whistling noises still whirr maddeningly overhead.
As we progress deeper, Svarthol becomes something more recognis-
ably- perhaps more conventionally- black metal, but still luxuriating in its
more esoteric realms. I hear a little of Te Ruins of Beverast in there; murky,
oppressive progressions and ghostly blasting, soaked in fuzz and misery.
Te closing few minutes here resurrect the exhausted opening ambi-
ance, but now introducing a hissing, pulsating drum machine and with it
an alien, industrial feel. Tat is, until the whole piece is killed of by the
very last minute of abrupt, buzzsaw black metal. Troughout, Svarthol
is prone to such sudden trail ofs and re-entries, and these add quite ap-
propriately to the generally unstable mood this demo inficts upon itself
and the world around it. Tis is a bit of a shock, all told; a gripping and
original piece of music from a project I hope to hear much more of soon.
-Metal reviews, 2010.
Waves lap at distant shores. Delayed guitars wash over sparse am-
bient drones. A heartbeat hums its rhythm in solidarity and
is abruptly stopped. So begins the wild trip into Wormlusts
world of brilliant, melancholic and atmospheric black metal.
Wormlust is the vehicle of Icelands H.G. Lyngdal and one of con-
temporary black metals truly underrated talents. With only a smattering
of demos and a split with Irelands Haud Mundis under his belt thus far,
2010ss ofering, Svarthol continues to promise of more genius to come.
Svarthol is 16 minutes and 37 seconds of mind-bending and nauseating
experimentation. Te peaceful introduction gives insight into the moments
of beauty that Wormlust are all too capable of creating, but the quiet is soon
shattered by waves of atonal and warped distortion, while an eerie slide gui-
tar slices through the cacophony. Wormlust weaves between full on assaults
and oppressive ambience with ease, ofen descending into complete silence.
Tese moments of respite place a narrative of sorts over the pro-
ceedings, guiding the listener through diferent stages of Lyngdals per-
sonal hell. Tats almost exactly how it feels to behold Svarthol; this is
not an uplifing experience at any rate. Te whispered murmurings of a
madman scrape over a composition that musters bewilderment, frustra-
tion and pure malevolence. While this is by no means a depressive black
metal release, it does want to drag you into the depths of melancholy.
But moments of feeting anthemic beauty do rear out of Wormlusts vor-
tex of sound, all the more exciting when your ears catch hold of one.
Tis has to be heard to be believed. A fucking brilliant release, I am
all aboard the hype train and hope that we are treated to more of Lyn-
gdals aural insanity VERY SOON.
Te cover is a work of art in itself as well.
-Lurkers path,2010.
1 demo track of really well done Depressive Black Metal with bits of Doom
and Nordic style Black Metal Tis works in the mellow, serene sounds just as
well as the bombastic heavy elements. Warm guitar tone with a nice big, loud
and downward spiraling feeling. Gets pretty fast & layered around 11:14.

Vocals are extended, distorted howls that come and go not far
from San Franciscos own Leviathan. Svarthol is broken into move-
ments and moods that exhude endless tundras and landscapes with
little to no human intervention. Wormlust is the sole work of Ice-
lander H.V. Lyngdal. Tis is his/their 4th release overall (3 demos and
a split with Irish BM band Haud Mundus). VERY recommended
-KSU stanford, 2010.
Te latest Wormlust demo, Svarthol, is a beauty. Listening to this 16:36
minute opus is like being sucked into a black hole and failing around
inside it until it has chewed you up and spit you out into another dimen-
sion. Move you it will.
-Reykjavik Grapevine magazine, 2010.

IV. Kollvrpun.

Eliminating barriers.
Kollvrpun* , is a creative device which for aesthetical reasons has some
motifs in common with old age witchcraf. It is also a method by which
the intent is to override a mind that is either riddled with doubt or lack
of ideas towards an artistic project. Te construction of the system itself
is simple but has been proven efective and rewarding. But if you trivial-
ize the process and do not take it in with an open mind then the you
as an participant have already tainted the outcome with your doubtful
mind and rendered it useless. It is intended to create specifc bounda-
ries and spaces to work within because ofen by creating these constric-
tion and following them is it when we most ofen seem to destroy them.
When we have chosen which piece to follow we then burn it
immedietly in the tradition of medieval curses to amplify the experience
and also the intent behind the creation that is about to take place.
Steps:
1.Divide a piece of paper into six sections
2.Write a description on one side and a prime color or the other

3.Tear the paper in six sections
4.Try to randomize the selection of which sheet you receive.
5.Burn the note
Descriptions can be either actions or descriptions of visual ideas.
If on side is an action then it negates the prime colour.
Examples of the interaction of visual ideas and prime colours:
Scattered ashes/Black, Swamp/brown, Ghostly arms/Grey, Burial mound/green.
Examples of action: Minimalize, Destroy everything but the fourishes, Do
it without hesitation, The mistakes are the thing itself.
WRMLST