NEWS: Sothoris reflect on their mistakes?

A month after first single “Pro Memoria” reared its ugly head another mixture of Black Metal ferocity and Death Metal power has escaped from the new Sothoris album “Domus Omnium Mortuorum“. Titled “Lawa” the new cut is one of eight to make the grade from sessions recorded, mixed and mastered by Krzysztof Kostencki (Damnation of Gods, Across the Void, Dimera) at Tetra Wave Studio with the full record being available via both Fetzner Death Records  and ADG Records on 3rd October.

Vocalist Raven comments on new song: “Lawa is a song of regret over the lack of reflection and the repetition of the same mistakes. It is the result of the observation that surprisingly often we do not want, both as nations and as individuals, to draw on the experiences of the past. The existence of those who know this, cannot come to terms with it, and are condemned to oblivion is a nightmare”

The band comment: “This album uses a certain artistic game. We go back in time to the 19th century. The starting point for this idea, the inspiration is the monument of Karl Robert Lachmann, the only son of a German, aristocratic family, who died in the Franco-Prussian War (1870-1871), vandalized by cemetery robbers, located in the mausoleum in Jałowiec. Based on what is on the cover, such a sketchy, very loosely outlined “plot” was created. It comes down primarily to what is in Wieczornica and the sound of slamming doors (gates) at the end of the album after Pietno. Generally: at night, a group of cemetery hyenas smash coffins, and the spirits of the dead suddenly start to get out of them, but not to punish them, but to show the tragedy of their lives and the world in which they existed. All the pieces after Wieczornica are de facto the voices of these spirits and our “today’s” commentaries on the visions or stories they presented before these thieves. So we as performers are a bit narrators, a bit actors, we interject a bit with our own words of commentary. The whole album is connected by the closing of the gate (sound), symbolically referring to the earlier opening of the coffins, but also to the end of that “séance” with the spirits, as well as the closing of the doors of their house, which is a reference to the title of the album “House of all the dead”.”