ARAPHEL - INTERVIEW

1. The band started around 2021. Why did you decide to create the band? Why did you choose the name Araphel, and what does it refer to?

Thank you for offering me this interview. The decision to create a new band came after I started having some decent material, entirely composed by myself. Since I was a teenager, I participated in and collaborated on songwriting in several bands, whereas ARAPHEL represents a project that, for now, is handled entirely by me - from the composition to the aesthetics, flyers, and layouts. I can say it fully represents me, rather than being something created through the sharing, or compromising, of different ideas.

The name, if you've read about it somewhere, literally means “darkness,” but what it refers to is, according to Judaism, the name of the place where God resides. I was struck by the fascinating concept that God could dwell in a dark and swirling place, rather than in light and peace - something that sharply contrasts with Western Christian belief. My choice lies exactly in this contrast between the common and the sublime, between dogma and critique.

2. Although the band currently has four members, it's also true that in the beginning this wasn't the case, as only Santo and Doomed Warrior were at the forefront. Later, Gabriel and Elend joined, coinciding with the release of your first EP, "Old Comet Transition." What were those almost three years like within the band, leading up to the release of the first EP and the addition of new members?

This is not entirely correct, and I apologize if the timeline seems a bit chaotic, but even though the band is still young, many things have changed. ARAPHEL began to exist in mid-2021 when, with some material I had written, I asked Giulia Doomed Warrior and Eros (EXTIRPATION, FUNEST, KROSSBURST) for support. Both embraced the idea of helping me with guitar arrangements for my tracks; we ended up recording the first EP, Old Comet Transition, even though many of the songs from the recently released album were already in the works. Following the EP release, Gabriel replaced Eros, and together with Okrim (ANCIENT, EXTIRPATION) we worked toward recording the album. Once it was finished, since Okrim was a session member, I wanted to find a permanent drummer and a session bassist for future shows. That’s when Elend joined, and Theo (HADIT, EXEQUIAE SACRO) agreed to help us for live performances.

I can say that these years, spent in the real “launch” of the band, were intense but meaningful. Now the atmosphere feels very united, and I’m confident that this lineup can lead to great results.

3. “The Endchanter” is your first album, released on October 31st. How did you approach the songwriting and recording process for this debut album? What do you think you've changed and evolved compared to “Old Comet Transition,” even though the new album includes a couple of tracks from the EP? What brands of instruments did you use during the process?

The album is composed of many songs that actually predate the EP. The Endchanter is, in fact, the first song I ever composed. Let’s say that of the entire album, only two tracks were arranged in 2024.

The songwriting process begins with melodies I write on bass or guitar, which then evolve through a loop station, pre-productions, and rehearsals. I have an SG guitar, an Epiphone Embassy bass, and a Squier - extremely cheap instruments, but I’ve gotten used to them; they do their job, they sound good, and I’ve grown attached to them.

4. Your music has always maintained a connection to the more classic sound of black metal. Some describe it as influenced by Greek black metal, but for me, the opening track is incredibly reminiscent of Bathory. This is somewhat surprising considering the other bands you've been a part of. Do you feel that Araphel is your own project, allowing you to express your tastes and influences without interference? How would you describe the sound of “The Endchanter”? What bands and styles influenced its composition?

Yes, you’ve hit the nail on the head. Being surrounded by musicians with whom I share a strong affinity, every idea they bring is welcome, especially because they know exactly how ARAPHEL should sound. I can say this is the first time the final word is mine, and it is my personal perspective being narrated.

To speak frankly, I don’t think it’s strange that “Mediterranean” or Quorthon-esque sounds emerge. After all, bands that sound that way are among my favorites to listen to, so it’s only natural that my language resembles theirs.

Unlike many bands, I didn’t decide in advance how it should sound or which band it should resemble. I think ARAPHEL’s genre can be described as “Epic Black Metal,” since the epic embodies all the sublime facets of humanity, like tragedy and pride. These are the themes that influenced me the most, and they are themes shared by many bands, far apart geographically… IMMORTAL, DISSECTION, MORTUARY DRAPE, DESASTER…

5. Regarding the album's theme, what inspired you when writing the lyrics for "The Endchanter"? Why did you choose that theme, and why is it important to you? Does the music adapt to the lyrics, or vice versa?

In my opinion, the music fits perfectly with the lyrics, also because I usually write them after finishing the songs, aside from later adjustments to fit them better.

The theme behind The Endchanter is, obviously, the end. The end, and the realization that we are all destined for the same darkness and the same silence. It doesn’t matter who we were - rich, infirm, or  bound by some dogma - we all disappear into the black. Needless to say, the critique is aimed at the human presumption of even imagining that something might be “eternal,” or that something awaits us after earthly life.

6. Nuclear War Now! Productions is the label responsible for releasing the album, including a vinyl edition from the start. This suggests a significant commitment from Yosuke. I imagine you've had dealings with NWN through your previous bands. How did this collaboration for the album's release come about? How supported do you feel by NWN's support, being a band that's just starting out?

I met YK during the DEMONOMANCY days; even back then he produced flawless material for us from the very beginning. This makes me think his way of working is always to give his best to enhance the releases he chooses to brand. It’s certainly a way to always have impeccable products.

After that experience many years passed without us being in contact, but the idea of proposing ARAPHEL to him was almost instantaneous. I remembered how seriously he worked and was sure that a proposal like mine would fit perfectly into his roster.

We had no difficulty at all in reaching agreements for our collaboration; I can’t complain about anything and I hope he will continue to believe in my band and push it as best as he can.

7. The album was recorded by ADRS Decibel and mixed and mastered by The Forge Music Productions. Why did you decide to work with these people, and what do you think they contributed to the final sound of the album?

Carlo of ADRS Decibel and Marco of The Forge Music Prod. worked on both the EP and the album. They both did an excellent job, accommodating my requests and following the sound ideas I had in mind for the releases. Their perspectives were fundamental in finding the optimal solutions to adopt. I had worked with both before - recording INTO DARKNESS with Carlo, and working as drum tech for Marco during the recording of the self-titled album of his band FLAMEKEEPER.

8. The cover of “The Endchanter” also has a classic 80s album cover feel. Who designed this cover? What does it represent, and where did you find the inspiration for it?

Since the days of DEMONOMANCY, my dear friend and photographer Carlotta Valente has handled the photos for the various bands. Her photographic talent has always been unmistakable.

A couple of years ago I had the chance to spend some days with her, in her studio and darkroom, admiring her more experimental works and publications. Among some cyanotypes she was working on, I saw a few depicting thunderstorms.

The background of the cover is one of these cyanotypes. I was immediately struck by the power it conveyed, instantly thinking it would be perfect for the debut album - a worthy visual aesthetic for this release, the true presentation of ARAPHEL - that’s also why the logo is the main protagonist of the cover.

9. Something that's not very common these days is the composition of an acoustic track, especially if we think of traditional black metal. However, the album includes “Tempus Edax Rerum,” a track that, without vocals, manages to convey different sensations and emotions, while also serving as a catalyst for the rest of the album. How was the decision made to include this acoustic track on the album?

I’ve always been drawn to the idea of doing instrumentals. There’s something liberating about them—not just as short intros or outros, but as real pieces with their own identity. These tracks have a unique charm to me; they give you total freedom from the usual structure and can convey, as you said, different sensations.

Pieces like Voice of the Soul, Desolate Ways, Echoes from the Past, or Dee really marked me - you listen to them once, and they just stay with you. I think I’ll try to include at least one in every release.

10. Looking at Araphel's lineup and analyzing the musicians who make it up, we see a connection in terms of extreme metal, but we also appreciate very different styles, such as death, doom, thrash, etc. Is this a reflection of the good health of the Italian extreme metal scene? How is this scene perceived from within? Do these different musical influences of the Araphel musicians achieve a special connection to shape something unique like Araphel?

Variety can only bring good health, and this was very evident in the latest recordings. I hope that with the next material, if there will be any, everyone’s voices will generate something even more powerful and original.

As for the Italian scene, I can tell you it varies greatly from region to region. I currently live between Lombardy and Veneto, and I can say that here there are many more opportunities to see touring bands or to organize/participate in underground events compared to central or southern Italy. These differences create a sort of compartmentalization, even though there are truly great bands throughout the country.

I can also say that despite new local organizers, venues, and the growing interest in metal, rising costs remain a huge barrier. We are not a country - unlike Northern Europe - where music is considered something to encourage or support. Taxes here are very high, and even getting shirts printed has become an investment to think twice about.

11. At the beginning of October, you presented "The Endchanter" live. What was the experience of playing these songs live like? What new dates do you have planned for other concerts?

Playing ARAPHEL’s entire repertoire live was simply the best result I’ve ever achieved - made even more special by having managed to build a dedicated, incredibly solid lineup formed by passionate musicians. It would have been easier to take the first people available, but it would never have been the same. The best debut I’ve ever had, the night plan was also very cool, with Mayhemic and Sijjin. For this, I want to directly thank Necrotheism Prod., an organization readers should contact if they want to book a show in northern Italy.

12. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to be musicians?

I grew up in a generation that had access to the internet from an early age, and my passion for rock and metal also came from my father’s vinyl collection - my favorite record there was For Those About to Rock.

I used to spend hours discovering iconic album covers online, like Piece of Mind and Powerslave by IRON MAIDEN. I still remember the first time I listened to that music after being captured by the aesthetics of the covers - the whole imagery and the way it carried such haunting melodies and spine-chilling sounds completely captivated me.

There was also a record store on the way between my home and school, and while browsing there I picked up my first two MOTÖRHEAD CDs - March or Die and The Best Of - where I also discovered GIRLSCHOOL.

Growing up in a rather strict family, I didn’t attend a live show until I was about 15 or 16, when I finally saw CANNIBAL CORPSE in Rome, in a venue that no longer exists. Around that time, I also started playing drums with Marco Vermiglio - just messing around in a few small projects before eventually forming DEMONOMANCY.

13. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

Among the various forms of Black Metal, the records that hold a special place in my life are: Profanatitas de Domonatia, Drawing Down the Moon, Under the Sign of the Black Mark, At the Heart of Winter, In the Nightside Eclipse, Fallen Angel of Doom, Scarlet Evil Witching Black, Thy Mighty Contract, Storm of the Light’s Bane… and many others…

The latest additions to my collection include both new releases and “catch-ups”: Primitive Force by CONCRETE WINDS, Ride the Moonstorm by PENTACLE, Messe de Minuit by DISHARMONY, Immense Intense Suspense by PHLEBOTOMIZED… At the show we played in early October, I traded with the guys from the Chilean band MAYHEMIC for a compilation of theirs and their latest album Toba - great guys and great stuff.

14. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Arphel's fans, this is the place. I hope you enjoy the questions.

It was a pleasure for me; thank you for dedicating this space and your questions to ARAPHEL.

 TEMPUS EDAX RERUM

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Grave Circles ‎– World Within The World 12,99 €

CD, Album, Digipak

THOKKIAN VORTEX

 

Origen: E.E.U.U., Virginia

Formados: 2006

Estilo: Black

Temática: Folklore, misticismo, ocultismo, oscuridad y satanismo

Enlaces: Facebook.

Miembros:

• Asmodeus Draco Dvx Batería
• Lord Kaiaphas Teclados y voces
• Sabnock Guitarra
• Sil Bajo

Discografía:

• The Saturnine Alliance Split 2007  
• Into the Nagual CD 2016  
• Thy Throne Is Mine CD 2020  
• Lucifer Lucem Proferens CD 2025

LUCIFER LUCEM PROFERENS (2025)

Lord Kaiaphas decidió poner en funcionamiento este proyecto hace casi dos décadas, con un arranque en ese primera época un tanto pobre en cuanto a lanzamientos, si que a raíz de la incorporación de diferentes músicos a filas y con una formación de garantías afrontar el lanzamientos de su tercer álbum, un nuevo trabajo que no debería pasar desapercibido por diferentes aspectos. Hay que reconocer que el sonido logra sorprender desde el comienzo, la banda se sitúa en un escenario que a veces no está exento de cierta complejidad a la hora de afrontar el grueso de la composiciones. En un primer momento podemos pensar en un black influenciado por la segunda ola del black escandinavo, logrando trasladarnos sin problemas a mediados de la década de los noventa, pero Kaiaphas da muestras de ser una mente inquieta y su sonido no se muestra para nada conformista. Por un lado ha logrado cubrirlo tarto con una capa de oscuridad y ocultismo que logra encajar a la perfección en medio de elementos que pueden recordar a terrenos más épicos o influencias de sonidos mas relacionados con el rock, lo cual redunda en un tono inmersivo del mismo, completado por una capa de teclados, muy en la linea clásica del género, que logra construir una ambientación que se funde con lo más primitivo del género, que cuando se entremezcla con unos riffs crudos con acertados giros a secciones melódicas, una batería de ritmo alto y unas voces profundas, crudas y de cierta oscuridad, hacen de este "Lucifer Lucem Proferens" un lanzamiento que de alguna manera logra tener un halo de misterio, con un sonido diferenciador a la hora de afrontar unas influencias clásicas, digamos de black sinfónico, con otras influencias tanto de estilos como el heavy o de otras vertientes de sonido más actuales, desde el progresivo o lo épico, que encuentra en ese carácter más ocultista y oscuro de su música el terreno propicio para desatar el caos y la destrucción más demoledora. (8,1).

Folter Records

1. Sethian Aeon  

2. Fires of Samum  

3. Lucifer Lucem Proferens  

4. At War with Ohrmuzd  

5. The Great Harlot  

6. Shadowmother 07:42  

7. Summoning the Evil Ones of Ekurra  

8. The Brazen Vessel of Solomon  

9. Drip Drip  

10. Crystalline Dawn

Eard ‎– Melancholia (Translucent Green) 29,99 €

Vinyl, LP, Album, Limited Edition, Stereo, Transparent Green

CRUX EX

"THE PAIN OF SILENCE " (2025)

El tiempo ha pasado, vaya si ha pasado, unos diez años para ser más concretos separan aquella época inicial en al cual Crux Ex comenzaba a dar sus primeros pasos de la mano de la edición de "Born in Witchcraft Spells", un primer lanzamiento en donde sentaba las bases de unas influencias que ha logrado, a pesar del paso tiempo mantener intactas y un sonido que ha logrado ir definiendo y amoldando a sus intereses, alejado de modas y pretensiones desmedidas, para lograr con un tono lo-fi hacerse un hueco más allá de las modas. Este "The Pain of Silence" es un álbum que se antoja más personal, hay en él un regusto a crudeza y depresión que nace de la rabia y desolación que nos rodea, con una virtud esencial a la hora de lograr atraparnos desde el inicio en una propuesta cruda, trabajada a través de un sonido de guitarra que se va desparramando ante nosotros en forma de riffs llenos de crudeza, que al mismo tiempo no renuncian a cierto tono de melancolía que va impregnándolo todo. Hay también un componente de repetición en el sonido, al contrario de lo que pueda parecer, sirve para ir minuciosamente taladrando la moral del oyente y solo con pequeños y sutiles cambios de ritmo o intensidad, ser capaz de trasmitir esa rabia inherente a la propuesta de este álbum. Ese carácter lo-fi de la música se deja sentir a lo largo del mismo, hay elementos que como la batería funcionan como un mantra, pero cuando inciden con mayor presencia destruye toda realidad preconcebida y desata la tormenta y una serie de sentimientos enfrentados. Comprender este álbum sin el peso de los sintetizadores sería del todo imposible, esforzándose para crear un ambiente de crudeza y desesperación, logrando incluso que las piezas instrumentales que salpican el álbum enriquezcan esa experiencia más inmersiva y cultiven ese sentimiento de tristeza que nos acompaña desde el inicio, tal vez las influencias más clásicas de su sonido vengan de la inclusión de las mismos con reminiscencia al legado de por ejemplo, Burzum. Por su parte las voces funcionan como un ente de sufrimiento y rabia, escupiendo todas su desesperación y crudeza como gritos acompasados con la instrumentación, unas veces sonando desde las profundidades de la misma, hundiéndose en la ponzoña, y otras elevando un tanto el tono y reclamando toda la oscuridad y rabia que acompaña al sonido del álbum. La experiencia es un grado, y Dante ha sacado partido a esa experiencia de más de diez años, para regresar cargado de rabia y agresividad, para construir en esta segunda etapa, los cimientos de la decadencia y la podredumbre humana. (8,2).

1. No Empathy 06:51  

2. Homesickness 05:04  

3. The Fall of Adam 10:50  

4. From My Depths 05:57  

5. Cruel 06:39   instrumental

  35:21

Anti / Mosaic - Landscapes 2,99 €

Vinyl, 7", EP

HYVER

 

Origen: Francia

Formados:?

Estilo: Black sinfónico, dungeon synth

Temática: ?

Enlaces: ?

Miembros:

• Hyver Guitarra, sintetizadores y voces

Discografía:

• Sorcier​-​hibou CD 2023  
• Noirceur mystique d'autrefois CD 2024  
• Fonds de Terroir EP 2024  
• Shaâtaunoâr CD 2025

SHAÂTAUNOÂR (2025)

En este tercer álbum Hyver nos propone un viaje a las sombrías profundidades del abandonado mundo de las fortalezas medievales, un viaje lleno de fantasía, oscuridad y cierta conexión con lo desconocido. El trabajo de sintetizadores enfatiza esa vertiente Dungeon Synth del álbum, ofreciendo una visión del sonido con diferentes matice, enfocados en construir un paraje de mazmorras medievales, del franco aletear de un dragón en un cielo nocturno y la posibilidad de que un bruj@ este acechando en las profundidades del bosque. Pero hay también otros aspectos que están presentes en el sonido de este álbum, sin perder en ningún momento de vista esta ambientación medieval, también el sonido se sabe mostrar y sacar partido a secciones mucho más directas, llenas también de influencias de sintetizadores, pero en donde las guitarras están más presentes, un acelerado ritmo de batería logra sumar enteros a secciones como al intensidad de la música, sin olvidarnos de unas voces mucho más directas y crudas, con un cierto regusto a moho y podredumbre, a herejía y hechicería. Un álbum que nos sumerge y nos atrapa en una atmosfera trabajada y elaborada, en donde lo sintetizadores tiene un papel fundamentas, sobre todo en las secciones más lentas a la hora de dibujar un paisaje de oscuridad y de cierto misticismo, pero que sabe completar lo ofrecido con secciones mucho más directas, conservando esa ambientación única y diferencial, pero en donde el terror se materializa y la muerte cobra su deuda sin miedo a equivocarse. (8,2).

Antiq Records

1. Arrivée 02:12  

2. Arrival 02:14  

3. Shaâtaunoâr  

4. Salle d'armes  

5. Salon de chasse  

6. Chambre  

7. Grenier / Laboratoire  

8. Cuisines  

9. Caves 

Dream Death ‎– Back From The Dead 16,99 €

2 × Vinyl, LP, Compilation, Limited Edition

1914

 

Origen: Ucrania, Lviv

Formados: 2014

Estilo: Black, death, doom

Temática: Ataques con gas, guerra de trincheras, Primera Guerra Mundial, violencia, trastorno por estrés postraumático

Enlaces: Bandcamp, facebook, instagram, soundcloud, spotify.

Miembros:

• 2.Division, Infanterie-Regiment Nr.147, Oberleutnant - Ditmar Kumarberg Voces
• 5.Division, Ulanen-Regiment Nr.3, Sergeanten - Vitalis Winkelhock Guitarra
• 9.Division, Grenadier-Regiment Nr.7, Unteroffiziere - Armin fon Heinessen Bajo
• 37.Division, Feldartillerie-Regiment Nr.73, Wachtmiester - Liam Fessen Guitarra
• Reich Batería

Discografía:

• Caught in the Crossfire Single 2014  
• Frozen in Trenches (Christmas Truce) Single 2014  
• Zeppelin Raids Single 2015  
• Eschatology of War CD  2015
• Ich hatt einen Kameraden Split 2016  
• Eschatology of War / Für Kaiser, Volk und Vaterland Recopilatorio 2016  
• Für Kaiser, Volk und Vaterland! EP 2016  
• Stoßtrupp 1917 Single 2017  
• The Blind Leading the Blind CD 2018 
• Where Fear and Weapons Meet CD  2021
• Flammenwerfer vor! Single 2022  
• Live@Electric Meadow 2015 Directo 2022  
• Where Fear and Weapons Meet Bonus LP EP 2023  
• Invaders Must Die Split 2025  
• Viribus Unitis CD  2025

VIRIBUS UNITIS (2025) 

Cuarta entrega para los ucranianos 1914, una banda que se rige por una temática centrada en la I Guerra Mundial, describiendo el horror de la misma y que puede ser un reflejo de la difícil situación que está viviendo hoy en día su país. Su apuesta por un sonido que se nutre fundamentalmente de elementos death, con algunas pinceladas de doom, sin olvidarse de la influencia del black, ha sufrido ligeras variaciones en esta ocasión, afrontando unos temas con mayor extensión, trabajando en mayor medida una ambientación que logra sumergirnos en esas sensaciones de muerte y el afán de sobreponerse a las adversidades para poder sobrevivir en épocas de conflictos bélicos. Para ello hay que destacar un sonido de batería potente, denso y hasta cierto punto profundo que marca un poderos ritmo de destrucción, violencia y agresividad, logrando trasladarnos a la profundidades de las infectas trincheras en el frente de la gran guerra. Por su parte la guitarras también lograr ofrecer cierta profundidad de sonido, trabajando tanto un aspecto más doom en su propuesta, que aporta ese carácter oscuro y denso, como también el aporte de cierta melodía que va transitando en un segundo plano, ofreciendo un espacio para la reflexión en medio del hedor a muerte y liberando de cierta presión lo trascendencia del tema a tratar. Por su parte la voces se emplean en su faceta más agresiva, equilibrando crudeza y oscuridad a partes iguales y aportando cierta rabia y desesperación al conjunto. No podemos olvidarnos tampoco que la ambientación ha ganado mucho enteros, algunas capas de sintetizadores, sonidos ambientales y demás, logran que el sonido se muestra mucho más inmersivo y preciso en aspectos como lograr recrear ese ambiente bélico que siempre ha estado presente en su temática. Sin lugar a dudas un nuevo álbum de 1914 que logra sumergirnos en ese ambiente bélico reivindicativo que como pocos saben tratar como los ucranianos, mucho más ambicioso a la hora de plasmar una propuesta más envolvente y por que no demoledora. (7,6).

Napalm Records

1. War In (The Beginning of the Fall) 01:30  

2. 1914 (The Siege of Przemyśl) 04:48  

3. 1915 (Easter Battle for the Zwinin Ridge) 09:14  

4. 1916 (The Südtirol Offensive) 06:11

5. 1917 (The Isonzo Front) 06:34  

6. 1918 Pt 1: WIA (Wounded in Action) 06:20  

7. 1918 Pt 2: POW (Prisoner of War) 06:12  

8. 1918 Pt 3: ADE (A Duty to Escape) 05:50  

9. 1919 (The Home Where I Died) 07:07  

10. War Out (The End?) 03:10  

  56:56

Beltez ‎– A Grey Chill And A Whisper (2lp grey) 42,99 € 

2 × Vinyl, LP, Album, Limited Edition, Grey

CHRIST AGONY - INTERVIEW

 

1. More than thirty years have passed since Christ Agony's career. Would you be able to remember that early Christ Agony era? What led you to want to create a band like Christ Agony? What does the name refer to, and why did you decide to use it?

- Yes, more than three decades have passed, yet those early years of Christ Agony still feel like an open wound - sacred and raw. The band was born out of rebellion, darkness, and the deep need to express something beyond the ordinary human experience. In the early ’90s, Poland was changing, everything was uncertain, but there was also a strange spiritual hunger in the air. I wanted to channel that energy into music that transcends the physical world — something that would reflect both despair and spiritual awakening.

The name Christ Agony came naturally. It symbolizes the eternal conflict between light and darkness, faith and doubt, spirit and flesh. For me, it was never about blasphemy for its own sake — it was a statement of inner struggle, of human suffering seen through a spiritual lens. From the very beginning, Christ Agony has been a reflection of my own path — a spiritual journey through pain, mysticism, and transcendence.

2. Although you are currently the only member of Christ Agony, one of the original members, it's also true that the band has gone through different periods, including a brief period in which its name changed to Union, a period that also coincided with your departure from the group. So, how do you feel Christ Agony's trajectory has been over these years? Perhaps those years when it changed its name to Union were characterized by a lack of coherence with Christ Agony's legacy? Is it now over, has the page been turned, and can we now say that Christ Agony is a completely solid project, that it has definitively left those doubts behind?

- Yes, Christ Agony has gone through many transformations, shadows, and resurrections. The passage of time, the changes of line-ups, and even the period under the name Union were all part of the same spiritual odyssey. I never saw those years as a betrayal of Christ Agony’s legacy - rather, they were a reflection of the chaos and struggle that surrounded both my personal life and the band’s existence. Sometimes you must descend into darkness to be reborn with greater strength.

The Union period was a time of searching, an exile of sorts. But even then, the same spirit, the same essence was alive. When I finally reclaimed the name Christ Agony, it was not a return to the past — it was a rebirth. Today, Christ Agony stands stronger and more unified than ever before, both artistically and spiritually. The doubts, the confusion, the storms — they’re all behind us. What remains is the essence - pure, eternal, and indestructible.

3. About nine years have passed since the release of the previous album, "Legacy" (2016), a fairly long period that I assume hasn't been fully utilized in the creation of the new album. How did you approach the writing and recording process for "Anthems"? Is it difficult, with a legacy like Christ Agony's, to live up to the past? Is it difficult to be consistent with the band's history, to see the present without completely breaking with the past? What instruments did you use in the process?

- Nine years may seem like a long silence, but in truth it was a necessary period of reflection, transformation, and inner rebirth. After Legacy, I didn’t want to simply repeat the past or recreate what had already been done. I needed to feel that spark again - that creative fire that gives meaning to every note and every word.

The writing process for Anthems came naturally, without pressure or deadlines. Some ideas were born years ago, others emerged in moments of pure inspiration - from silence, from solitude, from life itself. I sometimes start from lyrics, sometimes from a single riff or atmosphere. It’s a very organic process - intuitive rather than technical.

Recording took place mainly in Morąg, in cooperation with Michał Grabowski, who also worked on Legacy. He understands my vision perfectly - the balance between the mystical darkness of the past and the organic, modern power I wanted to achieve on this album.

As for instruments, I used my trusted IVAN & RAN guitars, a combination of analog and digital amps, and the entire FabFilter suite and iZotope Ozone for shaping the sound. My approach is always to merge old-school warmth with modern precision. The goal was not to chase trends, but to create something timeless - an echo of the past, yet alive in the present.

4. When you pick up "Anthems," you're immediately struck by that dark, charged atmosphere, with aspects that have more to do with brutality. However, if you give it time, you begin to appreciate other, more subtle nuances, such as the atmosphere or the melody that gradually emerges. Was this one of your main concerns when composing "Anthems," achieving that balance between brutality, atmosphere, and melody? How would you describe the sound of the new album for those who haven't heard it yet? What bands or styles do you think inspired you for "Anthems"?

- Yes, that balance was absolutely intentional. Anthems was born out of a desire to merge two seemingly opposite worlds - the raw, aggressive energy of black and death metal, and the mystical, almost spiritual atmosphere that has always been at the heart of Christ Agony. I wanted brutality to serve the emotion, not dominate it; for darkness to carry beauty within.

The album breathes - it has dynamic shifts, moments of rage, and moments of contemplation. Behind the wall of sound, there are layers of melody, subtle harmonies, and a haunting ambience that reveal themselves over time. I think this is what gives Anthems its depth - it’s not just an attack, it’s an inner journey.

As for inspiration, I’ve never limited myself to one direction. Of course, the spirit of early black and death metal is still there - Bathory, Celtic Frost, Venom, early Morbid Angel, early Samael - but I’ve always drawn strength from classical composers like Tchaikovsky or Stravinsky, and from dark, atmospheric acts like Dead Can Dance, Bauhaus, or Swans. These influences shape the emotional tension and sense of drama within my music.

For those who haven’t heard it yet - Anthems is both a hymn and a storm. It’s heavy, mystical, and passionate. It’s the sound of darkness transformed into something transcendent.

5. Another differentiating factor is the lyrical themes, which often distance themselves from Satanic elements and instead offer other themes such as mysticism, mythology, social issues, or poetic elements. How do these themes fit into a black metal band, and why do you think they're important to address?

- For me, black metal has never been only about Satanism in a literal or dogmatic sense. From the very beginning, Christ Agony was born as a form of spiritual rebellion - not against religion itself, but against all forms of limitation imposed upon the human spirit. I’ve always seen darkness not as evil, but as a mirror of truth, a space where one can explore the hidden parts of existence and the self.

Mysticism, mythology, and poetry are just different languages of that same exploration. They allow me to express emotions and ideas that transcend the material world - transformation, death, rebirth, divine chaos. Through these symbols, I build my own universe, free from religious labels or social norms.

These themes are deeply rooted in black metal’s essence, because at its core, this genre was always about transcendence - breaking barriers, reaching beyond the flesh, touching the void. For me, Anthems continues that path, but through a more mature, introspective lens. It’s not about worshiping darkness - it’s about understanding it.

6. What can you tell us about the record label Deformeathing Production, which is responsible for releasing the new album, while also actively working on reissuing older Christ Agony albums?

- Deformeathing Production is a label that truly understands the essence of extreme music - not only from a business perspective, but on a spiritual and artistic level. Working with them on Anthems has been a great experience because they respect the band’s legacy while fully supporting its present and future vision.

What I value most is their honesty, dedication, and passion. They are not just releasing the album - they are part of its journey. Together, we are also working on reissues of older Christ Agony releases, including the re-release of Demonology with four additional tracks from that same era.

It’s a collaboration built on mutual respect and understanding - something very rare today. Deformeathing is not a corporation, but a label run by people who truly love and live this kind of music.

7. Studio666 and Michał Grabowski appear in the album credits as the places and people who handled the recording and mastering of the album, although you were also actively involved in this process. Why did you choose to work with these people to record the new album? How much of this work was reserved for you?

- Working with Studio666 and Michał Grabowski was a natural decision. Michał understands my musical vision and has the right sensibility for this kind of sound. He knows how to preserve the atmosphere and essence of Christ Agony while giving the album a modern, powerful edge.

This time the recording process was divided between several stages. Some of the guitar parts were recorded in my home studio, where I could work in solitude and focus on the atmosphere. The main rhythm guitars and all vocal parts were recorded later at Studio666 together with Michał.

The drums were performed by two incredible drummers - Daray and August - each bringing their own energy and character to the album. Their contribution added dynamic diversity and power to Anthems.

Michał handled the mix and mastering, but I was deeply involved in every step, shaping the sound and making sure that every detail reflected the spirit of Christ Agony. It was a perfect combination of technical precision and emotional expression - Michał gave the material its final shape, but the soul of the album remains entirely mine.

8. Divine Design was responsible for the design of the album cover, maintaining that more recognizable, darker side of your previous works. Why did you choose to work with Divine Design, and what does this cover represent and how does it relate to the album's content?

- Working with Divine Design was an obvious choice. They perfectly understand the visual identity of Christ Agony - that specific balance between darkness, mysticism, and sacred symbolism that defines my music. I didn’t want just another “black metal” cover; I wanted a visual reflection of Anthems - an image that emanates coldness, spirituality, and transcendence.

The artwork represents the duality of the human and the divine, light and darkness - eternal conflict and harmony at the same time. It is not a simple illustration; it’s a symbolic mirror of the music. Every Christ Agony album has its own sigil, a visual invocation of its essence - and Anthems continues that tradition.

Divine Design managed to capture the core of this album - the sacred and the profane intertwined in one form. The cover stands as an invitation into the world of Anthems - a world where pain becomes transcendence and darkness turns into light.

9. How does it feel to be part of the history of a style like black metal? What is your opinion of the Polish black metal scene today compared to when you started with Christ Agony? What new Polish bands would you recommend today? Do you think Christ Agony has influenced current black metal bands? Would you be proud of that?

- Being part of black metal’s history is both an honor and a burden. Christ Agony was born in a time when everything was raw, pure, and real - there was no internet, no trends, only passion, rebellion, and spirit. We didn’t follow any rules, we created our own language - both musical and spiritual. Looking back, I feel proud that Christ Agony helped to shape the identity of Polish black metal, giving it that unique atmosphere — mystical, spiritual, yet full of darkness and pain.

The Polish scene today is strong and diverse. There are many excellent bands that continue this tradition in their own way - with different sounds, but with the same essence. I respect projects like Mgła, Kriegsmaschine, Blaze of Perdition, or Furia - each of them explores the black metal spirit in a personal, creative way.

If Christ Agony has influenced some of them, I take that as an honor. I never wanted followers - only those who feel the same fire and spiritual connection to music. If our legacy has inspired new artists to search for their own truth in the darkness - yes, I’m proud of that.

10. You've never shied away from presenting Christ Agony's music live, but the truth is that you haven't been too prolific in that area lately. What are your plans for the "Anthems" shows? Who will you be covering in your lineup for the stage? What can Christ Agony fans expect from your live shows?

- Live performances have always been an essential part of Christ Agony - not just as concerts, but as rituals of sound and spirit. Over the years, I’ve never treated them as routine shows; each one has to carry the energy, darkness, and transcendence that define the essence of Christ Agony.

After the release of Anthems, the plan is to bring the new material to the stage - to let people experience this atmosphere face-to-face. We are currently working on a new live lineup, built around musicians who understand the philosophy and aura of Christ Agony. The core remains my vision, but I’m surrounded by people who share the same dedication and passion.

The upcoming shows will be intense, dark, and immersive - a return to the roots, yet with the power and sound of today. Fans can expect a journey through time, from the early classics to the new Anthems hymns, all performed with that ritualistic energy that has always been part of our identity.

11. How did you get started in music: your first shows, your first albums? What happened in your lives that made you want to be musicians?

- My journey into music began very early - back in the late ’80s, when everything was raw, real, and full of hunger for expression. I was born and raised in Morąg, a small town in northern Poland, far from any big cultural center. But perhaps that isolation was my blessing - it gave me time to dream, to create, and to search for my own voice in the darkness.

My first experiences with extreme music came through underground tape trading, old cassettes, and the local metal community. Those were magical times - pure passion, no internet, no rules, only instinct. I started playing guitar and composing in my teens, driven by a need to express something beyond words - a spiritual rebellion, an inner fire that found its form in sound.

The first shows of Christ Agony were chaotic and intense, full of emotion and mystery. We didn’t care about trends or fame - it was about evoking a state of trance, of connection with something beyond the physical world. That same drive still burns within me today. Music, for me, is not just art - it’s a form of existence, a manifestation of the spirit.

12. Which album represents the essence of black metal for you? What recent albums have you purchased?

- It’s always difficult to choose just one album that represents the essence of black metal, because black metal is not only a sound - it’s a state of mind, a spiritual experience. But if I had to name one record that truly shaped my perception, it would probably be “De Mysteriis Dom Sathanas” by Mayhem. That album captures the atmosphere of darkness, mystery, and rebellion in its purest form - it’s not only music, it’s a ritual, an invocation of chaos and transcendence.

Another milestone for me was “Under a Funeral Moon” by Darkthrone, for its raw and primitive energy, and “Storm of the Light’s Bane” by Dissection, which combined aggression with melody and deep emotion - something I’ve always been drawn to in my own compositions.

As for more recent music  I still follow what’s happening in the underground. I’ve recently listened to bands like Akhlys, Schammasch  and Blut Aus Nord, who continue to expand the boundaries of black metal without losing its spirit. But I also reach beyond the genre - I listen to Dead Can Dance, Swans, or even classical composers like Tchaikovsky and Stravinsky. These artists inspire me just as much, because they carry the same sense of depth and emotion that defines true art.

13. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Christ Agony fans, this is the place. I hope you enjoy the questions.

- Thank you for the space and for this meaningful conversation. After more than three decades, Christ Agony remains not only a band - it’s a spiritual manifestation, a voice born out of darkness, rebellion, and reflection. Anthems is another chapter in this endless journey, a hymn for those who still seek light through shadow.

To all our loyal followers - thank you for walking this path with me through years of silence and resurrection. The fire still burns, and new rituals are yet to come. May our music continue to resonate with your souls, to awaken that inner flame that defies all boundaries and time. See you soon - on stage, in the darkness, where words turn into invocation and sound becomes transcendence.

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Geistaz'ika – Midnatsbøn Ved Djævelens Port 23,99 €

Vinyl, LP, Album

PERDITION TEMPLE

 MALIGN APOTHEOSIS (2025)

Quinto álbum de estudio para los de Tampa, un álbum que los acerca todavía más a un sonido de death metal poderoso, oscuro, denso y demoledor. El álbum arranca sin concesiones y de forma más que apabullante, una maraña de sonido demoledor se abalanza sobre nosotros y no nos va a soltar hasta la finalización de este "Malign Apotheosis". Con una combinación apabullante, en donde la batería de un tono denso y profundo sabe marcar desde el inicio los derroteros del sonido y servirá para dejar un halo de trascendencia más allá de lo ofrecido en el álbum, con la vista puesta en un tono más clásico del death. Las guitarras suenan de manera demoledora, ofreciendo unos riffs implacables que acentúan la carga de profundidad del álbum, en algunas secciones se sacan de la manga interpretaciones con cierto tono más amplio en cuanto a recursos, pero sin que en ningún momento los riffs se resientan de se enfoque aplastante que está presente desde el inicio. Algo similar se puede decir de un apartado vocal que a medida que el álbum avanza, parece que se va a fundir con el death más infecto y maligno de la más que imprescindible escena de Tampa. Una vez ha trascurrido este "Malign Apotheosis", la sensación que deja es de ser aplastado por un maquina de precisión infernal, ofreciendo si cabe, con respecto a pasadas obras una producción y un sonido mucho más preciso, que permite que tanto instrumentos como el bajo, como ese carga de profundidad que es la atmósfera del mismo, alcancen cotas más que destacables. Afianzándose una vez más en la zona más destacable y reconocible de ese sonido black, death del cual nos han hecho participes desde sus comienzos, llevando si cabe más al extremismo su propuesta con la inclusión de una faceta más death en la mima, que se enfoca hacia un sonido más profundo y destructivo. (7,7).

Hells Headbangers Records

1. Resurrect Damnation  

2. Kingdoms of the Bloodstained  

3. Purging Conflagration  

4. Death Insurrection  

5. Malign Apotheosis  

6. Agony Unto Revelation  

7. Bellum Ab Infernum  

8. Fell Sorcery

Enevelde ‎– Gravgang 17,99 €

Vinyl, 12", 33 ⅓ RPM, EP, Limited Edition

ILDARUNI - INTERVIEW

 

Good afternoon, thank you very much for answering these questions. How's everything going in Yerevan?

Robert: Everything’s great. The band is in a pretty hectic phase right now — we’re gearing up for the release of our second album, so a lot is happening now. 

1. The band started around 2016. Why did you decide to create Ildaruni? Why did you choose the name Ildurani, and what does it refer to?

Robert: The band was formed in 2016 by me (Robert Meliksetyan) and Arthur Poghosyan. Having the same concept in mind and a shared approach toward the music we cultivate, we decided to bring it into shape and form. Since we shared similar musical tastes and visions, it was easier to build the core and foundation that continues to move us forward toward our main goals, manifesting our incantations for a broader audience. The idea for the name came logically, as our first album was centered around the pre-Christian period of Armenia, more specifically, Urartu/Van. ILDARUNI was an ancient toponym, the Urartian name for the river currently known as the Hrazdan in Armenia. However, choosing this name was not dictated by the folk-black metal influences. It sounded unique, clear, and fitting for our band. 

2. Although Ildurani is a black metal band, its members come from other bands more closely related to styles like death or thrash. Why this change of direction? Why is black metal important to you?

Robert: That’s true, our band members have other projects and collaborations besides Ildaruni. But we all mostly listen to the classical genres of metal. Honestly, we’re not big fans of modern metal and its countless subgenres. For us, this music is something that must be proven and earned over the years. It’s not for the masses and hopefully never will be. As for Black Metal, I think it’s a different level of musical experience; it consumes you, draws you in, and makes you dive deep into the abyss of unique and haunting sounds.

3. After an initial demo, in 2021 you released "Beyond Unseen Gateways," which garnered some good reviews, and you will soon release "Divinum Sanguinem," your second album. How did you approach the songwriting and recording process for this new album? What evolution can we appreciate in the sound between the two albums? What brands of instruments did you use in the process?

Robert: We spent a lot of time and effort on this second album, aiming to release something authentic and different, both musically and lyrically. Nowadays, composing truly unique music has become almost impossible, so to leave your own small imprint in this genre makes you work harder and longer. That constant drive and thirst for music leads you through the unknown, from the void and nothingness, you create and shape new sounds and atmospheres. In terms of evolution, I’d say the musical themes are more intertwined, and the song structures are more complex compared to the older material. It’s harsher, more aggressive, and faster; you can immediately feel it in the first single we’ve released. We used two different Solar guitars and an ESP LTD Deluxe EC-1000S for some themes and lead parts.

4. The sound of “Beyond Unseen Gateways” leaned more towards pagan/black metal, however, in “Divinum Sanguinem,” while still retaining folk instrumentation, you've taken a step towards a darker and more forceful sound, with a more occult or mystical tone. Why this abrupt shift towards a more direct sound? How would you describe the sound of the new album? What influenced you when composing the music for the new album?

Robert: Beyond Unseen Gateways was deeply infused with folk melodies, while still maintaining a strong black metal core. Many bands have successfully combined these two genres, enriching metal by adding textures and ambience. Yet, at some point, every band must evolve and push forward, exploring new musical horizons and injecting fresh elements into their sound, much like Enslaved, Primordial, or Negură Bunget have done throughout their careers. 

For us, this transformation was also inevitable. There must always be change, a powerful step that defines who you are as a band and as a musical entity. The sound of Divinum Sanguinem is a reflection of that evolution. It’s piercing, direct, and full of energy, carrying a darker and more mystical tone compared to its predecessor. The compositions are filled with intertwined melodies, layered structures, and moments where many things happen simultaneously, creating a dense and dynamic atmosphere. I would describe it as a more intense, mature, and musically complex work, an album that embodies both our growth and the inner fire ready to burst, igniting our path toward the next milestones.

5. In your first album, you explored themes related to the lesser-known history and mythology of Armenia in an almost conceptual way. In this second album, what themes did you consider addressing in your lyrics? Is there a conceptual story embedded in your lyrics once again? What inspires you when writing lyrics, and why do you consider them important? Do the lyrics adapt to the music, or vice versa?

Robert: This album draws inspiration from Mithraistic traditions, steeped in mysteries and occult beliefs that span vast territories from Iran to Rome. But conceived and delivered from a different perspective, it is not a historical account, this is a conceptual album that plunges the listener deep into the heart of ancient mysticism, drags the listener deep into the dark, arcane realms. This album conveys themes of transformation, spiritual ascension, apothantismos, and the profound symbolism inherent in the mythraistic initiations.

At the same time, here Mithra is a spiritual archetype behind the mask, the torchbearer who moves the heavens, opposer, the absorbing void. And the path of transformation traverses through this void of nothingness. Inspiration for the album’s lyrical and conceptual depth also draws from the Papyri Graecae Magicae, revealing the transformative power of the ancient occult.

When it comes to adapting lyrics to music, we typically compose the entire song first and then shape the themes and lyrics around the music.We use the same approach for the songs of the previous album and don’t think it will get any changes in the future. We followed the same approach on our previous album and see no reason to change it in the future.

6. The mixing and mastering of the new album was done at Iguana Studio (Germany). Why did you decide to work with this studio? Did you handle the rest of the recording process yourselves? How did the idea for a video for the track “Of Nomos and Flaming Flint Stone” come about?

Robert: All recording and engineering for the album took place across several local studios. However, we entrusted mixing and mastering to the talented Christoph Brandes, who has collaborated with bands such as Thron, Imperium Dekadenz, Duskmourn, and Virvum. The process went seamlessly, and Christoph perfectly captured the sound and atmosphere we envisioned for this album.

The lyric video for “Of Nomos and Flaming Flint Stone” was masterfully created by Stefano Mastronicola, with whom we’ve had the pleasure of working before. He skillfully translated the track’s atmosphere into visual form, using abrupt transitions and dynamic animation.

7. You're working with Black Lion Records again for the release of the new album. While it's true that “Beyond Unseen Gateways” was reissued by other record labels, it seems that won't happen this time, as Black Lion Records has opted for three different formats from the start. How did the idea of ​​continuing with Black Lion Records come about? Are you satisfied with their past work?

Robert: Definitely, we are very satisfied working with Black Lion Records on both our previous and upcoming albums. It’s truly a pleasure to collaborate with a label so deeply devoted to preserving and promoting the underground spirit of metal. Oliver consistently supports us and has a clear vision of how black metal should be presented.

One note: only the vinyl edition was released (not reissued) by the Greek label Razorbleed Productions, under license from Black Lion Records.

8. Who designed the album cover? What does it represent, and how does it relate to the album's content?

Robert: The cover artwork was created by the talented Khaos Diktator. When I shared our conceptual vision for the album and how we imagined its visual representation, I found that he fully connected with the theme, and he had a clear understanding for the project. From the very first sketches, it was evident that he had immersed himself deeply in the central concept, he could incredibly depict the mystical and esoteric aspects of the theme. It is a glorious manifestation of the album’s visual essence. He has proven his skill through cover art for bands like Nordjevel, Coscradh, and Chaos Invocation, and his work for our album truly brings its dark essence to life.

9. The track “Forged with Glaive and Blood” begins with a sound that resembles an instrument like the bagpipes. What is this instrument, and how does it fit into Armenian tradition? Who was responsible for this section? Are there any guest artists featured on the album?

Robert: Musically, “Forged with Glaive and Blood” is one of the most dramatic and diverse tracks on the album. As you mentioned, it blends Irish bagpipe melodies with dynamic black metal riffing, featuring multiple transitions and vocal narrations. Our friend Arthur Atayan once again lent his talents to help bring this epic sound to life, just as he did on our previous album with wind instruments. His contribution has undoubtedly added authenticity and power to the track. That said, we were not trying to create another folk-black metal song, the use of such a unique instrument simply felt natural for this composition. As for guest contributions, we’ll be announcing them when the album is officially released.

10. Is it difficult to stand out or gain recognition in a country like Armenia when playing black metal? What black metal traditions can you tell us about in Armenia? What is the extreme metal scene like in a city like Yerevan?

Robert: The popularity of metal music in Armenia has unfortunately declined in recent years, which has slowed the overall growth and evolution of the scene. As a result, some bands have been discouraged and disbanded. However, there are still dedicated groups striving to overcome these challenges and continue spreading their dark art, driven by genuine passion and inner fire. Ultimately, metal requires passion and commitment to fuel artistic expression. Though the Armenian metal scene is developing gradually, it remains active and holds strong potential for growth and recognition in the near future.

When it comes to subgenres, Black Metal stands out as one of the most popular. Its authenticity and captivating atmosphere often capture the hearts and minds of new listeners. This genre is constantly evolving, each band of local black metal scene contributes its own distinctive touch, enriching and strengthening the scene. I’ve also noticed certain influences of Hellenic Black Metal within the Armenian scene, a connection that feels quite natural considering the fact of our shared historical and cultural ties.

11. You haven't given up on performing your music live, even playing concerts outside your country. What concerts do you have planned for the live launch of the new album? Is it absolutely necessary to travel abroad to gain recognition?

Robert: I believe that nowadays performing live shows abroad is highly important and prominent for any band, especially for those that are active and consistently releasing new music. Touring internationally is not just about performing; it’s an opportunity to share your artistic vision, connect with new audiences and allow your music to reach listeners who might otherwise never experience it. Each show becomes a chance to spread your incantations.

At the same time, touring and performing abroad are crucial for building connections within the music scene, relationships that can play a key role in a band’s growth, collaborations, and long-term progression. 

Regarding upcoming concerts, I can’t share specific details yet, however, we will be announcing more information about the album and our future live shows very soon.

12. How did you get started in music? What were the first concerts you attended? What were the first albums you bought? What event in your lives inspired you to become musicians?

Robert: It was so long ago that I can barely remember what first drew me to extreme music. But every time I discovered a new band, I felt compelled to dig even deeper, driven by a kind of obsession and hunger. 

I think the first albums I ever bought were Iron Maiden’s Number of the Beast and Venom’s Welcome to Hell. I remember being completely absorbed in the New Wave of British Heavy Metal, hunting down every album released by NWOHBM bands. So, my journey naturally evolved into the extreme side of metal when I discovered the titans of Thrash Metal.

13. Which album represents the essence of black metal for you? What are the latest albums you've bought?

Robert: Black metal brought a whole new conception and set of ideas to the essence of metal, reshaping the entire genre. There are certain releases that capture this essence perfectly, albums that you can’t mess up. For instance,  Anthems to the Welkin at Dusk by Emperor, Sworn to the Dark by Watain, or Storm of the Light’s Bane by Dissection. These albums have become synonymous with black metal itself.

Recently, I bought Revelations of the Red Sword by Icelandic Svartidaudi and Barshasketh’s latest release, Antinomian Asceticism. I’d highly recommend giving them a listen if you’re searching for music that’s both intense and deeply authentic.

14. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Ildaruni's fans, this is the place. I hope you enjoy the questions.

Robert: Thank you for this in-depth and insightful interview. Hope you will enjoy our second album, Divinum Sanguinem! Cheers!

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Se Lusiferin Kannel ‎– Valtakunta (2LP) 25,99 €

2 × Vinyl, LP, Album

Originally self-released digitally during October 2017, Valtakunta is Se Lusiferin