Good afternoon, thank you very much for answering these questions. How are things going in Ljubljana?
Greetings! Our collective is actually only partly from Ljubljana, that is where we rehearse, but the music and its ideas a lot of times sprout in Bled. And the answers for this interview will come from this side of Slovenia from N.K. and M.D. Bled is at this moment quite cold, but just below the line of snow, so no real winter yet.
1. Kamra started around 2020. There seems to be a connection between almost all of its members and the death metal band Siderean. Why did you decide to create Kamra? What does the name Kamra refer to, and why did you decide to use it? Can Kamra and Siderean coexist completely independently, or do they feed off each other?
True. The birth of Kamra is closely connected to the covid lockdown period when M.D. wanted to create something originating more in black metal. He asked me to join on vocals and we started finishing the EP “Conversing with Ghosts” together. “Kamra” the name was one of the choices and we knew it was right, already during the process of making the logo. It was made basically, as the name was chosen. “Kamra” the meaning is harder to explain in English, but a direct translation would be “a den”. A small room, a chamber. It can mean a dark room that is a little bit claustrophobic, or a cozy room with a meaning and a story. It is not one or the other, but many things all at once. The word itself is present in many languages, not only Slovenian and not only Slavic languages. It is a very very old word that held to it’s meaning.
There were no definitive plans for the project at that point yet. But everything evolved and progressed into a full fledged band. The best and almost only logical choice was to include other members from Siderean. So, it never really was a Siderean side-project, but it became its black metal sibling later on. Now, they co-exist in a very interesting dynamic, as Kamra is very spontaneous and our writing process is different to that of Siderean, but of course one project inspires the other, some riffs are made without falling into one place or the other and everything flows very symbiotically.
2. In 2022, you released your first album, "Cerebral Alchemy," which is followed by the release of "Unending Confluence," your second album. How did you approach the writing and recording process for the new album compared to the first? What is your approach to writing new songs? How do you think your sound has evolved between the two releases? What brands of instruments do you use in the process?
N.K.: I would say that the writing process was in many ways very similar to how the second part of “Cerebral Alchemy” was written. The second part is basically the continuation from the EP forward. M.D. prepares most of the riff ideas and then it usually goes one of three ways. Either me and M.D. get together and start recording demos, changing riffs and compositions, adding synths, etc., or M.D. sends something pretty fleshed out by himself already. The last option is that M.D. brings his ideas to the rehearsal place where we then all pitch in. So, there is really no one way to do it once we have some initial idea and then we just work on those until takes shape and feels right. There are times when we re-iterate the demos in a few ways and there are times when everything falls into place instantly.
As I see it, the progress between the two releases is like a gradient. It is not very drastic but it transitions from one colour to another, step by step slowly, always keeping a connection and a flow to where it all began. The evolution is spontaneous yet very logical.
M.D.: The process of writing the songs starts with fleshing out the atmosphere and a feeling that will be aimed at in the process. Then the riffs come following that agenda and the songs start taking shape like N.K. described it. The recording process was different from the debut. Various instruments heard on the sophomore were pre-recorded in the songwriting process in a quite strange state of mind, resulting in a very unique sounding takes. We didn’t want to lose that, so we used pretty much every recording that we could. Through the process we used many different effects and guitars, everything played in a different way. We experimented quite a bit with the main guitar sound and even had a guest appearance on synths. So, in comparison with the debut, yes, it’s a big difference. The instruments we use are not always typical for this kind of music; guitars are tuned down to A standard so the guitars need a special setup or different tunings when we’re using hollow body guitars. Who cares about the brands.
3. The weight of darkness, death, and even certain ritualistic elements present in “Unending Confluence” is undeniable. However, it's also important to highlight that your sound can be complex, with a significant number of influences ranging from black to death metal, encompassing a variety of terrains, including a certain experimental or even avant-garde tone. How would you describe the sound of the new album? Which bands or styles have influenced you when defining the sound of “Unending Confluence”?
The lyrical images and the sound go hand in hand, but there is no direction or rule what they will encompass. In the same sense the complexity of genres you mention are a product of our direction not being set by a genre but by what we want to create with Kamra, it is basically the essence of feelings and contemplations when Kamra was created. When something sounds like “Kamra” we know it is right and it does not matter what genre it is. Take “Owlgrowth” here for example. So, in the end if I have to describe the sound – it is Kamra. If I have to explain what genre it is, I would only say it is black metal. In the 90s black metal was already extremely experimental if you look at Mayhem’s “De Mysteriis dom Sathanas” and later the “Grand Declaration of War”, or Fleuerty, Ved Buens Ende, Dodheimsgard. Black metal has produced so many different subgenres because it is so malleable, so I find this term quite fitting.
Some of the bands we listened to during the writing process of “Unending Confluence” were Current 93, Thantifaxath, Abigor, Obliteration, Bathory, Reveal!, Swans. The Devil’s Blood.
4. On your previous album, you addressed themes related to brain chemistry. What themes are you exploring now in “Unending Confluence”? Why did you decide to address these themes, and why is it important to you? Do the lyrics adapt to the music or vice versa?
“Cerebral Alchemy” is thematically as much about brain chemistry, as “Conversing with Ghosts” is about ghosts. And I will just leave it at that. Kamra leaves a lot open to interpretation and that is the point of the imagery presented in lyrics. It is supposed to explore and evoke emotion. It deals with the degradation of humanity, contemplations about death, avoiding regret etc. We want the combination of sounds and words to work different for each listener.
These themes are not addressed, they exist and they are completely unfettered by their importance.
The lyrics are written independently and the choice is made once we start recording vocals. Usually, there is one or more lyrics opened and once I start recording, one of them fits perfectly to the song. Most of the time nothing is added or changed.
5. MH Dungeon, Anže Čanžek, and Gabriele Gramaglia, among others, collaborated to shape the album's sound. What were you looking for with these professionals when recording the album, and why did you decide to work with them?
MH Dungeon is our rehearsal place and not a studio, but we have great experience also recording there. Anže Čanžek is basically our sixth unofficial member, because we consider him and his vision for how we should sound to fit symbiotically with ours. Furthermore, Gabriele is a good friend and a maestro at what he does, so we not only trust his direction when mastering, but also deeply value any feedback we get from his side. So, on all three fronts these decisions were natural; and based on the work these guys have done - also the correct ones. We consider “Unending Confluence” to be one of the best sounding records our collective has released to date. We are immensely grateful to everyone involved.
6. "Owlgrowth" is a song that includes parts recorded in a forest in Bled. Where did the idea for this recording come from, and what were you aiming for with its inclusion on the album?
It happened by accident. As was with the first album, me and M.D. have been going into the woods behind my house during the night and this one time with altered states of mind we heard an owl producing this sonar-like sound. There were three of us involved and I just started recording this sound, someone stepped on a branch – it snapped. We all looked at one another and started snapping branches which produced a rhythm. This recording was then used the next day and I recorded some guitars over, cut some parts to make a flowing rhythm and the first iteration of “Owlgrowth” was born. Since then, we knew it will be adapted and used on one of the coming Kamra records. It had to only wait for the “Unending Confluence”.
7. You released the new album again with the record label Avantgarde Music. What do you think this collaboration, which was present on your previous album, has meant to you? Will there also be a cassette release of the new album in the near future?
Avantgarde Music is a legendary label that released some historical albums back in the day and they are still doing this today. We are really grateful for their trust in Kamra’s vision and consider them friends of ours. In these hard times for the music industry, they are really a bright light when it comes to their dedication and desire to keep the scene fresh and interesting. There will not be a cassette release anytime soon, but maybe it happens. We are open to it. Last time it was through Edged Circle Productions from Norway, this time maybe through someone else. Let’s see.
8. Who is Jeff Christensen, the person in charge of the album cover design? Why did you decide to work with him? What does this cover represent and how does it relate to the album's content?
We worked with Jeff already for the first album and there was no doubt that if he was willing to collaborate once more, we will do it. He wanted to start working on the cover, as soon as we wrote to him and send him our demos. We really consider his contribution a very integral part of what Kamra is. And we are honoured and grateful that he is willing to create with and for us.
Similar to the lyrics, the cover should speak for itself. All I can say is that the cover was the final inspiration for the name “Unending Confluence”. It was made before the album actually had a name.
9. There are cases of countries where extreme metal bands seem to have a hard time making it outside their borders. In my opinion, this is something that happens in Slovenia, where you come from. Excellent bands seem to trickle in, but they're hard to find. What do you think of the extreme metal scene in Ljubljana in particular, and in Slovenia in general? What bands from your country can you recommend that you enjoy?
A very interesting observation. I actually think Slovenia is a very special case because we still have a very strong scene for a small country. Admittedly, the scene was stronger 10 years ago, but this is something that happened all across the world.
Ljubljana, and Slovenia in general, is situated in an interesting spot where a lot of big and small bands stop. So, we have a ton of concerts during the year. Slovenians are basically spoiled when it comes that. On the other hand, Slovenian bands suffer from this, because the public has to decide whether to see some foreign band or a local one. Similarly to that, because we are such a small country of 2mil people we are less likely to fit within the algorithms that now dictate the music industry and this make it harder to push outside of our borders. In Kamra’s case I cannot really complain, because we have already played across Europe and are going on a small tour again in May 2026. We also have a lot of great music in Slovenia that you might already know, such as Laibach or Devil Doll. The most active bands that are currently very interesting I would say are Human Host Body, Malorshiga, Stamor, Srd, Štrik, Morost, Mossgiver, Ueldes and Ensanguinate.
10. I suppose you already have some dates lined up for the live presentation of the new album. Is it very difficult to capture the intensity of your sound live? What can your fans expect from a concert?
We presented our album at the Avantgarde Festival in Milano, one day after it was released, and then a bit more than a month after, in Cukrarna - Ljubljana. Both of these experiences are monumental for us, as both places were filled to the brim with the right people. In Milano we shared the stage with the likes of Dodheimsgard and Defacement and in Cukrarna we had Malorshiga open for us. Cukrarna is a historically important place in Slovenia and it was in the past years renovated to become an art gallery.
We had no plan to play live with Kamra at the beginning of its inception. But once we started rehearsing it showed that it only makes sense to step on the stage. So, in a way, it was very easy, and it still is, to perform our music live. You can expect a wall of sound that will crush you like a room’s confining embrace. There are no backing tracks, no click. Besides the intro and an outro, everything you hear comes from the stage.
11. How did you get started in music: first shows you attended, first albums you bought? What event in your lives pushed you to want to be musicians?
N.K.: A really hard question to answer concisely. I attended my first rock/metal concert when I was in primary school. I bought some Nu-Metal albums then, but I have no idea, which one was the first one. I played drums in a punk band in high school and opened for Paul Di’Anno when I was 15. I saw Dimmu Borgir in 2007, went to my first metal festival the next year (2008) and then to my first underground black metal concert also in 2008 (Lord Belial). There is no one event that pushed me to want to play music. Everything just happened. And it still keeps happening.
M.D.: Probably first metal concert was in 2006 when my older brother took me to Apocalyptica show. A year later my first underground metal gig by Slovenian thrash legends Železobeton. The same year I witnessed the Paul Di’Anno gig as well, but at different location as N.K. First album I ever bought was Iron Maiden - Dance of Death, right when it came out. Probably hearing Metallica at age of 3 was convincing enough to grab the guitar 11 years later. Always grateful for that.
12. Which album represents the essence of black metal for you? What last albums have you bought?
This is a really hard question, but in the end, I would go to “De Mysteriis Dom Sathanas” and “Blood Fire Death”. These really stand the test of time.
The last album – Messa “The Spin” and No Future s/t. Probably two of the best in 2025.
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 Kamra's fans, this is the place. I hope you enjoy the questions.
Thank you for this interesting interview. It got lost in the emails and we are glad we still did it.
The Confluence is Unending!
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