1. When did you decide to create Malakhim? What does Malakhim's name refer to and why did you decide to use it for the band?
I can’t recall the exact time, but somewhere around 2015/2016 we started talking to eachother about rehearsing together. The idea then was to rehearse and see if there was any chemistry, and after a few months of the usual cover rehearsals we also had some songs of our own.
The name Malakhim we drew from the hebrew mal’akh. The meaning of “Messenger” or “angel” seemed very fitting at the time, and it also felt like a quite unique one. It was selected as we were discussing what identity to pick, and everyone was kind of drawn to it more than any of the other suggestions that were discussed at the time.
2. Malakhim has released a demo, an Ep and a live before “Theion” to date, have these previous releases served to polish and shape the definitive sound of “Theion”, as a way to test yourself as musicians?
Yes. The first two shorter releases were essentially about finding synergy in the band and a coherence in our writing. The first three tracks were written with quite a lengthy timespan between them, while the process sped up significantly for the second EP. The idea was to push some shorter releases before attempting a full-length album so to solidify our sound and our writing. The live tape was done as a spur of the moment decision as the soundboard recording of that gig was available and sounded quite good, and we wanted to give an insight into a more untamed version of the band.
3. How has the composition and recording process of the new album been compared to the previous releases? How is your way of working on the new songs? What brands of instruments do you use to compose record?
Like the older releases to be fair – ideas are brought to the band and then accepted or rejected, refined, rearranged and eventually a raw recording is made as well to test vocal arrangements. We again used the same studio as the other albums – Wolf’s Lair / M Norman who has been a solid foundation for the sound of the band since day one. Drums were recorded elsewhere, with the aid of B Bergström who was also involved in the I recording. As this set up has worked so well we saw little reason to alter it.
As for instruments – AN uses ESP Guitars, AK uses Jackson, TK has an Ibanez GSRM20B and VT has a Yamaha Stage Custom standard, Paiste hi-hat and Zildjian rides/crashes.
4. Although coming from Sweden it is true that the sound of “Theion” may somehow recall the Swedish black sound, but it is also important to highlight other elements that make the album enrich its sound thanks to different influences. How would you describe the sound of the album for those who have not heard it yet? Is the presence of AN (Naglfar) on guitar a fundamental factor when defining your sound?
Everyone has different reference points when talking about an album depending on what you grew up on or from what era of the genre you belong to. I would just describe it as a black metal album, as that is what it is to me. The genre has always been difficult to define sound-wise – kneeling to no master - as especially early on there was a wide range of bands that fit under the umbrella. Listening to the early works of Bathory, Ulver, Mayhem, Darkthrone, Dissection, Thorns, Immortal, Emperor – all these bands tap into different musical elements and mold them into pure sinister art – they all have a different sound, but ultimately, they are all black metal.
AN contributes to the sound like everyone else in the band.
5. Another important aspect is your music is the lyrics around Satanism, how important is it for you to be able to deal with these issues in Malakhim's lyrics? What meaning and importance does Satanism have in your life?
Black Metal needs the sinister aspects of Satan to call itself Black Metal in the first place, so to me this is a key element. The essence of the Devil permeates the art we make, to me this cannot be any other way. Most of my lyrical output isn’t written with any kind of framework, it starts with a row or sometimes even just a few words.
I consider myself a religious person, and how this manifests is a quite private aspect that is best saved for a more private setting.
6. When writing the texts for Malakhim, do you work first on the music and then adapt the lyrics or vice versa? Do you consider Satanism to be an inherent aspect of black metal?
No, most of the time I have some ideas prepared, and once a track is done, I will review and see if I have something that fits with the mood and the vibe of the song. I try to match the lyrical content with the general vibe I pick up from a track. Sometimes the songs are written for the lyric, as was the case with Hammer of Satan for example.
I believe I already answered part of the second question above, but yes, Satanism is an inherent aspect of black metal, but black metal is not an inherent aspect of satanism.
7. Unlike the more austere covers of your previous releases for “Theion” you have chosen to work with Mitchell Nolte, why did you decide to work with him and what do you intend to reflect with the album artwork?
So, the idea has always been in my head to keep the EPs and “smaller” releases more barebones – and maintain a similar aesthetic. If we find ourselves working on another EP, I am certain we will return to the more austere aspect as I find working with the same artists incredibly rewarding, there is a chemistry built up when doing something like that which I find electrifying.
For Theion we wanted something grandiose. I had seen some of Mitchells other works randomly online quite a while ago and had an idea that he might be an artist I would like to work with one day. Fortunately, he agreed when we approached him. He was given quite free reign, only the lyrics and eventually also a raw demo of the title track – we discussed the general optics, going into John Martins “The Great Day of His Wrath” as a general mood we would want to tap into. I think the cover captures the overarching mood and feeling that Theion is meant to convey – one of fiery triumph, of strife, sacrifice and ascension.
8. Has this period of confinement served you to be able to dedicate more time to Malakhim in some way and thus be able to have the new album ready? In what way has not being able to offer concerts be a handicap for the growth of the band? How have you kept in contact with your followers?
No, we have kept quite low activity during the pandemic in general. The idea was to do some gigs in support of the album, but that has clearly not manifested. I think not being able to play to support the album has of course meant the interest is not as big as it could have been, but I am no real expert in any of this. We have used social media a bit to give some insights into the album – the panel spotlight was done to give some background to each track as an example, but generally we do not want to overuse social media.
9. Since your beginnings you have had the support of Iron Bonehead when making your physical editions, how did the possibility of working with them come about? Do you think it is important to be able to offer your followers different physical formats so that they can choose ? In what format do you like to listen to music the most?
When we released the demo digitally, I contacted Patrick about it, and he expressed an interest in releasing it – the rest is history. I think it is good to offer the album on all formats if it is done with no compromise on the vision and idea.
I listen a lot to vinyl – I find this gives me a lot of time with the actual release, going through lyrics, booklets, looking at artwork and liner notes etc but obviously today I also do listen to a lot of digital releases as well, but I make a point of buying physical copies whenever I can.
10. How were your beginnings in music: the first albums you bought, the first concerts you attended, etc … What made you want to be musicians?
The first albums I bought myself were Metallica - Kill ‘em All, G’n’R - Use Your Illusion and Kärlek & Uppror by Ebba Grön – I can’t recall exactly how old I was, but it was through this tape subscription thing my parents were involved in where you picked 5-6 albums each month and got extras. As for first concerts I attended, there was a lot of activity in the town as we had a public house where a lot of concerts were hosted. I cannot recall what it was, but likely it was Punk/HC gig when I was 13-14. When I was older, I think my first proper festival/gig experience that left a lasting impression was seeing Mercyful Fate at Sweden Rock Festival in 1999.
I cannot really say what drew me to wanting to do music. Just something unexplainable that called out to me somehow. I get quite a rush from rehearsing or playing live, it just speaks to me.
11. How do you see the health of the black metal scene in a country like Sweden? How do you think it has evolved over the years? What can you tell us about the local scene in a region like Västerbotten?
I do not really know to be honest as I do not have much contact with Swedish bands, even less so the local ones. The circle of people I meet and hang out with regularly here is quite limited, so the local scene here to me still consists of bands like Ancient Wisdom, Naglfar, Bewitched etc. which are essentially the same few people. The guys in Mortuus were local before, but one half of that band have moved south a long time ago. There are some newer bands around too, but I do not have much insight into them or know them well.
Over the years, black metal has become more accessible. In some ways that has drawn in a lot more scene tourism where people scratch the surface and find themselves appalled at what they find. There has always been various themes coming and going within the scene, and in its current state I would say it is doing quite well despite a plethora of quite underwhelming material, there are still a few active acts of both old and new pedigree that keep the flame burning.
12. Which album represents the essence of black metal for you? What recent albums have you compared?
Easy. Mayhem’s “De Mysteriis Dom Sathanas” is what I would recommend to anyone who want to feel the audial essence of evil.
As for newer releases, the Syning debut and the new Misotheist are getting heavy rotation. I have also found myself revisiting the Israthoum back-catalogue, the new Cross Vault album that dropped a few days ago and the new Grave Miasma.
13. What future plans do you have for the band regarding upcoming releases, concerts, reissues, etc?
We have some gigs that we hope to be able to do towards the end of the year/start of next year. Theion is also being released on tape by Impure Wedding Productions during the summer, and a repress of the LP version is also inbound (but taking some time due to the pandemic). As for upcoming releases, we will see what time brings.
14. Thank you very much for the time dedicated to Black Metal Spirit, if you want to add something for Malakhim fans this is the place. I hope the questions have been to your liking
Thank you for the interest.
HUNGRY ARE THE DAMNED!
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Holocausto Em Chamas – לָשׁוֹן הַקֹּדֶשׁ
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