1. Wurgilnõ will be launched in 2023, however there is a precedent with the band Mergelland, why did you decide to create Wurgilnõ? What does the name Wurgilnõ refer to? And why do you choose it? Why this coexistence in time between Wurgilnõ and Mergelland?
Mergelland was a project I started during the Covid-19 lockdowns, but I eventually lost momentum. When I began Wurgilnõ a few years later, I revisited the recordings from Mergelland to see if there was anything useful. Ultimately, one of the original Mergelland songs made it onto the new album. Wurgilnõ is an ancient Saxon word meaning "Man on a Gallows" and serves as an ode to one of my ancestors who was condemned and hanged as a highwayman in the 17th century.
2. Although you have been active since at least the beginning of the nineties, what was it like for you to face the composition and recording of an entire album? What do you think has changed between the sound of “De doden rusten niet in vrede ” and the new album? What is your way of working on new songs? What brands of instruments do you use in the process?
It has become much easier to record compared to the nineties. Back then, you were already a hero if you had a four-track recorder, whereas nowadays, you're ready to record in no time. The sound between the two albums has become fuller and more epic, partly because I had more time to write and record, and the mastering in Sweden made a significant difference in terms of sound. On this album, I mainly play Epiphone guitars and an Ibanez bass.
3. In this second album a step forward has been taken in terms of achieving a better sound, however there is an undercurrent of dark and primitive black metal sound of Greek and Finnish origin, how would you describe the sound of this new album for who still haven't heard it? What bands and styles influence you when composing music for Wurgilnõ?
It's true that the raw, gritty Black Metal sound is still present in the lower regions of the tracks, mainly because I love that sound. The Greek and Finnish scenes have always been a major influence on me as a musician, much more than the Norwegian or Swedish scenes (except for Bathory). Bands like Rotting Christ, Necromantia, Varathron, Unholy, Beherit, and the like are a significant influence on my music and are also my go-to choices when I want to listen to music.
4. A notable aspect of his music are the lertas, inspired by stories, legends or real events from the Limburg region where I come from, such as the bokkenrijders, the accident at the Hendrik mine in Brunssum, the experience of Entgen Luijten accused of witchcraft, “the plague”, etc., all of them linked to episodes of death, hatred and occultism, how inspiring is the Limburg region for you when selecting the theme of your lyrics? Why did you choose these events? to treat them in your texts?
For this album, I did a lot of research into old stories from the region, much more than for the first album. From that extensive collection, I chose these eight themes, mostly legends but also true stories such as one from 1928. Then I started turning all of this into lyrics, which was quite a challenge since writing lyrics is not my greatest talent.
5. You have had the collaboration of Tobias “Lord Esgaroth” Micko from Suffering Souls for the last song on the album. Have you considered adding new members to Wurgilnõ, such as a drummer? Is there a possibility that one day you will present the music of Wurgilnõ at a concert?
At this moment, it is just very difficult to find musicians who want to play this kind of music, although there are plans to perform live. There is a significant shortage of drummers, and those who do play drums are usually already in several bands simultaneously.
6. Although most of the writing and recording process has been done by yourself, for the mastering of the album you have worked with Jon Sjolin, why did you decide to work with Jon? Do you feel more comfortable controlling the entire recording process yourself? recording?
Jon Sjölin only did the mastering; I handled all the recordings and mixing myself. It's always nice to have someone else do the final mix, as it provides a fresh perspective on the recording.
7. Although the digital edition of the album has been carried out at your expense, for the edition on CD and cassette in cash with the record labels Fetzner Death Records and Rotting Sun Records, how does the contact and subsequent edition of your music with these labels occur? record labels? How important is it for you to be able to offer Wurgilnõ's music in a physical format?
It is very important to release the album not only digitally. There’s nothing cooler than having a real CD, cassette, or LP of an album. Nowadays, digital releases are a must, otherwise, no one will hear your music, but working with labels and actually releasing it physically is much more important to me.
8. Merg & Been have made the artwork for the album, what does the album cover represent and how does it relate to the content of the album? Why did you decide to work with Merg & Been?
Merg & Been is a small label that I run myself. In addition to releasing limited edition cassettes, I also do some artwork here and there. For this release, I also did the artwork. It symbolizes the landscape of the region where I live and what the album is about. The farm represents the transience and history of the Krijtland.
9. You have been involved in the Dutch black metal scene since the early nineties. How do you think the Dutch extreme metal scene has evolved over the years? What is your opinion of the black scene today?
When we started playing in 1989/1990, there were already many bands but few that were more extreme. Later in the '90s, a small scene gradually developed. I am a huge fan of the Dutch Black Metal scene; I think we have some very unique bands in this small country. Perhaps we don't play a significant role on the world stage, but in Europe, the Dutch Black Metal scene is certainly making a substantial impact.
10. How were your beginnings in music: first concerts you attended, first albums you bought? What event in your life pushed you to want to be a musician?
My very first concert was by a Swedish band called Iceage somewhere in 1988/89; it was more thrash and consisted only of women. After that, things took off quickly with bands like Entombed, Paradise Lost, and Autopsy coming through in rapid succession. A bit later, just across the Belgian border, we had Immortal, Rotting Christ, Blasphemy, and Impaled Nazarene. My first festival was Dynamo Open Air in 1989. The first album I bought with my savings was Bathory’s *Blood, Fire, Death*, which I still consider one of the most important releases ever.
The reason I started with bands was because I had always been involved with music, and after seeing Venom live on TV, I knew exactly which direction I wanted to go.
11. What album represents for you the essence of black metal? What latest albums have you bought?
If I had to choose an album for each wave, it would be as follows: First wave; Bathory – Under The Sign Of The Black Mark, and second wave; Darkthrone – A Blaze in the Northern Sky. For me, these albums are the ultimate, but of course, that's different for everyone. The last album I bought? Tiamat’s Sumerian Cry on gold vinyl. It remains a top album, and I didn't have this version yet.
12. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Wurgilnõ fans this is the place. I hope the questions are to your liking.
Thank you very much for this interview! For everyone interested in my album, check it out on Spotify or Bandcamp, or order it via www.mergenbeen.nl or wulgilno.bandcamp.com.
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