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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