1. Urluk started around 2020, although they later also joined Manserunt. Regarding Urluk, how did the idea for the band come about? Why the name Ulrluk, and what does it refer to?
M. : The idea of starting this project came from both U. and me wanting to give voice to ourselves, using music to convey our emotions. The band’s name has a strong territorial significance, as it translates to a bird of prey from the owl family inhabiting our plains; this nocturnal creature is averse to light, almost stunned by its sight. Later, this peculiar trait of the animal was used in the Milanese dialect of our area to call someone foolish.
2. Three years after the release of "More" (2023), they already have its follow-up ready. How did they approach the process of composing and recording the new album? What brands of instruments did they use?
U. : We definitely had more time, which allowed us to work carefully on the sound, atmospheres, and riffs. We were able to explore different directions and figure out how to steer towards something distinct from our previous work.
Regarding instruments, I mainly used my ’90s Gibson SG, with which I composed all the songs, along with a recently acquired Fender acoustic. I filtered a BOSS DS-2 through a Blackstar valve amplifier, experimenting with non-standard tunings. I wanted the guitar tone to be firm but not too dirty, reminiscent of ’90s alternative sounds.
3. Despite only about three years having passed between the two releases, what's offered on their new album, "Memories in Fade," seems like an almost complete break with their past. While still retaining that inherent black metal darkness, along with a certain aggression, the sound shows different influences, not all of them close to black metal, such as a substantial weight of alternative rock, as well as a search for melodic, melancholic elements, gothic influences, electronic elements, or a certain psychedelia from 60s/70s rock. All of this is perfectly woven together, resulting in an album full of nuances, but above all, emotions—emotions that speak of loss and loneliness, among other things. How would you define the sound of the new album? What bands or styles have been an influence when composing the new album?
M. : Since we both dislike repeating the same formulas, with this work we felt the need to look inward more deeply and be less bound by the conceptual and stylistic constraints of the previous album. Memories in Fade represents the natural evolution of the project, blending old and new elements according to our ideas. I don’t know how to technically define the sound of this album, as it’s a personal assembly of many shades, so I leave that to listeners and industry professionals. Personally, I don’t refer explicitly to any particular band, though the influences I absorbed over the years naturally emerge.
4. Something similar happens with the lyrics. To begin with, the clean vocals from the very start of thealbum are a significant shock to the listener. That melancholic tone, steeped in sadness, with themescentered on loss, loneliness, and hauntology, could you explain these concepts a bit and how you decided to incorporate them into your lyrics and themes? Isn't it somewhat risky for a black metal band to tackle these topics? Do the lyrics adapt to the music, or vice versa?
U. : I delved into the hauntology current, studying Derrida and writer Mark Fisher. From there, I reached the musical dimension, listening to artists like The Caretaker, William Basinski, and the Ghost Box collective. While working on the concept of our latest album, I started from these influences, aiming to maintain continuity with previous works; I think coherence has been preserved.
The lyrics are strongly linked to the music; in a sense, our work since LOSS can be seen as an entire oeuvre. Exploring new themes is, in my view, mandatory for any band, regardless of genre: repeating oneself is not part of our idea of making music; it would just be wasted time.
Despite the existence of a rather outdated purist slice of black metal, over the past forty years the genre has explored countless sounds and influences, making it one of the most versatile and courageous genres.
5. The album was recorded and mixed at Orion Recording Studios, and mastered by Riccardo Parenti. How did you decide to work with these people, and what do you think they contributed to the final sound of the album?
M. : Without exaggeration, the album has incredible production. It is undoubtedly our best-produced record, and to achieve this, we relied on sound specialist Frank Altare and his Orion Recording Studios. I dare say the production quality of this album surpasses that of many works by much more renowned bands.
6. There were also a couple of collaborations with Felis Catus and Claudia. Was Felis's work fundamental in achieving that more melancholic atmosphere on the album? How did you decide to include these collaborations?
U. : Felis Catus had already collaborated several times with Sal Schizoid from Malauriu, who is a close friend of ours. He put us in touch, and from there we began laying down the first foundations. The work was long but incredibly stimulating and almost formative. Francesco Cucinotta, aka Felis Catus, has an immense musical culture: he is an intuitive artist, open to experimentation, and at the same time a noble and delightful soul. His contribution was crucial for the entire Memories in Fade.
Claudia contributed to The Last Watch, adding an ethereal and suspended touch that perfectly complements the melancholic atmosphere of the track.
7. The Romanian record label Pest Records will be releasing the album digitally and on CD. How did you decide to work with Pest Records on the album's release?
U. : Once the album was finished, finding a label turned out to be extremely difficult, especially because of our musical shift compared to previous works. We were told all kinds of things: we weren’t black enough, too experimental, not occult enough, and so on. Some even said they were fully booked until 2097.
Amid so much closure and lack of courage, we realized we were exactly on the right path and had done something different within the genre. Then we found Pest Records: they believed in our work, made us a very interesting offer, and that’s how the collaboration started. We sincerely thank them for their courage and vision.
8. Azmeroth Szandor designed the album cover. Unlike "More," where loneliness and emptiness were portrayed more directly, "Memories in Fade" is more blurred, as if emotions have erased some of the memories. Why did you choose to work with Azmeroth for the album cover? What does the cover represent, and how does it relate to the album's content?
M. : We chose Azmeroth because, besides being a great musician, he is also an excellent graphic artist. This wasn’t the first time we entrusted him with our visuals, and once again we are fully satisfied with his work. The cover was chosen by us, using the painting Splendore Bianco by Aleksandr Kryushyn; for Memories in Fade we wanted a more dreamlike and abstract imagery, something that could represent the concept of fading and evanescence.
9. How would you describe the current state of the extreme metal scene in Italy? What similar bands from Milan can you recommend?
U. : We are completely detached from the scene. We are not interested in trends, dynamics, or local circuits: we just make our own music.
10. Black metal has always been characterized by its irreverent nature, while also lending itself to different interpretations and often combining well with other styles and influences beyond extreme metal. However, these boundaries are being explored in increasingly daring ways. Did you feel, while composing and recording the album, that you were reaching the limits of what black metal can encompass? In other words, have you strayed from the path? Does this need to be defined differently? What is black metal to you?
M. : Absolutely, this new album allowed us to surpass not only the band’s limits but also our personal limits as musicians, putting ourselves in a plane of personal challenge. This path of progression started with Loss and continues today with Memories in Fade.
Black metal today is dead if we consider its original meaning as a cultural movement. If we contextualize it, however, it has evolved into something different, adapting to modern society with all its contradictions.
11. Is there a possibility of you performing a concert with Urluk, or is this something you haven't considered, and will Urluk remain solely a studio band?
U. : Urluk was mainly born as a studio project, so for now we focus on music and production. However, we don’t rule out some live events: if the right circumstances arise and it’s worthwhile, we will seriously consider performing live.
12. The composition of "Memories in Fade" was almost immediate after the release of "More." Are you already working on new material? What can we expect from Urluk's next release?
U. : Right now we are focused on promoting Memories in Fade. We are considering reissuing our first EP, Loss, which is no longer available on CD, with a revised artwork and a bonus track.
As for the future, we will take a long break and then see how our sound reshapes itself. One thing is certain: we will not repeat ourselves.
13. 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 become musicians?
M. : I started listening to black metal very early, I was 13 years old and it was around 1996–1997. Back then everything was different; it’s hard to explain that world today to those who didn’t experience it firsthand. My first concert was Mayhem at the Rainbow Club in Milan on November 2nd, 1998; it was a completely insane and unforgettable night. A night that has since become legendary in the extreme music scene of Milan. Godkiller were supposed to open that evening, but unfortunately they couldn’t perform due to technical issues, which was a real shame.
As for albums, I started like many people of my generation, with the ’90s records that defined the genre: Satyricon, Dimmu Borgir, Enslaved, Absu, Darkthrone and many others. The idea of becoming a musician naturally came during those years.
U. : My first concert was Soundgarden in Milan in 1996, an experience that profoundly marked me. I started playing guitar at 12, growing up with the Beatles, Pink Floyd, and ’60s music like the Velvet Underground. The ’90s alternative rock scene was also crucial for me, from Nirvana to Soundgarden and Slint.
Music has always meant everything to me: I started playing because I found in it my true self, a place where I could feel authentic.
14. Which album represents the essence of black metal for you? What are the most recent albums you've bought?
M. : As far as I’m concerned, the absolute peak of the genre still remains Anthems to the Welkin at Dusk by Emperor. Latest albums? Hmm, I recently picked up some stuff by Alcest and Dolorian (When All the Laughter Has Gone is pure suffering!), as well as the debut album by Bianca, a band from our country.
U. : I consider Transilvanian Hunger the ultimate manifesto of black metal: the highest synthesis of its concept, both musically and philosophically, simply unreachable.
Recently, I’ve been listening to and buying several albums by Revenant Marquis, a project that struck me deeply and creates a sound that is hard to find in the genre.
15. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Urluk's fans, this is the place. I hope you enjoy the questions.
M. : Thank you for your interest in Urluk and for giving us this space. Always believe in your dreams.
U. : Always do whatever you want, don’t let yourselves be influenced, and always experiment. Staying stuck in the same musical form means dying artistically.
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Blaze Of Perdition – Conscious Darkness (Picture Disc) 20,99 €
