HEGEROTH - INTERVIEW

 Good morning, thank you so much for answering these questions. How's everything going in Katowice?

Bene: Thanks a lot for the invitation for this interview. Katowice is a great and modern city. Last year it won the competition as the best city to live in Poland. 

Hegeroth was formed around 2010. What prompted you to create Hegeroth? What connection can we find between your previous band, Mortifer, and Hegeroth? Why the name Hegeroth, and what does it refer to?

Bene: Mortifer split up when we were entering our adult lives. After a few years I thought it would be fine to be able to play guitar and record it (I was bass player in Mortifer). In a couple of following years the first riffs appeared and with Kele (Mortifer drummer) we founded Hegeroth  and began to find other members. A year ago Chors, original voc of Mortifer joined Hegeroth! Regarding Hegeroth name - it means nothing, simply we wanted the word which sounds good and is unique in google search. 

"Soaked in Rot," Hegeroth's sixth album, has just been released. It comes three years after its predecessor and features lineup changes, with Bila leaving and Chors joining. How did Bila, a fundamental pillar of Hegeroth's structure over the last few years, leave? How did this affect the songwriting and recording process for the new album? How did you get in touch with Chors to join Hegeroth? What brands of instruments did you use during the songwriting process?

Due to personal matters, Bila had less and less time to meet up and work on music. At some point, we talked, and Bila suggested to look for someone to replace him so it wouldn’t have to put the work on hold. That’s when I thought of Chors. We played together in Mortifer in the ’90s, then lost touch, and after more than twenty years, Chors came to a Hegeroth concert in 2019. When Bila left at the end of 2024, I reached out to Chors, we met up, and we got right to work. 

Regarding instruments, I will tell you some details as I like to read such things in interviews…

Guitars were recorded on Ibanez RG2550EX (passive Dimarzio Tonezone) and Schecter C1 Platinum (active EMG57). Bass with Fender Precision - always good sounding and present in the mix. The old Peavey Bandit was used as a guitar amp (with Engl Pro V212 on one channel and Bandit speaker on second channel). Sure SM57 as mic and Focusrite 4i4 as interface.  

The sound of the new album showcases those Polish black/death influences; however, throughout Hegeroth's career, there seems to be a recurring theme in the structure of other extreme metal styles, such as thrash and doom. How would you define the sound of the new album for someone who hasn't heard it yet? What bands or styles influenced the composition of the new album?

I think our music has little in common with black metal, though others, including Chors, tell me I’m wrong. Growing up in the ’90s, we experienced a wave of thrash, death metal, and black metal. To me, it all blends and harmonizes nicely, and that’s what Hegeroth’s music is like. Though probably in reverse order. As for influences, I actually don’t listen to much black metal these days, though there are bands like Armagedda that blow me away with their music.  Come to think of it, I’m most inspired by classic bands like Slayer, Cannibal Corpse or Immolation— I love them, and they’re what drive me to try doing new things. 

Is there a shift in the themes of your lyrics with the addition of Chors on vocals? What themes do the lyrics of "Soaked in Rot" cover? Do the lyrics adapt to the music, or vice versa?

When we started working with Chors, he got to know Hegeroth’s lyrics. He said that the subject matter suited him and that he’d be more than happy to work in this direction. He certainly brought his own style, interpretation, and arrangements to the table along with his lyrics. As for the content, the lyrics mock the thoughtlessness, dogmatism, and meanness of the Catholic world around us, which wants to impose its way of thinking at any cost. In the case of Soaked In Rot, the music came first, then the vocals; let’s see how it turns out in the future.

Once again, the album will be self-released, which is noteworthy. You're not newcomers, and you've maintained this approach since your beginnings. What motivates this decision to self-release your work? Is it related to greater control over your music, a lack of interest from record labels, or is it simply something you feel more comfortable with?

Bila and I both decided that we wanted to release our music ourselves, without even trying to send our material to potential labels. When Chors came along, I brought up the topic, thinking that if necessary, we could change our approach. It turned out that Chors had the same approach. We do everything our own way, when we want to, and when we’re ready. With this approach, we know that everything depends on us; the release and promotion won’t happen on their own. 

Beyond his work at HHSoundLab, Bene has been involved in the entire engineering, mixing, and mastering process. Why such tight control over this process? Is it because he wants and knows exactly how Hegeroth should sound and doesn't need outside interference, or is it due to other circumstances?

I’ve always been interested in how recording, mixing, and mastering are done. Back in the ’90s, we recorded several times at Cyberstudio in Katowice, mostly with Marcin Mikulski. I tried to remember as much as possible by asking as many questions as I could. Even back then, I was starting to play around with Cubase, and later I scoured the internet to learn how it all works in practice. After Chors joined, it turned out that he pays even more attention to production details and fights tooth and nail for his opinion 🙂

The cover art is by Maciej Kamuda, frankly very well done and among the best in Hegeroth's discography. Why did you decide to work with Maciej? What does this cover represent, and how does it relate to the album's content?

We began working with Maciej on our previous album, ‘Disintegration’. By the time we were working on ‘Soaked In Rot’, it was clear that we wanted to continue this collaboration. At first, Chors came up with the album title. We approached Maciej with that title. It was Maciej who came up with the idea for the baptism scene and did the sketch. Then, after a brief conversation, John’s head ended up on a stick and the worms began their endless journey—just as rot circulates within us alongside religious beliefs and rituals, from generation to generation. 

I mentioned earlier the richness and variety of Polish black metal, from your beginnings as a member of Mortifer to the present day. How would you describe the Polish extreme metal scene? How does Hegeroth's style fit within it? What do you think has been lost in black metal over the last few decades, in terms of attitude and essence?

To be honest, I don’t really think about it at all—we’ve always just done our own thing. Do we fit in? I have no idea. And when it comes to music, I think it’s lost some of its musicality over the last 25 years. Back in the day, riffs were more catchy—you just wanted to hum along. Now, as technical proficiency has increased, music has become more and more complicated. I guess that’s why the material on Soaked In Rot turned out a bit simpler :)  

One thing they're also firm about is the issue of concerts. Hegeroth has remained primarily a studio band for some time. Is this something that could change at some point depending on fan requests, or finding reliable musicians to perform your music live? Have you ever received offers to play live, and are you open to hearing them?

Right now, we're thinking it over and looking around, and we'd really love to put together a band to play live.

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 pushed you to become musicians?

I started listening to metal music in the early ’90s. That’s when I came across a cassette of Slayer’s ‘Chemical Warfare’—it was a shock; I didn’t even know what instruments they were playing. Then I discovered Tankard, Ratos De Porao, and Kreator—I was hooked instantly. Then Sepultura and Max, with his half-growl vocals, were my gateway to death metal: Pestilence, Massacra, Morgoth, Unleashed. On the black metal side, I started with Satyricon’s ‘Shadowthrone’, the first two albums by Impaled Nazarene, and ‘Cradle Of Filth’. The first original cassette I bought was Vader’s ‘Morbid Reich’. As for concerts, I’d like to mention two events: the Vader concert in 1993 and the Full of Hate Easter Festival in 1994 featuring Cannibal Corpse, Unleashed, and Morbid Angel (whom I didn’t understand at the time).

Which album represents the essence of black metal for you? What are the most recent albums you've bought?

Satyricon ‘Shadowthrone’ is the essence for me. Last time I bought Zhrine ‘Unorthea’ on vinyl - what a great album!!!

Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Hegeroth fans, this is the place. I hope you enjoy the questions.

Thanks a lot for the Interview, it was a pleasure to answer. Thanks so much for being here with us—please support the bands and come to the shows! These small gigs have the best atmosphere and the best acoustics; local bands are waiting for you!

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The Third Eye Rapists ‎– Hets Mot Allt 13,99 €

Vinyl, 12", 33 ⅓ RPM, EP, Limited Edition, Reissue

JUNON

 

Origen: Alemania.

Formados: 2022

Estilo: Black psicodélico.

Temática: Caos, éxtasis espiritual y locura.

Enlaces: Ampwall, bandcamp, Junon e instagram.

Miembros:

• Junon Todos los instrumentos y voces

Discografía:

• Promo MMXXV Demo 2025  
• The Golden Citadel of the Astral Sphere CD 2026

THE GOLDEN CITADEL OF THE ASTRAL SPHERE (2026)

Con los dos enigmáticos temas que daban forma a la demo inicial publicada el pasado año, Junon se dio a conocer, ahora ampliada y dando mayor dimensión a lo expuesto en este primer álbum, en donde hay que reconocer la habilidad para trabajar un sonido que cala en el oyente. Un enrevesado enfoque de sonidos enigmáticos y emotivos, en donde las sensaciones que logra trasmitir Junon, son del todo ambiguas, porque una base que no deja de ser black de segundo ola, se han trabajado influencias diversas, desde la psicodelia del rock de los setentera, al mismo tiempo que una enfermiza crudeza va impregnando toda sus música. El conjunto, de incido parece querer sonar directo y árido, pero pronto esa inmediatez se va tornando en pasajes con mayor elaboración, en donde elementos de tintes vanguardistas se van fusionado en la mezcla, equilibrando secciones casi que ambientales, con pasajes inquietantes en donde el oyente queda atrapado en una ambientación enfermiza y doliente. Esta ambientación es del todo inmersiva, hasta cierto punto casi que desagradable a la hora de lograr materializar la estructura de un ente endemoniado que lucha por hacerse patente y extender su presencia más allá del plano musical. Todo puede resultar ambiguo, desde una textura de guitarras que se fusionan con diferentes influencias, en donde los cambios de ritmo son numerosos, dentro de una sonido de batería que tanto puede sonar apabullante como lograr mecernos en una ambientación cambiante, y es aquí, donde la ambientación se ha trabajado a conciencia para vestirlo todo de caos y locura. Si nos centramos en las voces, podemos descubrir que el trabajo de Junon en este aparado s muestra soberbio, desde un inicio crudo y directo, hasta texturas en donde se siembra el mayor de los desconciertos, y en aquellas partes en donde la parte femenina de las misma se hacen más presentes, el desasosiego es ya toda una realidad. Un álbum hasta cierto punto complejo, pero que logra con su ambientación enfermiza, sembrar en el oyente un estado casi de trance. (7,7).

I, Voidhanger Records

1. Propheten der blauen Flamme 10:29   

2. Unterm Glutmond 06:21   

3. Inanitas Cedit Profundo (Die Leere weicht der Tiefe) 04:31  

4. Dolorosa 21:08  

  42:29  

North by the River – Nula 4,99 €

Cassette, Single Sided, Mini-Album, Stereo

A FOREST OF STARS

 

Origen: UK:, Leeds.

Formados: 2007

Estilo: Vanguardismo, black progresivo.

Temática: Abstracción, filosofía, naturaleza y ocultismo.

Enlaces: A forest of stars, Bandcamp, deezer, facebook, instagram, soundcloud, spotify y tidal.

Miembros:

• Katheryne, Queen of the Ghosts: Flauta, violín y voces
• Mister Curse Voces
• Mr. John "The Resurrectionist" Bishop Batería y percusión
• Mr. Titus Lungbutter Bajo
• Mr. T.S. Kettleburner Guitarra y voces
• Mr. William Wight-Barrow Guitarra
• The Gentleman Percusión, pianoforte y sintetizadores

Discografía:

• The Corpse of Rebirth CD 2008
• Opportunistic Thieves of Spring CD 2010
• A Shadowplay for Yesterdays CD 2012
• Beware the Sword You Cannot See CD 2015
• Grave Mounds and Grave Mistakes CD 2018
• Stack Overflow in Corpse Pile Interface CD 2026

STACK OVERFLOW IN CORPSE PILE INTERFACE (2026)

Sexto larga duración para los ingleses A Forest of the Stars, un álbum con un largo de recorrido de composición, casi que ocho años después de su predecesor, pero a veces el querer perfeccionar tu sonido y poder ofrecer algo único, sin tener en cuenta la opinión del industria, tiene estas cosas. Seis temas dan forma a este nuevo álbum, en cual las complejidad del sonido acaba por perturbar nuestro estado de ánimo. con una duración considerable de todos y cada una de las canciones, el oyente acaba por sumergirse en un mundo complejo, oscuro, de critica social, que tanto invita al ocultismo, como también se deja influir por diferentes corrientes de pensamientos filosóficos. Todo lo que ofrece este "Stack Overflow in Corpse Pile Interface" es ambiguo, trabajado a conciencia desde una base de sonido vanguardista, en donde subyace cierta tensión entre unas guitarras directas y agresivas en determinadas secciones, pero que gracias a la duración de los temas, permiten también que se vayan nutriendo de pasajes progresivos, y otras de naturaleza más evocadora. Sin alugar a dudas la inclusión e instrumentos, como el violín, sirven tanto de contrate, como también de catalizador de emociones, dentro de un tono explosivo por momentos, que nos arrastra desde un cierto matiz intimo e inquietante hasta las mismas puertas de la locura, con un buen puñado de cambios de registros y estructuras que desplazan nuestra atención de manera casi que lacerante. Bien representando queda esto en un apartado como las voces, rico en elementos, desde un tono que parece próximo al muerte y al sufrimiento, pero siempre manteniendo la entereza y una dirección acertada a la hora de mantener toda la tensión, pero que la mismo tiempo se desborda cuando las voces femeninas entran en acción, añadiendo una faceta más melódica y coral. Como una sociedad que ha llegado al limite de sus posibilidades, desmoronándose en la parte interior de sus zona de confort, sin darse cuenta de la sinrazón y el sufrimiento a la cual se ha visto abocada, así, de forma caótica y desproporcionada se nos presenta esta repugnante oda de caos de los ingleses. (7,8).

Prophecy Productions

1. Ascension of the Clowns  

2. Street Level Vertigo  

3. Mechanically Separated Logic  

4. Roots Circle Usurpers  

5. Sway, Draped in Vague  

6. Not Drinking Water

Neige & Noirceur ‎– Vent Fantôme 17,99 € 

Black vinyl LP in regular jacket with a photographic innersleeve and a PVC innersleeve

PILORI

 

Origen: Francia, Rouen.

Formados: 2016

Estilo: Grindcore, hardcore, crust y black.

Temática: Horror, ocultismo y oscuridad

Miembros:

• Gr. Voces
• Gu. Batería
• J. Bajo
• R. Guitarra

Discografía:

• Demo Demo 2016  
• Dakhma / Pilori Split 2018  
• À nos morts CD 2020  
• Quand bien même l'enfer et le déluge s'abattraient sur nous CD 2022  
• Sans adieu CD 2026

SANS ADIEU (2026)

Estamos ante el tercer larga duración para la banda francesa Pilori, un trabajo que combina diferentes estilos dentro del metal extremo, a saber, el grind, el crust o el death como más representativos, pero guardándose un espacio para elementos que podemos describir como black o hardcore, todo ello dando como resultado un álbum denso y pastoso, sobrado de intensidad y sabe guardar algunas sorpresas que imprimen un carácter más personal a su música. Con terrenos bien diferenciados entre los temas más cortos en donde la banda sabe explotar ese carácter más directo y destructivo de su propuesta, arremetiendo con fuerza a base de unos riffs poderosos, un sonido de batería directo y violento, junto con unas voces que desvelan también una faceta podrida y directa; y aquellos otros temas en donde la duración es más amplia y la banda sabe mantener toda esa densidad y oscuridad de su sonido, pero vistiéndolo de un extra de ocultismo, trabajando influencias que pueden tener cierta procedencia sludge y en donde logran trasmitir una atmósfera más sustanciosa a la hora de adentrarse por terrenos en donde la muerte parece querer morar en cada nota. Un compromiso innegociable por parte de Pilori con un estilo poderoso y violento, sabiendo equilibrar oscuridad con más oscuridad, sin que se resienta la faceta más extrema de sus música, desde esa ambientación ocultista y cavernosa que muchas veces se deja notar, hasta la violencia y el carácter más directo de la misma, trabajado todo desde una propuesta plagada de disonancias, registro profundos, en donde cada pequeña melodía que quiere abrirse paso desde las profundidades del álbum es eliminada sin contemplaciones, para acabar por trasmitir al oyente un estado casi vegetativo en donde cualquier atisbo de esperanza no tiene cabida. (8,1).

Terrain Vague Records

1. Lèse-majesté 02:56   

2. À Pierre Fendre  

3. Le couteau par la lame  

4. Chiendent  

5. Chaos rampant  

6. Sans adieu  

7. La présence des absents 05:02  

8. Avant que le vent ne se lève  

9. Volontaire  

10. La rose et l'épine

Autophagocytosis – Forest 6,99 €

Cassette, Single Sided, Album

PURE WRATH

 BLEAK DAYS AHEAD (2026)

Desde el comienzo, hace ya más de diez años, Pure Wrath se ha caracterizado por ofrecer álbumes abrumadores en cuanto a ambientación y atmosfera, no entendiendo de barreras a la hora de afrontar una propuesta de un estilo como el black metal alejado de los focos de países con mayor tradición en el género, para alcanzar una madurez compositiva que no debería de dejar indiferente la oyente. "Bleak Days Ahead" deja un tanto de lado ese tono más folk o pagan de pasadas obras, para adentrarse por pasajes de corte atmosférico, en donde la melancolía y la oscuridad se acompañan de cierta crudeza y agresividad, con un importancia capital para el fluir de la música en pasajes que logan recrear esa faceta más emotiva de sus música. Y es que esa emotividad emana del álbum desde que arranca, dibujando un paisaje de desolación y soledad, donde la desesperación se impone al conjunto, trabajando un entramado de guitarras que desgranan riffs con una alta carga de emotividad, equilibrando esa faceta más directa y cruda con un tono más melódico del que surge ese carácter melancólico del álbum. Equilibrio también que se logra tanto en las secciones en donde el ritmo es más lento, lugares estos en donde el conjunto fluye hacia la consecución de un black atmosférico con infinidad de diferentes sensaciones, pero sin lugar a dudas, cuando el sonido se muestra más directo, con un ritmo más elevado, ahí es donde sin ningún tipo de concesiones se abrazan las influencias más importantes de un black nórdico de reconocido origen clásico, moviéndose Ryo con una habilidad abrumadora a la hora de vestir su sonido de una tono agresivo y melódico, en donde el equilibrio entre crudeza y melancólica una vez más, está al alance de de muy pocos, sirviéndose de unos temas, en general extensos, para desplegar todo el potencial, no ya solo en el apartado meramente instrumental, sino también con el trabajo de unas voces portentosas en las diferentes exigencias que supone un álbum de estas caracterices, sirviéndose de algunos invitados a la hora de ofrecer nuevas vertientes en voces y añadidos de instrumentos alejados de lo más convencional en el genero, cuyo resultado en sonido de este "Bleak Days Ahead" acaba por situar a Pure Wrath, sino lo estaba ya, en un lugar destacado dentro del black atmosférico de hoy en día. (8).

Debemur Morti Productions

1. Bleak Days Ahead, Pt. I 10:04  

2. Bleak Days Ahead, Pt. II 10:01  

3. Haven of Echoes 07:39  

4. Spectral Insomnia 07:27  

5. Opaque Mist 06:00  

  41:11

Wode ‎– Burn In Many Mirrors 29,99 €

Vinyl, LP, Album, Limited Edition, B1 - Cyan / Gold / Bone Merge With Neon Violet & Black Splatter

VOIDTHRONE

 

Origen: E.E.U.U., Seattle.

Formados: 2016

Estilo: Black, death

Temática: Exilio, muerte y venganza

Enlaces: Bandcamp, facebook, spotify y youtube.

Miembros:

• Gavin Brooks Bajo
• Josh Keifer Batería
• Ronald Foodsack Guitarra
• Zhenya Frolov Voces

Discografía:

• Spiritual War Tactics CD 2016  
• Kur CD 2018
• Spiritual War Tactics / Kur Recopilatorio 2022  
• Metaphysical Degradation CD 2022  
• Dreaming Rat CD 2026

DREAMING RAT (2026)

Cuarto larga duración para los de Seattle, que desde su creación hace cosa de diez años, con cada nuevo lanzamiento parecen querer dar rienda suelta a un sonido despreciable, fangoso y violento, en donde la podredumbre de la sociedad acaba por imponerse. Un álbum que a lo largo de sus nueve temas hace una combinación estertórea de elementos death como base y ciertos registros que hacen énfasis en elementos que mas tiene que ver con el black. Un álbum que desde el inicio se muestra totalmente inaccesible, centrado en sembrar la destrucción, la locura y la violencia más extrema, para dejar y presentar al oyente un descomunal paisaje de muerte y vacío. Para ello la banda afronta su propuesta desde un plano en donde se maneja con total soltura y donde es bastante improbable salir airoso, por supuesto, es no es el caso, Voidthrone se regodea en esa violencia más angustiosa de un detah metal repleto de profundidad y plagado de disonancias y cambios de ritmo casi que impropios del estilo. Unos temas que se enorgullecen de sonar despreciables, nada dados al reconocimiento, en donde cada riff logra destrozar conciencias, desde la mayor impunidad que le podamos encargar, sin que sea impedimento para que la oscuridad acabe por cernirse también sobre le conjunto en forma de un acusado velo de locura y desesperación. Estas sensaciones de muerte, locura y desesperación, están perfectamente integradas en todo el álbum, en forma de un sonido denso, donde cuando parece querer arrancar en una dirección se pliega sobre si mismo y se transforma en un ente si cabe más destructivo, donde cada riff esconde una doble intención, donde las voces de Zhenya invitan al suicidio o cuando menos la locura y en donde el oyente es zarandeado y destruido en unos registros en dode ya no solo la angustia, sino la esquizofrenia, la muerte y la violencia más absoluta cobran forma. (8,2).

1. II-I. Homeless Animal  

2. II-II. Morbid Seagull  

3. II-III. Ren Omega  

4. I-I. Bergen  

5. I-II. Dreaming Rat  

6. I-III. First Blood  

7. III-I. Surfing the Abyss  

8. III-II. The Dying Squid  

9. III-III. Worm Spiral

Human Agony ‎– Putrescence Of Cavalry 19,99 €

Vinyl, LP, Album

NECROSEXUAL - INTERVIEW

 1. Necrosexual was formed around 2011, with you as the sole member at the beginning. Over time, you've recruited several more musicians who have joined the band's lineup in recent years, and you're still solely responsible for Necrosexual. What led you to create this project? Why did you choose the name Necrosexual, and what did you want to convey with it?

I burst onto the scene performing stand up routies at comedy and burlesque shows. I chose the name Necrosexual because it was both a satire and celebration of the heavy metal I grew up listening to. The “Necro” portion deals with all things grim and the “sexual” aspect speaks to my dark sense of humor. I also began interviewing a lot of classic bands on my youtube channel beginning in 2012. Steve Grimmett from Grim Reaper went on to say I was the favortie interview he ever did, which means a lot to me now that he's gone.

Anyway, I love metal and I also play bass and guitar. So it seemed fitting for me to elevate Necrosexual to a musical project as well.

2. The arrival of Anthony "Vigo" Gabriele in Necrosexual in 2015 can be considered a pivotal moment for the project. Years later came the first full-length album, and other musicians have joined since then, giving the band greater solidity. What has the band's trajectory been like over the past decade and a half? Did you imagine when you started Necrosexual that you'd still be active today?

It's been 15 years since I started, but I feel like I'm just hitting my groove on the musical front. Necrosexual is part solo project and also a collective. I welcome collaboration, but I am always prepared to do it all myself. The less people I rely on, the less variables for disappointment! 

Vigo and I go way back to the early 2000s. We met when we worked together in the kitchen of an upscale restaurant. He was lead chef and I was the dessert guy. I always looked up to him, and knew he could shred too. So Vigo was the first guy I called once I had Necrosexual music ready. He played his first show with Necrosexual just days after the birth of his first born son. The Vigo has been a consistent member, playing leads and co-writing a fair number of songs. Otherwise, I'm the primary mover.

3. “Road to Rubble” is Necrosexual’s second album. It’s been a long time coming, but it’s finally here. With such a long gap between “Grim1” (2018), how do you think the band’s sound has evolved between the two releases? What level of involvement have the new members, Miles and Nick, had in the process? What brands of instruments did you use during the recording?

I think I've found my voice as a vocalist and songwriter on Road To Rubble. This album encapsulates all my heavy metal heroes. Since GRIM-1 in 2018, I released two EP s and two comic books, and even got to perform at a heavy metal burlesque festival in Portland, Oregon. The time between albums allowed these new songs to simmer in my mind's eye.

Road To Rubble is my most ambitious album in terms of song writing and sheer number of personnel. But it's also the most DIY album I've ever done. I recorded all the rhythm guitars, bass and keyboards from home. Anthony and Nick just showed up to lay down solos from my home studio. Miles and I jammed a little bit together to figure out the drum parts, but most of drums he recorded in the moment with only my demos for reference. I was in the recording room with him conducting the songs as we built the tracks hit by hit.

For equipment:

A Peavey 6505 was used for reamping the rhythm guitars. For Anthony's leads we used a Mesa Boogie Triple Rectifier lent to us by Ed Gonet III from Wild Beyond and Daeva. (Thanks Ed)

I recorded the bass straight to my computer with a sans amp driver attached to my pedal board, on a Music Man Sting Ray 5 string.

I played analog Casiotone and Yamaha keyboards for all the synth parts. 

I recorded most of the rhythm guitars with a DiPinto Galaxie IV with Seymour Duncan pickups and a Gothic Ephiphone Futura Explorer, also with Seymour Duncan pick ups. I believe Anthony Vigo played his solos on a custom Warmouth Stratocaster and a Jackson modified Frankenstein stratocaster. We all have a lot of guitars between us, so it's hard to keep track of exactly what we played when.

4. Upon first hearing Necrosexual, the name alone might conjure up images of a grindcore band. However, the cover art doesn't exactly inspire optimism, as it seems to aim for a relaxed atmosphere. Yet, once the album starts playing, the content is brutal and distinctive. We could discuss countless elements: a taste for 80s metal, thrash, speed, hardcore, synthesizers, a retro feel in many aspects, and a hint of classic heavy metal. In short, it's an immense work that is thoroughly enjoyable and difficult to describe. How would you describe the album's sound? What bands and styles influenced the composition and recording process?

To quote my own music, I'd describe this abum as “High voltage and heavy doses!” I'm certainly a child of the eighties and the Road To Rubble spans all my musical influences without sounding too much like any single band. It's a love letter to classic heavy metal with my own blood injected throughout.

5. Something similar can be said about the album's themes; there's an ambiguous tone to them. The topics can be taken seriously and profoundly, or, conversely, their more humorous side can be explored. Where do you find inspiration for the song themes? How do you balance the more serious aspects with the more humorous ones? Do the lyrics adapt to the music, or vice versa?

One new technique I did for this album is I recorded the choruses to the songs first, and saved the verses for later. It allowed me to really nail the hooks and then have extra time to flesh out the lyrics and get the delivery perfect.

Lyrically, this album deals with a lot of destruction hence the adage “All Roads Lead To Rubble.” “High Times In Hell” is about self destruction, whereas the title track deals with societal collapse and environmental decay. “Kiss The Knife,” “Brimstone” Brothel” and “Hard Leather Woman” details a fetishistic aspect with sadomasochistic humor and horror themes.

Usually I have the riffs first, and a chorus or song title will pop into my head, and then I'll build the rest of arrangement around those lyrics.

6. Regarding the recording, mixing, and mastering of the new album, there isn't much information available. Did you handle this process yourselves, or did you work with someone in a recording studio?

The majority of the guitars, bass and keyboards I self recorded. Drums and vocals were recorded at Permenant Hearing Damage Studio, and the album was mixed by Steve Roche. Arthur Rizk also mastered it.

7. The album is being released in physical format by the record labels Fiadh Productions and The Black Metal Archives Label. How did the opportunity to release "Road to Rubble" with them arise?

This is the first time I've had an album available in the UK via Black Metal Archives label, and Road To Rubble is the first release of their catalogue. A high honor!

8. Regarding the cover art, there seems to be a connection between this album and the first. Is that possible? Who designed the cover for the new album? What does it represent, and how does it relate to the album's content?

Our dear confident and high class pervert Scott R Johnston illustrated both my LP covers. He is a true diamond in the Philadelphia nightlife scene. The green Mustang on the GRIM-1 album cover is based on Vigo's car. He really drives a neon green Ford Mustang. So it made sense to incorporate into our album art work. For Road To Rubble I asked Scott to design a more apocalyptic element. “ZZ Top Eliminator meets The Road Warrior” is the term I used.

9. It seems we're experiencing a surge in black metal with new bands drawing inspiration from the more retro sounds of 80s extreme metal for their latest releases. Do you share this perception? How does Necrosexual fit into the US extreme metal scene?

Nostalgia is a hell of a drug. I grew up listening to thrash metal in the early 2000s at the height of nu metal. Old school shit was NOT popular back then. These days, I see people walking down the street in Mortician long sleeves, or kids dressed like Max Cavalera in the eighties with the high tops and denim vests, and I chuckle.

I'm a disciple of the old school, but I think it's also important for artists to find their own voice. Elevate the art form into the future. I simply hope Necrosexual stands the test of time and people will be rocking Road To Rubble loudly in 20 years.

10. How would you define the Philadelphia black metal scene? How are the album release shows going? What can your fans expect from one of your concerts?

Philadelphia has a long and storied heavy metal scene, across all genres. Bands come and go, but I'm still here. I'd recommend listening my collaborators in Morgul Blade and Wild Beyond, for starters.   

11. How did the idea for a music video for a track from the album come about? Why did you choose the song “Nocturnal Ignition”? What was the video recording process like?

"Nocturnal Ignition" is the odd ball song of the bunch, but in a charming way. Anthony wrote the keyboard parts for it way back in March 2020, the same day everything went into pandemic lockdown. A few years later I got around to listening to it again and wrote the song around it. And Lord Klauf from Morgul Blade actually played drums on this song, because we had began recording it prior to the rest of the songs on the new album in early 2023. 

The music video is an homage to INXS "Guns In The Sky." Each shots begins with the doors opening and the camera moving backward in the hallway, and repeats. I should mention that I also act as the video department for most of my stuff. That means, I'm the one who gets stuck editing the footage. So I wanted something that would be easy to film and quick to edit! I worked with my two long-time collaborators Chris Koontz and Liam McGlynn on camera, and also got to include some of my burlesque friends as dancers. We had it all set up and wrapped in about three hours. 

12. What were your beginnings in music like: the first concerts you attended, the first albums you bought? What event in your lives pushed you to want to become musicians?

First metal concert: Slayer, Roseland Ballroom NYC in 2002

Some of the first albums I ever bought that really blew my mind:

Slayer - Reign In Blood

Metallica - ...And Justice For All

Sepultura - Beneath The Remains

Kreator - Terrible Certainty

Morbid Angel - Gateways To Annihilation 

13. Which album represents the essence of black metal for you? What are the most recent albums you've bought?

For me, the quintessential black metal album will always be VENOM Welcome To Hell. They really nailed the attitude, the arrogance, the look and the sound. It's a perfectly crafted weapon from start to finish. Honorable mention to De Mysteriis Dom Sathanas by Mayhem, another haunting and horrifying album. 

Recent albums I've bought in the last month:

Voivod - Killing Technology

Entombed - Clandestine 

Blur - Parklife

Jeff Beck - Flash

Cradle Of Filth - Dusk...And Her Embrace

Dark Funeral - Secrets Of The Black Arts

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Necrosexual fans, this is the place. I hope you enjoy the questions.

Thanks a lot for reading this. If you've made it this far I implore you to listen to my new album ROAD TO RUBBLE. But more importantly: Play heavy metal music loud, party all night long, quit your job for rock and roll!

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IATT - INTERVIEW

1. Around 2008… what led to the creation of I Am the Trireme?

I Am the Trireme was born from a need to build something immersive something that wasn’t just music, but a vessel. The “Trireme” itself is a warship of the ancient world precision, power, and purpose moving as one. That idea resonated with us. It wasn’t about individuals, it was about propulsion many forces aligned toward a singular direction.

2. The shift to IATT and a new sound why take that risk?

Evolution isn’t a risk it’s survival. The early roots were a foundation, but we outgrew it quickly. The black metal/progressive influences were always there and with the addition of Joe Cantamessa (Lead Guitarist) and Paul Cole (Drums) we were able to pull closer to the vision that we imagined. IATT became the distilled form of that transformation. The acronym stripped away excess and left something sharper, more intentional.

3. The new album vs Magnum Opus and Viatica what does it represent?

Etheric Realms of the Night is the convergence point.

 Viatica was the seed.

 Magnum Opus was expansion.

 This new record is transcendence.

The writing process for Etheric Realm of the Night was more deliberate less about proving something, more about channeling something. All hands were on deck, any creative thought was on the table. We allowed the songs to breathe, to evolve naturally. As for gear, we work with tools that give us clarity and weight layered orchestration, analog/digital hybrid approaches. It’s less about brands, more about control over atmosphere.

4. Have you reached your musical peak? How would you describe the sound?

There is no peak only ascent. We don’t like to put limits to our creative process. 

This album is a synthesis: melodic death as the spine, black metal as the shadow, progressive elements as the architecture. It’s cinematic, it’s aggressive, it’s immersive. Influence comes from everywhere Scandinavian extremity, progressive ambition, and beyond metal entirely. We don’t emulate we absorb and transform.

5. Working with Didier Malherbe and Valček how did that happen?

We wanted textures that felt ancient and otherworldly something beyond the traditional metal palette. Lead Guitarist Joe Cantamessa grew up listening to Prog rock bands from the 60’s/70’s and having Didier on ERotN was a salute to his father who introduced to such artist from that time. Violinist Ben Karas (Thank you scientist/Windfaerer) has performed on our previous two albums Magnum Opus and Nomenclature so the alliance was natural. Their contributions added a spectral, almost ritualistic layer to the album. It wasn’t just collaboration it was invocation. Every element serves the atmosphere.

6. Your lyrical themes occultism, history, medicine why these topics?

We’re drawn to what exists beneath the surface hidden systems, forgotten knowledge, altered states. Those themes are reflections of transformation, decay, rebirth. These topics are part of my questioning spirit. Sometimes the music comes first and demands a narrative. Other times, a concept manifests and shapes the sound. It’s a symbiotic process. IATT allows me to put ink to paper and words to a sonic assault where I can question the concepts that are fed to us. 

7. Recording, mixing, mastering how did it come together?

We maintain a strong level of control over our sound. We’ve handled recording duties since 2013, ERotN was no different. A lot of the process is handled internally, but we’re not isolated we worked with long time friend and  mixing/mastering engineer Marcos Cerutti (Nomenclature/Magnum Opus) to elevate the final result. The goal is always clarity without sacrificing intensity.

8. “Drift Away” and “Somniphobia” why those tracks for videos?

They represent two sides of the album’s psyche.

 “Drift Away” is the descent.

 “Somniphobia” is the confrontation.

We chose those tracks immediately demanded a visual counterpart. The process was collaborative, but always anchored in our vision: immersive, unsettling, and cinematic. Every song on the album has a video/chapter that collaborates into a full Film. 

9. Your relationship with Black Lion Records how did it start?

It’s built on alignment. They understood the vision from the beginning (2018) and gave us the space to execute it without compromise. That kind of trust is rare, and it’s why the relationship has endured across multiple releases.

10. The cover art what does it represent?

The artwork channels that late 90s melodic death aesthetic but refracted through our lens. It represents passage between realms, between states of being. It’s not just an image, it’s an entry point into the album’s world.

11. The Philadelphia scene how has it evolved?

Philadelphia has always had an undercurrent of extremity it’s just become more refined, more diverse. There’s less concern with fitting into a mold and more focus on identity. The U.S. scene as a whole is expansive fragmented in a good way. There’s power in that chaos.

12. Live shows what can fans expect?

We’re already moving toward live execution. What people can expect is total immersion. Not just a setlist a ritual. Atmosphere, precision, and intensity from beginning to end. No wasted motion. Over the last few years we’ve poured everything into this Album and you can expect to see us pour that onto the stage live. 

13. Your beginnings in music what pushed you into this path?

Music wasn’t a choice for IATT it was something that was always there, embedded early and impossible to ignore.

As a whole, we all came into music in childhood. Jay Briscoe started out playing trumpet in school bands, laying a foundation in structure and melody. Joe picked up guitar young, following in the footsteps of his father, a guitarist himself music was part of his bloodline. Alec was classically trained on piano before evolving into a self-taught guitarist, bridging discipline with exploration. Paul Cole was introduced to drums as a kid by his father, carrying on that same generational rhythm.

What pushed us into this path wasn’t a single moment it was a convergence of upbringing, influence, and an early connection to sound that kept evolving into something heavier, darker, and more intentional. Music became more than expression it became identity.

14. Essence of black metal? Recent listens?

Black metal, at its core, is atmosphere and conviction. It’s not just sound its intent. The albums that define it capture something primal and uncompromising.

We’re always absorbing new material right now the Germany has put out a good amount of quality albums from Der Weg Einer Freight, Groza, Firtan, Waldgeflüster I’d like to give those bands a nod. 

15. Final words to the followers 

Etheric Realms of the Night is more than an Album, it’s a Film,  it’s an experience we’ve built for those willing to step into it.

May 8th approaches.

 Prepare accordingly.

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