1. The band started around 2021. Why did you decide to create the band? Why did you choose the name Araphel, and what does it refer to?
Thank you for offering me this interview. The decision to create a new band came after I started having some decent material, entirely composed by myself. Since I was a teenager, I participated in and collaborated on songwriting in several bands, whereas ARAPHEL represents a project that, for now, is handled entirely by me - from the composition to the aesthetics, flyers, and layouts. I can say it fully represents me, rather than being something created through the sharing, or compromising, of different ideas.
The name, if you've read about it somewhere, literally means “darkness,” but what it refers to is, according to Judaism, the name of the place where God resides. I was struck by the fascinating concept that God could dwell in a dark and swirling place, rather than in light and peace - something that sharply contrasts with Western Christian belief. My choice lies exactly in this contrast between the common and the sublime, between dogma and critique.
2. Although the band currently has four members, it's also true that in the beginning this wasn't the case, as only Santo and Doomed Warrior were at the forefront. Later, Gabriel and Elend joined, coinciding with the release of your first EP, "Old Comet Transition." What were those almost three years like within the band, leading up to the release of the first EP and the addition of new members?
This is not entirely correct, and I apologize if the timeline seems a bit chaotic, but even though the band is still young, many things have changed. ARAPHEL began to exist in mid-2021 when, with some material I had written, I asked Giulia Doomed Warrior and Eros (EXTIRPATION, FUNEST, KROSSBURST) for support. Both embraced the idea of helping me with guitar arrangements for my tracks; we ended up recording the first EP, Old Comet Transition, even though many of the songs from the recently released album were already in the works. Following the EP release, Gabriel replaced Eros, and together with Okrim (ANCIENT, EXTIRPATION) we worked toward recording the album. Once it was finished, since Okrim was a session member, I wanted to find a permanent drummer and a session bassist for future shows. That’s when Elend joined, and Theo (HADIT, EXEQUIAE SACRO) agreed to help us for live performances.
I can say that these years, spent in the real “launch” of the band, were intense but meaningful. Now the atmosphere feels very united, and I’m confident that this lineup can lead to great results.
3. “The Endchanter” is your first album, released on October 31st. How did you approach the songwriting and recording process for this debut album? What do you think you've changed and evolved compared to “Old Comet Transition,” even though the new album includes a couple of tracks from the EP? What brands of instruments did you use during the process?
The album is composed of many songs that actually predate the EP. The Endchanter is, in fact, the first song I ever composed. Let’s say that of the entire album, only two tracks were arranged in 2024.
The songwriting process begins with melodies I write on bass or guitar, which then evolve through a loop station, pre-productions, and rehearsals. I have an SG guitar, an Epiphone Embassy bass, and a Squier - extremely cheap instruments, but I’ve gotten used to them; they do their job, they sound good, and I’ve grown attached to them.
4. Your music has always maintained a connection to the more classic sound of black metal. Some describe it as influenced by Greek black metal, but for me, the opening track is incredibly reminiscent of Bathory. This is somewhat surprising considering the other bands you've been a part of. Do you feel that Araphel is your own project, allowing you to express your tastes and influences without interference? How would you describe the sound of “The Endchanter”? What bands and styles influenced its composition?
Yes, you’ve hit the nail on the head. Being surrounded by musicians with whom I share a strong affinity, every idea they bring is welcome, especially because they know exactly how ARAPHEL should sound. I can say this is the first time the final word is mine, and it is my personal perspective being narrated.
To speak frankly, I don’t think it’s strange that “Mediterranean” or Quorthon-esque sounds emerge. After all, bands that sound that way are among my favorites to listen to, so it’s only natural that my language resembles theirs.
Unlike many bands, I didn’t decide in advance how it should sound or which band it should resemble. I think ARAPHEL’s genre can be described as “Epic Black Metal,” since the epic embodies all the sublime facets of humanity, like tragedy and pride. These are the themes that influenced me the most, and they are themes shared by many bands, far apart geographically… IMMORTAL, DISSECTION, MORTUARY DRAPE, DESASTER…
5. Regarding the album's theme, what inspired you when writing the lyrics for "The Endchanter"? Why did you choose that theme, and why is it important to you? Does the music adapt to the lyrics, or vice versa?
In my opinion, the music fits perfectly with the lyrics, also because I usually write them after finishing the songs, aside from later adjustments to fit them better.
The theme behind The Endchanter is, obviously, the end. The end, and the realization that we are all destined for the same darkness and the same silence. It doesn’t matter who we were - rich, infirm, or bound by some dogma - we all disappear into the black. Needless to say, the critique is aimed at the human presumption of even imagining that something might be “eternal,” or that something awaits us after earthly life.
6. Nuclear War Now! Productions is the label responsible for releasing the album, including a vinyl edition from the start. This suggests a significant commitment from Yosuke. I imagine you've had dealings with NWN through your previous bands. How did this collaboration for the album's release come about? How supported do you feel by NWN's support, being a band that's just starting out?
I met YK during the DEMONOMANCY days; even back then he produced flawless material for us from the very beginning. This makes me think his way of working is always to give his best to enhance the releases he chooses to brand. It’s certainly a way to always have impeccable products.
After that experience many years passed without us being in contact, but the idea of proposing ARAPHEL to him was almost instantaneous. I remembered how seriously he worked and was sure that a proposal like mine would fit perfectly into his roster.
We had no difficulty at all in reaching agreements for our collaboration; I can’t complain about anything and I hope he will continue to believe in my band and push it as best as he can.
7. The album was recorded by ADRS Decibel and mixed and mastered by The Forge Music Productions. Why did you decide to work with these people, and what do you think they contributed to the final sound of the album?
Carlo of ADRS Decibel and Marco of The Forge Music Prod. worked on both the EP and the album. They both did an excellent job, accommodating my requests and following the sound ideas I had in mind for the releases. Their perspectives were fundamental in finding the optimal solutions to adopt. I had worked with both before - recording INTO DARKNESS with Carlo, and working as drum tech for Marco during the recording of the self-titled album of his band FLAMEKEEPER.
8. The cover of “The Endchanter” also has a classic 80s album cover feel. Who designed this cover? What does it represent, and where did you find the inspiration for it?
Since the days of DEMONOMANCY, my dear friend and photographer Carlotta Valente has handled the photos for the various bands. Her photographic talent has always been unmistakable.
A couple of years ago I had the chance to spend some days with her, in her studio and darkroom, admiring her more experimental works and publications. Among some cyanotypes she was working on, I saw a few depicting thunderstorms.
The background of the cover is one of these cyanotypes. I was immediately struck by the power it conveyed, instantly thinking it would be perfect for the debut album - a worthy visual aesthetic for this release, the true presentation of ARAPHEL - that’s also why the logo is the main protagonist of the cover.
9. Something that's not very common these days is the composition of an acoustic track, especially if we think of traditional black metal. However, the album includes “Tempus Edax Rerum,” a track that, without vocals, manages to convey different sensations and emotions, while also serving as a catalyst for the rest of the album. How was the decision made to include this acoustic track on the album?
I’ve always been drawn to the idea of doing instrumentals. There’s something liberating about them—not just as short intros or outros, but as real pieces with their own identity. These tracks have a unique charm to me; they give you total freedom from the usual structure and can convey, as you said, different sensations.
Pieces like Voice of the Soul, Desolate Ways, Echoes from the Past, or Dee really marked me - you listen to them once, and they just stay with you. I think I’ll try to include at least one in every release.
10. Looking at Araphel's lineup and analyzing the musicians who make it up, we see a connection in terms of extreme metal, but we also appreciate very different styles, such as death, doom, thrash, etc. Is this a reflection of the good health of the Italian extreme metal scene? How is this scene perceived from within? Do these different musical influences of the Araphel musicians achieve a special connection to shape something unique like Araphel?
Variety can only bring good health, and this was very evident in the latest recordings. I hope that with the next material, if there will be any, everyone’s voices will generate something even more powerful and original.
As for the Italian scene, I can tell you it varies greatly from region to region. I currently live between Lombardy and Veneto, and I can say that here there are many more opportunities to see touring bands or to organize/participate in underground events compared to central or southern Italy. These differences create a sort of compartmentalization, even though there are truly great bands throughout the country.
I can also say that despite new local organizers, venues, and the growing interest in metal, rising costs remain a huge barrier. We are not a country - unlike Northern Europe - where music is considered something to encourage or support. Taxes here are very high, and even getting shirts printed has become an investment to think twice about.
11. At the beginning of October, you presented "The Endchanter" live. What was the experience of playing these songs live like? What new dates do you have planned for other concerts?
Playing ARAPHEL’s entire repertoire live was simply the best result I’ve ever achieved - made even more special by having managed to build a dedicated, incredibly solid lineup formed by passionate musicians. It would have been easier to take the first people available, but it would never have been the same. The best debut I’ve ever had, the night plan was also very cool, with Mayhemic and Sijjin. For this, I want to directly thank Necrotheism Prod., an organization readers should contact if they want to book a show in northern Italy.
12. 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 be musicians?
I grew up in a generation that had access to the internet from an early age, and my passion for rock and metal also came from my father’s vinyl collection - my favorite record there was For Those About to Rock.
I used to spend hours discovering iconic album covers online, like Piece of Mind and Powerslave by IRON MAIDEN. I still remember the first time I listened to that music after being captured by the aesthetics of the covers - the whole imagery and the way it carried such haunting melodies and spine-chilling sounds completely captivated me.
There was also a record store on the way between my home and school, and while browsing there I picked up my first two MOTÖRHEAD CDs - March or Die and The Best Of - where I also discovered GIRLSCHOOL.
Growing up in a rather strict family, I didn’t attend a live show until I was about 15 or 16, when I finally saw CANNIBAL CORPSE in Rome, in a venue that no longer exists. Around that time, I also started playing drums with Marco Vermiglio - just messing around in a few small projects before eventually forming DEMONOMANCY.
13. Which album represents the essence of black metal for you? What are the most recent albums you've bought?
Among the various forms of Black Metal, the records that hold a special place in my life are: Profanatitas de Domonatia, Drawing Down the Moon, Under the Sign of the Black Mark, At the Heart of Winter, In the Nightside Eclipse, Fallen Angel of Doom, Scarlet Evil Witching Black, Thy Mighty Contract, Storm of the Light’s Bane… and many others…
The latest additions to my collection include both new releases and “catch-ups”: Primitive Force by CONCRETE WINDS, Ride the Moonstorm by PENTACLE, Messe de Minuit by DISHARMONY, Immense Intense Suspense by PHLEBOTOMIZED… At the show we played in early October, I traded with the guys from the Chilean band MAYHEMIC for a compilation of theirs and their latest album Toba - great guys and great stuff.
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 Arphel's fans, this is the place. I hope you enjoy the questions.
It was a pleasure for me; thank you for dedicating this space and your questions to ARAPHEL.
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