FÄUST - INTERVIEW

 

1.There's no specific date for Fäust's debut, however, your first self-titled demo will be released around 2022. Can we say that Fäust began around that year? What led you to create Fäust? Why did you choose the name Fäust and what does it refer to? Did you have any issues with other bands with similar names, namely Faust or Faüst?

“Yes, absolutely. I started this project in end 2020, at the end of the Covid19 crisis. I had just left one of the bands I was playing and touring with in end 2019 for personal reasons, and the other one was up for a long time hiatus. I already had some bits of riffs here and there, but I really started to write songs during the pandemic.

Even if I mostly played in Traditionnal Heavy Metal bands, my songwriting has always been influenced by Jon Nodtveidt and Quorthon, so I decided to write songs in that way, because it was my natural way of writing songs. The most difficult for me was to take care of the lead vocals, as I never went as far as backing vocals on my previous experiences.

 Fäust is the symbol of the quest of eternity, knowledge, there are many ways of interpretation of the Faust story, I think each one can do its own one.

I had no issues with the other bands, in the same time they play really different style…”

2. Your second album, "Crypts of Eternity," will be released soon, if it hasn't already. However, you are, or have been, in the past in other bands related to heavy metal. How did the desire to form a black metal project come about? Was it always clear to you that you would be a one-man band?

 “It was pretty natural, as I said previously, my songwriting was always influenced by      Dissection, Bathory and other bands. Meanwhile those bands were also influenced by Heavy Metal as well, so it was a really natural thing, and also, it was a long time I wanted to do a Black Metal project. The fact to do a one man band was clear from the very beginning,  I wanted total freedom in every aspect of the ‘band’. Songwriting of course, but also visuals, lyrics, promotion … it’s a lot of work of course, but in the end it really worth it, everything is really personal in the most sincere way. That’s something I really need for Fäust.”

3. "Death from Beyond" may have surprised more than a few listeners, but with "Crypts of Eternity," everything has become a reality—a reality in the sense that it's a full-fledged black metal album. Did you feel any pressure to follow up on "Death from Beyond"? Did the positive reception from the press and the public come as a bit of a surprise to you?

 “It was a melt feeling, because I knew the songs were pretty solid, the mixing and mastering were really great too. But in the same time, I came here from nowhere, had no fanbase, no following audience, that was just something released in the total unknown, so yeah I was really surprised by how good the reactions were. It was a really good surprise, also due to the month of the release. December is never a good month to release an album in my opinion, but anyway, it finally turned out pretty good.

For ‘Crypts of Eternity’ it was a pretty different approach as I released an E.P between the two albums (‘At the Dawn of Life Demise’), with two original songs that were originally planned to be on this new album. All the songs for this new record were written shortly after ‘Death From Beyond’ album, there was no real pressure, or will to top the previous record, just once again a natural stream of inspiration.”

4. How did you approach the writing and recording process for the new album? What do you think has changed between the two? How do you approach the whole process of having to write and record the album alone? What brands of instruments did you use in the process?

“The writing session took place shortly after the release of ‘Death From Beyond’, but everything went really naturally, I never forced myself to write songs that have to sounds like something else, or songs that have to check all the Black Metal standards, or songs that will be big labels hits… I just write things that I like, if there is a song that I don’t like, it will not be on the album. For me this new album is really different because I think you can hear a more ‘Heavy’ side of my songwriting, specially on the guitar work, where the riffing is way more thunderous than on ‘Death from Beyond’. For exemple, the title track, and ‘Sorcery’ are really branded by this alliance of melodic and raging guitar playing.

‘Crypts of Eternity’ is different than the first album to me because I think guitars are really in the centerfold of the album, as I used mostly drums as a driving force on the first one.

The recording … well it was pretty chaotic. The album was recorded twice because my studio set-up, computer and saves crashed down after I recorded 95% of the album. It was a really frustrating situation, but finally I re-record everything and in the end everything went pretty fine.

I used LTD guitars and ENGL amps for the guitar recording, I got two LTD EX400 that I use since 2010, those are amazing guitars, perfect for fast playing and with great EMG pick ups.

I already recorded few albums since 2015 in my own Soulreaper Studio but it was my first experience of mixing. Of course working alone allowed me a lot of freedom in the creative process.”

5. The album maintains a black metal sound with classic influences, with notable elements such as the guitar sound that balances raw elements with melody, without neglecting a certain reminiscence of a retro sound, even a certain heavy metal tone, and vocals that strike a balance between raw and dark. What influenced you when composing "Crypts of Eternity"? How would you describe the album's sound?

“That’s great that you feel it that way, because I personally think that ‘Crypts of Eternity’ have a more ‘Heavy Metal’ side, and there are less ‘blast beats’, I think the aggressivity comes from elsewhere, mostly from the guitar riffs than from the drums or the velocity of the songs. I come from the Classic Traditionnal Heavy Metal scene, and this is a huge part of my influences.

Those influences comes from Iron Maiden to Jon Nodtveidt work, from Quorthon to Judas Priest or early Running Wild. I think that this is this patchwork that make Fäust really interesting and pretty original. I’m not into calculating songs to make em more raw, more ‘Nuclear Blast mainstream’ or more in a way to please the fans. I just do it the way I want em to be. It’s a kinda hybrid style, and it’s not the best choice to be popular… Because you are sometimes too Heavy to please the Black Metal fans, and too much aggressive to please the Heavy metal fans … but to be honest I don’t care anyway… If people like it, it’s perfect, but if they don’t, I don’t care as long as I like it.

The darkness can be found elsewhere than in pure raw aggressivity.

‘To The Fire, To The Death’, ‘Night Terror’ and ‘In a Ghastly Silence’ are the most classic songs I would say, because they were written shortly after the ‘Death from Beyond’ release.

‘Crypts of Eternity’ is a ‘mid tempo’ song, has a real heavy drive on it, the guitar work was really well worked to fit the atmosphere of the whole song and create a really oppressive sensation.

‘Sorcery’ is a melt of Bathory and Iron Maiden influences.

‘And Then Blows the Funeral Winds’ is my favourite song from this album, it’s really the perfect match between my influences, and this is surely one of the best song I’ve ever wrote. 

There was something mystical when I recorded the vocals of this song, specially in the last part.

6. Satanism and magic are themes you include in your lyrics, which are not far removed from common themes in the genre. Why this theme? Where do you find inspiration for them? Do the lyrics adapt to the music or vice versa?

“Satanism is the true form of rebellion and the reject of oppression in all its form, may it be spiritual, religious or anything else. Religion is definitively the cancer of our world, the hand of oppression that force you to think what they want you to think, to act as they want you to act … and all in the name of a so called god…   This is a symbol, but this is also a spiritual fire, a power, a natural force, something coming from the below, may it have a name or not, but something that can bring you what you can’t find in the regular path … in a place where Metal is no more dangerous or frightening, this force is also the voice that spit in the face of this world branded by social networks and trends, the one that keep metal dangerous..

Satanism is the path, magic is the vessel … at least this my way of seeing things, I don’t see it as a cult at all, but as a way and vessel of free-thinking.

Occultism is really fascinating, I find inspiration in books and daily life mainly.

I would say that music generally comes first and then I bring the lyrics, the music is also one of my main inspiration so yes, I can say that the lyrics adapt to the music.

But the lyrics are as equally important as the music.”

7. It's also striking that you recorded the album at Soulreaper Studio. First, congratulations on the final result. Second, how did you approach this process? Do you have any prior experience? Do you feel that by taking charge, you have greater control over the final result? Who is Ronnie Bjornström, who is in charge of mastering the album?

“Thank you, as I said previously the recording was total chaos, but I finally managed to end it in a good way, and the mixing is really good and well balanced. I had to fully set up the studio from the beginning. From the lost tracking sessions, I could only save the Metallica cover (‘Metal Militia’) that ended up on the ‘Night Terror Tapes’ that was digitally released this past summer.

I recorded many albums on my Soulreaper Studio since 2015 but it was the first time I did the mixing, and I had a lot to learn. The process was pretty interesting, because I love studio work, I love this part when you are in the creative process, starting from the very beginning and early riffs, ending with orchestrations, and arrangements, this is something I really like as a musician. It’s like painting a landscape, you add the elements, you give it the colour or the darkness … Ronnie Björnström did the mastering, he is a great sound producer from Sweden, and he worked with bands like Kvaen, Sorcerer, Hild … he really did a great job on ‘Crypts of Eternity’”

8. You're still associated with the record label Black Lion Records. How did the opportunity to work together again for the album's release come about? Are you satisfied with the visibility achieved thanks to Black Lion Records?

“Black Lion Records already released the two previous records, so I decided to work again with them for this one, they have a great distribution circle and it mades Fäust available in many countries.”

9. The artwork is by Luciferium War Graphics. Why did you decide to work with Luciferum? What does this cover represent and how does it relate to the album's content?

“The artwork was done by Gragoth with Luciferium War Graphics. I really liked a lot the artwork he did for ‘At the Dawn of Life Demise’. So I decided to team up with him for this album too. At first I really wanted something to fit with the whole album atmosphere, and I think he caught up really well with it. The crypts, the underworld temple, the streams of blood, the sulphur atmosphere and mayhemic winds… it’s just the pure representation of the album and the music.

The reaper is here again, as death and the end of all  is a theme that comes often in the songs since the first album. I also wanted an artwork that take Fäust away from the Dissection blue color, because I think Fäust has its own sound, its own path and I don’t wanna be labeled as ‘Dissection clone’. I think this album cut the rope that could have link us in the past to the mighty Dissection.”

10. How would you describe the French black metal scene? Has the legacy of the Black Legions had any influence on you? How would you describe the extreme metal scene in a city like Grenoble? What bands would you recommend ?

 “The Black Metal scene is really rich, diverse and full of quality in France, we have bands like Aorhlac, Seth, Darkenhold, Bliss of Flesh, … And there are also many labels like Les Acteurs de l’Ombre that make this scene really interesting.

In my area, Grenoble was mostly known for its Heavy Metal scene than it’s extreme scene.

About the Black Legions … well, no there was no influence from it on my songwriting. There are many myths and legends about it over here, but it was another decade, I was too young to know it.

I’m personally more influenced by the Swedish scene than by the French Black Legions.”

11. Have you considered performing Fäust's music live, or do you consider it a purely studio project?

 “I don’t know yet, if I have opportunities to bring it on the road, I’ll do it.

But actually there is no interest from anyone…”

12. How did you get started in music: first concerts you attended, first albums you bought? What event in your life inspired you to become a musician?    

“I started in music when I was just a child, my first album was a tape of ‘Powerslave’ from Iron Maiden. I’m a huge Iron Maiden fan since my childhood and I think that the ‘Somewhere Back in Time Tour 2008’ in Paris’was my first big concert , but I also discovered Metallica, Megadeth, Judas Priest, early Helloween, and then bands like Running Wild, WASP, Raven, Venom … My first entry in Black Metal was ‘Blood Fire Death’ from Bathory, and I discovered shortly after bands like Dissection, Immortal, Celtic Frost / Hellhammer, Watain, Marduk, Necrophobic, Sacramentum, Bewitched … I’m a guitarist first and I  always wanted to do the same thing than Adrian Smith or KK Downing since I’m 8, but I got my first guitar at 14.”

13. What album represents the essence of black metal for you? What recent albums have you purchased?

“The album that represents the pure essence of Black Metal to me is “Storm of the Light Bane’ from Dissection. There is everything on this record, the darkness, the aggression, the melodies, the epicness, the melancholy … this is the perfect Black Metal album for me.

But there are other albums that could make it on my Black Metal albums highlights, I could say Marduk’s “Those of the Unlight’, Watain’s “Lawless Darkness”, Lord Belial’s ‘Enter the Moonlight Gate’, Necrophobic’s ‘Death to All’ … 

About recent Black Metal albums I bought, I would say Kvaen ‘The Formless Fire’, Stormkeep ‘Tales of Othertime’ and Aorhlac ‘Pierres Brulées’. I recently bought many old stuff from the 80’s in LP, it’s mostly stuff like Destruction, old pressings of  Sepultura, stuff from Possessed, Omen …”

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 Fäust fans, this is the place. I hope you enjoy the questions.

“Thank you very much for your interest in Fäust and for the in dephts questions, and I also would like to take the opportunitry to thank all the fans that follow the band.”

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Olio Tähtien Takana ‎– Spectral Katharsis (2lp  Blue in Purple A/B Side Effect) 29,99 €

2 × Vinyl, LP, Album, Limited Edition, Blue in Purple A/B Side Effect

ARAPHEL

 

Origen: Italia

Formados: 2021

Estilo: Black

Temática: ?

Enlaces: Bandcamp, facebook, instagram, spotify y youtube.

Miembros:

• Doomed Warrior Guitarra
• Elend Batería
• Gabriel Guitarra
• Santo Bajo y voces

Discografía:

• Old Comet Transition EP 2024  
• The Endchanter CD 2025

THE ENDCHANTER (2025)

Pues ahí va otro debut que no debería dejar indiferente a todo buen seguidor del sonido black tradicional, aquel que iba de la mano de sonidos heavies y que tanto se reflejan en al más pura tradición del black heleno como del escandinavo. Al frente de Araphel, en sus inicios, solo estaba Santos, sin embargo ahora mismo son una banda en toda regla, que han logrado editar un trabajo que tiene mucho de sonido clásico de bandas como Bathory o Rotting Christ, que sabe combinar la crudeza del black con sonidos heavy que dotan al mismo de cierta épica, sabiendo equilibrar crudeza con melodía y con un trabajo de guitarras más que respetable. Y es que desde el inicio, con el tema que sirve para dar titulo al álbum, uno se queda hasta cierto punto descolocado, en el sentido que el sonido logra trasladarnos a una mezcla equilibrada de black y heavy que nos retrotrae directamente al legado de la más pura tradición black, como un viaje en el tiempo, que se sirve hábilmente de la capacidad de la banda para ofrecer una versión actualizada de la escena black de los noventa. A partir de aquí el pulso se mantiene firme, gracias sobre todo a un trabajo de guitarras que aúna esa crudeza primitiva, vestida con una engañosa sencillez a la hora de enfocar la influencias heavies del álbum, lo cual redunda en un sonido con una musicalidad fuera de toda duda, primitivo en esencia pero lleno de diferentes matices. Construido con un sonido de batería que en ningún momento es demoledor, marcado si, pero con un componente en su registro que deja fluir los riffs para que alcancen mayor protagonismo, con un peso destacable también para un sonido de un instrumento como el bajo, el cual logra que ese enfoque más primitivo se vuelva más protagonista. Logrando no perder de vista las influencias del heavy en su música, unas veces más presentes, otras más sucintas, pero logrando que el resultado final equilibre un tono épico con un enfoque casi que ancestral en su propuesta. Esto mismo puede ser trasladado al apartado vocal, repleto de guiños a un sonido primitivo, lleno también de secciones más cavernosas, oscuras y podridas, perfectamente engarzadas con el más fiel enfoque retro. Un álbum que en definitiva, no deja de sorprender desde su inicio, con una influencias brutal de un estilo como el heavy en su estructura, pero también con un carácter ancestral, que nos lleva directamente a finales de la década de los ochenta y comienzos de la de los noventa. (7,9).

Nuclear War Now! Productions

1. The Endchanter 07:27  

2. Old Comet Transition 06:02  

3. Elysian Fields Ablaze 06:06  

4. Scentless Epoch 04:53  

5. A Meaning Quest - The Smile of Sisyphus 05:03  

6. Tempus Edax Rerum 02:37  

7. The Song of Araphel 06:24  

  38:32

Warpvomit ‎– Barbaric Triumph Of Evil 10,99 €

Vinyl, LP, Compilation, Limited Edition

ZAKAZ

 

Origen: Islandia, Reykjavík

Formados: 2012

Estilo: Black

Temática: ?

Enlaces: Bandcamp, deezer, spotify y youtube.

Miembros:

• I Todos los instrumentos

Discografía:

• Myrkur og dauði Demo 2015  
• Myrkur og dauði CD 2016
• Myrkur Single 2016  
• Sjálfsvíg EP 2016  
• Kvalir EP 2018  
• Unbroken Demo 2019  
• Hof úr holdi CD 2020  
• Merki sólar CD 2025  

MERKI SÓLAR (2025)

Tercera entrega para esta one man band islandesa que se mueve en este lanzamiento por terrenos oscuros, densos y con cierta carga de melodía de diferente procedencia, unas veces con connotaciones paganas otras más folk, dando como resultado un álbum de registros amplios, trasmitiendo tanto ciertas dosis de paganismo como soledad y violencia. En general, desde que el álbum da comienzo, no vemos trasladados a un paisajes poco amigable y desolador, enfocándose el sonido en trabajar la construcción de una atmósfera oscura y profunda, con un trabajo equilibrado entre unas guitarras que cunado menos pueden ser tildadas de dinámicas, por dos características principales, por un lado la capacidad para sonar con bastante oscuridad y densidad, ofreciendo un tono bastante oscuro al grueso de las composiciones, pero también con la habilidad suficiente para sin previo aviso traer un registro más melódico, con influencias que parecen surgir de estructuras un tanto diferentes a lo expuesto en un estilo como el black. Cabe comentar algo similar con la batería, manteniendo la intensidad, pero sin sonar desmedida, profunda y oscura, sabiendo trabajar ciertas texturas, sobre todo cuando el ritmo decae un tanto, para ceder el protagonismo tanto a las guitarras como a las voces, para que puedan trabajar y adentrarse por otros registros sin tanta oscuridad, pero igual de profundos. Por su parte las voces resultan intrincadas por momentos, sobre todo a la hora de enfocar un estilo con cierta ambigüedad a la hora de ofrecer un tono cargado y oscuro, ejerciendo ellas mismas, la mayor parte de las veces, la función casi de un instrumento más, con un enfoque que nos sumerge en la más absoluta locura gracias a lo arriesgado de las mismas. Un álbum que se mueve por terrenos oscuros y densos, conservando un enfoque que a ese tono casi que ocultista, se le añaden elementos más acordes con un ente pagano con cierta melodía. (7,9).

Gymnocal Industries

1. Ást á sjálfseyðingu

2. Dáleiðing og tálmar  

3. Endalausi vítahringur  

4. Í tómum veruleika  

5. Í trójuhesti samvizkunnar  

6. Merki sólar  

7. Underneath the Moon

Candelabrum ‎– Transmutations (white vinyl) 20,99 €

Vinyl, LP, Album, White

ARGESK - INTERVIEW

 

Good afternoon, thank you very much for answering these questions. How are things going in Manchester?

Thank you for taking the time to interview us! All good here - hope all is well with you in Spain.

1. The members of Argesk are, to a greater or lesser extent, involved in other projects, some of them far removed from a style like black metal. How did it all come together to launch the band in 2017? Why did you choose the name Argesk and what does it refer to?

Great question. As some of your other questions allude to, the original lineup of Argesk was somewhat different to the current one - we had Dillon on bass, and, for a short time, had another guitarist, Graywinter. 

In 2017, I had just moved to Manchester and wanted to form a black metal band. Specifically, I wanted to play melodic black metal with keyboards. I had a bunch of riffs and song ideas floating around that I wanted to use, and also wanted to try my hand at running my own band. The previous bands I had been in had all been primarily other people's projects; I wanted to play music I wanted to hear, with like minded people, and to use the music that I'd written without compromise. 

Manchester has a great metal scene, and no shortage of people who are up for playing black metal. I put the call out on Facebook and got several responses; I already knew Dillon from gigs at Fell Foot Wood, and Leth (keyboards) was a friend from uni who I'd connected with through a mutual love of both black metal and goth electronic. I was familiar with Bob's work in Hecate Enthroned and Shades of Avalon, and reached out to see if he'd be interested. He was, and the rest is history! Graywinter I also knew through Shades of Avalon. He's now playing in The Machinist and Reliquia. 

The band name comes from Francis Ford Coppola's adaptation of 'Dracula' - the river Arges, in Transylvania, is where Vlad's betrothed drowns herself when she believes him to have been killed in battle. The addition of the 'K' was a mark of distinction suggested by Leth. 

2. You'll soon release your second album, which will follow up on "Realm of Eternal Night" (2020). However, during this time, you've added a new bassist and guitarist. Matt and Exigne, respectively. How do you think these two new members have influenced the writing process of the new album? How do you think the sound has evolved between the two releases? What brands of instruments have you used in the process?

First of all, to avoid confusion, we refer to our bass player as Roscoe, and our guitarist as Aidan. Aidan is doing a phenomenal job bringing the songs to life in a live setting, adding depth to the music and a darker, heavier tone to our performances. His low end chug is the perfect counterpoint to my searing treble - he joined the band just after we had completed recording the album. We are now working on new material, with Aidan taking an active role in the writing process. 

Roscoe contributed greatly to the writing of the album - when he joined, only 'Invocation', 'Servant of Fire' and 'Tempest' had been fully written. In the intervening years, Roscoe has made all three songs his own in terms of his bass playing. The rest of album was written collaboratively between myself, Leth, Bob and Roscoe. I think Roscoe's bass work shines in particular in 'Black Castle Waltz' , 'Tempest' and 'Wreathing Serpent', in which he also contributes acoustic guitar. 

In terms of how the sound has evolved, it's definitely a more fully realised and complex beast than our debut. We're experimenting more, but not compromising on heaviness or atmosphere. The synths are much more orchestral - in fact, Leth composed full orchestral arrangements for the entire album. There are choirs, strings, brass, bells, church organ, and Leth plays a mandolin on 'Wreathing Serpent'... I did question our first album being referred to as 'symphonic black metal', but I have no qualms about using the term here. 

For brands of instruments - I used a Jackson guitar going through a Mesa Boogie Dual Rectifier amp head and 4x12 cab, with Tube Screamer and noise suppressor for the distorted guitar parts. For the clean parts, I used a Fender Strat and played it through a Fender combo amp - I was aiming for an Agalloch-esque clean tone. 

Roscoe used an Ibanez bass and Darkglass bass amp.

Leth: My primary synth is a Novation Mininova. A tiny synth, but it's so powerful. It was almost exclusively the synth sounds on the first album and still plays a hefty role on Moonlight Pyromancy. It's not held up to the realities of live performance so I've had to modify the hardware and buy two of them to keep using it.

Live, I play a Roland Sonic Cell for the "realistic" sounds (like the organ) and a tiny PC to run some custom VSTs for orchestral sounds. I drive the Sonic Cell with a similarly ancient CME UF6 midi keyboard.

On the album, I play a Tanglewood mandolin and a whole host of VSTs, as well as the synths above.

3. The new album brings together different influences. In addition to that melodic black sound that's not foreign to you, you can also add a certain symphonic tone, with a greater emphasis on synthesizers in the final sound of the album. Of course, we shouldn't forget a certain classical character when it comes to focusing your work. How would you describe the sound of the new album? What bands or styles have influenced you when defining the sound of "Moonlight Pyromancy"?

I would describe this album as melodic, symphonic black metal. You're right that the keys feature much more prominently on this release, really coming to the forefront on tracks such as 'Tempest', 'Accursed Victory' and the title track. 

Many influences have come together to create the finished product. I've always taken great inspiration from early Cradle of Filth and Hecate Enthroned for what I write for Argesk, as well as Emperor and Dissection. Other influences have crept in, too - Finnish melodic black metal influenced the riffs in 'Accursed Victory' and 'Black Castle Waltz'; the synth line in 'Tempest' was inspired by Summoning; certain parts of other songs have been inspired by Ancient, Woods of Desolation, Iron Maiden... There's also folk, 80s goth and rock n roll influence in various parts. If we like it, and it serves the part, we'll incorporate it. 

4. Regarding the vocals, that raw character on the one hand, and the duality of also featuring others that complement them with a darker tone, seems to me to be an aspect that gives the album's sound a distinctive character. Was it very difficult to capture this approach to the vocals? What themes do you cover in the lyrics? Does the music adapt to the lyrics or vice versa?

Thank you - no, I don't find this approach to vocals very difficult, but it's because I've now been doing this style of vocals for ten years! I've always liked switching between very high screams and very low growls. As I mentioned, I'm very influenced by early Cradle of Filth and Hecate Enthroned. If you listen to both of those bands, you'll hear both Jon Kennedy (RIP) and Dani Filth switch between very intense high shrieking and low, aggressive growls. That style has greatly influenced my approach, though I try to do what comes naturally to me rather than trying to sound like other people. 

I'm also partial to DSBM style howls, and you'll hear a few of those on the album, particularly on 'Tempest'. Neige's harsh vocals are my main influence for those - I don't think there's anyone else who does them better. 

Now onto the lyrics. These deal with empowerment of the self, the use of magick to access profound levels of consciousness and traverse other realms through the astral plane. The immolation of the transient, material self and the emergence of one's true form, enlightened, potent and ineffable, becoming one with the spirit realm. They aim to express downloads and visions I have received while meditating and while playing and enjoying the music - what they express is difficult to articulate. I hope they resonate with people who have had similar experiences, or at the very least, find the imagery appealing. There are exceptions - 'Black Castle Waltz' is a tale of morbid, gothic romance, and 'Tempest' is a metaphorical journey through struggles with mental health issues. 'Accursed Victory' was a dark take on swords and sorcery fantasy - think the cover of 'In the Nightside Eclipse'!

I write the lyrics around the music - we'll work out the instrumental parts first, and I'll normally do harsh vocals in particular rhythms over the music before coming up with any lyrics. I then write the lyrics to fit these set rhythms. Often there will be images, words, even stories that will come into my head when I listen to the music; I will use these, but also adapt lines I've noted down day to day which fit the theme.

5. The previous album was recorded at The Fly, but there were many more aspects to the new one, from collaborations on vocals to recording with Noiseboy Studios and mastering with Chris Fielding. Did you feel this was the right time to commit to a new album with a more ambitious sound than the previous one? Why did you choose to work with these people?

Absolutely. Rik Simpson did a great job on Realm of Eternal Night, and asked for very little in return, but the original intent was actually for that to be a demo! It grew and grew, and it soon became clear that we had an album on our hands... I'm proud of it, but it is very much a 'debut' album - it isn't as polished, the songs aren't as realised. I would do it differently if I were to record it again today, but that's one of the beautiful things about music - it's a snapshot of where you are as a musician when that recording happens. There are always things you can do differently and improve on... At a certain point, you just have to say that it's done, otherwise you could tweak these things forever, and you can dampen the spark that gives it life in the process. 

Chris and Jake from Noiseboy did a phenomenal job with this release. Chris's suggestions and expertise with producing this type of music were invaluable - he got the best possible takes from us, and the album would be a different beast without him. In terms of why we chose to work with Chris, he and Bob had collaborated before on other projects, and it was Bob's recommendation that led us to go with Noiseboy. As for Chris Fielding, his production work for Winterfylleth, Conan, Burial and others speaks for itself! 

6. Aghy Purakusuma handled the album's artwork. It retains the fantasy tone of the previous album but adds more pagan aspects. Why work with Aghy? What does this cover represent and how does it relate to the album's content?

I found Aghy through listening to Morwinyon and Firienholt - the artwork he produced for both bands just transported me, in a similar way to Necrolord's work for Emperor and Dissection, and I immediately wanted his style for Argesk. In terms of the concept - the image you see is basically what came into my head when listening to the title track. I reached out to Aghy, gave him the brief and he produced a black and white sketch which I immediately loved. He then added colour, and after a couple of minor revisions, the result is the piece you see on the cover.

The cover represents my own internal visualisations when traversing the astral plane through meditative practices. Much like the music, it is designed to transport you to another realm, ineffable and residing within those who see the beauty in darkness... Those who understand will need no further explanation. 

7. Although your previous album was released on the now-defunct Clobber Records label, it seems everything is being kept in-house, as the new album will be released on an English record label like Matriarch Records. What happened to Clobber Records? Why did you choose to release the new album with Matriarch Records?

Clobber Records was an excellent label that unfortunately fell victim to the ruthless economic climate that we find ourselves in. Jaff and Rebecca did a stellar job, and we are grateful for their support in releasing our debut. Jaff is now involved in the running of both Road to Masochist and Wulfhere, and Rebecca now puts on Call of the Crow festival in Yorkshire, which recently had its first iteration with Psychonaut 4 headlining. 

With Matriarch Records, I was already familiar with Katie's work with Oneiros and others, and we had met briefly at an Argesk show a couple of years ago. Matriarch advertised that they were open to release submissions, and I reached out to gauge interest and check how a potential deal would work. I was impressed with Matriarch's ethos and the deal we were offered, so we decided to proceed. Katie has done a stellar job so far, consistently going the extra mile for us - she genuinely values the art and artists that she promotes. 

8. What can you tell us about the Manchester black metal scene? What bands would you recommend from your city? How do you see the health of black metal in your country, and how would you describe it in terms of bands that have influenced black metal over the years?

The Manchester black metal scene is in pretty healthy shape, though most black metal bands associated with the area could more accurately be described as 'North West' rather than Manchester specifically. Winterfylleth and Necronautical are the two biggest black metal bands which are based in or around Manchester, and both would fit that description. Russ Dobson, who plays guitar in Winterfylleth vocals + guitar for Necronautical, recorded the guitar guides for this album with me in both bands' practice room. 

Other great black metal bands associated with Manchester include Burial, Wolfbastard, Andracca, Volniir, Wode, Napierdalac and Gospelheim. I'm sure I've missed some! 

The UK black metal scene is in excellent shape, with bands like Abduction, Fen, Blood Countess, Ninkharsag and Underdark leading the charge. There are too many great acts to name, but some others include Cairns, Ofnus, Ba'al, Cistvaen, Imperial Demonic, Thy Dying Light, Misko Boba and Old Corpse Road. I'll kick myself for my many omissions later. 

In terms of UK bands who have influenced me, early Cradle of Filth and Hecate Enthroned are the two big ones. Dusk and Her Embrace and Slaughter of Innocence are two of my favourite albums, and their influence on this album will, I think, be fairly audible. Old Corpse Road have had some influence on my songwriting, too. 

In terms of the UK's influence on black metal, Venom, Hecate Enthroned, Cradle of Filth, Akercocke, Winterfylleth, Fen and Bal-Sagoth should be familiar names to any aficionados of the genre. I would direct you to Dayal Patterson's Cult Never Dies series, which articulate the UK's influence on black metal in far greater breadth and depth than I could.

9. Do you already have any shows lined up to present the new album live? What can your fans expect from your concert?

Yes - we are headlining Aatma in Manchester on 13th December, with Cairns, Lavinia Whateley, Napierdalac and Maraigh supporting. We will be presenting the majority of the recorded material from both of our albums in this setting. 

We are also booking shows for 2026, with The Woods festival at Fell Foot Wood currently announced. We wish to bring Moonlight Pyromancy far and wide, across the UK, into Europe and perhaps beyond. 

10. How did you get started in music: first shows you attended, first albums you bought? What event in your lives pushed you to want to be musicians?

I can only speak for myself here, but I was introduced to the guitar by my childhood friend Ciarán. He had acoustic and electric guitars, and taught me some very basic chords. We jammed some Guns n Roses and Metallica, and I got a taste for it. Before I knew it I was playing Bullet for my Valentine at a school concert (which went down surprisingly well), and I tried to start my first black metal band at 17. That never really went anywhere, but it meant I put myself out there into the local scene. I then joined a blackened metal band on guitar, and was with them for a few years. 

The first show I attended was DragonForce with Sabaton, Sylosis and Glamour of the Kill in 2009. It blew my young mind and made me hungry for more! 

The first album I ever bought was American Idiot by Green Day, quickly followed by The Open Door by Evanescence and The Black Parade by My Chemical Romance. 

Leth:

I had several stalled starts learning to play guitar when I was a child but I persisted when I was a young teenager who wanted to play System of a Down (whose new album Toxicity was in the charts) and Rammstein (when I was playing Mutter on loop). 

Later on, I became a bit obsessed with Mortiis who was playing a lot of electronic (on his Smell of Rain album) and industrial music (on The Grudge) at the time, and Ewigkeit, who were playing very synth-forward metal (such as on Conspiritus). I was surprised to learn that the Mortiis who was doing the electronic stuff was the same Mortiis whose Født til å Herske dungeon synth album was (and still is) my favourite.

Pushing hard with these influences, I started a "synth-metal" band with a friend. The less said about that the better. I was also in a drone doom band that I'm a bit more proud of.

But this, folk group performances, electronic industrial and eventually synthpop, are how I wound up as a metalhead on the keys. And now I shoehorn orchestrals into Argesk.

11. What album represents the essence of black metal for you? What recent albums have you bought?

If I had to pick one album to represent the essence of black metal, it would be In the Nightside Eclipse by Emperor. The atmosphere on that record is unrivalled - I've still never heard anything else like it. Oft imitated, never bettered. If you were to say it was the greatest black metal album of all time, I would not disagree. 

Recent albums I've bought - Deathly Pale by Parusight (like a UK Kekht Arakh), a Vampirska EP, whatever the hell Trhä has done recently, and acoustic material by Shelli Le Fay - pagan, occult romanticism. I also discovered Junkie Kut, who is like The Prodigy meets gabber, with a bit of extreme metal in there for good measure. Caustic, bitter and awesome. 

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

You are most welcome, thank you for taking the time to interview us and ask such in depth questions! 

To the fans - we hope you enjoy the album, thank you for your unwavering support. We hope to see you at the gig in December! You can also support our crowd funder to help us get Moonlight Pyromancy out on vinyl here: https://fairsound.com/product/argesk-moonlight-pyromancy/

https://facebook.com/events/s/argesk-cairns-lavinia-whateley/534000212982258/

-----------------------------------------------------------------------------------------------------------------------------

Mental Cavity ‎– Neuro Siege (Orange) 14,99 €

Vinyl, LP, Album, Stereo

Death Metal, Doom Metal, Hardcore, Sludge Metal

MALADIE

 SYMPTOMS V (2025)

Pues nada, una vez más los germanos Maladie regresan casi que fieles a su cita anual con sus seguidores con al edición de nuevo material y lo que es más importante, cuando parece que la formula se podría haber agotado o que caerían en cierta repetición, pues no, nada más alejado dela realidad, aquí están de vuelta con una Ep que cuando menos incide en ese estilo tan particular que han heche suyo a base de seguir explorando nuevos territorios dentro de la vertiente más experimental o vanguardista del metaa extremo. Si ya nos hemos cercado a la obra de Maladie con anterioridad ya sabremos como se las gastan, pero aún cuando lo hagamos por vez primera, resulta casi que imposible no caer rendido ante lo expuesto. Con un tono que se camufla en una engañosa patina de diferentes arreglos e influencias, para en el fondo, ofrecer un tono de metal extremo de forma más que sucinta y particular. El trabajo de saxofón sigue estando presente, dotando al sonido de una carga diferenciadora más que importante, no ya por su aporte en cuanto a contraste, sino por la capacidad que tiene la banda para convertirlo en parte más que importante del sonido de este álbum, como una pieza más de sonido metálico, aportando una atmosfera que logra sonar desoladora cuando menos. Hay que sumar un aporte de mayor oscuridad y de mayor carga de profundidad, en un componente más puramente metal, con respecto a obra anteriores, sin lugar a dudas, hay pasajes dle todo viscerales y las voces nos sumergen en las profundidades de un estilo más directo y del todo poderoso. Pero también el sonido logra conservar ese aspecto más inmersivo, con un componente de desarrollos amplios, con giros inesperados de guion en cuanto a ritmos y estructuras, algunas disonancias y el aporte de instrumentos singulares que trabajan al unísono en una mezcolanza de metal de diferenre octanaje. Algo similar sucede con las voces, con registros dispares, hasta con acercamientos a cierto tono psicodélico si se me apura, pero también un trabajo en búsqueda de mayor profundidad en algunas secciones, Sin lugar a dudas un trabajo no exento de cierta complejidad, abrumador en cuento a registros, pero que viste de cierto preciosismo una engañosa sensación de contundencia y violencia que habita en las profundidades del mismo. (8).

    Apostasy Records

1. The Implacability of Time 07:59  

2. Black Hole Weight in Our Hearts 06:26  

3. Procreation of a Dead God 06:24  

4. Black Chamber Within Golden Walls 05:07  

5. All Shall See 03:29  

  29:25  

Mordant ‎– Back From Hell ( Black vinyl with logo-patch) 13,99 €

Vinyl, 7", 33 ⅓ RPM, 45 RPM, Single, Numbered, Stereo, Black Vinyl

ULVEHYRDE

 

Origen: Noruega, Hønefoss.

Formados: 2018

Estilo: Black

Temática: Oscura historia noruega.

Enlaces: Bandcamp, deezer, facebook, spotify y tidal.

Miembros:

• Sorath Northgrove Voces
• Straff Guitarra
• Uruz Batería
• Uvel Bajo

Discografía:

• Jarlen Single 2020  
• Englemakersken Single 2021  
• Englemakersken CD 2021  
• Dødsdømt CD 2025

DØDSDØMT (2025)

El segundo álbum de los Noruegos Ulvehyrde es un trabajo oscuro y denso, que se refugia en la más pura tradición del black noruega, al mismo tiempo que nos va relatando tortuosas historias de violencia y muerte de su tierra natal. Para ello se refugian en uno sonido denso y pastoso, que por una parte sabe sacar partido tanto a un engañoso sonido directo y agresivo de batería, como a unos riffs directos y crudos que logran crear un ambiente propicio para que la violencia y las más profundas perversiones de la mente humana se sientan más que a gusto. Sin embargo este sonido se vuelve pronto denso y pastoso, el rimo comienza a jugar con secciones que se prestan a mayor profundidad, incluso podríamos decir que hay una mayor carga de elementos pesados, dejando cierto regusto a elementos más propios del doom. Pero no es menos cierto también, del gusto por parte Ulvehyrde de trabajar secciones de riffs de cierto tono melódico, con la misma profundidad que el tono general de las composiciones, pero que aportan cierto tono más inmersivo al conjunto. Algunos espacios quedan también para trabajar cambios de ritmo que permiten el trabajo de instrumentos de corte más limpio, aquí es donde esa ambientación cargada se vuelve si cabe más inquietante, como detonante de toda esa oscura violencia presente en sus letras. Sin olvidarnos, por supuesto del trabajo a las voces, completo, variado y perfectamente engarzado con las diferentes sensaciones que pretenden trasmitir, lleno de profundidad y oscuridad cuando la violencia de la música está más desatada, empleando un tono más narrativo y limpio cuando quiere acentuar ese carácter de misterio y terror a lo que quiere trasmitir. Sin lugar a dudas un trabajo profundo, hasta podríamos describirlo como inmersivo, que logra con su ambientación dejarnos una sensación casi que agridulce. (8,2).

Solistitium Records

1. Merraflåer  

2. Jammerdalen   

3. Dødsdømt  

4. Dårekisten  

5. Barnedrap  

6. Fanitullen  

7. Morder  

8. Rekviem

Hesperia ‎– Fra Li Monti Sibillini (Ice Marble) 39,99 €

2 × Vinyl, LP, Album, Limited Edition, Ice Marble

SUNKEN

 LYKKE (2025)

Los daneses Sunken se han tomado su tiempo, casi cinco años, para tener listo su tercer larga duración, algo del todo comprensible, en un estilo como el que practican, es relativamente sencillo agarrarse a lo conocido y dejarse llevar, repitiendo la fórmula una vez más sin mayores preocupaciones, sin embargo este no el caso, desde la extensa duración de los cuatro temas que conforman este "Lykke" logran atraparnos en un majestuoso ambiente lleno de sensaciones y contrastes. Lo anteriormente comentado viene a hacer referencia a bandas de black atmosférico en las cuales es difícil encontrar un equilibrio entre agresividad y ambientación, dejando siempre una puerta demasiado abierta a los sonidos más accesible y a lograr dibujar esos paisajes evocadores a fuerza de explotar su vertiente más melódica y limpia. Sin embargo Sunken en este álbum logra trabajar diferentes facetas de un black directo, profundo y poderoso, al mismo tiempo que entrega también un buen puñado de secciones emotivas y evocadoras, surgiendo de ese contraste una dualidad en su música, que por complicado que parezca, logra un delicado equilibrio. Vamos a decir que la duración de los temas, extensos todos ellos, juega a favor del resultado final del álbum, permitiéndoles explorar en cada uno de ellos diferentes terrenos, desde unas intros limpias y emotivas que poco a poco se van tornando en pasajes mucho más directos y agresivos, capaces de llevarnos hacia terrenos más propios de un black al uso, para ser capaces otra vez de volver a parar y regresar hacia una ambientación más intimista, llena de sensaciones de rabia o desazón, pero también de depresión y tristeza. Para ello se sirven de un trabajo de guitarras que se mueve por diferentes secciones, desde las crudas, hasta otras melódicas, rodeado de una capa de sonidos entres lo orquestal y lo melódico que lo va empapando todo de una patina de engañosa melodía y cierta accesibilidad, aspecto que se desarrollan también en las voces, unas veces más comedidos pero otras desatando una furibunda sensación de desolación y desesperación. Un álbum que no busca encajar en el panorama actual de black atmosférico, tal vez haya llevado su propuesta a terrenos más diferenciales y menso accesibles, combinando perfectamente melodía y agresividad, con crudeza y abatimiento. (7,6) .

Eisenwald

1. Din røst malede farver i luften 10:03

  Nød du freden, da den var der Da din røst malede farver i luften Indbudt af morgenrødens glød Idyllisk ro og harmoni

Smagte du på livets frugter Da de hang lavt på træet

Det friske kød modnet i tryghed og ro Saftigt som uvidenhedens salighed

Fik du sunget med på verset i livets melodi På vej over det store crescendo

Da du var omkvædet i nuets symfoni Og der var mange vers endnu

Elskede du høj og lav, fremmed og nær Da du havde årsag dertil

Udtrykte du fryd, fornøjelse og lykke Da du vandt i livets spil

Beskuede du himlen, blå som det rene hav Da den var skyfri blot en stund

Løftede du øjnene fra monotoniens favn Før du forliste og stødte på grund

Tordenbrag og lynild rev freden itu

Og livets dybe smerter gjorde tristessen til gru For alle løfter om livsglædens utopi

Var blot feberdrømme malet af en ung fantasi

2. Og det er lykke 12:54

I smerte kryber vi gennem det endelige Og jeg er ej forundt en plads ved nadverens bord Men se, dybt i den dis, der slører dine øjne En grel illusion, der er skøn Som alle fantasmer Hør, mellem de tordenskrald, hvor alt forgår i et orgie af rå magt, de grin som nu engang lyder Mærk, under angstens sved og dødsdriftens begær i ennuiens favn, Det der kun kan mærkes Find, om du kan, bag den fæle råddenskab Den søde duft af frihed Husk, tungsindighed til trods På dit næste morgengry Og vid, mod al intuition At det altid kan blive værre Og det er lykke Og det er lykke Og det er lykke Og det er lykke Og det er lykke Og det er lykke Og det er lykke Og det er lykke Og det er lykke Og det er lykke Og det var lykke  

3. Glædesfærd 10:53

  Vi skal nyde livet som aldrig før Som den gængse mand

Vi skal vandre i bakker og frodige lunde I det ganske land

Blændet af solen og den nære horisont Hvor intet Ƞernt os forstyrrer

Mellem tæerne, græs, kort og grønt Her hvor hyggen vi dyrker

Vi skal fare mod eksotisk jord Så snart vor glansbillede falmer

Isoleret fra de fremmedes besvær Under fremmede palmer

Vi skal drukne vore sorger i utallige glas Og skråle og danse som vi plejer

Alle bønner om hjælp og empati og omtanke, af vejen vi fejer

Vi har det fint, her bag i flyet Hvorfor føle noget ægte

Når vi kan grine og græde i flok Og synge, smile og feste?

Vi har det trygt, i vor fælles virkelighedsflugt I en kuffert fyldt med intet

Kom, lad os hæve vor glas

For vor idyl, forloren og opdigtet

Vi har det så pænt, i vor nydelige illusion

Som vi har opbygget sammen Lad os stå op til endnu en dag Hvor alt er fryd og gammen

Vi har det fint her

4. Når livet går på hæld 13:58

Farvel til tiden som var

De stunder som vi aldrig får igen Den tunge luft mellem du og jeg Du var min, og jeg din ven

Vi lod nuet forsvinde mellem vore fingre Druknet i støj og ideologi

Forstummet er nu tankerne og larmen Tilbage er nu blot min apati

Farvel til et liv i skruetvinge

Som kunne have rummet så meget Havde vi blot bevidnet solens glød Før den falmede og blegnede

Farvel til havets utrættelige bølgeskvulp Og dets langstrakte strandes vidder Godnat til skovens fuglefløjt

Grønne trætoppe og stier

Farvel til freden, der viste sig i glimt Farvel til den lykke, vi hurtigt fik glemt

Farvel til det velbehag vi sjældent undte os selv Jeg finder vel mit smil igen når livet går på hæld

  47:48

Transilvania  ‎– The Night of Nights 10,99 €

Vinyl, LP, Album, Limited Edition