The band started around 2013, these beginnings must not have been easy, among other things because of the seven years that passed until the release of your debut album, how were those first years of the band? How did the idea of creating the band come about? Why did you choose the name Sepulchral Curse and what does it refer to?
KARI: Sepulchral Curse was formed from the deep need to create Death Metal. Band was formed by me and Jaakko. We had been friends for some time and it was just one of those drunken nights when you decide to form a band. I was singing Death/Doom and he had his two bands so neither one of us was playing Death Metal the ancient way. Pretty much from that need. Jaakko composed our first EP and then we got Niilas as the bassist and Tommi as the drummer. Both long time friends of Jaakko. From there the band was born. The name Sepulchral Curse was chosen as it sounded cool and depicted what we were going to do, but now the name resonates and means more to us. More inclined and more meaning on what we are. First years of the bands existence were plagued by being busy with other bands and projects. Also it took a bit of time for Transcending Obscurity Records to get the album out and we had a bit of misluck with the cover artists as he also took his sweet time in creating the cover art.
What did the release of “Abhorrent Dimensions” mean to you in terms of the good reception by the public and the press? Did this album define the style of the band in terms of sound for you?
KARI: “Abhorrent Dimensions” is perhaps the most imporant record of my career as vocalist. In many ways this record showed what we are and what was the path we will walk with Sepulchral Curse. I would say with “Abhorrent Dimensions” we truly found our sound and were unleashed. Bits and pieces fell into places and the fact that this was the first record with Johannes on drums was the cherry on top. Our sound has evolved before, but now it felt like it had found its true form or was close to it.
Looking ahead to the new album, how have you faced the process of composing and recording “Crimson Moon Evocations”? Does the sound follow a line that continues with respect to the previous one or have you modified certain aspects? What brands of instruments have you used in the process?
KARI: If with “Abhorrent Dimensions” we truly found our style, with “Crimson Moon Evocations” we crystallized it and honed it to more sharp form. We just took a deeper dive on what the band is about sonically and that shows in the record. We took a bit different route when it came to choosing the right songs and rehearsing them. We rehearsed the songs together and found their best version together before entering studio. Again we entered Oxroad Studios with Tomi and we plan to do so for future releases too. Instrument-wise each member has their own preferences, so we do not use one certain model or brand. Perhaps we should do a gear rundown what we use for those interested! Studio, engineering and mastering in mind we used the same winning recipe as last time. Just a bit better this time as is the plan.
The sound of the new album can essentially be defined as daeth metal, but it is surrounded by an aura of different influences such as black, thrash or even a taste of classic sound. How would you define the sound of the new album? What influences have been fundamental for you when composing the new album?
KARI: I think you definitely nailed it. Death Metal is the backbone and soul of Sepulchral Curse, but we do add a hefty does of Black Metal, Thrash Metal and Traditional Metal into our brew. Some have said that our genre is “Blackened Death Metal” and I think that could define us rather well. It is a bit more “than just Death Metal”, so to say. Our influences have stayed pretty much the same. If I name drop Incantation, Dismember, Autopsy, Running Wild, Slayer, Dissection, Darkthrone and Sulphur Aeon, we are not far away.
The lyrics of the songs evoke stories in themselves but also leave a part to the listener's interpretation. Who is in charge of the process of writing the lyrics and what topics do you deal with? Do the lyrics adapt to the music or vice versa?
KARI: Nowadays 99% is written by me. I have always preferred to write the lyrics to what I sing, but before Tommi did the writing and rightfully so as he is damn good lyricists. I think again you nailed pretty well what we are about. I love to write stories around certain idea and then have a bit more under the surface to leave something for the reader to think for themselves. Some lyrics might be a bit more straightforward and some more poetic. I always write lyrics and do arrangements after the song is ready. Though sometimes I have lyrics that have been waiting for the right song for a long time. Like “The Locust Scar” on newest album and “Graveyard Lanterns” on “Abhorrent Dimensions”. Both have been with me for years, but when the right song comes around, I can use them. Usually I am inspired by literature, comis, movies of different nature, but nowadays there is also a lot more of “normal life” that has made me think. I like to wrap my lyrics in dark fantasy or sword & sorcery imaginery, yet the meaning might be originally from somewhere completely different origin.
You have made the leap to a record label with much more visibility and surely more in line with what is expressed in your sound. How did the signing with Dark Descent Records come about? What do you think this new possibility will mean for you and being able to have an album published in all possible formats from the beginning?
KARI: Dark Descent Records was one of the labels we set our sights when we knew our time with Transcending Obscurity was coming to an end. Luckily Matt was right away all in! I have known Matt for many years but there just never was a right moment for us to put our heads together until now. Dark Descent Records has without a doubt brought us to a much needed next level with exposure and most definitely with opportunities that will rise. Definitely a thing off from my bucket list! Also the fact that you will have all formats from the release is utmost important so people can choose the format they desire the most and not wait until the record is old news.
What role did Tomi Uusitupa and Oxroad Studios play in achieving the result you wanted in terms of the album's sound? What can you tell us about Tomi?
KARI: Tomi is one of the most hard working and chilled persons when it comes to sound guys. He is very involved guy and does not just record and album presented to him. He might not be most knowing person of the genre he records, but he actually researches it a lot to understand what the record needs, not pushing his own agenda. He knows his stuff and has always new gear and vision on what to do and how to do this time, always evolving and mastering his craft. He also creates a very relaxed atmosphere at Oxroad Studios where you can only succeed. Also for us he works as a producer trying to find the best solution. This was our third studio session at Oxroad Studios. Tomi really feels like the sixth member of the band at this point and we would not consider using any other guy for our recording needs anymore. People should really keep Tomi in their radar as he is one talented dude for certain! He also does music videos where his work ethics matches the one he has for recording albums. Top notch dude and you should consider yourself lucky to work with him.
The album cover was made by Mark Erskine. At what point did you decide to work with Mark? What does this cover represent and how does it relate to the album's content?
KARI: Mark Erskine did our artwork for the previous album and we really liked his style and felt it would fit this idea too. He really overdid himself as that cover art is magnificent! “Crimson Moon Evocations” was a title that had been with me for a while. Now I think the music matched the title so we used this one. The title, art and meaning are combined perfectly in the cover. The cover is about the flow of things, the aspects of life that mold and define us, the looming presence that is causing constant change, much like how the dread energies of the crismon moon flow into the cultists below.
Do you have any dates planned to present the new album live? Which bands would you like to tour with because of their sound affinity?
KARI: Our agent in Finland Ile of Kallo Agency has been fast booking us shows in Finland and now we have Tito of Death Over Rome Booking filling our calendars in the rest of the known universe. Some smaller gigs, biggest ones are Tuska Open Air 2025 and Kuolio Fest 2025 in Kuopio, so really cool gigs coming and more to be announced I can add! I think we have had luck in playing with a lot of cool bands but definitely it is a dream of mine to share the stage with Sulphur Aeon!
You come from a country with an immense and enviable tradition in extreme metal. How do you think the 90s death and black sound of Finnish bands has influenced you? Which new bands from Turku could you recommend?
KARI: Well, naturally we have been listening to a lot of the 90s Death Metal bands and their influence is great on us. Though I would say our biggest influenes come from different country, but without a doubt Finnish scene has been there for us always. Finland has been a bit void of newer bands. Our pals in Concrete Icon and Cannibal Accident just released new albums, Cumbeast is about to unleash new one in May. Perhaps only newer one is Guts and they just released a new album too, which you should check out!
How did you start out in music: first concerts you attended, first albums you bought? What event in your lives pushed you to want to be musicians?
KARI: For me all start when my sister played me Lake of Tears. That was the initial waking up to Heavy Metal. I started digging through my sisters record collection. From there I got obsessed by Doom Metal and gradually Death Metal. Doom Metal was my first love, so if my memory serves me right, the first gig I attended was Reverend Bizarre, Minotauri and Spiritus Mortis at Klubi, Turku. I think the first album I bought was probably HammerFall’s Crimson Thunder, but I cannot be certain. It is so many years ago and a lot of things happened in short time. My interest to be in a band was sparked by Messiah Marcolin of Candlemass. Something about his passion for Doom Metal and kicking ass live inspired me. Band-wise, for years I sang in the Death/Doom Metal band Solothus, but that ran its course and I decided to focus 100% on Sepulchral Curse. In Sepulchral Curse is my closest friends so it is a rare situation to share band with our best friends and to create music you love.
Which album represents the essence of black metal for you? Which latest albums have you bought?
KARI: If would name my all time favourite Black Metal record, it would probably be Immortal “At the Heart of Winter”. That album has it all, nothing more to add. Latest album I bought was Sulphur Aeon’s “Seven Crowns and Seven Seals”. During recent years I have not been able to buy that many albums. As a father the time I have to spend home listening to records is rather thin…
Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for the fans of Sepulchral Curse this is the place. I hope you like the questions.
KARI: Listen to our new album and catch us live! Stay Cursed!
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