CHRIST AGONY - INTERVIEW

 

1. More than thirty years have passed since Christ Agony's career. Would you be able to remember that early Christ Agony era? What led you to want to create a band like Christ Agony? What does the name refer to, and why did you decide to use it?

- Yes, more than three decades have passed, yet those early years of Christ Agony still feel like an open wound - sacred and raw. The band was born out of rebellion, darkness, and the deep need to express something beyond the ordinary human experience. In the early ’90s, Poland was changing, everything was uncertain, but there was also a strange spiritual hunger in the air. I wanted to channel that energy into music that transcends the physical world — something that would reflect both despair and spiritual awakening.

The name Christ Agony came naturally. It symbolizes the eternal conflict between light and darkness, faith and doubt, spirit and flesh. For me, it was never about blasphemy for its own sake — it was a statement of inner struggle, of human suffering seen through a spiritual lens. From the very beginning, Christ Agony has been a reflection of my own path — a spiritual journey through pain, mysticism, and transcendence.

2. Although you are currently the only member of Christ Agony, one of the original members, it's also true that the band has gone through different periods, including a brief period in which its name changed to Union, a period that also coincided with your departure from the group. So, how do you feel Christ Agony's trajectory has been over these years? Perhaps those years when it changed its name to Union were characterized by a lack of coherence with Christ Agony's legacy? Is it now over, has the page been turned, and can we now say that Christ Agony is a completely solid project, that it has definitively left those doubts behind?

- Yes, Christ Agony has gone through many transformations, shadows, and resurrections. The passage of time, the changes of line-ups, and even the period under the name Union were all part of the same spiritual odyssey. I never saw those years as a betrayal of Christ Agony’s legacy - rather, they were a reflection of the chaos and struggle that surrounded both my personal life and the band’s existence. Sometimes you must descend into darkness to be reborn with greater strength.

The Union period was a time of searching, an exile of sorts. But even then, the same spirit, the same essence was alive. When I finally reclaimed the name Christ Agony, it was not a return to the past — it was a rebirth. Today, Christ Agony stands stronger and more unified than ever before, both artistically and spiritually. The doubts, the confusion, the storms — they’re all behind us. What remains is the essence - pure, eternal, and indestructible.

3. About nine years have passed since the release of the previous album, "Legacy" (2016), a fairly long period that I assume hasn't been fully utilized in the creation of the new album. How did you approach the writing and recording process for "Anthems"? Is it difficult, with a legacy like Christ Agony's, to live up to the past? Is it difficult to be consistent with the band's history, to see the present without completely breaking with the past? What instruments did you use in the process?

- Nine years may seem like a long silence, but in truth it was a necessary period of reflection, transformation, and inner rebirth. After Legacy, I didn’t want to simply repeat the past or recreate what had already been done. I needed to feel that spark again - that creative fire that gives meaning to every note and every word.

The writing process for Anthems came naturally, without pressure or deadlines. Some ideas were born years ago, others emerged in moments of pure inspiration - from silence, from solitude, from life itself. I sometimes start from lyrics, sometimes from a single riff or atmosphere. It’s a very organic process - intuitive rather than technical.

Recording took place mainly in Morąg, in cooperation with Michał Grabowski, who also worked on Legacy. He understands my vision perfectly - the balance between the mystical darkness of the past and the organic, modern power I wanted to achieve on this album.

As for instruments, I used my trusted IVAN & RAN guitars, a combination of analog and digital amps, and the entire FabFilter suite and iZotope Ozone for shaping the sound. My approach is always to merge old-school warmth with modern precision. The goal was not to chase trends, but to create something timeless - an echo of the past, yet alive in the present.

4. When you pick up "Anthems," you're immediately struck by that dark, charged atmosphere, with aspects that have more to do with brutality. However, if you give it time, you begin to appreciate other, more subtle nuances, such as the atmosphere or the melody that gradually emerges. Was this one of your main concerns when composing "Anthems," achieving that balance between brutality, atmosphere, and melody? How would you describe the sound of the new album for those who haven't heard it yet? What bands or styles do you think inspired you for "Anthems"?

- Yes, that balance was absolutely intentional. Anthems was born out of a desire to merge two seemingly opposite worlds - the raw, aggressive energy of black and death metal, and the mystical, almost spiritual atmosphere that has always been at the heart of Christ Agony. I wanted brutality to serve the emotion, not dominate it; for darkness to carry beauty within.

The album breathes - it has dynamic shifts, moments of rage, and moments of contemplation. Behind the wall of sound, there are layers of melody, subtle harmonies, and a haunting ambience that reveal themselves over time. I think this is what gives Anthems its depth - it’s not just an attack, it’s an inner journey.

As for inspiration, I’ve never limited myself to one direction. Of course, the spirit of early black and death metal is still there - Bathory, Celtic Frost, Venom, early Morbid Angel, early Samael - but I’ve always drawn strength from classical composers like Tchaikovsky or Stravinsky, and from dark, atmospheric acts like Dead Can Dance, Bauhaus, or Swans. These influences shape the emotional tension and sense of drama within my music.

For those who haven’t heard it yet - Anthems is both a hymn and a storm. It’s heavy, mystical, and passionate. It’s the sound of darkness transformed into something transcendent.

5. Another differentiating factor is the lyrical themes, which often distance themselves from Satanic elements and instead offer other themes such as mysticism, mythology, social issues, or poetic elements. How do these themes fit into a black metal band, and why do you think they're important to address?

- For me, black metal has never been only about Satanism in a literal or dogmatic sense. From the very beginning, Christ Agony was born as a form of spiritual rebellion - not against religion itself, but against all forms of limitation imposed upon the human spirit. I’ve always seen darkness not as evil, but as a mirror of truth, a space where one can explore the hidden parts of existence and the self.

Mysticism, mythology, and poetry are just different languages of that same exploration. They allow me to express emotions and ideas that transcend the material world - transformation, death, rebirth, divine chaos. Through these symbols, I build my own universe, free from religious labels or social norms.

These themes are deeply rooted in black metal’s essence, because at its core, this genre was always about transcendence - breaking barriers, reaching beyond the flesh, touching the void. For me, Anthems continues that path, but through a more mature, introspective lens. It’s not about worshiping darkness - it’s about understanding it.

6. What can you tell us about the record label Deformeathing Production, which is responsible for releasing the new album, while also actively working on reissuing older Christ Agony albums?

- Deformeathing Production is a label that truly understands the essence of extreme music - not only from a business perspective, but on a spiritual and artistic level. Working with them on Anthems has been a great experience because they respect the band’s legacy while fully supporting its present and future vision.

What I value most is their honesty, dedication, and passion. They are not just releasing the album - they are part of its journey. Together, we are also working on reissues of older Christ Agony releases, including the re-release of Demonology with four additional tracks from that same era.

It’s a collaboration built on mutual respect and understanding - something very rare today. Deformeathing is not a corporation, but a label run by people who truly love and live this kind of music.

7. Studio666 and Michał Grabowski appear in the album credits as the places and people who handled the recording and mastering of the album, although you were also actively involved in this process. Why did you choose to work with these people to record the new album? How much of this work was reserved for you?

- Working with Studio666 and Michał Grabowski was a natural decision. Michał understands my musical vision and has the right sensibility for this kind of sound. He knows how to preserve the atmosphere and essence of Christ Agony while giving the album a modern, powerful edge.

This time the recording process was divided between several stages. Some of the guitar parts were recorded in my home studio, where I could work in solitude and focus on the atmosphere. The main rhythm guitars and all vocal parts were recorded later at Studio666 together with Michał.

The drums were performed by two incredible drummers - Daray and August - each bringing their own energy and character to the album. Their contribution added dynamic diversity and power to Anthems.

Michał handled the mix and mastering, but I was deeply involved in every step, shaping the sound and making sure that every detail reflected the spirit of Christ Agony. It was a perfect combination of technical precision and emotional expression - Michał gave the material its final shape, but the soul of the album remains entirely mine.

8. Divine Design was responsible for the design of the album cover, maintaining that more recognizable, darker side of your previous works. Why did you choose to work with Divine Design, and what does this cover represent and how does it relate to the album's content?

- Working with Divine Design was an obvious choice. They perfectly understand the visual identity of Christ Agony - that specific balance between darkness, mysticism, and sacred symbolism that defines my music. I didn’t want just another “black metal” cover; I wanted a visual reflection of Anthems - an image that emanates coldness, spirituality, and transcendence.

The artwork represents the duality of the human and the divine, light and darkness - eternal conflict and harmony at the same time. It is not a simple illustration; it’s a symbolic mirror of the music. Every Christ Agony album has its own sigil, a visual invocation of its essence - and Anthems continues that tradition.

Divine Design managed to capture the core of this album - the sacred and the profane intertwined in one form. The cover stands as an invitation into the world of Anthems - a world where pain becomes transcendence and darkness turns into light.

9. How does it feel to be part of the history of a style like black metal? What is your opinion of the Polish black metal scene today compared to when you started with Christ Agony? What new Polish bands would you recommend today? Do you think Christ Agony has influenced current black metal bands? Would you be proud of that?

- Being part of black metal’s history is both an honor and a burden. Christ Agony was born in a time when everything was raw, pure, and real - there was no internet, no trends, only passion, rebellion, and spirit. We didn’t follow any rules, we created our own language - both musical and spiritual. Looking back, I feel proud that Christ Agony helped to shape the identity of Polish black metal, giving it that unique atmosphere — mystical, spiritual, yet full of darkness and pain.

The Polish scene today is strong and diverse. There are many excellent bands that continue this tradition in their own way - with different sounds, but with the same essence. I respect projects like Mgła, Kriegsmaschine, Blaze of Perdition, or Furia - each of them explores the black metal spirit in a personal, creative way.

If Christ Agony has influenced some of them, I take that as an honor. I never wanted followers - only those who feel the same fire and spiritual connection to music. If our legacy has inspired new artists to search for their own truth in the darkness - yes, I’m proud of that.

10. You've never shied away from presenting Christ Agony's music live, but the truth is that you haven't been too prolific in that area lately. What are your plans for the "Anthems" shows? Who will you be covering in your lineup for the stage? What can Christ Agony fans expect from your live shows?

- Live performances have always been an essential part of Christ Agony - not just as concerts, but as rituals of sound and spirit. Over the years, I’ve never treated them as routine shows; each one has to carry the energy, darkness, and transcendence that define the essence of Christ Agony.

After the release of Anthems, the plan is to bring the new material to the stage - to let people experience this atmosphere face-to-face. We are currently working on a new live lineup, built around musicians who understand the philosophy and aura of Christ Agony. The core remains my vision, but I’m surrounded by people who share the same dedication and passion.

The upcoming shows will be intense, dark, and immersive - a return to the roots, yet with the power and sound of today. Fans can expect a journey through time, from the early classics to the new Anthems hymns, all performed with that ritualistic energy that has always been part of our identity.

11. How did you get started in music: your first shows, your first albums? What happened in your lives that made you want to be musicians?

- My journey into music began very early - back in the late ’80s, when everything was raw, real, and full of hunger for expression. I was born and raised in Morąg, a small town in northern Poland, far from any big cultural center. But perhaps that isolation was my blessing - it gave me time to dream, to create, and to search for my own voice in the darkness.

My first experiences with extreme music came through underground tape trading, old cassettes, and the local metal community. Those were magical times - pure passion, no internet, no rules, only instinct. I started playing guitar and composing in my teens, driven by a need to express something beyond words - a spiritual rebellion, an inner fire that found its form in sound.

The first shows of Christ Agony were chaotic and intense, full of emotion and mystery. We didn’t care about trends or fame - it was about evoking a state of trance, of connection with something beyond the physical world. That same drive still burns within me today. Music, for me, is not just art - it’s a form of existence, a manifestation of the spirit.

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

- It’s always difficult to choose just one album that represents the essence of black metal, because black metal is not only a sound - it’s a state of mind, a spiritual experience. But if I had to name one record that truly shaped my perception, it would probably be “De Mysteriis Dom Sathanas” by Mayhem. That album captures the atmosphere of darkness, mystery, and rebellion in its purest form - it’s not only music, it’s a ritual, an invocation of chaos and transcendence.

Another milestone for me was “Under a Funeral Moon” by Darkthrone, for its raw and primitive energy, and “Storm of the Light’s Bane” by Dissection, which combined aggression with melody and deep emotion - something I’ve always been drawn to in my own compositions.

As for more recent music  I still follow what’s happening in the underground. I’ve recently listened to bands like Akhlys, Schammasch  and Blut Aus Nord, who continue to expand the boundaries of black metal without losing its spirit. But I also reach beyond the genre - I listen to Dead Can Dance, Swans, or even classical composers like Tchaikovsky and Stravinsky. These artists inspire me just as much, because they carry the same sense of depth and emotion that defines true art.

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

- Thank you for the space and for this meaningful conversation. After more than three decades, Christ Agony remains not only a band - it’s a spiritual manifestation, a voice born out of darkness, rebellion, and reflection. Anthems is another chapter in this endless journey, a hymn for those who still seek light through shadow.

To all our loyal followers - thank you for walking this path with me through years of silence and resurrection. The fire still burns, and new rituals are yet to come. May our music continue to resonate with your souls, to awaken that inner flame that defies all boundaries and time. See you soon - on stage, in the darkness, where words turn into invocation and sound becomes transcendence.

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Geistaz'ika – Midnatsbøn Ved Djævelens Port 23,99 €

Vinyl, LP, Album

PERDITION TEMPLE

 MALIGN APOTHEOSIS (2025)

Quinto álbum de estudio para los de Tampa, un álbum que los acerca todavía más a un sonido de death metal poderoso, oscuro, denso y demoledor. El álbum arranca sin concesiones y de forma más que apabullante, una maraña de sonido demoledor se abalanza sobre nosotros y no nos va a soltar hasta la finalización de este "Malign Apotheosis". Con una combinación apabullante, en donde la batería de un tono denso y profundo sabe marcar desde el inicio los derroteros del sonido y servirá para dejar un halo de trascendencia más allá de lo ofrecido en el álbum, con la vista puesta en un tono más clásico del death. Las guitarras suenan de manera demoledora, ofreciendo unos riffs implacables que acentúan la carga de profundidad del álbum, en algunas secciones se sacan de la manga interpretaciones con cierto tono más amplio en cuanto a recursos, pero sin que en ningún momento los riffs se resientan de se enfoque aplastante que está presente desde el inicio. Algo similar se puede decir de un apartado vocal que a medida que el álbum avanza, parece que se va a fundir con el death más infecto y maligno de la más que imprescindible escena de Tampa. Una vez ha trascurrido este "Malign Apotheosis", la sensación que deja es de ser aplastado por un maquina de precisión infernal, ofreciendo si cabe, con respecto a pasadas obras una producción y un sonido mucho más preciso, que permite que tanto instrumentos como el bajo, como ese carga de profundidad que es la atmósfera del mismo, alcancen cotas más que destacables. Afianzándose una vez más en la zona más destacable y reconocible de ese sonido black, death del cual nos han hecho participes desde sus comienzos, llevando si cabe más al extremismo su propuesta con la inclusión de una faceta más death en la mima, que se enfoca hacia un sonido más profundo y destructivo. (7,7).

Hells Headbangers Records

1. Resurrect Damnation  

2. Kingdoms of the Bloodstained  

3. Purging Conflagration  

4. Death Insurrection  

5. Malign Apotheosis  

6. Agony Unto Revelation  

7. Bellum Ab Infernum  

8. Fell Sorcery

Enevelde ‎– Gravgang 17,99 €

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

ILDARUNI - INTERVIEW

 

Good afternoon, thank you very much for answering these questions. How's everything going in Yerevan?

Robert: Everything’s great. The band is in a pretty hectic phase right now — we’re gearing up for the release of our second album, so a lot is happening now. 

1. The band started around 2016. Why did you decide to create Ildaruni? Why did you choose the name Ildurani, and what does it refer to?

Robert: The band was formed in 2016 by me (Robert Meliksetyan) and Arthur Poghosyan. Having the same concept in mind and a shared approach toward the music we cultivate, we decided to bring it into shape and form. Since we shared similar musical tastes and visions, it was easier to build the core and foundation that continues to move us forward toward our main goals, manifesting our incantations for a broader audience. The idea for the name came logically, as our first album was centered around the pre-Christian period of Armenia, more specifically, Urartu/Van. ILDARUNI was an ancient toponym, the Urartian name for the river currently known as the Hrazdan in Armenia. However, choosing this name was not dictated by the folk-black metal influences. It sounded unique, clear, and fitting for our band. 

2. Although Ildurani is a black metal band, its members come from other bands more closely related to styles like death or thrash. Why this change of direction? Why is black metal important to you?

Robert: That’s true, our band members have other projects and collaborations besides Ildaruni. But we all mostly listen to the classical genres of metal. Honestly, we’re not big fans of modern metal and its countless subgenres. For us, this music is something that must be proven and earned over the years. It’s not for the masses and hopefully never will be. As for Black Metal, I think it’s a different level of musical experience; it consumes you, draws you in, and makes you dive deep into the abyss of unique and haunting sounds.

3. After an initial demo, in 2021 you released "Beyond Unseen Gateways," which garnered some good reviews, and you will soon release "Divinum Sanguinem," your second album. How did you approach the songwriting and recording process for this new album? What evolution can we appreciate in the sound between the two albums? What brands of instruments did you use in the process?

Robert: We spent a lot of time and effort on this second album, aiming to release something authentic and different, both musically and lyrically. Nowadays, composing truly unique music has become almost impossible, so to leave your own small imprint in this genre makes you work harder and longer. That constant drive and thirst for music leads you through the unknown, from the void and nothingness, you create and shape new sounds and atmospheres. In terms of evolution, I’d say the musical themes are more intertwined, and the song structures are more complex compared to the older material. It’s harsher, more aggressive, and faster; you can immediately feel it in the first single we’ve released. We used two different Solar guitars and an ESP LTD Deluxe EC-1000S for some themes and lead parts.

4. The sound of “Beyond Unseen Gateways” leaned more towards pagan/black metal, however, in “Divinum Sanguinem,” while still retaining folk instrumentation, you've taken a step towards a darker and more forceful sound, with a more occult or mystical tone. Why this abrupt shift towards a more direct sound? How would you describe the sound of the new album? What influenced you when composing the music for the new album?

Robert: Beyond Unseen Gateways was deeply infused with folk melodies, while still maintaining a strong black metal core. Many bands have successfully combined these two genres, enriching metal by adding textures and ambience. Yet, at some point, every band must evolve and push forward, exploring new musical horizons and injecting fresh elements into their sound, much like Enslaved, Primordial, or Negură Bunget have done throughout their careers. 

For us, this transformation was also inevitable. There must always be change, a powerful step that defines who you are as a band and as a musical entity. The sound of Divinum Sanguinem is a reflection of that evolution. It’s piercing, direct, and full of energy, carrying a darker and more mystical tone compared to its predecessor. The compositions are filled with intertwined melodies, layered structures, and moments where many things happen simultaneously, creating a dense and dynamic atmosphere. I would describe it as a more intense, mature, and musically complex work, an album that embodies both our growth and the inner fire ready to burst, igniting our path toward the next milestones.

5. In your first album, you explored themes related to the lesser-known history and mythology of Armenia in an almost conceptual way. In this second album, what themes did you consider addressing in your lyrics? Is there a conceptual story embedded in your lyrics once again? What inspires you when writing lyrics, and why do you consider them important? Do the lyrics adapt to the music, or vice versa?

Robert: This album draws inspiration from Mithraistic traditions, steeped in mysteries and occult beliefs that span vast territories from Iran to Rome. But conceived and delivered from a different perspective, it is not a historical account, this is a conceptual album that plunges the listener deep into the heart of ancient mysticism, drags the listener deep into the dark, arcane realms. This album conveys themes of transformation, spiritual ascension, apothantismos, and the profound symbolism inherent in the mythraistic initiations.

At the same time, here Mithra is a spiritual archetype behind the mask, the torchbearer who moves the heavens, opposer, the absorbing void. And the path of transformation traverses through this void of nothingness. Inspiration for the album’s lyrical and conceptual depth also draws from the Papyri Graecae Magicae, revealing the transformative power of the ancient occult.

When it comes to adapting lyrics to music, we typically compose the entire song first and then shape the themes and lyrics around the music.We use the same approach for the songs of the previous album and don’t think it will get any changes in the future. We followed the same approach on our previous album and see no reason to change it in the future.

6. The mixing and mastering of the new album was done at Iguana Studio (Germany). Why did you decide to work with this studio? Did you handle the rest of the recording process yourselves? How did the idea for a video for the track “Of Nomos and Flaming Flint Stone” come about?

Robert: All recording and engineering for the album took place across several local studios. However, we entrusted mixing and mastering to the talented Christoph Brandes, who has collaborated with bands such as Thron, Imperium Dekadenz, Duskmourn, and Virvum. The process went seamlessly, and Christoph perfectly captured the sound and atmosphere we envisioned for this album.

The lyric video for “Of Nomos and Flaming Flint Stone” was masterfully created by Stefano Mastronicola, with whom we’ve had the pleasure of working before. He skillfully translated the track’s atmosphere into visual form, using abrupt transitions and dynamic animation.

7. You're working with Black Lion Records again for the release of the new album. While it's true that “Beyond Unseen Gateways” was reissued by other record labels, it seems that won't happen this time, as Black Lion Records has opted for three different formats from the start. How did the idea of ​​continuing with Black Lion Records come about? Are you satisfied with their past work?

Robert: Definitely, we are very satisfied working with Black Lion Records on both our previous and upcoming albums. It’s truly a pleasure to collaborate with a label so deeply devoted to preserving and promoting the underground spirit of metal. Oliver consistently supports us and has a clear vision of how black metal should be presented.

One note: only the vinyl edition was released (not reissued) by the Greek label Razorbleed Productions, under license from Black Lion Records.

8. Who designed the album cover? What does it represent, and how does it relate to the album's content?

Robert: The cover artwork was created by the talented Khaos Diktator. When I shared our conceptual vision for the album and how we imagined its visual representation, I found that he fully connected with the theme, and he had a clear understanding for the project. From the very first sketches, it was evident that he had immersed himself deeply in the central concept, he could incredibly depict the mystical and esoteric aspects of the theme. It is a glorious manifestation of the album’s visual essence. He has proven his skill through cover art for bands like Nordjevel, Coscradh, and Chaos Invocation, and his work for our album truly brings its dark essence to life.

9. The track “Forged with Glaive and Blood” begins with a sound that resembles an instrument like the bagpipes. What is this instrument, and how does it fit into Armenian tradition? Who was responsible for this section? Are there any guest artists featured on the album?

Robert: Musically, “Forged with Glaive and Blood” is one of the most dramatic and diverse tracks on the album. As you mentioned, it blends Irish bagpipe melodies with dynamic black metal riffing, featuring multiple transitions and vocal narrations. Our friend Arthur Atayan once again lent his talents to help bring this epic sound to life, just as he did on our previous album with wind instruments. His contribution has undoubtedly added authenticity and power to the track. That said, we were not trying to create another folk-black metal song, the use of such a unique instrument simply felt natural for this composition. As for guest contributions, we’ll be announcing them when the album is officially released.

10. Is it difficult to stand out or gain recognition in a country like Armenia when playing black metal? What black metal traditions can you tell us about in Armenia? What is the extreme metal scene like in a city like Yerevan?

Robert: The popularity of metal music in Armenia has unfortunately declined in recent years, which has slowed the overall growth and evolution of the scene. As a result, some bands have been discouraged and disbanded. However, there are still dedicated groups striving to overcome these challenges and continue spreading their dark art, driven by genuine passion and inner fire. Ultimately, metal requires passion and commitment to fuel artistic expression. Though the Armenian metal scene is developing gradually, it remains active and holds strong potential for growth and recognition in the near future.

When it comes to subgenres, Black Metal stands out as one of the most popular. Its authenticity and captivating atmosphere often capture the hearts and minds of new listeners. This genre is constantly evolving, each band of local black metal scene contributes its own distinctive touch, enriching and strengthening the scene. I’ve also noticed certain influences of Hellenic Black Metal within the Armenian scene, a connection that feels quite natural considering the fact of our shared historical and cultural ties.

11. You haven't given up on performing your music live, even playing concerts outside your country. What concerts do you have planned for the live launch of the new album? Is it absolutely necessary to travel abroad to gain recognition?

Robert: I believe that nowadays performing live shows abroad is highly important and prominent for any band, especially for those that are active and consistently releasing new music. Touring internationally is not just about performing; it’s an opportunity to share your artistic vision, connect with new audiences and allow your music to reach listeners who might otherwise never experience it. Each show becomes a chance to spread your incantations.

At the same time, touring and performing abroad are crucial for building connections within the music scene, relationships that can play a key role in a band’s growth, collaborations, and long-term progression. 

Regarding upcoming concerts, I can’t share specific details yet, however, we will be announcing more information about the album and our future live shows very soon.

12. 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 inspired you to become musicians?

Robert: It was so long ago that I can barely remember what first drew me to extreme music. But every time I discovered a new band, I felt compelled to dig even deeper, driven by a kind of obsession and hunger. 

I think the first albums I ever bought were Iron Maiden’s Number of the Beast and Venom’s Welcome to Hell. I remember being completely absorbed in the New Wave of British Heavy Metal, hunting down every album released by NWOHBM bands. So, my journey naturally evolved into the extreme side of metal when I discovered the titans of Thrash Metal.

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

Robert: Black metal brought a whole new conception and set of ideas to the essence of metal, reshaping the entire genre. There are certain releases that capture this essence perfectly, albums that you can’t mess up. For instance,  Anthems to the Welkin at Dusk by Emperor, Sworn to the Dark by Watain, or Storm of the Light’s Bane by Dissection. These albums have become synonymous with black metal itself.

Recently, I bought Revelations of the Red Sword by Icelandic Svartidaudi and Barshasketh’s latest release, Antinomian Asceticism. I’d highly recommend giving them a listen if you’re searching for music that’s both intense and deeply authentic.

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 Ildaruni's fans, this is the place. I hope you enjoy the questions.

Robert: Thank you for this in-depth and insightful interview. Hope you will enjoy our second album, Divinum Sanguinem! Cheers!

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Se Lusiferin Kannel ‎– Valtakunta (2LP) 25,99 €

2 × Vinyl, LP, Album

Originally self-released digitally during October 2017, Valtakunta is Se Lusiferin

ORM - INTERVIEW

 

1. The band started around 2015, but before that, you were all part of another band called By the Patient. Why did you decide to form Orm immediately after By the Patient disbanded? Why did you choose the name Orm, and what does it refer to?

After our lead singer left By The Patient, we wanted to try something else and explore a different sound. So we decided to form a new band with a more black-metal oriented sound and called it ORM. ORM means worm or snake in Danish, and is inspired by the norse mythological create ‘Midgårds-ormen’ usually translated to ‘The world serpent’.

2. Today, your fourth full-length album, "Guld," is being released. However, looking back to 2015, most of your albums have achieved well-deserved recognition. What are your feelings about the band's career since that initial self-titled album released in 2017? Was the break with your past, referring to By the Patient, complete, or do you still retain some elements of that era in your sound?

We’re immensely proud of our career. We’ve worked extremely hard to get this far, and we’ve not taken any shortcuts. Our decision to write such long songs have effectively excluded us from many playlists and promotional opportunities, but we’ve always done this for our own vision, and not for commercial reasons.

I think we’ve always carried some identity from By The Patient, after all, we’re most of the band. That being said, I think the new album has a stronger connection to our melodic death metal roots than has ever before been the case with ORM. So in a way, we’re connecting a little bit more with our pre-ORM past.

3. How did you approach the songwriting and recording process for “Guld”? How has the new bassist, Malthe, adapted to the band's working style? What brands of instruments did you use during the recording process?

We wrote the main bulk of ‘GULD’ in much the same way as we always do; mainly in our rehearsal space, arranging riffs and working out song structure and dynamics. However, the previous three albums we’ve recorded mostly live, with all the main instruments playing together and recorded, without a click track. This time, we wanted to do it differently, so we chose a more ‘modern’ approach: most sections are recorded to a click and each instrument is recorded separately. We did this to challenge ourselves, and to get a more stringent and razor sharp character to the sound.

Malthe has been a great addition to our writing and recording process. He’s actually a guitarist, but in ORM he plays the bass. He has a stronger background in music theory, so he has contributed a lot of nuance in how the bass progresses around the riffs, subtly changing the harmonics of the sections as they evolve.

4. Since the beginning, Orm has been characterized by a sound that, while maintaining a focus on a classic style, incorporates different elements such as a certain progressive character, a balance between melody and aggression, and even, if you will, a certain folk character. What inspired you to compose the music for “Guld”? How would you describe the sound of the new album?

The new album has a more raw, cutting and aggressive tone. There are still many progressive elements, but everything is just faster, shorter and more chaotic. We set out to write a record with shorter songs, and we wanted to focus on the riffs and melodies this time, and less on the long atmospheric build-ups. We never want to repeat ourselves

5. In your lyrics, at least in the past, you used mythology as a metaphor for human problems. Is this still the case today? Where does this approach to lyrics come from, and how do you manage to combine two seemingly disparate themes?

When writing lyrics, we want to write about something that we ourselves can relate to. This time, each song is about a certain negative emotion or pattern of behaviour that we see in ourselves and our surroundings. To bring these themes to life, we’ve framed them in scenes and atmospheres from old European folklore, and also from more modern Danish folk stories.

6. There isn't much information about the recording, mixing, and mastering process for the new album. Did you handle it yourselves, or did you work in a professional studio?

We recorded the drums in Black Tornado Studios, like we’ve done for the previous two recordings. All the rest is recorded in our own studio. It’s mixed by Simon and assisted by Theis. Broad Boatright, who we’ve worked with before, did the mastering.

7. You've maintained a connection with the record label Indisciplinarian Records for the release of your music since the beginning. What can you tell us about Indisciplinarian, since I see they only release Danish bands? Have other record labels approached you about working with you?

Indisciplinarian are friends of ours, but also they share our vision of art for the sake of art, and not commercials. We’ve talked with many other record companies through the years, but we’ve stuck with Indisciplinarian, because we feel safe there and because they do a great job. Making music in this niche is an economic catastrophe, so staying clear of commercial interests that could push us or manipulate us in a certain direction has always been a priority for us, and we know that Indisciplinarian also do it for the passion and the art, and not the money.

8. The cover art for "Guld" is perhaps more intricate and complex than any of your previous work. Who designed the album cover? What does it represent, and how does it relate to the album's content?

The cover art is made by Asger W. Krogh, who has created this collage by hand for the album cover. When we saw his collage work, we thought it would be a great fit for an album cover for us, so we set him on this task. He worked for a long time on it while we wrote the album in parallel. As the album neared completion he showed us his work and we were blown away, and his artwork inspired us to the album title ‘GULD’.

The collage consists mainly of wood carvings from Norse churches on a background of golden treasures. This fits well with the mythological and folk-lore inspired lyrics.

9. What is your opinion of the current state of the black metal scene in a country like Denmark? Do you feel there has been a resurgence of extreme metal in your country in the last decade, for example? Which Danish black metal bands would you recommend? Since your beginnings with By the Patient in 2006, what do you think has changed the most in black metal, from your perspective?

I think the black metal scene in Denmark is extremely strong; we have many great bands that have also just now released awesome new albums – so the competition is strong! There has definitely happened a lot in the metal scene in Denmark in general since 2006; and I think most of it is for the best. In the mid 2010s when we started ORM, other bands like Solbrud and Morild also rose to "popularity", and we’ve often shared the stage with them through the years.

10. What concert plans do you have for the live presentation of “Guld”? What can your fans expect from one of your concerts?

We are right now, as I write this, playing 3 special and unique concerts in Copenhagen, covering material from our full discography, and with extra orchestration of strings and brass. Aside from that, we won’t actually be out playing any concerts in the near future, because we simply need to prioritise our families.

11. 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?

Personally, growing up in the 90s, I started listening a lot to the rock and metal bands of the time: System of a Down, Deftones, Metallica, Slipknot and stuff like that. Then I got into Slayer and other faster stuff, and I quickly delved into more extreme death metal. I mainly played Funk and jazz/rock before, but I got a double pedal, and when I was at boarding school as a teenager I didn’t do much else than practice drums! A year later, I submitted an ad at a Danish musicians’ message board looking for a band, and the guys from By The Patient responded and I joined the band – even though the other guys lived on the island of Bornholm, and the transport time to the rehearsal space was ~8 hours and included a ferry.

12. Which album represents the essence of black metal for you? What are the most recent albums you have bought?

That’s a hard question. Personally I never actually listened a lot to the classic black metal albums, except for Ulver’s ‘Nattens Madrigal’. Dissection is also a favourite of mine, blending black metal with more melodic death metal vibes. Watain and Wolves in the Throne Room are also some of my favourites. I also recently started revisiting some of the classic Dimmu Borgir albums. Most recently, I’ve listened a lot to the new Morild album, which is really good.

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

Thanks for the thorough questions! All I want to say to the fans is that they should listen to the new album, and if they like it, buy it or buy some of our merch or support us in another way if they can.

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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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