Imperanence Interview

 

1.For those that have never heard of you before, can you tell us a little bit about the band?

Mateusz - 1. We are a technical death/black metal band from Poland – probably the most typical information

in the world :D But we are trying to build a deeper purpose around the band. Our message is about how

impermanent life is, how our values are temporary, and how fragile everything that surrounds us really is

2.In October you released your first full length, can you tell us a little bit more about the musical style that you went for on the recording?

Wojciech - 2. The foundation of our style is death metal, of course. But we wanted to aim for something that

isn't a stereotypical death metal, in the meaning of entirety. The whole album is about fragility of life, so it

was important for us to place all the emotions correctly in the composition. That's why you may hear some

black metal influences, for example in "Fugitive". But still, there's always a place for more old school-ish

bangers, like "Ascension through defiance".

3.What are some of the lyrical topics and subjects the band has explored so far with the music?

Mateusz - 3. Everything that is impermanent is our inspiration, and our debut album approaches this idea

from different angles. For example, in “Sorrodise” we tell a story about how everything around us is

temporary – how one seemingly eternal being is replaced by another. In “Apocalypse”, you can find a very

personal tragedy: the feelings that come when you lose your loved ones and realize there is nothing you can

do about it. This is how we try to tell our stories. 

4.I know the album title came from Buddhist terminology, can you tell us a little bit more about your interest in this topic?

Wojciech - 4. Buddhism highly inspires us but not as a religion per se. It's more about subjects it tells us

about. "Anicca" is about constant changes, mortality and what you lose during your life. Such losses affect us

all - no matter if you're a Buddhist. 

5.What is the meaning and inspiration behind the name 'Impermanence'?

Wojciech - 5. "Impermanence" is a term taken from Buddhism. It means that nothing lasts forever - neither

life, nor death. We find this concept and high-level spirituality truly inspiring. We knew right away what

comes with this name. The whole image of the band became clear pretty early

6.Can you tell us a little bit more about the artwork that is presented on the new album cover?

Mateusz - 6. The cover is one of my favourite parts of this release. It is inspired by our beloved Dark Souls

game franchise. However, the artwork itself is full of contradictions: there are dead trees, but also green

grass; there is a coffin, but it is open. Finally, you can see light coming from it – but what does it mean? Is it

some kind of redemption? Maybe a form of rebirth? This question is left to the listener. 

7.What are some of the best shows that the band has played so far and also how would you describe your stage performance?

Mateusz - 7. I don’t want to sound arrogant, but playing live is really one of our strongest sides – it is the

main source of joy for us as a band. The first event I must mention is our recurring charity show against

depression, the second part of which took place on 17.10.25. The club was full, we invited amazing bands,

and the show was absolutely incredible. We also played twice in Slovakia, and those concerts were great as

well. People there really love metal, and we always give them everything we have to make the club fall

apart. 

8.Do you have any touring or show plans for 2026?

Mateusz - 8. We have a small tour planned – 11 shows in the first half of the year. Most of them will take

place in Poland, but for four gigs we are coming back to Slovakia. We can’t wait to meet those people again.

I would also like to thank the guys from Plague of Tartar for all their help and for booking these concerts for

us.

9.On a worldwide level how has the reaction been to your music by fans of black, death and thrasj metal?

Mateusz - 9. It’s hard to say. I think thrash metal fans are generally fine with us, even though we don’t really

have many thrash-style guitars or drums in our music. We are much closer to black metal. However,

whenever we played black metal–oriented shows, I always had the feeling that we needed to earn the

audience’s respect – and I’m happy to say that we managed to do exactly that. 

10.Where do you see the band heading into musically during the future?

Wojciech - 10. We are already in the process of recording new songs and I can tell that we have immersed in

the atmosphere. It has come with more cleans and black metal guitar style in some moments. And yet, it's

still mostly death metal, brutal and technical. Maybe less old school. 

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Wojciech - 11. That's a tough question. Everyone in the band listens to extreme music but we like many

different genres and bands as well. For example I'm a huge fun of electronic music, such as DnB and

psytrance. But I think that we all have been inspired by Beyond Creation and other technical bands like

Fleshgod Apocalypse. 

12.Before we wrap up this interview, do you have any final words or thoughts? 

Mateusz - 12. First of all, I hope that one day I can meet you at one of our concerts (and everyone who is

reading this). You can be sure that we always give our best. Thank you very much for the invitation to this

interview, and hopefully see you again soon! 

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Victims Of Classwar Interview

 

For those who have never heard of you before, can you tell us a little bit about the band?

Klára: We started off rehearsing in a small basement in Schwarzbach, central Saxony, around 2010/2011. We evolved from the local punk/DIY scene around Rochlitz/Chemnitz/Leipzig. Thinking back to the beginnings, it was quite a rocket start with Arne on the guitar, Stefan on the drums and Klára on bass and vocals. After a couple of months, as soon as we thought we were fit enough to play gigs, we had the brilliant idea to go on tour, and to none other than the UK. Touring became kind of a compulsion, since we basically did a large tour plus several weekenders each year. Some of the unforgettable highlights were two shows in Israel, a two-week tour around the Baltic Sea together with our friends from Partiya (Belarus) as well as a five-day tour in Belarus. As a result, in the years 2011-2019, we’d played more than 200 shows, most of which were abroad. We’re a bit proud to say that it was 21 countries.

In August 2025 you released your first full length. Musically, how does it differ from the stuff you have released in the past?

Klára: Basically, there are three aspects: Stylewise, we moved further away from the initial crust leanings, in favour of death and black metal. Another point is the upgrade on the drums, which, thanks to Chris, are now on a completely different level. In the past, we had to review our composition ideas in terms of what our former drummer was able to play. Also, the range of music influencing us has broadened, which is also reflected in the new material. Lastly, the recording process with our friend Anton (DEATHRITE, RUMOURS) was absolutely professional, considering that our very first recordings in 2011 were done by ourselves on a shitty notebook in our rehearsal room.

Between 2015 and 2024, no new music was released. Can you tell us a little bit more about what went on during that time frame?

Klára: The main reasons were two: Firstly, it was the living situation: Arne (guitar) and I moved from Leipzig to Saarbrücken in 2013, while Stefan (former drummer) stayed living in Saxony. Secondly, we toured a lot internationally and played dozens of shows each year. So, instead of writing new songs and recording them, we toured. At least before COVID. Our last tour took place in April 2019, when I was already pregnant in the 4th month. Then we had to pause, directly followed by the onset of COVID-19 and lockdowns. Those factors let us travel less to our rehearsal room, which was still in Saxony. And Stefan was also a busy motherfucker. Whenever we wanted to rehearse or record something, he had to do his laundry …, or he came up with some other excuse, postponing planned recordings during lockdown times because he hadn’t practised. This led to him leaving the band in late 2020. After a short time of disillusionment about whether it makes sense to continue playing at all, Chris joined us. Then it took us some time to practice the material for a live set and for the often postponed recording. Chris is also a busy motherlover, with not much time left, playing in 6 bands as of now.

What are some of the lyrical topics and subjects the band explores with the newer music, and also, how would you describe your progress as songwriters over the years?

Klára: I think the “newer” stuff includes only 5 songs that weren’t on any of our previous releases: The Funeral is Unwritten, Disappointment, Nightshift, Pigpriest, and our first composition in the new line-up – Lux Interior. The prevailing themes turn out to be around the dark side of human existence, like broken family relations, betrayal, societal decay, psychology, fate, and mortality.

I think our songwriting process pretty much stayed the same over the years. Usually, Arne comes up with a riff or five. Next would be some experimental combining of these riffs with suitable drum parts. Bass and vocals usually come last, only after I’ve gotten an idea of the overall atmosphere of the song. Once the guitar and drums play together, I join in with improvisations on the bass or on vocals. Interestingly, I hardly ever come up with pre-written lyrics. They usually evolve from exactly this improvisation, along with the instrumental composition. I just let the words, their sound, and emotions spill out of me during the rehearsals. So, the lyrics evolve and stabilise only over time. Btw, this is also why you won’t find much of the lyrics in the inlay of the record. OK, sometimes I come up with lyrics while driving my car, listening to some rehearsal recordings and screaming along with them on the motorway.

What is the meaning and inspiration behind the name 'Victims of Classwar'?

Klàra: This one is very blunt. It was our old drummer’s idea to come up with a name that should sound stereotypical for a d-beat band. To put it more intelligently, it has a straightforward leftist/anarchist meaning, trying to encourage some thought.

Can you tell us a little bit more about the artwork that is presented on the new album cover?

Klára: So, actually, the picture was originally a black-and-white photo of my mom and two other people during one of those compulsory civil defence training sessions in Czechoslovakia during the socialist era. The photo must’ve been taken somewhere near Rokycany/Pilsen. I glued it to paper and drew more landscape around the three figures. Then I scanned and printed it out on paper again and drew some more details with black and white pencil. The moon, these claws and the scythe were also not in the original photo.

What are some of the best shows that the band has played so far, and also, how would you describe your stage performance?

Klára: Wow, that’s a tough one! But there are definitely some worth mentioning. First one that comes to my mind is our gig together with HEXECUTOR and HELLSWORD at the infamous Kontejner (RIP) in Postojna (Slovenia). Probably 50 people crammed into a tiny building container that would normally be filled with only the gear. Since there wasn’t really any space for everybody to stand, people were lifted up, crawling the ceiling upside down. Unforgettable.

Another great memory is from a gig at a totally packed AGH/Köpi, Berlin, together with SUNSHINE AND LOLLIPOPS, which used to be the band fronted by Alex of BHN (Bleeding Heart Nihilist), who has now released our LP together with Hocki (Angry Voice Records). And then, of course, practically all the gigs in Belarus. The locals were so welcoming and euphoric, despite risking the consequences of no less than police turning up, arresting everyone, and confiscating gear. At each of the Belarus gigs, most of which took place in those tiny garages, a fairly large crowd showed up, and people were totally freaking out. Everybody took such good care of us during the whole trip. It’s quite a different world over there, and many people in the scene are struggling, facing political prosecution. Regardless of that, the people we’ve met were super warm-hearted. I remember talking to a young punk in Baranoviči who was interested in how we got the patches we were wearing on our vests. He was surprised to hear that our patches were bought from the bands or ordered online. Then he proudly explained how he made all of his patches himself.

Do you have any touring or show plans for 2026?

Klára: So far it´s

7th March - Chemnitz, Germany

10th April - Berlin, Germany

11th April - Finsterwalde, Germany

Aaaand hopefully, we will finally manage to organize our gig in Prague, Czech Republic, which is one of my big wishes for this year, most likely on 1st August.

In the earlier years, the band was a part of a great number of splits. Can you tell us a little bit more about the other bands or musical projects that you shared these recordings with?

Klára: The first one was with COSTA COSANOSTRA. They were a befriended grindcore band from Leipzig, and we did a UK tour together in 2011.

The second one was with W.H.A.T. who were also from Leipzig, and we thought our styles pretty much fit together. We also played some shows together. The guys had the glorious idea to release a self-pressed LP, and they even bought such a machine for it, one with which you can cut your own LPs into vinyl. The plan sounded good until they found out that you apparently had to keep the room temperature at a constant 42°C during the production process. For this reason, each of us band members got their unique copy of the record about 3 years later, and the LP version never got to the market. We burned some CDs of this, though.

Lastly, in 2013, we released our split with PARTIYA from Minsk. Through a friend of ours from Dresden, we heard that PARTIYA were looking for a band to do a split with. I had met the guys before on one of their European tours and had made friends with them. By that time, we had just recorded and mastered some of our songs.

We think our songs on these splits aren’t representative of us anymore - they haven’t been for many years, actually! So we’re glad to finally have the LP out.

On a worldwide level, how has the reaction been to your music by fans of underground metal?

Klára: They’ve been successfully ignoring us.

Chris: With the LP out on the market and finally having some decent recordings uploaded online, our music seems to be constantly spreading around the world. I also recognize a steady increase of followers after our concerts, for which we always receive very good feedback. A funny side fact: The (crust) punk crowd is always cheering us for the brutal death and black metal riffs and blast beat attacks, while the underground metal crowd loves our crust punk influences.

Klára: Nah, there was actually one surprising review by Blackie Skulless, right upon the pre-release of the album on tape. Cheers for that!

Where do you see the band heading musically in the future?

Klára: Darkness and decay!

Chris: Scandinavian-influenced ’90s Black Metal

What are some of the bands or musical styles that have influenced your music, and also what are you listening to nowadays?

Chris: British and Scandinavian HC Punk, Early 90s Death Metal Classic, Swedish and Norwegian Black Metal, and 70s Prog Rock

Klára: I’m listening a lot to Balkan folk. Haha, but seriously, and besides that, most frequent listens of the last 3 years were SOFT MOON, DØDHEIMSGARD, DIVLJE JAGODE, BIJELO DUGME, SELOFAN, HARDSEQUENCER, ULVER (mostly The Assassination of Julius Cesar), HELHEIM, DOUBLE ECHO, FLEETWOOD MAC. Among the most meaningful influences that have been guiding me since my teenage years are DARKTHRONE, FLIEHENDE STÜRME, CHAOSZ.

Arne: I’m currently listening to various genres, but mainly Black Metal and Coldwave stuff. Musically, I’m certainly influenced by some bands such as DEATH and ENSLAVED.

Before we wrap up this interview, do you have any final words or thoughts?

Thanks to our loyal fan base from the past and the future. The funeral is unwritten!

https://www.facebook.com/victimsofclasswar

Arendia Interview

 

1.Can you give us an update on what is going on with the band these days?

 

Hi, sure. After we released Hymns of Ember and Ash we have taken a couple of months break to get some ideas and riffs with the intention of starting to write for a full-length album which we will be starting to write in the next couple of weeks. We’ve a few ideas theme wise, but musically we expect it to carry on from the last EP.

 

 

 

 

2.A few months back you released a new ep, musically how does it differ from the stuff you have released in the past?

 

I would say the songs are much more focused, shorter and more energetic. Musically I think its an amalgamation of all the styles we have played in the past wrapped up in those four songs.

 

 

 

 

3.A lot of your lyrics cover Paganism themes, can you tell us a little bit more about your interest in this topic?

 

Yes, much of our inspiration comes from local history, folklore and literature and is a theme running throughout our music. I have an interest in paganism in general particularly in Wicca which is the inspiration behind the song Holmwood.

 

 

 

 

4.What are some of the other lyrical topics and subjects the band has explored over the years with your music?

 

Aside from telling the tales of our nearby moorlands we have touched on the environment, alchemy, level 4 viruses and fantasy themes amongst many others. Books are a major source of inspiration for me, we have written songs inspired by David Eddings and Robert Holdstock and others in the past.

 

 

 

 

5.What is the meaning and inspiration behind the name 'Arendia'?

 

I came up with the name Arendia back when this was just a side project between myself and Simon (drums). The name is taken from David Eddings’ Belgariad series in which it is one of the main lands in the story.

 

 

 

6.Can you tell us a little bit more about the artwork that is presented on the new ep cover?

 

We wanted to continue the paganism/wildwood theme that we have but also something a little darker than we have done in the past. The idea of the solitary man walking in the Holloway into the wildwoods was something that connected our fantasy themes with the paganism well.

 

 

 

7.Out of all the shows and tours the band has done so far which one stands out the most?

 

Unfortunately for a number of reasons it has been some years since we have played live, but for me our first local gig back when we first started will always be a fond memory.

 

 

 

8.Do you have any touring or show plans for 2025?

 

As of yet no, because we want to concentrate on working on a new album, although we are talking more and more about starting to play live again, possibly by the end of this year. I think we all feel that the newer songs would work so well in the live setting.

 

 

 

9.The ep was released on 'Three Radials Media', can you tell us a little bit more about this label?

 

This is our own label which we started so we can release any of our music, both Arendia and solo work, ourselves and have control over it. I have some ideas which I want to explore soon as does Mark and its just really handy to be able to do this ourselves.

 

 

10.On a worldwide level how has the reaction been to your music by fans of black and thrash metal?

 

The reaction to our latest EP has been fantastic and positive so we’re really pleased and excited going into the next release. I would say that this has been the best received release so far of ours and it has been great to hear that our music has been played in Mexico, the US, and much of Europe.

 

 

 

11.When can we expect another full length and also where do you see the band heading into musically during the future?

 

I think realistically we are looking at between 18 months and 2 years for the next release. We want to take our time and let the ideas build and develop. Musically I think it will be more of the same and will carry on from the EP. There will always be those influences of Black metal, thrash, melody and atmosphere which we all enjoy. Another idea we have is to re-record an album of ours from a few years ago, “A Radial to the Sea” in the not too distant future

 

 

 

12.What are some of the bands or musical styles the band members are currently listening to nowadays?

 

We’re all listening to different stuff but mostly metal. Simon our drummer has been listening to Trna, Blackbraid (one of my current favourites), Mogwai, Gento, Cryptopsy and Blood Incantation. Mark, our guitarist Insomnium’s epic Winters Gate along with Maiden’s A Matter of life and Death. Myself, Bathory and Darkthrone as always alongside Fen, Wayfairer, Suldusk’s beautiful debut Lunar Falls when I want something a bit more chilled out and a current favourite is Rotting Christ’s live album 35  Years of Evil Existence.

 

 

 

 

13.Before we wrap up this interview, do you have any final words or thoughts?

 

Thanks very much for the interview and support. You can find our music on all the major streaming services. Once again thanks and cheers!

https://www.arendia.co.uk
https://www.facebook.com/Arendiametal/
https://x.com/arendiametal

Ancient Thrones Interview

 

1.Can you give us an update on what has been going on with the band since the recording and release of the new album?

We released the album in September, and then played release shows in December. We had a great 2025 and we’re looking to continue that momentum into the new year. 

2.A few months back you released a new album, musically how does it differ from the stuff you have released in the past?

It’s much more aggressive, with a focus on extremity. We purposefully wanted to look at Melancholia through a death metal lens and pay tribute to bands like The Black Dahlia Murder and The Red Chord, bands we came up on in the early 2000’s. Our previous record was more atmospheric and carefully constructed. We took that structure from The Veil and obliterated it through the intensity in this album. As a band we never want to make the same album twice, and we’re always looking at pushing ourselves and our listener into new territories. 

3.This was also your first album since 2020, can you tell us a little bit more about the long wait between releases?

We had this album written in 2021, and began recording in 2022. We wanted to maintain our DIY focus in everything about this band, and so we were able to take our time with the production, mixing and mastering. We made mistakes, and we learned a lot of valuable skills in making this record that will be beneficial to whatever we decide to do next. It’s good to have that space you need to ensure the end product meets the high bar we set for ourselves as an independent band. 

4.The lyrics on the new recording are a concept album, can you tell us a little bit more about the story you have covered with the release?

The album follows a person who’s colourblind and takes psychedelic drugs to see colour. They start to see the life they think they would have if they were given that privilege. That’s the initial idea, and it sort of speaks to a cautionary message about what happens when you give yourself over to external things to cure what’s missing inside of you.

5.Originally the band was known as 'Abysseral Throne', what was the cause of the name change and also the meaning and inspiration behind the name 'Ancient Thrones'?

Abysseral Throne was a band that I started in 2011, so it didn’t make sense to continue to use that name when the lineup drastically changed in 2018. We loved that band, but if you listen to the music we did then and what we do now, there are few parallels. Ancient Thrones was sort of a way to let the fans of Abysseral know we were still here, with the same drive but that we were reinvigorated to be something new. The new name comes from Wolves in the Throne Room lyrics from the song “Astral Blood”. 

6.Can you tell us a little bit more about the artwork that is presented on the new album cover?

It was painted by Carter Doody, a local Canadian artist who we were fans of for many years. The idea is sort of to present an idea of a beautiful, but dangerous place with elements from real life that could possibly exist within nature. It’s like looking at a landscape when you’re tripping on acid. The colours and shapes are unnatural, twisted and distorted purposefully. There’s a lot of direct translation from the lyrics of the record on full display throughout the art. 

7.Out of all the shows and tours the band has done so far, which one stands out the most?

We’ve been blessed to open for so many great bands, The Faceless, Black Crown Initiate, Rings of Saturn, etc. It would be hard to pinpoint a favourite. Our last run with Necrohol and Omnivide was a highlight from recent years. 

8.Do you have any touring or show plans for 2026?

Under wraps at the moment, but short answer is yes. 

9.Currently you are unsigned, are you looking for a label or have received ant interest?

It’s hard to say. We’ve done this for so long on our own, a label would really have to provide us with something unique. When we don’t even have our own government providing us any kind of funding, you really start to see outside resources as a fantasy. There’s a lot of positives being with a label and the idea of it is cool to us, we’ve just been very focused with keeping this band internal to our wants and needs. If there are any labels interested in talking to us, we’d certainly have the conversation. 

10.On a worldwide level how has the reaction been to your music by fans of black and death metal?

Internationally it’s cool to see people are digging the album. We’ve seen a spike in people buying and supporting the record sort of throughout the world. It means a lot to us. 

11.Where do you see the band heading into musically during the future?

We’re back in our writing dungeon to figure out what comes next. I can’t say much else, other than we don’t intend to write the same thing twice. New influences, perspectives and experiments are what we’re always looking for. 

12.What are some of the bands or musical styles the band members are currently listening to these days? 

Our music tastes are pretty diverse in the band but some things we've been listening to recently are Deafheaven, Blood Incantation, Archspire, Ulcerate, The Armed, Drain. 

13.Before we wrap up this interview, do you have any final words or thoughts?

We're thankful for all the support for our music and you can check out Melancholia wherever you stream your music or purchase merch & vinyl through our Bandcamp. 

acebook.com/Ancientthrones | Instagram.com/ancientthrones

Tümör Interview

 

1.For those that have never heard of you before, can you tell us a little bit about the band?

 

The band was formed in 2025. We are three experienced musicians based in Turkey, each involved in multiple projects. Due to the lyrical content and the concept, we decided to keep our identities hidden. This choice is not about following the recently fashionable mystical imagery; rather, while allowing complete freedom in our music, it also enables us to remain in a personal safe zone. Because in Turkey, things can get rather problematic at this point.

2.Recnetly you have released an ep, can you tell us a little bit more about the musical style that is presented on the recording?

 

“DOĞUM” is our first EP. Musically, we draw from an unlimited spectrum. All band members are middle-aged musicians who are known within the Turkish underground scene. In general, we are all experienced in Thrash, Death, and Black Metal. Looking at the final outcome, we can say that it is a form of Black Metal leaning heavily toward Thrash and Death Metal, gathered around an Anatolian background.

3.What are some of the lyrical topics and subjects the band has explored so far with the music?

 

As its Turkish title suggests, “DOĞUM” tells a story of birth. This birth is depicted through a curse created by the union of a human and “Al Karısı,” a mythological figure from Anatolian folklore known for devouring newborn children, in an Anatolian village. As a result of this union, the child has no physical human vessel and instead takes form as a tumor born from a black goat in a stable. Throughout the album, you hear the sentence “Kara Keçi Tümör Doğurdu” (“The Black Goat Gave Birth to a Tumor”) several times in Turkish.

Behind this dark narrative lies a non-mystical form of social Satanism. While our perspective is closer to Anton LaVey’s approach, the concept mainly revolves around misanthropy, the way state and religion rot human beings, how all social bonds enslave us, and how humanity is destroyed by becoming detached from nature. We also address certain contemporary social and religious realities currently experienced in Turkey—particularly religious cults with massive influence in the country, which function not only as belief systems but also as cartels involved in chemical drugs.

4.What is the meaning and inspiration behind the name 'Tumor'?

 

If you imagine society as a healthy body as defined by power structures, and religion, nationalism, gender, and economy as the organs of that body, with people as its cells, then we position ourselves as a malignant tumor that infiltrates this body to alter its cells and damage its organs. Our aim is to first penetrate our own society’s listeners and convince the cells that these organs are in fact dysfunctional and rotten—and ultimately to bring about the death of the body itself.

5.Can you tell us a little bit more about the artwork that is presented on the ep cover?

 

The goat you see on the cover artwork symbolizes the birth of the tumor we described earlier. In a sense, it also represents our own birth.

6.Has the band done any live shows or open to the idea?

 

We haven’t played any live shows yet, and for now we don’t have a concrete plan regarding concerts. Our primary focus is to create more songs. Maybe one day we will bring this project to the stage.

 

7.Currently you are unsigned, are you looking for a label or have received any interest?

 

If the conditions are reasonable, why not?

 

8.On a worldwide level how has the reaction been to your music by fans of black and death metal?

 

The feedback on the two singles released so far has been quite positive. For now, most of the response naturally comes from Turkish listeners.

 

9.Do any of the band members have any experience playing in othe bands or musical projects?

Each member is involved in bands that have released albums both domestically and internationally. We recommend keeping an eye on the Turkish underground scene—there are many truly valuable works being produced.

10.When can we expect a full length and also where do you see the band heading into musically during the future?

 

We will, of course, release a full-length album eventually. However, we prefer to release short songs that deliver their musical message directly without overstaying their welcome. We think this thrash/punk-oriented attitude is connected to the freedom of this project and the fact that it consists of musicians who do not limit themselves behind anonymity. Whether the next release will be an EP, single, or album will depend on the length of the story we want to tell. Still, we have no desire to create 11-minute songs that place an unnecessary burden on both ourselves and the listener.

11.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

We listen to and appreciate many styles, ranging from classic Heavy Metal to extreme metal and Anatolian folk music. If we were to name influences, both local and international, bands such as Deathspell Omega, Belphegor, Destroyer 666, Deicide, Gorgoroth, Sodom, Zifir (TR), Suicide (TR), and Vortex of Clutter (TR) can be mentioned.

12.Before we wrap up this interview, do you have any final words or thoughts?

Thank you for listening to our very first release and for giving it space. Watching the path that Tümör will take as it emerges from Anatolia will be a pleasure to share together. The world is standing on the threshold of a new era moving toward destruction. Perhaps these are the last songs we will ever listen to. Who knows?

 https://www.instagram.com/tumor_metal/?hl=en 

Bläkken Interview

 

1.For those that have never heard of you before, can you tell us a little bit about the band?

1. Bläkken was formed in late 2016. We play a mixture of death, black, and other extreme metal influences without limiting ourselves to a single genre. We just play what we feel like playing at the moment.

2.In December you released your first full length, musically how does it differ from your previous ep?

2. Compared to the EP, the full-length album is much more mature and focused. The songwriting is more deliberate, the structures are more developed, and the atmosphere is darker and more coherent. We allowed ourselves more space to explore dynamics and emotion instead of relying purely on aggression.

3.This is also your first release in 6 years, can you tell us a little bit more about the long wait in between releases?

3. The gap wasn’t planned. Life happened — lineup stabilization, personal issues, the pandemic, and a lot of internal work on our sound and identity. We didn’t want to release anything until we felt it truly represented us. In hindsight, the time helped us grow both musically and as a band.

4.What are some of the lyrical topics and subjects the band has explored so far with the music?

4. Our lyrics deal mostly with internal struggles — depression, emotional paralysis, alienation, moral decay, and social indifference. These are silent, personal battles rather than external conflicts. The themes are bleak but honest, rooted in real emotions and experiences rather than abstract concepts.

5.What is the meaning and inspiration behind the name "Bläkken'?

5. The name doesn’t have a literal meaning. We tried to find a name for our band for a few days, but we couldn’t find anything that satisfied us. One night, I was sitting at home listening to Metallica when Blackened started playing, and I thought to myself, “Fuck, how great is that song.” Then I started thinking about a name for our band, and suddenly Hetfield screamed in my ear: BLÄKKEN (obviously inspired by Blackened). I immediately thought it sounded like a great name. The rest of the band loved it, so it stayed.

6.Can you tell us a little bit more about he artwork that is presented on the new album cover?

6. It fits the name of the album. Światowstręt, in a literal translation, would mean something like “disgust towards the world,” and the cover represents exactly that. The main character is drowned and pulled down against its will into the depths of a rotten society.

7.What are some of the best shows that the band has played so far and also how would you describe your stage performance?

7. Our debut show supporting Vader was definitely one of the most memorable experiences — playing in front of such a large and intense crowd right from the start was unreal. We also had a great show at the MV Metal Meeting Festival in Germany. There were maybe 30 people in the crowd, but we had a lot of fun. After our show, we displayed our merch in front of the venue and started playing songs on a classical guitar — some pop songs and some Tenacious D. We were having so much fun playing and singing that the crowd felt it, and we actually ended up with more people hanging out and singing with us at our merch table than at the bands playing on the main stage at that time.

8.Do you have any touring or show plans for 2026?

8. In a few weeks, we’re hitting the studio to record our next album, and then we want to play some live shows in autumn and winter. Will it happen? We shall see!

9.Currentyl you are unsigned, are you looking for a level or have received any interest?

9. We’re open to working with the right label, but we’re not desperate. We’ve received some offers in the past, but none that felt fair or trustworthy. If the right opportunity comes along, we’ll consider it — otherwise, we’re comfortable staying independent.

10.On a worldwide level how has the reaction been to your music by fans of black and death metal?

10. The response has been surprisingly positive, especially considering we’re independent and not heavily promoted. We’ve received good feedback from listeners across different countries, so we’re really happy.

11.Where do you see the band heading into musically during the future?

11. We don’t plan to radically change our sound, but we want to push it further — deeper atmosphere, stronger songwriting, and more emotional weight. The future material will likely be darker and more refined rather than more extreme for the sake of extremity.

12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

12. We listen to everything, really. The main influences for Światowstręt were definitely bands like Lamb of God, Behemoth, Children of Bodom, and Bolt Thrower.

13.Before we wrap up this interview, do you have any final words or thoughts?

13. Thanks for the interest and the thoughtful questions. We appreciate everyone who takes the time to listen to our music and support independent bands. Stay tuned — the next chapter of Bläkken is already in the works!

https://www.instagram.com/blakkenofficial/
https://www.facebook.com/blakkenofficial/
https://open.spotify.com/intl-pt/artist/1bIfaxBj8WcgkWCHYyKcj3?si=S5zoirJmTr61SUFgKVleTw

Hellslaught Interview

 

1.Can you give us an update on what is going on with the band these days?

Our album is out, we have some killer shows booked, with some irons in the fire for the future, and I’m writing more riffs everyday. What more could we want?

2.A few months back you released your first full length, can you tell us a little bit more about the musical style that you went for on the recording/

Yes, Violent Iconoclasm has been unleashed! We really wanted to create an esoteric, obscure album that challenged the confines of ‘blackthrash’ while still delivering riffs and atmosphere as expected. An album that sits in the murky margins between many spaces.

3.All of the other band members are also in other bands, what is it that you bring into the music of 'Hellslaught' that you have not been able to do with your other groups?

There is a freedom here I think. Death metal has its confines. Black metal is notorious for being rigid. Likewise other styles. Blackthrash is the true gods rock ’n’ roll. Atmosphere and riffs, mysticism and brutality. Perfect.

4.What are some of the lyrical topics and subjects the band has explored so far with the music?

We worship true metal and forever raise our middle fingers to the face of authority and sanctity. That is our message. There are enough references peppered throughout for those with the sight to find them. Prepare all sacred cows for slaughter!

5.Originally the band was known as 'Kömmand', what was the cause of the name change and also the meaning and inspiration behind the name 'Hellslaught'/

We wish to create an absolute Hellish Onslaught. We used to be called Kömmand, but I guess the world needed another Bolt Thrower rip-off.

6.Can you tell us a little bit more about the artwork that is presented on the new album cover?

We’ve always worshipped Rok’s immortal artwork. His art is a true vision of hell, twisted and visceral in its execution. We opted for a mostly dark blue/purple color scheme to honor a few classic, magical albums. Storm of the Light’s Bane, In the Nightside Eclipse, etc.

7.Out of all the shows the band has done so far, which one stands out the most?

I have a couple personal favorites. The inaugural Soldiers of Steel Fest in Seattle (as Hellslaught), the show with Ares Kingdom and Witches Hammer in Victoria BC (as Kömmand), and the show with Desolus and Nuclear Tomb in Baltimore (as Kömmand). We also love local shows and thrashing with our friends.

8.Do you have any touring or show plans for 2026?

We’re playing a few area shows in February, Northwest Massacre Vol 2 with Massacre and Sadistic Intent in March, and hopefully a short tour in late summer. We’re already writing for another album.

9.On a worldwide level how has the reaction been to your music by fans of black and thrash metal?

The response has been overwhelmingly positive from people with ears attuned to listen, however we haven’t reached all the ears we would’ve liked… yet! There is a lot to sift through these days no mistake, but there’s always gold for those who seek.

10.What is going on with some of the other bands or musical projects these days that the band members are a part of?

The other members would have to speak on that. We are all very busy, so I’m sure none of us is able to focus as much on our projects as we’d like. Such is life.

11.Where do you see the band heading into musically during the future?

We will only go further and further into the void. Further chasing the vision of our craft. Challenging, stubborn, obscure, esoteric riff-centric black thrashing madness. This is what I want to be doing forever.

12.What are some of the bands or musical styles the band members are listening to nowadays?

We are all well-versed in many styles. Carnage is an old head who worships at the altar of ancient black and thrash metal, Bael’Zharon is a thrash and punk madman, Destrukutor is a death metal fiend, and while I listen to a little of everything, I probably listen to more classic heavy metal and progressive music than any of the others.

13.Before we wrap up this interview, do you have any final words or thoughts?

Fists raised high for Witches Brew, all the bands we’ve been honored to play with, and everyone who listens to Hellslaught! And a massive fuck off to all modern, conformist metal! Cheers!

https://linktr.ee/hellslaught

Orbstruct Interview

 

ORBSTRUCT – INTERVIEW (Answers – Goreon: founder, leader, vocalist/guitarist of Orbstruct) 1)

 Can you give us an update on what is going on with the band these days? 

We’re very much alive and pushing forward. After the upheaval of the last years we rebuilt momentum, locked in a live lineup in Europe, and kept the energy focused on taking Ostracism to the stage and opening new creative doors. The drive is the same: stay active, stay sharp, and keep moving past the hardships. 

2) A few months back you had released a new album, musically how does it differ from the stuff you have released in the past? 

Ostracism doubles down on what defines Orbstruct: a grim, oppressive atmosphere and that unusual-for-death‑metal coldness, constantly knotted with bursts of aggression and fury. If earlier material hinted at this balance, the new record carves it deeper—bleaker air, tighter dynamics, and harsher contrasts—without losing the bite. 

3) This is also your first release since 2021—can you tell us a little bit more about the 4‑year wait?

 The timeline tells the story. We began writing in May 2020 and had the album nearly finished by the end of 2021. The plan was to enter the studio in early 2022—then the full‑scale war began and everything collapsed. We were forced to move from Kharkiv to Kyiv. After this relocation we rethought and rearranged the material in Kyiv between June 2022 and March 2023, and finally recorded there between June 2023 and February 2024—navigating rolling blackouts, shelling, and the psychological toll that came with it. That’s why the wait was long, and that’s why the record sounds the way it does. 

4) All of the band members are also in other bands, what is it that you bring into the music of 'Orbstruct' that you have not been able to do with your other groups?

 Actually, Orbstruct is the center of gravity for all of us. We’ll occasionally jump in to help friends—one‑off live appearances or a studio session here and there—but there are no other permanent bands pulling us away. That focus is what lets us pour everything into Orbstruct and shape the sound exactly as we envision it.

 5) What are some of the lyrical topics and subjects the band explored with the newer music and also how would you describe your progress as songwriters over the years?

 Lyrically, the heart of Orbstruct is the clash between the individual and the forces that try to bend them—inner conflict versus pressure from the outside. On Ostracism that thread sharpened into a satirical cut at herd instinct: three interwoven vantage points—the outcast’s eyes, the herd from within, and a detached observer—constantly force a shift in perspective. The war made those emotions raw and immediate; what once came from literature and cinema now comes straight from lived experience. As writers, we grew more deliberate: ideas arrive in fragments, we mosaic them together, and the band’s arranging phase turns a skeleton into a living, breathing thing. 

6) Can you tell us a little bit more about the artwork that is presented on the new album cover?

 We framed the record around the historical idea of ostracism—the Athenian practice of exiling someone for the perceived good of the many—so the visuals echo exile, fracture, and the tension between the individual and the herd. It’s less a literal illustration, more a conceptual mirror to the themes running through the album. 

7) Out of all the shows and tours the band has done so far, which one stands out the most? 

Two nights burn brightest. First—Kyiv: the very first metal concert in Ukraine after the war began. It was madness in the best sense—unity, catharsis, and a pit so wild the club had to call an ambulance five times. Second—Mladá Boleslav in the Czech Republic: the welcome was so intense we had to stop mid‑song just to calm the room down. Those crowds carried us.

 8) Do you have any touring or show plans for 2026?

 Yes—club shows and festivals across Europe are the focus. We’re building on the circuit we’ve already hit (Poland, Germany, the Czech Republic, Latvia) and aiming to add Austria, Belgium, and the Netherlands as we expand. Promoters can reach us directly—we’re ready to bring Ostracism to more stages. 

9) On a worldwide level how has the reaction been to your newer music by fans of blackened death metal?

 The underground has been responsive—zines, blogs, and readers across scenes have given Ostracism real attention, and those conversations matter to us. The dialogue is thoughtful and often raw, which fits the album’s spirit. 

10) What is going on with some of the other bands or musical projects these days that some of the band members are a part of?

 There aren’t other permanent bands at the moment. If friends call, we’ll help—one‑off shows or a studio favor—but Orbstruct is the priority and where the long‑term work happens. 

11) Where do you see the band heading into musically during the future?

Deeper into the shadows we already inhabit—further refining that bleak, oppressive atmosphere and cold emotional palette, while keeping the striking surges of aggression that define our spine. The influences evolve, but the aim is the same: make the darkness speak more clearly. 

12) What are some of the bands or musical styles the band members are listening to nowadays?

 Across the spectrum of heavy music—but to name names: early masterpieces of Morbid Angel, Bloodbath, Sepultura, Arch Enemy and Carcass have left a serious mark. If we talk about something newer, then it would be Analepsy and Mgła. Secondary influences come from bands such as Opeth, Paradise Lost and Triptycon, adding a touch of melodic and doom depth to our sound. 

13) Before we wrap up this interview, do you have any final words or thoughts?

 Stay strong and take care of the people close to you. Thanks to everyone who listens and stays with us—your support gives us the strength to keep creating and to believe in a brighter tomorrow. We’ll see you on the road. 

 https://linktr.ee/orbstruct_official

Valletta/Bitter Lucid Truth/Lifeforce Records/2025 EP Review

 

  Valletta  are  a  band  from  North  Carolina  that  has  had  music  reviewed  before  in  this  zine  and  on  this  recording  goes  for  a  mixture  of  blackened  death  metal  and  black'n'roll  and  this  is  a  review  of  their  2025  ep  "Bitter  Lucid  Truth"  which  will  be  released  by  Lifeforce  Records.

  A  very  heard  and  heavy  sound  starts  off  the  ep  along  with  some  death  metal  growls  and  few  seconds  later  and  the  riffs  also  add  in  a  decent  amount  of  melody.  Elements  of  black'n'roll  are  added  into  the  mid  tempo  sections  of  the  songs  and  all  of  the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them.

  A  lot  of  the  music  also  mixes  in  influences  of  crust  and  hardcore  while  the  solos  and  leads  are  also  done  in  a  very  melodic  style  with  some  old  school  rock  and  metal  touches.  Screams  are  also  utilized  at  times  along  with  most  of  the  tracks  sticking  to  a  mid  tempo  direction  and  a  couple  of  songs also  adds  in  a  small  amount of  clean  playing  and  clear  singing  can  also  be  heard  brieflu.    

  On  this  recording  Valletta  takes  blackened  death  metal,  black'nroll,  crust  and  hardcore  and  mixes  them  together  to  create  a  very  aggressive  and  heavy  sound.  The  production  sounds  very  professional  while  the  lyrics  cover  anger  towards  today's  political  climate.

  In  my  opinion  this  is  another  great  sounding  recording  from  Valletta  and  if  you  are  a f an  of  black'nroll,  blackened  death  metal,  crust  and  hardcore,  you  should  check  out  this  ep.  RECOMMENDED  TRACKS  INCLUDE  "Blood  And  Jesus"  and  "Spitting  The  Word".  8  out  of  10.

  INSTAGRAM | BANDCAMP | SPOTIFY

https://youtu.be/fpiPvzXuDOQ  

Fleshvessel/Obstinacy: Sisyphean Dreams Unfolded/I, VOidhanger Records/2025 Full Length Review

 

  Fleshvessel  are  a  band  from  Chicago,  Illinois  that  plats  an  avant  garde,  experimental  and  progressive  mixture  of  black  and  death  metal  and  this  is  a  review  of  their  2025  album  "Obstinacy  Sisyphean  Dreams  Unfolded"  which  was  released  by  I,  Voidhanger  Records,

  Puerto  Rican  style  instruments  start  off  the  album  before  going  into  a  very  heavy  and  technical  direction  while  the  vocals  bring  in  a  mixture  of  black  metal  screams  and  death  metal  growls.  When  the  music  speeds  up  a  great  amount  of  blast  beats  can  be  heard  and  the  solos  and  leads  add  in  more  of  an  aggressive  style.

  Avvant  garde  style  synths  and  keyboards  also  mix  in  with  the  heavier  sections  of  the music  and  also  takes  the  album  into  more  of  an  experimental  direction.  Melodies  are  also  added  into  some  of  the  guitar  riffing  while  all  of  the  tracks  are  also  very  long  and  epic  in  length  and  clear  singing  is  also  used  on  a  few  songs.

  Touches  of  jazz  music  are  also  utilized  quite  a  bit  throughout  the  album  along  with  the  songs  also  adding  in a   good  mixture  of  slow,  mid  paced  and  fast  parts.  Folk  instruments  are  also  used  at  times  as  well  as  a  few  tracks also  adding  in  a  small  amount  of  spoken  words  and  clean  playing  is  also  added  into  certain  sections  of  the  recording.  The  production  sounds  very  professional  while  the  lyrics  cover  humanity's  strife  with  the  world.

  In  my  opinion  Fleshvessel  are  a  very  great  sounding  avant  garde,  experimental  and  progressive  mixture  of  black  and  death  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "Mental  Myasis"  and  "It  Lurched  From  A  Chasm  In  The  Sky".  8  out  of  10.

  https://i-voidhangerrecords.bandcamp.com/album/obstinacy-sisyphean-dreams-unfolded

  

Ancient Thrones/Melancholia/2025 Full Length Review

 

  Ancient  Thrones  are  a  band  from  Nova  Scotia,  Canada  that  plays  a  very  dissonant,  technical  and  progressive  form  of  blackened  death  metal  and  this  is  a  review  of  their  self  released  2025  album  "Melancholia".

  A  very  dark,  heavy  and  technical  sound  starts  off  the  album  while  the  faster  sections  of  the  songs  also  add  in a   great  amount  of  blast  beats.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  yet  dissonant  style  and  the  vocals  also  add  in  a  mixture  of  black  metal  screams  and  death  metal  growls.

  Melodies  are  also  added  into  some  of  the  guitar  riffing  while  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.  Throughout  the  album  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts,  tremolo  picking  is  also  added  into  some  of  the  faster  riffing  

 Classical  music  style  keyboards  can  also be  heard  at  times  along  with  the  album  also  having  its  progressive  moments.  Whispers  are  also  added  on  one  song  as  well  as  a  couple  of  tracks  also  being  long  and  epic  in  length,. Clean  playing  is  also  added  in  certain  sections  of  the  recording  and  some  of  the  music  also  adds  in  a  small  amount  of  psychedelic  touches  and  a  few  songs  also  add  in  some  whispers  and  spoken  words.  The  production  sounds  very  professional  while  the  lyrics  are  a  concept  album  and  covers  a  colorblind  individual  and  his  experiences  with  psychedelic  drugs  as  a  last  ditch-attempt  to  enjoy  life  in  color.

  In  my  opinion  Ancient  Thrones  are  a  very  great  sounding  dissonant,  progressive  and  technical  blackened  death  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "A  Moon  Fused  Key"  "A  Pellucid  Prism"  and  "Vacant".  8  out  of  10.

 Facebook.com/Ancientthrones | Instagram.com/ancientthrones

Album order (Vinyl, Digital) - https://ancientthrones.bandcamp.com

Lyric Video - "A Moon Fused Key" https://youtu.be/IfDBNhlJ0sI

Music Video - "Melancholia" - https://youtu.be/_LvSTJ78kd8

Playthrough - “A Turning Point” - https://youtu.be/zQ3wZqZj9EQ

        

Noxium Ferus Interview

 

 1. Can you give us an update on what is going on with the band these days?

1. NF: Due to severe lineup trouble, I have postponed any band activities and live booking, and focus now only on writing and recording new material. I actually enjoy that, as it allows me to delve into a creative state of mind, without having to interact with anyone. The creative part of composing is something I can only do alone, without distractions. 

2. So far, you have released one full-length. Can you tell us a little bit more about the musical style that you went for on the recording?

2. NF: The debut album consists of  material mostly written by Steinar Aven, and some of it is quite old, from the early 2000s. It had been collecting dust in his immense catalogue of track ideas, and was waiting for the right collaborators to discover them and complete them. Originally, his tracks were more in the heavy metal and thrash metal category, but when I started composing vocals for them, I felt that they needed new drums and a harsher sound in order to match the vocals, so we redid them from scratch, and everything became heavier and darker. My vocal style is death metal, and my lyrical themes and concept are satanic black metal, so the songs became a solid mix of all these styles. A few songs were written by other people also, so the album doesn’t have a specific style or musical theme, only strong songs tied together by my vocals and lyrics.

3. A lot of your lyrics cover satanic, occult, and blasphemous themes. Can you tell us a little bit more about your interest in the dark arts?

3. NF: Already from an early age, I saw religion for what it was, and hence I opposed and questioned it. I wasn’t more than 7 years old the first time a teacher accused me of anti-christian behavior and statements. So it has just always been the most natural thing for me, to mock and blaspheme the christian faith. It enrages me, and I feel a strong need to do anything I can to destroy it, and to provoke it’s followers. In addition to this antipathy for piety, I always felt a powerful attraction to the demonic and satanic universe. So I started exploring and studying the dark occult sciences and mythos already when I was 10. It became a passion project, and black magic became a natural part of my life.4. What are some of the other lyrical topics and subjects the band has explored so far with the music?

4. NF: I alone am responsible for all lyrical contents and also designs and concepts, so that has never been a band decision or debatable subject. My lyrics can delve in many different topics, but I always strive to write and portray them in a certain manner and style, as dark poetry. So each word is carefully chosen both for meaning and for melodic tone. I prefer to write about philosophical themes such as self-overcoming and mind mastery, as well as stories and mythos from demonology and even dark passages from ancient church books. Devil worship and satanic idolatry is always a pleasure to write hymns for. I’m not against writing humorous lyrics either, as long as they are wrapped in a diabolical context, such as was the case with the songs “Phallic pride” and “Dickslapped by the Devil” (with Jontho from Ragnarok on guest vox).

5. Can you tell us a little bit more about the artwork that is presented on the album cover?

5. NF: I have created the artwork based on medieval magical squares and  ancient tablets of dark powers. I didn’t want to just fill the cover with all the same typical symbols and images as everyone else are using, the crosses and pentagrams etc, I wanted to use something unique and unseen, yet diabolical and haunting. So I composed the ultimate magical tablet honoring the very First and Oldest of the dark beings. It was a very fulfilling job, and I am still not finished with it. The album cover is merely a incomplete sketch of the complete thing, which I am still constructing.

6. Recently, you reissued your 2023 album with bonus live tracks. What was the decision behind releasing a new edition of your previous recording?

6.NF: It was actually a suggestion made by the label guys themselves, as they really loved the original Blasphemicon version, but thought that it hadn’t received the attention and promotion it deserved. So they took it upon themselves to do better. Hence I made new vocal recordings for some of the songs, had some new guitar parts recorded here and there, and also added the majestic synth work of Michael Troy- on IA Pazuzu. So it is a improved and remastered version of the original, with some very noticeable differences. The live disc was something I had been planning to do for a long time, because Noxium Ferus does not play much live, and that is why I always make sure to record every show, so that they can be shared with anyone later on. So this was a great opportunity to do just that- let everyone hear both the improved versions of Blasphemicon, plus a full live gig with 4 unrecorded new songs on the setlist!

7. Out of all the shows and tours the band has done so far, which one stands out the most?

7. NF: Noxium Ferus has only played live 3 times. We did get an offer to join Gorgoroth on tour as a support act, but it was a buy-on offer, and we could not afford the insane costs that would have fallen on us then. So we declined. The main reason for not playing much live, has been lineup trouble. It has been impossible to find the right crew, and this place where I live, is so far away from all the cities where more dedicated and active metal musicians live, so I simply don’t have the necessary manpower. Anyway, the most special show we played, was definitely on the day of the Dead 2024, November 2nd. I had been preparing and creating stage props for months ahead, and received invaluable help from loyal friends who truly support Noxium Ferus. My cousin has dedicated himself to being our regular stage crew manager, and my friend Camilo Lopez from Colombia flew all the way from Spain to come and assist me as light tech for the show. And my girlfriend took charge of indoor venue decorations and merch department.  So we got to do it properly and well organized, and decorated the entire community house as a real house of horror, with the most amazing and fear inducing stage ever. I felt like shit the day of the show, but once I got on stage, I was revived and energized, and became 100%  immersed in the performance and the energy from the crowd. It was ecstatic and satisfying, and so very complete. That show will remain a unique experience for both the band and crew, and the audience. It has been released on YouTube, in full.

8. So, do you have any touring or show plans for 2026?

8. NF: This year will be a year of creativity and home studio work. I currently don’t have a full lineup, so playing live is not an option, and I don’t want to spend more time and energy on that frustrating struggle. I need a break from all that networking and interpersonal activity. It has been draining, and now I will just let nature take it’s course and see what pops up while I’m busy doing my own thing here. 

9. You also did a 'Twisted Sister' cover. What was the decision behind doing your own version of one of their songs?

9. NF: Sometimes when I listen to regular pop rock songs, or even some heavy metal songs, I hear a tune or melody which makes me think;  “Hey- that would sound awesome as a death metal track!” And Twisted Sister have quite a few songs that trigger that need in me. Obviously not just in me, as there have been many bands who have covered them, like Dimmu Borgir who did a cover of “Burn in hell”. I always look for that dark and heavy tune, which can be reinterpreted into a massive and fat death/black metal track. Twisted Sister was a natural choice, as they were among my very first heavy metal bands back when I was a little kid in the early 80’s. So it was also a tribute, to cover their “Destroyer” song.

10. On a worldwide level, how has the reaction been to your newer music by fans of black and death metal?

10. NF: I have not received any negative feedback, and everyone I know who have been listening to the Blasphemicon album, have been most generous in their praise. I have sent the cd to many different countries, but unfortunately it has not been properly “discovered” yet, so sales are low. All reviews have been awesome, and it truly is a very strong and different album. The problem is that not many have cd players at home anymore, so why should they buy a cd..? It’s all spotify and digital platforms now, and I detest all that, so I take no interest in checking how Noxium Ferus is doing in the digital world. I leave all that to my label. 

11. When can we expect new music, and also, where do you see the band heading musically in the future?

11. NF: I have material ready for 6-7 songs already, it just needs to be studio recorded and worked through on a detail level. These new tracks are more aggressive and darker than the overall ambience of the first album. Some are closer to black metal style riffing, but with a classical symphonical touch. So everything is getting more intense and fierce.  I take my time on those things, and of course I have to allow the musicians who will record it, to do so whenever they have the time. I won’t be rushing or pushing anything or anyone. I am also writing music for new songs myself, and that process is slow and reliant totally on the Muses of inspiration and art. Hopefully by the end of 2026, I will have enough material for the second album ready, but who knows. Releasing as many albums as possible is not something I strive for, rather I want that each album released contains the most powerful and complete tracks I could possibly produce. All killers, no fillers.

12. What are some of the bands or musical styles the band members are currently listening to nowadays?

12.NF: One of the problems with the former lineup, was that some of the crew were fans of technical prog metal, and that is absolutely not something I will ever allow in Noxium Ferus. I am an old school metalhead, and I listen for good riffs and heavy beats. On the Blasphemicon album you can clearly hear that Steinar Aven, who wrote most of the music, is a fan of old thrash and hard rock, such as AC/DC, Black Sabbath, and Mortorhead etc.   Today he is more into regular blackmetal, but he’s not in the band anymore, so it doesn’t matter. It is my inspirations that weigh the most for Noxium Ferus, and I still listen to the same old albums that I grew up with, along with classical music such as Beethoven, Vivaldi, Mozart etc. I actually find more inspiration from classical, than I do from metal. My most played bands are the first 2-3 albums by Deicide, Morbid Angel, Slayer, Twisted Sister, WASP, Necrophobic, Burzum, Belphegor, Desaster, Urgehal. I haven’t found any new bands that hit my musical G-spot yet, I think my old metal heart is full.

13. Before we wrap up this interview, do you have any final words or thoughts?

13.NF: Death to digital, and AI must die!

Thank you,

Espen.

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