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