DEMO REVIEW: Cadaverous Odour - Corpus Inhumation (2024)

Cadaverous Odour - Corpus Inhumation

USA

Independent

 

“Corpus Inhumation” is the debut demo from the one-man project Cadaverous Odour, hailing from the city of Santa Ana, California. This demo contains three tracks of putrid and slimy death fucking metal reminiscent of Necrovore, Autopsy and Abhorrence.
 
There’s definitely a hint of doom, as “Mercurial Erethism” starts off rather slow before picking up the pace around 2:18 and plunging you into the bottomless pit with blasphemous riffs and a rapid solo around 3:29. The vocals exude a rather cavernous quality, adding an extra layer of filth to the festering atmosphere. The riffs are well executed and feel inspired, making the whole experience that much more enjoyable.
 
The drums are well played and do not feel too out of place despite the simplicity of the music. I mean, one could argue that the music is pretty crude – which it is – but it’s also well composed, and not to mention those guitar solos sound pretty insane.
 
The Autopsy influence is a little more noticeable on the second track “Corporeal Blasphemy," which features some pretty nasty riffs and frantic vocals that would give any old lady a heart attack. The final track is basically an outro with a movie sample and a creepy piano interlude, though I’m not entirely sure from which movie, but it suites the atmosphere of the demo.
 
All in all, Cadaverous Odour’s debut demo “Corpus Inhumation” is a pretty sick affair of disgusting death metal, consisting of two excellent tracks and an outro. 

ALBUM REVIEW: Skrying Mirror - Omnimalevolence (2023)

Skrying Mirror - Omnimalevolence

USA

I, Voidhanger

When it comes to industrial metal, I can’t say that my knowledge extends beyond the more well-known acts like Godflesh, (early) Pitchshifter, The Amenta and (early) Fear Factory – all of whom have released some decidedly enjoyable works in the past. Skrying Mirror, on the other hand, take a much darker route, combining the haunting soundscapes of industrial with the viciousness of death metal to create something truly unique and terrifying.

The trio is made up of seasoned musicians, most notably Matron Thorn, who you may recognize from Ævangelist and Benighted in Sodom – and indeed you can hear his trademark touch in Skrying Mirror, as the project is steeped in darkness and a haunting atmosphere that suffocates you from start to finish.

The album was released by I, Voidhanger, a label known for putting out mainly avant-garde black and death metal releases that are usually of superior artistic quality. Skrying Mirror is no exception, as the nine compositions on “Omnimalevolence” are dynamic and exude an otherworldly and occult atmosphere that takes the listener on a nightmarish journey. The music is quite multi-layered, but also flows very coherently.

The vocals of Vardlokker (Nexwomb, Witchbones) are absolutely inhuman and pairs well with the backdrop of uncanny guitar rhythms and distorted bass riffs. The thick wall of noise creates a verily dense ambiance, which is further bolstered by visions of murder and a world in ruins, as the music begins to subliminally affect you like some kind of dark epiphany. Furthermore, the drumming by Manuel Garcia (Blattaria, Hex Arcana) is really well executed and adds an element of discordance to the mix.

The pitch-black and harrowing soundscapes may not be everyone's cup of tea, but if you have an affinity for bands like Autokrator, Ævangelist and Blut Aus Nord, then there’s no doubt in my mind that Skrying Mirror is right up your alley, as “Omnimalevolence” is nothing short of outstanding. Highlights include: “Fractals” “Yearn” “Lux” 

EP REVIEW: Abortofacient - In the Crypt of Gore (2022)

 

Abortofacient - In the Crypt of Gore

Belgium

Nuclear War Now!

 

Why am I reviewing a death metal EP that was recorded in February 2021 and released in July 2022 (according to Discogs)?  

Firstly, it is really that darned good (to me, obviously).  Secondly, I find it quite shocking that despite being released by the prestigious NWN! label there is no ‘proper’ online review or feature of this band or the EP (save for two Instagram posts and a YouTube unboxing video haha). Not even in Encyclopaedia Metallum……Unless there is something wrong with my google search engine or word search skills. If not, this would be a right ‘exclusive' for Death by Hammer zine; you read it here first, folks! 

This band is a trio (Bone Consumer, Puking Guts and Rotten Putrid) from Belgium and the EP follows from their 2020 demo Corpus Rotting. The CD version is a must to own as it includes the 3-track demo that was only released on tape. This is some seriously primal and primeval death metal from the depths (of the crypts, duh); everything moves at slow to midtempo pace with no groove, no churn, no speedy blastbeats (very few, and at not more than a canter), etc. 

The music, vocals and atmosphere are just so thick, filthy, and musty, and the whole affair suffocates with marvelous finesse. This is the soundtrack to the crypt residents clambering out of their resting places to hunt down the team of archaeologists for a hearty wwwwuuuurrrghhhhhhhh meal. 

Since getting this, I have played the shuck out of it (I may need a second sealed copy soon, maybe the vinyl as well ahaha). I cannot recommend this enough to anyone who likes a slow n’ steady sewage fest for their death metal. (Unkle Superion) 

Album review: Acausal Intrusion - Panpsychism (2023)

Acausal Intrusion - Panpsychism

USA

I, Voidhanger

 

Acausal Intrusion is a death metal collective made up of musicians Nythroth (Feral Lord, Slog, etc.) and Cave Ritual (Irradiated Marrow, Ar'lyxkq'wr, etc.), and “Panpsychism” is their third full-length album since their formation in 2020.

Stylistically, this is experimental death metal with a kind of “freeform" approach reminiscent of bands like Ulcerate, Gorguts and even Morbid Angel. You never really know where the music is going to go next, as each song consists of intricate time-changes and complex rhythms, but at the same time there is also a lot of atmosphere.

Technical death metal gets a bad rap for being overproduced and lacking any sort of feeling, although that is certainly not the case with Acausal Intrusion; on the contrary, the production has a gritty and natural feel while still complementing the music with an audible mix. Think 90s tech-death like Atheist and Cryptopsy; those bands had all the technical chops without sounding like a mindless wankfest, and that’s exactly what Acausal Intrusion achieves with this release.

The tracks on this album range from four to eight minutes in length and feature dark soundscapes and head-twisting riffs that constantly keep you on your toes as the noose tightens around your neck. The drumming is on point and fits the overall structure perfectly, while the utterly barbaric vocals add a bestial element to the music.

I didn’t really know what to make of “Panpsychism” at first, though I knew I was being subjected to something special as every haunting layer and segment began to make sense. It's an album best listened to in its entirety in order fully appreciate its genius, though that doesn't mean you can’t pick out individual tracks. Highlights include: “Encoded Exagrams”, “Statical Universe” and “Molecular Entanglement”

All in all, “Panpsychism” is a solid oeuvre of well-crafted Death Metal with an experimental twist that’s also rough around the edges. Anyone who likes good death metal with an unconventional approach will thoroughly enjoy this album. 
 

Album review: Thunraz - Borderline (2023)

Thunraz - Borderline

Self-released

Estonia

Thunraz is a death metal project from Estonia (Northern Europe), consisting of Madis Jalakas, and “Borderline” is the third album (and the fifth release overall) under the project’s name.

It’s worth noting that Thunraz released two albums in 2023: “Revelation” and “Borderline” So how does “Borderline” compare to “Revelation”, you might ask? Well, “Borderline” hits every bit as hard as its predecessor. If anything, the album sounds heavier and more chaotic, with nine tracks of devastating and soul-crushing death metal that also incorporates influences from hardcore and doom.

The recording has a murky quality to it, yet everything sounds comparatively audible. On the previous album, Jared Moran (Acausal Intrusion, Psionic Madness, etc.) played drums, but on this recording Madis pretty much handled everything himself, from bass to guitars to vocals to drums, and did an excellent job.

The guitar rhythms are tighter than Rambo’s headband, with exceedingly heavy riffs that maul you like a spiked whip, coupled with flexible bass riffs and pugnacious vocals that range from martial growls to hellish screams. The inclusion of clean vocals makes the songs more interesting and even reminded me of Dax Riggs from Acid Bath. The sludge influence is obvious due to the slow-to-mid tempos, although it’s interesting how the songs manage to sound so discordant even during the slower segments.

The atmosphere on this release is exceptionally dark and melancholic, often bordering on black metal, although it’s not impossible to assume that there’s some black metal influence given the hopeless and negative texture of the music. If anything, I'd say Thunraz is in a class of their own as they combine an array of influences and yet miraculously make it work with relative ease as each composition is cohesive, succinct and straight-to-the-point.

Some bands that come to mind while listening to Thunraz include Immolation, Acid Bath, Soilent Green and Godflesh. These reference points should more or less give you an idea of what to expect. Every track on this album is killer, but some highlights include “Monument”, “Weight of Time” and “You and Me” (unarguably the apex of the album).

Thunraz is an underground extreme metal project that categorically puts out great releases for the style they play. This being said, “Borderline” is a solid offering from beginning to end, with 30 minutes of deranged Death Metal madness that will make all pretenders leave the hall, as the music on this release comes from a sincere and dark place.

Interview: Mvltifission & Huangquan Records

 

The following is a joint interview between two Chinese endeavours: Mvltifission and Huangquan Records. Mvltifission is a death metal band that have garnered much praise from fans both in China and abroad since the release of their excellent debut album “Decomposition in the Painful Metamorphosis,” while Huangquan Records is a reputable record label with many quality releases to its credit.

Special thanks to Jianqi (JQ) for the submission.

1. Hello there! Please introduce yourselves and tell us what you do in the band? 

Gut: Lead vocalist

Tormentor: Hello, I'm Tormentor, the guitarist of the band. I'm thrilled to be part of this interview.

Purulentreek: Hi, I'm Purulentreek, the guitarist of the band. I'm also responsible for drum programming editing and mixing production of the albums.

Gorewhore: Hey, I'm Gorewhore, the drummer of Mvltifission.
 
2. How did you come up with the name Mvltifission and who designed your logo?
 
Gut: The name was coined by guitarist Tormentor, and I designed the logo.

Tormentor: It was a fun idea; it's actually a compound word of "Multi-" and "Fission," which we thought sounded pretty cool at the time.

Gorewhore: The guitarist came up with it, and the vocalist designed the logo.
 
3. The band members come from various extreme metal bands in China, such as the well-known Dugu and Globularcyst. How did you all come together and decide to form Mvltifission?
 
Gut: We simply love pure old-school death metal, so we decided to form a death metal band.

Tormentor: We all enjoy the same type of music, we were open to trying something new musically, and hence Mvltifission was born.

 
Purulentreek: We came together because of our shared passion for classic extreme metal music, and we also get along well, so we had the plan and idea to play in Mvltifission.
 
Gorewhore: I was impressed by a demo from the guitarist, and I felt confident in my abilities, so I chose to join
 

4. Your debut album "Decomposition in the Painful Metamorphosis" from 2021 is an outstanding effort. How long did it take you to write and record these songs? Are you satisfied with the final result? How was the general feedback from the metal underground? (Both in China and abroad)
 
Gorewhore: I’m personally is very satisfied with the final result, and the feedback are beyond well, both in China and abroad, fans were surprised that there is one old school Death Metal band from China.

Gut: The feedback is relatively good, many foreign listeners cannot believe that this is a Chinese death metal album, do not know where the members are from, mysterious band, but we made the effect we wanted.

Purulentreek: Purulentreek: It took about a year, from 2020 to 2021. At that time, we were not all in the same location, so we had to communicate ideas online. The creative process mainly involved Tormentor and me writing the music, recording guitars, GUT doing vocals, and me handling drum programming and mixing. The special aspect of this process was that Tormentor and I constantly exchanged ideas and riffs. It felt great every time a new idea emerged.

Tormentor: Initially, we planned to release an EP, but we had a lot of creative inspiration, so we ended up writing many songs. We discussed and explored numerous ideas together, making it a joyful process. Personally, I'd rate it 75/100. There are some details in the arrangements that need further refinement. We're honoured to have a solid fan base of death metal enthusiasts both domestically and internationally.

 
5. After listening to your full-length album, I was reminded of bands like Immolation and Demilich, and the album's description also mentions being dedicated to the aforementioned bands, including Demigod, Cenotaph, and Purtenance. How has these bands influenced your creative process?

Gut: Absolutely, I often listen to the bands you mentioned. I really like them. Subconsciously, they bring us closer to old-school death metal.

Tormentor: Personally, I'm deeply influenced by Demilich, Demigod, and Purtenance, which shape the overall framework of my songwriting and arrangement.

Purulentreek: These bands have been favorites of ours since we first encountered death metal music, so naturally, our creative process is heavily influenced by them. Daniel, the main creator of Cenotaph and The Chasm, is a musician I deeply admire, and his riffs have had a significant impact on me.

Gorewhore: Indeed, Demigod and Demilich have had a profound influence. If you don't believe it, give our songs a listen
 
6. The production on "Decomposition in the Painful Metamorphosis" sounds organic and has a raw edge to it, which I think gives your music more personality. Do you agree with this? Also, how do you feel about death metal bands with an overly polished production?
 
Gorewhore: Me as a death metal fan, I don't like the over-produced/polished music, which sound plastic for me. So we are also choose what we were influenced, both music and production.
 
Purulentreek: Yes. Frankly, we are trying to fuse many twisted and bizarre riffs into a dark gloomy atmosphere, definitely with the raw and organic sounds production. Over polished sounds are maybe more suitable for melodic riffs.
 

7. What is the atmosphere like at your shows? Is the frequency of performances high? Do you have a large audience?

Gut: The frequency of performances is not high.

Tormentor: The frequency is not high, but the response is usually good.

Purulentreek: We don't perform frequently in China, but the atmosphere at each show is usually good.

Gorewhore: We had four performances in China this year (three shows, I missed one due to injury). The frequency isn't high, and we don't plan for it to be too high. The audience is decent, not too small.

8. Your connection with the Dugu band seems quite close. While reading the lyrics, I sensed elements reminiscent of Shaw Brothers horror films, but more prominently, themes of youth facing the confusion and helplessness of contemporary society, even a sense of nihilism. Did you intentionally incorporate elements from horror films in Mvltifission's creation? And did you have any special thoughts while writing the lyrics?
 
Gut: We didn't intentionally incorporate elements from horror films because Mvltifission's themes are more on the spiritual level, exploring abstract combinations of various concepts.
 
Tormentor: Dugu was initially a project between me and lead vocalist GUT. His vocal style in Dugu is very fitting with the atmosphere of Shaw Brothers horror films, and the lyrical themes revolve around Shaw Brothers CULT horror films. The themes of Mvltifission's album mainly delve into the realm of spiritual nihilism and the distortion of human nature. We didn't deliberately incorporate elements from horror films into it. The direction of Dugu's next album will not be limited to Shaw Brothers; we're currently working on it.
 
Purulentreek：The association between horror movies and our creation has always been significant. Many passages in Mvltifission can evoke scenes from horror movies. When I write lyrics, it's also based on the visual sensations experienced in music, attempting to outline and depict these scenes in textual form
 
Gorewhore: The lyrics are also handled by the guitarist and vocalist.

9. How did you decide to collaborate with Funeral Vomit for a split release?
 
Gut: Funeral Vomit were friends of mine at the time, and coincidentally, we were looking for a South American death metal band to release a split with, aiming for a contrasting style. They play a more crude style of death metal. The collaboration was very pleasant, and the result was that the physical tapes sold out quickly.
 
Purulentreek: It was the lead vocalist Gut arranged the collaboration with Funeral Vomit through the label. We released a tape version of the split together, and the process was very enjoyable.
 
Gorewhore: It was the vocalist's decision, haha.
 
10. Which albums define death metal in your opinion?
 
GUT: I don't think I'm qualified to define that term. I can mention some albums I like.
 
Deicide - Deicide
Cancer - Death Shall Rise
Demilich - Nespithe
Purtenance - Member Of Immortal Damnation
Convulse - World without God
…and there are many more.
 
Tormentor:
 
Death - Leprosy
Demilich - Nespithe
Demigod - Slumber of Sullen Eyes
Entombed - Left Hand Path
Monstrosity - Imperial Doom
 
Purulentreek:
 
Demigod - Slumber of Sullen Eyes
Gorement - The Ending Quest
Crematory - Denial
Demilich - Nespithe
The Chasm - Farseeing the Paranormal Abysm
 
Gorewhore:
 
Deicide - Deicide
Entombed - Left Hand Path
Death - Human
Suffocation - Effigy of the Forgotten
Morbid Angel - Altar of Madness

11. What music do you guys mostly listen to?
 
Gut: I listen to death metal for two hours every day.

Tormentor: Thrash metal, death metal, movie/game soundtracks, southern rock.
Purulentreek: Besides extreme metal, I also love listening to classical music, post-rock, and jazz.

Gorewhore: I listen to a variety of old-school genres, including traditional, heavy, speed, thrash, and death metal.

12. How would you describe the metal scene in China and which bands from there would you recommend to our readers?
 
Tormentor: Explosicum, Ancestor, Globularcyst, The Metaphor

Purulentreek: China's metal scene is constantly evolving, and the developed network makes it easy for everything to spread among the crowd. I would recommend Dinkumoil, Strike Back, and PPT.
 

13. To wrap things up, can you please tell us what the future holds for Mvltifission? Thank you very much for your time!

Gut: We plan to release our second full-length studio album in 2024. This year, Mvltifission will perform alongside several foreign death metal bands in China. Stay tuned!

Tormentor: We hope the new album will be out soon. Thank you for the interview. Cheers!

Purulentreek: We're currently recording our second work. The instrumental part is almost complete, and if all goes well, we should have everything finished by mid-year.

Gorewhore: We're in the midst of creating our new album and gearing up for upcoming performances. Keep it true, keep it underground!

HUANGQUAN RECORDS INTERVIEW:

1. How was the name "Huangquan Records" decided upon? And how was the logo designed?
 
GUT: The name "Huangquan" refers to the Chinese term for "hell." The logo combines the characters for "Huang" and "Quan" in ancient Chinese script, with hand-drawn modifications to form the final logo
 
2. My impression of Huangquan Records includes tags like old-school death metal, 80s and 90s styles, grindcore, and so on. Does this align with the releases from Huangquan Records? Are there any factors that influence your choice of releases?
 
GUT: Yes, it aligns with Huangquan Records' release style. Huangquan has always been committed to unearthing albums and demos from old-school death metal, traditional thrash metal, grindcore, and many forgotten but excellent bands from history. Of course, Huangquans' new sub-project, the "Death List" series, focuses on releasing albums from relatively new and promising death metal bands. This year, we'll mainly be releasing many excellent 90s death metal albums on vinyl.

3. You seem to have a fondness for the 80s and 90s. What do these two decades mean to you?
 
GUT: The late 80s and early 90s were the "golden age" of death metal. Many excellent bands emerged worldwide during this time. Our goal is to unearth more unknown death metal treasures from that era.
 
 
4. Huangquan Records currently focuses on releasing albums and organizing performances. Will you be signing contracts with bands and musicians in the future?
 
GUT: Yes, Huangquan Records solely focuses on album releases and organizing performances. We do not engage in signing contracts with musicians. However, we have had a few Brazilian thrash metal bands express interest in signing with us, but we declined because we felt it didn't hold much practical significance. Our main goal is still to bring music and performances to our audience.
 
5. Thanks for your time! Any last words before we formally close this interview?
 
GUT: We only produce pure death metal albums, make pure death metal music, and hope everyone gets to hear more pure death metal!

Interview: Vastum

Having been active for over 15 years now, San Francisco’s VASTUM have never failed to captivate audiences with their devastating brand of sonically-twisted Death Metal. Their latest opus “Inward to Gethsemane” was hands down one of the best albums of 2023 and has only further cemented the quality of their output. Unkle Superion (Singapore) and I worked together to prepare the following questions, which were answered by founding member Leila Abdul-Rauf (vocalist, guitarist, lyricist) who was more than happy to share her insights.
 
1. What has the band been up to since the release of your excellent album “Inward to Gethsemane”? In hindsight, are you happy with the end result?

L: We’ve been busy working on our other projects (Mortuous, Necrot, my solo project) both touring and working on mew releases. I’ve also been auditioning new guitarists for Vastum since Shelby left the band right after recording Inward to Gethsemane. Overall I’m happy with how the album came out but I would do some things differently if given the chance. The track sequence was a compromise for all of us and I think the album would have benefited from a different sequence as well as the inclusion and exclusion of different songs we had available. But it’s all something to learn from.
 
2. Which bands influenced the sound of Vastum and where do you draw inspiration from on a musical level?

L: Too many to list all of them, but Dan and Kyle were a big influence when we started Vastum and got me into the Finnish bands like Convulse, Slugathor, Rippikoulou as well as a lot of death doom like Anathema, Paradise Lost (but Candlemass will always by favorite doom band).  But  musically I always draw from a wide array of artists from many genres, artists like Diamanda Galas and Lori Bravo (especially lyrically), Igor Stravinsky, Death, Morbid Angel, Chris Barnes-era Cannibal Corpse for riffs.

 
3. Have you ever received ‘feedback' that your style of death metal (musically and aesthetically) is too artsy and literate for the actual old-school crowd?

L: Not really. Quite the opposite actually, at least musically speaking. But some people struggle with the lyrics. Seems musically we’re more criticized for keeping within our formula and that we’re not “forward thinking” enough which I kind of agree with and kind of don’t, especially since we want to take the band in a more innovative direction on the next album and this was hinted at with Inward. OveralI, I think we appeal to more of the traditional death metal crowd who just want to be pummelled by the music and not fuse their death metal with other genres.
 
4. What are the main non-musical sources or influences (visual art, literature, philosophy, etc.) that inform the songs and music of Vastum?

L: Religion (Christianity for Dan; I was raised Muslim), psychoanalysis, philosophy. Lyrically for this album Dan drew from philosophers like George Bataille and Lev Shestov, anti-theologian Thomas Altizer and bands like Dystopia. My lyrical inspiration mostly comes from personal experience, dreams, psychedelics and my own depraved imagination.

5. Can you tell us about the audience demographic at your shows, and if you know about the kind of people who buy your records? In Southeast Asia where I’m from (Singapore, specifically), a death or extreme metal show is still largely a male affair and they want their metal anthems to chant/growl along to.

L: It’s more diverse here for sure, but still overall male-dominant, mostly in the 25-40 age range, but that’s most metal bands I guess. More racially diverse in California where we live than other parts of the U.S. and Europe.
 
6. Obviously there’s more to death metal than just gore lyrics and blast beats, which seems to be a common misconception among some people – do you think death metal is also an ideal outlet to express deeper philosophies/spiritual thoughts? Do you consider yourself spiritual in any sense?

L: Absolutely. If you’re creative enough, you can express a full range of emotions in just about any genre, especially death metal. When people say they’re “spiritual” it’s usually spoken about in vague terms, but for me, spiritually is always something to reflect on, question, battle with, expand and redefine as necessary. That said, I do believe in the powers of magic and ritual.
 
7. Does Vastum have a ‘career path’ mapped out?  Do you work towards a bigger breakthrough or breakout record that would elavate the band to the ‘next level’ i.e. bigger venues and festivals?

L: We’ve been a band for almost 15 years with many member changes. Most of us are not young and are we’re not concerned with being the next big thing in metal. We’ve already played several bigger venues and many festivals. For me, it’s more important that we realize an authentic creative vision, to create something evocative and compelling. If that results in a bigger breakthrough for us, that’s great, but it’s never the driving force for me in doing a band.

 
8. Do you have a personal favourite Vastum record? (One that you personally enjoyed making the most or playing the songs live.)

L: I do love all of our albums in different ways. They’re all very different to me. We always play at least one or two songs from every record live. As far as which record was most enjoyable to make, our debut Carnal Law was a lot of fun to record because it all felt very fresh and unpredictable starting with a new project and not knowing how it would be received so there weren’t any expectations loaded on us. It’s also the album with my favorite artwork by Dan. I also enjoyed recording Hole Below and Orificial Purge; those albums almost seemed to write themselves.
 
9. Can you share with us any anecdotes of some crazy/surreal experiences you’ve had playing live shows or from touring?

L: Not too many of these to talk about. Dan has a reputation of being a very active front person and knows how to work up a crowd, so there is never a dull moment. Dan has injured himself in all sorts of ways stage diving when we play live. I know someone in the crowd broke their collar bone at a fest we played, which is unfortunate, but they seemed unfazed. Some woman took her top off before jumping on stage. I also lost my voice on a European tour and Dan had to cover my vocals for a show, which was strange.
 
10. What have you been listening to lately? Do you have any personal favourite albums from the last year or 2024 so far?

L: Cruciamentum’s Obsidian Refractions, Excarnated Entity’s Mass Grave Horizon; and more recently discovered but which came out a few years ago, Staurophagia’s The Longest Dark has been an engrossing late night listen.

 
11. Can you tell us a bit about some of your other bands and how they differ musically and thematically from Vastum?

L: The other members of Vastum have Acephalix, Necrot, Mortuous who are all different varieties of death metal. I can’t speak to their themes, but since Dan also sings and writes all of the lyrics for Acephalix, thematically I’d say it’s within a similar vein to Vastum but they’re musically different enough that the two bands have distinct identities. I think I’m the only in Vastum whose other projects are not metal. My solo work, although I’d say it’s metal-adjacent in some ways, has historically appealed more to dark ambient fans, experimentalists and goths, even though the music is quite composed and musical, with lots of vocals. Ionophore is another long-time project of mine, an electronic, darkwave trio with 4 full-length releases, its members spread across California, New York and London. My contributions to both my solo work and Ionophore are mostly vocal-, trumpet- and synth-based. These elements have also worked their way into the last three Vastum albums and probably will continue to be.
 
12. Finally, what’s next for yourself and Vastum? Infernal thanks for your time!

L: Thank you! Vastum’s new lineup will likely be ready to go live by the spring. While doing some guest spots on a couple of releases, I’m also working on my fifth solo album which will have a bigger, more active and rhythmic sound than my previous work. I’ve also been playing special fly-out solo shows, with more to come later in the year as well.