Interview: Thunraz

 

THUNRAZ from Estonia play hard-hitting, hellishly heavy Death Metal/sludge that hits you like a freight train at 1000 MPH. Their penchant for innovation and writing quality music full of emotion sets them apart from some of their peers. If you enjoy a somewhat original approach, like some of the bands mentioned in this interview (Immolation, Today is The Day, Godflesh, etc.), then I recommend you to check them out. I consider myself a fan and have enjoyed albums like “Revelation” and “Borderline” (both released in 2023). So without further ado, here is my interview with founder/mastermind Madis Jalakas.
 
1. Hello there! Can you tell us how Thunraz was conceived and what the band is all about?
 
Madis: Greetings. Thunraz was started in 2017, after a period of significant emotional struggles for which I needed an outlet. It's become a way for me to process certain realities by aggressively confronting them. To establish some freedom in what feels increasingly like a locked cage.
 
2. Can you elaborate a bit on your sound and influences?
 
M: The initial spiritual and musical impetus for the project was the band Bölzer from Switzerland. I liked how they were a two-piece that sounded huge, and tried in my own way to emulate that. You'll hear their influence mainly on Hinterland in the tracks Stronghold of Fire, Invocation and Dysgenesis. Other influences would quickly seep in from bands such as Immolation, Godflesh and Neurosis. Some lesser known names like Cattle Press and Starkweather would inspire the approach to slower tempos, and bands such as Kobong and Meshuggah, as well as chaotic hardcore/metalcore from the 90's, would inspire the angular riffs and rhythmic diversity.

To me it's just heavy, pissed off metal without boundaries. Past my initial attempts, there has scarcely been a moment where I consciously decided what to write.

3. Why isn’t your band signed? Do you think that geography and the fact that you are not gimmicky plays some sort of factor why some labels won't work with you? 

M: There actually was a signed contract for Hinterland, but beyond some other minor collaborations, it has been difficult to find interested parties. I would say that the nature of modern social media marketing plays a big part. There are algorithmic reasons why it's harder for original material to push through. Greater content saturation also means greater competition and a need for labels to hyper-specialize. Same applies to bands.
That said, it is a bit amusing to be told, "Yes, it's good, but I don't know how to sell this". At some point all the bands that everyone considers as genre classics were doing something new that nobody knew how to market. I wish more people took a chance. Not just labels, but music fans in general. There are many cool projects out there that deserve your attention.

4. Thunraz released two very solid albums in 2023, although we will dissect them one by one. First, Revelation: This album is pretty sick and I love the diverse influences that went into it, from old-school death to chaotic hardcore to some pure black metal riffs. What was the overall vision and approach to “Revelation”?
 
M: "Revelation" was born from a collaborative effort between me and creative madman Jared Moran (Acausal Intrusion, Speed Ritual Records, etc.). He created the drum tracks based on a few keywords from me (OSDM, technical sludge), which I then improvised on top of in a quite intuitive fashion. I'm glad you enjoy it!

5. The follow-up, entitled “Borderline”, is even more manic. I feel like this album is heavier, and I love those moody clean vocals. Where did the idea to utilize clean vocals come from? Are you by any chance a fan of Acid Bath? How do you feel “Borderline” compares to “Revelation”?

M: I am actually a huge fan of Acid Bath, although Dax has more of a blues influence to his singing. Some other bands that mixed vocal styles and inspired me are Today is the Day, Section 8, and Demanufacture-era Fear Factory. Honestly, even bands like Deftones and Helmet. How it compares? I think the noisecore/metalcore influence is more obvious. "Borderline" is much more musically diverse than anything I've done before.

 

6. What are some of the themes you explore with Thunraz and where do you draw inspiration from?
 
M: Usually there will be something I'm dealing with, whether it be a personal problem, a philosophical question, or some socio-political topic that is making me mad enough to write lyrics about. I'm interested and passionate about many things, so sticking to one or two themes could never sustain my interest and would stifle a project that's meant to be freeing. Quite a few of the songs deal with several subjects. The first lyrics I actually felt strongly enough to sing had to do with the death of a close friend and the perpetual misery of nearly everyone around me. If there is an overarching theme, it's my refusal to quietly tolerate the daily horrors of existence.

7. The track ‘You and Me’ from “Borderline” has some of the sickest riffs and is easily one of your best songs. A pure masterpiece. Can you give us some insight on what this song is about?
 
M: Thank you! "You and Me" details what can happen if two thoroughly traumatized people meet each other and try to build a life together, with way too many obstacles in their path. For me it forms the emotional and thematic centrepiece of the album.

 
8. The music of Thunraz is dark, chaotic, and depicts real emotion, whereas most extreme metal acts lack any sort of emotion or feeling. Would you describe your music as angry, misanthropic, and do you think original bands are in short supply these days?
 
M: I wouldn't say that most extreme metal acts lack feeling, but death metal in particular might not be seen as the most appropriate vehicle to deliver these super personal expressions of pain. Black metal is a bit better suited for it, but even in that context the expressions seem to fit a certain character that becomes predictable after a while (like in DSBM). I enjoy a lot of these bands nevertheless, but I want absolute creative freedom, no matter who it displeases.

How angry or misanthropic my music is relative to others is up for the listener to decide. I can only say that if I truly believed there were no solutions, I'd be dead. Within every cynic is a disappointed idealist and all that.

There are still original bands, but they are often lost in the sea of mediocrity and label-backed releases that follow an established pattern. Jump into the sea and try to find those lost treasures.
 
9. Would you mind telling us more about the band's current line- up and who does what? I believe Jared Moran played drums on “Revelation”, but what about “Borderline”? It's safe to say he's one of the most prolific musicians I've ever seen, and most of his bands are killer.
 
M: With the exception of Revelation, all the music of Thunraz has been written and performed by myself. I don't think this setup will ever change, but I might work with a different drummer at times. Working with a new drummer right now in fact. Very talented guy.
 
10. If I’m not mistaken, it is winter there right now – is the weather a good inspiration for songwriting and does it influence the psyche somehow?

M: It is winter, but not a particularly cold one. The coldness of the people is the greater inspiration. That and the legacies of the Soviet period which still litter the landscape.
 
11. In light of all this global instability - with the ongoing war in Europe, famines in Africa, and current situation in Israel - do you think we are heading for disaster?
 
M: I doubt I know any more than you, but things certainly don't look great. Anyone can see the massive divisions in society and what that is leading to, but few are willing to extend the olive branch. Too many are focused on the wrongs of "the other side" and unwilling to examine their own corruption. Total unity shouldn't be the goal. If an uneasy truce is all we can manage, it's still better than total chaos. How very un-metal of me.
 
12. What are 10 albums you can’t live without?
 
M: These are off the cuff and subject to change slightly, but right now, and in no particular order:
1. Bathory - Hammerheart
2. Today is the Day - Willpower
3. Immolation - Close to a World Below
4. Cattle Press - Hordes to Abolish the Divine
5. Godflesh - Pure
6. Swans - Children of God
7. Cocteau Twins - Head over heels
8. Jeff Buckley - Grace
9. Drive Like Jehu - Yank Crime
10. Agents of Oblivion - Self-titled
 
13. How do you envision Thunraz in 10 years? The fact that some serious labels haven't discovered your talent yet shouldn't discourage you from creating music. If I owned a record label, I would sign your band pronto! Hails to you!
 
M: I can't even envision myself in 10 years, but I hope I'll still be creative in some way. No one should be discouraged from making music due to outside factors. I know it still happens, but honestly, speaking as a listener, I don't want to hear from you if your motives are anything other than pure self-expression. I'm glad if people make money, but if you see your band primarily as a business, it's time to pack it in.

My most infernal hailz to you, bro. Thanks for the interview!

Interview: Cut

 

For those unfamiliar with CUT, they are essentially China’s gift to war metal, and with the release of their excellent debut album “Vanquish the Weak” in 2022, the band has certainly carved a name for themselves as a notorious force to be reckoned with in the underground. If bands like Archgoat, Nuclearhammer and Blasphemy fit into your crude musical palate, then certainly give this band a go.

Special thanks to Jianqi (JQ) for the submission. All questions were answered by founding members Ironthorn and Zon.  
 

JQ: It's a pleasure to have the opportunity to interview CUT, a relatively new but already prominent black death metal band in China, on the occasion of the River Metempsychosis Festival! Can you greet our readers first?
 

Ironthorn: Hello.
Zon: Hello.
 

JQ: Your album 'Vanquish the Weak' released in August last year, gained significant attention both domestically and internationally. Dyingflames considers this album to be one of the top three in the history of Chinese black death metal, while Axekutioner even regards it as the foremost official black death metal album in his mind. How were you all influenced by Satan, and how did you come to know each other and decide to start this band? What led you to decide to base your sinister creative work on Satan as its source?
 

Ironthorn: In 2018, Zon and I met at the Apocalypse Extreme Metal Music Festival in Taiyuan. I think that's when we started discussing the concept of evil art, and we even came up with the band's name at that time. However, due to some damn obstacles, we didn't start creating music until last year (2022). After composing the instrumental parts, Shika and I called back Zon. We all agreed that black metal must be rooted in Satanism. For both me and Zon, I believe it's in our nature.
 
Zon: Before joining the band, I told Ironthorn that I just wanted to express my thoughts through Satan's mouth instead of using my brain to think. In other words, we were ready to surrender our minds to him as well. Due to the alignment in themes and ideologies, we could all act on our instincts.
 

JQ: In Axekutioner's interview with you both mentioned being influenced by Blasphemy. Besides them, who else has had such a significant impact on you? Have your feelings towards this type of music changed before and after forming the band?
 

Ironthorn: CUT's songs haven't been too influenced by the Ross Bay war metal scene, although Blasphemy's first demo holds a special place in our hearts. However, many early Scandinavian black metal and death metal bands did leave a profound mark on us.
 
Zon: Blasphemy's first demo accompanied me through my tumultuous adolescence, but personally, I haven't delved too deeply into listening to this style of music. In reality, for me, the functionality of this music is far greater than its musicality, much like a church choir – we just praise a different god. Before and after the band, we were all blind believers in what this music was saying.

JQ: Why are you referred to as "Bestial Black Metal" in your introduction rather than something else? Does it hold any special significance?
 

Ironthorn: We play black death metal. I don't agree with equating black death metal to bestial metal or war metal. Black death metal is a broad category within black metal.
After the emergence of the Brazilian monsters, Blasphemy and Beherit created chaotic sounds almost simultaneously, Archgoat had a completely different temperament, Bestial Warlust stirred a frenzy in Australia. Demoncy from the United States expressed another obscure, arrogant, and evil musical texture. Fans categorize them as "black death metal," but their listening experiences are different. You can observe that after 2000, many bands created extremely profound black death music, such as Mefitic. For CUT, I can't determine which atmosphere influences us. But we always exist within the darkness, and I am forever a sincere listener of this dark atmosphere. All warriors are praising it in their own way, and it's an addictive thing.
 
Zon: Between Ironthorn and me, we don't discuss things imposed on us by others because it's a waste of time.

JQ: Can you reveal your upcoming plans for composition and release?
 

Ironthorn: CUT will be completing a demo and a second full-length album this year.

JQ: I noticed your album covers are quite unique. Who designed them, and what was the thought process behind choosing the artist and the cover artwork?
 

Ironthorn: We have strict requirements for artists and their imagination. Sickness666, the artist for the full-length album cover, is someone I highly respect. He is very patient and handles details well. The visual sense we wanted aligned perfectly with him. He and Chris Moyen are benchmark artists in this style. But I have never been able to appreciate those stereotypical sheep.

JQ: I believe many readers are curious about this: Do you experience different feelings during your creative process or performances compared to usual? For example, intense anger or a strong desire to attack.
 

Ironthorn: During the creative process, yes. But for me the state of being on stage is solemn. It's a solemn altar to showcase the band's complete essence.
 
Zon: Anger and aggressiveness are instinctual in animals; learning to coexist with such emotions is a human prerequisite.

JQ: I know that many black metal/metal fans sometimes engage in aggressive behaviour during band performances, including but not limited to attacking the band. Have you encountered such situations during your performances? What kind of fan behavior do you dislike the most?
 

Ironthorn: We've come across some special idiots, but Zon and I don't feel the need to understand individual perspectives.
 

JQ: I remember you were initially a duo; when did drummer Shika join the band? Is he currently involved in the creative process?
 

Ironthorn: Shika is an old friend of mine and has been a founding member. During the creative process, I express the desired drum patterns verbally, and our understanding allows us to smoothly complete compositions even when communicating online. I think his interest in intense drumming surpasses the content of black metal itself, but he is always my partner.
 

JQ: Besides black metal, what other types of music do you usually listen to?

Ironthorn: Zon enjoys listening to jazz and engages in some noise engineering. Shika likes hardcore and thrash metal; I've heard he's currently learning drum techniques in jazz. Besides extreme metal, I like listening to classical guitar solos and concertos. However, I can't stand jazz.
 
Zon: Primarily contemporary classical, avant-garde jazz (the kind with proper notation, like Anthony Braxton), experimental music, some serialism, and Japanese Gagaku. I don't reject any music that helps with compositional needs and requires mental engagement.

JQ: Have you encountered any difficulties during performances or rehearsals?
 
Ironthorn: We don't rehearse much. The uncertainty of the live guitarist is a significant challenge for us.
 

JQ: What expectations do you have for the Guangzhou and Shenzhen performances? If given the chance, where would you like to perform?
 
Ironthorn: Personally, I'm looking forward to having a drink with Bloodfire after these two gigs. Most importantly: coercing him to organize Hellward again. Saint Vitus Bar is on our radar; we're working on it.
 

JQ: Finally, one more word to our readers, Hail Satan!
Zon: "I am viewed primarily as the Satan of modern music." --Schoenberg

Interview: Aeon Void

AEON VOID from Turkey play deadly, possessed death/black metal that evokes a sinister atmosphere reminiscent of the ominous black metal sound associated with labels like Norma Evangelium Diaboli. The music on their debut EP “Fragments of Illusion” is incredibly well-honed, and one of the best releases of 2023. I had the opportunity to speak with the main maniac behind this terror incursion. Read on as we unveil some dark insights.

Hails. Can you tell us how Aeon Void was conceived and what bands inspired your unholy craft?
 
Infernal Hails!
 
We started our activities in Istanbul with Horrida Vultum. The compositions of the songs actually took shape spontaneously after we decided to get together to practice regularly with the instruments. In fact, we created it by restoring the ideas which emerged during the jam sessions. Rather than the idea of "let's do it like the way this or that band does", we wanted to reflect our own RABID approach and aesthetic ideas in a chaotic context. We thought about this together and these 5 songs emerged. I can mention a few of the main bands whose philosophy we have absorbed as sources of inspiration: Katharsis, Deathspell Omega, Thunderbolt, VI, Teitanblood, Azarath, Dead Congregation, Mayhem, Marduk...
 
Are there certain environmental factors that contribute to the darkness of your sound?
 
Everything, especially the human being and its population, becomes more intolerable with every passing day, so life continually fills us up with more hatred.
 
I really enjoyed your debut EP, “Fragments of Illusion.” How long were you working on the songs and are you satisfied with the outcome? I think you nailed the production and that it compliments your sound very well, so congratulations.
 
The writing and recording phase of the guitars was completed from 2018 to 2019. Drums have been recorded in 2020. We took the process slowly so that some things could become stable and mature. At the same time, we tried many new things during the recording sessions. Reamping of the guitars; also bass & vocals recordings were done in 2022. Let me summarize the messy process as follows:
 
We were looking for members to play the other instruments, and we had some auditions related to this. After not being able to pick the right person to get the result we wanted, I took over the vocal and bass parts, and this required a preparation phase on its own. I don't see it as something negative because it was an opportunity to improve myself in every aspect. We are also happy with the result because our goal was to release this EP the way we wanted it to sound. Now we are striving for better. Thank you.
 
The artwork of your debut EP is so sick! I love it. Who is the evil genius responsible for this profane image and what exactly does it depict?

It's done by the Russian artist Alex Shadrin. The cover design of the EP directly reflects the chemistry of the EP: DEATH.

Starting from this point; we wanted it to be drawn in accordance with the image in our minds. A dead baby on the cover indicates what should have happened at the beginning of all humanity, but unfortunately it was not like that and it came to this situation. The dead baby figure actually expresses the feelings we desire, such as the extinction of humanity and the end of everything without any differentiation. So the baby in the middle reflects the only "remedy" of the sinful humanity.

Have you had any other musical experience prior to Aeon Void or is this your first band?
 
Yes we had. For me it was nothing more than rehearsing processes. But Horrida Vultum had played in Godslaying Hellblast and is now playing in Nex Carnis, also he has another project which is about see the light of the day soon and I am dying to listen to it.
 
What are some of your current favorite bands? Are there any releases from this year that have grabbed you?
 
I want to mention my favourites from this year:
1-The Devouring Void & Atrate split
2-Somniate- We Have Proved Death
3-Spirit Possession- Of the Sign...
4-RUIM- Black Royal Spiritism -I- O Sino de Igraja
5-Necrovation- Storm the Void
6-Ascended Dead- Even Fall Apocalypse
7-Blut Aus Nord- Disharmonium- Nahab
8-Horda- Form
9-Marduk- Memento Mori
10-Tetragrammacide- Typo Tantric Aphorisms from the Aracheophidian Quran
11-CH'AHOM - Ts'ono'ot
12-Acausal Intrusion- Panpsychism
13-Voidescent- Dust and Embers
 
I understand Aeon Void is currently a duo. Do you plan to recruit more members in the future or do you prefer the line-up as it is? How many instruments are you playing?
 
Actually we have new members currently, and we've already started working together. As you will appreciate, it is very difficult for two people to hit the stage. I played the guitar and the bass and on top of that I recorded the vocals for this EP. I prefer to shift my focus more on the guitars and the vocals.
 
Thank you for your time! I hope to hear more sick tunes from your band in the future, especially a full-length. Any last words before we close this interview?
 
You're welcome! I am always working on for the better.

Interview: Caveman Cult (2023)

The Florida band Caveman Cult plays barbaric black/death/war metal that will rip you to shreds. This interview was conducted with Alvar Antillón, founder, singer, and bassist.
 
How did you come up with the name Caveman Cult? It’s definitely compatible with the type of music you play. Is it meant to be tongue-in-cheek in any way?
 
Alvar: Our guitarist Harold came up with the name. To my understanding the name is definitely meant to match the nature of the music and the intent behind it. We definitely are set on being different and much rather have our own style. We are never concerned about what other artists in the genre are doing, we rather keep it our own thing.
 
How do you think your last album “Blood and Extinction” holds up compared to your previous recordings? How do you feel about the outcome and response from critics?
 
Alvar: In comparison to our prior efforts the production on Blood and Extinction is definitely the most clear so far, however it still has that raw quality that we need for this kind of music. Musically with this one we definitely wanted it to be the most relentless and cut-throat record so far. There are no slow parts, more guitar solos, and the songs are kept short and stripped down. We are very satisfied with how it came out and the response has definitely assisted us to progress as a band and getting good prospects for more sick shows.

When it comes to your music, does the word “evolution” have any significance? How would you define your sound and influences?
 
Alvar: I think evolution applies to any artist as one would always want to evolve and progress rather than remaining stagnant. We take the concept of evolution to our music in the way of how we can make the songs more stripped down and primal. Rather than making the caveman smarter we want to make him more ignorant, violent, and definitely a thicker forehead. We take influences from the classics of metal, but obviously much more in the vein of the barbaric and bestial. Picking up from the works of Bathory, Sarcofago, Venom, Bestial Warlust, Blasphemy, Repulsion, etc. Hardcore and punk also most definitely influences our approach to just making the filthiest metal possible.
 
What’s on your playlist most of the time? If I’m not mistaken, you are a maniac for old-school black, death, thrash and heavy metal? Do you have any favorite albums of the year so far?
 
Alvar: I mentioned classic bands in the previous question that I regularly listen to however I listen to all kinds of music that isn’t metal all the time. I feel you get a wider perspective as a music fan in general and it does get boring to me just listening to the same thing. Caveman Cult on tour is the same way we definitely dedicate moments to all kinds of music and even bad music on purpose just for the fuck of it. We can range from funk to industrial, to jazz to ignorant rap. We enjoy keeping it fresh. My favorite recent albums so far that remain relevant to the purposes of this interview would be Abysmal Lord "Bestiary of Immortal Hunger" (2022) and Shitstorm "Only in Dade" (2023)
 
 
I’ve noticed some pretty divisive reactions towards Caveman Cult in the past, with some people even sounding envious of the band for some reason. What do you think might be the cause of this?
 
Alvar: Some people don't like us simply because of our name, I speculate because we don't fit their satanic bestial war metal cookie cutter mold. Whether it be that or envy that people dislike us, we couldn't care less. We just do what we do and if people like it or not that’s not what drives us. It’s good to have haters, confirms we are doing something right.

 
Thanks for your time brother! To wrap up this interview, can you tell us about your future plans, projects, etc.? Good luck with the tour and cheers!
 
Alvar: Caveman Cult is working on a third full length album which we are striving to record this year, we will also be performing once again at Destroying Texas Fest in Houston this July coming up. I have a newer project called Ejecutadór in which I perform guitar and vocals. We play a blend of classic styles along the lines of death and thrash metal. We just recently released our first EP "Stalking the Kill" which can be found on YouTube and also physical copies soon through
 
www.alternativemia.com

Interview: Thecodontion (2023)

 

The following interview was conducted with death metal squadrons THECODONTION! If you like unique death metal with a different approach, then you should definitely check them out.

Can you tell us a bit more about the descriptor “prehistoric death metal” and how it relates to your music? Does it represent a more individual stance in terms of creativity and setting yourselves apart from other bands?

We label our music as "prehistoric metal of death" because we take many elements from death metal, and we try to put them under a "prehistoric" form. You know, when we started the band we chose to use basses only instead of guitars in order to have a more ancestral, raw sound... which is to be interpreted as a prehistoric feature. For the same reason, probably there aren't many bands that could be compared to us so this is good in terms of uniqueness.

Can you please elaborate on your writing approach and why you choose to employ two bassists taking up the role of guitars?

Our process of songwriting is pretty simple. Usually G.E.F. writes the structure and the rhythm section of a song, then G.D. adds bass leads/solos and works on the arrangements. Since 2022 we're now officially a quartet since L.S. (second bass) and V.P. (drums) are now full part of the band (they only were live members before), so the process might change a little bit for our next releases. Regarding the choice of using two basses, this is linked to the creation of a sound of our own and our lyrics, centered about prehistory, paleontology and fossils.

Do you consider creativity as an integral aspect to what you do? How do you feel about bands that keep repeating themselves to the point where they become a weak rehash of their former selves?

Of course. We don't judge the other bands, but creativity should be indeed an integral aspect for all the bands, if your intent is creating something "artistic". Otherwise, it's just a matter of writing stuff like an autopilot, sounds a bit like the negation of doing art. We also don't like to repeat ourselves, we started as a war/death/grind band, and then we added more atmospheric elements. The most important thing is having something to tell, music is a form of language after all.

Which bands would you cite as inspirations that somehow influenced your work with Thecodontion?

We could say many, but no one in particular. There are many bands (metal and not metal) we esteem and that influenced us in some way. For example solos are often influenced by '90s melodic death metal bands, drumming has references to cavernous death metal but also post-metal bands, bass solos have a sound that reminds of some post-rock/shoegaze bands... it's hard to cite someone specifically. Bands like Auroch, Howls of Ebb, Oksennus, Mithras, Chaos Echoes and Mitochondrion, just to name a few extreme metal bands, can be considered influences for sure, though.

Are you interested in any literature? What inspires the lyrics in Thecodontion?

Everyone in the band has different interests in terms of literature, comics, etc. G.D. is the most well versed in books about prehistory and dinosaurs, like "The Rise and Fall of Dinosaurs" by Steve Brusatte and the Michael Crichton's original novels about "Jurassic Park". Our lyrics are often inspired by scientific descriptions of prehistoric animals/fossils and geologic events, we even use official documents like academic papers for being more accurate. Then, lyrics are put in a sort of poetic form.

Can you tell us a bit about what you’ve released so far and also describe your evolution with each release?

"Thecodontia" and "Jurassic" were written very quickly, it's rabid, instinctive, war metal/grindcore with low budget production. They're recommended for fans of old school grindcore and some war metal. Then we started to experiment a little bit: "Supercontinent" and the split with Vessel of Iniquity are the result of these experiments, with longer riffs, more atmosphere, better equipment, more solos, etc. We're adding new elements and the forthcoming releases will mark another step up compared to "Supercontinent".

What are you listening to lately? Are there any albums from this year that you enjoy? 

Several things, it depends on the single member so you can have very different answers. Anyway, we listen to many genres, from dark pop to experimental/drone, from extreme metal to movie soundtracks. By the way, Aeviterne, Cosmic Putrefaction and the Bedsore/Mortal Incarnation split are some of the albums from this year we enjoyed the most.

If some major label offered you a deal, would you sign with them? And do you think working with a big label could affect the artistic integrity of a band?

Honestly, we don't have a specific idea about it. We don't think much to labels and so on: our main focus is the music and our artistic goal, which is just releasing what we want to do. If you start thinking about signing with a major, probably the risk is that you lose your focus and you won't produce genuine music anymore, and we absolutely want to avoid this. If a big label contacts us then we'll think about it, but we're happy with I, Voidhanger Records which is a very good label.

Do you feel that music can define a person’s character? And would you call yourself a “metalhead”?

Not sure, people can be attracted by a certain music genre for innumerable reasons. There's nothing wrong with calling themselves a "metalhead", but it's not something we really do.

Lastly, can you tell us about your future plans for the band and what we can expect from your output? Thank you very much for your time.

The split with Vessel of Iniquity we released last year is the first of three splits. The other two will be probably published in 2023, plus another special split which will be dedicated to a famous (now deceased) Italian singer-songwriter. These new splits will mark a slight change in our sound, but we don't want to "spoil" anything, you'll see.

Thank you too for interviewing us!

Interview: Nekrosity (2023)

Join us as we plunge deep into the morbid psyche of D.J, the putrid growler of Swedish grave-robbers, Nekrosity!  

Hails from the southern hemisphere! Nekrosity has been around since 2009 – what led to its rotten formation and how would you describe your sound and influences?

Hails! As you mentioned, we started NEKROSITY somewhere around 2009 - 2010, before the line-up was set into stone in 2011. The original idea came from me (D.J) and the bass player R.E, where wanted to breathe new life into another old project we had around 2000. The first demo we did ("Return from the Crypt") is basically built out of scraps from old rehearsal tapes, completed with new riffs and arrangements. The intention has always been to capture and express the dark and sinister elements within the genre. Even if we have refined our craftsmanship as a band, we still share the same vision and determination in what we want to achieve. Our influences has mainly been old bands such as MORBID ANGEL, AUTOPSY, GOBLIN, old ENTOMBED, NECROPHAGIA, SADISTIC INTENT, DEATH STRIKE, INCANTATION, old SLAYER etc. But as time have passed creativity have had its natural course. This have driven us further beyond but the initial idea is kept intact and keeps playing a vital part in our abomination.       

It is my opinion that Nekrosity’s sound is more akin to bands such as Repugnant and Nominon than bands like Dismember and Entombed, though the sound is unmistakably Swedish! Thoughts?

I agree that our expressions are more similar to both NOMINON and REPUGNANT to an extent. When we recorded and released "Void Gazer" it took the band to a new level. It was a conscious decision to step away from the HM2-pedals and expand our sound, as our old demos were more or less nothing but a hymn to the old Swedish sound in the vein of both ENTOMBED and DISMEMBER. But everything that doesn't evolve is cursed to dissolve.   

That debut album, “Voidgazer,” is amazing! Can you tell us about the whole recording process and what your vision was while writing this masterpiece?

Thank you, glad to hear you enjoy it! As we turned everything inside out, reversed it and dissected every piece of the album with open eyes, this is where it ended up. It worked as intended. Some of us have been playing in different bands together since 1997 so our chemistry is well established. The essential plan with the record was to offer the world a carefully prepared Death Metal album with a diverse, dynamic sound. A mixture of brutality, speed and heaviness entwined with darkness.    

What can you tell us about your lyrics? I think they’re exceptionally well-written and the song titles are genius! What are songs like Lazarus Curse and Malignant Observer about?

Our lyrics are as much of importance as the rest of the album. It is critical that all the elements are aligned to create the perfect atmosphere on every level. The foundation is built on Death and horror, with all its branches and thorns. Those two songs that you mention are two different shapes crafted upon the same foundation. Shortly described, "Lazarus Curse" is an Lovecraftian inspired nightmare about the end times, presented through an infestation of undeath.  "Malignant Observer" takes another route. Here we tell the tale of a spirit that is shackled between the physical world and afterlife, where the threads of fate repeats itself in a never-ending cycle.

The horror nuances are evident in the atmosphere! That being said, I gather horror films are a big inspiration for you? What are some of your favorite films and what’s the last good horror movie you saw?  

Absolutely, it's one of cornerstones when it comes to inspirations that have been there since the beginning of the band. Pretty much all of us are much into old 70's and 80's flicks. Most of my favourites are old classics like Day of the Dead, La Noche Del Terror Ciego, Beyond, Suspiria, Return of the Living dead, Hellraiser, City of the Living Dead etc. It's quite rare that modern movies ignite that same feeling, but once in a while it happens. One new film that comes to mind which left a really positive impression on me was Hereditary. They managed to capture a tormenting, eerie atmosphere that collided with grief and loss in this one. Highly recommended.  

How would you describe the evolution of Nekrosity from the first demo to your last album? What aspects do you think you’ve improved on?

As I mentioned previously, a big proportion of the first demo comes from scraps and songs from old rehearsal tapes dated 20+ years back, from a previous project. This gives some of the songs a more impatient and juvenile touch, even if we managed to include some new ideas and arrangements at the time in the same vein. In comparishment to "Void Gazer", where we had a different approach and mindset, I think the improvement is huge.    

The black and white artwork on Voidgazer is really neat! What inspired this approach and who is the artist?

The artist who is responsible for the artwork Göran Nilsson from HYDRA Grafisk Design, a friend of the band. He was actually the vocalist on our second demo "Rot to Survive", when I only wanted to handle the guitar. He later on left and relocated in Norway and is now working as a graphic designer and artist over there. We sent him the working title and some material, to get an idea and create an artwork out from his own perspective. The result was, as expected, very successful.   

Do you have any inspirations as a vocalist? How would you describe your vocal style?

I started to handle the vocals for real back in 2000, with my previous band SADISTIC GRIMNESS. Before that, in the 90s, I was only handling the string instruments in various projects. The inspiration mainly came from Quorthon (BATHORY) and Killjoy (Necrophagia) I suppose. But when it comes to NEKROSITY, other than Killjoy, are David Vincent (MORBID ANGEL), Chris Reifert (AUTOPSY), Bay Cortez (SADISTIC INTENT) and Craig Pillard (INCANTATION) honorable mentions.  

How do you view your country’s metal scene? I think Sweden has one of the best scenes in the world! 

We're really spoiled here when it comes to good metal bands, but with the usual ebb and flow over the years of course. I am sorry to say it, but I am not as involved with the underground as I used to be when I was younger, so my knowledge about the current state of the scene is rather limited compared to how it used to be. There will always be exceptions though, that will reach the turntable in the end of the day. Even at my place.

Which of the Northern European countries do you think produces the best black and death metal bands?

This usually depends on the timeline to be honest. But in general I would say Sweden and Norway for Black Metal. When it comes to Death Metal my vote goes to Finland and Sweden, but this is a personal opinion from an overall perspective. Finland for an example, seem to have been climbing on the ladder the last 10-15 years when it comes to Black Metal, if we look at the numbers of good bands. Sure, they gave us classics like Beherit, Impaled Nazarene, Barathrum and Archgoat back in the day, but but it seems like they have becoming a stronghold lately when it comes to new quality bands.

What can you tell us about your previous band Sadistic Grimness? Also, you were signed to a Russian label and even went to play a show there if I’m not mistaken? How was that whole experience?

SADISTIC GRIMNESS was active between 2000 to 2010, a band that started out as a Black/Death metal band inspired by old BATHORY, NIFELHEIM, BESTIAL WARLUST and the likes. This changed over the years and transformed into something completely else in the end. At the time, when we were a full band, the cocktail of members was nothing but a wandering disaster. We signed a Russian label called DAEMON WORSHIP PRODUCTIONS and released an album called "Asteni" in 2009. A year after we did a small tour together with the french maniacs VORKREIST, in Finland and Russia. We did two gigs in Russia, in Saint Petersburg and Moscow to be specific. The climate and mentality over there differs very much compared to Sweden and surrounding countries. It would take too long to describe the whole experience but I can tell you this: It happened more during that short period of time than it does in a whole year in Sweden. Another thing worth to mention is that it's something special about being hold in custody at the Russian border for 7 hours, when you've slept 2 hours the night before... and then enter the stage again in the evening.   

Is metal a way of life for you?

In many ways yes, but I listen to many different genres beyond metal. Each style I engage in offers something different and worthwhile my attention that fuels my own fire. This the only thing that matters in the end of the day. There are no room for limitations.          

Your thoughts on the following bands:

*Amon Amarth

A band I've never been interested in or understood why people praise so much. Probably works best as a gateway band for younger people, before entering more extreme territories, I can imagine. 

*At the Gates

Great band with a very solid discography which continues to have a very high standard, when it comes to creating music. Just check out their latest album, it's terrific. 

*Iron Maiden

One of my all-time favourite bands. I have a hard time to choose my top 3 albums, but if you would ask me today I would go for "Killers", "Powerslave" and "Somewhere in Time". Might change tomorrow though.

*Sadistic Intent

One of the jewels in US Death Metal scene, which finally is starting to get the recognition they truly deserve. A very important one for me and NEKROSITY. I am still waiting and hoping for the "Second Coming" album they were supposed to release 25 years or so. They say hope is the last thing that leaves you, feels like we're dying with this one. 

*Dissection

An extremely important band for me. They managed to combine both melodies with sinister, aggressive riffs very early on in a smooth way. It's easy to fall into the cut and paste trap there, but they crafted very well written songs and had potent, dynamic structures. Still up to this day they remain as one of the best extreme metal bands from Sweden. Hail the Metal of Death!

Thank you very much for your time! What’s next for Nekrosity?

We're in the middle of writing and arranging new material for another album. This is done according to the same traditions on the previous record, but a new chapter. Death is certain, yet the execution might end up a bit differently than people expect.

Thank you so much for the interview! TÄNK PÅ DÖDEN!