Category Archives: Interviews

Altars of Spiritual Redemption: Interview with Preludium (Pol)


Musically, Preludium has close kinship with the other Polish blackened death metal acts. The band is active for more than 16 years and it is a pity that the band is little known comparing to a lot of other contemporaries of Polish black/death metal scene. Over a year ago, the quartet has released a brilliant album, “Redemption” (Review Link: through India based record label Transcending Obscurity. The frontman Łukasz Dziamarski has joined us for an in depth conversation about the different aspects of the band.

Salutation Łukasz. Before moving on to the core of this conversation, I would like to ask you to give a brief introduction of Preludium to our readers.

Łukasz: Hails. The band was formed by the Skowron brothers in about 1999.  I joined the band as a session bass player before ‘Infernal Force’ demo recording session. Unfortunately in 2003 Piotr died in an accident. The new drummer in PRELUDIUM was August from (DECEPTION/STILLBORN) and a new bass player Wojciech from my previous band. With this line-up, we recorded our debut album ‘Eternal Wrath’ and the second one ‘Raping Mankind Disorder’.

“Eternal Wrath” – Debut Full Length of Preludium

After that, both of them – August and Wojciech – abandoned the band so we had to Continue reading Altars of Spiritual Redemption: Interview with Preludium (Pol)

Interview: Saevus H. of Devathorn


Devathorn, a black metal act from Athens, Greece which was formed back in 2003, has been a strong associate to the scene since the announcement of their second full-length album Vritra. Black metal in recent times has taken a more thematic and artistic approach in terms of both music and ideological sense. Vritra can be claimed as the recent addition to this art which has been released through World Terror Committee on 27th of February, 2015. Prior to this release, We had the honor to speak with Saevus Helcath, the Guitarist of Devathorn. Saevus H. made different aspects behind creating the art of Devathorn clear and spoke out about the recent changes in black metal as well as other genres too.


Greetings from Venustas Diabolicus! How things have been with you Saevus?

Saevus: Greetings. Things are going very well, as we are now on the final countdown for the new full length opus “VRITRA” to be unleashed. I am really glad with the tremendous feedback that the new album is already gaining and cannot wait to see the Opus unveiled.

Devathorn’s second full length Vritra is coming later this month. It’s a pretty awaited album for the fans since the last full length Diadema was released 7 years ago. What listeners can expect from this album?

Saevus: Indeed, the album release date is on 27th of February. The past years have been a maelstrom of creation and evolution for the circle of Devathorn, granting us experience in many levels, musically and spiritually. All this process has been carved on the result of “VRITRA”. The second full length opus of Devathorn contains the evolved and evolving aspects of the band, the raging elements that led to the manifestation of the Opus.

Devathorn’s previous full length, Diadema was sounded straightforward and the lyrics were also in line with traditional black metal. But ‘Vritra’ has seemed much more conceptual to me, both lyrically and musically. The lyrics being much deeper and firmly rooted to occult aspects of different mythologies. How would you like to describe this transformation?

Saevus: Vritra has signed a great transformation for the Circle, as we have seen all of our experience and inner vibrations shaping unto the creation of the album. For us, the creation of Vritra was a tremendous experience itself, in every level. It is the alchemical process of dedicating all of yourself to the manifestation of Art that transforms you. We charged VRITRA with our Inner Self and Flame, and the outcome was the result of the album. Our task was create with no boundaries, to progress as musicians and evolve spiritually. It was natural to see the material drenched into our views and perspectives, charged with the motives and forces beneath the creation of the album.

‘Vritra’ and ‘Set’ two mythological demonic characters have gained their place in the album. Both character signify the adversity and has been symbolized for ‘drought’ or ‘desert’. Do both of these characters have been considered to represent the same context on this album?

Saevus: It is a pleasure to see parts of the album’s concept and thematology being perceived. The archetypal Draconian

Artwork, Vritra
Artwork, Vritra

references and symbolization that Vritra and Sutekh represent, are being channeled into the album. We sought and found the powerful aspects of the Dragon in numerous entities, philosophical concepts, religion doctrines and mythological figures, striving to reveal his marks. It is not a plain mythological reference of the Hinduistic tradition that is shown, but a powerful spiritual symbolism of Knowledge, Chaos and Liberation. The Serpent of The Desert, as the Asura Dragon Vritra is pictured, embodies the fury of Leviathan, the liberating spirit of Prometheus, and the majesty of Set-Sutekh the King. He is the dreaming Dragon Tiamat, Typhon the Destroyer, and Lucifer, the great Adversary. The powerful rebellious force that revokes the dogmas of divine order to reveal the path of spiritual ascension. I wouldn’t extend more than that, since the listener should search him/herself for the inner vibrations and meanings through the listening experience of “VRITRA”.

Greece’s recent black metal scene has been highly distinctive due to the most esoteric approach on the music and also in live appearances. Many enthusiasts have termed ‘Occult Black Metal’ to distinguish the bands of the scene. What’s your prospect on this? Do you also like to consider Devathorn as an occult black metal band?

Saevus: The art of the Devathorn is multidimensional. It is Draconian, with all the Qliphothic, spiritual, occult and relevant aspects this term bears. It is easy to characterize a band as Occult Black Metal, but the circle of Devathorn would never be dragged to the awful trend that this term came to describe the last years. The genre is flooded with ignorant bands and individuals that abuse terms and symbols just to gain some attention, totally ignoring their true meaning other than a surface view, without any experience. Although, there will always be several bands, in Greece and globally, that have our respect for their honest and dedicated work, releasing powerful material that exceeds all this ignorant pile I referred to.

Vritra has seemed to  incorporate some eastern music influences, particularly on ‘Sapphires of Vritra’ and ‘Temple of Set’. How much fascinated are you by traditional eastern music?

Saevus: Eastern music has always been fascinating me. Since a very young age, I was searching for musical references of those Phrygian scales and other characteristic sounds of the East. It should be noted also, that traditional Greek music is based a lot in those musical

Saevus H.
Saevus H.

styles, from the early Byzantine years and the cultural influences of the Eastern civilizations. Later, when I delved deeper into the ritualistic traditions of the Eastern culture I became obsessed with the eerie vibrations that they bear, which have been carved deep into the unconscious. Since then, I have come across numerous old and recent material of similar musical context, always being thirsty to discover new fields.

Devathorn has passed the mark of almost 13 years of their existence. Can you briefly describe any major incident in the bands career during this time?

Saevus: Those years have really been a great journey on which we always set new destinations, a venture on our Path. This period has been signified with many events, good and bad, granting us experience. I cannot distinct, since I regard all of them important. Surely though, the creation of VRITRA and the cooperation with the mighty World Terror Committee have really been of utmost importance and significance, great steps to the materialization of our Vision.

Do you compose all the music for Devathorn? Since 2012, you have also been a key member of Acherontas. Have you contributed in composing their album as well?

Saevus: Τhe music of Devathorn may began by me, but the circle works on the material and every member enriches the result with his perspective and views. Thus, the final outcome contains the mark of all the Devathorn aspects. Also, in VRITRA, we had the honor to host some very special participants: Acherontas V.Priest of Acherontas on serpental chants and Sumerian astral mantras, Amduscias of Temple of Baal on lead guitar evocations, Chiva of Serpent Noir and Monk Adramelekh on Draconian invocating chants, Temple of Algolagnia on vibrating ambient tracks, Denwar of Chthonian Alchemy on Promethean choir and K.K. of Mother of Millions on lucid acoustic pulses. As for Acherontas, I am proud of being composing for the releases of the coven since 2012 when we began working on ´Amenti´, “Pylons…” and the latest opus “Ma-Ion”, which is also being released on the same day with VRITRA, 27th of February, via World Terror Committee.

Althagor (Vocals) & Mechblastess (Drums)
Althagor (Vocals) & Mechblastess (Drums)

‘World Terror Committee’ has been a major drive for the modern black metal scene as it signs and releases the materials by the bands having intrinsic sound and concepts. How do you find working with the label?

Saevus: The releases of World Terror Committee were always trademarks for the genre, since the very beginning of the label. Their work is totally professional and dedicated, as they always deliver quality via unique releases. It is an honor for Devathorn to be among the ranks of such a label, being major and powerful, while still having a fanatic dedication to the real underground spirit of Black Metal. We were sure that they will treat VRITRA royally, granting a powerful release.

Do Devathorn has plan for any upcoming tour/live gigs? Since you also play for Acherontas, did you ever have any problems in managing the schedule?

Saevus: Live gigs are always a part of our artistic manifestation. Although, we are very selective with the live shows that we participate into. Every live emanation of Devathorn should be a manifest of madness and nothing less. The new album will be supported with several live shows, we will soon announce more details and info. We do not have problems with the Acherontas shows, as everything is being carefully scheduled.

Many black metal bands (even the early pioneers) these days have chosen to be more perplexed and diversified in terms of their ideologies, rather not being traditional (Satanic or Devil worshiping). How do you appreciate these change against the second wave?

Saevus: It is a natural thing, but of course it is not the black metal bands that made this change. Occult science and terminology has evolved and became even more perplexed, creating numerous spiritual branches, an area that has little connections with black metal. It is narrow to think of these fields just as an extension of black metal lyrics. The black metal bands usually follow these events, and this is why the second wave appeared to be more into the traditional satanic standards, while the recent scene is following modern spiritual waves. Even in Devathorn lyrical context, there is an amalgam of traditions and views from the Qliphothic spheres to the Gnostic approach of religion under symbolic references. There is no comparison in my mind, traditional and modern spiritualism in every form are steps on the same path for me, everything has valuable sources to offer. As for their reflection in black metal, I don’t really care, those few bands with respectable views and dedication to the sinister Art will always deliver Works that are worth to listen and experience.

Greece’s modern black metal scene is stronger than ever before, along with the old Gods and new demons. As a part of the scene, which bands you would love to give credit for this emergence?

Saevus: There is a huge amount of bands lately, indeed, but quality not always equals quantity. As in the totality of the Black metal scene worldwide, there are some dedicated bands that raise the standards high and their work is already widely known, among a pile of low-quality material bands that disappear after a while.

Thanks for your time Saevus. That’s the last one from me. Any words will you like to spread?

Saevus: I would like to thank Venustas Diabolicus for this very interesting interview and the dynamic support to the Circle of Devathorn. The Portals to the otherworld of the Asura Serpent will soon emerge, as VRITRA shall manifest upon the mundane plane on 27th of February via World Terror Committee. Open Your Hearts for the Sulphur Dragon! Salve Ars Sinistra, Ars Gratia Draconis!

Conducted by: Somber

Devathorn are:

Saevus Helcath (Guitars)

Althagor (Vocals)

Mechblastess (Drums)

Devathorn On Facebook

Review Of Devathorn – Vritra

Stream and Order Vritra

Mortui Mundi: Interview with Ascension (Ger)


The German black metal outfit, Ascension is not a stranger to the listeners who prefer the enchanting, mystic and diabolical power of occult leaning black metal. Latest prodigious album, “The Dead of the World” has been received with open arms by the listeners. Considering the both sonority and concept, the album is just marvelous, and the band has been crafting such kind of marvelous music since the inception, when they released the demo,“With Burning Tongues” Ascension is currently touring with Bölzer, Dysangelium and Vassafor at “Under Four Wings of Death” tour. We have conducted the following interview with the band, focusing on the recent full length, tour, ideology, some occult and spiritual aspects, and many more.


Salutation! Ascension is coming up with some unholy offerings that include the new full length, The Dead of the World (after the Deathless Light EP) and Under Four Wings of Death tour. So, it can be expected that the band is hard at work on these ventures.

Ascension: Hails! The making of The Dead of the World was a truly soul draining experience for all of us. Right now we are preparing for the upcoming tour, to channel that what is Ascension into a club show. We never considered it to be enough to only play our songs; we want to create an intoxicating experience for us and the audience.

Is the new release also a conceptual album like the debut full length? Can you briefly inform us about the overall lyrical theme of the album? I assume that the lyrical theme has probably a close tie with the death or ending part of human life.

—The new album is by intent not conceptual. It deals with death, yes, but not only physical death. There are many different layers and meanings.  The record is an invocation of the gods of death, of gods slain by men and gods that left the world to die. A song to those, who live in the dark corners, and who are literally dead to this world and a lullaby to the perished.

The opening track of the album is named “The Silence of Abel”. Is it related to the incident of the death of Abel? So, do you consider Abel as the first human being to taste the tranquility of death and Cain as the first assassin?

—I do not consider that because this would imply that I believe that the story of Cain and Abel is true in its literal sense. The Silence of Abel deals with this subject although it´s more focused on the murder than the murderer, as well as its universal, spiritual impact. It´s about where we come from and what we are. It is about our predisposition to commit sin and its necessity. The chalice is broken and we won´t achieve completion by putting the pieces back together.

Artwork of “The.Dead.Of.The.World”

Tell us about the artwork of the album that has been designed by David Glomba (Teitan Arts). How does it transmit the music?

—David´s art on this album is incredible. We provided him not too much guidance so it´s actually his interpretation of our music. His paintings definitely speak to us and we find the essence of our music within it. He added another dimension to that what is The Dead of the World in our eyes.

Ascension is using a new logo. Who is the artist of the logo? Is there any specific reason to change the logo? The sigil that has been inserted in the logo obviously has a definite meaning.

—The sigil is done by one of the few people that stand very close to Ascension. It´s not meant to replace our actual logo. Its purpose is to amplify the spiritual aspect of the band. We consider Ascension to be an entity that has huge impact on our personal lives. In return, every band member’s path influences Ascension. This sigil is something for us to carry in our hearts. Therefore it would be inappropriate to reveal its meaning.

 You are an acolyte of Lucifer! Some consider Lucifer as Devil, some as Antichrist, some as the Bringer of Light, or just as other kind of symbol. The word Lucifer is coined differently in several sources. So what do you perceive by “Lucifer”?

—Rock Music is the music of the devil. So only by going down this path we carry him in our hearts. There are many shapes and faces people paint of Lucifer. And none of them are true, simply because the principle of the devil is not about the truth, or more precisely, about one truth, it´s about something far beyond that.

Do you regard your music as “Orthodox Black Metal”? How would you coin the term Orthodox Black Metal and how is it dissimilar to other offshoots of black metal?2.Ascension.Promo

To be honest I do not like that term too much, the word “orthodox” implies to me something that is “streamlined” or “righteous”, and I hope that Ascension can embody pretty much the opposite of that. But I get it; the metal scene needs categories, definitions and sub-genres. If orthodox black metal is supposed to refer to bands, that are serious about carrying spiritual or religious impact in their music, then it fits Ascension´s intentions.

Do all of the members of Ascension coven believe and walk in the same path when it comes to spiritual ideology? Is it essential for all the members of a band to engage themselves body and soul in the same path of spirituality that is being conveyed through the music?

— It is not important that every band member walks the same spiritual path but it is important that everyone in the band walks some spiritual path. Like I mentioned above, it´s some sort of interaction. Every band member´s path influences what is Ascension and Ascension influences our path´s simultaneously.

Concerning the members of the band, all of them are anonymous.There was a time when Ascension did not use to participate in the live gigs and even if they did it was on occasional basis. But now the band has announced a tour and also do partake in other gigs including some prominent festivals. Do you think that partaking in a lot of live gigs may reveal the identity of the members? And if you think so, then do you consider it as negative or threatening?


It is not for me to tell if that would be negative, yet it´s for sure not threatening. It would be not too hard to find out our identities these days. I believe the reason why it did not happen so far is, that people yearn for something obscure in this completely demystified world. You can easily stalk every artist online; you can know him within a few clicks better than you know your own neighbor. So I think anything mysterious is a precious good these days. One of the main reasons why we decided to bear no names in Ascension is that all band members are supposed to represent the entity that is Ascension. We wanna humbly step back behind the artwork and let it speak through us.

Flyer of Under Four Wings of Death tour

Regarding the Under Four Wings of Death tour featuring Ascension, Bölzer, Dysangelium and Vassafor – the lineup looks really lethal. So what has made you come to a decision to finally go for a tour? Is it because you really enjoy the music of these bands or because of having ideological similarity with these/any of these bands?

We never excluded the possibility that we´d go on tour one day. We just waited for the moment one which it felt right. Just as we never excluded to play live from the beginning, but started with it not until “Consolamentum” was released. As we got the offer, the time was clearly right. I consider especially Bölzer´s music as extremely unique. 

The Magus (Necromantia, Thou Art Lord, Principality of Hell) and Mors Dalos Ra (Necros Christos) were both guest vocals on this album. Is there any probability of featuring them in Under Four Wings of Death tour or in any of the upcoming gigs/tours?

—There are vague plans and clear wishes.

Garden of Stone, undoubtedly a marvelous number that is included in the Deathless Light EP. Can you enlighten us about the concept of this track? Does it have any relation with the concept of The Dead of the World?

It´s for many reasons a very special track for me and it´s strongly connected to the rest of the album. It deals with doom and isolation, abandonment and rage. In more than one way, through the eyes of a spiritual patroness that dwells within us.

The monumental debut full length, “Consolamentum” conveys the five parts of the transformation of a human soul – learning to breath, learning to lie, learning to live, learning to kill, and learning to die. So, does every human being stride across the fourth part – the process of learning to kill? Will you please elaborate about these steps of transformation?

— Every human being bears the potential to kill. And the majority is using that potential sooner or later and in one way or the other. There is a reason why kids start at some point to kill insects or small animals. There is an ecstasy to it. As we grow older most of us express our joy to kill in subtle, socially more appropriate ways.  It is all ritualistic in the recollection of primordial intoxication. The only thing that stops us from slitting each other’s throats is social guidelines, which force us to kill in more non-physical ways. If you read the lyrics of the track “Amok” you´ll precisely know what I´m talking about.

I don´t want to elaborate the concept too much. It would take away the readers’ possibility reflect within our lyrics and to let them speak. The concept is not about a particular thing, it is the actual thing.

We have come to the edge of our conversation. Thank you for answering the questions. Any ending message you would like to give to the audiences of Ascension?

— Thanks for your time. The Dead walk among us with hatred. Hail Luzifer!

Conducted By
———Zoheb Mahmud——–


Facebook of Ascension
Review of “The Dead of the World”
Stream “The Dead of the World”, Full Length


N.B.: The actual interview questionnaire was sent to the band even before the release of the latest full length. Some of the mentioned dates and contents may be looked as  inappropriate due to the time involved in publishing interviews.  We apologize for the inconvenience.


Azaghal has been blasting the metal world since the mid 90’s and these Finnish fellows are still very active. Their discography is wide and their musical approach has been improved with every new material. The highest musical point that this band touches is based on a classical Finnish manner of playing black metal that uses both aggressiveness and melody. Niflungr, the vocalist and bass player of Azaghal told us a few things about his band, their next release and gigs, about their ideologies and the surrounding vibe that Finland provides them.


Greetings to you! We are pleased to have your words here, on Venustas Diabolicus.

First of all, I’m sure that Azaghal had to do with this kind of – let’s say – undemanding question before, as every band does, but what is the deal with the name? I know you were just around and not a member of the band when the name was chosen, but how do you see it? Is it the image of Azaghal, the dwarf that fits this band and its music? Or is it just about those fairy qualities of Tolkien’s character and his abilities to create the finest steel blades and the best armour? How do you link these mythologies with black metal and the message of Azaghal?

Niflungr: Well, it was quite fashionable in the 1990’s to pick a fancy sounding band name from Tolkien mythology. I guess Burzum was one of the originators of this movement and naturally the others, including us, followed. I don’t see any Tolkien references in our lyrical concept anymore, but I guess it is a bit too late to change the name, now after 20 years, heh heh…


And what is about Niflungr? What made you go with this name?

Niflungr: This is taken either old Norse Poetic Edda, or Prose Edda. It is basically the same as more know Nibelung. I didn’t think too deeply while choosing the name, but at that time it sounded nice and exotic for a Finnish teenager.

Besides the split with Ars Veneificium that is announced to be released in February, what other plans do you have with Azaghal? What can you tell us about the next full-length?

Niflungr: The next full-length album called Madon Sanat will come out during the first weeks of 2015. It will be released through Hammer of Hate / Kvlt in CD format. For vinyl version release we already have another label, that will be announced a bit later.

Stream the title track of the album here:


What about gigs? Is there a place or event that you would definitely want to reach in the near future?

Niflungr: We usually do less than five gigs per year, so no huge tours are expected to happen in near future. Next in schedule we have gigs in Holland and Belgium, next February. Also we will go all the way to Montreal, Canada in April to attend Messe des Morts Festival. Naturally we would like to go as many places outside of Europe as possible. This year we went outside of Europe for the very first time, while we had a short tour in Brazil.

About three years ago you played in Moscow at Volh Black Metal Fest. For me, watching from outside, the Russian culture seems to be something particular comparing with those from every other corner of the globe. I sense an interesting paradox at this culture in many artistic fields. They seem to mix the magic and dreaminess with the coldness and straight forward attitude like others do not. What do you remember of that gig, the crowds and so on? How does it feel to play black metal there?

Niflungr: The gig itself was a disaster, to be honest. We traveled a day and a half one-way, by using various methods, just to end up playing twenty minutes before lights were put on and audience thrown out. The scheduled time for the event exceeded and we couldn’t even play half of our set. These things do happen sometimes. Playing itself and the audience didn’t feel too different from North European gigs.

In an interview for Metal Maniac you said that Satanism should be a way of life for all those who play black metal. But, have you ever thought that this can be also a kind of globalization in terms of expression, attitude and direction? Nowadays, black metal is almost everywhere, so at one point it becomes difficult to gather all these people that make this music under a single theme that is Satanism. I think that if black metal started as a satanic manifestation it is not necessary to continue like that. This music, as any other genre can speak of absolutely everything, including Satanism, darkness, occult stories and all the classic things. But I do not take these themes as mandatory anymore since everything around us is in constant change and otherwise, they do not come in a natural form for everyone. Tell me about your opinion, please.

Niflungr: I still think that people who express themselves, share their personal visions, moral code or fantasies under the title Black Metal, should be Satanists. It does not necessary mean that every song’s theme should be Satanism. There is a massive amount of bands in the scene who are expressing Satanic values, but when getting to know them on a personal level, they appear to be humanists and not standing behind their message. Even the people who have been in the scene for a decade or two, appear to be weak-minded sheep, trying only to boost a weak self-esteem. What differs Black Metal from other form of music and arts, is the fact that there is an ideology connected to it.


Is there a favorite part for you when it comes to any kind of satanic literature?

Niflungr: I read very little of this kind of literature. I strongly believe that people should find their own ways, within themselves. My personal world-view is based completely on observing the world around me and my own experiences in life. This has shaped me to who I am these days and what I do believe in. Life is quite simple; we are star dust and what we want or desire means nothing in the end.

What do you think about the new Mayhem, Esoteric Warfare? I am asking this just like a black metal fan who talks with another black metal fan about the musical scene, despite the fact that you are actually a musician, but, of course, this cannot alter somebody’s perception about music.

Niflungr: Personally I enjoy it. Maybe I think too much about the technical side of albums these days. This particular piece is very, very technical to play, but still atmospheric and devastating. Maybe I cannot listen music as a fan anymore, which is kind of sad.

Did you notice any difference concerning people’s reaction about your music since you started to write more lyrics in English?

Niflungr: No, I cannot say I did. I haven’t discussed about this matter with the listeners, really. Maybe for some people this has removed a bit of the shroud created by a weird language like Finnish. Not many foreign people can read or speak Finnish fluently, so a translation process has always been necessary, before understanding completely what is stated in the songs. Well, now we are back to Finnish as this whole English language-thing was just a test to see how it works out. Maybe we should stick with our native language after all.

How is the mood in Finland these days concerning cooperation between musicians and the relationship between musicians and audience?

Niflungr: In our home town, we are doing a lot of co-operation with fellow musicians. New exciting and potential bands have raised and has made this kind of interaction possible. This wasn’t always the case in the past. In Finland in general, I’m sad to announce that the amount of audience has decreased significantly here. Maybe there are too many Black Metal events around or maybe people rather stay home and see things on YouTube or something.

If we think at your native place, the history and the heritage of the country, what is the thing that you like most about this land, its people and their habits?

Niflungr: I like all the unforgiving nature, cold winters and endless forests and thousands of lakes. There are still places around that human filth has not polluted, luckily. Our tribes have populated these lands since the beginning of post-ice age, so we have a strong blood connection to these landscapes.


Finally, how can you translate the idea of corpse paint? How do you feel when you do it? Can you relate it to a transformation procedure that is definitely needed for your performance or something like that?

Niflungr: Corpse paint works as an extension to our musical expression. It gives a face to this particular side of ourselves that we are expressing. It also is a tradition, inherited from the early 90’s, when we were just starting to explore all of this. Unfortunately it has become a great trend, even among people who has no clue about the ideology of this genre. Even models pose in bikinis with corpse paint on in social media these days. It is disgusting.

That’s it for now. Thank you so much for sharing your thoughts with us. If there is anything else to add or any other ideas that you want to transmit to our readers, here is plenty of space for you. Cheers!

Niflungr: Thanks for the interesting interview. If you want to keep on track what is happening in the Azaghal camp, you can find our official page on Facebook. This is administrated by the members of the band themselves. Let the light of Lucifer guide you!

Conducted By: Gina S.


  • Narqath: Guitars, Bass, Vocals, Keyboards
  • JL Nokturnal: Guitars
  • Niflungr: Vocals, Bass
  • Lima (aka. Jonas Pykälä-Aho): Drums

Facebook of Azaghal: 

Interview: Jan Kruitwagen of Sammath

 After the mid 2000’s, a new era has been defined in the history of black metal. Some old names and newer one switched toward more modern ‘darker’ sound with occultism and esotericism based lyrics and ideologies. Netherlands, which may not be that much popular or known for procreating ‘good’ black metal bands, but some bands really stood out from growing Dutch black metal scenario. Sammath, formed in 1994 in Netherlands, is spreading spiteful hatred amongst the fans around the globe arrogantly through furious sound. The band has grown up to be considered fairly ‘big’ with their latest effort “Godless Arrogance”. We had a chance to talk with Jan Kruitwagen, the front-man and the sole member of Sammath since 1994, writing all the music itself. Throughout our conversation, Jan talked about the difficulties he faced with his band and also the ideologies he stands for. He also reveals the plan for making a tour next year and his future plans about Sammath.



Apocalyptic war hails Jan Kruitwagen!! Thanks for lending us some of your times brother. How things are going with you?

Jan Kruitwagen: Hails, Things are going well, busy as always, family, work, band… As always days are too short.

So, the band Sammath had released their 5th full length Godless Arrogance earlier this year. It was a stunner for me personally, how were the responses with the release from fans around the globe?

Jan Kruitwagen: Thanks, reactions and sales are insane. It takes some getting used to for us. We were with Folter Records for 16 years. A very dedicated black metal label, great bands and I always felt well at home on the Folter roster. Once we got a call from Hammerheart things went really fast. In all major record stores Sammath has CDs for sale, we got interviews in almost all the big magazines, and 150 or so great reviews. So from being a relative small underground band we got pushed into the big world within a month. That was insane. But to be honest I’m enjoying every fukking second of it. Haha. The sheer brutality of the CD leaves a lot of people gasping for air. And lots of people hate it as well, that’s always healthy. The band will always remain a small band, which is good, we create black metal, and refuse to be part of the crowd, I will never look or dress up like the bigger bands do, it’s just not my thing. They look like clowns, I hate clowns.

Sammath started out their journey back in 1994. I learnt you were deeply inspired by some early works by Gehenna, Satyricon and Teutonic thrash metal bands. So, what else have inspired you to start the band? The musical vibe of the aforementioned bands or your personal carve for creating something new?

Jan Kruitwagen: All the above really. I had been listening to metal since 85. I was 12 when Master of Puppets was released and since that time it was always metal. I ended up lending a guitar from my high school in Australia and spend a lot of time destroying that fender guitar at home, driving my parents and neighbors mad. What I always missed was darkness in music. When black metal appeared I was instantly hooked. I was always a happy kid, and still am. I can’t stand the depressed, society hates me, people who think that metal is some kind of hiding place to not be part of the rest of the world, stop being a bitch! Man up, everyone has to work to provide for family, kids. Life is good. If you don’t like it here then find a tree, take some rope and fuck off.

As a black metal band, what is the ideology of Sammath and what do you want to preach through its music?

Jan Kruitwagen: We don’t preach anything, except for arrogance! I can’t stand any form of religion. I believe black metal stands for total arrogance, fukk everyone, fuck their opinions and simply do what you want to do. I describe the world as it is, there is enough blood, hatred and stupidity to last a lifetime in the world today, and tomorrow. So it has always been, mankind is a crazy fucked up creature that destroys almost everything. I really feel free, I simply don’t care what others think, and never have, my father and grandfather were like that as well. Good folks, but don’t get in our way, and never tell us what you think we should do.

Sammath, as a band, have always been discrepant in their musical composition. The First two album were rawer black metal, whereas the third album Dodengang had taken more atmospheric regime. The 4th one Triumph in Hatred has some thrash influence/elements and the latest work Godless Arrogance is a furious black/war metal. Can you tell the reason for showing such diversity in the studio releases?

Jan Kruitwagen: Good question, I think it because deep down I’m simply a metalhead. I listen to Bolt Thrower as much as Blasphemy or DRI, or Dawn, Setherial and the three bands I listen to most would be Sadistik Exekution, Summoning and Revenge. All those bands are pretty diverse in style. I grew up with thrash and death metal, and raw rock and roll from the early eighties in Australia. I never think before I record that an album must sound like this or that. I simply write music and after some months I sense in which direction it is going, then I try to find lyrics fitting this. I listen to Kreator ‘Endless Pain’ and 5 minutes later Blasphemy, Portal or Mortal Sin, if it’s loud it’s good.

Sammath’s latest offering, Godless Arrogance had lyrics focusing deeply on war history, religion. Will Sammath’s future works will also have lyrics in similar patterns?

Jan Kruitwagen: I can’t tell really, who knows what I will do next. I have been thinking about writing lyrics based around a single historical figure, but that’s also been done before. Not that I really give a shit. Almost anything has been done before, my goal is not to be original, but to be nasty, and to create total hatred as music. This album just screamed hate and war from day one.


Can you tell our readers about Sammath’s line-up? And during recording, does the music composition remain a band effort? Or you compose all of the music as the bands front man?

Jan Kruitwagen: I create all the music and lyrics, up unto this album. For the first time Ruud (bass player) played a role in the lyrics and the arrangements. This worked out extremely well. If not for his input the result would have been too chaotic. Our drummer Koos is a total idiot who knows fuck all about metal and only listens to Deicide. The bass player Ruud has great knowledge of metal, he used to work at a metalstore, that’s where I met him in 2000. The music will always be written by me, period. Everyone knows that.


You live in Germany, and two of your other band mates in Netherlands! Have this issue ever caused any problems (communication/management/practicing) between you guys?

Jan Kruitwagen: It’s even worse than that….. The drummer now live in Belgium, I live in Germany and the bass player in The Netherlands, and now we have a new 2nd guitar player who lives in Berlin. So we can practice once every month as a band, then we practice for a two days session and the rest of the month everyone does their thing at home. I’m lucky enough to have my own studio, so I can practice whenever I want. It’s still crap though, we could have been hitting the stage years ago if we all lived closer together.

As far as I am concerned, Sammath have not performed live gigs that often. So is there any reason for you not performing live frequently? And how do you take live gigs personally?


Jan Kruitwagen: I never really liked performing live, until now. Now that I do the guitar and vocals I feel a lot better on stage, only the guitar was not for me. Our old singer lost the lyrics a lot and never really had the right feeling for black metal. Great guy but not for Sammath. Koos, Ruud and I simply work best, and b on lead is a great musician who needs not a lot of practice.

You perform all the vocals on studio records, but in live gigs, a guest vocal is on charge. What may be the reason for that?

Jan Kruitwagen: not anymore, now it’s me on vocals and rhythm guitar, and the crazy Mexican does all the solos. I’m not Chuck from Death, I’m not a gifted musician at all, so I’m glad all I have to do is play rhythm. No Sammath finally sounds exactly like cd on live. Very proud that I can finally pull it off. When we go on tour next year it will be a slaughter for all of us, we give 110% or nothing.

Personal topic, you recently started working with Hammerheart Records, which was closed back in 2006 and reopened few years back. HHR is quite a big label for black metal, as they released some of the classics by Primordial, Emperor, Dimmu Borgir, Aura Noir and such. So how do you find it working with such a label? Do the record labels at this level have any policies on selecting bands or just the music? I mean, in most cases big labels tend not to select bands from diverse/obscure region.

Jan Kruitwagen: Hammerheart never really stopped, but just didn’t release new stuff. I got a call by label boss Guido asking me if Sammath was interested in releasing on Hammerheart, well that took about 2 seconds to decide, haha. After three months, and after the Sammath release he asked me if I would like to work, doing promotion for Hammerheart, again, 2 seconds. I don’t have any knowledge of what goes on inside Guidos head what bands are concerned, he knows everything and everyone. Any bands that play in, fuck knows where he would have heard about. He signs bands that he likes, period. Obscure, underground (I mean, he signed Sammath…) it just needs to be good in his view, and he knows….

At this level bands do have to have something special, and be able to sell. It’s as simple as that. You can’t expect a label like Hammerheart to invest thousands in a band who only wants to remain underground. The label has a unique history and place in metal, and I’m fucking proud to be part of that.

Sammath will be releasing a new split with Spanish black metal band Muert. This is also going to be the first ever split in Samamth’s 20 years of existence. So what made you thinking of releasing a split now? Apart from this split, will there be any new materials from Sammath in next year?

Jan Kruitwagen: I met some guys from Muert at the Nuclear War Now! fest in Berlin some years ago and we have regular contact via Facebook. The split should be a filthy piece of art. They sound like a slow version of Blasphemy, great stuff. We will also be releasing a split with Dutch band Gheestenland. Also many tape rereleases of older albums. Other than that I think we shall have a new album done by the end of next year. New songs and ideas always pop up in my head.

Inform our readers about some young promising bands you have appreciated recently.

Jan Kruitwagen: These are not all new bands, but bands who deserve it to be better known. Sacrarium, Kjeld, Tarnkappe, Ibex Angel Order, Wederganger, I think the Dutch scene has lots of promising bands at this moment. I don’t have much contact with anyone in today’s scene,

We really like to thank you for the interview, brother. Any final words?

Jan Kruitwagen: Thanks to you as well! Support your local record dealer! Hate religion! Follow your own path. Remember, nobody gives a shit about your problems, thrive in arrogance!

Interview conducted by

Somber Oracle


Jan Kruitwagen [Guitars, Bass, Vocals, Lyrics (1994-present)]

Koos Bos [Drums (2001-present)]

Ruud Nillesen [Bass (2002-present)]

Sammath on Facebook:

Sammath official web:



We are all aware of the fact that occultism means something beyond general conscience’s reach but even so, we hear this word more and more nowadays. That is why occultism is not a hidden phenomena anymore. Anyways, concerning the unseen world, we had a talk with Mors Dalos Ra of Necros Christos in order to understand better what is all about with his music and the strangeness we feel there. Mors Dalos Ra took exquisite care of his unseen world and so he talked about it by introducing here and there rabbinic terms or strong names related to the mystic doctrines of Kabbalah. Besides his views on infinity and other abstract concepts, we have also some words about Necros Christos plans, influences and meaning.


How’s it going? What’s the current focus of Necros Christos after releasing the Nine Graves EP?

Mors Dalos Ra: We currently do travel on many roads so to say. Of course, the promotion for Nine Graves demanded to give lots of interviews, but it all calms down a bit right now and we just focus on rehearsing as well as writing new songs. We shall play at least one last show this year in Dublin in November, alongside PRIMORDIAL`s record release event. Looking more than forward to this one tough!

What is the source of the occult approach in your music? We all know that the occult thing is something unspeakable or so it should be, but now we are talking about individual ways of getting inspiration. In what way does occultism interfere with your life?

Mors Dalos Ra: Since my earliest childhood, I felt strangely addicted and drawn to this unspeakable realm.

I answered this question in depth in a lot of interviews before, so for all interested readers out there, who already know about, just skip the following:

The very first thing I actually do remember is my baptism, on which I was one and a half year old. I still can see the scenery as being burned in my mind, people standing in the cold November rain outside that very old church, everything seemed to be really blurred and dark.

I remember the smell of the stones, the water and something utmost spiritual, some Thing, which was there.

I visited that church more than 36 years later and some signs, which I got aware of during that visitation, came close to a personal revelation. Note that this has nothing to do with Christianity in general, I try to describe what I felt. When being one and a half year old, you haven`t heard about God or Jesus, but your senses are already glowing in full effect, you simply feel.

The second coming occurred when I was approximately three years old, spending vacations with my parents on Crete, Greece. I had a seriously bad infection of my tonsils, but when it got discovered, fever and disease had already laid their foul hands upon me. I was brought to a hospital, but no bed was left, so they put me in a small stinking cell reeking of excrements and disease. And guess what, it was the room for the dead. During this night, I left my body for the first time, seeing this painful vessel of mine beneath.

Later on, my father, who was kind of a devoted hobby archaeologist, took me to places all around Greece, Turkey and so on. I guess that should explain my addiction to the oriental world as well as being consumed by all occult spirituality. Take all of that memories and experiences combined with my own style of writing (Death) Metal songs and you have the essence of what NECROS CHRISTOS is all about.

What is your own philosophy about death, blackness, or void? People often perceive these phenomena as an end. What does the end mean for you?

Mors Dalos Ra: It is no end and our souls have none. Since an adoil of tyme, we`re forced to re-incarnate again and again, until the primordial ocean of souls shall re-unite in Adam Kadmon.

But since we lost contact with the primary influx of Ain Soph eternal, hidden within Domedon Doxomedon realm, this final return  to the essence won`t never happen and our souls are cursed to be thrown into worlds and netherworlds forever.


Within the Nine Graves EP, it is more obvious than ever that one of your main inspirations has to do with the Oriental spirituality and musical expression, with the religious culture of the Eastern side, actually the realms of the living sun. Even though, we all could notice the fact that your interest in this part of the world was emphasized on the previous Necros Christos materials also. The most profound philosophies regarding humankind, micro and macrocosmos were developed there in the ancient past. Nowadays, many of these regions seem to be buried in social and territorial conflicts, overpopulation, both spiritual and material poverty and so on. What is your view about this extreme turning point?

Mors Dalos Ra: I try to follow the news every day and it makes me becoming sick, really.

What kind of disgusting things happen when delusion, disorder and fanaticism take over and possess the mind and heart of people, everybody can see at many different corners of the world right at the moment. No matter of what kind of religion, if anybody really proclaims to inherit the one and only belief, if he discriminates others due to their religion or he/she even kills due to that, he/she simply does NOT believe. They all do serve just “the other side” they actually want to avoid, but our world has become damn sick and it shall be cleansed very soon by the will and powers of the radiant light of Ain Soph absolute.

How do you feel before playing in front people? Do you take into account that there are lots of energies that you have to deal with and make a specific preparation? Or does everything come just naturally?

Mors Dalos Ra: I love what I do, so there`s no complain at all. I have no problem by performing in front of others and mostly, we`re blessed with such an excellent crowd, that it is a sheer pleasure to play. Indeed, if the audience is really into our sound, we`re able to absorb all the energies and transform them into our own performance. This might be the highest state of ecstasy one can think off, but we luckily had many rites where things like this happened.

When it comes to demonology, people tend to associate the evilness with it because of Christianity. But before Christianity became an official religion, mythological demons were seen as both good and evil. Also, most demons were actually messengers between individuals and entities. What is the role of Necros Christos in terms of your own visions?

Mors Dalos Ra: NECROS CHRISTOS is the messenger. When I was approximately seven years old, a demon named Dalos revealed his spirit unto me and when I was way older, the foul vessel of the nine dolours of Christ, also known as NECROS CHRISTOS, transmitted his prophecy.

When did you discover your interest in Kabbalah? How did you see this tradition in the beginning and how did your views evolve regarding this form of mysticism?

Mors Dalos Ra: I can`t remember properly when exactly my interest in Jewish mysticism rose to a high degree, but when I stumbled across the first fragments of texts years ago, I immediately felt a strong connection to that source, something, which I never felt before. I just read and studied the Sefer ha-Sohar this summer for the (maybe) third time, I read the Sefer ha-Bahir and of course, Gershom Scholem`s works are always present.


 How do you see the metal world of today and to whom do you dedicate your music?

Mors Dalos Ra: To everyone who is open minded and to all our brethren and sisters of the NC Temple. Further to such amazing artists as Manuel Tinnemans, Timo Ketola, the covens of SVR RECORDS and VÀN RECORDS, GRAVE MIASMA, VENENUM, GRIFTEGǺRD, TEITANBLOOD, ASCENSION, SOTM, PENTACLE, DROWNED, ESSENZ, NEGATIVE PLANE, THE RUINS OF BEVERAST, THE WOUNDED KINGS, YEAR OF THE GOAT, ARKTAU EOS, DEAD CONGREGATION, just to name a few.

It was eight years ago when you released a split with Teitanblood. What is the relation between you and the two guys of Teitanblood today and how do you see their esoteric approach on music comparing to yours?

Mors Dalos Ra: The esoteric approach might be too personal too speak about, but their approach to Death Metal is someway different. NsK belongs to my closest friends and I feel nothing but the highest respect for TTB. One of the, if not THE most extreme band in the world of (Death) Metal nowadays. Those guys are real magicians for sure.

How did you decide to work with Timo Ketola for the Nine Grave artwork cover? What do you like most when it comes to his art?

Mors Dalos Ra: Timo is an old friend of NC and has done many signs and wonders for our Temple.

And honestly, he`s one of the most serious occultists I can think of, his knowledge is of unbelievable dimensions.

There was this painting of Eugene Delacroix I came across, “Christ carried down to the tomb”, which I had in mind when speaking first about the cover concept with Master Ketola. The final painting he delivered just made me speechless, you nearly can smell the cold, foul air of that mass rock-cut tomb somewhere in the Middle East.


We also know that you are into traditional music from Indian and Persian cultures. Can you recommend us something like that by naming a few of your favorite artists?

Mors Dalos Ra: With utmost pleasure. Out of India, I would like to name first the greatest Sitarist of all time, namely Nikhil Banerjee. Other important names would be Ajoy Chakrabarty, Ali Akbar Khan, Sultan Khan, Kala Ramnath, Tejendra Narayan Majumdar, Prabha Atre, Purbayan Chatterjee and Irshad Khan. Going to Persia, blessed be the works of Hesameddin Seraj, Ramin Kakavand, Davood Azad and Salar Aghili.

 Who is your favorite modern or contemporary writer when it comes to religious studies?

Mors Dalos Ra: Gershom Scholem, no second thought needed! His writings and essays about Kabbala mysticism opened my eyes and I saw clear.

In the end, we would like to thank you very much for sharing us a part of your visions and feel free to write anything you want for those who appreciate and relate to your work.

Mors Dalos Ra: Thanks a lot for the interview, it was a pleasure to answer!

Whoever thinks in terms of country borders or skin colour has no place within the realm of NC.

Death Metal has no boundaries.



                                                                                                                                    Conducted By: Gina S.

Necros Christos:

  • Mors Dalos Ra: Guitars (electric and acoustic), Vocals, Keyboards
  • The Evil Reverend N.: Guitars
  • Iván Hernández: Drums
  • Peter Habura Bass

Facebook of Necros Christos:

Official Bandcamp:


Interview : Nightbringer (Naas Alcameth)

242672_173563142699428_1043819_o Fourth full length of Nightbringer, Ego Dominus Tuus is one of the most anticipated album among the enthusiasts of the black metal music. The album is set to be released on the final day of September, 2014. Three spectacular tracks from the album have already been premiered and undeniably these revered creations have necessitated a wistful longing among the listeners to experience the taste of the full length. It goes without saying that the crafts that Nightbringer make transparent through their wondrous music are not a dime a dozen.  The esoteric and occult essence that are reflected from Nightbringer’s music simply deserve admiration.  The band flawlessly holds a combination of eccentric sound and expansive spiritual based lyrical theme that can be regarded as an aestheticism in black metal music.

New full length is probably going to be a watershed of the modern occult oriented black metal movement. We have had in details conversation with the founder of the band, Naas Alcameth where he has opened a lot of words about the new release and more about Nightbringer and his other projects.

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  • Et Nox Illuminatio Mea In Deliciis Meis is a phenomenal creation. Maybe the track is just a glimpse of the entire album, but it has definitely increased my craving for listening to the Fourth Full Length of Nightbringer.

Naas Alcameth: Thank you.

  • Would you like to light up our readers by revealing the information about the upcoming full length? I can feel the presence of more atmospheric vibe in the mentioned track and the sinistrous signature guitar tones are also audible here. Brief us about the concept, writing and recording process of the album.

N.A.: The concept is based on a cipher of a certain sacred name, in which is veiled a hierarchical formula consisting of three parts which represent three phases upon the path of the Great Work when approached from the infernal road. Without saying too much on the topic I can say that the concept of ordeal is central to the path of which we are relaying. To reiterate what has been previously said regarding all of this, it represents the path of ordeal, from the transformative Fires of the Art within the crucible of the underworld, to the revelation of the Daimon to the Guardian at the Threshold and slaying the Sun of Death, Light of Lucifer. The allegory is sacred and has no direct bearing on any of the mundane aspects of the album’s creation. It is meant to reflect a spiritual process and the greatest spiritual aspirations. The writing and recording process was approximately one year in duration from start to finish. The songs were written independently by the respective core members with concept and overall shared vision kept in mind of course. We approached all of this in a very exhaustive and meticulous manner, more so than ever before and we believe the final result greatly reflects this.

  • It can be assumed that each of the members of the Nightbringer has endowed their parts for the full length, just like the previous occasions. Am I correct? Which of the tracks are structured from your part?

N.A.: This is correct. Musically I am responsible for writing and recording Et Nox, Lantern of Eden’s Night, I am the Gateway and The Otherness of Being, as well as the ambient pieces Prayer of Naphal and Call of the Exile which I did in collaboration with H. McFarlane of Funerary Call and the track Salvation is the Son of Leviathan which I created myself. VJS is responsible for the writing and recording of the tracks Things which are Naught and Where Fires Never Dreamt of Man and Ophis is responsible for the writing and recording of the track The Witchfires of Tubal-Qayin. I am lyrically responsible for Nephal, Et Nox, Lantern of Eden’s Night, Salvation is the Son of Leviathan and The Otherness of Being, while aRRa’ad handled Things which are Naught and Where Fire never Dreamt of Man and Ophis handled The Witchfires of Tubal-Qayin. 10488381_669504969771907_6592913651358618733_n

  • Is the album name somehow related to Ego Dominus Tuus of B. Yeats? If it is, then do any of the tracks have resemblance with that poem of W.B. Yeats?

N.A.: The title was indeed inspired by Yeats poem, specifically his concept of the daimon. Outside of this specific element of inspiration the lyrics are specific to the album concept mentioned above and not inspired from Yeats outside of this conception of one’s daimon.

  • Lyrics of the track Et NoxIlluminatio Mea InDeliciisMeis is based on 139th Psalm and in fact the moniker of the track has also been taken from a line from it. 139th Psalm asserts the ubiquity of God. Does the lyric of the track also refer to the ubiquity of anything – any deity-or Satan?

N.A.: Indeed it does. The lyrics are influenced from this psalm, which I felt, via a heretical approach, evokes such symbols as the ‘midnightsun’ and the ‘night of light’, symbols important to our work. The lyrics also touch upon the Greek ‘melancholia’ and the sovereignty of Saturn over those of us who are born with his mark and our relation to the former concepts. It relays the idea of ecstatic furorth at it is said one may enter in order to obtain wisdom, which is imparted both from ‘above’, ‘below’ and ‘within’, via a state of ‘divine madness’, the inspiration felt at the heights of an ecstatic state. As for mans amazement towards God, this would also be correct but in this track specifically the amazement is towards a specific aspect or face of God (God as understood as the Absolute as it is used in a Platonic/Orphic tradition), which in one instance may be expressed as Saturn and another as Satan. Regarding the interpretation of the ‘extermination of non-believers’ from the lines within the psalm, from this approach and personal interpretation, theselines serve to express our utterest rangement from those who are diametrically and fundamentally our spiritual opposites, and ultimately the irrevocable schism of those who would strive to truly be awakened, truly alive and those who are, unbeknownst to them, irredeemably dead. Inevitably we all will be ‘as food for the gods’, we are all slain unless we learn to be otherwise.

  • David Herrerias has done the Cover Art. We have previously witnessed some of his splendid creations in the cover art of Necrocurse and Noxious Anathema. What message does the artwork reflect and how is it related to the concept of the album?

N.A.: The album cover directly depicts the hierarchical triad, the enigma of the sacred name and path spoken of above. a3490509015_10

  • Menthor and ar-Ra’d al-Iblis reside far away from the other members of the band. Has it ever become an unpleasant incident for you in terms of recording and maintaining other activities?

N.A.: Actually it really has not been a problem. The core members essential to the music composing and recording all reside here in Colorado, minus our drummer Menthor who is able to efficiently record his tracks from afar with some back and forth discussions and simple revisions. It has all worked out very well. 1473004_574604179261987_633607636_n

  • Let’s traverse back to the last two split releases of Nightbringer – The Ruins of Edom (w/ Acherontas) and Circumambulations of the Solar Inferno(w/ Dødsengel).Both of the splits were conceptual approach. Is not it a demanding task to release a conceptual split with other bands as both of the bands need to cross the same path in terms of ideology and knowledge? Do you find the similarity with these artists in terms of philosophy?

N.A.: It was not so difficult as both bands share at least some commonality in regards to spiritual philosophies. There was plenty of discussion between both entities before and during the composition process as to what the unified visions would be. Although our outlook towards spirituality is not identical to either of these great acts there was enough common ground to build a solid and unified conception.

  • You are an admirer of both Ambient and Classical music. Implementation of the elements of these sophisticated genres has already been observed in the materials of Nightbringer. You are also associated with two ambient projects – Temple of Not and Akhlys. Do you have any intention to start any project related to classical music?

N.A.: At this time I have no plans to do such a thing but perhaps in the future. It is hard to say.

  • I think both Serpentanim and Excommunion are not full of life. What is the current circumstance of your other projects- Bestia Arcana, Akhlys and Temple of Not?

N.A.: Excommunion has been resurrected for another album although there will be much departure from what it was when I was a youth. This will be out sometime next year via Dark Descent. There are no immediate plans for ToN but some things are coming together slowly for an Akhlys release, but this may still be a ways off.

  • Regarding the Unholy Black Metal Fest – Gathering of Shadows in which you are associated with, what is the current condition of it?

N.A.: I am uncertain if the individual behind it will do another one or not truthfully. We would love to participate again if it does come to pass.

  • 2014 is the 15 years of the tenebrous journey of Nightbringer. Will there be any 15 year anniversary tour or at least can we expect any supportive tour for the release of the album. Recently, you have covered a lot of regions of Europe. Any plan to put step into the other parts of the world?

N.A.: That is unlikely however we do plan to return to European soil next year. As far as other parts of the globe, it is certainly being considered. 1601245_623755647680173_829091874_n

  • Gratitude to you for your efforts to answer the questions. Finally, anything else you want to unmask relating to the future and the forthcoming album?

N.A.: I will let the daimon speak for itself.  – Pete solem in domo Erebi.-

Conducted By: Zoheb Mahmud

Nightbringer is:

Naas Alcameth –  Vocal, Guitars, Bass

VJS – Guitars, Drums

ar-Ra’d al-Iblis – Vocal

Ophis – Guitars

Menthor – Drums



Interview: Anal Vomit

Gruesome Peruvian savagery Anal Vomit’s frontman “Possessor” talks about the upcoming release and more. Belching forth an aggressive thrash influenced primitive style of Black Metal he stormed the Hell Furnace gates and savaged our questions. Plough through the interview for getting temptation and pleasure.


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  • Infernal salutations unholy war brethren! Greetings from Venustas Diabolicus Zine. “Demoniac Flagellations” is a bestial creation that influenced me further to dig out your releases.

Possessor: Yeah maybe, but we released other materials before “DEMONIAC FLAGELLATION” and also released other materials after it, but that album made a sign in our music. It got a good acceptation from the maniacs around this putrid planet and other sodomy countries.


  • You’ve formed the band in 1992 from the putrid hell of Peru! Was Anal Vomit the first band of yours? Do you have any other side project besides “Anal Vomit”? I am just aware that Roy Noizer has another band named Saram. But I am not sure if you have/had any other side projects or not.

Possessor: ANAL VOMIT is my only fucking horde!! I don’t have any other metal band but I have other project based on traditional native Peruvian Music….not like fusion with metal, but pure native Peruvian music..

  • Interesting! Can you inform us about your native Peruvian music project?

Possessor:  Its name is Pachacamac, traditional sounds merged with contemporary instruments. I make chorus vocal, play bass guitar and other wind instruments together with other blood brothers of Incas Ceremonies.


  • Your upcoming full length titled as “Muerte Negra Peste Negra” translated in English as “Black Death Plague Black”. Would you care shedding some lights why this title was chosen?

Possessor: Our lyric is based on old horror film, witchcraft,satanism, dark side, horror and death “MUERTE NEGRA,PESTE NEGRA” is based on a real history about the black death plague in Europe.

  • Since the title of the album is set using Spanish language, can we expect Spanish lyric in some of the tracks?

Possessor: We mixed Spanish and English in This Album. It wasn’t Planned, It Just Happened.

  • Regarding the sound, probably we can anticipate same violence and abhorrence towards this LP like the previous ones. Anything you want to add about it? Which label will release it and when will it be available?

Possessor: Of COURSE DEMON. The album will be a real time bomb; this will be a blast against Christian souls and insults to Nazarene. South American black noise!!

  • Analogue atmosphere are audible in your later sound. You guys proudly do analog recording for studio records. How was your approach for the “Muerte Negra Peste Negra” recording sessions?

Possessor:  Analogue is Satan’s sound!!…..Will release it in vinyl….. In terms of sound, you can only expect blast, corrosion and war!!!!!

  • You have chosen the band’s name as Anal Vomit which is also a song by legendary Sarcofago. What are your other influences besides Sarcofago?

Possessor:  Well, we have a deep liking to Sacrofago but we don’t only take their influence in our composition…A lot of Extreme, Speed and Terror Bands have influenced us. A lot of Bastard Hordes of South American countries like Peru, Chile, Colombia and others have inspired us. Old Black Sabbath, Mercyful Fate, Mob 47 and a lot of obscure ancient hordes will come to the list. We also dig some classical music like Mussorgsky, Paganini etc.


  • Anal vomit’s sound & lyrics have similarities to the early South American bands like Sepultura, Sacrofago, Vulcano. Do their early environment, life influenced your songs? Do you think that the overall environment, surrounding and life of Latin America influence these extreme metal bands to create such kind of aggressive music?

Possessor:  It happened when we started listening metal music in 80s/90s and the decomposed lyrics is related to our real South-American life, bombs, terrorism, bastard, politics etc…All are normal to us.

  • Anal vomit has lost its drummer. Is there any new permanent drummer going to join up the roster?

Possessor: Yes! Our new drummer is official; the new soldier is called “Hoyle”.


  • Sex is a crucial theme in your songs. What’s your opinion on promiscuity? 

Possessor: I support it !(Laughs)

  • Anal Vomit has struggled a lot in its early days. Did the band improve from that condition comparing to its earlier days? What role has the Internet played in spreading Anal Vomits plague? How do you take internet sharing of music, give us your opinion.

Possessor: In early days I used to think internet is a shit, but the good side of internet is it helped us spread our plague faster in other scene and in other hordes. I believe internet will be so stupid brain but if you consider its role to spreading our plague and metal terror, then yes, it is SO FINE.

  • What do you think about the Peruvian Metal Scene? Any other bands you like in your region? Why other potential bands hailing from Peru aren’t getting exposure worldwide? Does touring worldwide involve financial crisis or lack of aggressive promotion? 

Possessor:  Here we are having metal crisis, not economic crisis (Laughs). In Peru, we do not have any serious metal label. There are some promising young metal bands. Enigma and Possederunt are for example. I hope these bands will not die and will keep their violent activities in future. A lot of bands are not listened to by the outsiders and in most case the members do not work hard for their band. Drinking beer and other toxic elements is not everything because we are metal musician and we need to work hard for our music. 

But it is true that we had an obscure and very brutal metal scene in our history. Old bands from the 80s like Hadez, Mortem, Mortuorio etc are from this scene.

  • Do you have any confirmed shows/tour in the near future in other continents? You have not played outside your continents even though maniacs from the other parts of the world are yearning to see you live. It was pretty sad that you guys had to cancel gigs in Europe due to unavoidable circumstances. We would like to see you live in Bangladesh as well. 

Possessor:  Look, in Peru it is not so easy to get a fucking visa to travel worldwide. Problem is not the money but the shitty embassies of European countries. We have had various invitations to make gigs in Europe and USA. But the embassies caused a lot of troubles. 10418331_529901967141785_6030958705797998744_n

  • Any other words you want to share for our readers? It was a great pleasure to talk the frontman/bassist of a band that I admire a lot.

Possessor: Thanks for the interview and salutes to all maniacs in Bangladesh. We will make gigs in your country. We will try to make it possible and will meet soon. SALUTES DEMONS AND FALLEN ANGELS,,DEPRAVED AND ZOMBIES ,,,,,!!!!! ARGHHHHH !!!!


Conducted By: Safwan Hossain


“NOIZER” – Lead Guitars.
“POSSESSOR” – Vocals and Bass.
JOE HOYLE – Drums.
M. “NIHIL SOLDIER” – Guitars


Listen to “Brebaje De Muerte” from the upcoming Full Length:

Interview: Triumphant


Triumphant from Austria previously have gone under several monikers (Frantic Tormentor, Nekromantik Manic Disease) to carry out their extreme metal journey. Music of previous eras was more or less stuck into the typical boundary line of ruthless old school black/thrash metal. In the Triumphant reign, these Maniacs have successfully evolved a unique sound (that is undoubtedly different and wider than the general contents of black/thrash metal) in the debut full length, “Herald the Unsung” and for such kind of uphill task they should be greeted with veneration.

Here is our interview with the frontman, Bekim Leatherdemon:

  • Hail to you, “Bekim” for the impressive debut full length “Herald the Unsung”. I hope you are pleased with the way it turned out.

Bekim: Sorry for the delay Bro, thanks a lot for your support and believing in Triumphant. We are very pleased the way it turned out. If I have to be honest I didn’t expect such good reactions from the crowd and magazines… We got lots of good reviews from all around the World!

  • To begin with do tell us the beginning journey of Triumphant and also tell us how and why did Manic Disease turn into Triumphant?

Bekim: We started to work with Triumphant in 2013. We had cool times with Manic Disease, but we felt that it is not the style we want to play. After we went separate ways with our old drummer, we decided to search for new members, change the name of the band, and do the music we always wanted to do – Evil Fucking Metal, not just Thrash, Black or whatever…We decided to put all Styles that we like!


  • What are the things that have provoked you demons to start extreme metal music? Name the bands that have influenced you by all means?

 Bekim: It’s very hard to answer that question because we are also big fans of classic Rock, Doom Metal, Classic Heavy Metal…But trough Extreme Metal we can better express our emotions and visions…There are too many Bands that influenced us, not only Extreme Metal bands, there are also some Crust/Punk bands, classic Rock Bands…But to Name a few of them…Desaster, Nifelheim, Dissection, Bomabrder, Motörhead, Venom, The Chasm, Merciless, Bewitched, Stormwitch, G.I.S.M…

  • I see the influences have emanated from different sources and Triumphant’s music does not even follow the hard and fast rule of typical black/thrash metal. The music is way more ground-breaking than that of the contemporaries. But most of the bands that try to bring together the influences of different genres and try to produce something far out- ARE JUST FAILED ABRUPTLY. What is your remark in this case?

 Bekim: I hate it when people say “Triumphant is a black/thrash band”. Most of those new Black/Thrash bands sound the same and boring. We wanted to create something different and unique…If you listen to our LP you can recognize a lot of classic Heavy Metal influences, some Punk Riffs too, or even Death Metal riffs (Fullmoon over Transylvania). Our mastermind Persekutor composes great Riffs and Music, and he is doing it very well. We are mixing lot of different styles but it’s not chaotic and without sense…We are not afraid to use all these Influences and we don’t give fuck what people say. Next Triumphant LP will be even more varied, but still METAL TO THE BONE.

  • In fact, I have detected a much more musicianship efforts in Triumphant over Manic Disease. Yet, both of the bands deliver a startling sound. How would you differentiate “Triumphant” from “Manic Disease”?

 Bekim: Manic Disease was more or less typical Black/Thrash Band. With new Members (Second Guitar Player Ephemer, new Drummer Altar Crusher) and me on the Vocals, Triumphant become more variety especially on Live…

  • Well, let’s switch the conversation to the live shows of Triumphant. According to many, live show is a clear-cut method to demonstrate an artist’s actual ability. How do live shows work as a reflector of your creations? Can you summarize us about the usual live gig of Triumphant in terms of sound, stage appearance, energy and stage acts?

 Bekim: Live gigs are the best thing that happened in my Life, every gig is for us important no matter how many people are there. We give our best and we “Die” on the Stage for the Maniacs in front of us. We are not just another band with boring outfits that just play their stuff and try to be cool on the stage. Our shows are Hell full of Sweat, Leather, Spikes, Chains and pure Metal Magic -that is the best feeling. Nothing can replace it, No Money, Drugs, Sex or Whatever…We Breath, Bleed and Eat Metal!!!

  • It can be presumed that the band is having killer times by touring the neighboring parts of the Europe. Recently you have also shared stage with the Almighty Possessed. Is there any preparation to tour other parts of the world as well?

 Bekim: Ohh Yes, the gig with Possessed was just amazing, a dream came true. For this year we are confirmed for some great gigs and festivals, and next year too. In 2015, we want to make small European Tour. I hope in next few years we will get more attentions so we can also tour in Asia, South America. We have a lot of respects for Maniacs there, and it would be great to play in front of them.


  • Can you brief us about the writing and recording procedures of your music? Is the writing procedure a collective effort?

 Bekim: Persekutor writes most of the Riffs, he records them at home, and when he comes to rehearsal we are working on it. We discuss about everything. Our drummer is very talented too and always has good ideas and suggestions. Ephemer and Doomed Desolater are doing their Job great. We are just one bunch of friends and maniacs who enjoy it to be together and create some Music.

  • What contents do you want to convey through your lyrics? Who are primarily in charge of composing and writing music?

 Bekim: If we talk about lyrics, Persekutor and I are writing most of them. I write more about “My Inner Temple”, Metal Cult, and War”. Persekutor is more into Occultism. Persekutor is the mastermind and he writes the Riffs. Mostly he comes with his ideas to Rehearsal and then we are working on it.

  • Why “ZIVOT ISPOD OBRNUTOG KRSTA” was sung in your native Bosnian language? Was there any special reason behind it?

 Bekim: Well, Guys wanted me to write one song in my Native language because Metal in Eastern European Languages sounds more Brutal and Aggressive!

  • I think only the track “Necromantic Force” was completed during the “Manic Disease” era. Is there any other track from the full length that was recorded/ written during the Manic Disease epoch?

Bekim: Yes, Necromantic Force is an old track from Manic Disease times.  Fullmoon over Transylvania is originally track of “Circle of Shadows” (Great Old School Black Metal Project of Persekutor). Other Songs were created in Triumphant era.

  • So far “Herald the Unsung” has been released from three different labels and each of them comes up with a different version. Pro-tape from Destruktion Records, CD from Cyclone Empire and Vinyl from Heavy Forces Records. How co-operative were those labels?

Bekim: We had a luck to work with such a good Labels, for our first Album it’s is amazing that we had 3 very dedicated and professional Labels who supported us and done their Job very Professional! We are still on the Board of Cyclone Empire, so the next album will also be available through Cyclone Empire (CD and LP).


  • Then, tell us about the next release. It is certain that the audiences of Triumphant are blood thirsty for more fiendish materials. Any new materials are to be brought to light soon?1492317_515644765219217_1144396248_o

 Bekim: We are already working on new songs. This year we are going to release one split 7″ (but I can’t tell which Band because it’s still not confirmed). In the beginning of next year we will make a video for one of the songs from the upcoming Split and by the end of the next year we will release a new LP. As you can see we are were busy writing new material and preparing for upcoming Gigs.

  • I am really looking forward to the upcoming materials. Thanks for your time to complete the answers. I think that is all I have for the interview. Anything to add?


Conducted By: Zoheb Mahmud

Triumphant is:

Altar Crusher Drums
Ephemer Guitars
Doomed Desolator Bass, Vocals (backing)
Persekutor Guitars (lead), Vocals (backing)
Bekim Leatherdemon Vocals (lead)



Review of Triumphant – Herald the Unsung

Interview – Shyaithan (Impiety)


Impiety, a veteran of the extreme metal region needs no introduction to the bona fide listeners of this field.  Impiety has been ravaging and crushing the faux religious ethics over two decades under the Kaos Kommand of Shyaithan. Yet, troopers from different countries have allied with Impiety in different periods, but Shyaithan remains as the only member from the original lineup. It goes without saying that Bangladeshi metal maniacs are yearning enthusiastically for the arrival of Impiety for the first time in Bangladesh at Banish the Posers Fest, on coming November. We had a conversation with the GOATFATHER of Asian Metal, Shyaithan regarding the upcoming Bengal Invasion and other ventures of Mighty Impiety.  For both sides of the Bangla metal regiments, it is indeed a thumping opportunity to attend the live onslaughts of this iconic band.



– Impious Salutation, Comrade “Shyaithan”!! Mighty Impiety is having a really busy touring schedule recently. Kings of Black Metal, Inferno, Hammersonic and most recently the Crusade of Armageddon China Tour, which is most probably the first ever China invasion of Impiety. How storming were those onslaughts?

Shyaithan: I think all were great and smooth. Only Hammersonic was a waste of time because we played our best and found out later the guy at the FOH fucked things up and nothing could be hear from the FOH. On stage; however, it was different with good monitors, etc. Kings was great, this was the 2nd time we return to KOBM Fest, first one was in 2010. Anyways we had a blast. Even for Inferno which was the first time IMPIETY laid siege upon Oslo, Norway, it was all smooth and really satisfying. The highlight in my honest opinion was the 3 shows we did across China in Beijing, Zhenjiang and Shanghai. Our first time to China and it was really the best experience especially meeting diehards who have been writing for so many years. All in all, been a really good start for 2014, especially with 2 other festivals beginning with Bangalore, TSF IV and a festival in Kedah, Malaysia – those were bloody awesome as well.


– Now, tell us about the upcoming Banish the Posers Fest, 2014 where you are going to strike as the headliner on November 07, 2014. Apart from the Banish the Posers Fest, you are also going to annihilate the other part of the Bengal on the following day and it will be Impiety’s second whack over India. Why and how did you come up with the decision to conquer the lands of Bengal finally?

Shyaithan: Well honestly IMPIETY finds it interesting to ravage & conquer new lands, and not just because we want to but also because we know in these regions there are the few who really want to see us. Plus, we really want to meet them as well.  We have done heaps of European tours but all that is pretty much routine during the course of our history and we would like to try new place/countries, especially in Asia which itself is a really vast and diverse continent with plenty of metal warriors throughout. It is just the fact some of these cities/countries may not be well known for metal but that doesn’t bother us, Important thing is to maintain a close bonding and network with good comrades throughout the underground no matter wherever they reside and also to contribute to the burning spirit we all share and support their cause.


– How well are you aware of the Bangladeshi extreme metal scene and how do you outlook this scene? You have shared stage with Orator, but apart from Orator do you know any other bands from Bangladesh?

Shyaithan: Sounds promising and during the last years I’ve been listening to new bands/getting promos,etc.  I only know of and have heard Orator, Nafarmaan, Severe Dementia, Morbidity, Nuclear Winter, and Necrolepsy. So not too many and I may have forgotten a few more…but looking forward to meeting the rest if there is chance.


– You mentioned in an interview that you combined some ideas and techniques with your guitarist Nizam on the latest prodigious EP, “Impious Crusade”. So in the upcoming releases, will we see you again to combine with your band mates while writing and composing stuffs? Or will we see Shyaithan returning with his dictatorship (laughs)? And please inform us about the next release? 

Shyaithan: Well of course for the upcoming material I’ll compose mostly everything but also work some interesting parts out with Nizam. He does have brilliant ideas as well, very fitting to whatever I write. I can’t say more what it is going to sound like, but definitely a lot more lethal than the last, The Impious Crusade EP you mentioned. No point for me to say more, because you’ll be the judge in the end. 


– Recently, Pakistani doom metal band Dusk covered MotörheadBomber and you have contributed the vocal deliveries on the tribute. Tell us about it.

Shyaithan: Ah Yes, thanks to Babar from DUSK for inviting me to do the vocals for Bomber. I like Motörhead a lot, and when he put the question before me, I said yeah, let’s go. I didn’t rehearse anything and just on the day of recording turned up early morning at the Studio and sang it all at one go, recorded live. Good vibes throughout, perfect choice for a cover. I would give my full support for DUSK always!


– Impiety has to do quite a lot of expensive touring, especially overseas every year. How would you describe the personal and financial sacrifices that you have to make in order to continuing these overseas tours?

Shyaithan: 2 words… FUCKING INSANE!! Honestly we always end up broke, that is the reality in doing big tours. Fact is Singapore is so far away from Europe or USA. Just getting to these places for the 3 of us plus extra baggage, etc costs a bomb. We never get label support, and that sucks. So a lot of fans don’t see and realize how much we sacrifice throughout. Sure there are good promoters most of the times, but then there are also promoters who can’t pay much towards the flight cost, sometimes covering all, sometimes half. It’s always a give and take situation, but most of the times I can honestly tell you, we earn little if not nothing at all.


– Previously you had to team up with musicians from different regions for upholding the existence of the Mighty Impiety. For various reasons, those line-ups needed to rectify. Current drummer, Dizazter is from Australia. Does this issue create any sort of unwelcome hiccup? But one thing is obvious that Impiety’s current line-up looks totally ravaging.

Shyaithan: Dizazter (Louis Rando) from Perth, OZ is an amazing individual, a true IMPIETY barbarian.  He plays in amazing bands Morghl and The Furor. He usually flies in and we spend a week rehearsing our balls off from 9am till 5pm. At least a minimum of 6-7 hours in a day and just because we like it this way. Yes, perfect drummer for the job, has a great sense of humor. He and Nizam usually gets up to plenty mischief on tours, haha. You’ll see what I mean in due time. But honestly, both Nizam and Dizazter are really dedicated bearing great team spirit, and I love these guys just like family.


– Many of the underground black/death metal bands do not like to partake in the big festivals since on those fests one needs to perform with the other bands that are different in terms of ideology and sound. But, Impiety probably does not have such kind of problems in sheer level. Even though performing in the biggest fests, Impiety has always remained true with their ideology and they have preached the unholy anthems according to their belief. How would you evaluate this object?

Shyaithan: From day one the main ideology/philosophy, musical direction has never changed, progression is eminent but we still remain purveyors of lighting fast satanic war and blasphemy. Sure perhaps the level of playing has immensely improved but all that as nature takes its course and we become better throughout time. But point to note is, I will never ‘majorly’ change anything because if I wanted to play something very different,  I would have already formed another secondary band to do so. But as you can see, I’ve given it all to IMPIETY because it’s the ultimate weapon of choice. No mercy for the frail and for the blind sheep of God. Bestial Black Death from 1990 has only prevailed till today. Sure, some albums were forged with more black metal elements but generally this current chaos maelstrom of blackened death will continue to prevail and decimate all.


– What would be the classic line-up of Impiety in your view? Do you have any plan to do a re-union gig/tour with the original or with the classic line-up (that you do consider)?

Shyaithan: Sure we had a lot of great warriors from the past in the line-up, and yeah, I wouldn’t mind playing some songs live with ex-members but honestly, that isn’t in my mind at the moment. You could say I am happier and more content with the current line-up.


 – We have come to the ending part of the interview. Being a fan of Impiety for long, it has been an honor to conduct an interview of you. Before wrapping it up, do you want to state any nefarious message to the Bengal fans who are awaiting for Banish the Posers Fest, 2014? 

Shyaithan: Anticipating touchdown into Dhaka, that’s when all fury breaks loose…we are stoked and looking forward to meeting good mates and Legions throughout not to mention all bands that are playing at Banish The Posers Fest. We have a very interesting set list especially for the Bengal Hell Hordes! See you fuckers at the war front, Worship War – Praise Satan!


Impiety is:

SHYAITHAN – Bass.Vocals

NIZAM AZIZ – Guitars


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Conducted By: Zoheb Mahmud