Interview Transcending Into the Unknown

In this interview, we explore the creative journey behind "Chronos," a genre-blending track by Transcending Into the Unknown, featuring insights on collaboration, musical evolution, and personal growth.

1. "Chronos" showcases a blend of various musical styles. How did each of your individual musical backgrounds influence the direction of this single?

Filip: I was the one of us who wrote the music to the rather mellow, laid back and calm opening section of Chronos. I believe that this section clearly shows my musical background and influences from bands like Pink Floyd and Marillion. The next heavy prog-rock/metal section was written in close co-operation with Robert and Stian, and this section is clearly showing more of their musical influences and inspirations. The final section is again a return to a more mellow and melodic atmosphere, where we all were allowed to show our personal playing and performing styles through our individual guitar solos.

2. The shift from the mellow opening to the heavy, prog-rock section in "Chronos" is quite striking. Can you walk us through the creative process behind structuring the song this way?

We love to surprise our listeners and thereby bring them along on a journey into the unknown. Chronos is indeed a very long tune, with 5:43 minutes, especially seen by today’s radio play standards. So, we figured out that it could help to keep the interest of the listeners throughout the whole tune by introducing a dramatic and dynamic shift midway.

  
3. Eva Halsetrønning Rambraut brings a beautiful contrast to the heavier parts of "Chronos." What inspired you to bring her into this project, and how did her vocal style shape the final sound?

The beauty of participating and working with TITU is that we are constantly looking for new musical ideas that can take us forward. This project really has no boundaries when it comes to musical styles. Filip and Eva are old bandmates from the 70’s, and she was an obvious choice when we figured out that we needed a clear, beautiful and tender female voice for the lead vocal in the opening section. Eva’s lead vocal is indeed creating such a beautiful contrast to the heavier parts, and her backing vocals in the choruses has also highly contributed to shape the final sound of Chronos.

4. Given that you all come from such different musical backgrounds, how do you manage to combine those styles without compromising your individual influences?

That is what’s so great about the TITU-project. There are no rules! We can all bring our own ideas and contributions to “the party”, and if it works then let’s do it! Until now at least 😊, it has been really easy to agree on what sounds great. None of us wants it to sound exactly like our own songs/music. What would be the point of that? It’s the amalgamation of our sounds that makes it great.

5. Eva, this is your first major collaboration in a while. What was it like stepping back into the studio for this project, and how did it feel to work with Filip again after all these years?

It's absolutely fantastic to be allowed to go back to the studio again, and to be able to work together with Filip, after all these years, is the dream job for me. Filip was a very good friend and colleague when we played together in the 70s and 80s, and we have had some occasional contact since then. He is an impressively good musician and very good at writing lyrics. I am also very impressed by his brother Robert and Filip's son Stian, and I feel that this is the ultimate collaboration for me.

6. The contrast between Eva’s clean vocals and Robert’s growling vocals is a highlight in "Chronos." How did you approach balancing these two very different vocal styles?

Robert: I was lucky enough to do my parts first. All credit here goes to Eva who made it work so perfectly together. I was blown away when I heard her vocals, and how it interacted with my growls and Filip’s vocals in the choruses.

7. As a family band, with a mix of generations and musical experiences, has this project helped you grow closer as musicians and family members? How has it strengthened your bond?

Robert: Music is such a personal thing. So even if we are typical men that never actually talk about feelings and stuff like that (ha ha…), I really feel that connecting through this musical collaboration has brought us closer together.

8. Stian, your guitar solos in the final section of "Chronos" bring a lot of personality to the track. How did you approach writing and performing these solos alongside your father and uncle?

My goal was to blend my own style and personality while staying true to the core melody. During the writing process, I experimented with different phrasings and tones until I found what felt right. Playing alongside my dad and uncle, and hearing their ideas, inspires me and makes the music feel even more personal.

9. With "Chronos," it seems like each of you was pushed to bring out your best performances. Can you share any moments during the recording process where you felt particularly challenged or inspired?

Filip: I really had to step out of my comfort zone when we recorded my guitar solos in the heavy part, as the chord progression and guitar riff in this part required me to use completely different notes and scales than I'm used to, in order to fit in. 

Robert: That is a good observation. I think it’s absolutely true that we all push ourselves a little extra to deliver the best performances we can when we are collaborating in TITU. I know I spent a lot more time and effort to write and play the solo in the last part of the song than I would have done for one of my own songs. I wouldn’t call it a “rivalry”, but in a good way I think we all want to impress the others with our contributions.

10. The lyrics of "Chronos" seem to explore themes of time and transformation. Can you share more about the lyrical inspiration behind the song and how it connects to the band’s journey?

Robert: The overall theme of the lyrics is basically that whatever you do, time will continue to pass, and your best bet is to accept that and make the best of it.

I know Filip had a vision of the song musically as 3 different parts, where the first symbolises an apparently perfect but false reality, while the heavy middle part totally tears this image apart to reveal the harsh truth. The final part is again containing a melancholic soul searching and finally an acceptance of reality.

Lyrically I tried to write something that connected with this.

Relating to the band's situation, I feel that we are in the third part now; realising that we will probably not become the world-famous rock stars that we dreamed about in our youth, but simultaneously being very satisfied to experience making the most out of our combined talent.

To me personally the lyrics are about getting old, embracing this and not giving a damn about how some parts of society seem to react to it. For some of us in the band this is somewhat of a cruel reality these days (ha ha...).

But I would like to think that anyone who experiences a situation where you’re forced to accomplish something, and just don’t have enough time to do it, can relate to the thematic here. Maybe you could simply say that it is about stress…

11. Your previous releases were praised for their unique blend of styles. Do you feel that your sound has evolved since those releases, and how does "Chronos" reflect that evolution?

Robert: The addition of Eva’s vocals introduced a new dimension to our sound. Really emphasising the contrast between the soft and delicate, and the raw power-parts of the song. 

As mentioned before, I also feel that our playing here is the best we have done so far. I’m really impressed with Filip and Stian’s parts, and it feels great to be a part of this collaboration.  

12. Looking ahead, how do you see your collaboration with Eva influencing future projects? Is there a possibility of working with other guest artists to further explore different musical directions?

Working with Eva was such a great and inspiring experience for us. We are constantly trying to develop our music further and her voice really added a new dimension to our sound. We will certainly continue our collaboration with her. Working and participating in TITU requires you to be open-minded and curious to explore new creative possibilities. Filip, Robert and Stian will always be the core of TITU, but we are of course open to collaborations with other musicians and artists on future releases.

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Interview Killed By Sorrow

Killed By Sorrow reunited in 2021, blending their past with new influences. Their latest EP "Careless of This Sadness" reflects their evolving sound and growing presence.

1. Killed By Sorrow reunited in 2021 after a long break. What inspired the band to get back together, and how did you decide on the new lineup?

With the ongoing Pandemic, we could only play in a private house. I was invited to Jam by our Bassist at the time Fred Lussier, he had a practice studio available with all the appropriate equipment. Regarding the new lineup, 2 of the original members are still in the Band, me: Sam Ham rhythm guitar and Charby on the drums. I already had another band with good friend Tommy Forand who played lead guitar. We finally found Sebastien Mailloux, a long time friend to be our official front man and lead singer.

2. Your latest EP Careless of This Sadness was released in 2023. How does this EP reflect the band's evolution since your reunion, and what themes are explored in the songs?

You can listen to 7 songs on this EP. Half of the album consist of songs that were composed several years ago and the other half were composed by both guitarists in terms of the music and riffs.  The lyrics of these songs will cover different subjects that varies from being a Gladiator fighting for your life to the overwhelming population on earth or just talking about good old times with a friend.

3. You’ve had the opportunity to share the stage with major acts like Killswitch Engage and Despised Icon. How have these experiences influenced your music and stage presence?

The experience of opening a Metal Festival “Festival au Lac” in your hometown for KilledSwitch Engage will forever be in our minds. This was one of the most surreal experiences we will ever have as a band and we are very grateful to have lived this. The organization and sound check along with the accommodations were on another level, everything was top notch. Hopefully in a few years we get to play again at “Festival au Lac”

4. The band formed back in 2000, and the metalcore/hardcore scene has evolved a lot since then. How have you adapted to the changes in the genre over the years, and what keeps Killed By Sorrow’s sound unique?

We try to make music that is easy to listen to with somewhat catchy lyrics that will most likely come back at some point in the song. This makes it easier for our fans to sing along with us during our live performance. It’s all about getting the crowd into it so they can have the best time when they come out and cheer KBS.

5. Your third EP is planned for the end of 2025. Can you give us any insights into the songwriting process so far, and how the new material compares to your previous releases?

We have already 80% of the third EP pretty much written so far. The process is moving smoothly and we are already trying some new songs in our show line up. The new songs are recorded in drop C, which give a much louder sound. Most of the new stuff is a bit heavier and will definitely get your head banging!

6. Fred Lussier played a key role in reviving the band in 2021. How has his leadership influenced Killed By Sorrow's direction, both musically and in terms of band dynamics?

 Unfortunately, Fred has left the band for other musical projects. His presence at the time has always been positive. We will keep great music memories of his time with us and wish him the best with his future projects.

7. You’ve performed at significant festivals like Festival au Lac and Festival Underground. How has the reception been at these shows, and what has it meant for the band's visibility in the Quebec metal scene?

Killed By Sorrow is slowly becoming a renowned band in the Quebec Metal Scene. We are also gaining new Facebook Fans every day and many bands from the area are asking us to perform with them. The reception at Festival au Lac and Festival Underground has been incredible and we have sold a large amount of our promotional items, T-shirts, hoodies, CD’s and stickers.

8. With each EP release, your sound seems to evolve. What do you think are the key elements that define Killed By Sorrow’s music, and how do you balance heaviness with melody?

Keep it simple and metal with great guitar riffs, heavy vocals and blasting dream beats!!

9. Having members with diverse backgrounds in bands like Fast Offensive, Sudden Fusion, and Narwhal, how do these different musical influences shape your songwriting and overall sound?

The musical background of every member is very important and we try to incorporate everyone’s ideas in the songwriting process.

10. Looking ahead, what are Killed By Sorrow’s goals for the future? Beyond the upcoming EP, are there any plans for tours or new collaborations?

We would love to be able to play overseas in the next few years. A European tour is something we all look forward to. The Wacken Open Air would probably be the most important festival we could imagine to play at.

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Interview Paganizer

In this interview, Paganizer discusses their latest EP Forest of Shub Niggurath, delving into its Lovecraftian influences, the band’s creative process, and their return to Xtreem Music. They also share insights on their evolving sound and upcoming projects.

1. First off, congratulations on the release of Forest of Shub Niggurath! Can you tell us what inspired the concept behind the EP, particularly its connection to the Lovecraftian mythos?
Well its a basic death metal cliché I guess actually haha. I love the Lovecraftian mythos and its lending itself greatly to be the aspect you use for lyrics. Not all songs are Lovecraftian though, some are more regular horror based as lets say Malediction Burns. But on the whole this EP is a homage to the mythos indeed.

2. With over two decades in the death metal scene, how do you keep your sound fresh while staying true to the brutal essence of Paganizer?
I dont know really... Do we keep it fresh? I think we’ve actually gone more towards shorter more concise stuff lately, but then again, we always incorporated crust and grind and did shorter stuff like on this EP. I think you just need to play what come from your heart, and don’t worry if its generic or fresh, just let it flow really.

3. This EP marks your return to Xtreem Music, the label that released some of your earlier albums. How has the relationship with Xtreem evolved over the years, and what made you decide to collaborate with them again?
Yes indeed, wich feels great too. Dave Rotten has been a very good friend for decades so when we planned for this EP we wanted to ask him, and he immediately agreed, so it was all very easy to do. Dave is easy to work with and there are never any delays or bullshit excuses, he is a very very soild guy and I love that.

4. You’ve included a track titled “Gasmask Obsession Redux” on this release. How does this version differ from the original, and what motivated you to revisit this track?
Well mainly the drums differ Id say. Fiebig had some ideas to update the drumming, put some grind into it and we played it like this lately. So when we planned the EP we thought Hey, why not record this song again too? And so we did and I think it sounds really great updated, while still maintaining everything from the original version too.

5. The EP feels like a prelude to something bigger, especially with the full-length album coming in 2025. Can you give us any hints about the direction or themes of the forthcoming album?
Its a bit of a mixed timeline really, as the EP was planned for after the album, as the album has been done for very long by now but delayed many times. So now it happened that they are released differently timed, its nothing we could do really. But yeah we are working on a new album now I can tell you also, wich goes along very well with the sound of the EP.

6. The song “Forest of Shub Niggurath” is an intriguing title. How did the themes of cosmic horror and the mythos of Shub Niggurath influence the songwriting process?
It crept in a little bit indeed. The titlae sounds murky and dirty almost, something horrible. And we wanted this slow crusty groove song to go with it, and it worked out really great if you ask me. I really love this song, its a creeper haha.

7. Paganizer’s sound is often described as blending atmospheric intensity with brutal death metal. How do you balance those two elements when writing new material?
Yeah we dont wanna just be into one style totally, we want to be oldschool as weve always been but also have good flow and good choruses inside the fdirty and foul heaviness. As ong should be both heavy and catchy if you ask me, and that is waht we think of when writing the music.

8. Your discography is vast, with 12 full-length albums and 9 EPs. Where does Forest of Shub Niggurath fit into Paganizer’s overall evolution?
Its a lot haha, and I think they all serve a purpose. Almost all anyways haha. I think the EP shows that we still have the dirty short songs with us, but also the ctachy stuff included and itll be revisited on the next album aswell. So the EP fits very well into the mass of releases so far.

9. Each member of Paganizer brings a wealth of experience to the table. How do you work together creatively as a band, and what was the writing and recording process like for this EP?
I usually write the music and then we rehearse it and everyone can say what they think. Fiebig arranges the drums, its always been like that. And it was the same process this time for the two main songs on the album. The other shorter more crusty grinding songs was just me and Fiebig improvising and recording as we went along. Me and him often do this as its fun and creative, and we end up with more spontaneous stuff wich is cool to add alnogside the more worked through songs.

10. The Swedish death metal scene has always been revered worldwide. How do you see Paganizer’s role in that scene, and what do you think sets Swedish death metal apart?
Well we came too late to be among the classic bands as we started out in 1994 as Terminal Grip, before changing the name in 1998 to Paganizer. But I guess these days when its been 30 years we are among the oldies in the scene indeed. We have always been met with respect and lots of people like what we do, so we feel we fit right in even if we never had the classic Swedish sound at all. We always sounded a bit different but we liked it that way. As for waht sets Swedish death metal apart, besides maybe the classic HM2 sound is that maybe there are more melodies in a way and more influence from the crust scene. You dont have that influence in lets say the US or the European scene.

11. Looking at the EP’s artwork and song titles, there's a strong thematic consistency. How important is it for you to create a cohesive narrative or atmosphere, both musically and visually?
Its very important I think. We told the title idea to the artwork guy Ivan Bragin and he came up with that Lovecraftian cover that fits killer. Everything should go along with eachother to make a complete package, thats really important I think. When you sit down with the album all the pieces should fit together.

12. Lastly, what can fans expect from Paganizer in the near future beyond the upcoming full-length album? Any plans for tours or special releases to promote Forest of Shub Niggurath?
Well we are already working on the next album, as the one coming out has been very delayed. And we have a festival gig planned in Denmark aswell, but besides that we take it a bit easy as always haha. I hope next year will bring more shows and that we can do a new album again rather soon, like a year after this coming one is released.

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Flesh Requiem | PAGANIZER | Paganizer (bandcamp.com)

Interview Black Pestilence

In this interview, we dive into the creative process behind Black Pestilence's latest album, Chaotic Wisdom, exploring their unique blend of black metal, punk rock, and noise.

1. ​Congratulations on the release of Chaotic Wisdom! Could you tell us about the creative process behind the album and how it differs from your previous works?

"Chaotic Wisdom” is Satanic d-beat. The music is formulated around typical punk rock song structures, while being projected through the playing style of black metal. Greater emphasis was placed on the samples used on this album in the form of additional percussion and cacophonous electronics. Many of the song lyrics touch base on various themes related to Satanic philosophy, societal stratification, and general debauchery. The greatest difference between this album and previous works is the total length. This is the shortest album to date with just under 25 minutes in run time. We focused on recording only the best songs written for this release.

2. You’ve been known for blending black metal, punk rock, and noise into a unique sound. How do you go about balancing these genres while maintaining a cohesive identity as a band?

It’s a balancing act. As I write music for this band, I always think of the primary elements that stick out for each genre and make sure they are present at some point within the song. For example, catchy choruses, d-beat drums, walking bass lines, and gang vocals will represent punk. Black metal is represented by tremolo guitars and high pitched harsh vocals. Finally, elements of noise are added throughout in the form of electronic programmed samples. Some songs will emphasize more elements of one genre over another, but as long as it is consistent to some degree, the band will be able to evolve sonically and visually over time.

3. Black Pestilence started as a one-man project but has since evolved into a powerful three-piece. How has this change impacted the band's dynamic and sound?

Evolving into a full band has definitely been a positive aspect. When I write, I present the music to the other members and then we rehearse it before going into the studio to record. This helps work out anything that may not fit properly, right from the start. Of course, it’s also nice to have a second opinion on everything as well. Their input has been a huge help in moving forward with the band musically and visually. Both of them put their own unique twist on the music during recording and live scenarios, which has helped shape Black Pestilence to what it is today.

4. The album’s title, Chaotic Wisdom, is intriguing. What’s the meaning behind it, and how does it reflect the themes or messages you explore in the music?

“Chaotic Wisdom” is the culmination of everything that has influenced the band to date. It feels a lot like organized chaos at times, especially navigating within the unknown. At the end of the day, it’s the knowledge gained through experience that represents undefiled wisdom.

5. Your live performances are renowned for their raw energy and intensity. How do you capture that same energy when recording in the studio?

Ironically enough, our recording sessions in the studio are the complete opposite from what you would see or hear on stage. We are relaxed and calculated in our recording sessions. It’s like a switch in your brain, you just need to turn it on when required, no matter the situation.

6. With seven albums and two EPs in your discography, how do you continue to push the boundaries and innovate with each new release?

The most important thing is to listen to different styles of music. I always try to incorporate an element of a different genre with each release. Sometimes when I listen to a song, I’ll make a note of what that particular song does differently and make sure I try something similar to that in the next song I write. Of course, it’s still very much a challenge to continue to innovate and write music that fits into our niche. I think every artist can relate to this dilemma.

7. The global music scene has embraced Black Pestilence, from your tours across Canada and Europe to your international fan base. How has your music been received in different parts of the world, and what’s been your most memorable experience so far?

Overall, the response has been mostly positive. There will always be people who won’t understand the mixture of black metal and punk rock or why we wear leather masks. I think people get a better impression of the band after seeing a live performance, as that is the true Black Pestilence experience. We’ve had many experiences on the road over the years. One of the most unique experiences that first comes to mind were the few times we played at Kontejnr in Postojna, Slovenia. The hospitality from the promoters and enthusiasm from the fans were incomparable to anything else. They represent the true underground.

8. In a world where metal often tackles darker themes, what role do you think music plays in addressing societal issues or creating awareness? How does Chaotic Wisdom fit into that dialogue?

Particularity with metal music, I think as a genre it is not afraid to comment on difficult or taboo subjects. “Chaotic Wisdom” has a number of songs on the album speaking on topics such a social stratification and societal division. “Chaotic Wisdom” fits into this dialogue by emphasizing that one should not be swayed so easily by the masses or by the opposing side. Despite all the influences in this world there is always a third side. All factions have their own agendas and people they aim to please.

9. Valax, as the band’s founder, how do you keep evolving both as a musician and a person, while still maintaining the core identity of Black Pestilence?

In regards to being a musician, I am always looking for new music to listen to. I even force myself to listen to music that I don’t like, just to see if I can find something different to take inspiration from. When I have the time, I will write music of different genres that I have no intention of releasing or even showing to others. This helps me stay in the zone and stay efficient with writing. I also play bass for live and recording sessions when people require it. Although session work is not as in demand as it once was before, I still occasionally get called up for something here and there. Almost always it’s for bass work on non-metal genres which I very much enjoy. In regards to me maintaining the core identity for Black Pestilence, this is something I think about often. It’s interesting running a masked band. At first, the theme of mystery was intriguing and entertaining for people. Now, I think it’s time to pull back the mask and show what the reality is behind the curtain. I don't think I will ever lose the mask as it has taken a life of its own within the band, but it’s also time to show more than that. At the end of the day, Black Pestilence is truly a representation of my life and who I am as a person, with or without the mask.

10. What can fans expect next from Black Pestilence? Any upcoming tours, projects, or surprises in store?

New music and more tours are in the works. Stay tuned!

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Interview Askemåne

Askemåne’s debut album Gravitasjon has captivated audiences with its blend of Nordic and shamanic influences. We discuss the album’s reception, standout tracks, and future plans.

1. It’s been a few months since the release of "Gravitasjon" in May. How has the reception been so far, and did it meet your expectations in terms of audience response?

The reception of this debut album has been really positive and exciting for us. As this was our first production, we didn't have much expectations! We obviously enjoy our music and make our best to share it on live and throught the web. A lot of lovely feedbacks gave (and still give) us much joy and passion to celebrate what's been done and create what's coming!

2. "Vinter Saga" and "I Rotasjon" were highly anticipated before the album's release. Looking back, how do you feel these singles set the stage for the rest of "Gravitasjon"?

The album idea was there since the beginning. During the composition process, we were thinking about 2 songs that would be interesting to present ourselves. The choice has been "Vinter Saga" for the soft and orchestral vibe, whereas "I Rotasjon" could show something primal and deep. Maybe we have been influenced by the chronology since "Vinter Saga" is our very first track ever composed...

In addition, each track has somehow its own identity! We hope that the whole album feels consistent.

3. The music video for "Dyaul" was released in April and created quite a buzz. What was the concept behind the video, and how did you bring the ritualistic elements to life?

We generally sing in Norvegian, French, and... spontaneous language, wich refers to something intuitive and impersonal. That's the case for "Dyaul". More that a strong message, the video is about the self, the roots, the interiority. So the script didn't have to be very precise. 

We worked with Raphael Klein for the video production : even if we globally knew what to do before filming day, we had grat time finding new ideas on the cave. So yeah, a little bit of preparation and a liltte more of improvisation!

4. Now that the album has been out for a while, have there been any standout tracks that fans particularly resonate with or that have surprised you in terms of popularity?

Seems not. Streams and discussions after lives shows that people's favorite track can be different! Some of music listeners prefers album's format, so is our audience maybe !

5. "Gravitasjon" blends modern production with primal, Nordic, and shamanic influences. How do you think this unique mix has contributed to the album's success and your growing fanbase?

We hope that this choice made this album versatile. We wanted to try an approach on the mix that is actual, with indeed ancient influences. It's always interesting to cross the genres and combine the methods! The aim was having something deep, mystic, powerful at the same time.

6. You worked closely with Guillaume Schappacher from Gravity Sound Prod on this album. Reflecting on that collaboration, what do you think he brought to the project that was essential to its final sound?

He's experience is mostly on metal music. Asuf' and him already worked together for Second Day's last album "Dawn", wich contains a neo-folk track named "Ghelan San". The result was convincing, so later, we naturally made the album whith Guillaume! We like his modern sound full of brillance, and his ideas during the production process have been precious.

7. Since May, have you had the chance to perform "Gravitasjon" live? If so, how have audiences responded to the new material in a live setting, and what has been your experience bringing these songs to the stage?

Yes we had the chance to perform at "Les passagers du Zinc" for the release party, "La guerre du Son" festival, and few other shows in France. The response was enjoyable for us, people are always so encouraging! The material had been played on stage before the album release date because it's the first one. So people who has show up at previous concerts already knew the new songs!

8. The album has been described as a "mystic travel" through Nordic and shamanic landscapes. Now that it’s out, do you feel that it achieved the spiritual or mystical journey you intended for listeners?

Question of individual! It depends of your music taste or sensibility.Yet, we know that some listeners really apprecieated the travel... That's what matters for us in the end.

9. As a band from Besançon, how do you feel your French roots have influenced your interpretation of Nordic and shamanic themes, especially after the album's release and reception?

No idea at all haha. Celtic heritage is part ouf inspiration for sure, among others. But our main influence register is nordic culture, if the french filter has an impact on the final result, it's not specially wanted!

10. Looking forward to the rest of 2024, what are Askemåne’s plans? Can fans expect any new music, videos, or perhaps a tour to continue promoting "Gravitasjon"?

As we are writing we are looking forward a show at Le Bastion on september 7th at Besançon (at home, so to say). Another live is programmed at Novosonic Festival (Dijon) on september 19th and after this one, we will focus on creation. No new release shall be out on 2024 but obviously next year...

 Askemåne - Neo/Dark Folk music band (askemane.com)

Interview Doulos

In this interview, we dive into Doulos' new single "Bellum," their commitment to core values, and how they use music to inspire both reflection and action.

1. Doulos has always been a band that stands by its beliefs and principles. How do you balance delivering hard-hitting music while staying true to your core values?

I think our core values always come first. We typically have an idea of what we want our songs to be about before ever writing a lyric or riff. The music I suppose is just an extention of ourselves individually. Whatever is on our hearts comes out through the filter of our collective musical inspirations.

2. "Bellum" has been described as a track that feels like a punch to the gut, with powerful riffs and relentless energy. What inspired this song, both musically and lyrically?

Quite frankly, we wanted to deliver an ignorantly heavy song that would stand alone in our discography. We took a slight departure from our typical sound. I think the idea was to have a droning yet evolving rhythm throughout the song, to really highlight the lyrics, which are really about fighting our inner demons, and I guess puffing our chests out at literal demons, to put it simply.

3. You’ve played charity shows and donated merch proceeds to support causes like the fight against sex trafficking. Can you tell us more about what drives you to use your platform for social good, and how this ties into the band’s ethos?

Doulos is a band, but we are also a ministry. We are in this space of being able to do really cool things. We can play DIY house shows, we can play venues, and we can play at churches. To us, having any platform, no matter how big or small, means we can try to help our fellow humans. If we weren't a band we would still be doing that. It's just what we are called to do.

4. Your previous releases, like The Middle Man EP and Birth Pains, have been well-received, with The Metal Onslaught praising your expertise. How does "Bellum" push the Doulos sound further?

Bellum is super heavy, a lot heavier than anything we have ever put out. It was intentional though. We want to have this sound be the last thing in people's ear before hearing what's next from us.

5. The hardcore scene can be a tough place to make a lasting mark. What’s it like navigating the modern metal landscape as a band from Riverside, and how has your journey shaped your music?

We just want to make music people can mosh to, and write lyrics that are meaningful. If that makes any lasting mark, then we're content. Hardcore is one of the only scenes where there are so many songs that talk about the scene itself. I think more than any other, people really take pride in it, especially from the Inland Empire where we're from. We've gotten to see the rebirth of the IEHC scene, and it's been really fun.

6. The militaristic drum patterns and tectonic-shifting riffs in "Bellum" really stand out. Can you talk about how you approached the songwriting and production of this single?

The idea for the song came first. We were very intentional on what it was about, and who it was for. The idea for the music was, let's just have one single riff that takes us through the entirety of the song. Something we never do. In fact, the sound engineer who records us has joked about how we have so many sections and tempo changes in our songs.

7. Rottweiler Records has been your home for this release. How has your partnership with the label helped Doulos grow, and what’s the experience been like working with them?

The Rottweiler guys are awesome, very supportive of our ideas and understand the ministry aspect as well. Plus is helps that they aren't put off by our sense of humor.

8. Hardcore is known for its raw energy and intensity, both live and on record. How do you channel that emotion and aggression when you’re performing, and what do you want your fans to experience during your shows?

We all are part of the hardcore scene and are constantly at shows. You can catch some of us at any given show moshing with everyone else. On stage we do the same. We want people to move, and the more they move, the more we do. Live shows are an intense exchange of energy, at least the best ones are.

9. You’ve mentioned that Doulos is unwilling to compromise or water down your music. How do you stay authentic to your sound and message when there’s pressure in the industry to conform?

For us compromise is not even an option. But we certainly have felt the pressure. We've said it before, but it seems we are "too Christian" for some, and "not Christian enough" for others. And that's fine.

10. With "Bellum" set to release on August 30th, what can we expect from Doulos in the future? Is this single a taste of what’s to come for your next album?
Bellum was inteted to stand on its own. So, while there might be some new things on our next record, you can still expect it to sound like xDoulosx.

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Interview BreaKdowN

BreaKdowN, formed in São Paulo and now based in Germany, discusses their musical evolution, recent EP Divide and Konquer, and the journey behind their enduring metal legacy.

1. BreaKdowN has had quite a journey, starting in Sao Paulo, then moving to Ireland, and now being based in Germany. How have these different locations influenced your music and the band’s evolution over the years?

Hey that is a great question, your mind changes quite a lot if you are able to live in different places, everybody is different and somehow similar, specially when comes to the metal people, our musical inspiration did not change much in reality…but lyrically yes, I can say lyrics has a broader approach now.

2. Your first full-length album, Time to Kill, gained a lot of attention in the global underground scene. How does your new EP Divide and Konquer compare to your earlier work in terms of sound and songwriting?

 Well, it adds over 15 years of thinking haha, we like to think we are somehow better and the sound in our minds can flow easier, but the spirit is the same, yeah, it is just easier to get things out, the band won’t change…so in sumamry better sound, better song writing.

3. After years of silence, what inspired you to return with Divide and Konquer? What was the creative process like after such a long break?

I never stopped actually, I have been always writing here and there and collecting ideas and riffs…these started to accumulate, and since life allowed, we decided to record and release.

4. The new EP blends influences from death metal, thrash metal, and NWOBHM. How do you balance these different styles while maintaining BreaKdowN’s signature sound?

To be honest I don’t think much, we try to let it flow, and work hard on making something I listen and enjoy, takes time for us and we are happy so far.

5. You worked with Andy Classen at Stage One Studio for the production of Divide and Konquer. What was it like collaborating with him, and how did his involvement shape the final sound of the EP?

Andy is a guide, a teacher and helped us making decisions, and avoided some non-sense in the studio, he is a professional, it is like you come with a lot of ideas and sounds and he put you on track and remove the excesses ….plus he pushes you to play hard! The recording is so faithful, we were not allowed so use a lot of distortions and effects, basically simple amps and play hard, it was incredible, I am looking forward to get back!

6. The EP was recorded in multiple locations, including drums in Brazil and some guitar and bass parts with Euge Valovirta. How did this international collaboration come together, and what challenges did you face during the recording process?

Yes the whole thing got help from some people, Our original drummer is in Brazil, recording with him was a lot easier, he knows what to do once he hears my riffs, I tried other guys but no success.

Euge is not far from me actually, and he has a nice collection of old amps, we wanted to add an extra spice on the already good sounds we got, so I went there and basically turned some knobs and I brought the sounds to Andy…then we spent a few days on the mixing process to reach the sound that was in my head, all these guys are pros, the collaboration was just great.

7. Can you tell us about the significance of the title Divide and Konquer? What message are you trying to convey with this EP?

Divide and Konquer is self-explanatory, it is about the age we are living right now. It is about the powers that keep pushing people against people to obtain control..it  does not let humanity see the control we leave in, we can rise, break the walls, the world could be better, it is  utopic of course, but this is the message.

8. The artwork for Divide and Konquer was created by Alcides Burn, and the music video was produced by Ingo Spörl. How did you collaborate with these artists to visually represent the music on the EP?

Alcides is a great artist and the right one for this job, you know typical situation, we made some drafts on paper, talked about the lyrics and few weeks later the comes with the entire thing ready, real artist. No comments!

Ingo the wizard of videos, same thing, send the music the lyrics, one or two ideas and then he comes with something great, fantastic video, and we almost got censored on YouTube…that is not the message corporations want to promote….anyways…

9. BreaKdowN has been around since 1998. How has the metal scene changed since you first started, and where do you see it heading in the future?

I believe you may have the same feeling, some things are exactly the same, you go to a local show or a larger one, very similar to the past… well we don’t trade tapes anymore…and all happens on the internet…it is faster! …regarding the music , you know every couple of years we got something new…but the underground scene is pretty much the same and will be in my opinion, the mainstream changes every couple f years with the genres of preference and so on, but pure metal will be here forever.

10. You’ve shared the stage with some major bands over the years. What have been some of your most memorable live experiences, and are there any upcoming live performances you’re particularly excited about?

Funny, most of my good memories and from local pubs and concerts, my great memories comes from small stages, when you have real people expecting real music then you have the spark and the gasoline…then it blows!!!  Actually, opening for major bands is cool, open doors and all… but needs to be done properly …I prefer small gigs and we debate a lot internally about that.

11. With Divide and Konquer out now, what are your plans for the rest of 2024 and beyond? Should we expect a full-length album soon?

We are writing, and preparing for live concerts , preparing a nice structure and elarning a bit here and there, I hope you hear about us soon…but yeah new music coming soon!  

12. For fans who have been with you since the beginning and those just discovering BreaKdowN, what can they expect from this new chapter of the band?

If you are with us since the beginning, you are old! Haha, thanks for the support! Oh I have so many names in my mind….For the newcomers, you are welcome, we are just normal people that love metal, welcome to the pit. Get in touch!

Metal Band | BreaKdowN - BKN

Interview Evilon

Swedish folk/melodic death metal band Evilon blends heavy riffs and enchanting melodies on their new album A Warrior’s Way. We spoke with Kenneth Evstrand to learn more!

1.  First off, congratulations on the release of A Warrior’s Way! Can you tell us a bit about the concept behind the album and how the title reflects the overall theme?

Hi and thank you! The songs reflect life and all it´s struggles, how you have to fight to survive. It handles such things as finding a place for yourself in this world, finding a home, sorrow and difficulties in life you have to cope with. The album title reflects you as a person fighting through everything that happens in your life, it's A Warriors Way.

2.  Your sound blends folk and melodic death metal beautifully. How do you balance the softer folk elements with the aggression of death metal in your songwriting?

Thank you again. The balance comes naturally when writing the songs, I aim for contrasts in the songs and I love how it sounds with heavy riffs mixed with enchanting melodies.

3.  The lyric video for “Yggdrasil” was recently released. What inspired this track, and why did you choose it as a lyric video to promote the album?

The inspiration comes from living and all you experience in life. Depending on the mode I´m in, melodies just emerge in my head. It often starts with a good melody, after that comes harmonising. The lyrics are about finding a place you can call home. The song is so strong so it was a natural choice for a single.

4. You’ve been compared to major bands like Amon Amarth, Ensiferum, and Wintersun. How does it feel to be associated with such giants of the genre, and what do you think sets Evilon apart from them?

It's an honor. I love those three bands and they all are a great inspiration. The songs on AWW are a timestamp from that period in my life when I wrote those songs. We have more melodies in our songs than for example Amon Amarth, the music is not as complex as many of the Wintersun songs. I believe we have a sound of our own.

5.  The album artwork by Gogo Melone is stunning. How did you collaborate with Gogo, and how does the artwork complement the themes of A Warrior’s Way?

Gogo is great, easy to work with and she has fantastic skills. I stumbled upon her artwork online, thought it was amazing and I sent her a mail asking if she wanted to work with us. The artwork fits with a warrior walking his path through life and the lyrics to the song A Warriors Way is about losing someone so the picture of the sky illustrates that.

6. Tracks like "Jotunheim" and "Valkyria" delve into Norse mythology. How important is mythological and historical storytelling to your music, and do you do research to ensure authenticity?

Norse mythology is something that we feel connected to and that we think fits very well with our music. Research has been done, yes.

7. With a rich Scandinavian metal scene, how do you stay true to your roots while also carving out your own distinct sound within the folk/melodic death metal genre?

Our roots is the north, the norse mythology as well as the nordic folk melodies. I try to write personal songs, try to find unique melodies and I try to get my personal feelings into the music, it´s therapy for me.

8. Can you tell us more about the recording and production process for this album? How did working with Robert Widell for mixing and mastering shape the final sound?

We recorded everything ourselves in our studio that we built ourselves. The production was a teamwork between the band and Robert. He did a mighty fine job with realizing the string arrangements.

9. What was the most challenging track to write or record on the album, and why?

Recording I think was Into The Battlefield because of its fast pace and kind of technical riffing.

10. As a band, how do you approach live performances? Do you incorporate any folk instruments or visual elements to enhance the Viking/folk metal experience?

We dress as vikings on stage. We have not had any folk instruments on stage yet.

11. Looking ahead, do you have any plans to tour in support of A Warrior’s Way? If so, where can fans expect to see you live?

No tours planned yet. We are planning and booking future shows so stay tuned for that.

12.  Lastly, for those who haven’t heard A Warrior’s Way yet, how would you describe the album in one sentence to get them excited to listen?

You will experience heavy riffing and enchanting nordic folk melodies in a mighty fine mixture combined with energetic vocals and instrumental performances!

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Evilon - A Warrior's Way (FULL ALBUM) (youtube.com)

Interview Goia Paranoia

Goia Paranoia, a 2024 Gothenburg-based band, blends doom, psychedelia, and dark energy in their debut album Pandemonium Overdrive, challenging conventions with raw intensity.

1. Goia Paranoia was founded in 2024 in Gothenburg—what inspired the creation of the band, and how did you all come together?
Starting from humble beginnings, as soon as we all met, we quickly bonded over a mutual curiosity for the heavier side of life. This in turn eventually led to what is now known as the Goia Paranoia project.

2. Your debut single "Black Out" has a dark, intense energy. Can you tell us more about the themes behind that track and what inspired its sound?
 Waking up conscious, not concious of what happened yesterday, is a theme that has touched so many of us. Stemming from that theme we simply tried composing, as well as conveying, an atmosphere equivalent to that anxious, gnarly feeling.

3. Following "Black Out," you've released "Scumbag Tone" and "Sadistic Cravings." How do these singles fit into the larger narrative of your debut album "Pandemonium Overdrive"?
The reason why these two songs became the first two singles are because they each explore two of many different musical dimensions that we currently are interested in exploring, which will be expanded later in its entirety throughout the album.

4. Your music has been described as having a "doom-laden, psychedelic barrage." How do you incorporate these elements into your songwriting process?
There’s not a lot of thought put in to it when it comes to the musical side of it, to be honest. However, we feel there’s not a lot of thought that has to be done. Usually we meet up and play the music we feel like playing and that’s about it.

5. The album title "Pandemonium Overdrive" suggests chaos and intensity. What does the title mean to you, and how does it reflect the mood or message of the album?
The album title sounded nauseously exciting to us as soon as we had it plotted down. To us, the two words together encapsulates the overall essence of the album's eight songs, at least from our way of looking at it.

6. You explore alternative worlds and extreme states of mind in your music. Can you tell us about the conceptual or lyrical inspiration behind this approach?
We all have a different perspective to life, hence we all view the world in our own alternative ways. This is the foundational inspiration behind our approach that we try to convey through eight different narratives, both in terms of the lyrical, as well as the musical side to it.

7. Goia Paranoia has been praised for appealing to a wide range of fans, from metalheads and goths to stoners and industrial lovers. How do you balance these diverse influences in your sound?
We tend to not think from a genre based perspective but rather from what suits our moods at the time. That being said we definitely gather inspiration from a wide range of musical scenes and have no interest in disregarding any of them.

8. "Pandemonium Overdrive" seems to challenge the status quo. What aspects of society or culture do you aim to confront with your music?
The ones that refuses to change!

9. How does the Gothenburg music scene influence your sound? Are there any local bands or artists that have shaped your music or attitude?
Both the old and the contemporary Gothenburg sound has surely had an influencial impact on our ways of searching for our own. As it turns out though, none of us are actually originally from Gothenburg, and we believe that influences from many different parts of the world together have shaped our current musical attitude.

10. Your live shows must be intense, given the energy of your music. What can fans expect from a Goia Paranoia performance?
Well it might not be clean as a whistle, nevertheless, you can always expect us to deliver our most raw, authentic and frantic selves. If you’d fancy a proper neck workout, our show is the perfect getaway for ya!

11. The name Goia Paranoia has a unique ring to it. How did you come up with it, and what significance does it hold for you?
That’s a very fuzzy, cloudy, foggy brain ride for us as we try to remember (classic case of a black out!). All of a sudden, it was just there: Goia Paranoia! And it just felt right. We had it as a suggestion for quite a while and by time it just kind of molded itself into our name.

12. What’s next for Goia Paranoia after the release of "Pandemonium Overdrive"? Are there plans for touring, more music videos, or other projects in the works?
Time will tell! We’ll continue to spread our message and playing our live shows. We have some things in the works and are open to most suggestions. We’re currently in the process of steering towards the next direction for the Goia Paranoia project, and at the time we don’t even know what that will look like completely. It’s up to the future to reveal!

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Interview Corpsefucking Art

In this interview, legendary Italian death metal band Corpsefucking Art discusses their latest album Tomatized, blending grotesque humor, cinematic horror, and unhinged brutality.

1. It's been six years since your last album Splatterphobia. How did you approach the creation of Tomatized, and what inspired the concept behind this album?
Hi, like all our albums, we waited for the ideas to fall into our heads. The album Tomatized is a natural continuation of the previous album, an expression that continues the amazing adventures of Mr. Daisy. The fundamental inspiration is everyday life, building our stories in a cinematic context soaked in many quotes from the world of art in general.

2. The album title Tomatized and the recurring theme of tomatoes throughout the record is both intriguing and unusual. Can you tell us more about how the idea of "tomato madness" came to life and what it represents in the context of the album?

Tomatoes are the beating heart of our sixth full length album, they are always present in Mr. Daisy's recurring nightmares, his dreamlike delusions are set in this strange city called Alpha City, where giant and cyclopean tomatoes dominate our planet. I can't tell you what part of my brain these tomatoes come from, I only know that it's fun to create stories around these funny vegetables. What do they represent? Fully our idea of ​​representing a disturbed mind. The mind of a psychopath who can't distinguish dreams from reality. The tomato, in this case tomato sauce, represents the blood that Mr. Daisy would like to make flow to his victims, but it's all fake, it's the script of an absurd and surreal movie.

3. Corpsefucking Art is known for its blend of death metal and grotesque humor. How do you balance these elements to create music that is both brutal and entertaining?

Nothing easier, no rules to create a good album that has these two components. I have never asked myself in what percentage I have calibrated the two aspects of our music, it is a natural path, now we have our own language, a trademark that distinguishes our art.

4. Tracks like "Hell Of The Living Dead" and "The Book Of The Dead" have a cinematic quality to them. Were there any particular horror films or stories that influenced the writing of these songs?

The two tracks in question are inspired by two movies respectively. The first is Virus, a movie by Bruni Matteri from 1980, the second Evil Dead, a famous movie from 1981 by Sam Raimi. Both have inspired me to build the story of this concept album. In general, each song of Tomatized, takes inspiration from a movie, which is remodeled to create a unique and original story.

5. The production on Tomatized is immense, with engineering by Alessio Cattaneo and mastering by Stefano Morabito. How did these collaborations shape the sound of the album?

Our ideas have always been clear from the very beginning about the final sound of Tomatized, we gave precise references to the millimeter, a great job has been done, especially in terms of mastering, we are very satisfied with the work of both.

6. Pierre De Palmas provided the artwork for Tomatized, which is striking and complements the album’s theme. What was the process like working with him to visually represent the album's concept?

I had worked with Pierre in the past for two albums that I produced with my label Despise The Sun Records, I have always loved his works, a great talent, I really like his rotten and detailed approach. For Tomatized I wanted to describe a nightmare of our Mr. Daisy, I wanted a trait that differed from the one used for reality. Our character is not seen this time, precisely because we are inside his nightmare. So from this album, the historic artist of our classic covers, Chris Moyen, will be joined by Pierre, surely for the future there will be a cooperation of the two artists for some sick idea.

7. With songs like "Escape From Alpha City" providing such an unhinged conclusion to the album, what kind of experience do you want listeners to walk away with after hearing Tomatized?

Our aim is always to give you a kick in the teeth ehehe Jokes aside, I like direct music, without frills and without parts where you can't understand what the two guitars are doing, this has always been the main peculiarity of Corpsefucking Art. I like to give a certain groove to the tracks, where the listener never gets bored and gets so excited that your headbanging never stops.

8. Corpsefucking Art has always been about pushing boundaries in both music and storytelling. How do you see the band evolving in the future, and what new madness can fans expect?

I already have so many ideas for the next album, every time I feel like I'm writing the script of a season for a TV series, lyrically this is my approach. Musically speaking, the path we want to take is already outlined, death metal is a very important part of our lives, our language is constantly evolving, only the future will tell us what will happen to Mr. Daisy.

9. The track titles and lyrics suggest a world of chaos, from bacterial holocausts to alien invasions. Do you see Tomatized as a commentary on any real-world events, or is it purely a fictional escape?

The chaos you perceive is in the sick mind of a psychopath, these are the inner monsters of Mr. Daisy. The character has always been unaware of the duality of his life, where reality and dream world intersect. In this album Mr. Daisy will become aware of his mental state and how he really lives. The last track of the album reveals something important and crucial for his life.

10.        Finally, what’s next for Corpsefucking Art after the release of Tomatized? Are there plans for touring, and how do you intend to bring the vegetable invasion to life on stage?

For now there will be a release party in our city, Rome, we will play at the second edition of the Rome Carnage Death Fest. We will bring on stage a setlist that will see both new tracks and tracks that will retrace the discographic path of Corpsefucking Art, taking some tracks from all our old productions. There are many projects coming and new adventures, long live the new flesh.

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Musique | Corpsefucking Art (bandcamp.com)