Apr 202026
 

(We present Comrade Aleks’ interview of Gregory Person from the Breton black metal band Möhrkvlth, whose new album Gwenojennoù An Ankounac’h is set for release by the Antiq label on May 5th.)

In the eight years since the release of their first album, the French band Möhrkvlth has seen almost a complete lineup change. However, this hasn’t stopped the new members from following the masterplan of the band’s lead guitarist Gregory Person, and another full-length work entitled Gwenojennoù An Ankounac’h is here. Their atmospheric black metal with notes of depression, lyrics in Breton, and very light hints of traditional music influences may be considered as authentic, and indeed it’s one of the most interesting and memorable black metal discoveries of this spring.

Antiq Records focuses on albums with stories behind them, and so do I, thus let me introduce you to Möhrkvlth further through this interview with the band’s founder.

Continue reading »

Apr 172026
 

(For the Dead, released in March on Remorseless Records, is the first full-length from the Canadian death-doom entity Rötual, and what follows is Comrade Aleks’ interview of band-member Nicolas Miquelon.)

Since the release of the Canadian Norilsk’s first album, I haven’t missed a single one of their albums, and at some point I noticed that their guitarist Tom Hansen and vocalist Nic Miquelon, alongside their comrades Ben Bertrand (bass) and Mike Berrigan (drums), had formed a side project called Rötual. Over the course of a couple of years, the project grew into a band and recently released their first full-length album.

While Norilsk has taken liberties with the doom genre throughout their career, allowing for various experiments in related areas, Rötual strictly adheres to quite traditional death-doom. The men have invested expertly in the material and managed to successfully include virtually every element in the album For the Dead, from short bursts of lead guitar to its massive and dirty riffs, from growling parts to brief passages of clean vocals – and all in all it works and hooks.

The band’s ideology adheres to a pernicious, deadly canon, as evidenced not only by the cover and the album title, but also by track titles like “Mycelium,” “Worms,” ​​and “To Live Is to Rot,” which I adore for its mournful, clear-voiced chorus. At the same time, For the Dead doesn’t feel particularly decadent – ​​it’s clear that the band approached the work creatively, not simply taking the framework of ’90s death-doom but transforming it with their own ideas. As always, there’s hope that such a move as an interview may draw more attention to the band, and here we are to spread the word For the Dead together with Nicolas Miquelon. Continue reading »

Apr 152026
 


photos by Ekaterina Yakyamseva

(Comrade Aleks has brought us many good interviews for many years, all of them worth some attention, but some stand well forward of others, and this discussion with Johan from Rikets is one of them. Read it and you’ll see why.) 

The debut album by Swedish death metallers Riket was released to mark the band’s tenth anniversary. And it’s not just another melodic death metal band, as, foremost, all lyrics are written in the native language and it’s inspired by historical events in Sweden. And as you may imagine, the album’s title 2026 isn’t just a number. At the same time, there’s no room for the usual metal cliches like Vikings’ conquests or war in Riket’s lyrics, and every song is named after the year when this event took place. The band focuses on more specific authentic topics, which you will learn from the interview below.

Meanwhile Riket has created an organic, well-produced, and honest album in the key of sophisticated yet straightforward melodic death metal. And 2026 has every chance of being remembered by listeners for more than just the lyrics. Continue reading »

Apr 102026
 

(On March 13th FDA Records released Eulogy to Blasphemy, the fourth album by the Swedish death metal band Gluttony, and that motivated Zoltar to arrange the following interview with founding member and guitarist Anders Härén.)

Considering the rather ‘modern’ (for lack of better terms, as this had probably more to do with the average age of the musicians involved  than anything else) take on death metal that MY OWN GRAVE had, it was too tempting to some to call them out as posers once the word got out that three quarters of its line-up all of a sudden decided to play it old-school with a full-on HM-2-fueled mindset as GLUTTONY. But if jumping on the SweDeath wagon is one thing, the band’s first proper album Beyond The Veil Of Flesh released back in 2014 was not.

Maybe it had something to do with having a singer (Magnus Ödling) with a more black metal background (the man did front SETHERIAL for fifteen years plus) or the unusually tight rhythmic approach à la VOMITORY, but a cheap DISMEMBER/ENTOMBED throw-off it was not. Twelve years later, the band are releasing their fourth and probably best record to date, Eulogy To Blasphemy, and it was all too tempting to ask their founding member and guitar player Anders Härén why his thirst for the HM-2 hasn’t dried out yet… Continue reading »

Apr 092026
 

“Das Grausen” (1901-1903) – Alfred Kubin. Sourced from the Obelisk Art History project and serves as the Smiqra and Ὁπλίτης banner image. Expressionist symbolist and at times avant-garde Austrian artist who also wrote one novel.

(The release of the debut album Rɡyaɡ̇dźé! by the Chinese project Smiqra probably provided the motivation for our contributor Vizzah Harri to get in touch with the project’s creator JL, but the interest had already flourished due to JL’s other previous musical projects. In any event, the interview that Harri presents below was the result of a roughly year-long dialogue, and it is a fascinating thing to read at your leisure.)

The multi-instrumentalist, linguist, and shapeshifting artist JL, of Smiqra, Ὁπλίτης and Vitriolic Sage fame, graced us with a correspondence in a language they are not fluent in. It’s remarkable that they set aside time to read, translate, and answer our questions while they were still very busy academically.

The term avant-garde often gets thrown round without much thought as to what it means or pertains to. If you ask a philosopher, art professor, music theorist, and a critic you might come to a bunch of different answers as to how it relates to their context. Generally, it has to do with exactly what it means in the original French, advanced guard. That which pushes the boundaries of convention. In that comfortable niche of discontent with the status quo, Smiqra and Rɡyaɡ̇dźé! comes across as a logical evolution from Ὁπλίτης, an album that was reviewed here last year. Continue reading »

Apr 022026
 

(Today we present Comrade Aleks’ interview of the two members of the atmospheric black metal band Enterré Vivant, with a focus on their very interesting latest album released by the Antiq label.)

Akuzaï, the third album of Enterré Vivant, a duo of Erroaik and Sakrifiss, was released almost one year ago, and it’s still the most up-to-date album of this project which I didn’t totally skip yet failed to investigate properly during 2025. Being influenced by Summoning, Woods of Infinity, and Mystic Forest, this duo works remotely, as Erroaik locates in France, and Sakrifiss relocated to Japan over 25 years ago.

Enterré Vivant progresses coherently if we speak about the music, and Akuzaï delivers both depressive and atmospheric black metal with an authentic touch for sure, yet this time the projects also hooks with the plot behind ten new tracks. The album’s concept is centered around a Buddhist idea of ten sins and World War II, and one can barely connect one to another, so it was one of many points to organize in this interview. Continue reading »

Mar 312026
 

(Today we follow up yesterday’s NCS premiere of Malauriu’s new album The Third Nail with this interview by Comrade Aleks of bandmembers Schizoid and RM.)

Malauriu (“Bad Omen”) was formed in Sicily in 2013. The band’s lineup has changed several times, fitting its anarchic black metal image. Today, all of Malauriu’s members have relocated to the UK, and the only remaining original member is guitarist, bassist, and keyboardist Schizoid. Having recorded two full-length albums, five EPs, and participated in nearly ten splits, Malauriu have prepared their third major effort, aptly titled The Third Nail.

The album’s cover, which depicts a unique scene from a Sicilian religious festival, is undoubtedly a highlight, but for a more complete picture, check out the tracklist, which includes a cover of GG Allin’s “Abuse Myself, I Wanna Die,” featuring the growl of the monstrous Mentors’ founder Dr. Heathen Scum. This unbridled ode to self-destruction is delivered with a distinctive, unbridled punk drive and extreme vocals, and its lyrical content, as well as its destructive delivery, generally matches the spirit of the album. Fueled by nihilism and prickly malice, the blackened “Death Celebration,” “The Curse of All Flesh,” and “Empowerment Rites”, or the slower, dense, textured “Purple Ceremony” grant everything you may expect from the songs with such names.

In order to reveal some details behind The Third Nail’s production, we organized this interview with Schizoid himself and the band’s vocalist RM. Continue reading »

Mar 262026
 

(Comrade Aleks brought us the following excellent interview of the two members of Urluk, an Italian band whose new album will be released next month by Pest Records.)

We interviewed Italian Urluk two years ago or so, and back then they performed haunted and doomed black metal with an original authentic concept that was soaked with bleak shadows of abandoned dwellings and grim countryside. At least this description helped to better perceive their full-length More, and I expected something similar from the band’s second album Memories in Fade that is announced to be released on April 10th via Pest Records.

Yet the truth is that Urluk remained true to their lyrical concept but changed musical direction significantly. Memories in Fade combines the elements of alternative rock, black metal, and ambient alongside some specific pieces which are difficult to categorize. But in the end of the day, they are still Urluk, and I’m glad to support the band with another interview. Continue reading »

Mar 202026
 

(Today we present Comrade Aleks’ interview of Kristjan Virma from the long-running Estonian band Taak, whose latest album was released last October.)

With the Estonian band Taak, things are both simple and complex. Formally, the band has been around since 2004, but in fact, that year the entire lineup of Estonia’s first doom metal band, Dawn of Gehenna, simply changed its name and, to a certain extent, its concept.

Taak (“burden”) took up more old-fashioned material, something akin to proto-doom, and began writing and performing lyrics in their native language. The result is authentic, melodic, heavy, and engaging. Meanwhile, you may remember all of this due to another “exception from rules” interview we did here with the band in December 2020. Time flies. Today, only Ott “Otipowitch” Oras (bass) and keyboardist Kristjan Virma (guitars, keyboards) remain from the original Taak lineup, but I must say, their sixth album, Surmalaev (“Death Ship”), sounds like it was written by a well-coordinated, experienced band that holds true to its roots and knows what to do with that legacy. Continue reading »

Mar 192026
 

(A couple of weeks ago Vendetta Records released the debut album of the Swedish black metal band Lömsk. Attracted by the cover art, our Comrade Aleks fell into the album and emerged with a desire to interview the band, and the following discussion with Lömsk’s bassist and vocalist followed.)

War became a part of our background, and it seems that mankind’s feelings towards this everyday catastrophe have become dull. And like the devil turned to be a banal part of black metal’s cultural code, so images of war transformed into just another aspect of extreme metal spirit. Yet the artwork of the new album by the Swedish black metalists Lömsk somehow attracted my attention, and the nine nihilistic hymns of Act II – Of Iron and Blood deliver some twisted excitement – enough to make a little effort and ask about an interview.

And lo! There’s something probably far more behind the scenes of that burning city and its smouldering ruins. Continue reading »