Interview with black death metal band from Chile - BLASART.
Recenze/review - BLASART - Depravatus Christianis Sacris (2026):
Ave BLASART! Greetings to the Chilean underground. I hope everything is going well for you. It should be, since you have released the second great full-length album of your career this year. I must admit that it literally pinned me to the wall. It's dark, energetic, cutting like a sharp knife. It's very clear that you've done a great job and that you have a lot of talent. How do you perceive the new album in relation to your previous recordings? Where did you want to go with it and how do you think the recordings are different?
Ave Deadly Storm Zine! Thank you for your words — we truly appreciate it.
We definitely see Depravatus Christianis Sacris as a significant step forward compared to our previous recordings. The Art Of Blasphemy was more instinctive, raw and immediate — it captured a certain energy, but it was less structured and less deliberate in its execution.
With this new album, we wanted to move towards something more cohesive and intentional. Not only in terms of sound, but also in atmosphere and overall direction. The goal was to create a work that feels unified from beginning to end, rather than a collection of separate tracks.
The main difference lies in maturity. The songwriting is more controlled, the dynamics are more defined, the identity of the band and the messsage is clearer.
We were not trying to simply sound heavier or faster, but to build something with more depth and permanence.
"Depravatus Christianis Sacris" has all the attributes of good death and doom metal. For me personally, it's an album I love to come back to. How did it come about? How does BLASART compose new material?
We appreciate that perspective! even though we see ourselves primarily rooted in black and death metal, it’s interesting that you perceive elements beyond that, as Doom. Maybe the atmosphere and weight are aspects that you considered. It’s very interesting.
Well, about the álbum, it came together over a longer and more stable period for the band. One key factor was having a more consistent lineup, which allowed us to develop ideas with greater continuity and focus.
In terms of composition, the process usually begins with core guitar structures, which are then expanded through layering and arrangement. From there, we work collectively to shape the dynamics, especially focusing on how tension and release evolve within each track. The drums play a central role in defining the direction of the songs, establishing a strong and deliberate rhythmic foundation that guides the overall intensity.
Who is responsible for the sound? I have to admit that the sound is literally killer. It keeps making me turn up the volume on my hi-fi system. You have a sound that is cruel, raw, dark, and animalistic, with an analog feel. How did you work together and why did you choose him? In which studio did you record and how did everything go?
The sound was handled by Carlos Fuentes, who was responsible for the mixing and mastering of the album.
From the beginning, we were looking for someone who could understand the balance between rawness and clarity. We didn’t want a polished or overly clean and simple Production. The intention was to preserve the aggression and atmosphere while still giving each element enough space to breathe.
Carlos was deeply involved throughout the process, not just from a technical standpoint, but also in understanding the identity we were aiming for. There was a constant exchange of ideas, which allowed the sound to evolve naturally without losing its essence.
The result is exactly what we were aiming for: something cruel, dark and organic, with a certain analog character, but still defined and powerful.
The process went smoothly overall, mainly because there was a clear vision from both sides. It wasn’t about forcing a sound, but about shaping what was already there into its most honest form.
An integral part and a kind of bonus for fans today is the music CD (cassette, vinyl). You released it on Lavadome Productions and it has a hellish cover. Who is the author? How did you choose the motif and how does it relate to the music on the new album?
The artwork was created by the extremely talented Luciana Nedelea.
From the beginning, we had a clear idea of what we wanted to represent — a vision of the church not as a place of salvation, but as something oppressive and consuming. Luciana understood that direction perfectly and translated it into a highly detailed and disturbing visual composition.
The central motif shows a monumental structure that resembles both a cathedral and a monstrous entity, with an entrance that suggests a devouring force. Beneath it, human figures are depicted in states of suffering and chaos, reinforcing the idea of domination and decay.
This imagery is directly connected to the atmosphere and intention of the album. The music follows a similar path — oppressive, intense and ritualistic — so the artwork functions as a visual extension of that experience.
I must admit that I was also intrigued by your texts, which deal mainly with anti-Christianity. Why this topic in particular? What is the situation in Chile with regard to the church? Does it influence the situation in your country in any way? I mean, for example, education, politics, or the banning of concerts, etc. What is your relationship to faith?
Anti-Christianity, in our case, is not approached as a superficial provocation, but as a response to what we perceive as a deep historical contradiction.
The Church, as an institution, has held immense power throughout history, and that power has often been accompanied by actions that stand in direct opposition to the values it claims to represent. That tension — between doctrine and reality — is something we find impossible to ignore.
Our perspective is mainly directed at the institutional aspect rather than personal faith. We are not concerned with individual belief, but with structures that position themselves as moral authorities while being involved in practices that contradict those same principles.
In Chile, the influence of the Church has been significant, especially historically, although its role has changed over time. There is a growing distance and critical view from society, particularly in response to scandals and loss of credibility.
For us, this is less about opposition for its own sake, and more about questioning imposed narratives. The themes we explore come from that need to confront and reinterpret what is often presented as unquestionable.
I have been wandering the underworld for almost thirty-five years, and I go to Chile for music because I know I won't be disappointed (I love PENTAGRAM CHILE and SADISM!). I think we have a similar nature and taste when it comes to metal. I really like your bands and follow your scene closely. Maybe I envy you a little, because we only have a few death metal bands that are worth mentioning. How do you explain the fact that death metal is so successful in your country? How do you perceive your scene, fans, labels?
Thank you for your words, especially coming from someone who has been following the underground for so long. My sincere respect.
Death Metal Bands like Pentagram Chile, Criminal, Undercroft, Atomic Aggresor, Dominus Xul, Totten Korps, Inanna, and Sadism are fundamental pillars of the Chilean scene, and they helped shape a strong identity early on. Alongside them, many other acts have contributed to building a consistent and respected underground presence.
In Chile, metal has always had a very committed audience. Considering the size of the country, the scene is surprisingly active and diverse. It’s not only about death metal — black metal (Xul ov Kvlten, Animus Mortis, LvxCaelis, Missa Mortvm, Selbst), doom (Mar de Grises, Poema Arcanvs, Wooden Veins, Mortajas), and traditional heavy metal are also deeply rooted and constantly evolving.
There is a sense of persistence within the scene. Many bands operate independently, driven more by conviction than by external recognition, and that gives the music a certain authenticity.
From our perspective, the Chilean scene is strong, passionate and constantly renewing itself, with both established and emerging bands contributing to its identity.
You play old-school-influenced death metal. Today, bands can't avoid comparisons, but I'd be interested to know how the idea to form BLASART came about, who your role models were and are, and where you want to take your band. Are you attracted to big international festivals, are you willing to go on tour with a more famous band?
Blasart was formed as a result of a shared vision among its members — a need to create something that combined the intensity of extreme metal with a stronger emphasis on atmosphere and conceptual depth.
While our sound may be perceived as rooted in old-school death metal, we see it more as a convergence between black and death metal. Our goal has never been to replicate a specific sound, but to develop something that feels authentic and consistent with our vision. With ‘Depravatus Christianis Sacris’, that direction became much clearer and more defined.
Looking forward, we want to continue evolving without losing that core identity. Bringing the album into a live setting is a priority, especially in a way that preserves its atmosphere and intensity.
Sure, we are open to playing international shows, festivals, or touring opportunities, as long as they align with the spirit of the band. For us, it’s not just about scale, but about context — sharing the stage with artists and events that resonate with what Blasart represents.
When I started my website ten years ago, I had a vision that I would try to support bands that I felt weren't getting enough attention. To let the world know about them. I think I'm doing pretty well, at least according to the feedback. How do you approach promotion? Do you leave it to the label, or do you send CDs out for reviews yourself? I buy albums that I really enjoy. How about you? Are you also fans who like to support your colleagues often? Do you go to concerts? Do you party?
First of all, we really respect that approach. Supporting underground bands and giving them visibility is essential, and it’s something that keeps the scene alive.
In terms of promotion, we work closely together with Lavadome Productions. Jan has been consistently supportive from the very beginning, and his commitment to the album has been clear throughout the entire process. We share the same level of conviction — both in the work itself and in how it is being presented.
At the same time, we also try to stay involved in spreading the material whenever possible. It’s a combined effort, where both the band and the label contribute to getting the music out there.
As listeners, we are deeply connected to the physical format. We collect CDs, vinyl and tapes, and we actively support bands we believe in. Attending shows is also an important part of that — we go to concerts regularly, and it’s something that keeps us grounded within the scene.
One of our members will even be attending Brutal Assault this year, which says a lot about how we experience metal not only as musicians, but as fans.
For us, this goes beyond making music — it’s about being part of a community that we genuinely believe in.
On the one hand, today's up-and-coming bands have a lot of opportunities to make themselves known, but on the other hand, there are so many bands that fans get lost in the crowd. Many people just download MP3s from the internet and instead of going to concerts, they prefer to spit venom on Facebook. How does modern technology influence you as BLASART? What do you think about downloading music, Google metalheads, streaming music, etc.?
Modern technology is a double-edged sword. On one hand, it gives bands the possibility to reach a global audience without the limitations that existed years ago. It allows underground projects to be discovered far beyond their local scenes, which is something valuable, in a way.
On the other hand, the sheer volume of content has made everything more disposable. Music can be consumed quickly and forgotten just as fast, and that can take away from the depth and attention that a record deserves.
We understand that streaming and digital platforms are part of the current landscape, and we use them as tools for dissemination. However, we still believe that the full experience of music goes beyond that — it involves time, attention and, ideally, a physical connection to the work. So, it’s imposible remove the physical format.
For us, supporting bands through physical formats, attending shows and engaging with the scene in a real way remains essential. Technology can amplify the reach, but it cannot replace the substance.
I like to ask musicians what death/black metal means to them. How would they define it, is it more of a philosophy and lifestyle for them or "just" relaxation. What does it mean to you? How do you perceive and experience it?
For us, black and death metal are more than just musical genres, they represent a form of expression that goes beyond entertainment.
It is not necessarily a “lifestyle” in a literal sense, but it is deeply connected to a way of understanding and interpreting reality. There is a certain honesty in extreme metal — a willingness to confront ideas, emotions and contradictions without filtering or softening them.
What draws us to it is precisely that intensity. It allows us to explore themes that are often uncomfortable or ignored, and to transform them into something tangible through sound.
For us, it is both a creative outlet and a way of channeling perspective — something that demands commitment, not just passive consumption.
Finally, a classic but important question. What does BLASART have planned for the coming months? Where can we see you in concert, and when will you be visiting Europe? If you have a message for your fans, labels, or promoters, now is the time...
In the coming months, we have several live performances planned in Chile, including the official release show for Depravatus Christianis Sacris. Bringing the album into a live setting is a key focus for us, as we want to translate its atmosphere and intensity into something tangible on stage.
At the same time, we are open to opportunities beyond our local scene. Playing in other countries — especially in Europe — is something we are definitely interested in. The intention is there, and we are ready for it when the right opportunity arises.
To everyone who has supported the band — listeners, labels, promoters and the underground media — we truly appreciate it. This kind of support is what keeps the scene alive and allows projects like ours to continue evolving.
We invite those who connect with the álbum, to experience it fully, whether through the recordings or in a live setting. This is only one stage of the path.
Thank you very much for the interview. I wish you every success with your new album and hope that your fan base grows as much as possible. I look forward to seeing you live somewhere and wish you all the best, both musically and personally. I'm going to listen to "Depravatus Christianis Sacris" again!
Thank you for your time and for the thoughtful questions. We truly appreciate the support!
It means a lot to know that the album resonates with you, and we’re glad it’s something you return to.
We hope to cross paths in the future, perhaps at a live show.
All the best,
Blasart
Recenze/review - BLASART - Depravatus Christianis Sacris (2026):
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