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úterý 21. července 2026

Interview - MOUFLON - A raw, mangy, dark, and cold exhumation of ancient, cursed doom death metal graves!


Interview with doom death metal band from Netherlands - MOUFLON.

Recenze/review - MOUFLON - Eros & Thanatos (2026):

Ave MOUFLON! Greetings to the Dutch underground. I hope everything’s going well over there. It should be you’ve released the third fantastic full-length album of your career this year. I have to admit, it literally pinned me to the wall. It’s dark, energetic, and cuts like a sharp knife. It’s very clear that you’ve done a great job and brought a lot of talent to the table. How do you see the new album in relation to your previous work? Where did you want to take things, and in what ways do you think these recordings are different?

Thanx for the compliment. The new album is a huge step up from previous recordings. Working with Ronny Kessels and Brad Boatright was the right choice to take it to the next level of filth and debauchery. They delivered the perfect sound for us. Everything sounds harder, voilent and filthier. We took more time to work on the songs and rehearsed them till everything was right. Lyrically it went deeper into the subjects of paraphilia and the collages in the booklet displays the lyrics in images. Artwork and the concept of the album are now more in line with each other then with the older releases. We wanted to take things to a next level of brutality and violence with the music and lyrics and we think that we accomplice this with the album.

“Eros & Thanatos” embodies all the attributes of good death and doom metal. For me personally, it’s an album I love coming back to. How did it come together? How does MOUFLON compose new material?

It's almost like a reverse decomposition process. Instead of tearing things apart, we slowly let them take shape. During rehearsals we always leave room to jam, experiment, and see where new riffs lead us. That's how the first track on Eros & Thanatos crawled out.

In 2024, we locked ourselves in the studio for an entire weekend with nothing but our instruments and these rough ideas. By the time we walked out, four more songs had emerged. From there, everything evolved organically. The lyrics gave each track its own identity and themes, the arrangements became more refined, and the solos finally found their place.

By 2025, the material had fully matured. We entered the studio and recorded the entire album over two long, intense weekends. There wasn't a master plan from the beginning—just riffs, atmosphere, and a shared vision that gradually grew into what Eros & Thanatos has ultimately become.


Who handled the recording and mixing? I have to say, the sound is absolutely killer. It keeps making me turn up the volume on my stereo. You’ve created a sound that’s brutal, raw, and at the same time dark and primal. How was it working together, and which studio did you record in? How did everything go? The sound is truly gritty, massive, and cuts like a knife.

Ronny Kessels at Overdose Audio handled the recording, while the album was mastered by Brad Boatright at Audiosiege, the guy who did also bands like Obituary and countless other metal acts.

Our approach is pretty straightforward. No fancy tricks, no overproduced bullshit. We use old-school amps, simple distortion pedals, a four-string bass, and a stripped-down "cut the crap" drum kit, no triggers or any of that. The vocals come straight from the guts—raw, powerful, and honest.

When we enter the studio, the songs are already about 95% finished. We don't work with a producer telling us what to do or pushing us in a certain direction. We write our own material and record it exactly the way we want it to sound. That's what death metal is about for us.

We've known each other for a long time, so working together feels completely natural. Everyone knows their role, and the chemistry is already there before the red light comes on. Recording weekends are always a blast, even though we keep ourselves on a tight schedule to capture that aggressive, uncompromising energy and put it on tape.

We're really glad you picked up on the sound. We wanted the album to be brutal, dark, raw, and alive not polished to death. If it makes you crank the volume every time, then we achieved exactly what we set out to do.


An integral part of the release and a sort of bonus for fans is the CD. You released it on Iron Fortress Records, and it features a deathly, mysterious cover. Who designed it? How did you choose the motif, and how does it relate to the music on the new album?

The artwork was created by Joost De Bruijn from The Bone Collector Tattoos. We've known Joost also for a long time and over the years he's done several designs for the band. He's more than just an artist to us he understands who we are and what our music stands for.

When it comes to the artwork, we give him complete freedom. We don't hand him a detailed concept maybe a direction but we dont’t tell him what to draw. He knows our sound, our lyrics, and the atmosphere we're trying to create, so we trust his vision completely. Every time he comes back with something that feels like a natural extension of the music. The collages on the inside of the booklet are made by RJ (singer)

I’ve been wandering through the underground scene for over thirty years now, and when it comes to music, I always turn to the Netherlands it’s a sure bet. I think we have similar personalities and tastes when it comes to metal. I really like your bands and follow your scene closely. Maybe I even envy you a little we only have a few death metal bands back home that are worth checking out. How do you explain why death metal is doing so well in your country in particular? How do you perceive your scene, fans, and labels?

We do not have an explanation on why death metal is doing so well here. There is a big metal scene and a lot of shows through out the week. Lots of bands, fans and labels that are committed to the scene.


You play old school influenced doom death metal. These days, a band can’t really avoid comparisons, but I’d be interested to know how the idea to form MOUFLON actually came about, who your role models were and are, and where you want to take your band? Are you tempted by big international festivals, for example? Would you be willing to go on tour with a more famous band?

MOUFLON was formed in 2012 out of a shared love for the old school. The bands that shaped us were Entombed, Autopsy, Bolt Thrower, Gorefest and Asphyx. The riffs, the atmosphere and the sound came naturally because that's the music we grew up with. It's part of our DNA, and that's what eventually surfaced.

Of course, comparisons are inevitable, but we don't chase trends or try to reinvent death metal. We'd rather write honest metal that feel authentic than force ourselves to sound "modern." As long as the music is heavy, memorable and comes from the right place, we're satisfied.

As for the future, we're happy to play wherever people want to hear us. We enjoy club shows just as much as festivals, and we've played outside our own country whenever the opportunity presented itself. Playing larger international festivals would be an nice, and if the right tour with the right band came along, we'd certainly be interested. But touring takes a lot of preperation and planning.


When I started my website ten years ago, my vision was 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 it, at least judging by the feedback. How do you approach promotion? Do you leave it to the label, or do you send CDs out yourselves for reviews? For example, I buy albums that I really enjoy. How about you? Are you also fans who like to support your peers often? Do you go to concerts? Do you party?

Promotion never stops. We handle our own social media and keep the communication direct. Our label has its own way of spreading the word, and we support that by providing photos, quotes and whatever is needed. It's a joint effort, and that's how it works best.

And yes, we're fans first. We buy records, and show up at concerts and festivals whenever we're not on stage ourselves. The underground only survives if bands support each other instead of competing over scraps. We like discovering new music, meeting old friends, drinking beers and celebrating death metal the way it was always meant to be—loud, honest and without bullshit.

On the one hand, every band today has plenty of ways to get their name out there, but on the other hand, there are so many bands that fans get lost in the crowd. A lot of people just download MP3s from the internet and, instead of going to a concert, prefer to spew venom on Facebook. How does modern technology affect you as MOUFLON? What do you think about downloading music, Google Metalists, streaming music, and so on?

Originality always survives. We've downloaded music ourselves in the past, so we're not going to preach about it. Technology is simply another tool, and we use it to spread our music as far as possible.

For MOUFLON, modern technology has been more of a weapon than an obstacle. It allows us to reach listeners all over the world, stay in direct contact with our supporters, and release our music without depending on the old machinery of the industry. We're definitely not nostalgic for the days of mailing CDs to promoters and waiting weeks for a reply.

Sure, streaming and downloading may have their financial downsides, but that's not why we make music. We'd rather have our songs infect someone on the other side of the planet than have them gathering dust on a shelf. If people connect with what we create, come to a show, or support us in whatever way they can, that's what really matters.

 

I like to ask musicians what death metal means to them. How would they define it—is it more of a philosophy and lifestyle for them, or “just” a way to relax? What does it mean to you? How do you perceive and experience it?

That differs from person to person. We're all coming from different backgrounds, so death metal means something slightly different to each of us.

For some of us, it's an outlet a way to channel everything that builds up beneath the surface. For others, it's simply where we feel most at home, doing what we genuinely love. It isn't about playing a role or living some stereotypical lifestyle. It's about honesty and expressing something real through heavy music.

At the same time, you have to keep your balance. Passion is essential, but if you let it consume every part of your life, it can destroy you. Some of us have experienced that firsthand. That's why MOUFLON is about creating music with conviction, while keeping both feet on the ground.

Finally, a classic but important question. What does MOUFLON have planned for the coming months? Where can we see you in concert? If you have a message for fans, labels, or promoters, this is the place…

Check out the website for coming shows and news. Euro version of cd and vinyl will be out soon. No further messages.

Thank you so much for the interview. I wish your new album every success and hope your fan base grows as much as possible. I look forward to seeing you live somewhere, and I wish you all the best both musically and personally. I’m off to blast “Eros & Thanatos” in my head again!


Recenze/review - MOUFLON - Eros & Thanatos (2026):


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Rozhovor - MOUFLON - Syrová, prašivá, temná a chladná exhumace starých prokletých doom death metalových hrobů!


Rozhovor s doom death metalovou skupinou z Holandska - MOUFLON.

Recenze/review - MOUFLON - Eros & Thanatos (2026):

Ave MOUFLON! Zdravím do holandského undergroundu. Doufám, že je u vás vše v pořádku. Mělo by, máte na kontě letos třetí dlouhohrající skvělé album své kariéry. Musím se přiznat, že mě doslova přikovalo na zeď. Je temné, energické, řeže ostrou hranou nože. Je hodně slyšet, že jste odvedli skvělou práci a taky velká porce talentu. Jak vnímáš novou desku v souvislosti s vaší předchozí tvorbou? Kam jak jste se chtěli posunout a v čem jsou podle tebe nahrávky odlišné?

Díky za kompliment. Nové album je oproti předchozím nahrávkám obrovským krokem vpřed. Spolupráce s Ronnym Kesselsem a Bradem Boatrightem byla správná volba, která ho posunula na další úroveň špíny a zhýralosti. Dodali nám perfektní zvuk. Všechno zní tvrději, divočeji a sprostěji. Věnovali jsme práci na písních více času a zkoušeli je, dokud nebylo všechno v pořádku. Textově se album hlouběji zabývalo tématem parafilie a koláže v bookletu zobrazují texty v obrazech. Grafika a koncept alba jsou nyní více v souladu než u starších vydání. Chtěli jsme hudbou a texty posunout věci na další úroveň brutality a násilí a myslíme si, že k tomu albem přispíváme.

„Eros & Thanatos“ ztělesňuje všechny atributy dobrého death a doom metalu. Pro mě osobně je to album, ke kterému se rád vracím. Jak vzniklo? Jak MOUFLON skládá nový materiál?

Je to skoro jako proces obráceného rozkladu. Místo abychom věci roztrhávali, necháváme je pomalu nabývat tvaru. Během zkoušek si vždycky necháváme prostor na jamování, experimentování a sledování, kam nás nové riffy zavedou. Tak vznikla první skladba na albu Eros & Thanatos.

V roce 2024 jsme se na celý víkend zavřeli ve studiu jen s našimi nástroji a těmito hrubými nápady. Než jsme odešli, objevily se další čtyři písně. Od té doby se vše organicky vyvíjelo. Texty daly každé skladbě vlastní identitu a témata, aranžmá je propracovanější a sóla konečně našly své místo.

Do roku 2025 materiál plně dozrál. Vstoupili jsme do studia a nahráli celé album během dvou dlouhých, intenzivních víkendů. Od začátku neexistoval žádný hlavní plán – jen riffy, atmosféra a společná vize, která se postupně rozrostla v to, čím se Eros & Thanatos nakonec stali.


Kdo je podepsán pod nahráváním a mixem? Musím potvrdit, že zvuk doslova zabíjí. Pořád mě to nutí na hi-fi věži přidávat volume. Byl vám vytvořil zvuk, který je krutý, surový a zároveň temný a živočišný. Jak se vám spolupracovalo a v kterém studiu jste nahrávali? Jak vše probíhalo? Zvuk je opravdu prašivý, masivní a řeže tou správnou stranou nože.

Nahrávání se postaral Ronny Kessels z Overdose Audio, zatímco mastering alba zajistil Brad Boatright z Audiosiege, chlápek, který dělal i kapely jako Obituary a bezpočet dalších metalových kapel.

Náš přístup je docela přímočarý. Žádné vychytávky, žádné přeprodukované kecy. Používáme staromódní zesilovače, jednoduché distorční pedály, čtyřstrunnou basu a ořezanou bicí soupravu typu „cut the craw“, žádné triggery ani nic podobného. Vokály jdou přímo z nitra – syrové, silné a upřímné.

Když vstoupíme do studia, písně jsou už asi z 95 % hotové. Nepracujeme s producentem, který nám říká, co máme dělat, nebo nás tlačí určitým směrem. Píšeme si vlastní materiál a nahráváme ho přesně tak, jak chceme, aby zněl. O tom je pro nás death metal.

Známe se už dlouho, takže spolupráce je naprosto přirozená. Každý zná svou roli a chemie mezi námi je už dávno, než se rozsvítí červená. Nahrávací víkendy jsou vždycky pecka, i když máme napjatý program, abychom zachytili tu agresivní a nekompromisní energii a nahráli ji na kazetu.

Jsme opravdu rádi, že jste ten zvuk pochopili. Chtěli jsme, aby album bylo brutální, temné, syrové a živé, ne vyleštěné k smrti. Pokud vás to pokaždé donutí zvýšit hlasitost na maximum, pak jsme dosáhli přesně toho, co jsme si předsevzali.


Nedílnou součástí a jakýmsi bonusem navíc je pro fanoušky dnes CD. Vy jste jej vydali u Iron Fortress Records a je opatřeno mrtvolným, tajemným obalem. Kdo je jeho autorem? Jak jste motiv vybírali a jak souvisí s hudbou na novince?

Grafiku vytvořil Joost De Bruijn z The Bone Collector Tattoos. Joosta známe také dlouho a v průběhu let pro kapelu vytvořil několik návrhů. Je pro nás víc než jen umělec, chápe, kdo jsme a co naše hudba představuje.

Pokud jde o grafické návrhy, dáváme mu naprostou svobodu. Nedáváme mu detailní koncept, možná směr, ale neříkáme mu, co má kreslit. Zná náš zvuk, naše texty a atmosféru, kterou se snažíme vytvořit, takže jeho vizi plně důvěřujeme. Pokaždé se vrátí s něčím, co působí jako přirozené rozšíření hudby. Koláže uvnitř bookletu vytvořil RJ (zpěvák).

Toulám se podsvětím již přes třicet let a do Holandska si chodím pro muziku vlastně na jistotu. Myslím, že máme podobnou náturu i vkus, co se týká metalu. Mám vaše kapely hodně rád a pečlivě sleduji vaši scénu. Možná vám i trošku závidím, my máme u nás jen pár death metalových smeček, které stojí za to. Čím si to vysvětluješ, že zrovna u vás se death metalu tolik daří? Jak vnímáš vaši scénu, fanoušky, labely?

Nemáme vysvětlení, proč se death metalu u nás tak daří. Je tu velká metalová scéna a spousta koncertů po celý týden. Spousta kapel, fanoušků a vydavatelství, kteří jsou této scéně oddáni.


Hrajete doom death metal ovlivněný starou školou. Dnes se vlastně kapela nemůže vyhnout srovnání, mě by ale zajímalo, jak vlastně vznikl nápad založit MOUFLON, kdo byl a je vaším vzorem a kam vaši kapelu chcete posunout? Lákají vás třeba velké zahraniční festivaly, jste ochotni vyrazit na turné s nějakou slavnější smečkou?

MOUFLON vznikli v roce 2012 ze společné lásky ke staré škole. Kapely, které nás formovaly, byly Entombed, Autopsy, Bolt Thrower, Gorefest a Asphyx. Riffy, atmosféra a zvuk se nám vkrádaly přirozeně, protože to je hudba, se kterou jsme vyrůstali. Je to součást naší DNA a ta se nakonec vynořila.

Samozřejmě, srovnávání je nevyhnutelné, ale nehoníme se za trendy ani se nesnažíme znovuobjevit death metal. Raději píšeme poctivý metal, který působí autenticky, než abychom se nutili znít „moderně“. Pokud je hudba těžká, zapamatovatelná a pochází ze správného místa, jsme spokojeni.

Co se týče budoucnosti, rádi hrajeme všude, kde nás lidé chtějí slyšet. Klubové koncerty si užíváme stejně jako festivaly a hráli jsme i mimo naši zemi, kdykoli se naskytla příležitost. Hraní na větších mezinárodních festivalech by bylo fajn a kdyby se objevilo správné turné se správnou kapelou, určitě bychom o to měli zájem. Ale turné vyžaduje hodně příprav a plánování.


Když jsem před deseti lety zakládal svoje stránky, měl jsem vizi, že se budu snažit podporovat kapely, které podle mě nejsou tolik na očích. Dát o nich vědět světu. Myslím, že se mi to celkem daří, alespoň podle ohlasů. Jak přistupujete k propagaci vy? Necháváte to na labelu nebo sami posíláte CD různě na recenze? Já si třeba alba, která mě opravdu baví, kupuji. Jak jste na tom vy? Jste také fanoušci, co rádi a často podporují své kolegy? Chodíte na koncerty? Paříte?

Propagace nikdy nekončí. Staráme se o vlastní sociální média a komunikaci udržujeme přímou. Náš label má svůj vlastní způsob šíření informací a my to podporujeme poskytováním fotografií, citátů a čehokoli potřebujeme. Je to společné úsilí a tak to funguje nejlépe.

A ano, v první řadě jsme fanoušci. Kupujeme si desky a objevujeme se na koncertech a festivalech, kdykoli sami nejsme na pódiu. Underground přežije jen tehdy, když se kapely navzájem podporují, místo aby soupeřily o zbytky. Rádi objevujeme novou hudbu, setkáváme se se starými přáteli, pijeme pivo a oslavujeme death metal tak, jak měl vždycky být – nahlas, upřímně a bez keců.

Na jednou stranu má dnes každá kapela spoustu možností, jak o sobě dát vědět, ale zase na druhou stranu, skupin je obrovské množství a fanoušci se v nich ztrácejí. Hodně lidí jen stahuje mp3 z internetu a místo koncertu raději plive jedovaté sliny na facebooku. Jak vás, jako MOUFLON ovlivňují moderní technologie? Co si myslíš o stahování muziky, google metalistech, streamování muziky apod.?

Originalita vždycky přežije. V minulosti jsme si hudbu sami stahovali, takže o tom nebudeme kázat. Technologie je prostě další nástroj a my ji používáme k šíření naší hudby co nejdále.

Pro MOUFLON je moderní technologie spíše zbraní než překážkou. Umožňuje nám oslovit posluchače po celém světě, zůstat v přímém kontaktu s našimi podporovateli a vydávat naši hudbu, aniž bychom se spoléhali na staré stroje hudebního průmyslu. Rozhodně nejsme nostalgičtí po dobách, kdy jsme posílali CD promotérům a týdny čekali na odpověď.

Jistě, streamování a stahování může mít své finanční nevýhody, ale to není důvod, proč děláme hudbu. Raději bychom nechali naše písně nakazit někoho na druhé straně planety, než aby na ně padá prach na poličce. Pokud se lidé spojí s tím, co tvoříme, přijdou na koncert nebo nás jakkoli podpoří, na tom opravdu záleží.

 

S oblibou se ptám muzikantů na to, co pro ně znamená death metal. Jak by jej definovali, jestli je pro ně spíše filozofií a životním stylem nebo „jen“ relaxem. Co znamená pro tebe? Jak jej vnímáš a prožíváš?

To se liší od člověka k člověku. Všichni pocházíme z jiného prostředí, takže death metal pro každého z nás znamená trochu něco jiného.

Pro některé z nás je to ventil, způsob, jak se vypořádat se vším, co se hromadí pod povrchem. Pro jiné je to prostě místo, kde se cítíme nejvíc doma, děláme to, co nás opravdu baví. Nejde o hraní rolí nebo o stereotypní životní styl. Jde o upřímnost a vyjádření něčeho skutečného prostřednictvím těžké hudby.

Zároveň si musíte udržet rovnováhu. Vášeň je nezbytná, ale pokud ji necháte pohltit každou část vašeho života, může vás zničit. Někteří z nás to zažili na vlastní kůži. Proto jde u MOUFLON o tvorbu hudby s přesvědčením a zároveň o to, abychom zůstali nohama na zemi.

Na závěr klasická, ale důležitá otázka. Co chystají MOUFLON v nejbližších měsících? Kde vás můžeme vidět na koncertě? Pokud máš nějaký vzkaz pro fanoušky, labely, promotéry, tak zde je prostor…

Sledujte webové stránky s informacemi o nadcházejících koncertech a novinkách. Brzy vyjde evropský formát CD a vinylu. Žádné další zprávy.

Děkuji moc za rozhovor. Přeji nejen nové desce spoustu úspěchů a ať se co nejvíc rozšíří řady vašich fanoušků. Budu se těšit někde naživo a ať se vám daří jak po hudební stránce, tak i v osobní rovině. Jdu si „Eros & Thanatos“ zase narvat do hlavy!

Recenze/review - MOUFLON - Eros & Thanatos (2026):


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čtvrtek 16. července 2026

Recenze/review - SOOTHSAYER - The Unbinding (2026)


SOOTHSAYER - The Unbinding
CD 2026, Apocalyptic Witchcraft Recordings

for english please scroll down

Ztracený v krvavé mlze, kráčím dál. Vstříc věčnosti, do temnoty, do nekonečných bažin utrpení. Oproštěn od běžných věcí, od stereotypu všedního dne, opět hledám hudbu, která mě přenese do jiných dimenzí, do světů, kde vládne všemocná příroda. Kousek za naším domem, v černých lesích, hledám své kořeny. Našlapuji tiše, rozdrásán novým albem irských SOOTHSAYER, směrem do hlubiny, hledám jedinou, ryzí pravdu, ukrytou hluboko pod povrchem.

Není žádným tajemstvím, že mám pro tuhle kapelu velkou slabost. Psal jsem recenze na jejich předchozí počiny a máme spolu i skvělý rozhovor (odkazy naleznete dole pod dnešním článkem). Nové, letošní album, je potom volným pokračováním věcí minulých. Opět se jedná o starodávný, magický rituál, prováděný mezi menhiry, na pohřebištích, na kterých jsou pochováni druidi. Je něco tajemného, záhadného, naléhavého, co mě nutí se k hudbě této smečky stále vracet. Je to ryzost, opravdovost, uvěřitelnost a naprostá autenticita, které mě na jejich nové nahrávce opět fascinují. 


Doom metal je zde kombinován se sludge prvky, to vše zabalené do pevných pavučin čitelného a řezajícího zvuku. Toulám se po lesích, sleduji život i smrt v jejich opravdové, drsné podobě. Zrození, utrpení a nakonec se z nás stanou jenom kusy masa. Tahle kapela umí napsat velmi dobré skladby, vytvořit podmanivé nálady, které kolem mě nejdřív létaly jako můry kolem ohně, aby se potom, spáleny na popel, dostaly i do mé krve a podvědomí. Na nové album "The Unbinding" je nutný klid, ticho a nejlépe i tma a chlad. Teprve potom vylezou na povrch jednotlivé nuance. Novinka je muzikou pro poutníky věčností, pro přemýšlivé jedince s bohatou fantazií, pro lidi, kteří mají rádi přírodu a její záhady v její syrové podobě. Irové jsou na nové desce vášniví, ale i vznešení, majestátní. Celou nahrávkou se potom vine takový zvláštní neklid, touha, smutek, ale i naděje, která jako vždy umírá až poslední. Stávám se při poslechu zase jednou morbidním básníkem, jsem napnutý, riffy i melodie se mi zadírají pod kůži. Nerad kapely k někomu přirovnávám, ale pro představu zmiňuji jména jako EREMIT, CULT OF LUNA, JUPITERIAN, PRIMMORDIAL, NEGURA BUNGET, MY DYING BRIDE. S těmi mají stylově SOOTHSAYER několik styčných bodů a lze je zařadit do stejného, podobného stylu. Čím jsem starší, tím raději si čtu ve starých spisech, hledám v archívech. Zastavuji se uprostřed lesa, zklidňuji svoji mysl a poslouchám u toho nové album těchto tmářů. Zpomaluji všechny svoje životní funkce a hudba se stává mojí nedílnou součástí. Ztracený v krvavé mlze, kráčím dál. Vstříc věčnosti, do temnoty, do nekonečných bažin utrpení. Oproštěn od běžných věcí, od stereotypu všedního dne, opět hledám hudbu, která mě přenese do jiných dimenzí, do světů, kde vládne všemocná příroda. Našel jsem jí. Nezbývá než kapele poděkovat, vyseknout poklonu až k zemi a vydat se na další cestu do lesů, do hor, k řekám, do bažin.  Syrové, chladné, divoké a nespoutané ozvěny ze starých pohřebišť! Pradávný rituál, který vás zahalí do krvavé mlhy! Album plné doom metalové věčnosti!

Asphyx says:

Lost in a blood-red fog, I keep walking. Toward eternity, into the darkness, into the endless swamps of suffering. Freed from mundane matters, from the monotony of everyday life, I once again seek music that will transport me to other dimensions, to worlds where all-powerful nature reigns. Just beyond our house, in the dark forests, I search for my roots. I tread quietly, captivated by the new album by the Irish band SOOTHSAYER, heading toward the depths, seeking the one, pure truth hidden deep beneath the surface.

It’s no secret that I have a soft spot for this band. I’ve written reviews of their previous releases, and we’ve also done a great interview together (you’ll find the links below today’s article). This year’s new album is a loose continuation of their past work. Once again, it’s an ancient, magical ritual performed among menhirs, at burial grounds where druids are laid to rest. There’s something mysterious, enigmatic, and compelling that keeps drawing me back to this band’s music. It’s the purity, sincerity, believability, and absolute authenticity that once again fascinate me on their new recording. 


Doom metal is combined here with sludge elements, all wrapped up in a dense web of clear, cutting sound. I wander through the forests, observing life and death in their true, raw form. Birth, suffering and in the end, we become nothing more than pieces of flesh. This band knows how to write excellent songs and create captivating atmospheres that at first fluttered around me like moths around a fire, only to be burned to ashes and seep into my blood and subconscious. To fully appreciate the new album "The Unbinding", you need peace, quiet, and ideally darkness and cold. Only then will the individual nuances come to the surface. This new release is music for wanderers through eternity, for contemplative individuals with vivid imaginations, for people who love nature and its mysteries in their raw form. On this new album, the Irish are passionate, yet also noble and majestic. A peculiar restlessness, longing, sadness, and yet hope which, as always, dies last winds its way through the entire recording. As I listen, I once again become a morbid poet; I’m on edge, and the riffs and melodies get under my skin. I don’t like to compare bands to others, but to give you an idea, I’ll mention names like EREMIT, CULT OF LUNA, JUPITERIAN, PRIMMORDIAL, NEGURA BUNGET, and MY DYING BRIDE. SOOTHSAYER shares several stylistic similarities with them and can be classified within the same, similar genre. The older I get, the more I enjoy reading old texts and searching through archives. I stop in the middle of the forest, calm my mind, and listen to this new album by these dark artists. I slow down all my bodily functions, and the music becomes an integral part of me. Lost in a bloody fog, I keep walking. Toward eternity, into the darkness, into the endless swamps of suffering. Freed from mundane matters, from the monotony of everyday life, I once again seek music that will transport me to other dimensions, to worlds where almighty nature reigns. I have found it. All that’s left is to thank the band, bow down to the ground, and set out on another journey into the forests, the mountains, the rivers, and the swamps. Raw, cold, wild, and untamed echoes from ancient burial grounds! An ancient ritual that will shroud you in a bloody fog! An album full of doom metal eternity!


about SOOTHSAYER on DEADLY STORM ZINE:






tracklist:
1. Eroding the Sky 
2. Sooner Acceptance 
3. Endless Shesha 
4. The Vine 
5. A Vague Shimmer 

Line-up:
Liam Hughes - Vocals
Marc O’Grady - Guitars
Gerard O' Callaghan - Drums
Con Doyle - Guitars
Pavol Rosa - Bass




pondělí 13. července 2026

Recenze/review - MOUFLON - Eros & Thanatos (2026)


MOUFLON - Eros & Thanatos
CD 2026, Iron Fortress Records, The Limit Records

for english please scroll down

Kráčím nekonečnou tmou. Po stěnách stéká hnis a pod nohama mi křupají plesnivé zpuchřelé kosti. Ze stran na mě sahají ruce nemrtvých, zatínají do mě své drápy, odsekávají mi kusy masa z těla. Jdu stále dál, musím. Plazím se po slizké zemi, cítím, vnímám neskutečnou bolest a utrpení, které se kolem mě vznáší jako děsivé svědomí. Možná jsem v očistci nebo v samotném pekle. Netuším. Je to jako noční můra, která se změnila v krutou realitu. Umírám a znovu se rodím, v nekonečném kruhu. Nakonec dojdu svého cíle. Za řekou Smrti jsou bažiny zapomnění. V nich se, roztrhán na kusy novým albem holandských maniaků MOUFLON, utopím a zalknu vlastní krví.

Pokaždé, když poslouchám nějakou dobrou nahrávku, tak začne moje fantazie pracovat na plné obrátky. Hlavou mi létá spoustu pochmurných, mrtvolných myšlenek a mám pocit, že se mi hudba dostane do hlavy. Je to již moje druhé setkání s kapelou a rovnou dodávám, že opět dopadlo na výbornou. Death a doom metal v tomto provedení mi již od přelomu osmdesátých a devadesátých let minulého století koluje v žilách. Je mojí součástí a MOUFLON se povedlo se mi dostat do hlavy, pod kůži i do podvědomí. Jsme stejné krve!

Hraje se zde pro všechny pravověrné, opravdové fanoušky pohřbů do země. Žádné zbytečnosti, ani kompromisy. Kapela sází na silné, morbidní melodie, chladnou a temnou atmosféru a mohu vám podepsat vlastní krví, že se jim to daří na výbornou. Jako vždy velmi oceňuji, že jsou pánové uvěřitelní, ryzí, že hrají od srdce a jejich nové album je naprosto autentické. Připadám si, jako by mě někdo na několik nocí zavřel do márnice a nechal mě, abych rozmlouval s nemrtvými. Tma je při poslechu naprosto černá, chlad podmanivý a skladby jsou napsány s jediným účelem, roztrhat vás na kusy. Pokud jste fanoušci třeba takových BOLT THROWER, AUTOPSY, GOREFEST, ASPHYX, ENTOMBED, tak určitě víte o čem píšu. Těmito legendami se nechali MOUFLON volně inspirovat, přidali spoustu svých nápadů a invence a výsledkem je album, které řeže tou správnou stranou nože. Nevím, jestli jste někdy byli u exhumace prokletého hrobu, ale věřte tomu, že již nemusíte. Výsledný dojem je totiž velmi podobný jako společné seance s novým albem "Eros & Thanatos". Smrt je při poslechu velmi blízko, stojí spolu s démony ve stínu a usmívá se. Není divu, hraje se tu i pro ní i pro všechny tmáře. Líbí se mi, jakým způsobem je nová nahrávka napsaná, jaký má v sobě drive, pradávnou sílu posbíranou v tom nejhlubším podzemí i na dávno zapomenutých pohřebištích. Za mě, starého psa, který hlídá vstup do podsvětí již několik dekád, vám mohu tohle album jenom doporučit. Na povrchu je chladné a syrové, uvnitř ale hoří černým plamenem. Kráčím nekonečnou tmou. Po stěnách stéká hnis a pod nohama mi křupají plesnivé zpuchřelé kosti. Ze stran na mě sahají ruce nemrtvých, zatínají do mě své drápy, odsekávají mi kusy masa z těla. Jdu stále dál, musím. Plazím se po slizké zemi, cítím, vnímám neskutečnou bolest a utrpení, které se kolem mě vznáší jako děsivé svědomí. Možná jsem v očistci nebo v samotném pekle. Syrová, prašivá, temná a chladná exhumace starých prokletých doom death metalových hrobů! Shnijete zaživa v bažinách zapomnění! 


Asphyx says:

I walk through endless darkness. Pus runs down the walls, and moldy, crumbled bones crunch beneath my feet. Hands of the undead reach out at me from the sides, sinking their claws into me, tearing chunks of flesh from my body. I keep going; I have to. I crawl across the slimy ground, feeling and sensing the unimaginable pain and suffering that hangs around me like a terrifying conscience. Perhaps I am in Purgatory or in Hell itself. I have no idea. It’s like a nightmare that has turned into a cruel reality. I die and am reborn, in an endless cycle. Finally, I reach my destination. Beyond the River of Death lie the swamps of oblivion. There, torn to pieces by the new album from the Dutch maniacs MOUFLON, I’ll drown and choke on my own blood.

Every time I listen to a good recording, my imagination goes into overdrive. My head is filled with all sorts of gloomy, deathly thoughts, and I feel like the music is seeping into my brain. This is already my second encounter with the band, and I’ll say right away that it turned out great once again. Death and doom metal in this style has been coursing through my veins since the turn of the 1980s and 1990s. It’s a part of me, and MOUFLON has managed to get into my head, under my skin, and into my subconscious. We’re cut from the same cloth!


This is for all true, die-hard fans of earth burial music. No frills, no compromises. The band relies on powerful, morbid melodies and a cold, dark atmosphere, and I can swear on my own blood that they pull it off brilliantly. As always, I really appreciate that these guys are believable and genuine, that they play from the heart, and that their new album is completely authentic. I feel as if someone had locked me in a morgue for a few nights and left me to converse with the undead. The darkness is pitch-black as you listen, the chill is captivating, and the songs are written with a single purpose: to tear you to pieces. If you’re a fan of bands like BOLT THROWER, AUTOPSY, GOREFEST, ASPHYX, or ENTOMBED, then you definitely know what I’m talking about. MOUFLON drew loose inspiration from these legends, added plenty of their own ideas and creativity, and the result is an album that cuts with the right edge of the knife. I don’t know if you’ve ever been to the exhumation of a cursed grave, but believe me, you don’t have to be. The overall impression is very similar to a shared séance with the new album “Eros & Thanatos”. Death is very close while you’re listening; it stands alongside the demons in the shadows and smiles. No wonder this music is played for Death and for all the forces of darkness. I love the way this new album is written the drive it has, the ancient power gathered from the deepest underground and long forgotten burial grounds. As an old hand who’s been guarding the entrance to the underworld for several decades now, I can’t recommend this album highly enough. On the surface, it’s cold and raw, but inside it burns with a black flame. I walk through endless darkness. Pus trickles down the walls, and moldy, crumbled bones crunch beneath my feet. From the sides, the hands of the undead reach out to me, sinking their claws into me, chipping away pieces of flesh from my body. I keep going; I have to. I crawl across the slimy ground, feeling and sensing the unimaginable pain and suffering that hovers around me like a terrifying conscience. Perhaps I am in purgatory or in hell itself. A raw, mangy, dark, and cold exhumation of ancient, cursed doom death metal graves! You will rot alive in the swamps of oblivion!


Recenze/review - MOUFLON - Pure Filth (2022):


Tracklist:
1. The Divine Wind (Special Attack Unit) (04:58)
2. When Lone Wolves Gather (04:09)
3. Sun and Steel (03:17)
4. Nullectomy (05:08)
5. Scalp-Hunting (04:25)
6. Primitive Violent Instinct (04:11)
7. Libertine Lust (04:06)
8. She Who Is Death (03:39)




úterý 7. července 2026

Recenze/review - PROCESSION - The Witch King (2026)


PROCESSION - The Witch King
EP 2026, Iron Fortress Records

for english please scroll down

Děsivá noční můra se zase jednou změnila ve skutečnost. Pach rozkládajících se, mokvajících těl, ležících v různém stádiu rozkladu tvořil morbidní obrazce. Smrt byla velmi blízko, smála se ve stínu. Kráčel si opatrně, aby tě bažiny zapomnění a věčného smutku nestrhly do hlubiny. Děsil ses vlastního stínu i utopence, který s každým riffem, melodií, vyplouval na povrch jako nějaké šílené svědectví. PROCESSION jsou doom death metalovou skupinou z Clevelandu, Ohia a věnují se záhrobním věcem člověka.

Když jsem jejich nové EP slyšel poprvé, tak se mi v kostech usadil mráz. Obejmula mě, jako nějaké pevné pavučiny tma a byl jsem převezen přes řeku Styx na druhou stranu, do země nekonečných stínů. Převozníkovi jsem zaplatil touto nahrávkou. Jen se na mě podíval, souhlasně kývnul hlavou a oba jsme najednou věděli, že se jedná o desku, kterou budeme ještě dlouho poslouchat. Náš názor nám ihned potvrdili všichni nemrtví, démoni i Satan, který mě přivítal na svém trůnu. 


Společná setkání s "The Witch King" jsou tak spíše starodávným obřadem pro vyvolávání temných sil, než jen obyčejným poslechem. Riffy jsou ostré, mokvající, syrové a ohlodané na kost. Bicí zabíjejí na potkání a vokál připomíná právě probuzenou bestii. Celkově na mě potom působí novinka velmi uvěřitelně, opravdově, surově a naprosto autenticky. Procházím se ruinami prokletého kostela, navštěvuji stará pohřebiště. Zastavuji se u náhrobků s nápisy jako AUTOPSY, ANATOMIA, MYTHIC, MYSTIC CHARM. Těmi se pánové volně inspirovali, přidali své morbidní ingredience a vytvořili EP, u kterého se budete kývat do rytmu jako já, starý hrobník. Hlídám vstup do podsvětí již skoro 35 let a do své diskografie si pouštím už jen kapely, které mě dokáží přesvědčit na svoji stranu, které řežou tou správnou stranou nože. PROCESSION splňují všechny mé požadavky a s klidem bych je označil vysokou známkou kvality. Hraje se zde pro všechny pravověrné, pro duše bloudící navěky mezi naším a oním světem. Mraky jsou zase nízko, skoro se dotýkají země a z zdálky slyším nářek nemrtvých. Lákají mě, podléhám a znovu vstupuji do bažin. Tady jsem mezi svými, zde se cítím nejlépe a také se zde hraje hudba, která je mému srdci vlastní. Američané nepřinášejí nic nového, ani převratného, ale jejich nová nahrávka také není jen dobře odvedeným řemeslem. Naopak, má v sobě něco navíc, drive, sílu, touhu ničit hudbou. Přikovou vás na zeď, pohřbí zaživa, strhnou do hlubiny a vy, spáleni a zničeni, znovu povstanete, silnější než kdy dřív. Děsivá noční můra se zase jednou změnila ve skutečnost. Mrtvolný, bažinatý, mokvající doom death metal, který vás obejme chladnými a nekonečně temnými pavučinami smrti!

Asphyx says:

Once again, a terrifying nightmare had become reality. The stench of decaying, oozing bodies, lying in various stages of decomposition, formed morbid patterns. Death was very close, laughing in the shadows. You walked cautiously, so that the swamps of oblivion and eternal sorrow wouldn’t drag you into the depths. You were terrified of your own shadow and of the drowned man who, with every riff and melody, surfaced like some kind of mad testimony. PROCESSION is a doom death metal band from Cleveland, Ohio, and they explore the afterlife.

When I heard their new EP for the first time, a chill settled deep in my bones. Darkness enveloped me like a sturdy web, and I was ferried across the River Styx to the other side, to the land of endless shadows. I paid the ferryman with this recording. He just looked at me, nodded in agreement, and we both knew right away that this was an album we’d be listening to for a long time to come. Our opinion was immediately confirmed by all the undead, the demons, and even Satan himself, who welcomed me to his throne. 


Listening to "The Witch King" feels more like an ancient ritual to summon dark forces than just a regular listening experience. The riffs are sharp, raw, and stripped down to the bone. The drums are relentless, and the vocals sound like a beast that’s just been awakened. Overall, the new album strikes me as very believable, genuine, raw, and utterly authentic. I wander through the ruins of a cursed church and visit old burial grounds. I stop at tombstones bearing inscriptions like AUTOPSY, ANATOMIA, MYTHIC, MYSTIC CHARM. The guys drew loose inspiration from these, added their own morbid ingredients, and created an EP that will have you nodding along to the beat just like me, an old gravedigger. I’ve been guarding the entrance to the underworld for nearly 35 years, and I only add to my collection bands that can win me over bands that cut with the right edge of the knife. PROCESSION meets all my criteria, and I’d confidently give them a high mark for quality. This music is for all the true believers, for the souls wandering eternally between this world and the next. The clouds are low again, almost touching the ground, and from afar I hear the wailing of the undead. They lure me in, I give in, and I step back into the swamps. Here I’m among my own kind; this is where I feel most at home, and this is also where the music that speaks to my heart is played. The Americans bring nothing new or groundbreaking, but their new album isn’t just a well crafted piece of work either. On the contrary, it has something extra drive, power, a desire to destroy through music. They’ll pin you to the wall, bury you alive, drag you into the depths, and you, scorched and destroyed, will rise again, stronger than ever. A terrifying nightmare has once again become reality. A cadaverous, swampy, oozing doom death metal that will envelop you in the cold and infinitely dark cobwebs of death!


Tracklist:
Mechanically Separated (from the Flesh)
Exhaling Pain, The Painful Birth of Consequence
The Witch King Arises from the Unsung Mire
Feretory Gates Gleam in the Fog of Haunted Shadows

Bonus tracks: originally from their “Chthonic Signals” demo in 2023
Hooks of Metal Teeth
Chthonic Signals
Pestilence

sobota 4. července 2026

Interview - SOULBURN - A mysterious, magical, dark, and infinitely cold black death doom metal ritual where you will face your own demons!

Interview with legendary death doom black metal band from Netherlands - SOULBURN.

Answered Eric Daniels (guitars) and Twan van Geel (vocals, bass), thank you!

Recenze/review - SOULBURN - Quantifying Cosmic Doom (2026):

Ave SOULBURN! Greetings from the Netherlands. Something strange just happened to me. I was listening to your new album, “Quantifying Cosmic Doom,” in my home office when a storm broke out. I opened the window, and everything came together in a single moment. The new album has a beautifully chilling atmosphere. It literally captivated me. How difficult was it to follow up on your previous album, “Noa’s D’ark”? How did the new album come together?

Eric: Greetings back to you, Jakub, and to the Czech Republic as well. And wow… a storm breaking loose while you were listening to our new album. That is the kind of synchronicity you simply cannot plan. It almost feels as if the elements themselves decided to join in. Moments like that capture exactly what this record is about: atmosphere, tension, and that sense of something vast moving around you. Thank you. The new album definitely carries a strong atmospheric presence. It is something we focused on intensely while creating it, letting the music breathe, expand, and pull the listener into its own world. Our new album Quantifying Cosmic Doom is a step upward compared to our previous album Noa’s D’ark. We call it a step upward because this time we made more use of pure clean vocals, and that is immediately the biggest difference from the previous album. We continue to improve ourselves as musicians, and our interest in listening to music beyond just death metal or black metal also makes a difference in our inspiration and in composing new songs. Actually, all the songs came together quite smoothly. During the writing and arranging process we always record demo versions at home using Cubase. Those are our so‑called blueprints, and we bring them with us into the studio as well. One day the recording might flow better than another, but that’s just part of being human. There wasn’t really a difference between recording the latest album and the previous one. The only exception is that our previous album Noa’s D’ark was recorded during the corona period, and that was quite special. At the time, only three people were allowed in the studio at once. That created a very unusual working atmosphere.


I’m a bit of a traditionalist in certain ways, so I ordered both the CD and a T-shirt from you. It’s very fulfilling for me to hold such a perfectly executed piece of work in my hands. And I’m not just talking about the music here. The cover art was created by Manuel Tinnemans. What exactly does the artwork mean? And how does it relate to the new songs?

Eric: Thank you for your support in buying the shirt and the CD. We truly appreciate it. It means a lot to us when people not only enjoy the music but also choose to support the physical releases. That is something that is far from guaranteed these days.

Twan: The artwork for Quantifying Cosmic Doom, created by Manuel Tinnemans (Comaworx), is deeply intriguing. It weaves together octopuses, hourglasses, and cosmic imagery, centered around a female Goddes‑like figure. These elements collide and coexist, reinforcing the album’s themes of time, transcendence, and humanity’s search for meaning within the vast indifference of the universe.

“During our South American tour with Mork in 2022, we found ourselves in São Paulo one day. The city is home to this vast cemeterie, and there, among the silence, I came upon this statue a female figure of sorts. It struck me immediately. I took a photograph on the spot, with the quiet intuition that it might one day become the seed of a future album. At that time, not a single new song had been written.To me, the figure embodies that which people cling to as they move through life, an anchor, a source of meaning. In the artwork she stands at the heart of the cosmos, encircled by a serpent and by tentacles reaching outward. Time runs as a central thread through the album, hence the hourglasses. One holds an embryo, the other a feather, symbols of how an entire lifetime is, in a sense, suspended within time, inescapable and relentless. And yet the cosmos remains unmoved, utterly indifferent to it all. If you look closely, you see the chopped off hand underneath the hourglass, ‘the thief of time’ we call it. Because, what is time? Just another fucking made up thing of mankind to be in control. Well, here is news for you all; the universe doenst give a shit, haha! It’s that quiet, unsettling contrast I found so compelling.


You’ve had a new drummer since the album before last. His name is Marc Verhaar. Why did Bob Bagchus leave, anyway? In any case, I really like the drum sound this year.

Eric: Yes that is correct. Marc took over the drums in 2018, and wow, that is already quite some time ago. I had to refresh my memory for a moment. As far as I remember, Bob wrote to us through WhatsApp to say that he wanted to focus on other things in life and that he no longer felt the drive to continue drumming. That was a moment of reflection for us, thinking about how we wanted to move forward. Fortunately, Marc came into the picture very quickly. He had always travelled with Remco and helped us whenever needed, so the connection was already there. It turned out to be the perfect choice. Marc fits Soulburn flawlessly. He is tight like a Swiss clock and an absolute beast behind the drums. I am very glad that he agreed to join us back then.

The sound is great overall. Cool, dark, captivating. Yet every instrument and the vocals were recorded in a different studio (if I understood correctly). How was the album actually recorded? I still live with this romantic notion that musicians gather in one studio, have a good drink, and get to work, but it seems like you didn’t even have to meet in person?

Eric: Yes I remember that as well. That is how recordings used to be done back in the day, often even played simultaneously, with just a few overdubs and that was it. Things were much more direct and straightforward then. These days we have been working in a completely different way for several albums already. We record everything separately, choosing the studios where each of us feels most at home. One place for the drums, another for the guitars, another for the bass and the vocals. And of course the full mix and mastering as well. This approach gives us the freedom to focus on every detail and to capture the atmosphere exactly the way we envision it. The album was mixed, mastered, and produced by Erwin Hermsen at Toneshed Studio in the Netherlands. He delivered exactly the result we were aiming for. With his skill and experience, he shaped the sound into something powerful, massive, and just as important for us organic. That character fits Soulburn perfectly. The drums were recorded at Jörg Uken’s Soundlodge, the bass and vocals at Erwin’s Toneshed Studio, and all guitars were tracked at Tom Meier Studio Recording & Live Sound in the Netherlands.


SOULBURN is a band made up entirely of experienced musicians. Each member has a tremendous amount of great work under their belt. But you know how it is everyone also has their own ego that they want to assert. How does that work in your band? Does anyone have the final say? Do you ever argue? And what about cabin fever have you experienced that yet?

Eric: We have a professional mindset. In all the years we have been together we have never had a single argument, and that is something I find very special and something I truly cherish. We are simply not the kind of people who fall into that. Ego is not part of who we are. We are musicians who love our instruments. We discuss whatever comes our way, we solve things together, and there is not really one leader in the band. Maybe they would point to me because I founded Soulburn, but that is not how it feels and it is not something I want. The four of us are intelligent individuals with our own insight. We have been part of the metal scene for so long that we know very well what works and what does not. Cabin fever is not something we deal with. We have toured together, played shows, rehearsed, spent countless hours in each other’s company, and we always have fun. We enjoy what we do, and that is what matters most to us.

“Quantifying Cosmic Doom” hovers somewhere between death metal, black metal, and doom. Erik’s style is unmistakable at least that’s how I see it as a fan. I’d be curious to know how he composes the basic riffs themselves. A lot of musicians just jam around in the studio and then “something comes out of it.” Others put everything together only in the studio. Erik, how do you approach composing?

Eric: In the end it is not complicated. For me it has always been quite basic in a certain way. I play a lot of guitar at home and I have my own little mancave, so to speak. I love grabbing the guitar after a strong cup of Nespresso, plugging in, and simply playing. Practicing, going through the setlist, or just letting ideas flow. There is always some form of inspiration that appears. Often it starts with two riffs or two fragments of riffs. I record them on my computer using Cubase. I have a template that I use as a starting point, and from there I begin shaping those two guitar parts. I add simple computer drums underneath and, most importantly, I determine the tempo of the click track. That is how I build the songs, with the initial ideas always coming from the guitar. When the songs are finished and the ideas for samples or effects are clear, I record those immediately as well. Then I create MP3 files and send them to the other band members so they can hear the concept I have in mind. That is basically how the entire album comes together. Remco and Marc then create the ideas for the final drum parts and send them back to me. After that, Twan spends a weekend at my place and we arrange the songs together and later work out the bass parts. The ideas for the vocals are something Twan develops entirely on his own.


I’m reading through the lyrics, and each one has a sort of preface, an introduction to the story. A lot of metal bands forget this aspect, but your content is very well-developed. Where do you get inspiration for the lyrics? Is it books, movies? Or personal experiences?

Twan:
Thanks, and yes, all you mention plays a part. The lyrics are a cocktail of things. But first comes the music, which is my main inspiration for the vibe of the lyrics. It gives me direction, a pace, and that comes with a type of vocalline or melody how I want to sing to it. And then that vocal line comes with words that start to flow, it builds itself, and from there on sets a tone of emotions. I actually never really think about what I am going to write, I just litarally feel. And then words just start to flow and form lyrics. Topics are always philosophical in their DNA. Combine that with a deep-rooted dose of poetic misantropy and a lustful desire to intrique with ambiguous depth. The music is the vessel, the words are its ghost.

Are you familiar with the term chromesthesia? This also played a large part for me when shaping the concept of the album, the titles, the chapters, and the front cover artwork. This was not just black and grey; colorful enigmas began to emerge once the blueprints of the early demo tracks sank into my subconscious. And once the albumtitle revealed itself to me, the cosmic element, like a weavery, found it’s way throughout all the lyrics.

The connection I try to weave throughout the album is the notion that everything is a universe unto itself. No matter how deeply you travel inward, or how far you stretch outward lines, forms, shapes and figures; movements, forces and recurring patterns each existence is caught within what we, in our human inadequacy, have chosen to call “time.”

Much of this lies far beyond the reach of our limited minds, and that is precisely where I want to go when I write. Soulburn’s music becomes the boundless vessel that carries me there. And just as with music though it may be harder to achieve with words I believe lyrics must leave room for ambiguity. They should reveal themselves differently from moment to moment: something to return to, to conspire with mentally, or simply to experience as a source of inspiration and imagination.

 

The new album practically demands a live performance. Are you planning a tour? I’m sure you’ll play at some big festivals, but what about small club shows? Can we look forward to that? I can totally picture a dark club… fog… the first riff rings out…

Eric: This October we’ll embark on a European tour together with our brothers from the Norwegian band Mork the same guys we toured South America with back in 2022. That bond runs deep. And there are already confirmed shows for 2027, so we go hit the road again and spread our Quantifying Cosmic Doom. We basically play wherever our booker sends us the offers. Whether it is festivals, club shows, or a full tour, as long as the conditions are good we are there. So yes, that also includes a dark club filled with mist and an atmosphere that feels deadly. For us it is all part of the experience. If the vibe is right and the energy is there, we will play it.

SOULBURN is now one of those veteran bands that has gone through a certain evolution. I’m sure you guys are music fans yourselves. What influenced you in your early days, and what do you listen to today?

Eric : We listen to all kinds of music from Pink Floyd, Fleetwood Mac, Bowie and Nick Cave to the most extreme forms of metal. Type O Negative, Trelldom, Oranssi Pazuzu… our musical taste is very broad. All those influences find their way into our inspiration, but always indirectly. We never copy anything. Whatever resonates with us, we absorb it and transform it into something that becomes our own a true Soulburn ingredient. And of course we still listen to the same music we listened to in the early days of Soulburn. Bathory, old Venom, Celtic Frost, Slayer, the Canadian band Slaughter. Those records still carry a very special feeling for us. There is a certain rawness, a spirit, an atmosphere that has never lost its power. When we go back to those albums it is almost like stepping into the same dark room where our musical journey began. The sound, the attitude, the energy, it all shaped who we became as musicians. Even after all these years it still resonates deeply. It reminds us why we picked up our instruments in the first place and why we continue to create the music we do. Those early influences are not something we try to copy, but they are part of our DNA. They keep us grounded, inspired, and connected to the roots of extreme metal.

 

Everyone had to start somewhere. What was the initial impulse that made you pick up a guitar? Was it because of the girls? And who was your role model in the beginning? Is there a period you remember most fondly?

Eric: That is a funny question, no it wasn’t for the girls haha, it could have been but no, I was simply fascinated by playing guitar. I started playing guitar when I was 14 years old. That’s like 45 years ago. My parents bought me my first electric guitar a blue Aria Pro II and that’s the instrument on which I discovered how to play. I never took guitar lessons; I mainly figured out the chords myself while playing along to records by the Scorpions, Van Halen, and later Metallica, along with many other bands. I loved figuring out what they were playing. I wanted to join a band once I became a huge fan of the early Venom records the first album Welcome to Hell and then the second one, Black Metal. Those two albums made such a massive impact on me that I knew for sure I wanted to play in a band, but in the style of Venom meaning the extreme stuff for that time. I played a little every day after school and eventually I could play chords. I was never a fast lead guitarist, it just was not my thing. The doom solos or the melodic line solos are where I can really put my feeling into the music.

What does music mean to you? How do you perceive it in relation to your life? Is it a curse, a joy, a necessity? I, for one, couldn’t live without music; I listen to it all day long, and when I can’t, I miss it… how about you? Feel free to get into some philosophical musings.

Twan:
This question is deceptively simple in its asking, yet almost boundless in its answering. Where does one even begin to trace the origin of something so deeply woven into existence?

As far back as my memory allows, I have not merely listened to music, I have belonged to it. Even before language, before understanding, there was rhythm. As a child, I could not sit still; there was an irresistible urge to strike, to tap, to resonate with the world around me. Every surface became an instrument, every moment an opportunity to shape sound into pattern.

Over time, that instinct unfolded into many forms, singing, imitation playbacks, strings slightly out of tune, keys pressed in curiosity rather than mastery, drums found where none were intended. It never truly depended on the tools. Music was never something external to acquire; it was something inevitable to express. Even in the absence of instruments, the body itself became a medium. Hitting my knuckles against my skullbone while the hollow of cheeks turn into a chamber of resonance. Clicking my teeth and tongue creating the most crazy galloping beats...

Perhaps this is because music does not begin outside of us. It originates within. The steady pulse of the heart is our first metronome, marking time long before we understand its passing. In that sense, every life is already a composition to the rhythm of the heartbeat, writing the song of our lives.

 

What does SOULBURN have planned for the coming months, and what can we look forward to? If you have a message for promoters, labels, or fans, this is the place for it!

Eric: We’re currently taking the time to fully enjoy the release of our new album “Quantifying Cosmic Doom”. It’s a record we poured an enormous amount of energy, emotion, and creative intent into, so it feels good to finally let it breathe and share it with the world. The reactions so far have been overwhelming, and it motivates us even more to keep pushing ourselves as musicians. As mentioned earlier, we’ll be hitting the road in October for a European tour together with Mork and Arroganz. It’s an exciting step for us a journey into new cities, new stages, and new audiences. We’re letting everything that comes our way unfold naturally, embracing the unknown and the thrill that comes with it. There’s a lot happening behind the scenes, and the anticipation is growing every day. Promoters who want to bring this cosmic darkness to their stage can book us through our booker Stefan at We‑Live Agency. And to our fans: thank you for your unwavering support. It means the world to us. We hope to see you at our upcoming live shows, where we can share the energy of this new chapter together.

Thank you so much for the interview. I see it’s still raining outside; I think I’ll head into the woods and put your new album on my player. Thanks a lot for it there’s plenty to listen to. I wish the new album and all of you the best, and I look forward to seeing you at a concert someday. SOULBURN FOREVER!

Eric: Thank you, Jakub, for these powerful closing words at the end of this remarkable interview. Outside it is still raining a constant grey veil over the world, the perfect atmosphere for our new album, where every drop seems to echo the cosmic darkness we tried to capture. I wish you many deep and immersive listening sessions, the kind where the music pulls you into its own universe and refuses to let go. And I truly hope our paths will cross someday during one of our live shows, where the songs take on a life of their own and the energy becomes something almost ritualistic. Cheers, and dark greetings to the Czech Republic may the cosmic doom reach you soon.


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