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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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sobota 18. července 2026

A few questions - interview with death metal band from Türkiye - DISSIDENT FAITH.


A few questions - interview with death metal band from Türkiye - DISSIDENT FAITH.

Answered Yakup Kenan Dindar (Ölü Cenin), thank you!

1. Ave, can you introduce your band to our readers? When was it founded and whatstyle of music do you play etc.?

Dissident Faith: Dissident Faith was founded in 2025 by me, Yakup Kenan Dindar (Ölü Cenin), with the core purpose of playing early old-school death metal. All of our songs were co-written alongside our rhythm guitarist, Adem Düzgünsıvacı (Beleth). Once our drummer Bedir Yeni and lead guitarist Efe Can Çoban joined, the lineup was complete. I also handle the bass and vocal duties in the band. Our music is heavily driven by the political climate of our country and the intense religious pressure we experience daily. We write songs about themes like the unjust imprisonment of innocent people simply because they do not align with the government's stance.

2. Where and under what conditions were you recording the new album? Who was incharge of sound, production and mastering?

Dissident Faith: We recorded our album at Droptone Studio. The mixing and mastering stages were also handled at Droptone by a member of their staff and a very close friend of mine, Arda Sandalcı.


3. How many copies were released and which medium was used for this new edition (CD, digital, vinyl, cassette)?

Dissident Faith: We released a strictly limited run of only 50 cassettes. In today's world, people generally prefer to use monthly subscription-based streaming platforms rather than spending money on physical music.

4. Who is the author of the lyrics and how were they created and about what dothe lyrics deal with?

Dissident Faith: As the vocalist of the band, I (Kenan) write all the lyrics. In my view, having a platform to reach people through art is not just an opportunity—it is a responsibility. If there are people standing in front of me, watching and listening, the message I give them matters deeply. I want to instill the mindset that if we stay silent in the face of political oppression, no one else will speak up. For example, last year, the band Behemoth was barred from performing a concert in our country under the label of being "Satanists". Because of this, while my lyrics might look anti-religious on the surface, they actually aren't. I want everyone to practice their own religion freely, but your religion should not dictate or impact my life. That is why my lyrics continue to revolve around these themes.

5. Who created the logo of the band, and who took care of the graphics and thewebsite? What about you and social networks? Do you consider these things important?

Dissident Faith: Our album artwork and band logo were drawn by my close friend Ada (Ada's Brutal Designing). The layout and graphic design for the physical release packaging were done by Zafer Can Tufan and Emir Türkmen. We don't have a website yet; we are mostly active on Bandcamp and Instagram. Honestly, our main desire is just to make music and maintain our political stance, but today's conditions force us to keep our social media active. Nowadays, every musician is forced to be a bit of an influencer as well.


6. Which label did you choose for releasing your album and why this label? Didyou send your record to some Labels - which are the labels? How was the response?

Dissident Faith: Our debut album was released independently under the Droptone banner. We are using this release as a reference point to work with labels for our upcoming albums. After the album dropped, I sent out numerous emails to various labels and received highly positive feedback. We are currently evaluating these offers for our future releases.

7. Which bands do you idolise and where do you get your inspiration?

Dissident Faith: I can say we draw our heaviest inspiration from the early albums of bands like Possessed, Obituary, Deicide, Slayer, and Death. We basically approach our songwriting with the mindset of: "What would it sound like if we were making music in the late '80s or early '90s?"

8. How many gigs have you played? Which type of gigs do you prefer, whether it's (clubs or festivals) and which of your performances would you consider as the best?

Dissident Faith: We are mostly active within the underground death metal scene. Since our formation, we have played 3 gigs so far. The biggest show we've done was in Istanbul, where we shared the stage as the opening act for the death metal legends Incantation.


9. What about your plans for the future? What do you want to achieve with theband?

Dissident Faith: We particularly want to tour the USA, which Spotify data shows is where our largest listener base is located. I also want us to play major European festivals and make people say, "Look at the kind of band that came out of a country like that."

10.How and where can your fans contact you? Can you provide some contactinformation?

Dissident Faith: Anyone can reach out to us directly through Instagram DMs or via our email address.

Thanx for interview.




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pátek 17. července 2026

A few questions - interview with doom death metal band from Italy - IN VESPRO.


A few questions - interview with doom death metal band from Italy - IN VESPRO.

Answered Luca (vocals, guitars) and Emanuela (guitars), thank you!

Ave, can you introduce your band to our readers? When was it founded and what style of music do you play?

Luca: In Vespro was founded in 2025, although the project actually began earlier as a personal songwriting effort. I had already written most of the material before the full line-up came together. Musically, we play atmospheric doom/death metal rooted in the early ‘90s tradition, but our focus isn’t on recreating a particular era. What matters most to us is creating an immersive emotional experience built around melancholy and atmosphere. The songs are meant to be lived rather than simply listened to.

Where and under what conditions were you recording the new album? Who was in charge of sound, production and mastering?

Luca: The recording process was very relaxed and focused. Since the songs had already taken shape long before entering the studio, I knew exactly what I wanted to achieve. The album was mixed and mastered by me at my Mørknatt Studio, so I took care of everything. I wasn’t looking for an overly polished production; I wanted something organic, natural and emotionally honest.


How many copies were released and which formats were used for this new edition?

Luca: At the moment the album is available digitally and on Digipak CD through Meuse Music Records.

Who wrote the lyrics, how were they created, and what are they about?

Emanuela: I wrote all the lyrics together with Luca. They developed alongside the music rather than independently from it. I never started with a story I wanted to tell. Instead, I tried to translate the emotions suggested by the music into words. The lyrics revolve around silence, memory, absence, loss and the slow erosion of both places and emotions. They’re intentionally open-ended because I’d rather evoke feelings than explain them.

Who created the band’s logo, and who took care of the artwork and online presence? How important are social networks to you?

Luca: The visual identity of the band has always been very important to me because it complements the music. Every visual element should reflect the same atmosphere conveyed by the songs. The logo was created by an amazing artist, Cristophe Szpajdel. As for social media, I see it as a useful tool to reach people who might connect with our music. At the same time, I don’t think it should ever become more important than the music itself. In the end, the music has to speak for itself.


Which label did you choose to release the album, and why? Are you satisfied with the way they represent the band?

Luca: We released the album through Meuse Music Records because they immediately understood what In Vespro was about. They approached the project with genuine enthusiasm and never tried to influence its artistic direction. That kind of respect is extremely important to me. So far, working with them has been a very positive experience.

Which bands do you admire the most, and where do you find your inspiration? 

Luca: The early works of Katatonia, Anathema, Paradise Lost and My Dying Bride have certainly been very important influences throughout the years. That said, inspiration doesn’t come exclusively from music. Literature, nature, abandoned places and everyday emotions often leave a deeper impression on me than albums do. Most of the ideas behind In Vespro come from personal reflections rather than direct musical references.

Did you send the album to other labels? How was the response?

Luca: I contacted a few labels that I felt could genuinely appreciate this kind of music, but from the moment Meuse Music Records showed their interest, it quickly became clear that they were the right home for the album. Their approach was straightforward, respectful and enthusiastic, which made the decision an easy one.


How many shows have you played? Do you prefer clubs or festivals, and which performance stands out the most?

Emanuela: As In Vespro is still a new band, we haven’t played any live shows yet. However, we’re actively working to bring the band on stage as soon as possible. Our songs were written with a strong live dimension in mind, so we’re really looking forward to sharing them with an audience. When it comes to live performances, we don’t have a preference between clubs and festivals, we believe each offers a unique atmosphere and experience. Our goal is simply to perform wherever the music can connect with people and create an intense, memorable experience.

What are your plans for the future? What do you hope to achieve with IN VESPRO?

Luca: The immediate goal is to bring Where Silence Used To Sleep on stage and let people experience it live. Beyond that, I simply want to keep writing honest music without feeling pressured to follow trends or expectations. If people genuinely connect with what we create, that’s already more rewarding than any commercial achievement.

How and where can fans get in touch with the band?

Luca: The easiest way is through our official social media pages, where we regularly post news and updates about the band. Fans can also follow Meuse Music Records for release announcements and future live dates. We’re always happy to hear from people who connect with our music.

Thanx for the interview.

https://meusemusicrecords.bandcamp.com/album/in-vespro-where-silence-used-to-sleep-mmr078





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neděle 12. července 2026

A few questions - interview with death metal band from Canada - DEFENESTRATION.

A few questions - interview with death metal band from Canada - DEFENESTRATION.

Ave, can you introduce your band to our readers? When was it founded and what style of music do you play etc.?

The band was founded in 2022. Me (Ben) and the other guitar Jesse met at a music festival and came up with the idea to try and start a death metal band. After a few months of writing we got together with Steve and Adrian and started putting together the demo.

Where and under what conditions were you recording the new album? Who was in charge of sound, production and mastering?

We recorded the new album with Ryan Nash at his home studio in Winnipeg, MB. The record was produced by the band, engineered and mastered by Ryan Nash, and mastered by Andrew Oswald.


How many copies were released and which medium was used for this new edition (CD, digital, vinyl, cassette)?

It was released on Vinyl, Casette and CD. Vinyl limited to 200 copies.

Who is the author of the lyrics and how were they created and about what do the lyrics deal with?

I (Ben) wrote all the lyrics. The lyrics are about death, mysticism, and ancient times.

Who created the logo of the band, and who took care of the graphics and the website? What about you and social networks? Do you consider these things important?

Hidris created the band logo. Iron Fortress took care of the layout and and the website. We’re on instagram @deathbydefenstration. Social media is important for promoting shows and our album but that’s about it.


Which label did you choose for releasing your album and why this label? Are you satisfied by how your label represents you and takés care about you?

Iron Fortress released this record for us. They did an awesome job with everything, we couldn’t be more happy with how it turned out.

Which bands do you idolise and where do you get your inspiration?

Some old school bands we take inspiration from are bands like Asphyx and Autopsy. Also contemporary bands like Necrot.

Did you send your record to some Labels - which are the labels? How was the response?

Just to Iron Fortress

How many gigs have you played? Which type of gigs do you prefer, whether it's (clubs or festivals) and which of your performances would you consider as the best?

We have played quite a bit Over the last few years. Mainly smaller club gigs. We played Manitoba metal fest last year which was a big achievement for us.


What about your plans for the future? What do you want to achieve with the band?

We would like to play more shows out of town across the country, and continue to release more music.

How and where can your fans contact you? Can you provide some contact information?

You can find us on instagram @deathbydefenestration or reach us by email defenestration.death@gmail.com.

Thanx for the interview.





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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.


about SOULBURN  on DEADLY STORM ZINE:

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







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