Tag Archives: black metal

Underground Sounds: Nelecc – The Stars

Label: Independent
Artist: Nelecc
Origin: Kenya

Metal touches hearts and minds in far-off places and Nelecc is a solitary act in Kenya. Seeker, the man behind the act, is intrigued by nature and solitude, but also the stars are significant in his work.

Recently, he also engaged with other East-African artists in the project Krummholz, which clearly shows his artistic vision of atmospheric black metal as well. It’s all about immersion, storytelling and a strange way of letting go. That is the beauty of his work and what I love about ‘The Stars’.

Nelecc is a star gazer and that is what his music brings forth with an almost shimmering quality as opener ‘The Stars’ unfolds. The melancholy in the initial sound is deep, profound and warming. The song merges into ‘A Thousand Suns’, which contains some storytelling passages, with spoken word, introducing the overall story. Though muddled slightly in the mix, the music is tight and captures the attention like a steady stream. All of it flows with a cosmic languidity.

The music is epic in its formulation, slowly building from a murmur to a warm blanket, draped over everything in sight and filling one as a listener with a pleasant sensation. But as we advance, up the slopes towards harsher grounds, the sound becomes more punishing, more battering. ‘Forest of Gloom’ thus is an onslaught of blast beats and heaviness, hitting you like cold rains. In that way Nelecc shows its diversity and potential, Wonderfully hazy, dreamy and yet resonating broadly. It’s a record to listen to, now.

Final song ‘Amidst the Mist’ is an eulogy, a farewell with longing to a place of magic. It’s one you wouldn’t want to leave with the lo-fi sound and pools of sonic magic.

Underground Sounds: 雲雀/Hibari – 雲雀

Label: self-released
Band: Hibari
Origin: Japan

雲雀/Hibari is a one-man black metal band from Kyoto, playing a sound not far removed from the current blackgaze trend, but with a leaning to the atmospheric and DSBM side of things. The intermezzos remind a bit of Opeth.

If you want to write the name slightly more accessible it’s Hirari. The man behind the band is Ryotapon. He’s been active in 5PM Promise and Arbus, two other projects. The interesting thing about his record is that the inspiration is taken quite liberal. No holds barred, which is quintessential black metal in my book. For this band, a full band is listed, but Ryotapon is the only creator.

‘Antidote’ sets us on the path with a reluctant beginning. The tunes are like the first fall of snow. Gentle, drifting down to earth with a slow, reverberating sound attached. But once the flood gates are open the sound streams in and a moment later fully unleashes. Everything is smooth and soft, but the vocals, which are raw and harrowing, disrupting the peace. Hibari likes to interject a little Opeth acoustic, before jumping through the eyes in a warbly tremolo passage with oddly clanky drums.

It’s not much different on the eerily melodic ‘The Wheel of Sins’ and ‘Lunaj Meduzoj’, including that odd singing in the intro, making it feel a bit more like a pop ballad for a moment. But hey, that’s part of the deal and it works out pretty well as the song builds up, not unlike a Solstafir work. Cold, melancholic and gloomy is what describes Hibari best, which is just the way we like it.

Nelecc: Gazing at stars in Kenya

Africa is the final frontier when it comes to metal, but something is definitely brewing with bands like Nelecc from Kenya, creating their very own brand of atmospheric black metal. But the local scene is small and mostly unknown, yet this gives it a unique flavor.

Kenya has been a country with a moving history but has also offered a relatively stable breeding ground for musicians. Unsurprisingly, this also has created bonds across boundaries and the one-man band Nelecc has seen new ties, as the artist, Nelecc himself has joined forces with Victor Rosewrath from Vale of Amonition (Uganda) and Noktal from Djibouti in the band Krummholz.

Also, he was kind enough to tell us some more about his music and vision.

Nelecc: Nature, Stars, and Inspiration 

Hello, how is Nelecc doing?

Nelecc is doing great, thank you. 2018 was quite the year and I am happy with how it went in terms of music.

How did you get started with Nelecc and what does the name mean?

The idea of Nelecc was started while I was in high school. I had a strong will to make music, and get lost in it. Since Nelecc is part nature, part personal life experiences, and part fantastical themes, I decided to mix the real with the ethereal. Hence, the Nel(son)ecc(lesiastes).

Which music inspired you to pursue the path of black metal with your own project and did you have any previous projects or bands you were active in?

There is a lot of different music (even different genres) that inspired me to do black metal. I initially wanted to form a black metal band, but was not able to due to the fact that I grew up in a very remote town with barely four metalheads, and a really bad music scene. Since I was so far away from Nairobi, and couldn’t get in contact with the big city metalheads because of my high school, teen years shyness, I decided to just do it by myself. I hadn’t wrapped my head around the concept of having a solo project, but it grew on me faster than I expected. In Africa, the two bands that have influenced me to do black metal are: Absence of Light, and Wildernessking.

Can you share with us what sort of theme, message or idea you try to convey with Nelecc?

The themes are: Nature, personal life experiences, and fantasy. It is a blend of the three really. Like some sort of tale, but not really one, haha.

You’ve recently released the record ‘The Stars’ with Nelecc. A concept album it seems with a story to tell. Can you share what the story is on the record?

Opening: The Stars – This is practically an intro to the album, and the journey of a guy who seeks another world far from, yet in within this one. The other remaining tracks take you through a fantasy world, my world, and the natural world.

What was the process like of writing and recording the record?

Writing and recording the album was tedious considering how much I had to learn (and what I’m yet to learn) about mixing and mastering. But, as it didn’t seem to be sounding too good, Mike L. of Sojourner continually gave me incredibly important tips on how to get a much better mix. It was incredibly helpful for that process, and definitely boosted the release.

On the cover of your record ‘The Star’ you show, what I believe to be, a Kenyan landscape. The content of the lyrics is also referring to places and is partly in the native language. How important is your origin for your music?

The cover art is a picture of lower Rift Valley. Going to places like these as a child always took my breath away. I was always in awe of the enormity of it all. The peace, the cool breeze, the chirping birds, flowing streams, falling water… It is a place to become. And that is why nature is my greatest influence. Growing up in a small town surrounded by the wilderness definitely helped it. So, it is important how or where the ideas generate for one to come up with a project.

Would you say your music could be created anywhere else than in Kenya?

I believe music can be created anywhere (even Antarctica). It’s universal. Where you draw your inspirations from is what is really important.

Can you tell me if there is a black metal scene or metal scene in your country and how it started, which bands are important and where it is happening?

The main metal scene is in the capital city, Nairobi. There is a blackened death metal band that I mentioned earlier, who also influenced me to carry forth with black metal; Absence of Light. They have a full-length record out from 2013 (Vyom Chakra) and it’s absolutely magnificent.

Are there any bands you’d like to recommend from Kenya or neighboring countries?

I’d recommend my friend, and bandmate’s band, Vale of Amonition (doom metal, Uganda). Some other good bands from Kenya would be The Seeds of Datura (doom), Last Year’s Tragedy (melodic metalcore), In Oath (deathcore), and Mortal Soul (metalcore).

You’ve recently released a joint record with Krummholze, an international East-African project with Victor Rosewrath from Vale of Amonition from Uganda and drummer Noktal. How did this come into being?

It was pretty simple really, and a more than a pleasant surprise. Victor Rosewrath messaged me and proposed to start a band together with Noktal, since they had been acquainted before. As soon as I saw the vision that Noktal had for the soon-to-be band, I was immediately interested. So we joined forces and formed Krummholz.

Can you give me some background on Noktal, I can’t find anything as for where he is from, in which band he played etc.?

Noktal is from Djibouti, but he’s currently in the US. He’s been in multiple bands before, but he can provide more insight on that than I can.

Krummholz seems to have rapidly become your main focus. How does it relate to your Nelecc project and how did you get in touch with Naturmacht Productions, a fantastic label in my opinion?

Well, it would be a bit of a stretch to say that I have a main focus quite honestly. This is because you never know when inspiration is going to strike. So most times, I’ll find myself writing for Krummholz and Nelecc back and forth. Victor was able to get in touch in me because of my work in Nelecc, so there will always be a little bit of Nelecc in Krummholz: not in the sound, not in the lyrics, not in the themes, but in spirit.

Robert, of Naturmacht reached out to us and said that he really liked our sound and offered us a deal. It’s a great label, and we were thrilled to sign with him. The roster is incredible, and the commitment to his artists is real.

What future plans do you have for Nelecc and for Krummholz?

Writing and recording for the new Nelecc album that I’m hoping to release this year is more than halfway done, and the writing process for the debut Krummholz FL album is currently underway. We can’t wait to show everyone what we are brewing when it’s done.

If you had to compare Nelecc to a dish, a type of food, what would it be and why?

Rice and beans without a doubt, haha. This is because I AM rice and beans.

Underground Sounds: Meslamtaea – Niets en Niemandal

Label: Heidens Hart
Band: Meslamtaea
Origin: Netherlands
Some more bubblings from the Dutch black metal sewers here with the new release by Meslamtaea. Out on Heidens Hart records, this is the second release by the band, who have gone through a mild transformation in between their two releases. ‘Niets en Niemandal’ seems to hint at the destruction humankind is wreaking upon this world. Perhaps as urgent as ever for a band that is drawn towards the past.
The duo both play in Asgrauw and have done a split with that band, but also two with legendary Dutch black metallers Cultus. All in all, that makes it easy to place them in the right corner between forward-thinking and essentialist black metal under this banner. And that’s pretty much what you get on this record.
Spoken-word, thunderous preaching opens up ‘Neonschemering’, which ads that post-apocalyptic vibe to some traditional themes. The firebrand vocals are as doomy and gloomy as well, summoning the dark. Yet a little more mellow is also an option on ‘Weer een dag’. Overall there’s a nostalgia, a yearning, that is captured in the sound of Meslamtaea. The tremolo riffing just stick to that minor note and even though it’s played fast, it creates a languid feeling.
At times the riffing really takes a slow, clingy vibe, like on ‘Leegte’. The reverberation feels like a thick summer air, where you can almost feel like you move through mud. Loss, confusion, it’s all there. ‘Verlaten Stad’ is another notable tune, thanks to its thick, layered riffing. But it also has some simple music, almost melancholic Americana going as an intermission. For some strange reason, that works extremely well for me. It then fills, swells and becomes again the song that it was. It’s beautiful.
The strange ‘Vervreemdingszone’ is then the outro, taking us out of the song with strange, dissonant sounds. It leaves you a bit confused. But I think, in a good way.

Underground Sounds: Mystifier – Protogoni Mavri Magiki Dynasteia

Label: Season of Mist Underground Activists
Band: Mystifier
Origin: Brazil

Mystifier is one of the originals, one of the first bands to play what we now call black metal in their very own, distinct way. All the way in Brazil nonetheless, a country known for its vibrant extreme metal scene. Never shy to voice their opinions, the band took an anti-right stance in their early days and not much has changed in any part of their approach, ethically and musically.

For the last 18 years, however, Mystifier was quiet on the creative front. A box set and compilation were released, but their fifth full length took a long time to make. ‘Protogoni Mavri Magiki Dynasteia’ is finally here and offers those who love traditional black/death metal a tasty slice. Under the guidance of founding member Beelzeebubth, the band is going to war again. I saw them play in Tilburg, they were awesome! I have to mention Paolo Girardi, the legendary album cover producer. He made a piece that captures the cavernous, occult nature of the album very well.

The opening title track has something very remarkable to mention and that’s guest vocals from Proscriptor McGovern from Absu and Jim Mutilator from Rotting Christ. The second has not done much music in… forever. It leads to a dark invocation, with slow music and a fantastic vocal interplay. ‘Weighing Heart Symphony’ stays in the mumbling, ceremonial vibe, but also blasts some waves of tremolo guitar work in between the theatric interactions in the dark cave of Mystifier’s music. Melodic parts bounce off the walls with a lot of reverb as rackety vocals resound. I love how the vocals create this weird atmosphere and otherworldliness. Take ‘ Witching Lycanthropic Moon’, where the unearthly rasps and ambient sounds make you feel to have landed in an evil world, with a gibbering moon.

There’s definitely a sense of barbarism to the record, where the drums, bass, and guitars are purposely pronounced. At times, they hardly seem to work together in weaving the songs and go in their own ways. As the vocals and bass go into a doomy break on ‘Six Towers of Belial’s Path’,  drums are like an anxious reminder of speed and intensity just there. But that’s exactly what works so well for Mystifier, their approach to black metal is almost tribal, expressionistic and I would argue a kind of storytelling. Rarely do they simply blast you with riffs, but heavy metal licks spruce up the flavor of the whole instead. The pace may be slow on tracks such as ‘Demoler Las Torres Del Cielo’, the explosive force of demonic winds is just one breath away it seems as the band launches into brief salvo’s throughout the song.

As the album comes to a close, you get pummeled around the head by  ‘Al Nakba (666 Days of War)’. Sure, there’s a tasty guitar lick, but most is repetitive violence. The title shares some political engagement with the Palestinian cause, but it’s also a damn good track. Similarly, the feisty ‘Chiesa Dei Bambini Molesta’ is a piece of force and that means the album ends on a high note. Let these Brazilians not take too long for their next offering!

Underground Sounds: Grey Aura – 2: De Bezwijkende Deugd

Label: Tartarus Records
Band: Grey Aura
Origin: Netherlands

Grey Aura kind of dazzled me with their first release, which I reviewed for Echoes & Dust. The record series is based on a book, created by singer Ruben Wijlacker’s novel De Protodood in Zwarte Haren (The Proto-dead in Black Hair). The records are full of references to cultural pillars like Malevich, the De Stijl movement and this time in title with ‘ 2: De Bezwijkende Deugd’ also Gustave Flaubert.

Other references we read about in the bio are Rimbaud, Bataille, and Kandinsky. The record is also filled with field recordings and spoken word dialogues, done by professional voice actors. These complex efforts towards the narrative of the record are particularly noteworthy and grant Grey Aura an aura of the artistic and complex, which is reflected in their expressive live shows (which I enjoyed witnessing during the 2019 Roadburn festival).
The intro is a dialogue, spoken in terse, serious tones before we launch into ‘De onnoemelijke verleidelijkheid van de bezwijkende deugd’. The vocals of Wijlakker are something to experience, as they rip asunder any black metal cliché. He screams, bellows and then hoarsely speaks as a man lost to the listener as odd rhythms and sounds enter the song and transfigure it into something completely different.
Grey Aura doesn’t shun stepping far over their genre boundaries, as done on ‘Parijs is een portaal’.  Mild Spanish guitar and a jazzy, fresh rhythm evoke the vibe of the Parisian nights. We even get some polka rhythm on ‘De Drenkeling’ a moment later, while the lyrics take the overhand in telling us the story,  which you can find on the Bandcamp page in a more elaborate form. This grand canvas behind the record is what makes it all stick together, even if you don’t know about it. That is the absolute strength of this record in my opinion. It’s internal coherence and consistent delivery of surprising tunes. As you hit ‘Sierlijke Schaduwmond’ little remains, but gentle jazzy music and spoken poetry. Captivating, mesmerizing and enthralling the listener with occasional screams of fury and anguish.
The play ends with ‘De Drenkeling’, a spiraling song of despair, ending in a rigorous march with a fatalistic edge. Marching into the sea, into doom. What will follow?

Underground Sounds: Woest – Le Grouffe

Label: Independent
Band: Woest
Origin: France

You’d think the mood would be sunnier on the Côte d’Azur in France, but Woest is a band which sounds particularly dark. Hailing from Marseille, the trio, takes their honey from the likes of Mysticum, Blacklodge and Aborym. Yet they sound like their very own type of beast on latest release ‘Le Grouffe’. That translates as ‘The Abyss’ by the way.

Woest has been around since 2016 and has been quite prolific with two released this far. Both sound dense and oppressive, but definitely strong. Their main pitfall might be that they sing in French, yet by supplying English lyrics they kind of tackle that issue and judging by this release, that should be no issue. It’s an absolute killer record, unique sounding and particularly distinctive in this day and age.

The intro ‘Éveil’ is a peculiar reminder of the Mayhem classic as this martial ambient track. It shows a little of what direction Woest has turned to on their new album. And that is a direction that is more industrial, more direct and punishing as is instantly clear on title track ‘Le Gouffre’. The drumming is crushing, pneumatic and reminds me a bit of the Mysticum live shows. Absolutely terrific, as are the joint chants.

Yet, songs like ‘Ô vide éternel’ also have that hatchet, militant sound of the later Satyricon. Threatening, but not in a figurative sense. It’s close, in your face in all intensity. At the same time, there’s so much happening. It’s an exciting narrative on ‘À la gloire de l’immonde’ with interactive vocals, intensifying rhythms and an overall sense of grandeur. The computerized drums have to be something you can get behind though, it has to be said. If you’re a sucker for the traditional bashing, you’ll likely enjoy ‘Spasme de haine’ slightly less. We move onwards to the ‘Tous restera carbone’ and ‘Vagues de Styx’, which carry a steady pace and even mellow sound due to the synths. The vocals are ghoulish, but very in opposition to the haggard emulation of a string section. his is hardly extreme, yet it’s a singular point of rest in an otherwise intense album.

Woest does something remarkable in a stale scene with ‘Le Grouffe’. You should probably listen to it.

Underground Sounds: Crimson Throne – Of Void and Solitude

Label: Apocalyptic Witchcraft
Band: Crimson Throne
Origin: United Kingdom
Crimson Throne revolves around Dan Thornton, also known from Abhorrent Decimation, The HAARP Machine, and Novena. At least, that’s the info I can find, but currently, there is a full live band touring and playing a load of shows. This is the first full length by the band, and it’s one well worth your time.

Previously, Crimson Throne released an EP focused on Hegelian philosophy and history, but on ‘Of Void and Solitude’, we focus on human suffering and, as the title may suggest, the futility of it all. This is done by setting of a freight train of intensity down a hillside, rolling towards inevitable doom with harsh, fierce black metal.

When Crimson Throne comes on, they come on big with a bombastic introduction before we just barrel into ‘Dalit Lineage’ with mid-pace riffing with what sounds like pressed guitar sounds. There’s a certain narrowness to the sound of Crimson Throne, which helps the vocals to really come through. The ghoulish, grated howls are of a particular kind, which many a vocalist will envy. It also leaves room for the atmospheric keyboards, as heard on ‘Indignant Slumber’. After this, we enter a brief interlude before the oncoming storm of side B.
‘Scattered’ builds up gradually, but then pours out the misery like a dam cracking open with vitriolic, dissonant melodies and instrumentation. The blast beats rumble onwards as the inhuman retching and squealing resound. This is, strangely, one of the more attractive sides of Crimson Throne. One of the major appeals of bands like Mayhem or even Bethlehem, is the uncanny, utterly terrifying vocal skills of their frontmen/frontwomen. And that’s exactly what you get on ‘Sightless Remnants’. Abyssal torment.
On ‘Ekur Calls’, you get more of a feeling that you’re listening to an expanded instrumental track, but the vocals are there. Yet should they be? This song feels great without the snarls and barks int he distance, but neither is it diminished much by them. But by the time ‘Ironsides’ comes around, I realize I’ve been battered relentlessly, with an album that could also have been 2 tracks less.

Underground Sounds: Our Survival Depends On Us – Melting the Ice in the Hearts of Men

Label: Ván Records
Band: Our Survival Depends On Us
Origin: Austria

Honestly, one of the most bewildering live acts I’ve seen in recent years must have been Our Survival Depends On Us. It’s a concept, an art, and the simplistic name barely makes you suspect what awaits you on stage in a pandemonium of taxidermy blood and pagan mystery. Though that last is maybe perspective from my end, or simply allegorical as it is on their latest record ‘Melting the Ice in the Hearts of Men’.

The group from Salzburg has released 4 full lengths, all with titles that undermine the hit potential due to their length and complexity. There is a light connection to Austrian black metal heroes Belphegor and many members played in Soulsearch before, which had a penchant for the medieval stories. The sound of Our Survival Depends On Us is unlike any other and well worth listening to.
‘Galahad’ sets the tone with a sonorous lament, that slowly opens up with somber tones and acoustic guitars. The band leans heavily on the folkloristic vibe of classic doom metal here, also in the vocals style, yet the music is much more atmospheric with keys and strings meandering in and out. It makes for a wonderful opener that needs a long time to get to some distorted riffing. You don’t miss that. But when it comes in, it is strong and forceful.
There’s always an apocalyptic edge to the music of Our Survival Depends On Us, something threatening. Yet even though the complexities in the lyrics, the band remains accessible, also on ‘Gold and Silver’ with its catchy guitar solos of ripping guitars. The low levels of distortion in the music really make every little bit count and that’s brilliantly employed.
We move forward with ‘Song of the Lower Classes’, which starts with samples, field sounds, and ambient tunes. The song has a hypnotic vibe with the clangy guitar sounds, that simply bewitch you. Mournfully, the words come to you as if they are a drag, carrying the world’s weariness along. “Down, down we go, we are so very very low…”. It is so powerful, it almost hurts. ‘Sky Burial’ meditates upon the topic of its title in a sonic journey that feels completely psychedelic and harrowing. It feels like a shoegaze-like track until it unleashes itself in a transcendental journey to the skies as the body dissolves. The summit of a sublime album.

Theudho: Answering the summons from the ancient forests

Pagan times have seen renewed interest over recent years. Perhaps it’s slightly one-dimensional with a wide range of Viking themed music, tv-shows and even fitness events. But for those willing to look deeper, there’s such a wealth of ideas and cultures to be found that inspired to this very day. That is a large part of Belgian band Theudho.

Band member and founder J.S. has been making music for many years and is inspired by that remote past as well as the extreme music scene. These two have always combined well and with Theudho, he recently released ‘De Roep van het Woud’, which translates as the call of the forest. He was also kind enough to tell us about his calling, inspiration and work, with some good advice for those looking to find their own green cathedral.

Pagan past, notorious music and wandering the verdant realm with Theudho

Hi, Could you kindly introduce yourself and tell us a bit about Theudho?
I initially planned to use the name þeuđo, as I originally spelled Theudho, for a keyboard/synth project back in 2002. Things rarely go as they are planned; guitars and drums were eventually introduced and the music shifted towards black/pagan metal.
The first demo was recorded as a one-man band and released in 2003. It was a fuzzy lo-fi ordeal that nevertheless resulted in a record deal. By the time of the second album, Theudho had become a band with a full line-up that also performed live. However, for the fifth and latest album, I decided to return to the one man band formula.

As for myself, next to a passion for music, I early on developed an interest in pre-Christian Germanic mythology and culture. Next, to the appeal of the rather notorious local music scene, this is the reason why I started to spend considerable amounts of time in Scandinavia since the latter half of the nineties.

What originally inspired you to create this type of music? Which bands would you consider your inspirators?
As strange as it may sound, I actually became inspired to play this kind of music again when a friend (my partner in crime in the neo-folk/industrial/martial project Weihan) and I were backpacking in Ireland back in 2002. We visited loads of Celtic and even some Norse sites in the south, but especially some of the landscapes we witnessed just breathed the imposing atmosphere that is synonymous with a lot of classic second wave black metal. I just had to do something with these impressions.

There were quite a few worthwhile examples when it came to this kind of music. The early albums of Blut Aus Nord, Falkenbach and of course Bathory and Burzum specifically because they were one man bands too (at least at some point), but there is a whole array of Scandinavian, Slavic and even some German bands that I would consider inspirational.

You’ve been active in a number of bands, lately also with a new project named ‘Slithering Decay’. Can you tell something about your musical endeavors and the latest projects you are working on?
I’ve been in quite a few bands and projects in the last 25+ years. The latest band Slithering Decay is inspired by all those great albums that were released in the Stockholm scene in the early nineties. I was in a death metal band too at the time, but we honestly lacked the skill and knowledge to write and perform music that was even remotely listenable. So this is basically a second attempt to pay tribute to that sound and feel. We released our first demo (tape!) last year and are currently writing our debut album. Hopefully, we will be able to release it later this year. We’re also looking into releasing another Weihan album.

Over the years, Theudho would appear to have embraced different aspects and themes in the realm of paganism, history and aesthetic representation on the album covers. Has this been a journey for you in a sense?
The lyrics have been inspired by themes from all over the Germanic realm, from the Bronze Age to Medieval times; that’s indeed quite a broad range. One could say that the lyrical themes gradually became a bit more obscure as obvious sources of inspiration were depleted early on. The additional issue is that a lot of bands are fishing in the same pond as far as lyrical inspiration goes, so it is a necessity to dig a bit deeper.

As for the aesthetics of the album covers, I tend to prefer actual paintings instead of photographs or digital art. We couldn’t find a suitable historical painting for the “When Ice Crowns the Earth” album, so that is the only one with a photograph as cover art. Definitely my least favorite one.

You’ve recently released ‘De Roep van Het Woud’ on Heidens Hart. What can you tell about this record and its message or concept?
The new album might surprise people as it does sound quite different compared to the old albums. The actual material is constructed differently as far as the compositions go. I use different guitar tunings and the philosophy behind the mix has changed, too. It sure sounds more “black metal”; most people seem to agree that this is the best Theudho album so far.

This time around I also chose to change the way I approached lyrics. The big change obviously is that all the lyrics are in Dutch. Instead of merely re-interpreting known tales or myths, most lyrics were conceived outside in interaction with nature or historical monuments or sites; trying to see heathenism as a living, continued tradition rather than a dusty literary one.

As I understand, you’ve done most of the work for this album by yourself. What made you chose to do that? Is it really a practical choice or is there perhaps also a sense of craftsmanship and creativity involved?
The main reason is convenience, really. The guys in the last full line-up are great musicians and people and greatly appreciate their contributions, but in general, I like to rely on other people as little as possible. The time was right to return to the original one-man band incarnation of Theudho and just do everything by myself.

How did the whole recording process and writing of the album take place? Where did you do most of the work and what sort of resources provide you with inspiration and input for the creative aspect of it?
I recorded everything at my own place. The writing and demo process was one phase where songs would get written, revisited after some months and then subsequently tweaked, re-written or even discarded.

When I finished the demos, I basically only kept the tempo tracks/metronome settings and redid the whole thing with a tighter, smoother and more convincing performance. The actual inspiration comes from a few different places, both literally and figuratively. I travel quite a bit, so there’s always new locations that leave an impression. Next to that, I tend to read a lot, so that offers a lot of new information and insights as well.

The title translates roughly as ‘The call of the forest’. Now, this may be a metaphorical forest of in general the call of a forest, but do you have a specific forest in mind and what makes it call so strongly?
The title of the album is not really meant to be taken literally. It refers to the contrast between the urbanized, Christian world versus untamed nature, which was regarded as “pagan”. The latter was obviously demonized, but ultimately still is the natural habitat in which mankind evolved for millions of years.

You specifically use the term pagan to describe your style of music. How do you relate paganism to life in this day and age? Is it a look backward or a re-application of ideas and is it more to you than a thematic vehicle for Theudho?
It is a philosophical stance in life – I hate to use the word religion because people seem to define religion by the characteristics of the cluster of Middle Eastern religions that dominate large parts of the world today. In the West, the modern consensus seems to be that being religious is synonymous with being intellectually challenged, mentally weak and inept in science, technology, … One only needs to visit countries in the Far East (where people have the highest IQ in the world, after all) to see that this contradiction doesn’t make sense and is unnecessary. It did not exist in Europe in Classical Antiquity for that matter, either.

As you deal with themes of Germanic history and mythology, you are probably bound to be misinterpreted at times (as seems to be the faith of many bands doing this) or even lumped into the NS category. Has this happened to Theudho and how do you view this matter?
Trying to comply with the sensitivities or correcting the misconceptions of others is a Sisyphean task. A much wiser man than me, the Roman emperor Marcus Aurelius, already advised: “How much time he gains who does not look to see what his neighbor says or does or thinks, but only at what he does himself, to make it just and holy.”

Are there still interesting things happening in the black metal scene today and how do you feel about the whole shift in sounds with more progressive bands moving in different directions?
I have to admit that I’m not really keeping track of what’s new and worthwhile. My tape trading days are long behind me, my shelves are bulging as is and I don’t have time to listen to a lot of music. If something survives the initial hype or buzz, I’ll get to hear it sooner or later anyway.

Which bands from your neck of the woods would you recommend at this time?
I coincidentally got the new album of Kludde last week and I would definitely recommend giving it a listen.

Do you have any advice for those wanderers who are feeling ‘the call of the forest’?
“Wit is needful
to him who travels far:
at home all is easy.
A laughing-stock is he
who nothing knows,
and with the instructed sits.”
– Hávamál

What future plans do you currently have with Theudho?
I can’t reveal too much at this point in time, but a Dutch band and I are talking about putting out some music together later this year as a split release. Besides that, I’m working on new material for the next album.

If you had to describe Theudho as a dish, what would it be and why?
Well, that’s an original and unexpected question. I guess horse meat would be appropriate. Why? Christians outlawed the consumption of horse meat because it was a heathen custom. I’m sure it still offends a fair share of people even today.