Chronicler Of Ardul Interview

 

1.Can you give us an update on what is going on with the musical project that you play?

I just updated Myrewood and by the time this comes out, Sword of Virné should also be done too. Just some remixing and rebalancing of the music. Currently working on some new music before I really get into the meat of what this project is heading toward.

2.In April you have a new album coming out, musically how does it differ from the stuff you have released in he past?

This is much more inline with what you would hear from a soundtrack. There’s bard music, a village track, and a lot of atmospheric tracks that make you feel like you’re in a forest, underground, in a tense moment before things erupt, and some battle songs. So quite different from my previous releases, but rounding out what this project is.

3.On previous recordings you had more of a symphonic and extreme style of metal and on the new album go for more of a folk style, what was the decision behind going into this musical direction?

That’s been the plan for a long time. There are three pillars to the project: metal, stories, and orchestral soundtrack music. Sounds of Ardul is that third pillar to follow the other things I’ve done.

I sort of envision myself like a director without the movie. There’s story and world and characters and epic thematic music and melodic motifs, all that’s missing is the set and actors.

4.All of your lyrics cover fantasy themes, can you tell us a little bit more about how your interest in this topic has evolved over the years?

I fell in love with fantasy a long time ago in middle school. My brother recommended that I read the Dark Elf Trilogy by R.A. Salvatore. From there it was stuff like the Legend of Zelda and Final Fantasy, Lord of the Rings, and other stuff. I’m much more of a fantasy nerd than sci-fi or anything else. 

And then along the way I wanted to combine my passions for metal music, fantasy, and music from my favorite video games. All that brought together is the essence of what I do.

5.On the website you also have a couple of novel's written and published, how do these novels fit in with music you create?

The music and story of Myrewood work hand-in-hand. The music gives you the epic cinematic feeling with raw visceral emotion, while the story takes you in deeper into the world and let’s you explore more and learn.

6.You also created your own fantasy universe, can you tell us a lite bit more about this world you create with your writing and also what are you inspirations as a writer?

It all started with the trilogy I’m working toward, and I thought it would be a much better idea to start to build that world before jumping into a monumental project. Myrewood was that first step.

It’s dark fantasy and a bit more old school with only four races: humans, elves, dwarves, and orcs. There’s magic and complications and gods and dangers all around. There was big cataclysmic event that split the world into the continents. And the magic is chaotic, as we saw in Sword of Virné. It’s not safe and can’t be controlled.

Right now I’m just exploring the world and seeing what stories can be told and really making it come alive.

Some of my influences are the Dragon Age games, Dungeons and Dragons, Lord of the Rings, and The Witcher. 

7.With this project you record most of the material by yourself, do you prefer to work solo?

To a certain degree, yes. Like I said before, this is a huge passion project and I like doing much of this myself. However, I can’t do vocals, at least for right now. So I’ve gotten help from great people like Thomas Blanc, Sofia Frasz, and Aaron Johnson III, who I am in a band with called Left After Death. I also worked with Maxwell Aston to do art for me and he did an incredible job.

8.Can you tell us a little bit more about the artwork that is presented on the new album cover?

There’s a really cool nature preserve close to where I live. It’s hard to find trees where I am, but this place has some great spots, and I found this cool area with that tunnel sort of bit and thought it would be a great representation of where this next project is going, sort of transporting you to another realm. And I love trees.

9.On the new album you also have a few quests, can you tell us a little bit more about who they are and also their contributions to the recording?

Sofia Frasz from Exiled Hope is a kindred spirit. We both tell stories through our music and incorporate orchestral elements. We had a talk at one point and wanted to collaborate and the time finally came. She did an amazing job.

The other is my vocalist and bass player in Left After Death, Aaron Johnson III. He’s a great guy and super creative, doing other style like goth rock and EDM and his own symphonic metal stuff, so it was pretty obvious to have him do some stuff on my music as well.

10.On a worldwide level how has the reaction been to your music by fans of metal and fantasy?

Reactions have been good! They love it, compared it to other bands like Dimmu Borgir or One Winged Angel from Final Fantasy VII. I recently had one interaction recently where someone said they haven’t heard of blackened death metal and fantasy, so I had to chime in and say, “Hey, I do that! And there’s orchestra stuff too!” I’m glad people are enjoying it and not saying I should give up. haha

11.Where do you see yourself heading into as a musician during the future?

Just doing more. More music, get that trilogy out, other orchestral stuff, maybe work with other artists and helping them with their music, and doing more collaborations. I got a lot of music friends I want to work with. I always try to improve on what I’ve done before, so that’s the goal as an artist.

12.What are some of the bands or musical styles you are currently listening to nowadays?

I’ve been listening to a little more Mental Cruelty, particularly their A Hill to Die Upon Album, as well as some Wormwitch. Just to channel those styles of riffs and be influenced by what they are doing. Then there’s always Shadow of Intent, and I’ve been playing Octopath Traveler 0, and that has great music as well.

13.Before we wrap up this interview, do you have any final words or thoughts?   

Thanks for the wonderful questions! I’ve been super busy writing all sorts of stuff and coming up with ideas, so I’ll be working on stuff for a long, long time. 

Official Website: chroniclerofardul.com
Bandcamp: https://chroniclerofardul.bandcamp.com/
Facebook: https://www.facebook.com/p/Chronicler-of-Ardul-100063489851273
Instagram: https://www.instagram.com/chronicler_of_ardul
YouTube: https://youtube.com/@ChroniclerOfArdul
Spotify: https://open.spotify.com/artist/5h3LfVFyzZA7Tl0eBhQxKg
Apple Music: https://music.apple.com/us/artist/chronicler-of-ardul/1678862672
TikTok: https://www.tiktok.com/@chronicler_of_ardul

Monovoth Interview

 

1.Can you give us an update on what has been going on with the solo project since the recording of the new album?

Much of the work over the last couple of months has focused on putting the finishing touches on the visual aspects of the album, as well as the overall marketing and media strategy. While I’ve already started writing some songs that reflect the evolution of the project, it’s still hard to know which of them will eventually make it onto the next album. What I do know is that I’m constantly writing and trying to express myself through music.

2.In February you have a new album coming out, musically how does it differ from the stuff you have released in the past?

I think people are going to be surprised by To Live in the Breath of Worship, as it’s vastly more dynamic than the previous records. I tried to write songs from a more universal perspective while maintaining the core Doom / Drone / Funeral essence. What were already quite dynamic compositions were elevated even further by Martin Visconti’s drumming contributions. I believe listeners will discover a more eclectic side of Monovoth this time.

3.You have worked with a variety of many different extreme metal styles in your other projects, how would you compare the music of 'Monovoth' to what you have done musically in previous or current groups?

I’ve worked on grindcore and death‑metal‑oriented projects before, but approaching Monovoth allows for a grandeur in scope and composition that I can’t express within those genres. The length of the songs, the layers, the atmospheres and moods all allow Monovoth to be an ‘all‑around’ experience—both as a composer and as a listener.

4.Most of your music so far has been instrumental but you did experiment a little bit with vocals on the new album, are you planning on expanding on that aspect on future releases?

Not really. I generally have one or two guest vocalists in Monovoth, and only on specific songs or sections, for artistic or textural purposes. I see Monovoth mainly as an instrumental project, but vocals can—and will—appear now and then as another instrument or layer, if the song calls for it.

The most I’ve done with vocals was a shared EP with a local singer (Ber Stinco in 'Elogio a la Noche'), leaning more into a Nick Cave‑like, very experimental territory. For now, it remains a one‑time collaboration—but who knows what the next few years will bring? Experimentation and art are central to how I envision the project.

5.Can you tell us a little bit more about the themes you explore on the new album?

The new album is about lonely gods in a universe without faith, part mythological, part philosophical, maybe. But as the album evolved, and considering how reality is unfolding nowadays, I began to see it as a metaphor for many of the negative things happening around the world. In a way, we are all lonely gods begging for attention under the paradigm of the algorithms. And at the same time, how many lonely gods are begging for power and attention while ruling various countries today? The parallels are endless.

6.Can you tell us a little bit more about the artwork that is presented on the new album cover?

In harmony with the album’s theme, I stumbled upon an artwork by Santiago Caruso purely by chance. He’s an outstanding Argentine artist I’ve been wanting to collaborate with for ages, and I feel his piece represents the concept and the music perfectly

7.With this project you work mostly solo but have worked with musicians in other bands. Do you prefer recording by yourself?

It’s funny, this is a ‘solo project,’ yet at this point I have a group of underground Argentine artists, whom I consider the best of the best, who have been tagging along with small (and not-so-small) contributions since the first Monovoth album. I’ve also worked with Andrew Notsch (Manipulator, Ex-Sunless) on our project Golden Cannibal, with Lindsay O’Connor (Coma Cluster Void) in Blvgth, and on many other things as well.

I love working alone, and having full artistic direction is very comfortable, but it can also get tiresome and overwhelming to handle every aspect myself. So I’ve been trying to lean on other people more and more.

In the creative process, what others can bring to your songs is always a plus. I see it as colors outside my own palette—and the results are outstanding.

8.On the new album you also have a few quests, can you tell us a little bit more about who they are and also their contributions to the recording?

On To Live the Breath of Worship, first and foremost, Martin Visconti plays drums once again, but this time he truly delved into the composition and creation process with me, so his contributions to the album as a whole are incredible. Federico Ramos (Avernal) delivers a solo on Cosmically Orphaned. Ivo Bisceglia (Atadues, Los Últimos Días), a young and mind‑blowing talent, arranged parts for The Fallen. Martin Passaro and Andrew Notsch contributed vocals here and there, and Kevin Hufnagel (Gorguts, Dysrhythmia) was kind enough to play on Crimson Red Wound.

I’m so humbled to have these people perform on something I wrote. Last but not least, Sebastián Barrionuevo (Medivm) mixed and mastered the album and also contributed guitar on Crimson Red Wound.

9.On a worldwide level how has the reaction been to your music by fans of underground metal and drone?

The reaction to the first two records was really unexpected—especially for a one‑man band from Argentina, you know? Trepanation Recordings from the UK released those albums physically, which was incredible for me. I’ll be forever thankful to Dan and all his work. The label closed shop last year, so at the moment I’m not attached to any label

10.What is going on with your other musical projects these days?

Not much, but I do have a couple of things in the works for Monovoth—even ideas that wouldn’t normally fall under what people expect from the project. I’ve decided not to have any more parallel projects for the time being and to channel all my creative output through this one.

11.Where do you see yourself heading into as a musician during the future?

I always find it a bit grandiose to consider myself ‘a musician,’ in a way. But I’d say something like: play better, play more, look forward and never look back. That’s the attitude and the motto behind everything I do.

12.What are some of the bands or musical styles that you are currently listening to nowadays?

Lately I’ve been diving back into Pink Floyd and Cynic in terms of ‘classics.’ But when it’s not that, Primitive Man, Avernal, Imperial Triumphant, and Krallice are usually in my regular rotation.

13.Before we wrap up this interview, do you have any final words or thoughts?

I just hope everyone enjoys the records. Thank you for this space and opportunity. And as a reminder, all proceeds from now until after Bandcamp Friday (Feb 6) will go toward supporting the fight against the wildfires in southern Argentina.”

Regards,

Social Media:

https://linktr.ee/monovoth 

Monovoth/To Live In The Breath Of Worship/2026 Full Length Review

 

  Monovoth  are  a  solo  project  from  Argentina  that  plays  a   mixture  of  post  black,  doom,  death  metal,  crust,  drone  and  dark  ambient  elements  and  this  is  a  review  of  his  self  released  2025  album  "To  Live  In  The  Breath  Of  Worship"  which  will  be  released  in  February.

  Clean  playing  starts  off  the  album  while  the  synths  also  being  in  elements  of  dark  ambient  Before  going  into  a  heavier  direction.  The  slower  sections  of  the  recording  are  also  very  heavily  rooted  in  funeral  doom  metal  while  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  and  the  solos  and  leads  are  done  in  more  of  a  post  metal  style.

  Melodies  are  also  added  into  some  of  the  guitar  riffing  while  drones  are  also  added  into  certain  sections  of  the  album.  A  great  portion  of  the  tracks  are  also  very  long  and  epic  in  length  along  with  the  music  also  capturing  the  brutality  of  death  metal  at  times.   Touches  of  crust  are  also  added  into  the  mid  tempo  sections  of  the  recording  as  well  as  the  vocals  being  done  in  more  of  a  black  metal  style  when  they  are  introduced,  acoustic  guitars  can  also  be  heard  briefly  and  the  closing  song  also  adds  in  some  fast  riffing  and  blast  beats..

  Monovoth  plays  a  musical  style  that  takes  post  black,    funeral  doom,  death  metal,  crust,  drone  and  dark  ambient  and  mixes  them  together  to  create  a  sound  of  his  own  as  well  as  sticking  to  mostly  an  instrumental  direction.  The  production  sounds  very  dark  and  heavy  while  the  song themes  cover  lonely  gods  in  a  faithless  world.

  In  my  opinion  Monovoth  is  a  very  great  sounding  mixture  of  post  black,  funeral  doom,  death  metal,  crust,  drone  and  dark  ambient  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "From  A  Dying  Star"  and  "To  Drown  In  The  Tears  Of  God".  8  out  of  10.

  https://linktr.ee/monovoth 

Chronicler Of Ardul/Sounds Of Ardul/2025 Full Length Review

 

  Chronicler  Of  Ardul  are  a  solo  project  from  Richland,  Washington  that  started  out  playing    a  fantasy  themed  symphonic  mixture  of  black  and  death  metal  and  on t his  album  keeps  the f antasy  themes  and  goes  into  more  of  an  acoustic  folk  direction  and  this  is  a  review  of  his  self  released  2026  album  "Sounds  of  Ardul"  which  will  be  released  in  April.

  Acoustic  guitars,  percussion  and  folk  instruments  start  off  the  album   along  with  some  clear  singing  a  few  seconds  later.  Some  of  the  songs  also  stick  to  an  instrumental  direction  while  one  track  also  introduces  keyboards  onto  the  album  and  all  of  the  tracks  also  sounds  very  different  from  each  other.

  At  times  the  music  also  goes  into  more  of  a  cinematic  and  atmospheric  direction  while  most  of  the  songs  are  also  very  short  in  length.  Stringed  instruments  are  also  a  very  huge  part  of  the  album  along  with  a  lot  of  the  recording  also  capturing t he  atmosphere  of  a  fantasy  movie  soundtrack,  elements  of  dark  ambient  and  dungeon  synth  are  also  added  on  a  lot  of  tracks.

  On  this  recording  Chronicler  Of  Ardul  goes  for  a  very  cinematic  and  symphonic  style  of  folk  music.  The  production  sounds  very  professional  while  the  lyrics  the  mythic  world  of  Ardul

  In  my  opinion  Chronicler  Of  Ardul  are a   very  great  sounding  symphonic  and  cinematic  folk  music  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Watch  Over  Me"  "Woodlands"  "Unwelcome  Quests"  and  "Zarek  The  Bloody".  8 out  of  10.

  Official Website: chroniclerofardul.com

Bandcamp: https://chroniclerofardul.bandcamp.com/
Facebook: https://www.facebook.com/p/Chronicler-of-Ardul-100063489851273
Instagram: https://www.instagram.com/chronicler_of_ardul
YouTube: https://youtube.com/@ChroniclerOfArdul
Spotify: https://open.spotify.com/artist/5h3LfVFyzZA7Tl0eBhQxKg
Apple Music: https://music.apple.com/us/artist/chronicler-of-ardul/1678862672

TikTok: https://www.tiktok.com/@chronicler_of_ardul   

Smohalla/Ruina Draconis/I, Voidhanger Records/2025 Full Length Review

 

  Smohalia  are  a  duo  from  France  that  plays  a  very  progressive  and  avant  garde  form  of  black  metal  and  this  is  a  review  of  their  2025  album  "Ruina  Draconis"  which  will be   released  in  October  by  I,  Voidhanger  Records.

  A  very  dark  yet  heavy  sound  starts  off  the  album  while  the  keyboards  also  add  in  some  symphonic  touches.  Vocals  are  a  mixture  of  black  metal  screams,  growls  and  avant  garde  style  clear  singing  along  with  the  faster  sections  of  the  recording  also  adding  in  a  lot  of  blast  beats  and  some  of  the  tracks  are  also  very  long  and  epic  in  length.

  Melodies  are  also  added  into  a  lot  of  the  guitar  riffing  while  the  songs  also  add  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  along  with  the  solos  and  leads  also  being  done  in  a  very  melodic  style  and  some  tracks  also  add  in  ambient  and  electronic  sounds.

  At  times  the  music  also  gets  very  progressive  sounding  along  with  the  faster  riffing  also  adding  in  a  decent  amount  of  tremolo  picking.  A  couple  of  the  tracks  are  also  instrumentals  as  well  as  the  album  also  having  its  experimental  moments,  one  song  also  adds  in  a  brief  use  of  spoken  words.  The  production  sounds  very  professional  while  the  lyrics  are  written  in  French  and  cover  dark  and  metaphysical  themes.  

 In  my  opinion  Smoholia  are  a  very  great  sounding  avant  garde  and  progressive  black  metal  duo  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Ecclessia  Obsessa"  "Cantica  Servi  Sufferentis"  and  "Homunculus".  8 out  of  10.

  https://i-voidhangerrecords.bandcamp.com/album/ruina-draconis  

Old Machines/The Cycles Of Extinction/Pale Magnus Productions/2025 Full Length Review

 

  Old  Machines  are  a  band  from  Portland,  Oregon  that  plays  a  very  symphonic  form  of  black  metal  and  this  is  a  review  of  their  2025  album  "The  Cycles  Of  Extinction"  which  will  be  released  in  August  by  Pale  Magnus  Productions.

  A  sci-fi  orientated  sound  starts  off  the  album  along  with  some  ambient  style keyboards  a  few  seconds  later  before  adding  in  some  symphonic  elements  which  also  mixes  in  with  the  heavier  sections  of  the  songs.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style.

  All  of  the  tracks  are  also  very  long  and  epic  in  length  while  tremolo  picking  and  blast  beats  are  added  into  the  faster  sections  of  the  songs.  Vocals  are  mostly  grim  sounding  black  metal  screams  along  with  some  spoken  words  also  being  utilized  at  times  and  the  album  also  adds  in a   good  mixture  of  slow,  mid  paced  and  fast  parts.

  The  album  also  adds  in  a  good  amount  of  thrash,  death  and  power  metal  elements  along  with  all  of  the  musical  instruments  also  having  a  very  powerful  sound  to  them  as  well  as  one  track  also  being  an  instrumental.  The  production  sounds  very  professional  while  the  lyrics  are  a  concept  album  and  covers  science  fiction,  horror,  war  and  genocide.

  In  my  opinion  Old  Machines  are  a  very  great  sounding  symphonic  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Twilight  Of  The  Old  Gods,  And  The  Dawning  Of  The  First"  "Dark  Space  And  Beyond  -  The  Continuing  Of  The  Evolution  Of  The  Final  Cycle"  and  "Glory  To  The  Terrans  Of  The  First  Contact  War".  8  out  of  10.

  https://oldmachines.bandcamp.com/album/the-cycles-of-extinction

https://www.facebook.com/profile.php?id=61550689574647#

https://www.instagram.com/oldmachines_official/#

https://www.youtube.com/@OldMachinesOfficial      

Xavernah Interview

 

1.Can you give us an update on what has been going on with the solo project since the recording and release of the new album?

For Xavernah I’ve been mostly focusing on extending further exposure for ‘Absence’. However, of course I have developing new concepts and working on new material, but besides ‘Absence’ my priorities currently lies with getting albums out for both my bands Epistulum (Keytar-driven melodeath) and Signs of Extinction (Symphonic Deathcore/Tech Death) later this year.

2.In February you released your first full length, can you tell us a little bit more about the musical style that you went for on the recording?

Personally I tried to do something completely new for myself. Until the point of writing this record I worked/wrote predominantly on Death Metal/Deathcore, so this was an experiment to try something new with a very atmospheric approach to Black/Doom. Whilst a lot of different flavors seeped into the music, Black/Doom was still the foundation. Funnily enough, after release, the album is seemingly taking a life of its own and is regarded more as an atmospheric Blackened Death Metal-record. I'm not complaining, but I do find it funny and interesting how the album has been categorized so far! 

3.A lot of your lyrics are inspired by writers of the 19th and 20th century, which authors had the most influence on your songwriting?

Definitely H.P. Lovecraft and Olaf Stapledon! Lovecraft for the more eerie and dreadful elements and Stapledon for the more sophisticated, thought-provoking "our-place-in-universe" elements. But with a song titled Ozymandias, and the lyrics being derived from the poem, I cannot go without mentioning Percy Bysshe Shelley too! 

4.What is the meaning and inspiration behind the name 'Xavernah'? 

'Xavernah', as far as I know, has no real meaning. I've taken it from the song 'Xavernah Glory' from the Romanian Black Metal band Katharos XIII, one of the many influences for this project. I really resonate with that song and the word itself is unique, sounds cool and happens to also look cool! 

5.Can you tell us a little bit more about the artwork that is presented on the new album cover?

The cover itself is 1/3 of the entire art piece! It is basically a panoramic amalgamation of the entire album’s story within a single piece of artwork, with the center being the climax of the record! Shout out to Nick Wilschut of Skycraft Productions for creating it! He really outdid himself and put down exactly the image I had in mind.

6.With this project you record a lot of the music by yourself but have experience working as a drummer with a full band, do you prefer to work solo?

Both have its pros and cons. Whilst I do relish the full un-compromised creative control when working solo, it does also ask a lot of you and whenever you get stuck or second guess yourself you don’t really have someone else to turn to. But that’s why I have multiple projects. With Xavernah I figure it out myself and at the end of the day have a product which is 100% me, and with my bands it is a different dynamic, leading to different results but just as fulfilling. 

7.On the new album you also have a few guests, can you tell us a little bit more about who they are and also their contributions to the recording? 

I wouldn’t consider guests, but integral session musicians. Without them, there wouldn’t be an album.

Most of the people involved on the record are fellow students back from my class of music college I have graduated from since. 

Martín Jaramillo, who recorded the electric guitars, is one of the many fellow students involved but also a band member within our band Signs of Extinction.

Thijs Ronteltap is one of the two who isn’t directly involved from my class! Frontman of Epistulum, which I drum for, I asked him to be part of the record and he ended up recording most of the vocals, some piano and acoustic guitars.

Siebe Sol Sijpkens, although an alumnus of the same college, far exceeds my year. Recommended last minute by the album’s mixer to record the bass, he is known primarily for playing with Blackbrair.

Whilst not actively “playing” on the record, also huge thanks to Jordy Hoogvliets (Vrøde) for the additional orchestration and Siebe van der Haring (Benchwarmers) for the additional programming on ’Thalassic Dream’.

8.Currently you are unsigned, are you looking for a label or have received any interest?

I’m not actively seeking, if that's what you mean. I did, soon after release, get approached by a label and we discussed the possibility of Xavernah signing a deal but we couldn’t come to an agreement. For the time being I don’t mind being an independent artist, but if the right label comes around… Who knows.

9.On a worldwide level, how has the reaction been to your music by fans of underground metal?

Whilst it has been quite hard to break through the noise that is the current music industry, the people it has reached have generally responded very positively! Applying a niche take on an already niche genre, I was expecting way more of a mixed reception, but that hasn’t really been the case! Even more, critics have been overwhelmingly positive so far! 

10.What is going on with 'Epistulum' these days?

We have been working hard on a new album, and are putting the finishing touches on it! The album should see the light of day somewhere in the second half of this year!

11.Where do you see yourself heading into as a musician during the future?

Oof, that’s a surprisingly deep question all the sudden. Honestly, I am not sure… Day by day the details change. But what remains consistent is that I want to make music that tells a story, moves people and pushes boundaries. Preferably for projects I am directly involved in, but I do think I would also do pretty well as a songwriter, producer or even some kind of (creative) consultant for other bands/artists.

12.What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Consciously or subconsciously nearly everything that I enjoy listening and playing has had some influence on the record, in one way or the other. But honing in on the important elements for this record the Black Metal influences came from artists like Mare Cognitum and The Great Old Ones, the Doom elements from artists like Bell Witch and Bismuth. The atmospheric elements come from both metal acts and other artists/media like Hans Zimmer’s Dune soundtrack or ambient artists like Cryo Chamber. 

Whatever I’m listening to is kinda all over the place and changes weekly or even daily! However there is usually still a prominent metal element present. This week I’ve had Vildhjarta’s ‘måsstaden under vatten’ on repeat due to the recent album announcement, another (but very different) atmospheric metal journey!

13.Before we wrap up this interview, do you have any final words or thoughts?

First of all, thank you for having me!

For those still reading, please check out ‘Absence’ if you haven’t already! You can find it on Bandcamp, YouTube, Spotify or your preferred streaming devices. And if you liked what you heard and want to stay in the loop about Xavernah go follow the project on Instagram and Facebook! Thank you!

Now there’s nothing left, merely absence

Bandcamp: https://xavernah.bandcamp.com/album/absence
Spotify: https://open.spotify.com/artist/2pj2ChpqDBXM7QHwmSmrfe
YouTube: https://www.youtube.com/@Xavernah
Instagram: https://www.instagram.com/xavernah_project/
Facebook: https://www.facebook.com/profile.php?id=61569326456220

Xavernah/Absence/2025 Full Length Review

 

  Xavernah  are  a  solo  project  from  the  Netherlands  that  plays  an  atmospheric  and  melodic  mixture  of  black,  doom  and  death  metal  with  elements  of  ambient  and  dark  jazz  and  this  is  a  review  of  his  self  released  2025  album  "Absence".

  Pianos  and  ambient  elements  start  off  the  album  which  also  mixes  in  with  the  heavier  sections  of  the  songs  at  times.  Clean  playing  and  acoustic  guitars  are  also  added  in  certain  sections  of  the  recording  while  the  music  also  has  its  atmospheric  moments  and  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.

  Some  of  the  tracks  are  also  very  long  and  epic  in  length  while  whispered  vocals  can  also  be  heard  briefly.  The  slower  sections  of  the  album  are  also  very  heavily  rooted  in  doom  metal  along  with  the  harsh  vocals  bringing  in  a mixture  of  black  metal  screams  and  death  metal  growls,  tremolo  picking  and  blast  beats  are  also  added  into  the  faster  sections  of  the  songs.  The  production  sounds  very  professional  while  the  lyrics  cover  desolation,  dread  and  nihilism  with  some  inspiration  from  the  poetry  of  Percy  Bysshe Shelly  and  other  writers  from  the  19th  and  early  20th  century.

  In  my  opinion  Xavernah  is  a  very  great  sounding  atmospheric  mixture  of  black,  doom  and  death  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  solo  project.  RECOMMENDED  TRACKS  INCLUDE  "Perpetual  Gloom  Across  The  Basaltic  Horizons"  and  "Celestial  Ruin".  8  out  of  10.

  Bandcamp: https://xavernah.bandcamp.com/album/absence

Spotify: https://open.spotify.com/artist/2pj2ChpqDBXM7QHwmSmrfe
YouTube: https://www.youtube.com/@Xavernah
Instagram: https://www.instagram.com/xavernah_project/
Facebook: https://www.facebook.com/profile.php?id=61569326456220

  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  along  with  the  songs  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts.  Touches  of  dark  jazz  are  also  added  into  the  music  at  times  as  well  as  one  of  the  tracks  also  being  an  instrumental,  spoken  words  and  clear  singing  can  also  be  heard  briefly  and  the  riffs  also  add  in  a  lot  of  melody.    

The Mountain King/Stoma/Void Key Recordings/2024 Full Length Review

 

  The  Mountain  King  are  a  solo  project  from  Germany  that  has  had  music  reviewed  before  in  this  zine  and  on  this  recording  plays  a  progressive  mixture  of  post  black,  doom,  death  metal  and  drone  and  this  is  a  review  of  his  2024  album  "Stoma"  which  will  be  released  in  October  by  Void  Key  Recordings.

  Synth  orientated  drones  start  off  the  album  along  with  some  clean  playing  a  few  seconds  alter  before  going  into  a  heavier  direction.  All  of  the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them  while  the  music  also  gets  very  progressive  sounding  at  times  and  the  vocals  also  add  in  a  lot  of  black  metal  screams.

  When  the  music  speeds  up  a  decent  amount  of  blast  beats  can  be  heard  while  the  slower  sections  of  the  album  also  bring  in  elements  of  doom  metal.  Clear  singing  is  also  added  into  certain  sections  of  the  recording  along  with  the  solos  and  leads  also  being  done  in  a  very  melodic  post  metal  style.

  A  great  portion  of  the  tracks  are  also  very  long  and  epic  in  length  along  with  some  of  the  songs  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts,  at  times  the  music  also  brings  in  the  heaviness  of  death  metal  and  some  of  the  album  also  adds  in  touches  of  ambient  and  post  hardcore.  The  production  sounds  very  professional  while  the  lyrics  cover  a  question  of  balance  between  everyday  life  and  the  thoughts  about  the  inevitable  death  of  the  individual  at  the  end  of  it.  

  In  my  opinion  this  is  another  great  sounding  recording  from  The  Mountain  King  and  if  you  are  a  fan  of post  black,  doom,  death,  progressive  metal  and  drone,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Space  Is  Now  Tainted"  "Stoma"  and  "To  The  Caves".  8  out  of  10.

  https://themountainking.bandcamp.com/album/stoma

  

Locusts And Honey Interview

 

For those that have never heard of you before, can you tell us a little bit about the band?

Stephen: We are a doom band from the UK.

Tomás: I’ll go along with that! With some black metal and dark ambient flourishes. 

So far you have released one album, can you tell us a little bit more about the musical style that you went for on the recording?

Stephen: It's a sort of blackened funeral doom with a cinematic bent. There's more of a mix of influences and styles in there than that, but essentially we wanted to write and play slow, heavy, bleak and sorrowful metal.

Tomás: I went for a dense, suffocating, wall of sound production style… not sure I achieved this but it was certainly my intention.

Both of the band members are also involved with other bands and projects, what is it that you bring into the music of 'Locusts And Honey' that you have not been able to do with your other groups?

Stephen: Slow, heavy music has been a go-to for me since I was a kid. My previous bands have been on the sludge side, so it's been great to shift over to doom. It's a different palette to work from and can be very emotionally charged. In the last few years I've had to come to grips with some mental health stuff, so it's a great release for me.

Tomás: I too have been playing loud music since I was young, black metal in particular. I currently have two other working projects, Gergesenes and Penitent Whisper. They are black metal and dark ambient respectively. I wanted to be freer of some of the constraints self imposed within those genres when starting Locusts and Honey I guess. 

Your lyrics are inspired by the bog bodies that were found in Denmark and Ireland, can you tell us a little bit more about your interest in this topic?

Stephen: Tom messaged me and said he was getting inspired by the bog bodies and asked if I wanted to be involved in what he was writing. So I started reading up on the phenomenon a bit. There's still a lot of mystery around the sacrificial practice, but also a lot we can deduce. However, when I heard the music Tom had written, what I heard was dark but very human and relatable, and immediately it made me think of how death sharpens our appetite for living, especially living well.

Tomás: The inspiration came from a reading of Glob’s seminal The Bog People: Iron-Age Man Preserved. If I’m honest it was the grainy photos therein that really affected me. Some rereading of Seamus Heaney’s bog poems, The Grauballe Man was perhaps the starting point. I visited the National Archaeology Museum in Dublin a few years back - viewing the remnants of those bodies on display there whilst suffering from a corruscating hangover left me wanting to create something for some reason! 

What is the meaning and inspiration behind the name 'Locusts And Honey'?

Stephen: It's a Biblical reference that Tom used for a previous project of his, and we both still quite liked how it sounded.

Tomás: Yes, the name was used almost twenty years ago for a rather maudlin slowcore project I had at the time. I mainly resurrected it to avoid the rigamarole of settling on a new name. Somewhat strangely, the two friends I was working with back then are now in this current version of the band. 

Can you tell us a little bit more about the artwork that is presented on the new album cover?

Tomás: The artwork was created for us by Samuel Guillet or Sam Rictus (https://www.instagram.com/samrictus). Sam was given a fairly loose brief to be honest - I’m very happy with how it turned out and strongly recommend others to check out his work. 

Currently there are only 2 members in the band, are you open to expanding the line up or do you prefer to remain a duo?

Stephen: We’ve recently been recruiting for a full line-up, which is great. When you get the right people it's a real pleasure to come together to create music, and I'm pretty excited to see the impact it will have for us in the near future.

Tomás: Yes, we have nearly solidified a full conventional band lineup. 

The album was released on 'Hypaethral Records', can you tell us a little bit more about this label?

Tomás: I sent the recording to various labels who I felt may be interested in working with us. I had heard some of the bands on Hypaethral before, like QAALM. so I was happy when Chris from Hypaethral said he was interested and it has been a pleasure to collaborate with him ever since! I’ll actually let Chris chime in himself here and let him give you some further information…

Chris: We started up Hypaethral Records back in 2012, with the goal of helping underground bands get their music out in physical and digital formats. We mostly work with doom and blackened metal. Locusts and Honey have been the first international band that we’ve worked with (outside of North America), which was an exciting new step for the label. 

Tomás sent me a cold email with a stream for the full EP and I knew immediately that it was something that we wanted to release. It absolutely blew me away on the first listen!

On a worldwide level how has the reaction been to your music by fans of underground metal?

Stephen: The feedback I've got so far has been pretty positive. I think a lot of people understood what we were going for with the record and the band in general, and that is incredibly gratifying. We’re extremely grateful for all the support and love we’ve received so far.

Where do you see the band heading into musically during the future?

Stephen: I see us just slowly evolving. We have a strong idea of the themes and feelings we want to evoke with our music, so however we progress it will be with these in mind.

Tomás: We have been writing new material with our new members. A totally new approach and one I am personally enjoying very much. I hope the future involves new music and touring too. 

What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?

Stephen: Our influences are pretty varied, but I suppose the most apparent influences would be the likes of Bell Witch, Cough, Corrupted, The Body, Asunder… I don't ever have a band or record in mind when I'm writing, I just trust the influence of the music I love will come through naturally, filtered by my own thinking and emotions.

As to what I'm currently listening to, I quite often go back and listen to old favourites. At the time of writing this, I’ve just revisited the small but cracking discography of Carol Ann. Of new releases on the heavier side of things that I've been enjoying, there's Thou’s Umbilical, Cowardice’s Atavist, Simian Steel’s Missing Fucking Link… But it's always down to where my mood takes me.

Tomás: I feel I have less of the conventional ‘doom’ influences than perhaps Stephen does. I guess I draw most of my influences from the black metal spectrum… I have been close to the genre since I was a teenager in the mid nineties. Much as I have tried with lots of recent raw black metal it does still feel like my primary influences are those names from the Norway we all know so well. Also, I guess The Caretaker, William Basinski, Deathprod have influenced our more ambient moments.

I don’t listen to huge amounts of new heavy music I must say. That said, I enjoyed watching Sanguine Relic and Black Cilice play in London the other evening… Some other stuff I’ve recently enjoyed listening to of late have been Myriam Gendron, Warren Zevon, Jackie Edwards, Joanna Sternberg, Carme Lopez, Spirogyra, Washington Phillips, Tucker Zimmerman, Peter Bellamy… always a lot of Dylan too & lots of classical music - I’m getting on in years. 

Before we wrap up this interview, do you have any final words or thoughts? 

Tomás: Many thanks for the interview and interest. 

https://instagram.com/_locustsandhoney_

Pthumulha/Tungumal svarthola/Kvlt und Kaos Productions/2024 Full Length Review

 

  Phthumulha  are  a  band  from  Iceland  that  plays  a  mixture  of  black,  sludge,  funeral  doom  metal  and  drone  and  this  is  a  review  of  their  2024  album  "Tungumal  svarthola"  which  was  released  by  Kvlt  und  Kaos  Productions.

  Drum  beats  start  off  the  album  before  adding  in  some  drones  and  powerful  sounding  bass  guitar  leads.  Elements  of  sludge  and  funeral  doom  metal  are  also  added  into  the  slower  sections  of  the  songs  while  the  vocals  also  add  in  a  mixture  of  guttural  death  metal  growls  and  black  metal  screams.

  Some  of  the  tracks  are  also  very  long  and  epic  in  length  while  dark  sounding  melodies  can  also  be  heard  in  some  of  the  guitar  riffing.  Blast  beats  and  tremolo  picking  can  also  be  heard  on  a  couple  of  songs  when  the  music  speeds  up  along  with  a  couple  of  the  tracks  also  being  ambient  orientated  instrumentals  which  also  add  in  small  amount  of  synths

  Phthunulha  plays  a  musical  style  that  takes  black,  sludge,  funeral  doom  metal  and  drone  and  mixes  them  together  to  create  a  sound  of  their  own.  The  production  sounds  very  dark  and  heavy  while  the  lyrics  are  written  in  Icelandic  and  cover  dark  poetry,  existential  dread,  cosmic  insignificance  and  the  beauty  found  within  the  embrace  of  oblivion.  

  In  my  opinion  Phthumulha  are  a  very  great  sounding  mixture  of  black,  sludge,  funeral  doom  metal  and  drone  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Multhulu"  and  "Phthumulha".  8  out  of  10.

  https://www.instagram.com/pthumulhu/

https://kvltundkaosproductions.bandcamp.com/album/tungum-l-svarthola

https://youtu.be/vJbJh1xrSCU  

        

Locusts And Honey/Teach Me To Live That I Dread The Grave As Little As My Bed/Hypraethral Records/2024 Full Length Review

 

  Locusts  And  Honey  are  a  duo  from  the  United  Kingdom  that  plays  a  mixture  of  black,  sludge,  funeral  doom  metal,  dark  ambient,  drone  and  noise  and  this  is  a  review  of  their  2024  album  "Teach  Me  To  Live  That  I  Dread  The  Grave  As  Little  As  My  Bed"  which  was  released  by  Hypraethral  Records.

  Dark  ambient  style  drones  and  synths  start  off  the  album  along  with  some  clean  playing  a  few  seconds  later  before  going  into  a  heavier  direction.  Elements  of  sludge  and  funeral  doom  metal  can  also  be  heard  in  the  slower  sections  of  the  songs  and  one  of  the  tracks  is  also  very  long  and  epic  in  length.

  Melodies  are  also  added  into  some  of  the  guitar  riffing  while  the  solos  and  leads  are  also  done  in  a  very  melodic  style.  Vocals  are  mostly  grim  sounding  black  metal  screams  along  with  some  noises  also  being  added  into  certain  sections  of  the  recording  as  well  as  some  of  the  tracks  also  being  instrumentals  and  the  whole  album  also  sticks  to  a  slower  direction.

  Locusts  And  Honey  play  a  musical  style  that  takes  black,  sludge,  funeral  doom  metal,  dark  ambient,  drone  and  noise  and  mixes  them  together  to  create  a  sound  of  their  own.  The  production  sounds  very  dark  while  the  lyrics  cover  the  bog  bodies  of  Ireland  and  Denmark  -  people  of  the  Iron  Age  who  where  sacrificially  hanged  and  found  extremely  well  preserved  in  peat.

  In  my  opinion  Locusts  And  Honey  are  a  very  great  sounding  mixture  of  black,  sludge,  funeral  doom  metal,  dark  ambient,  drone  and  noise  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  duo.  RECOMMENDED  TRACKS  INCLUDE  "Leathern  Cord"  and  "Traitor  To  love".  8  out  of  10.

  

https://instagram.com/_locustsandhoney_      

Pontifex/From The Pale Mist/2024 Full Length Review

 

  Pontifex  are  a  band  from  Florida  that  plays  a  symphonic  form  of  black  metal  with  elements  of  ambient,  death  and  thrash  metal  and  this  is  a  review  of  their  self  released  2024  album  "From  The  Pale  mist".

  Ambient  style  synths  start  off  the  album  while  also  introducing  symphonic  sounds  which  also  mixes  in  with  the  heavier  sections  of  the  songs  at  times.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  and  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.

  Melodies  are  also  added  into  some  of  the  guitar  riffing  while  the  vocals  also  add  in a   mixture  of  black  metal  screams  and  death  metal  growls.  When  the  music  speeds  up  a  decent  amount  of  tremolo  picking  and  blast  beats  can  also  be  heard  along  with  the  songs  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts.

   Elements  of  thrash  metal  can  also  be  heard  in  some  of  the  guitar  riffing  and  clean  playing  can  also  be  heard  briefly  along  with  one  of  the  tracks  also  being  an  instrumental  as  well a s  the  music  also  mixing  in  both  old  school  and  modern  touches.  The  production  sounds  very  professional  while  the  lyrics  cover  darkness  and  mystery themes.

  In  my  opinion  Pontifex  are  a  very  great  sounding  symphonic  mixture  of  black,  death  and  thrash  metal  with  elements  of  ambient  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  REOCMMENDED  TRACKS  INCLUDE  "Festering"  and  "Abyssal".  8  out  of  10.

  https://youtu.be/srVAty5dWkc

https://open.spotify.com/track/6FW3pN2D59Cq6vzzRlKGd

https://pontifex.bandcamp.com/album/from-the-pale-mist

https://www.facebook.com/profile.php?id=61555978000917

https://www.instagram.com/shadowspireband/ 

Defying/Wadera/These Hands Melt/2024 Full Length Review

 

  Defying  are  a  band  from  Poland  that  plays  a  progressive  mixture  of  ambient,  post  black  and  sludge  metal  and  this  is  a  review  of  their  2024  album  "Wadera"  which  will  be  released  on  February  23rd  by  These  Hands  Melt.

  Night  sounds,  whispers  and  spoken  words which  also  returns  on  later  songs  start  off  the  album  before  going  into  more  of  a  heavier  and  melodic  direction.  When  synths  are  utilzied  they  also  bring  in  elements  of  ambient  while  some  tracks  also  add  in  a  small  amount  of  clean  playing  and  the  slower  sections  of  the  songs  are  heavily  rooted  in  sludge  metal.

  Vocals  are  a  mixture  of  death  metal  growls  and  black  metal  screams  while  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.  When  the  music  speeds  up  a  decent  amount  of  tremolo  picking  and  blast  beats  can  also  be  heard  along  with  the  solos  and  leads  also  being  done  in  a  very  melodic  post  metal  direction.  

  At  times  the  music  also  gets  very  progressive  sounding  along  with  a  few  songs  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts  as  well  as  some  of  the  tracks  also  being  very  long  and  epic  in  length,  clear  vocals  can  also  be  heard  briefly.  The  production  sounds  very  professional  while  the  lyrics  are  a  concept  album  based  upon  the  polish  horror  film  "The  Wolf(1983)"  and  the  short  story  "Wadera(1977)  written  by  Jerzy  Gieraltowski.

  In  my  opinion  Defying  are  a  very  great  sounding  progressive  mixture  of  ambient,  post  black  and  sludge  metal  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "Tempus  Infaustum"  "The  Acquittance  Shade"  "Reluctant  To  The  Grave"  and  "Quietus".  8  out  of  10.

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The Mountain King/Apostasyn/2024 Full Length Review

 

  The  Mountain  King  are  a  band  from  Germany  that  plays  a  mixture  of  black,  doom,  death.  post  metal.  drone  and  ambient  and  this  is  a  review  of  their  self  released  2024  album  "Apostasyn"  which  will be   released  in  February.

  Avant  garde  style  percussion  starts  off  the  album  along  with  some  post  metal  style  melodies  and  clean  playing  a  few  seconds  later.  All  of  the  musical  instruments  on  the  recording  also  have  a  very  powerful  sound  to  them  while  the  slower  sections  of  the  songs  also  being  in  elements  of  doom  metal.

  Clear  female  and  male  vocals  are  also  utilized  quite  a  bit  throughout  the  recording  while  the  harsh  vocals  are  mostly  black  metal  screams.  Some  of  the  tracks  are  also  very  long  and  epic  in  length  along  with  some  touches  of  drone  and  ambient  also  being  utilized  at  times.

 Synths  can  also  be  heard  in  certain  sections  of  the  album  along  with  some death  metal  growls  also  being  utilized briefly.  Spoken  word  samples  are  also  added  on  one  song  and  when  the  music  finally  speeds  up  a  small  amount  of  blast  beats  can  also  be  heard,  half  of  the  album  is  also  instrumental.  The  production  sounds  very  professional  while  the  lyrics  cover  Anti  Religion  themes,

  In  my  opinion  The  Mountain  King  are  a  very  great  sounding  mixture  of  black,  doom,  death,  post  metal,  ambient  and  drone  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "Apostasyn"  and  "Axoloti  Messiah".  8  out  of  10.

  

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