Velzevul/Pandemonium/Satanath Records/More Hate Productions/2025 Full Length Review

 

  Velzevul  are  a  band  from  Russia  that  plays  a  very  symphonic  form  of  black  metal  and  this  is  a  review  of  their  2025  album  "Pandemonium"  which  was  released  as  a  joint  effort  between  Satanath  Records  and  More  Hate  Productions.

  A  very  apocalyptic  sound  starts  off  the  album  along  with  some  symphonic  sounding  keyboards  and  choirs  a  few  seconds  later  which  also  mixes  in  with  the  heavier  sections  of  the  songs.  Vocals  are  mostly  high  pitched  black  metal  screams  while  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.

  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast b eats  can  be  heard  while  the  songs  also  add  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts.  Growls  are  also  utilized  at  times  along  with  the  solos  and  leads  also  being  done  in  a  very  melodic  style  when  they  are  utilized,  melodies  are  also  added  into  some  of  the  guitar  riffing.

  Velzevul  plays  a  style  of  black  metal  that  is  very  symphonic  in  the  mid  90's  tradition.  The  production  sounds  very  professional  while  the  lyrics  cover  Demonology,  Luciferian,  Anti  Christian  and  Darkness  themes.

  In  my  opinion  Vezevul  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  "Nuclear  Snow"  "The  Insignificance  Of  The  Universe"  and  "The  Valley  of  Shadows".  8 out  of  10.

 https://satanath.bandcamp.com/album/sat402-velzevul-pandemonium-2025

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 

Moros/Cemetery Hallucinations/Strange Mono/Knife Hit Records/2026 Full Length Review

 

  Moros  are  a  band  from  Pennsylvania  that  has  had  music  reviewed  before  in  this  zine  and  on  this  recording  goes  for  a  mixture  of  black,  sludge,  doom  and  death  metal  and  this  is  a  review  of  their  2026  album  "Cemetery  Hallucinations"  which  will  be  released  in  March  as  a  joint  effort  between  Strange  Mono  and  Knife  Hit  Records.

  A  very  dark  yet  distorted  sound  starts  off  the  album  along  with  some  spoken  word  samples  and  noises  before  going  into  a  heavier  direction.  Elements  of  sludge  and  doom  metal  are  also  added  into  the  slower  sections  of  the  recording  while  the  vocals  bring  in  mostly  death  metal  growls  and  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.

  When  the  music  speeds  up  a  decent  amount  of  blast  beats  can  also  be  heard  while  melodies  are  also  added  into  some  of  the  guitar  riffing.  Black  metal  screams  are  also  utilized  at  times  along  with  the  songs  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts  as  well  as  the  solos  and  leads  bringing  in  a  very  dark  style  when  they  are  finally  utilized  and  the  whole  album  also  sticks  to  a  heavier  direction.

  On  this  recording  Moros  takes  black,  sludge,  doom  and  death  metal  and  mixes  them  together  to  create  a  very  heavy  album.  The  production  sounds  very  professional  while  the  lyrics  cover  horror  themes.

  In  my  opinion  this  is  another  great  sounding  recording  from  Moros  and  if  you  are  a  fan  of  black,  sludge,  doom  and  death  metal,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Wasted  Burial"  "Cemetery  Hallucinations"  and  "Cretin".  8  out  of  10.

  https://strangemono.bandcamp.com/album/cemetery-hallucinations

https://knifehitscollective.bandcamp.com/album/cemetery-hallucinations

https://moros-666.bandcamp.com/

  

Cattle Hammer Interview

 

1.Can you hive us an update on what is going on with the band these days?

Hey, thanks for the opportunity to talk. At the time of this interview, we're fresh into the new year so we're just about to get back into the rehearsal room to resharpen ourselves after the holiday break, as we've hopefully got a really busy year ahead of us with our debut album on the horizon.

2.In 2026 you have a new album coming out, musically how does it differ from the stuff you have released in the past?

'Dark Thoughts With Lights Out' is both nearly three years old and brand spanking new at the same time. The songs on the record are amongst the earliest written for the band, when it was just another in a line of projects I'd busied myself with at the time, before it expanded to a fully live proposition. To date, everything released so far has been written, recorded & produced by myself at home. I daren't say 'home studio' lest it conjure images of anything more extravagant than a laptop and a couple of leads in a box. 

This album, however is the first recording as a full band, and with the benefit of a couple of years worth of fine tuning and expanding upon what I originally thought possible, it is undoubtedly the most complete replication of our sound and vibe I could have asked for. None of which would have been possible without Ike, our drummer and sound engineer by trade who brought to life a lot of the electronic backing and samples I'd always assumed would be confined to studio recordings. He also recorded, mixed and mastered the entire fucking thing too and I can't emphasize his input enough. I will say that if you've heard any of our previous recordings, the versions that are coming your way will be like hearing them for the first time again. 

But like, much, much horribler.

3.What are some of the lyrical topics and subjects the band explores with the newer music and also how would you describe your progress as songwriters over the last couple of years?

I feel like I've learnt more in the last three years in regards to all aspects of music than I have in the previous ten, fifteen years or so of my life. Knowing that there are practical ways to realize some of the ideas I've had in my head for years has enabled me, mainly through trial and error, to figure out ways to incorporate the likes of harsh noise or synthesizers into the sound whether overtly or subtly - or by having a better idea as to replicate some of my other influences. 

Lyrically, Cattle Hammer was built upon foundations of sadness, loss and self-loathing. I hope this isn't the case forever, if nothing for the sake of my own mental health, but life and its trials have ensured that the resounding themes of Cattle Hammer remain and will continue to be those of isolation, despair, grief, rejection, weakness, failure, emptiness, self-hatred, and most of all, love.

4.What is the meaning and inspiration behind the name 'Cattle Hammer'.

It sounds really cool. I won't expand further as any references to misheard savoury pastries of Asian origin will only cause disappointment. 

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

Since day one, I've been responsible for the artwork and overall aesthetic of the band for no other reason than it was a solo endeavour at the time, and you'll always have to convince me that there's a better solution for most problems than DIY. 

From the logo to the artwork, I guess my grind / HC / PV background shines through, but I like to think it helps it helps differentiate ourselves a little. There's not any overarching thematic decision to the front cover other than 'feature loads of horrible and/or uncomfortable stuff', but I did spend ages pondering over everything from the positioning of certain images, to manually adjusting the text on each letter of the album title individually (fun fact - directly inspired by the opening titles to the original Nightmare on Elm St) 

I think the front cover is more of an extension of our overall aesthetic and if you can grab a copy of the vinyl in particular, you'll get an idea that the front cover is part of an overall package and vibe that - hopefully - we manage to create.

6.Out of all the shows the band has played so far and also how would you describe your stage performance?

Out of the shows we've played to date, we supported Margarita Witch Cult in our shared hometown of Birmingham last November, and was probably the most complete we've felt a performance could be for us so far, in terms of sound, performance, aggression and visuals. The Hare & Hounds, the venue, is blessed with a fantastic PA, so a lot of our electronics could cut through more effectively, and with a stage projector, we could also incorporate a 45 minute video backdrop I'd worked on but never been able to use at a venue til then. 

It's difficult for me to describe us from the inside looking out, I guess maybe three cool dudes locked in and rocking hard whilst some hairy idiot has an emotional breakdown next to them? We've been described as intimidating a couple of times, which if meant in the sense of being sonically overwhelming or uncomfortably emotional at times, then I'm more than happy with that. A dense, negative aural experience shot through with the intensity of hardcore. 

7.Do you have any touring or show plans for 2026?

We've a couple of shows to announce shortly, but otherwise, we're just ready to listen to whatever offers come our way, and I'm sure that the release of the album will help. Would absolutely like to do a run of shows so I guess we're just waiting to see what comes our way, not to say we're not averse to maybe sorting a couple of shows out ourselves.  

8.On a worldwide level how has the reaction been to your music by fans of black, sludge metal and drone?

For a relatively low-key, low-profile band I was surprised at how quickly we were contacted by people from across the globe. I think within a week of the Rotting single being released, Riff Merchant Records from the US contacted me to ask if they could put a tape out for us. It's been overwhelmingly and uniformly positive from both fans and peers alike and it's never anything less than truly humbling. 

9.What is going on with some of the other bands or musical projects these days that some of the band members are a part of?

I guess this is the first time in a while that I haven't got a bunch of parallel projects actively running at once. Not by choice, but obviously Cattle Hammer is taking up a lot of my spare time at the moment. Mouth Toilet (power electronics / harsh noise)  will always be a going concern of mine, and I've the itch to start writing some faster, more hardcore sounding stuff, so that'll be waiting to come out whenever I get the opportunity. There'll always be room for another Disentry record as well. Ike is playing with a project called Mangled Hand, and he's a solo creation called Degenesis which I can't really describe using mere words.

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

Certainly no curveballs coming your way. We've a couple of hours worth of tracks yet to release so we're not short of material and inspiration can strike me at any time. I don't think we need to tune lower, speed up, slow down or make any radical changes - just a constant evolution of what you've heard from us so far, and none of it pleasant. 

11.What are some of the bands or musical styles the band members are listening to nowadays?

It's hard for me to speak for the other members, but we've all got pretty varied tastes with a ton of overlap with each other. Personally I listen to a lot more faster-paced stuff than you'd imagine based on how Cattle Hammer sound. I could literally spend all day on this, so will just refer to my play history and grab the last ten bands from there for now : Integrity, Sick / Tired, Lack of Interest, Grief, Corrupted, Rudimentary Peni, Gauze, Noothgrush, Manhunt, Stomach - not a bad representation really!

Oh, and I lied, I absolutely can answer for Daz : he'll be listening to Danzig, Deicide and Type O Negative. Possibly simultaneously. 

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

Thankyou again for reaching out, it's really appreciated. Big thankyou to Road To Masochist for their invaluable help, support and enthusiasm with getting this album out there into the world. To the person who gave me the confidence to do this in the first place, thankyou. Daz, Joe and Ike - thankyou for bringing this to life so perfectly and for your patience with me. And to all the bands we've played with and to those who've caught us live - thankyou most of all. The album is out February 6th, and apologies in advance for making your lives so much more miserable thereafter.  

https://www.facebook.com/cattlehammer/

HVRT Interview

 

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

Well, basicaly we  are trying to get this thing on the road. We played a release show in one of our three hometowns and we are about to play a second release show on january 23th. After that we try to be busy playing live for the rest of the year but booking shows in small underground venues  has become a bit harder than before covid. But yeah, thats basically  the plan as of now.

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

To me it sounds much more melodic, more song oriented and more rock n roll. The first HVRT record was basically  written as a follow up to the last SHITSHIFTER record (the band we once were before changing our name to HVRT). CANCERBLOOM has more influences and we are experimenting a lot more with different sounds and different  influences.

3.This was also your first album in 5 years, can you tell us a little bit more about the long wait in between releases?

The wait was long for sure. Covid was a huge factor in that peroid of time. We haven´t seen each other for almost two years and during this period our Drummer Tobias left the band. So we had to find a new Drummer and basically re-group ourselves as a band.

4.Lyric wise how would you describe your progress as songwriters over the last few albums?

I´m not sure if there is much progress…..At least for my part of the lyric writing. I´ve always wrote about  stuff that resonated with me on an emotional level and I have never changed that approach. But yeah, in the end, there may be  some progress regarding the quality of the lyrics. We write in English  and German and I think we got better in mixing those two languages.

5.Originally the band was called 'Shitshifter', what was the cause of the name change and also the meaning and inspiration behind the name 'HVRT‘?\

Changing our name was something we thought about for a while. In the beginning SHITSHIFTER was a fun band that was all about making a lot of noise at maximum volume. We didn´t think too much about songs or melodies but more about how to maximize our sonic impact. At one point we realized that our music wasn´t the same anymore. We started thinking way more about arrangements, melodies, structures and different sounds. So changing the name to HVRT made a lot of sense. The inspiration was the song by Nine Inch Nails/ Johnny Cash…..we were talking about different names and our drummer had a note sheet of that song on his desk. Since we all love the song and the sound of the word, we went with Hurt. Because there is another band with probably the same idea, we went trve old school and ditched the u for a v ;)

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

The artwork es the work of our longtime collaborators Dasha Pliska and Lars Horstmann. Both are friends of ours and we collaborated with them on a lot of different projects. We had a hard time finding the right visuals for this record and we thought about  trying different directions. But in the end, we stayed with working with both Dasha and Lars again since they know exactly what we like and what our music needs.

7.Out of all the shows and tours the band has done so far, which one stands out the most?

Tough question….I remember  a show (still under the shitshifter name) that we played in berlin in a small squatted building. The whole place was hot as hell and the crowd went wild. For me personally, it´s all about the vibe in the room. I don´t care too much about sound, lights or other technical stuff….I like playing small venues with no stages and a good energy in the room. Most of the time, these are the shows where you can get very close with the audience.

8.Do you have any touring os show plans for 2026?

Playing live as much as we can!

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

So far we received  a lot of very lovely feedback from the people that listened to our new record, at least when talking to people. Personally I don´t read any reviews about our music so I don´t know what the press reaction is like….but when I talk to people, the reactions are absolutely  lovely! 

10.Are any of the other band members currently involved with any other bands or musical projects these days?

Yeah, my brother (who is our singer and bass player) plays in another  band named Raptvre. Make sure to check them out!

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

Right now, I don´t think too much about new music to be honest. I am happy that we managed to get this record out because it was a lot of work. But of course there is something cooking as we speak….;) In fact, we have probably  enough music written for two more records.

12.What are some of the bands or musical projects the band members are currently listening to nowadays?

Our other guitarplayer Florian listens to a lot of old school black and death metal stuff like Vader, Marduk or Emperor. Both him and my brother are very much into black metal in general. Our drummer Stephan listens to a lot of the classic stuff like Metallica or Pantera but also a lot of americana/ singer songwriter music. I myself love music like Bruce Springsteen, Stephen Wilson Jr., or Warhaus (which my brothers is a fan of as well). On the harder side, I always listen to Converge or a lot of Motörhead recently.

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

Yeah, go check out or new album CANCERBLOOM, maybe come to a show and say hi and don´t hang out with MAGAs or other right wing scum.

https://youtu.be/QxYXNtiDfSw