Well, Xul ov Kvlten is a Black Metal horde formed in the southern twilight of 2014 in Santiago, Chile. Our aim and purpose is basically summed up in creating the music that our ears demand. On the other hand, and in thematic terms, the band's philosophical principles lie in subverting the mediocre and decadent heritage of Western Judeo-Christian thought. Consequently, any cultural atavism that manifests some kind of media avant-garde, popular tendency or ideological doctrine will be unilaterally rejected by the deep countercultural essence that the band proposes in each of its acts and compositions.
2.In 2019 you have released a new album, musically how does it differ from the recording you had released in 2016?
Probably the most important difference, in substantial terms, was the spiritual maturity that we all assume when recording Entropic Increase.In the time of Nitimur in Vetitum, we were coming out of the sudden suicide of our first drummer and that left the band somewhat out of place and in a delicate musical uncertainty,event that for this album was already completely remedied thanks to the arrival of C.I.I.R as a drummer, who made a great contribution in the composition of our album.
3.Some of your lyrics cover occult themes, can you tell us a little bit more about your interest in this subject?
I would say that more than hidden themes, they are intrinsic and deeply human subjects. The perceptual difference may lie in the phenomenological form in which each of the disc's lyrics are narrativized, which, by the way, are full of linguistic recursions, oxymorons, signs, symbols and metaphors.And well, for the rest, I must point out that the volitional interest behind all narrative-musical composition is born from the attempt to disclose and understand the unknowable mysteries of the cosmos, as well as the deep annals of human consciousness.
4.What are some of the other lyrical topics and subjects you have explored so far with your music?
In summary, I could tell you that all the themes worked are based on a miscellaneous base of epistemological concepts that rise well beyond the classic postulates of modern philosophy.
5.On the first album the lyrics where written in Spanish while the lyrics on the new recording where written in English, what was the decision behind going into this direction?
The decision to have chosen English and not Spanish, has to do with interpreting in a better way the language that Black Metal has use since its origins. In this way, the trip proposed by the album will be directly absorbed by the collective unconscious of its followers, receiving better the underlying content that the universal language of music tries to express.
6.What is the meaning and inspiration behind the name ;Xul Ov Kvlten'?
The inspiration of our emblem has to do with the semantic power that contains the meaning behind the signifier.To simplify it, we will say that "Xul", in the ancient Sumerian-Mesopotamian language, meant "Blackness", "beast" or "knowledge," on the other hand, "Kvlten" is nothing more than the semantic disambiguation of the Anglo-Saxon "Cult." That is, Xul ov Kvlten means something like "The Black Cult of Knowledge."
7.Can you tell us a little bit more about the artwork that is presented on the new album cover?
Cover art is the symbolic signifier of the epistemological and cosmological concepts that underlie the thematic aegis of the disc. If you look closely at the images, you can find the hermeneutical meaning of the entire conceptual and philosophical root present in the theoretical framework of the album, and even, if we dig deeper, you can realize how concepts of physics such as the second law of thermodynamics are present, telling you that every dynamic system is inexorably destined to the total loss of its energy, that is, everything, including the universe and time, will at some point perish.
8.Has the band done any live shows or open to the idea?
So far the band has only performed in front of the members of our hermetic circle of trust. However, and as a result of this launch, next year we intend to give a couple of national events and, if we are lucky, make a tour of Europe.
9.On a worldwide level how has the reaction been to your music by fans of black metal?
In general, it has been very good. Fans, not only from Latin America or Northern Europe have written to us, but also from as far away as China, Kazakhstan, Croatia, Russia, Turkey and Israel. This has empirically shown us how universal the powerful influence emanated by the primitive essence of Black Metal can be.
10.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?
Today, all our energies are focused only on Xul ov Kvlten.
11.Where do you see the band heading into musically during the future?
The musical horizon of Xul ov Kvlten is clearly determined by the roar of our wills. However, I can tell you that the following works will follow the powerful left hand path. Our essence is Extreme Metal and that is where we will project ourselves until death silences the honesty of our growls.
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?
Personally, my musical tastes are chromatically eclectic. Today, I still listen to what is the quintessence of European Black Metal made .On the other hand, my more classical musical inclinations point from Renaissance laudists like 'Paul o'Dette' or 'S.L Weiss', to Baroque icons like 'Marin Marais', 'Henry Purcell', 'Jean-Baptiste' and 'Albinoni' .On the side of Russian romanticism of the eighteenth and nineteenth centuries, I feel very influenced by composers such as Musorgski, Korsakov, Prokofiev, Tchaikovsky or Rajmaninov. Without neglecting, of course, the 20th century impressionists such as Maurice Ravel, the nationalist Manuel de Falla or already closer to the 21st century, the atonal cacophonist par excellence, Krzysztof Penderecki.
13.Before we wrap up this interview, do you have any final words or thoughts?
Thank you for this excellent broadcast space.
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