1. Can you give us an update on what has been going on with the band since the recording of the new album?
We've been intensely immersed into shaping the release of Kur on every level—musical, visual, and conceptual. We've been ensuring content supports and adds to the story, including the artwork, live visuals, and videos—especially those created for the three singles we released ahead of the album. Each of these singles—SHAMASH, IMDUGUD AND EDIMMU—was accompanied by a visual offering that acts as an invitation to descend into Kur. These videos aren’t just promotional tools, they’re integral to the ritual, each serving as a gateway into the world we’re constructing. Working closely with Edge Circle Productions, we’re setting the stage for this descent to reach those ready to confront its depths. Each track is tied to the mythos we’re constructing—from the foreboding omens in “EKUR” to the final invocation in “ANZÛ.” It’s more than music—it’s a ritual, and every element has been meticulously summoned.
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2. You have a new album coming out towards the end of May—musically, how does it differ from the stuff you have released in the past?
Kur is a descent, not just thematically but structurally. Compared to Gallas, this album is more planned, more layered—an evolution in terms of intensity and atmosphere. We gave room for songs such as "ALÛ" and "EDIMMU" to breathe and haunt, embracing dissonance and silence as much as sound. Vocally, it’s more diverse—there's a wider emotional and dynamic range reflecting the album's journey through despair, transcendence, and doom. The intention was to echo the psychological and spiritual disintegration the words speak of.
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3. A lot of your lyrics and the band's name cover Sumerian and Middle Eastern mythology. Can you tell us a little bit more about your interest in this topic?
Our interest in these mythologies stems from their bitter realism. Sumerian cosmology does not offer any redemption—there is no judgment in Kur, only consequence. This can be seen in "SAHAR," where the soul is released into nothingness, leaving only dust and silence. These old myths are translated to modern existential horror. Ereshkigal, Imdugud, and Lamashtu are metaphors—not forces, archetypes of unstoppable decay and transformation. Their stories urge us to confront what lies underneath—our fear, our death, our insignificance.
I first encountered the concept of Kur while researching Sumerian texts for another project, and the rawness of this afterlife really struck me. It’s a place not defined by moral judgment but by the inevitability of death itself. That sense of bleak inevitability and existential reflection inspired the atmosphere of Kur—a place where death is just another part of existence, and the journey through it is both haunting and strangely alive. That contradiction—something as final as death still brimming with mythic intensity—shaped the way we approached the album. It's less about the end and more about the confrontation with what we carry into that void.
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4. You’ve also mentioned an interest in occultism. Do you have an interest in other occult traditions besides the Sumerian and Mesopotamian ones?
Absolutely. While Mesopotamian themes form the heart of Kur, we do borrow from other traditions too. These traditions often chart the same universal realities—descent, initiation, and disintegration of the ego. In "NAMTARU," you see that cry for change: "Let Thy power onto me, set me free, take away my finity." We are not interested in dogma—we're drawn to those universal symbols that offer guidance for inner disintegration and transcendence.
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5. Can you tell us a little bit more about the artwork that is presented on the new album cover?
The artwork, created by our vocalist A., represents the descent into Kur—the boundary between the visible and invisible. A inverted, doomed version of life on earth. A ziggurat comes into view, reminiscent of "ETEMENANKI," where the divine meets the void. The visual landscape is stripped of human presence, corresponding with the harsh bleakness of songs such as "SHAMASH" and "NAMTARU." It was imperative that the cover served as a glyph—something that speaks to the soul outside of titles or words. The narrative unfolds through impression and form.
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6. In promo and live pics the band members wear cloaks. Can you tell us what this represents?
Actually, we don't wear cloaks. A. only has an appearance that somewhat resembles a cloak at first glance, but it's surely not a cloak. We never had our will to appear that way. We’re more focused on creating a sense of connection between music, words, and the Sumerian myth as if emerging from the depths of Kur—only to return to them once more.
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7. What are some of the best shows the band has played over the years, and how would you describe your stage performance?
Some of our most significant performances were indeed in our two tours and Gallas' anniversary concerts. On our first tour, the show in Limoges at Rock Metal Camp stands out — we came out onto the stage and were met with an ocean of faces. The organization truly believed in ANZV from the very beginning, trusting that we could deliver a powerful performance, and that made all the difference.
On the tour with Gaerea, besides the enrichment in touring experience and companionship, Barcelona and Palma left a lasting mark on us — and, apparently, on the audience too. People still reach out asking when we’ll return, which is deeply humbling.
The Gallas anniversary concerts in Porto and Lisbon were unforgettable. The reaction of the audience left us speechless — their capacity to absorb each second of the performance was something exceptional. It was pure communion.
When we talk about our stage performance, we prefer to let the words of others speak for us. Those who have seen us perform often describe our shows as ritualistic experiences that fuse the raw, untamed essence of northern winds with a mysterious, ancient Mesopotamian atmosphere. They point out the originality in every element — from the thought behind the subject matter to the design, clothing, and body painting, to the music itself. There is particular emphasis placed on Ahnum's stage presence, typically described as striking and deeply expressive — less an act than an embodiment. The full line-up, when assembled onstage, is said to build an oppressing and immersive environment that is at once chilling and captivating.
Audiences anticipate something greater than the concert from us. Our shows are not concerts — they're experiences of all the senses, transporting the viewer into a transcendent experience within the black and ancient currents of Mesopotamia.
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8. Do you have any touring or show plans once the new album is released?
Yes. We have booked two release shows in May and June and we are working hard to get a greater European tour. Germany, Netherlands and Belgium are the destination point due to its huge support for ANZV. Our live setup is designed to play out the Kur journey—a fusion of sonic mass and visual immersion. Hope we get some nice opportunities to set that journey…
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9. The new album is going to be released on Edge Circle Productions. How would you compare working with this label to Exorcize Records and Alone Productions?
Both Alone and Exorcize played a vital part in our early phase — they brought Gallas into the light with sincerity and passion. We will be eternally grateful for the support. As ANZV evolved, though, it became clear we had to make a larger stride in professionalism and visibility. The project was demanding more of us — not just creatively, but structurally. It was time to move out of the DIY phase and to accept a greater commitment.
Edged Circle provided us with exactly that. Their support has been seamless, and their trust in our vision absolute. With Kur, we had envisioned the label wouldn't drop the album like another record, but as a complete work — an artifact. Edged Circle understood it from day one, and they've presented the vessel and the belief to elevate this next chapter of ANZV.
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10. On a worldwide level, how has the reaction been to your music by fans of black and death metal?
The worldwide response has been intense and sincere. Listeners often mention feeling a deep emotional and spiritual impact — a sense of weight, mystery, and confrontation. Whether through the chaos of Edimmu, the duality of Isimud, or the void in Inane, people connect with the raw honesty and mythological depth. ANZV isn’t just heard — it’s felt. We’re not trying to be accessible—we’re trying to be honest.
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11. Are any of the band members currently involved with any other bands or musical projects?
Both myself (M.) and T. are involved in another project called Epping Forest, which I started back in 1997 along with Menthor, who is currently in Enthroned and Lvcifyre. However, Epping Forest is currently focused mainly on studio work due to geographical limitations and the time we dedicate to ANZV. For the time being, ANZV is our focus — not just musically, but philosophically and spiritually. Kur had requested complete immersion, and we did not take long to answer that call.
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12. Where do you see the band heading musically in the future?
It’s still very early to make concrete projections about the future direction of the band. Right now, we’re fully focused on promoting the new album as much as possible and remain open to new opportunities to perform in other countries. That said, we've already begun to engage, perhaps on an unconscious level, some ideas that may indicate directions we could head next — but on any fixed musical path, there's nothing set in place to reveal.
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13. What are some of the bands or musical styles the band members are currently listening to nowadays?
We believe that true creative inspiration comes from embracing a vast spectrum of musical expressions, not limited by orthodox boundaries. Exploring diverse styles opens doors to new perspectives and emotional depths, nourishing our individual spirits and, in turn, shaping the evolution of ANZV’s sound. It’s through this openness that the seeds of new compositions are sown—reflecting the complexity and richness of our sonic journey itself.
For that reason, we intentionally avoid narrowing down our influences to specific bands or genres. Naming a few would do a disservice to the vastness of what truly moves us. Inspiration can come from the droning breath of ritualistic black metal, the tension in avant-garde indie music, the violence of death metal, or even the silence between notes. What matters most is the emotional truth behind the sound—not its label.
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14. Before we wrap up this interview, do you have any final words or thoughts?
Thank you for this space. This album is not a collection of songs—it’s a path, a descent into Kur. It doesn’t offer escape, but confrontation. As we write in “SHAMASH”:
“Let your eyes behold death. Let your eyes glimpse the breast of Aruru, your creator.”
To our listeners: step forward without fear. You may not return the same.
FOLLOW ANZV FOR THE LATEST NEWS
www.instagram.com/anzv.imdugud
NEW SINGLE IMDUGUD AND ARTWORK MAKING VISUALIZER OUT NOW
https://www.youtube.com/watch?v=z2WUtxCFfL8
SINGLE SHAMASH AND MUSIC VIDEO OUT NOW
https://youtu.be/4YkxD2L7CU0?si=UtQh3RONfXRXmvHK
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