Lutemkrat Interview

 

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

First of all, thank you for the opportunity to give this interview and for your interest in the project. At the moment, my focus is entirely on promoting the new Lutemkrat album and, when the time is right, beginning the composition of new material. I already have a few early sketches and musical ideas, but Lutemkrat’s music has always been created with patience and intention – and that will remain the essence of the project.

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

Musically, these are the most dense, dissonant, and emotionally intense songs I have ever written. The first ideas came to life in 2020, during a period marked by global turmoil and an overwhelming sense of impermanence. I was dealing with anxiety and a constant state of introspection, and from that emerged the need to channel everything into music.

These compositions did not begin with the intention of becoming a full album – they simply surfaced naturally, as a direct reflection of what I was experiencing. As the pieces started to connect, it became clear that something larger was taking shape, a cohesive body of emotions and atmospheres bound together almost instinctively.

The recording and mixing process unfolded slowly and in fragments between April 2022 and August 2023, always following the emotional rhythm that defined the project from the start. Each session only progressed when I could reconnect with the mindset that sparked those ideas. Because of this, the album carries a very distinct identity within Lutemkrat’s catalog and it sounds exactly like the period in which it was conceived.

3.You also have experience playing other genres of metal, how would you compare playing black metal to the other genres of extreme metal that you have worked with in the past?

Lutemkrat was created in 2002, at a point in my musical life when I had already played in several bands and explored different styles, yet felt an increasing urge to create something entirely my own – something free from external opinions and guided only by my personal vision. Black Metal has always been the genre I relate to the most, so it was natural for my compositions to evolve in that direction.

Before that, I had already been involved with Black Metal, Death Metal, and other forms of extreme music. Over the years I also played Heavy/Speed, Thrash Metal, and even experimented with Jazz and instrumental music. Each style demands a different mindset and discipline, but Black Metal is where I truly feel at home: it’s the place where I can express atmosphere, emotion, and intention in the most honest and unrestricted way.

4.From 2012 to 2019 there was no new music being released, can you tell us a little bit more about what was going on during that time frame?

I’ve always had an extremely demanding life; at one point I was working three jobs simultaneously, which consumed a huge amount of time and energy. Even so, Offal remained my main musical activity for nearly twenty years. I joined the band in 2004, just a year after its formation, and I was actively involved in every recording, composition process, and live performance.

Unfortunately, in March 2020, when the pandemic brought everything to a halt, we were forced to stop rehearsals and cancel several shows that had already been scheduled. In the following years we still managed a few rehearsals, but personal issues among the members – including health problems – ultimately made it impossible for the band to fully return. In 2022 we released the single “Horrific Damnation of the Morbidly Obsessed” on a split CD with Preceptor, and there is still some unreleased material planned for 2026. But at the moment, the band is completely inactive.

While Offal was my main focus for many years, I also explored other bands and projects during that time. Because of that, and due to the intense rhythm of my professional life, Lutemkrat ended up going through periods of lower activity. On top of that, I only compose when I genuinely feel the need to express something, never out of obligation. For that reason, Lutemkrat has always evolved at its own pace, guided by my emotional and creative state.

5.What are some of the lyrical topics and subjects that you explore with the newer music and also how would you describe your progress as a songwriter over the years?

“The Eternal Resonance of Death” carries a thread that runs through all the tracks, even though I don’t see it as a traditional concept album. The five songs emerged as different manifestations of the same creative and spiritual current. Each one represents a stage within a continuous cycle: a movement, an energy, an element, and even a nature of existence (in the hermetic sense).

The first track embodies the initial emanation, the impulse that awakens in the void, the very first spark of existence. The second dives into matter and density, the moment when that energy begins to take shape. The third deals with transmutation, the awakening of consciousness and its expansion beyond immediate boundaries. The fourth represents inevitable dissolution, when everything that has risen begins to decay and return to its primordial state. And the final track explores the rituals of death and the dispersal of existence, not as a definitive ending, but as the opening of a new cycle, a continuation.

As for my evolution as a songwriter, I feel I’ve become far more instinctive in the way I write. Over the years I’ve learned to let the music reveal itself instead of forcing it into a preconceived shape. Every phase of my journey – bands, projects, personal experiences – has contributed to the way I create today: more organic, deeper, and aligned with what I need to express.

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

The circular motion suggested by the album’s structure is also echoed in the cover artwork, which almost invites the listener to start the experience over again, like a cycle feeding upon itself. The central theme is the eternal flow of emergence, development, and dissolution, reflecting the unavoidable narrative of existence. No matter how much the world shifts or how deeply we try to impose meaning on things, one truth remains constant: only death is real.

The artwork was created by local artist Yuri Seima, an illustrator and tattoo artist, using oil paint on paper. His organic and textured approach captured the album’s atmosphere perfectly. Yuri also revisited and re-illustrated the cover of the “Never Surrender” EP from 2003 for its 21st anniversary edition, giving new life to one of the earliest chapters of the project.

7.With this project you record everything by yourself but have experience working with musicians in other bands, do you prefer to work solo?

Yes, from the very beginning the intention was for Lutemkrat to remain a one-man-band. What drew me to this approach was the ability to maintain complete control over every detail – composition, execution, atmosphere, structure – allowing me to express my musical identity in the most direct and uncompromised way possible.

Working alone is certainly more demanding, but that discipline and independence are precisely what shaped the sound and spirit of the project. Lutemkrat was always meant to be an intimate, personal form of expression, and the solitary process is an essential part of its essence.

8.You have also done 'Sabbat' and 'Amen Corner', covers, what was the decision behind doing your own versions of their songs?

In both cases, I was invited to contribute to the respective tribute albums. For the Sabbat tribute, the recording session took place in 2018. Besides the cover, I took the opportunity to record two additional Lutemkrat tracks – one new composition and a re-recording of a song from “The Last Survivor”. From that session, the track “Charisma” was selected for the official tribute, which was released on CD the following year. Choosing the song was easy for me: I’ve always had a strong connection with the album “Satanasword”, and its opening track has a very special energy.

As for the two Lutemkrat songs recorded during the same session, there were no immediate plans for release, so the material ended up shelved for a while. Later, in conversations with Igor Void – my partner at Metal Army Records (formerly Mindscrape Music) – the idea of releasing a split surfaced, eventually becoming a 3-way split. That motivated me to revisit the material properly. In 2020, I re-recorded all guitars and bass tracks, and worked with Ivan Pellicciotti at Beco Studio on a brand new mix. The split was released by Mindscrape Music as a CD digipack with metallic finishing, and sharing that release with Utu and The Kryptik was truly an honor.

Regarding the Amen Corner tribute, it was also a great honor to pay homage to a band from my own city – one that I’ve followed since my teenage years. I remember perfectly the day I discovered “Jachol Ve Tehila” in a downtown record store. I listened to it obsessively, and “Lamentation and Praise” immediately became one of my favorite tracks, so the choice came naturally.

I had already collaborated with the band back in 2017, working on the 10 year anniversary reissue of “Lucification”. And more recently, in 2024, Metal Army released Amen Corner’s new album “Written by the Devil” in both CD and vinyl formats. We also licensed it to the legendary Dutch label Hammerheart Records, which released their own CD and LP editions.

9.The new album was released on 'Black Hearts Records', can you tell us a little bit more about this label?

I own nearly the entire Black Hearts Records catalog in my personal collection, so it was truly an honor to see Lutemkrat become part of their roster. The label has been one of the strongest pillars of the Brazilian underground, consistently releasing high-quality material and supporting bands that carry genuine artistic conviction.

The physical CD of “The Eternal Resonance of Death” features a 12 page booklet, and the final result turned out exactly as I envisioned. The official distribution is handled by Metal Army Records, which ensures solid availability throughout Brazil, and gradually the album is reaching listeners abroad as well.

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

The response has been very positive so far. In August 2024, I released the official music video for “Emanation from the Infinite Void” through Black Metal Promotion, which helped the project reach a wider audience. This was actually the first official music video in the 23 year history of Lutemkrat (aside from a studio-footage video of the Exciter cover “Violence and Force” recorded back in 2010).

In April 2025, I released the digital single “Supreme Ritual of Decomposition” as a way to pave the path for the album, which finally came out in August. The pre-orders had a great reception, considering this is a one-man-band with no live performances and a rather discreet promotional approach.

Naturally, promoting a project under these conditions is always a challenge, and some online presence is unavoidable. But I must admit that I no longer relate to what social media – and online “content” in general – has become. We are living through a cultural collapse, a regression of artistic values and critical thinking. The internet has turned into a decadent environment dominated by memes, cheap AI garbage, and superficiality, while music increasingly feels like a competition of speed or technical display. Authenticity and artistic substance have almost vanished.

Because of that, I chose not to invest in paid ads. I prefer that Lutemkrat finds those who truly belong to this realm: listeners who understand and embody the essence of Black Metal. My focus has been on working with underground labels and distributors who take the music directly to the right audience. Zines and underground magazines are also essential allies in spreading the word about the album...

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

At this moment, I feel a stronger need to isolate myself and study music on my own rather than play with other people, rehearse, or return to live performances. I’ve received a few invitations recently, and I might participate in some small recording collaborations, but nothing is defined yet.

Regarding Lutemkrat, I believe it will take some time before a new album emerges. I’m currently going through a professional transition, and there is a lot happening in my personal life as well. Still, I don’t rule out the possibility... In fact, I’ve already been thinking about concepts and themes that could eventually shape future material. The creative impulse always returns when the moment is right.

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?

My influences come from a lifetime as both a listener and a student of music. My interest in heavy music began early in my childhood, largely because of my older brother, who introduced me to Rock and traditional Heavy Metal. At the same time, Classical music was always present, because my grandmother was a piano teacher, and I studied with her for a couple of years. But even then, while learning classical pieces, what I really wanted was to play something heavier. Bands like Black Sabbath, Deep Purple, Iron Maiden, Metallica, Sepultura, Slayer and many others formed the foundation of my musical identity.

My contact with extreme metal came during my teenage years, alongside a deeper study of music itself. That exploration naturally led me into other styles as well – Jazz, Instrumental Rock, Progressive music – not as main artistic paths, but as rich sources of technical and harmonic inspiration. Still, Metal was always at the core. From the mid-90s to the early 2000s, the classic trinity of Bathory, Celtic Frost and Venom played a massive role, along with Mayhem and Absu, who revealed a more occult side of the genre. I should also mention Rotting Christ, Samael, Ulver (only the first three albums), as well as Abigor, Arckanum, Beherit, Darkthrone, Dødheimsgard, Emperor, Gorgoroth, Ophthalamia and Marduk. On the Brazilian side, I was heavily influenced by Amen Corner, Eternal Sorrow, Hecatomb, Imperious Malevolence, Insane Devotion, Lymphatic Phlegm, Murder Rape, Mysteriis, Ocultan, Pactum, Rex Infernus and Sarcófago. Other important names – spanning Heavy, Thrash and Death Metal – include Autopsy, Artillery, Coroner, Dark Angel, Death, Deicide, Destruction, Exciter, Gorefest, Incantation, Judas Priest, Morbid Angel, Mortician, Napalm Death, Obtained Enslavement, Pantera, Picture, Razor, Sadus, Saxon, Sodom and Titan Force.

When I formed Lutemkrat in 2002, my early compositions naturally reflected that mixture of traditional Heavy Metal with the raw, sinister aura of bands like Mayhem (Deathcrush era), Nargaroth (up to “Rasluka Part II”), Darkthrone, Isvind and Maniac Butcher. These influences are evident on the first EP, “Never Surrender” (2003).

By the time I recorded “The Last Survivor” in 2007, I was deeply immersed in bands such as Borknagar, Diabolical Masquerade, Dissection, Empyrium, Falkenbach, Forefather, Frostmoon Eclipse, Kampfar, Katatonia, Moonsorrow, Myrkgrav, Negură Bunget, Sworn, Taake and Windir. Naturally, that brought acoustic passages, melodic atmospheres and a more contemplative aura into the music.

In more recent years, my references have shifted toward darker, more dissonant territories: Akhlys, Archgoat, Aversio Humanitatis, Blut Aus Nord, Chthe'ilist, Cruciamentum, Deathspell Omega, Krypts, Inferno, Longing For Dawn, Mgła, Misþyrming, Mortiferum, Nortt, Ophis, Sad, Selbst, Spectral Voice, Spectral Wound, Suffering Hour, Sulphur Aeon and Ulcerate.

These influences are countless – and that’s without even mentioning Blues, Jazz or Classical music – but they all inform my creative process in one way or another. So when people say “The Eternal Resonance of Death” sounds diverse, I believe it’s because each phase of my musical history left its own fragment in it: from heavy and dissonant to melodic and atmospheric, with some elements from the traditional roots of Metal.

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

Thank you, – it’s truly an honor. I appreciate your dedication to supporting and documenting the obscure art. May the flame of Black Metal never fade, and may it continue to inspire those who genuinely understand its essence. Mors vincit omnia...

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