1. For those that have never heard of you before, can you tell us a little bit about the solo project?
Yes, this is one of my projects that was conceived around eight years ago, but it only found the spiritual drive to be released and given a name in mid-2024. There is actually not much I can tell about this solo project beyond the discussion of the music and its material. It exists purely as a musical and lyrical expression.
2. In the last couple of years you have released a couple of demos, can you tell us a little bit more about the musical style that you went for on the recordings?
The musical style I chose is inseparable from what I listen to almost every day and what I have studied over time. The roots of this solo project lie in raw recordings made with very limited and improvised equipment, and that rawness is exactly what I present in this project. Even though the drums are programmed, they were re-recorded through speaker output to maintain a crude and imperfect character.
For the Exegis and Spiritual Nihilism Redemption demos, I never thought about them too deeply or seriously. They are truly raw and unpolished. The only aspect I gave more serious thought to was the lyrics, even if what is heard is merely a howl of suffering. For future works, things may be slightly different more structured and mature in terms of riffs, but without losing the raw essence and the spirit of black metal itself.
3. Some of your lyrics cover occult themes, can you tell us a little bit more about your interest in the dark arts?
For me, occultism in my country is not something foreign or new. It has long coexisted with society, far before major religions arrived and shaped the belief systems known today. I see it as part of an ancestral spiritual heritage that still pulses beneath the surface, even if it is rarely acknowledged openly. In many local traditions whether esoteric practices, traditional spirituality, or customary rituals it is clear that the relationship between humans, nature, and the unseen world is understood as a unified whole. Occultism, in this context, is not merely about seeking power or sensation, but about understanding the self, origins, and humanity’s position within the cosmos.
In modern society, however, occultism is perceived contradictorily. On one side it is considered cultural heritage, while on the other it is stigmatized as something dark, deviant, or opposed to formal religion. For me, this stigma is precisely what keeps occult thought and practice moving in a silent space more personal, more honest, and unconcerned with legitimacy. Within the context of the extreme music and art I pursue, occultism becomes a medium of expression rather than a dogma I worship. A symbolic language to speak about emptiness, nihilism, and the search for spiritual meaning in an increasingly hollow world. Ultimately, I see occultism in my country as fluid and layered not black or white but as a reflection of how humans dialogue with the unseen, between faith, fear, ancestral legacy, and an endless search for meaning.
4. What are some of the other lyrical topics and subjects you have explored so far with the music?
Other themes I explore are war and nihilism. For me, war in lyrics is not about physical conflict or military history. The war I refer to is an internal one a continuous battle between consciousness, ego, guilt, false hope, and emptiness. It is a conflict that never truly ends, because the enemy is myself. I see the world as a cold and indifferent space where meaning often collapses under reality. From there, over all lyrics emerge not to offer answers only to honestly acknowledge that emptiness.
War with oneself is a process of dismantling destroying illusions, fragile beliefs, and the human need to always feel right or significant. In that destruction, nihilism becomes a mirror, showing that no foundation of the self is ever truly solid. Yet I do not see nihilism as an absolute end. Within that void, a form of pure awareness emerges. Music and lyrics are my way of documenting this war, without romanticizing it. Writing about war with oneself is, for me, the most extreme form of honesty.
5. What is the meaning and inspiration behind the name ‘Avgrav’?
Avgrav is formed from two words I combined: Ave and Grave. Ave can mean hail, greeting, or reverence. Grave refers to the tomb, the burial place, and something that I see as heavy and final above all else. In a philosophical and lyrical context, Ave Grave represents the acceptance of death, emptiness, and the end of all life’s illusions. Not a shallow worship of death, an acknowledgment that the grave is the only certainty that cannot be negotiated. Ave Grave can also be interpreted as a farewell to false meanings a salute to the destruction of the ego and to human impermanence.
6. Can you tell us a little bit more about the artwork that is presented on the demo compilation cover?
For the Eternal Lamentor demo compilation cover, I chose a masterpiece painting by William Blake, an artist and poet known for his dark, symbolic spiritual visions that often stood in opposition to the religious dogma of his time.
The visual imagery presents figures trapped in eternal lament bodies in submission, expressions of resignation, and a composition filled with collective sorrow. For me, this represents the existential condition of humanity bound to an awareness of suffering, the loss of meaning, and the inability to find true release.
7. With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?
Yes, although I will never reveal who I am or what my personal life is like, I am very open to collaborating with other musicians such as split releases or other recorded works. However, it must be understood that I do not open this project to live performances. This project will not, and will never, be performed live.
8. On the physical versions of your releases you have worked with Bound By Flesh And Wax, Depressive Illusions Records, and Blackmass Records. Are you happy with the support these labels have given you so far?
There are a few things I should mention here. First, I am satisfied with both Depressive Illusions Records and Bound By Flesh And Wax Records in terms of contracts and performance. There were some issues with Blackmass Records, which disappeared after the contract agreement. I do not even know whether my demo compilation was actually pressed in CD format or not. There was no loss on my side just a strange situation, as I have been unable to contact them until now. Therefore, I am still open to labels who are willing to release this demo in CD or vinyl format.
9. On a worldwide level how has the reaction been to your music by fans of black metal?
I have seen some reviews and responses through social media. I know there are people who enjoy the music through streaming platforms or by purchasing physical releases. However, this is not a reference point for me when creating this project. People are free to say whatever they want about it, and it neither makes me proud nor influences how I think about my work.
10. When can we expect a full-length and where do you see yourself heading as a musician in the future?
I cannot be certain about when a full-length album will be released. Everything depends on the internal drive within me. I have thought that the first full-length should present something fresh and special, and that requires time on a personal level. Some lyrics and guitar riffs are already prepared. It is only a matter of when the spirit within me is willing to execute them whether sooner or later.
11. What are some of the bands or musical styles that have influenced your music, and what are you listening to nowadays?
Personally, I have never limited what I feed my ears with. At the core, everything revolves around black metal, death metal, noise, and their roots. I have never cared about propaganda behind it. What matters to me is chaotic, dirty, and disgusting recordings. They have become a fetish for my inspiration. Some key references include Katharsis (666, Fourth Reich EP), Darkthrone (A Blaze in the Northern Sky), Bathory (self-titled), Deathspell Omega (Inquisitors of Satan), Watain (Rabid Death’s Curse), as well as works by Judas Iscariot, Blasphemy, Forgotten Woods, Mütiilation, and Ildjarn.
Outside the context of demos and black metal, lately I have been listening to crust punk and dungeon synth. Sometimes, when exhaustion sets in, one simply needs a different kind of escape.
12. Before we wrap up this interview, do you have any final words or thoughts?
Thank you for the interview. My deepest appreciation to those who keep this scene alive. More War and Still Raw !.
Instagram:
https://www.instagram.com/avgrav.verses/
Metal Archives:
https://www.metal-archives.com/bands/Avgrav/
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