Obscura Domini Interview

 

1. For those who have never heard of you before, can you tell us a little bit about the musical project?

Gabriel:Obscura Domini is a new project that I created during a period when, after a long time, I found myself without any active bands. After many years of playing in different projects, with an intense musical routine involving recordings, rehearsals, and studio sessions within the metal and hardcore scenes, I suddenly found myself completely still and alone.

I tried to join already existing projects, but I was never really able to get along with people, personalities, their ideas, problems, rhythms, and decisions. After trying several times, I eventually decided to found a band on my own, so that I could maintain full control over the artistic direction without having to compromise with anyone. This time everything had to be decided by me, without filters and without limits.

However, since I am a person mainly oriented toward the visual and musical side of a project (I am a multi-instrumentalist: I play guitar, piano, and a bit of drums), I must admit that I am more focused on sound composition rather than on lyrics or the message itself. For this reason I wanted to involve someone I had met during my past experiences, Erik Hortern, with whom I had developed over time a sincere friendship as well as a complete musical understanding.

Not only did I consider him the right person from a personal standpoint to be involved in a project that was primarily born from my ideas — which therefore required a good amount of patience, openness, and humility to listen and collaborate — but he also represented something that I was missing: a great singer with a lot of experience and musical knowledge in extreme metal and beyond.

Fortunately, at that time he was more or less in the same situation as me — alone and without active projects — so it was very easy from the beginning to establish a connection and finally bring this new project, Obscura Domini, to life.

 

2. In December you released a full-length album. Can you tell us a little more about the musical style you went for on the recording?

Gabriel: Obscura Domini represents the union of our musical influences as well as our personal characters, which naturally reflect what we listen to. Erik and I are quite different people: we have several years of age difference and we experienced different musical eras.

He, being a bit older, lived through the golden years of black metal — I'm referring to the second wave of the 1990s — and therefore he is very attached to those bands and that particular attitude. I came a bit later and had a rather atypical musical evolution (which I'll explain later), so I missed that phase in real time. Of course I later discovered it through records and other materials, but I probably have a more personal and less strictly defined approach to the genre, let's say less old-school.

Since I have played piano since childhood, I was immediately attracted to the presence of synthesizers and atmosphere in a more reflective and atmospheric type of black metal. It is therefore natural that in my compositions you can hear many influences from atmospheric or melodic bands. That said, I want to emphasize that I have always appreciated bands that blend melodic elements with extreme music without going too far in either direction. Those are exactly the bands that inspire me every day while composing.

At the same time, I try not to emulate anyone and aim to create a recognizable sound rather than a copy of someone else. Of course there are projects and genres that strongly influence us, and we are proud to be associated with them.

As for our work process, the album was entirely composed, mixed, and mastered by us. As I mentioned earlier, I mainly took care of the musical side, following Erik's suggestions as well, and I handled the mixing and final mastering. So the dominant musical ideas mostly came from me. Erik, on the other hand, handled the vocals, lyrics, and overall message, everything shared and discussed together.

Even though this sound came from a dialogue between me and Erik, it developed very naturally by following our influences and trusting our taste. It's simply our way of playing and approaching metal, and for that reason it will remain recognizable in the future and will hardly deviate drastically. I believe that having similar but different influences and approaches helped bring out a sound that is both varied and very credible.

 

3. All of the band members also have experience playing in other bands. What do you bring into the music of Obscura Domini that you were not able to do with your previous groups?

Gabriel: As far as I'm concerned, the decisive factor — the main difference — is not having to compromise with other band members anymore. I honestly needed to create my own personal artistic space that wouldn't be judged or weighed by others during the creative process.

Erik is a very determined and strong-minded person, but also very humble, and I think I was very lucky to meet him. Given the artistic situation I had reached in 2024, it wasn't easy for people to deal with me because I had — and still have — the need to express myself 100% without any kind of constraints.

Finally I'm managing to do that, also thanks to him, his experience, and his cultural background, which allow him to be part of my project without becoming an obstacle. On the contrary, he is a precious resource and definitely an added value, and of course he stands on the same level of importance within the band.

4.The lyrics on the new recording are a concept album, can you tell us a little bit more about the story you covered with this release?

Hortern: The album by Obscura Domini is conceived by me as a true conceptual work, in which the songs do not function as isolated episodes but as parts of a single narrative and symbolic journey. The entire record can be interpreted as an inner voyage, a spiritual odyssey that follows the progressive dissolution of the protagonist's identity and their transformation into a new form of existence.

At the beginning of the journey, I imagine the protagonist's consciousness in a state of disorientation. The world around them appears meaningless and dominated by a sense of cosmic emptiness. This perception introduces one of the central themes of the album: cosmic nihilism the idea that the universe is vast, indifferent, and devoid of moral order or ultimate purpose. In this context, the individual loses their points of reference and begins to confront the fragility of their own identity.

From this crisis emerges the second fundamental theme of the album: the decay of identity. In telling this story, I have the protagonist undergo a progressive dissolution of the self: the certainties, beliefs, and bonds that once defined their existence gradually crumble. This loss is not solely destructive but also represents a necessary phase in the process of transformation. Identity, in fact, must first disintegrate in order to be reconstructed in a different form.

In this journey, I wanted to give symbolic weight to betrayal as well, which in the album I do not interpret merely as a negative or moral act, but as an event that accelerates inner metamorphosis. Betrayal definitively severs ties with the past and forces the protagonist to face the void without any protections. In this sense, it becomes a catalytic force that destroys the illusion of stability and propels consciousness toward a deeper transformation.

The journey culminates in death, a central moment of the concept. This death is not necessarily physical, but represents the complete dissolution of the ego and the old identity. Everything that defined the protagonist is reduced to ashes, leaving them immersed in silence and darkness. However, this very passage prepares the stage for the final phase of the journey.

From the ruins of the previous identity, I imagine a rebirth, but not in a luminous or redemptive form. The album suggests a transformation that is more ambiguous and mysterious: consciousness is reborn in a dark, almost transcendent dimension, where the individual no longer fights against the cosmic void but accepts it and becomes part of it. Here enters the fourth major theme of the album: dark mysticism, which runs throughout the narrative through ritual imagery, funerary symbols, and esoteric atmospheres.

5.What is the meaning and inspiration behind the name 'Obscura Domini'?

Hortern: The name Obscura Domini originates from a precise symbolic reflection, deeply connected to the themes I explore in the lyrics and the concept of the album. For me, it is not merely an evocative name, but a philosophical concept that draws on esoteric and mystical traditions, particularly those linked to the Qabalah and its darker dimensions.

When I conceived the name Obscura Domini, I wanted to create a Latin expression capable of evoking multiple meanings simultaneously. It can be read as “the darkness of the dominion,” or as “the dominion of darkness,” but also, in a more evocative and symbolic sense, as “the lords of darkness.” This semantic ambiguity is intentional, because it reflects the idea of a force that exists beyond the apparent light of the world a hidden dimension that rules in the shadows.

In developing this concept, I often referred to a notion from the Kabbalistic tradition: the Sitra Achra, which in Aramaic literally means “the Other Side.” In Kabbalistic thought, the Sitra Achra represents the dark side of creation, the dimension in which forces operate that are opposed to divine order. However, it is not necessarily interpreted solely as absolute evil: it is also the shadow that makes the manifestation of reality possible. Without the shadow, in fact, light itself could not exist.

For this reason, I have always seen the name Obscura Domini as evoking precisely those forces inhabiting this hidden side of existence. Not merely dark entities, but symbolically guardians of forbidden or forgotten knowledge something that can only be understood by traversing the darkness.

Another symbolic reference that influenced my vision is that of the Ein Sof, also called Ain Soph. In the Qabalah, it represents absolute infinity, the divine reality before any manifestation. It is a principle described as infinite, incomprehensible, and formless.

From this infinite emerge the emanations of creation, and everything that exists takes shape. However, in the darker esoteric interpretations, there is also the idea that not only light, but also shadow and the cosmic void, originate from this same primordial principle. In other words, darkness is not something separate from creation, but a deeper, hidden expression of it.

It is precisely this vision that influenced the meaning of the name Obscura Domini: the idea that behind visible reality exists a dark, primordial, and infinite domain, and that traversing that darkness can lead to a different form of knowledge and transformation. In this sense, the band’s name becomes almost a statement of intent: to explore the abyss of existence in order to understand what lies beyond the limits of light.

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

Hortern: The artwork of the album cover was conceived as a visual representation of the album’s concept. I wanted the image to reflect the inner journey that runs throughout the record: the descent of consciousness into the abyss, the dissolution of identity, and the resulting spiritual transformation.

The central figure and the overall atmosphere of the cover evoke a sense of isolation and cosmic disorientation, elements closely connected to the theme of cosmic nihilism present in the lyrics. The dark and almost timeless environment is meant to convey that very idea of universal emptiness in which the protagonist confronts their own existence.

From a symbolic perspective, the artwork also draws on esoteric suggestions related to the concept of the “Other Side,” the idea of a hidden dimension of reality that exists beyond what we can perceive. In this sense, the cover becomes almost a visual gateway into the world narrated in the album, foreshadowing the journey that unfolds across the tracks.

 

7. Currently there are only two members in the band. Are you open to expanding the line-up or do you prefer to work as a duo?

Gabriel: As you may have understood from my previous answers, the band will remain composed of only two members in the future as well. I have absolutely no intention of involving other people in writing lyrics or composing the music. There is no possibility of that.

As for live performances — which will happen, even though they will never be the main focus of the project — we are considering involving some musicians in order to give the band a more traditional live form. However, we will certainly not appear on stage as a five-piece band; the choice will always be very selective.

Personally, I would especially like to involve drummers first of all, because I want to give our live shows a very violent impact, something that in my opinion only a real drummer can deliver. We will see if we are lucky enough to find the right people. The intention is there, but strictly for live performances.

 

8. On a worldwide level, how has the reaction been to your music from black metal fans?

Gabriel: For now, I think the album has been very appreciated by the people who have had the chance to listen to it. Since its release we have received several positive reviews and comments, which makes me very proud because it is the first project that I truly managed from start to finish.

Of course, now we need to focus on proper distribution and continue presenting it to as many people as possible. Creating the album is not enough by itself, but everything takes time. For now I'm very satisfied with the response and I'm also happy with the work my friend Erik is doing on social media — something I'm quite allergic to!

I would also like to thank Andrii Molchan and Vacula Productions for producing the CD format exactly as it should be done — “as the god of evil commands,” so to speak.

Even though by 2026 we all know there are countless ways to listen to music, we still encourage people, whenever possible and if they are interested, to purchase the physical version. Only through a physical format can you truly understand the work done by a band, especially the work carried out by Erik.

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

Hortern: Musically, I don’t believe the band’s direction will change in a radical way. The style and genre we have defined already represent the identity of Obscura Domini, so the intention is to continue along this path. Rather than changing, I think our music can evolve gradually, perhaps becoming more mature and deeper in the way we develop atmospheres, composition, and concepts.

One aspect we would like to focus on more in the future is our live activity. Bringing our music to the stage is something we consider very important, because it allows us to give a different dimension to the compositions and to create a direct connection with the audience.

The band’s lineup remains stable in its main structure. The core of Obscura Domini is composed of two members: myself, Hortern, and Gabriel. Beyond the musical collaboration, at the foundation of this project there is also a strong friendship, which makes the creative work very natural and spontaneous.

The other musicians who currently collaborate with us are essential for performing live, but for now we consider them collaborators. Their contribution is especially important in concerts, even though the creative heart of the band remains focused primarily on the two of us.

 

10. What are some of the bands or musical styles that have influenced your music, and what are you listening to nowadays?

Gabriel: Let me tell you something more — this is a good opportunity to explain a personal peculiarity of mine. My musical evolution has been quite unusual and very individual. I didn't grow up like the typical metalhead listening to heavy metal and classic rock. For me that music felt too slow and too soft.

What made me fall in love with extreme music at the age of 15 was, first of all, speed. During my teenage years I grew up listening to more direct bands — hardcore and thrash metal — very little melody, just speed. I still own my entire record collection from that period. I have always preferred immediacy over pure technicality, even though we are still talking about heavy music.

Over time, my interest in horror, my knowledge of the piano, and the truly individualistic and rule-free approach of black metal gradually shifted my attention toward darker forms of metal. In particular I became drawn to melodic and symphonic black metal bands that combined everything I liked and felt closer to my personality.

As happens to many people, I started focusing on certain things and leaving others aside. Gradually my attention stabilized mainly on bands like Dissection, Thy Serpent, and Lord Belial — just to mention some historical names to which I feel very attached.

Nowadays I listen a lot to dark and depressive melodic bands, especially Thy Light, Austere, and Nocturnal Depression. These bands are not very fast, but atmosphere is their main characteristic. As you can see, my tastes have changed a lot over the years.

I believe all these influences can somehow be heard throughout the album.

11.Does Satanism or Occultism play any role in your music?

Hortern: Yes, occultism and Satanism plays a fundamental role in our music and has a truly significant impact on the way we construct lyrics, atmospheres, and concepts. It is not just an aesthetic element, but a genuine guiding thread that runs through all of Obscura Domini’s creative work.

The use of symbols, esoteric references, and ritual imagery serves to create a deeper and more mysterious dimension that goes beyond the mere sound. Occultism allows us to explore themes such as the dissolution of identity, the cosmic void, and spiritual transformation central elements in the album’s concept.

In this sense, the music becomes almost a ritual: the songs are not merely tracks to listen to, but experiences that aim to transport the listener into a dark, symbolic, and at the same time contemplative world. Occultism, therefore, is not an accessory detail, but an essential part of our artistic identity and the message we aim to convey.

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

Hortern: First of all, I would like to sincerely thank the team at OCCULT BLACK METAL ZINE for dedicating this interview to us and for giving us the opportunity to share our work and the ideas behind Obscura Domini. It is always important to be able to speak about the concept, the themes, and the creative journey we pursue, and your support in spreading these reflections means a great deal to us.

A special thanks also goes to all the people who appreciate and support us. Their passion and interest in our music are what drive us to keep creating, experimenting, and bringing our vision to life even on stage. Knowing that there are those who listen, understand, and immerse themselves with us in the darkness of our musical worlds gives us energy and motivation to move forward.

In short, our gratitude goes both to those who allow us to tell our story and to those who experience it alongside us, making this dark and fascinating journey possible.

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