Amthrya/Onnen/Ad Noctem Records/2026 Full Length Review

  Amthyra  are  a  band  from  Italy  that  plays  a  very  atmospheric  and  dissonant  form  of  black  metal  and  this  is  a  review  of  their  2026  album  "Onnen"  which  will  be  released  in  october  by  Ad  Noctem  Records.

  Dark  soundscapes,  synths  and  Asian  style  folk  instruments  start  off  the  album  along  with  some  spoken  words  a  few  seconds  later  before  going  into  a  heavier  direction.  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast beats  can  be  heard  which  also  gives  the  recording  more  of  a  raw  feeling.

  Vocals  are  mostly  high  pitched  black  metal  screams  while  the  riffs  also  add  in  a  good  amount  of  dissonant  melodies.  Throughout  the  album  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts  along  with  some  growls  also  being  used  at  times  as  well  as  the  recording  also  having  its  atmospheric  moments.

  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  along  with  the  solos  and  leads  also  being  done  in  a  very  dark  yet  melodic  style  when  they  are  utilized,  some  of  the  tracks  are  also  very  long  and  epic  in  length,  orchestral  arrangements  are  also  used  at  times.  The  production  sounds  very  professional  while  the  lyrics  cover  Japanese  Folklore  and  Mythology.

  In  my  opinion  Amthyra  are  a  very  great  sounding  atmospheric  and  dissonant  black  metal  band  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Juso"  "Void's  Undertow"  and  "Onnen".  8  out  of  10.

  https://www.facebook.com/AmthryaOfficial

https://www.instagram.com/amthrya_official/ 

Sternweh Interview

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

 

Sternweh is a melodic black metal/dark metal project with subtle folk elements and German lyrics. I also like to call it—half-jokingly—“Dark Manticore.” It’s exactly the kind of music you should listen to at night in the woods, when the stars twinkle mysteriously and you’re not sure who or what is hiding behind the trees.

 

2.A few months back you released your first full length, can you tell us a little bit about the musical style that you went for on the recording?

 

When writing songs, I usually started by strumming out melodies on my acoustic guitar and harmonizing them with the lyrics. As a rule, I was looking for something that sounded melancholic and unfamiliar, but not hopeless. I usually record the vocals clean first to see if they work for me, and only then do I replace them with screams. After that I add the distorted guitars, the heaviness, and the explosiveness, and finally, I spice the whole thing up with clean vocal parts (by me or my wife) and instruments like the kalimba, handpan, or xylophone.

 

 

3.What are some of the lyrical topics and subjects you have explored so far with the music?

 

The songs deal with longing in various ways. “Für das, was war,” for example, is about the longing for a life one once had but can never regain. “Den Tausend Wegen” is dedicated to the paths in life that one once chose not to take. The title track “Sehnflucht” and the song “Mehr als Vestand” explore the desperate desire to break free from everyday life, while “Feenfeuer,” “Ruf aus dem Moor,” and “Sterngeborgen” each trace, in their own way, the search for a mystical dream world.

 

 

4.What is the meaning and inspiration behind the name 'Sternweh'?

 

The band’s name is a combination of the German words “Stern” (star) and “Fernweh” (which translates to “wanderlust,” but includes the word “weh,” meaning pain, so you could also translate it as “starpain”). In general, that’s exactly what Sternweh is all about: the search for something intangible and the gathering of the fleeting shadows and fragments of it that can be found in our world. It thus combines the cosmic despair of living in such a sober reality with the joy of being able to grasp at least a glimmer of magic—which, however, is also linked to a painful longing.

 

 

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

 

You’re very welcome. In it, you can see a faun setting out to escape the prison of everyday life. You can also see this as a symbol of the mythical creature—the free being that lies within all of us. It flees from one thicket into the next unknown thicket and is visible in this world only for a fleeting moment. Just like us.

 

6.With this project you record most of the music by yourself, are you open to working with a full line up or do you prefer to work solo?

 

Even though there are advantages to working alone, I’d definitely be interested in collaborating with other musicians. For the songs I’m currently working on, I’m also in touch with a musician from another band of mine (Trümmertiefen), who will likely contribute some drum parts. But I’m generally open to working with other musicians, if only because it would open up the possibility of live performances.

 

7.Currently you are unsigned, are you looking for a label or have received any interest?

 

No one has approached me yet. But I'd be open to it if the right offer came along.

 

 

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

 

The reactions so far have been mostly positive. Naturally, the music doesn’t go over quite as well with black metal traditionalists and purists, but it definitely resonates with anyone who likes things a bit more melodic and experimental. Fun fact: I’ve even gotten feedback from a non-metalhead who described the music as unbearable noise but praised the quality of the lyrics. Conversely, there are also plenty of people internationally who don’t understand the German lyrics but still find the atmosphere speaks to them. Personally, I find that particularly exciting.

 

 

9.You also work as a horror and fantasy author, can you tell us a little bit more about the material  you have written so far?

 

Among other things, I’m working on two series of novels. One, "Fortgeschritten (“Advanced") revolves around a bored man from a small village who finds a travel brochure that teleports him from one sinister, nightmarish world to the next, while simultaneously awakening in him a delusional desire to see more and more of them. Then there’s "Knochenwald" (“Bone Forest”). The series is about a sinister parallel world that seeps into ours and features, among other things, giant maggots, a necrophiliac police officer, and a supernatural black metal band (“Knochenherz”). The latter has also inspired a music project of my own, which comes across as significantly rawer and more cynical than Sternweh. Aside from that, I regularly write short stories on dark themes such as decay, dystopian visions of the future, or possible apocalypses.

 

 

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

 

To be honest, I actually find it interesting not to know exactly right now. I’m sort of looking forward to facing the unknown. But in any case, I want to continue exploring my sound, opening up new sonic worlds, and I’d love to be able to do that with other musicians as well. Everything else will fall into place.

 

11.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?

 

I think I was definitely influenced by projects like “Dornenreich,” “Alcest,” “Eisregen,” or “Eden weint im Grab” when it comes to the genre. Then there’s the band “Sentenced”—which, unfortunately, no longer exists—that’s a huge inspiration for me, at least in terms of atmosphere and emotional pain. But I also have a real soft spot for dark and gothic rock. I mainly listen to the German band “ASP,” but also “End of Green” or classics like “Sisters of Mercy" and "Paradise Lost". And in the metal scene, bands like “The Man Eating Tree,” “Katatonia,”, „Nightwish,“ or “Blind Guardian.” In general, my tastes are pretty broad.

 

 

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

 

First of all, I’d like to thank everyone who takes the time to listen to my music. And then, maybe a little message to everyone who’s feeling depressed about their lives and this messed-up state of the world. Don’t give up. There’s more to the world than just this gloom out there. You still have your imagination—and through it, there’s an inner world to explore that doesn’t have to be all about pain and depression. It’s also home to the strange, distant murmur of the fauns.1.For those that have never heard of you before, can you tell us a little bit about the solo project?

 

Sternweh is a melodic black metal/dark metal project with subtle folk elements and German lyrics. I also like to call it—half-jokingly—“Dark Manticore.” It’s exactly the kind of music you should listen to at night in the woods, when the stars twinkle mysteriously and you’re not sure who or what is hiding behind the trees.

 

2.A few months back you released your first full length, can you tell us a little bit about the musical style that you went for on the recording?

 

When writing songs, I usually started by strumming out melodies on my acoustic guitar and harmonizing them with the lyrics. As a rule, I was looking for something that sounded melancholic and unfamiliar, but not hopeless. I usually record the vocals clean first to see if they work for me, and only then do I replace them with screams. After that I add the distorted guitars, the heaviness, and the explosiveness, and finally, I spice the whole thing up with clean vocal parts (by me or my wife) and instruments like the kalimba, handpan, or xylophone.

 

 

3.What are some of the lyrical topics and subjects you have explored so far with the music?

 

The songs deal with longing in various ways. “Für das, was war,” for example, is about the longing for a life one once had but can never regain. “Den Tausend Wegen” is dedicated to the paths in life that one once chose not to take. The title track “Sehnflucht” and the song “Mehr als Vestand” explore the desperate desire to break free from everyday life, while “Feenfeuer,” “Ruf aus dem Moor,” and “Sterngeborgen” each trace, in their own way, the search for a mystical dream world.

 

 

4.What is the meaning and inspiration behind the name 'Sternweh'?

 

The band’s name is a combination of the German words “Stern” (star) and “Fernweh” (which translates to “wanderlust,” but includes the word “weh,” meaning pain, so you could also translate it as “starpain”). In general, that’s exactly what Sternweh is all about: the search for something intangible and the gathering of the fleeting shadows and fragments of it that can be found in our world. It thus combines the cosmic despair of living in such a sober reality with the joy of being able to grasp at least a glimmer of magic—which, however, is also linked to a painful longing.

 

 

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

 

You’re very welcome. In it, you can see a faun setting out to escape the prison of everyday life. You can also see this as a symbol of the mythical creature—the free being that lies within all of us. It flees from one thicket into the next unknown thicket and is visible in this world only for a fleeting moment. Just like us.

 

6.With this project you record most of the music by yourself, are you open to working with a full line up or do you prefer to work solo?

 

Even though there are advantages to working alone, I’d definitely be interested in collaborating with other musicians. For the songs I’m currently working on, I’m also in touch with a musician from another band of mine (Trümmertiefen), who will likely contribute some drum parts. But I’m generally open to working with other musicians, if only because it would open up the possibility of live performances.

 

7.Currently you are unsigned, are you looking for a label or have received any interest?

 

No one has approached me yet. But I'd be open to it if the right offer came along.

 

 

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

 

The reactions so far have been mostly positive. Naturally, the music doesn’t go over quite as well with black metal traditionalists and purists, but it definitely resonates with anyone who likes things a bit more melodic and experimental. Fun fact: I’ve even gotten feedback from a non-metalhead who described the music as unbearable noise but praised the quality of the lyrics. Conversely, there are also plenty of people internationally who don’t understand the German lyrics but still find the atmosphere speaks to them. Personally, I find that particularly exciting.

 

 

9.You also work as a horror and fantasy author, can you tell us a little bit more about the material  you have written so far?

 

Among other things, I’m working on two series of novels. One, "Fortgeschritten (“Advanced") revolves around a bored man from a small village who finds a travel brochure that teleports him from one sinister, nightmarish world to the next, while simultaneously awakening in him a delusional desire to see more and more of them. Then there’s "Knochenwald" (“Bone Forest”). The series is about a sinister parallel world that seeps into ours and features, among other things, giant maggots, a necrophiliac police officer, and a supernatural black metal band (“Knochenherz”). The latter has also inspired a music project of my own, which comes across as significantly rawer and more cynical than Sternweh. Aside from that, I regularly write short stories on dark themes such as decay, dystopian visions of the future, or possible apocalypses.

 

 

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

 

To be honest, I actually find it interesting not to know exactly right now. I’m sort of looking forward to facing the unknown. But in any case, I want to continue exploring my sound, opening up new sonic worlds, and I’d love to be able to do that with other musicians as well. Everything else will fall into place.

 

11.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?

 

I think I was definitely influenced by projects like “Dornenreich,” “Alcest,” “Eisregen,” or “Eden weint im Grab” when it comes to the genre. Then there’s the band “Sentenced”—which, unfortunately, no longer exists—that’s a huge inspiration for me, at least in terms of atmosphere and emotional pain. But I also have a real soft spot for dark and gothic rock. I mainly listen to the German band “ASP,” but also “End of Green” or classics like “Sisters of Mercy" and "Paradise Lost". And in the metal scene, bands like “The Man Eating Tree,” “Katatonia,”, „Nightwish,“ or “Blind Guardian.” In general, my tastes are pretty broad.

 

 

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

 

First of all, I’d like to thank everyone who takes the time to listen to my music. And then, maybe a little message to everyone who’s feeling depressed about their lives and this messed-up state of the world. Don’t give up. There’s more to the world than just this gloom out there. You still have your imagination—and through it, there’s an inner world to explore that doesn’t have to be all about pain and depression. It’s also home to the strange, distant murmur of the fauns.

https://sternweh.bandcamp.com/album/sehnflucht

https://open.spotify.com/album/0QG8BAALVpdJEO7k4694Iq

Überchriist/Dæmonic Apotheosis/Deanwell Global Music/2026 Full Length Review

  Überchriist  are  a  band  from  Georgia  that  has  been  featured  before  in  this  zine  and  on  this  recording  plays  a  very  melodic  and  old  school  form  of  black  metal  and  this  is  a  review  of t heir  2026  album  "Dæmonic  Apotheosis"  which  will  be  released  on  September  25th  by  Deanwell  Global  Music.

  A  very  dark  yet  heavy  sound  starts  off  the album  while  the  riffs  also  add  in  a  great  amount  of  melody  and  you  can  also  hear  all  of  the  musical  instruments  that  are  present  on  the  recording.  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the  recording  more  of  a  raw  feeling. 

  Vocals  are  mostly  high  pitched  black  metal  screams  while  the  album  also  adds  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  along  with  a  couple  of  tracks  also  adding  in  a  small  amount  of  synth,  some  songs  also  adds  in clean  playing  and  spoken  words  can  also  be  heard  briefly.

  On  this  recording  Überchriist   plays  a  style  of  black  metal  that  is  very  melodic,  aggressive  and  traditional  sounding  which  is  also  very  different  from t heir  previous  release.  The  production  sounds  very  professional  while  the  lyrics  cover   occultism  and  darkness  themes.

  In  my  opinion this  is  another  great  sounding  recording  from  Überchriist  and  if  you  are  a  fan  of  melodic  and  old  school  black  metal,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "Anti-Phoenix  Descent"  "Faith  In  Darkness"  "Subterranean  Goat  Transfiguration"  and  "Psychocosm".  8  out  of  10.

uberchriist.bandcamp.com

instagram.com/uberchriist

     

  

Funeral Witchery/Beyond The Light/Invima Records/2026 Full Length Review

  Funeral  Witchery  are  a  band  from  Arizona  that  plays  an  old  school  form  of  black  metal  and  this  is  a  review  of  their  2026  album  "Beyond  The  Light"  which  will b e  released  on  September  18th  by  Invima  Records.

  I  very  dark  yet  heavy  sound  starts  off  the  album  while  the  solos  and  leads  are  also  done  in  a  very  melodic  style.  When  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast beats  can  be  heard  which  also  gives  the  recording  more  of  a  raw  feeling  and  the  vocals  are  mostly  high  pitched  black  metal  screams. 

  Most  of  the  music  is  also  very  heavily  rooted  in  the  old  school  era  of  the  genre  while  the  album  also  adds  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts.  Melodies  are  also  added  into  some  of  the  guitar  riffing  along  with  some  tracks  also  adding  in  a  small  amount  of  keyboards  and  clean  playing  can  also  be  heard  briefly.

   Some  of  the  riffs  also  show  an  influence  of  thrash  metal  and  growls  are  also  used  at  times  as  well  as  a  couple  of  tracks also  adding  in  a small  amount of  spoken  words   along  with  some  songs  also  adding  in  samples.  The  production  sounds  very  professional  while  the  lyrics  cover  Satanism,  Occultism,  Basphemy  and  Misanthropy  themes.      

  In  my  opinion  Funeral  Witchery  are  a  very  great  sounding  old  school  black  metal b and  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Sheol"  "I  Am  The  Tyrant"  "Nun  Fucker"  and  "Nemesis  Divinus".  8  out  of  10.

  https://www.facebook.com/funeralwitchery

https://www.instagram.com/funeral_witchery_official/
https://funeralwitchery.bandcamp.com/

 https://www.postmortuus.com/store/p/funeral-witchery-beyond-the-light-digipak-cd

https://youtu.be/UY5-Ymeued4?si=LQ6tnj3NLi_UF2F6

Arctos/A Path Apart/Northern Silence Productions/2026 Full Length Review

 

  Arctos  are  a  band  from  Alberta,  Canada  that  has  been  featured  before  in  this  zine  and  on  this  recording  plays  a  very  atmospheric  and  melodic  form  of  black  metal  and  this  is  a  review  of t heir  2026  album  "A  Path  Apart"  which  will b e  released  in  November  by  Northern  Silence  Productions.

  Dark  soundscapes  and  synths  start  off  the  album  before  going  into a   heavier  direction  while  the  recording  also  has  its  atmospheric  moments.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  along  with  the  vocals  being  mostly  high  pitched  black  metal  screams  and  the  solos  and  leads  are  also  done  in  a  very  melodic  style.

  Spoken  words  can  also  be  heard  briefly  while  the  riffs  also  add  in  a  great  amount  of  melody  and  when  the  music  speeds  up  a  great  amount  of  tremolo  picking  and  blast  beats  can  be  heard  which  also  gives  the  album  more  of  a  raw  feeling.  Throughout  the  recording  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts.

   Some  of  the  tracks are  also  very  long  and  epic  in  length  along  with  some  piano's  are  also  used  at  times  and  some  songs  also  add  in  a  small  amount  of  clear  singing  as  well  as  one  track  also  being  an  instrumental.  The  production  sounds  very  professional  while  the  lyrics  cover  disillusionment,  loss,  perseverance  and  finding  your own  path.

  In  my  opinion this  is  another  great  sounding  album  from  Arctos  and  if  you  are  a  fan  of  atmospheric  and  melodic  black  metal,  you  should  check  out  this  recording.  RECOMMENDED  TRACKS  INCLUDE  "Altar  Of  Storms"  and  "The  Cloak".  8  out  of  10.

  Bandcamp: https://arctosofficial.bandcamp.com

Facebook: https://www.facebook.com/Arctosofficial
Instagram: https://www.instagram.com/arctos_official/

      

Vendanges/La Danse du Souvenir/2026 Full Length Review

  Vendanges  are  a  solo  project  from  France  that  plays  a  folk  influenced  style  of  black  metal  with  elements  of  dungeon  synth  and  this  is  a  review  of  his  self  released  2026  album  "La  Dense  du  Sovenir"  which  will  be  released  on  September  20th.

  A  very  fast  and  raw  sound  starts  off  the  album  along  with  a  great  amount  of  tremolo  picking  and  blast  beats.  Vocals  are  mostly  high  pitched  black  metal  screams  while  folk  instruments  also  mix  in  with  the  heavier  sections  of  the  songs  at  times  and  you  can  also  hear  all  of  the  musical  instruments  that  are  present  on  the  recording. 

  Melodies  are  also  added  into  some  of  the  guitar  riffing  while  the  album  also  adds  in a   good  mixture  of  slow,  mid  paced  and  fast  parts.  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  along  with  a  couple  of  the  tracks  also  being  very  long  and  epic  in  length.

   Telephone  sounds  can  also  be  heard  briefly  as  well  as  one  track  also  being  an  instrumental  which  also  adds  in  some  acoustic  guitars  and  when  synths  are  utilized  they  add  in  elements  of  dungeon  synth  and  the  album  closes  with  another  instrumental.  The  production  sounds  very  fark  and  raw  while  the  lyrics  are  written  in  French  and  cover  the  fields  of  Burgundy.  

  In  my  opinion  Vendanges  are  a  very  great  sounding  folk  influenced  black  metal  solo  project  with  elements  of  dungeon  synth  and  if  you  are  a  fan  of  those  musical  genres,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "La  Fortresse  Verte"  and  "La  Lavendiere".  8  out  of  10.

  https://vendanges.bandcamp.com/merch/cd-pre-order-pack-8-17-september      

Dark Goat/Do What Thou Wilt Shall Be The Whole Of The Law/2026 EP Review

 

  Italy's  Dark  Goat has  returned  with  a  new  recording  which  shows  the  music  going  for  an  occult  form  of  black  metal  and  this  is  a  review  of  their  self  released  2026  ep  "Do  What  Thou  Wilt  Shall  Be  The  Whole  Of  The  Law".

  Rain  and  thunder  sounds  start  off  the  ep  along  with  some  avant  garde  style  keyboards  a  few  seconds  later  before  going  into  a  heavier  direction.  Dark  sounding  melodies  are  also  added  into  some  of  the  guitar  riffing  while  the  faster  sections  of  the  songs  also  add  in  a  great  amount  of  tremolo  picking  and  blast  beats  which  also  gives  the  recording  more  of  a  raw  feeling.

  Vocals  are  mostly  high  pitched  black  metal  screams while  the  music  is  also  very  heavily  rooted  in t he  90's  era  of  the  genre.  Throughout  the  recording  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts  along  with  the  solos  and  leads  also  sticking  to  an  old  school  style  when  they  are  utilized.  growls  can  also  be  heard  at  times  and  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them,  ritualistic  spoken  words  are  also  added  towards  the  end.

  On  this  recording  ark  Goat  focuses  more  on  an  occult  style  of  black  metal  that  is  very  heavily  rooted  in  the  classic  era  of   The  genre.  The  production  sounds  very  raw  and  old  school  while  the  lyrics  cover  the  writings  of  Aleister  Crowley.

  In  my  opinion  this  is  another  great  sounding  recording  from  Dark  Goat  and  if  you  are  a  fan  of  occult  black  metal,  you  should  check  out  this  ep.  RECOMMENDED  TRACKS  INCLUDE  "Perdurabo"  and  "The  Scarlet  Woman".  8  out  of  10.

  https://darkgoatofficial.bandcamp.com/album/do-what-thou-wilt-shall-be-the-whole-of-the-law  

  

In Luna Interview

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

Hey, this is Uruksoth. Well, since 2015, when our first album came out, as well as the split we released with Psychonaut 4, Vanhelga, and Offdrykja. In Luna had basically been on hold when it came to writing new music. It wasn’t until around 2020 that we started working on what would eventually become our new album, which is finally coming out now.

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

Musically, when it came to writing the album, both in terms of the music itself and the lyrics and vocals, there wasn’t really a huge difference. It was more of a natural continuation of what we had already recorded. The most noticeable difference in terms of the recording process is that, on our first two releases—the debut album and the split we put out—the drums were programmed by Auka. This time, however, we had the collaboration of Diego Mota from Gaerea, who joined us as a session musician to record the drums for the new album.

3.From 2015 to 2026 there was no music being released, can you tell us a little bit more about the long wait in between releases?

To be honest, we didn’t really feel the need to record anything new in the years that followed, so we decided to let the band rest until we had a clear intention of recording something new. We didn’t want to record just for the sake of recording something. We wanted it to be something meaningful for us, something that we genuinely felt was important and could bring something to the project. We wanted to reach that point where we could say, “Now is the right time to record these new ideas we have.” On my side, I’ve also been focused on other bands I’m currently involved with or have been involved with, working on various recordings and albums. If I remember correctly, we started the recording process towards the end of 2020. Since then, we’ve been working on it without any kind of rush or pressure. We’ve taken as much time as we felt we needed, and now, finally, the new album will see the light of day very soon.

4.What are some of the lyrical topics and subjects the band explores with the new album and  also how would you describe your progress as songwriters over the years?

The lyrics in Luna are one of the most important things for us, just as important as the composition of the music. They represent who we are and the message we want to convey. They follow the same path as our earliest recordings, talking about inner emptiness, the darkness that we carry within ourselves, which comes from deep inside us. On this new album, we explore themes such as depression, anxiety, loss, and grief. When it comes to writing the lyrics for In Luna has always been quite easy for me to talk about these subjects, since I put my own personal experiences down on paper, either in a more metaphorical way or in a more explicit manner.

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

All the graphic design for the new album was done by Fernando Navarro and his design company, Mutta. He’s a very good lifelong friend of mine, and we’ve played together in different extreme metal bands over the years. He was also responsible for the artwork and design of In Luna’s first album. He knows us really well, so he’s very easy to work with. He also knows exactly how I think and what kind of design I might like, so he can basically create something that I already know I’m going to love. It’s a perfect fit for us. As for the album cover, there’s a person on it, and the album is called “The Architecture of Negativity”. The idea is that the human being is the architect—the builder as well as the destroyer—of the negativity and pessimism in each person’s life, whether they experience more or less of it. So, considering the album title, it probably would have been easier to go with something like buildings or a modern cityscape, some urban landscape from any city in the world. But we liked Fernando’s concept much more. He came up with the idea for the album partly after seeing the lyrics I had written, and that’s how this whole concept came together. Then, as for the photographs, some of the photos we have inside the album were actually taken by me.

6.The band members live in Chile and Spain, what impact does the long distance between band members have on the musical style that you play?

Yes, Aukka is Chilean and I’m Spanish, although I’ve been living in Germany for about six years now. Actually, the distance between the two members of the band has never really been an obstacle for us, especially given the times we live in, and even back when we first started. You can easily record an idea at home, send it to me, and then we can go over it together. We can say, “Maybe we could change this part,” or “Let’s repeat this section,” or whatever else we feel needs changing. It’s actually a very easy way of working. And when it comes to recording the album, there’s no problem at all either, because we both have our own recording equipment and everything we need. So, honestly, it’s pretty straightforward. Even though we’re based so far apart, as I said, it’s relatively easy to put all our ideas together and turn them into a new piece of work.

7.So far the band has only done one live show which was in 2017, would the band be open to doing any live shows in the future?

The show we played was a one-off, and we presented it as Iluna’s first and last concert. The organizers of the Iberian Warriors Fest got in touch with us and told us they were interested in having Iluna play at the festival. I told them to give us a little time to think about it, because we had never really considered playing live. The distance between us makes that quite difficult. So we thought about it, and although Aukka unfortunately couldn’t make it to Spain for the show, we decided to go ahead with it as an exclusive date. I also thought it could be something really special for people who liked In Luna and had never had the chance to see us live—to give them that one opportunity to see us in an exclusive show. And regarding your next question, no, we’re not going to play any more concerts. It would feel like we were going back on our word after saying that it was going to be our first and last show. But it really was an unforgettable experience. The audience received us incredibly well, and there were so many people there who had never even heard of us before. Playing at a festival, in a completely packed venue, alongside such great bands, and having the audience respond to us the way they did was honestly amazing. But, as I said, we don’t have any plans to play live again.

8.On the new album toy also have a few quests, can you tell us a little bit more about who they are and their contributions to the recording?

Yes, for the new album we worked with two session musicians for the recording. As I mentioned in an earlier question, Diogo Mota from Gaerea played the drums. We met at a festival where I was playing with one of my other bands, and shortly afterwards I immediately thought of him for the drum recordings. We didn’t want to use programmed drums again. They had worked well for us in the past, but we wanted to take another step forward and achieve a more professional sound this time. Diogo is a session musician and that’s part of what he does professionally, so I asked him if he’d be interested in getting involved with the project. I sent him a few demos, he liked the style of music, and we hired him for the recording. Then, on bass, we have Deimos AF, who is a good friend of mine. We’ve also played together in a band in the past, and he joined us to record the bass tracks. He really brought a very intense sound to the album, as well as some great ideas during the recording process

9.The new album is going to be released on 'Talheim Records'. how would you compare working with this label to other labels you have worked with in the past?

Working with Talheim is actually very easy. I’ve known Mat, the owner, for many years. They co-released the “Urban Negativism” split with OP Records, and that was our first contact with the label. Over the years, Talheim has also released material by another one of my bands, a Post Back Metal band called Korzo. So we already had a good relationship with them, and they’re really easy to work with. They listen to your requests, they come up with their own ideas or suggestions on how to improve things, and there’s always been a very positive response. Both Mat and his whole team do honest, genuinely underground work, and they’re truly committed to the bands they release.

10.On a worldwide level how has the reaction been to your newer music by fans of atmospheric, depressive and post black metal?

At the time I’m answering this interview, there hasn’t been any preview of the new album yet—not a song or even a snippet. The album is coming out in early October, so unfortunately I can’t really say anything about it just yet. What did come out a few weeks ago were two older tracks that we originally released on the “Urban Negativism” split. They’ve basically been reissued and are now available on all the major digital platforms, whereas they weren’t available there before. Talheim has made those two tracks available digitally, so people can finally listen to them online. As for those two songs, when they were originally released in 2015, along with our debut album—which was also released that year, although it had been recorded a little earlier—the response from the Black Metal and Depressive Black Metal scene was actually quite good. We were a completely new and unknown band at the time, so considering that we’ve always been part of the underground scene, we were really happy with the reception. 

Jose Lavin | In Luna: 

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

As for the future, we honestly don’t know ourselves. We’ve recorded this new album and we’re very happy with the result. Maybe this will be our last album, or maybe there’ll be another one. Maybe we’ve already said everything we wanted to say. We just don’t know yet.

12.What are some of the bands or musical styles the band members are currently listening to nowadays?

We listen to all kinds of Extreme Metal and Metal in general. We just like music that’s well made. And by that, I don’t mean that it has to be ultra-complicated or incredibly technical or progressive or anything like that. We just want music that we enjoy and that makes us feel something.  We listen to all kinds of Black Metal, Death metal, Doom… Post Rock and Pos Metal, Soundtracks…And personally, I also listen to a lot of Neofolk and Dark folk and some Heavy Metal classics.  We just love music.

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

Thank you very much for the interview and for your support of the band."

https://tree.tal.hm/@inluna

 

Taufpatin/Les Malfaisances de la Taufpatin/Antiq/2026 Full Length Review

  Taufpatin  are  a  band  from  France  that  plays  a  very  epic  form  of  black  metal  with  elements  of  dungeon  synth  and  this  is  a  review  of  their  2026  album  "Les  Malfaisances  de  la  Taufpatin"  which  will  be  released  in  October  by  Antiq.

   Synths  start  off  the  album  and  also  bring  in  elements  of  dungeon  and  keller  synth  which  also  mixes  in  with  the  heavier  sections  of  the  music  at  times.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  while  the  vocals  are  mostly  grim  sounding  black  metal  screams  and  the  riffs  also  add  in  a  decent  amount  of  melody.

  When  guitar  solos  and  leads  are  utilized  they  are  also  done  in  a  very  melodic  style  while  melodies  are  also  added  into  some  of  the  guitar  riffing. Spoken  words  and  clear  singing  can  also  be  heard  on  a  couple  of  tracks  along  with  the  album  also  capturing  a  very  medieval  atmosphere  at  times  and  the  whole  recording  also  sticks  to  a  slower  direction.

  Taufpatin  plays  a  musical  style  that  takes  a  very  slow  and  epic  form  of  black  metal  and  mixes  it  with  dungeon  synth  to  create  a  sound  of  their  own.  The  production  sounds  very  dark  and  raw  while  the  lyrics   are  written  in  French  and  is  a  concept  album  that  covers  a  witch  from  18th  century  France  named  La  Taufpatin.

  In  my  opinion  Taufpatin  are  a  very  great  sounding  epic  mixture  of  black  metal  and  dungeon  synth  and  if  you  are  of  fan  of  those  musical  genres,  you  should  check  out  this  band.  RECOMMENDED  TRACKS  INCLUDE  "L'Affront"  "Operation  Vengeance"  and  "Je  reste  la  plus  belle".  8  out  of  10.

  antiqrecords.com

facebook.com/antiq.label 

antiqofficial.bandcamp.com       

   

Shamorga/Vpuhivprah/2026 EP Review

 

  This  is  the  final  review  of  a  recording  from  Estonia's  solo  project  Shamorga  which  shows  the  music  going  for  an  experimental,  avant  garde  and  progressive  form  of  black  metal  and  this  is  a  review  of  his  2026  ep  "Vpuhivprah".

  Clean  playing  and  ritualistic  soundscapes  start  off  the  ep  before  adding  in  some  tortured  sounding  black  emtal  screams  which  also  takes  the  music  into  more  of  a  heavier  and  avant  garde  direction.  All  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them  and  most  of  the  tracks  are  also  very  long  and  epic  in  length.

  At  times  the  music  also  gets  very  atmospheric  and  experimental  sounding  while  the  guitar  leads  also  add  in  more  of  a  dissonant  style.  Melodies  are  also  added  into  some  of  the  guitar  riffing  along  with  one  track  also  adding  in  a  brief  use  of  spoken  words,  when  the  music  speeds  up  a  great  amount  of  blast  beats  can  also  be  heard,  nndustrial  style  beats  are  also  introduced  on  a  later  track.

  On  this  recording  Shamorg  brings  out  more  of  a  mid  tempo,  experimental,  avant  garde  and  progressive  style  of  black  metal.  The  production  sounds  very  professional  while  the  lyrics  cover  esoeric  and  mythological  traditions.

  In  my  opinion  this  is  another  great  sounding  recording  from  Shamorgo  and  if  you  are  a  fan  of  avant  garde,  experimental  and  progressive  black  metal,  you  should  check  out  this  ep.  RECOMMENDED  TRACKS  INCLUDE  "Tlen"  and  "VPeklo".  8 out  of  10.

  https://shamorga.bandcamp.com/album/vpuhivprah   

Shamorga/Grimoire/2025 Full Length Review

 

  This  is  a  review  of  another  recording  from  Estonia's  solo  project  Shamorga  which  shows  the  music  going  for  an  experimental,  avaint  garde  and  progressive  style  of  black  metal  and  this  is  a  review  of  his  self  released  2025  album  "Grimoire".

  Dark  soundscapes  start  off  the  album  before  going  into  more  of  a  heavier  and  avant  garde  direction  while  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.  Vocals  are  mostly  tormented  sounding  black  metal  screams  when  they  are  utilized  and  melodies  are  also  added  into  some  of  the  guitar  riffing.

  A  great  portion  of  the  tracks  are  also  very  long  and  epic  in  length  while  the  guitar  leads  bring  in  a  very  dissonant  style.  At  times  the  music  also  goes  into  more  of  an  experimental  and  atmospheric  direction  along  with  the  faster  sections  of  the  album  also  adding  in  a good amount  of  blast  beats.

  Synths  are  also  added  on  some  of  the  tracks  along  with  one  song  also  adding  in  a  brief  use  of  ritualistic  chants.  The  album  also  has  its  progressive  moments  as  well  as  some  of  the  songs  also  adding  in  a  good  mixture  of  slow,  mid  paced  and  fast  parts  and  folk  instruments  are  also  used  at  times.  The  production  sounds  very  professional  while  the  lyrics  cover occultism,  darkness,  nightmare  and  the  infernal.

  In  my  opinion  this  is  another  great  sounding  album  from  Shamorga  and  if  you  are  a  fan  of  avant  garde  and  experimental  black  metal,  you  should  check  out  this  recording.   RECOMMENDED  TRACKS  INCLUDE  "Adrameleh"  "Mammon"  and  "Mastoma".  8  out  of  10.

https://shamorga.bandcamp.com/album/grimoire         

  

Shamorga/Mordia/2025 Full Length Review

 

  Shamorga  are  a  solo  project  from  Estonia  that  plays  a  very  experimental  and  avant  garde  form  of  black  metal  with  elements  of  dark  ambient  and  death  industrial  and  this  is  a  revie w of  his  self  released  2025  album  "Mordia".

  

  Programmed  beats  start  off  the  album  before  going  into  a  heavier  direction  while  the  vocals  are mostly  high  pitched  black  metal  screams  when  they  are  used.  At  times  the  music  also  gets  very  dissonant  and  experimental  sounding  along  with  the  faster  sections  of  the  songs  also  adding  in  a  great  amount  of  tremolo  picking  and  blast beats  which  also  gives  the  recording  more  of  a  raw  feeling.

  Throughout  the  album  you  can  also  hear  a  good  mixture  of  slow,  mid  paced  and  fast  parts  while  all  of  the  musical  instruments  also  have  a  very  powerful  sound  to  them.  Melodies  are  also  added  into  some  of  the  guitar  riffing  along  with  the  guitar  leads  adding  in  more  of  darker  style,  stringed  instruments  can  also  be  heard  briefly.  

One  song  also  adds  in  a  brief  use  of  clear  chants  along  with the  recording  also  going  into  more  of  an  experimental  direction  at  times.  and  some  tracks  add  in  elements  of  death  industrial  and  dark  ambient,  spoken  words  can  also  be  heard  briefly.  The  production  sounds  very  dark  and  raw  while  the  song  themes  focus  on  psychological  horror.

  In  my  opinion  Shamorga  are  a  very  great  sounding  experimental  and  avant  garde  black  metal  solo  project  and  if  you  are  a  fan  of  this  musical  genre,  you  should  check  out  this  album.  RECOMMENDED  TRACKS  INCLUDE  "Aelory"  "Gelindox"  and  "Shatana".  8  out  of  10.

  https://shamorga.bandcamp.com/album/mordia         

Snaga Interview

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

Absolutely. Snaga came about from a deep need to create something that I could pour my musical and artistic interests into, while also becoming a mirror held up to myself and the society that I live in over time. 

The first demo, “Where Torches Fear to Cast a Flame,” was more or less an exercise in learning how to record and mix black metal. It’s extremely raw, unprofessional, and painfully noisy in its production. I love it. It represents a start of something, and I feel a growing fondness for it.

During the writing process of my first EP, “NO SHAME/NO HOPE,” I found myself in a very depressive state. The state of the world, and the people who inhabit it, began to feel like a satire of humanity in so many ways. In coping with this, Snaga became more than making songs about horror and mysticism. Although there are songs on that EP and the following one that deal with the fantastical, it is counterbalanced by the things in our own world that both terrify and disgust me.

2.A few months back you released a new ep, musically how does it differ from the stuff you have released in the past?

Musically, I feel like it is really a continuation of the style found on “NO SHAME/NO HOPE.” A lot of the same lyrical themes are there, as well as a barrage of tremolo-picking, harsh noise, and vocal effects. The biggest departure would be the title track. I have never made a song that pushed the 10-minute mark before. 

3.Some of your lyrics cover the writings of Robert E. Howard, can you tell us a little bit more about your interst in his work?

I have always had a deep fondness for old dark fantasy and horror. Robert E. Howard wrote stories that feel similar to that of H.P. Lovecraft. While the protagonists in Lovecraft’s work often spiraled into madness while dealing with unknowable horrors, Howard’s character Conan had a much much blunt solution at times: stick it with a broadsword.

And while that is not a philosophy I tend to follow in my day to day life, it does make for a good read. 

The world that Conan lives in has the feel of a very, ancient and forgotten past. I can’t help but be inspired to make music about forgotten, moss-covered ziggurats filled with horrors from a bygone age. I feel like it is a perfect backdrop for this genre.

4.What are some of the other lyrical topics and subjects you have explore so far with the music?

When I am not writing about the fantastical, my lyrics tend to land on a deep cynicism involving humanity. It feels like every year we trust less and hate more. I can’t help but feel like there are people who are profiting off of creating a severe discordance within us. Technology is advancing so rapidly that our brains cannot keep up with it, and it seems like for all the good it can do, it has also changed the way our brains work drastically. There is a severe lack of empathy these days, and many people seem to forget that people are real, not just ephemeral objects to be ridiculed online.

To quote John Carpenter’s masterpiece, “The Thing,” - “Nobody trusts anybody now, and we’re all very tired.”

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

Upon making a black metal project, I went the tried-and-true (and cliche) route of giving it a named derived from Tolkien’s work. I understand that has been done endlessly, but I view the name as a nod of respect to the genre’s roots.

In the Orc’s language, Snaga means “thrall” or “servant”. This latest EP opens with the song “Algorithmic Thralldom,” which is fitting. 

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

It is piece of art called “Morella” by Harry Clarke from 1919. It was used in the publication “Tales of Mystery and Imagination” for the Poe story of the same name. 

I love looking at old, public-domain pieces of art. It’s like finding forgotten relics, buried in time. Stumbling across this piece, I was immediately taken by both the intricate beauty and underlying melancholy  portrayed in it. I found its aura perfect for the music that I was creating at the time. 

7.With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?

There is only one other person I would ever feel comfortable with in helping to create something under the Snaga name. We had previously worked together for years on a different project, and I was always amazed by his capability to write and play drums. I would approach his with a song, having my own idea of a drum part in my head, and he would absolutely subvert my expectations in the best of ways.

Fortunately, him and I are in talks about him getting on board with this project, and I truly hope I will have his expertise on all future releases. 

Snaga is something I am very protective of, but if anyone could tap into the vision and expand upon my ideas, it’s him. 

8.Currently you are unsigned, are you looking for a label or have received any interest?

I have always been a fan of the DIY aspect when it comes to creating music. I don’t mind being self produced and without a label. It allows me to take my time and create the art that I truly want to make without any unwanted outside influence.

If I did sign to a label, it would have to be small and independent. I have no desire to try to appeal to a larger audience while sacrificing my vision. 

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

I have received emails from a few fans across the world, and I am still shocked that it reached them, let alone that they enjoyed it. I never expected anyone to hear this music, especially in places so far from home.

Most of the reaction seems to be positive, but there have been a few negative ones. Both are fine! I would be worried if every black metal fan unanimously liked Snaga. Any negative responses that I read or hear are always fully welcomed. I’m glad that it made you feel something!

10.Are you also involved with any other bands or musical projects?

I am currently in another musical project as well as many past ones. However, I am trying to keep this project as anonymous as I can in this day and age, so I will respectfully pass on commenting about them for now.

11.When can we expect a full length and also where do you see yourself heading into as a musician during the future?

I am in the writing process of what I hope turns out to be a full length album. My work-life starts slowing down in the winter time, and that gives me a lot more time and space to write and record. 

I am hoping for an early 2027 release near the end of winter.

As to where I see myself heading as a musician? Hard to say, as I never even expected to be here as one! It is my hope that I will continue this project as long as I am able to, and that there will always be a few people in this world happy to hear it.

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?

Enslaved and Paysage d’Hiver are always fountains of inspiration for me. Enslaved with their ability to put out consistently great releases, and Paysage for having the ability to put me in a meditative trance while listening. 

Currently, a lot of dungeon synth is in my rotation. Mortiis, Radagast, and Warlock Corpse have pretty much been a constant during my quiet hour reading and contemplating these days.

Ulver’s “Lyckantropen Themes” also deserves a shout out. That is a perfect ambient album, in my eyes.

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

Just my thanks to you for the interview, and the reader for their time. Thanks to all for supporting the underground.

https://snagablackmetal.bandcamp.com/album/in-the-grey-apparel-of-ghosts

Eusapia Interview

 

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

First of all, we really appreciate your interest and want to thank you for taking this time with us. I'm Cleopatra the Alchemist, lyricist, guitar player and vocalist for Eusapia. It’s always really exciting to finish up a project. This one was kind of emotional to be “done” with, though, so I kinda sat and let it sink in for a little while. But we aren’t really the type of musicians to sit around for very long, so we’re currently finishing up recording our next two EPs and we’re almost done writing our first full-length.

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

These are actually songs from the past. I wrote both of these tracks prior to our first iteration in 2013, so these are really what kind of started it all for the project. When we changed our name to Eusapia, we decided to close that chapter, and we actually put our coming spring EP, The Grove, on hold for a year so we could complete these tracks.

But the difference between Thin Cities / Desert Festival and our Formless EP is night and day. Somnium wrote Formless as a one-man project, so when he approached me for lyrics, those songs were really almost done. They have so much of Somnium in them, and I think they are really intimate and vulnerable, where Thin Cities / Desert Festival is on a much grander scale.

Bringing our drummer, Deenie, in for this EP really elevated the compositions. He’s hypnotic to watch and really seems to approach the songs as a writer, so I think that alone made a huge difference in the overall presentation.

3. What are some of the lyrical topics and subjects the band explores with the new release, and how would you describe your progress as songwriters over the years?

Thin Cities and Desert Festival are both these sort of explorations of mortality and impermanence. They feel to me like two sides of the same coin.

Thin Cities deals with exploitation of labor, especially in agrarian parts of the world, and the comforts a lot of us in the developed world extract from these people. It’s a pretty blatant critique of capitalism and complacency.

While Desert Festival is the other side of opulence: this beautiful desert festival is filled with magic and people and decadence, but it’s also a sort of funerary rite, or perhaps the best last breath I could give a friend who passed.

Somnium and I performed in a band together prior to working on Somnium and eventually Eusapia, and the environment was really creatively stifling, to the point I really withdrew from playing music after I stopped playing with them. I think something we bring to our process, more so than any other project I've worked on, is trust. Somnium drew me back into music because what he was making was what I wanted to be making for years, and when he reached out to me, he knew what to expect. As a core partnership in writing and producing so far, I think we are probably each other's biggest fans and that makes the process for us so much more simple.

I think one of the biggest changes for us is that we’ve really grown into being a band rather than a collection of people contributing to songs. Early on, there was a lot more separation between who was writing what, but over time we’ve become much more interested in the composition as a whole. Nobody really has sole ownership of a song anymore. We’re all listening for what the song seems to want and trying to serve that rather than worrying about who wrote which part.

Bringing Frank and Chazdyn into the band has definitely pushed that further. They’re both really different players, and having that much more range available to us has opened up a lot of possibilities. Frank can move between guitar, bass, vocals, and whatever else the song needs, and Chazdyn brought a really natural musical chemistry that we didn’t know we were missing until he was there. I think you’ll hear that more clearly on Blinding Light.

I also think I’ve changed a lot as a writer. I’ve become much less interested in trying to force an idea into a song. I still write poetry separately and pull from my notebooks when the music is ready, but I’ve gotten better at listening to the music and figuring out what it’s asking for. A lot of the time it feels less like I’m writing lyrics and more like I’m finding the right words for something that already exists.

And honestly, I think we’re just much more comfortable with ourselves now, we're older and I think that forces some reality on a person. We’re not trying to prove that we can make a certain kind of music. We’re more interested in following an idea wherever it goes, whether that ends up being heavy, quiet, psychedelic, beautiful, ugly, or something we didn’t expect. I think that freedom is probably the biggest change I’ve noticed.

4. You have also recorded music under the name “Somnium.” How does the music of “Eusapia” differ from the stuff you have released under the previous name?

Somnium was really, I think, intended as a one-man project or a pseudonym more than a band. When he reached out to me, I wasn’t really even in Somnium. I was more of a lyricist and a guest vocalist, and I never left. When we started really doing stuff as a team, it was during our Bummer Summer of Covers. It was our way of figuring out how to even make this thing work.

So I think Somnium was sort of a cocoon or a nest for Eusapia to grow in, but the characteristic that really stands out to me is the vulnerability of the songs on Formless.

5. What is the meaning and inspiration behind the name “Eusapia”?

Italo Calvino’s Invisible Cities is a surreal book about Marco Polo and Kublai Khan’s friendship. In the book, Polo describes all of these cities that simply couldn’t exist.

The City of Eusapia is one of these cities where the living and the dead live these mirror lives. Above ground, the living do what we do, but those who pass are taken below ground and positioned doing their work from life. But this tradition has gone on so long that the inhabitants don’t know if the dead are mirroring the living or vice versa.

The entire book is really beautiful. Each city feels like a poem from another world, and it really inspired me in general. But I think the sort of gray space between the living and dead really fascinated me. These transformative margin areas are always special to me.

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

Yeah, I really wanted to create this sense of space and the sky. I think to me, there is a sort of desolation that shows itself, but these recordings kind of transition between crushing, dreamy, and almost majestic. There are parts that remind me of flying above the clouds.

To me, from the perspective of someone who is covered by a canopy of leaves most of the time, there is this magic that the desert, even the high desert on the eastern side of the state, has. The sky opens and it’s almost like being on another planet or in a dream.

And since the songs were so old, almost resurrected, I felt like using a desert that felt ancient and mystical, sort of illustrated those feelings.

7. Out of all the shows the band has done so far, which one stands out the most?

We are very selective when it comes to playing live and have only ever really played in our first iteration, so it’s hard to pick one. We’re in a small town that’s pretty removed from the city, so for us it makes sense to approach the globe, or the internet, with a lot more energy.

All of our art, videos, and anything else we share comes directly from us. We don’t hire teams to make our videos or outsource that side of the project. We try to build everything we can ourselves, so the internet has really become an extension of the venue for us. That’s where we’re able to reach people outside of our immediate area and create a world around the music rather than just playing shows in one place.

We’re not opposed to playing live, and there are definitely shows and festivals we’d love to be part of, but we think our creative energy is better spent writing and producing music that we love than playing endless local shows that don’t necessarily feel like a natural fit for what we’re doing.

We love our friends who grew up playing in bands here, and we have a lot of affection for the local scene, but musically we just don’t really have a home locally. So rather than forcing ourselves into something that doesn’t feel right, we’ve been putting that energy into building something of our own online.

8. On a worldwide level, how has the reaction been to your music by fans of post-black metal?

As far as I can tell, it’s been very warm. Before we released this EP, I’d never really done any sort of press or interviews for anything I’ve made, and it’s been like 25 years of making music.

We really just want to make music that we can all still love in ten years, so the fact that anyone outside of our close friends is listening and finding something they can really enjoy has been surreal. I cannot overstate how grateful we are already.

9. When can we expect a full-length, and where do you see the band heading musically in the future?

Yes. We’re nearly finished writing Blinding Light, which is our planned first full-length.

I think that you’re going to see a more realized Eusapia. During the last year we brought on Frank Keeler, a multi-instrumentalist who helped us with the Bummer Summer project. He played bass, guitar, and did some vocals for it. Working with him was really easy, and he’s incredibly versatile, so it was a natural fit to bring him on during the transition. We found Chazdyn through the local community. I don’t even think we were intending to bring him on, but I personally jammed with him and knew it was an amazing fit. So I think you’ll see some diversity, just on that merit alone.

But the material for Blinding Light has a lot more of Somnium’s fingerprint already, some almost droney or dark psychedelic elements that we haven’t really explored yet. And I think lyrically we’ll be really dealing with more suffering and, I guess, dealing with a sort of undeniable but almost incomprehensible realization or truth. 

Right now, though, we have the Mercy and The Grove EPs almost completed. "Relapse," the first single from Mercy, is going to drop on September 21st. The overall texture of that EP is a little more aligned with DSBM and post-rock; the tracks deal directly with alcoholism, mortality, and depression. I try to write in the abstract more often than not, but these songs are a lot more raw and direct. 

The Grove, coming this spring, feels like the natural follow-up to our most recent release, with both the music and the concept approached from a more abstract or esoteric space. Personally, I feel like Mercy is a

slight departure from our usual form, it feels more personal and close-up, and our delivery on those two tracks reflects that shift in perspective well.

10. What are some of the bands or musical styles the band members are currently listening to nowadays?

I personally listen to a lot of Sleep Party People, Mew, Lantlôs, and I’ve been really loving The Angelic Process lately. Somnium and I listen to a lot of toe together, and he recently got me into ISIS. 

Along with Isis and Toe, Somnium has been listening to a lot of Deafheaven and says that his biggest influences are forever Isis, Alice in Chains and Porcupine Tree/Wilson

Deenie has been listening to Intronaut, Cult of Luna, Mastodon, Meshuggah, and Dissection’s Reinkaos “on repeat” lately.

Frank says Enya and Orbital, while Chazdyn has been enjoying Moray Pringle, which he says comes off as a hyper-impressive, instrumental “Tame Impala” vibe with the way a lot of it is a new take on older styles.

11. What are some of your non-musical interests?

I have an enthusiastic interest in spirituality and theology, and lately I’ve been really diving into modern Hermeticist audiobooks. The Magus by Francis Barrett is a really interesting exploration of ceremonial magic from a slightly more modern perspective as it was written in the early 1800s.

I also spend a lot of time in our natural world out here, our area is filled with really incredible old woods that have this sort of sleeping magic that really inspires and informs the sound that we make in a real way. I really enjoy gardening and look at foraging for mushrooms, berries, herbs, teas and other useful plants in the world as an extension of that same love and it gives me reminders of my place here in this life I get to experience today. I have a thing for physical media. I grew up with records in our home, but in the last few years I’ve been more focused on VHS tapes, specifically things ripped from TV, nature documentaries, animation, music tapes, and other things like that.

Frank is a hobby luthier and builds guitars in his off time, he makes really unique stuff. I own a couple, one really great set neck SG, but we're gonna build my next instrument together. 

Chazdyn is also one you'll find outside, he's said "the fog, moss and cascadian scenery" are an obsession of his, noting that he enjoys going into the deeper parts of the woods to lose signal and just detach in the dark and rain. He is a big tinkerer as well, building plugins, tools and workflows for recording, honestly, he spends about as much time fiddling with that stuff as he does actually recording! It's kinda funny. 

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

We just want to thank you for the opportunity to share what we’re doing. It’s been really surreal to have people outside of our immediate circle finding the music and connecting with it.

We’re just trying to make something that feels honest to us, and hopefully we’ll keep making things that are worth finding.

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