Visions of Ulnahar

With your latest album “Lovecraftian Mystic”, your music creates obscure and ethereal feelings by creating a communicative channel with the vast subconscious, can you tell me how Vision of Ulnahar's music takes inspiration from the Lovercraft world?

Because of the Lovecraft world itself. The themes written and told in the stories are pure madness and as you mentioned obscure and etheral. I try to channel those written madness into fitting music to create a certain feeling which describes the madness. But this is only on page in the Grimoire of Visions of Ulnahar. Not everything here is about Lovecraft. There is more. Lovecraft is only a medium. Who can be sure, that all that he wrote about is not true? There are things behind the curtains of visible wisdom which only occurs to those who listen closley or ask the right questions and dive deep into the realm of shadows. So did I.

Since VoU is a fairly recent project, in what musical direction is developing?

The main focus of that project is Ritual Dark Ambient but in the future i will try to include tribal, psybient and Dungeon Synth elements into the music.

How does your music creation process happen?

Creating Music for this special project is like a ritual. I must be in a certain mood and certain energies must flow. If there aren´t such energies i can´t create music. So i take coffee, joss sticks (not always), shut down the light and dive into the music itself. It is a very personal process.

What other artists are to be considered when it comes to esoteric music and which carries messages from the occult world?

Shibalba, Akhkharu, Endvra, Lapis Niger, Aeoga, Aere Aeternus to name a few. Shibalba is meditative spiritual art and has been a great inspiration for my own music. Of course some old masters like Mortiis and Old Tower have inspired me too.

How important is the visual, the aesthetic appearance and image for VoU?
If VoU was to be represented by a pictorial artist what would it be ?

Very important of course. I think it would look very strange if i would create dark ritual and Occult musick with happy colours,
Some would say a certain image can create the feeling, that all this is only buisness or hard to say fake. But in this genre, and this is my opinion, the person behind the project is only a medium for the greater good. An this is what i want to show with my musick. I, as a person, does not matter. I am only a sorcerer, a mage or maybe a priest and behind me is more. Behind me there is the vast void without light and deep in the darkness there is Ulnahar.
An artist? Something dark, disturbing. Maybe a robed figure standing in the darkness enlighted by etheral lights. Something like this. I have the picture of the second Season of Stranger Things in mind. The red clouds and in between that lovecraftian sytle Monster. Something like this

In the future VoU could use the collaboration of other artists or even cooperate in some split records?

Sure why not? The split with Chaucerian Myth is on its way and i´m really looking forward to it. He creates such wonderful gems, so i am really honoured to work with him. And if some others want, why not?

What do you think about the current development of the DS scene?

I was really surprised how big this scene is. There are so many artist out there. This is wonderful. I always liked synth music. So i am very satisfied with the current scene.

Do you think that the "social media" world can be more of an advantage or a disadvantage or perhaps distort the messages of certain genres such as DS or black metal or dark-ambient music?

On the one hand it is surely an advantage. You can get in contact with fellow musicians, get news about the scene, new music for yourself,. But on the other hand of course if you want to create a mysterious project you should stay away from social media. But how do you want to spread your music? So you have to find a way to do both. Everybody should do like he desires. Thats all that counts.

According to you, what is genuine in this tendency and attitude of many BM bands and industrial-ambient music in giving a dark, mysterious or esoteric satanic image, there seems to be an inflation and excess of wanting to appear..... what do you think?

Thats a question you should ask the others. I can say, for me, that Visions of Ulnahar is not satanic. It deals with darkness, the Void and everything that lies beyond our imagination. But i would say that it has something to do with “shock” elements and maybe but only a few artists really believe in what they say.




In your opinion, what is the real reason for managing a "secret" music project?
Lately, especially in black metal there is a tendency to not reveal the identity of band members ... some even choose not to appear on social media or sites etc.

Same answer as above. In Black Metal the music is important not the artist (musicians). It has something to do with all that “trve evil” behaviour i think. Maybe they just want people to think about it and make it a riddle.

What do you think of valid justifications in doing this?

Making people think about who is behind that mask and just enjoy the music

Have you contacted so far with some record labels that seem to be interested in VoU music? If so are there plans for any prints of your albums?

One of my first releases are available via Swampkult Produktions. Its a split between Nebelwächter and me. There will be more

Free speech !!

Thank you for giving me te chance to do this interview.

Out of Season

Hi Kyle,

When did you begin with Out of Season what were the motivations that pushed you to embark on this enterprise?

The decision to start this label began in 2015... I had been "out of the game" for about 7 years after the dissolution of my previous label and felt the desire to begin releasing new and interesting music on tape again. Since the early 2000s I have been interested in the music that is now referred to as 'dungeon synth' aka dark medieval ambient. This all started when a friend of mine made me a tape of Summoning’s “Nightshade Forests” EP, and then shortly after I heard Mortiis’ early works, followed by Neptune Towers and Wongraven (I still consider these to be among my favorites, and absolutely mandatory for anyone getting into ‘dungeon synth’).
At the time, even 2 years ago when I was starting the label, there was the beginning sparks of the huge revival this subgenre has seen now, but very little was being released on physical formats such as cassette tapes - most things were still just digital only with a few tapes here and there. I basically just started by inquiring with artists that I enjoyed greatly and asking if they were interested in a Tape release of their music. I go with my gut and can tell if the artists I work with have that 'spirit' in them that I look for... The sound is a big part of it, of course, but for me knowing that the creator carries that spirit of the 'old ways' in their heart is equally as important. It’s important for me to see these releases not just on a screen playing in a browser, but also sitting there on my shelf. It makes them a bit more ‘real’ and able to be celebrated in my mind, versus just existing in the web somewhere.

How was your previous experience with your previous black metal label?

It was very much a product of its time, but it gave me experience for how to properly run and operate a small label. That said, in the 7-8 years I was not doing a label everything changed. During my first label, there was no social media, no Facebook, instagram etc. There was no bandcamp pages and YouTube was in its infancy. I still got orders sometimes with cash in the mail and orders were sent without tracking numbers and people just communicated by email only if they wanted to make an order.
I forged some great friendships in this time with people from across the world... There was more of a human element to the process that is now gone…
People were more patient back then and now it is if you don't respond in 2 minutes it's not fast enough. Now, it is more of a formal business transaction taking place and people sometimes expect a small label to be the same like they are ordering from Amazon.
I sometimes miss these ‘old days’ at points, but have adapted to the current way of operating by harnessing some of the new "tools" available to us now, and accepted it for what it is.

 

Going back in the years, at the beginning of the 1990s, this genre had not yet attributed the name "dungeon synth" but groups such as Mortiis, Vond, Wongraven, Fata Morgana, Neptune Tower,Mz412,  etc , had recorded great music. Now that this genre exploded what is different now from the beginning?
How do you think this genre has evolved and how will this kind of music evolve in the future?

This is a loaded question with many factors at play but I will try to sum up.
In the early days, no one was trying to make this kind of music to appeal to a certain audience, it was just created organically. And for the most part it was cast aside and not taken very seriously as a legitimate genre, just seen as some dark synth music made by black metal musicians mostly. For many, many years, this was how the genre was perceived.
Now, especially growing in the last 2-3 years, "dungeon synth" (DS) aka dark medieval ambient music has been recognized as its own distinct genre, with many new followers and supporters who take it seriously. Things like blogs, Facebook, message boards and bandcamp have given the DS 'scene' a way to centralize its following and for those creating this music and fans of it to find each other. The internet is inherently intertwined with the rise of DS.
The DS ‘scene’ seems to attract more new followers every week - I dont see this changing any time soon, and I welcome any new followers to the genre, certainly…. My only request is that those recently becoming interested do their research and pay respects to the forefathers of the genre (including recognizing that DS is rooted in black metal), not just the modern creators who became active in the last 2-3 years, as magnificent as many of these projects are.

Considering the favorable technical conditions for recording this music and seeing a new  band coming out every day, for you as a label owner, what are the elements that make you choose a band instead of another? The quality limit has risen?
What element do you consider essential for a Dungeon Synth group to be deserved in 2017 for a production?

As I mentioned in an earlier response, it is more than ‘just’ the music to me. Of course the sound is very important, but I look for those who have the spirit of the underground and which I can get a sense of their real dedication to their craft, who have spent hours and hours over many months or years refining their work and producing the best album they can.
I can tell this immediately when listening to something. I have very little interest in projects which have created an album in 2 hours and thrown together a cover and posted it online. Sometimes people ask for advice on how to get ‘signed’ and I always tell them the same thing - patience is key! Make a timeline, and work on your album for at least a few months. Dont accept the first thing that comes to mind -- Push yourself! Most bands spend at least a year writing a record, why should DS be any different?






Why do you think the bond between the genre dungeon synth and the production through the cassette physical media format is so strong?

The cassette and DS are intertwined by history and necessity.
From a financial and logistical standpoint, the cassette manufacturers allow for low production runs but still produce a product that looks high quality and ‘pro’.
From a historical standpoint, cassettes have been the medium of choice since the inception of the genre and its roots in black metal, and using cassettes allows us to continue down that same path of tradition. I have always thought that people have an inherent connection to the tape format which is unexplainable. You can hold it in one hand and get a ‘feel’ of the release. It is fragile and at the same time, powerful. For me personally, the same connection does not exist with CDs or vinyl as much.

The number of people listening to this genre is increasing exponentially, but people who actually  buy the tape (or CD whatever,etc) relatively less.
Since in the future there will be a “bigger offer” with more bands, birth of new labels, and the productions will eventually vary from vinyl tapes etc.
How do you think  a record label can remain competitive by taking care of the differentiation of expensive formats and, at the same time, putting out good music?

Your first statement here is correct. Typically I make 100 of a release and it still takes 6 months to a year to sell them all. The percentage of people who have an interest in the genre that buy physical media is small, but this is not limited to the DS subgenre. You can say this for any physical media, including DVD’s of movies or CDs of rock bands.
Regarding the state of these ‘sales’ - I am fine with how things are now and dont see them changing much anytime soon. Of course, I would love if we could press 500 or 1000 of every release and have them all sell to a wide audience because I think that strongly about the genre and the artists I am releasing.. But, I am realistic, too, that people in general just have a weaker interest in physical media overall regardless of genre.
Further, part of me does not want the ‘scene’ to become some mainstream thing -- I like that it is ‘our’ thing and likely will never get much more popular than it is now - most people in the general public or even in the metal scene dont ‘get it’ still, or just dont care for it… they just hear some instrumental synth music and move on to something else.

I think it is slowly emerging a stylistic distinction in this genre; one that is closer to more medieval sounds and even with some fantasy “film-making sound” elements , another with a more atmospheric minimalist and obscure sound, Do you think is a differentiation that in the future will be more emphasized?

Very hard for me to say what direction the genre will take in the future, but I look forward to hearing all of the unique and original creations that come out in the next few years, and perhaps you’ll see some ‘sub-subgenres’ of DS come out of this (perhaps already are!).

Free words ! 


Thanks for the interview and for asking some provocative questions.
Thank you to everyone who has supported Out of Season to date. I have made some great friends since starting this label and look forward to more in the future!

Chaucerian Myth

Hi Andrew,
The first question that comes to me from ports is how did you come up with the idea of choosing a concept like Caucerian's myth?
To say the truth then is not exactly a concept album but a real story told through songs instead of various chapters (which I find it fantastic)

Hello, and thank you for the interview! The concept first came to me due to my studying English Literature at my university. At the same time, I’ve always enjoyed composing and writing music. Geoffrey Chaucer is my favorite poet, and The Canterbury Tales is my favorite work of literature, and I really wanted to create a musical work based on the Tales. Having listened to Dungeon Synth for a while, I knew that this music was the right medium for this project!
As you said, telling a story though songs is a perfect way to describe it. I really love the idea of transcribing a non-musical, text-based word into wordless, instrumental form. It’s very exciting to see how I can tell the story without actually using language!

This new form if we want to call it "long form dungeon synth", differs somewhat from the classic way to propose an album with a conventional song number, do you think it might even include a literary involvement in your DS type?
Your music has a medieval and somehow ancestral character, however, each piece has its own unique imprint as in the "The Knight Tale" piece, which has a darker and more dramatic atmosphere. Do you feel free to express Chaucerian Myth's music in various directions without having to be labeled just as medieval dungeon synth?

I do. I think it’s important not to limit one’s expression or style. If you want to create old-school Medieval Dungeon Synth forever, I see nothing wrong with that, but if an artist wants to explore other styles, they should feel free to do so! I think the Dungeon Synth genre is seeing a lot of changes for this reason. People are wanting to push the boundaries, and the genre is so nebulous as it is, which makes exploration all the more possible. We’re getting some really amazing experimentations right now from artists like Einhorn, Ranseur, Effluvium, Roman Master, and many others which make listening to the genre more exciting every day!

For you there another writer or poet who could play a concept similar to that played by Geoffrey Chaucer now?

Well, I recently released my third album, based on The Book of Margery Kempe, which I think had a very strong concept. Right now, I have a lot of other works of literature and poetry that I’m working on for future albums: Edmund Spenser’s The Faerie Queene, Christina Rosetti’s Goblin Market, and some shorter works as well, like the poetry of Robert Burns. These are all different than Chaucer’s works and concepts, of course, but they are still very powerful and evocative, and will make for great music-making!

In one of your interviews, I've heard you've been influenced and you're a great fan of progressive music like Rush ... what do you think it can be taken and reposted in your way in the DS by their way of composing music and even writing lyrics?
Do you think there could be a possible connection between two so different genres and possibly in what?

I think that there are almost infinite connections to be made with Dungeon Synth, due to the sort of vague and expansive nature of the genre itself. It’s a beautiful thing! Rush taught me how to write epic, cinematic songs with changing themes and time signatures, something that I utilize often when I write Dungeon Synth, so the connection is definitely there. Other progressive rock artists like King Crimson also have a huge influence. All of their 70s albums directly influenced the more Folk-oriented Dungeon Synth seen on tracks like “The Miller’s Tale,” which has a soft sound, but is also in an odd time signature (7/8 time). Artists like Argonath also make connections between progressive music and Dungeon Synth, which can be seen in some of the weird rhythms and time signatures used in their music! It’s very exciting!

I noticed that in the Book of Margery Kempe CD the style is definitely different from The Canterbury Tales both from the point of view of production but also from the atmosphere, I would say a somewhat more direct sound somewhere maybe with jazz influences...

You’re definitely right about it being more direct. There were a lot of heavily progressive and jazz-influenced songs on my previous album, Troilus and Criseyde, and I just felt like going in a different direction with this new album. It’s still complex in its orchestration and arrangement, but it’s more consistently dark and more focused on hooks and strong themes. There are some weird moments (the outro to “Demonic Visions” is in 9/8, for example), but these moments are fairly rare on this album, and are only used to punctuate and compliment the song when needed.

I think you're artistically a very eclectic person, and I think it's a positive thing, do you have any idea about a particular genre or idea where you would like to experience music and still have not done so?

I’d like to incorporate some sort of Synth-NWOBHM elements at some point. I think that would be a lot of fun – 80s-era Iron Maiden style riffs in synth form! I’d like to do some sort of “Space Age Pop” style like Mort Garson’s Plantasia album, which is one of my favorites. At some point, I want to try to do a full-on Dungeon Noise album, but I want to wait on that until I’m ready. It’s much harder to get right than many might think!

The current DS synth scene is at the moment very cohesive and collaborative ... how is going your collaboration with Visions of Ulnahar?

It’s going slowly on my side! I only have 2 tracks completed as of now, but Visions of Ulnahar has all of their tracks for the split completed already! I’m very excited for it! Visions of Ulnahar’s brand of Dungeon Synth is very much Dark Ambient, which can be a very boring genre in my opinion. However, they make it interesting, immersive, and even exciting! I’m very honored to be working with them.

How do you mean that should be a real collaboration between two bands?

Initially, I wanted to do a proper collaboration, not just a split, which involved the artists actually working with each other on every song, not just working on their own songs. For now, this has proven to be too difficult and time-consuming, so for now, I am more than satisfied with splits! I certainly have nothing against them, and I think they can be an interesting way to showcase both the similarities and difference of two or more artists.

Do you think split productions are sometimes real music collaborations?
With a real musical exchange or sometimes just to name a CD and hope that the respective band will spread the name of your band hoping for a little more publicity?

In Dungeon Synth, I think both are true. There are many splits which are genuine collaborations, and those are always very exciting. It’s always frustrating to see people be disingenuous, but frankly, I don’t see too much of that in Dungeon Synth. I think it’s a very genuine genre with very genuine artists!

Do you ever dwell in considering the spiritual aspect or sometimes even psychological which can have the music?

I’m not at all a spiritual person, but when composing the music for The Book of Margery Kempe, I couldn’t help but feel a bit spiritual despite myself. Margery was, of course, an incredibly spiritual person. She was a mystic, and she lived her life using her spirituality, tortured as it made her, to help others. It’s a beautiful, and very weird, book to read, and I highly recommend it.

In addition to texts of literature you also read other types of books? Can you name any of these interesting ones that you have read recently?

If you’re talking about books besides the texts of older literature, then yes! I love to read, and I try to read recreationally as often as I can. Some that I’ve recently enjoyed are Jean Rhys’s Wide Sargasso Sea, Brian Chikwava’s Harare North, Katherine Kurtz’s Deryni Rising, and Jenny Han’s Laura Jean series.

I'm noticing that the phenomenon of further classification of genres is also happening with the DS  ... such as the medieval DS or the dark-DS, or even the avantgarde-DS .... maybe someday you could record a Jazzy-DS CD?

I think the Troilus and Criseyde album was pretty close to Dungeon Jazz, actually! There were quite a few songs on there that melded both Jazz and Dungeon Synth together. Someday, I might do an album with even more blatant jazz influence, but I’m not sure, and there are no plans for that right now. We’ll have to see what the future brings! Thank you for the interview!


https://en.wikipedia.org/wiki/Geoffrey_Chaucer

Hollow Myths

When did you begin with Hollow Myths and what were the motivations that pushed you to embark on this enterprise?

Eve, Hails and Thanx for this opportunity. Much Support to you and Necromancer's Crypt!
Hollow Myths was founded just last August, so it is still early days for us here.
Though we have been very active ever since. 
Our focus is outsider Art, Music, Nature and Magic.
Evil electronics, Dungeon Synth, Dark Ambient, Black Metal, Pagan, Folk, Medieval and fantasy.
Underground music and art with a pariah mythos.
Our releases are obscure, limited, always have handmade elements and magical significance.
We offer cult esoteric rarities for lone wolves with burning spirits.

Can you tell us your previous experiences within the UG as musician and artist?

We have been involved in underground music and art since the early 90's, both in Electronic music and Black Metal, as founders of active projects, releasing albums and touring.
Having performed in most major cities in the US and a few extensive tours in Europe.
All the while, busy with recording, rehearsing, film and video production, design, artwork, producing physical formats, literature, clothing, jewelry and leather work.
Together we are now recording mythical electronic music as Rowen. 

Going back in the years, at the beginning of the 1990s, this genre had not yet attributed the name "dungeon synth" but many bands at the time under the definition of Dark Ambient, or Dark Industrial for example the Cold Meat Industry’s bands had recorded great music.
Now that this genre exploded what is different now from the beginning?

For me it has always been Dark Ambient and the spawning of Black Metal.
My relationship with this music is a personal one, as it should be.
There is a tethered nostalgia that transports me to when I first discovered it. To my youth, wonderment and my escape into the nearby woods and mountains.
At that time, Black Metal was morphing and splintering, going further underground. As artists became more cult, so did the physical releases and the music along with it.
This lent for even more individualistic creative expression and experimentation. Hence copies being extremely limited and the adoration and confirmation of one’s work was undesired.
In that, having a physical release was priceless to those who truly appreciated the music and artifact.
I felt this might have also been a reaction to the confines of Black Metal as another medium to explore new and different ideas.
I sometimes wonder if a mere lack of equipment could have played a part in its inception.
In this realm is where I found "Dark Dungeon Music". An in between world of endless possibilities without restrictions.
Loners and outcasts with a penchant for esoteric synthesized sound, nature worship and dark occult fantasy orientated aesthetics.
One had to hunt down rare music by tape trading with friends, correspondence with bands by way of hand written letters, mail order distros and zines.
Our work with Hollow Myths is to keep this spirit alive.  
This being a time before the internet and its advent begat many other beasts all together.

How do you think this genre has evolved and how will this kind of music evolve in the future?

In ways, it has changed and in others it has not. It is still disenchanted recluse spiders spinning webs all their own.
A vast number of different styles in this sub-genre have already taken form and I can only imagine this will continue.
Many hold onto traditions and wish to honor and protect the foundations that were laid before them by their progenitors.
I sense a fear of evolution by some but believe that in experimentation new artforms can come to fruition and think innovation should be welcomed.

Considering that today the favorable technical conditions (a computer and a midi controller) for recording this music and seeing a new band coming out every day, for you as a label owner, what are the elements that make you choose a band instead of another? The quality limit has risen?
What element do you consider essential for a DS band to be deserved in 2017 for a production?

We are drawn to the dark side, the creepy and sad as well as the precious and tragic. For us, it simply has to have that magic.
Spaced out, thematic, soundtrack and even experimental. Mystical, majestic and epic. We hail raw sound as well as meticulous production.
We offer arcane re-releases, first demos and new albums by outstanding upcoming artists. We walk beside them to develop their work for long lasting creative relationships.
We are loyal to our artists and will be offering many releases by them in the days to come.
Our release plan for this year and into the next is fortress strong. Always aiming to perplex, challenging ourselves and the listener.

Why do you think the bond between the genre DS and the production through the cassette physical media format is so strong?

This too is a relic of nostalgia and how the music was originally released back when. Again, respecting a tradition that is true to the genre.
Then there is the fact that it is compact and its affordability as a format for the collector. Shipping is also cheaper due to weight, domestic especially.
There is room for diy releases alongside pro duplicated cassettes with printed shells and j-cards. We love them all.
In the design and layout there is an array of ways one can venture in their presentation.
It is the warm analog sound that is close to our hearts, tape hiss and all, that goes hand in hand with the nature of the music.

The number of people listening to this genre is increasing exponentially, but people who, actually buy the tape are in a relatively minor number, considering that in the future there will be a “bigger offer” with more bands and probably the birth of new labels, the productions will eventually vary from vinyl, tapes, etc,
How do you think, a record label can remain competitive by taking care of the differentiation of expensive formats and, at the same time, putting out good music?

One listens to music in so many ways, on different formats, multiple devices and each have their preferences as to the how, when and where they experience it.
Collectors are unique creatures, no two are alike and we take this into consideration with our releases and curated distro titles.
We go far beyond for our supporters. The interest and support of collectable formats is stronger than ever and grows every day.
We are just going to do our thing and assume others will do theirs.
Hollow Myths will continue to pioneer uncharted territories with exclusive new artists, limited cult releases, special packaging and will keep pushing the boundary of what is typically accepted. At the same time, remaining homegrown and folk.
As of now we offer CD's and Cassettes in a very special Limited Edition Collectors Library Series and soon will be releasing vinyl.

I noticed that you take care a lot about having a particular packaging of the HM products and format, there are other people that help you in this thing? What can the Hollow Myths propose in the future at the original and artistic packaging level for tape cassettes, CDs and possibly other products?

Yes, all is done by Cristahel and myself, Canrith. From the artwork, layouts and photography to the packaging and presentation. Much work and passion goes into each.
Every release has some sort of handmade aspect. Hand cut, folded, painted, stamped and numbered.
We allow the feelings the music evokes to guide us on how they should be enrobed. Always manifested with intent and on specifically magical days which usually correspond to the moon phase and season.
Most include a poster that can be hung and gazed upon while listening. A corresponding badge, sometimes a necklace to wear and something that you can put in your pocket or pouch for all your journeys.
Often a candle is included for ritual ceremony and lighting along with incense. We have always been interested in scent association to music as well as touch and feel.
Wild harvested natural elements from the forest that surrounds us are gathered and added; feathers, willows, moss, and vines. Cristahel hand sews fabric slip cases and ties them off with ribbon or twine to seal them with great meaning and purpose.
We also offer hand number stamped embroidered patches, hand drawn patches, and hand bound zines including the self-titled Hollow Myth. Also for the taking are silkscreened shirts, long sleeves and hoods featuring our artists and comrades.
We live on an island in a small cabin in the woods near the ocean. We seldom see others so we can truly live in our own reality.
Somehow it seems the troubles of the rest of the world do not apply here. So, for this we are very lucky. We shall keep exploring and experimenting, sharing pieces of our mythology and ideology as offerings for those who care for folklore and the artform.

I think it is slowly emerging a stylistic distinction in this genre; one that is closer to more medieval sounds and even with some fantasy “film-making sound” elements, another with a more atmospheric minimalist and obscure sound, do you think is a differentiation that in the future will be more emphasized?

There are very many distinctive types, styles and concepts. All having very different approaches, sound qualities and production. I appreciate and hail them all. This coming from a dedicated collector. 
Each, in their own right, will continue to sharpen the blades of their chosen craft and beat a path for themselves and those who come after.

Free words! 

Don't take any wooden nickels, don't play second fiddle, and don't roll over and play dead for anybody. – C.

Walk the endless corridor and shatter the Hollow Myth

Deus Ignotus

I must admit that the thing that impressed me at the first listening to Deus Ingotus is their musical originality, while keeping in the canons of black and death metal band.
So when  I like a band and that band  inspires me musically I have to buy their CD immediately because I find it increasingly rare to find some black metal bands that really surprise me and are worthwhile to spend time and money on.

Then the first  question I want to ask now is:
How did your style evolve and how were the main factors that influenced your way of writing songs and your sound?

Deus Ignotus began as a traditional black metal band (influenced by the Norwegian scene mostly) but as the years passed we started incorporating different musical expressions of black metal. We have been highly influenced by bands like Deathspell Omega, Leviathan, Funeral Mist and many more... This in combination with some death metal influences like Dead Congregation and Suffocation eventually resulted in our current sound I believe...

How is your formation now? Is it difficult to find session musicians to complete your line ups and recordings?
Deus Ignotus has been a duo since it's inception and will probably always be like this... There is no need for session musicians for the recordings (besides vocals), but if we decide to play live there are many talented musicians among our friends in the excellent Greek black metal scene that can fill in...

Are you playing in alter bands at the moment and / or do you have parallel projects?
No, Deus Ignotus is our main focus right now...

The Ellenica music scene has many valid bands quail are the cosecs you feel to say that they share this musical scene?

We have great respect for the Hellenic black metal scene. It is one of the oldest black metal scenes and there are many bands out there that keep pushing it forward today like Acrimonious, Primeval Mass, Awe, Dead Congregation and many more...

How do you see the trend of the current black metal to emphasize much the occult themes and to use many nubs and to greatly enhance the visual and scenic impact? (Perhaps, often times in a definite way)

We believe that the occult is a very fitting theme for black metal, as it intertwines beautifully with the musical atmosphere. We also like to sink into occult themes through our music and we have been heavily influenced by the works of H.P. Lovecraft in particular. About the visual aspect we believe that it is best created through the music into the mind of the listener and not so much with specific illustrations...

Do you also hear different things from death and black metal that you feel affect your style?

Yes we have many influences from both black and death metal bands as we stated in a previous question.

Do you have plans to play live? Do you think it's worth it and worth it in the underground scene to invest heavily in concerts and live tours?

We currently don't have any plans to play live but we would like it to happen sometime in the future under the right conditions and with the right musicians who share our musical style and our vision.

Are you preparing a new album or a new upcoming recording?

Yes right now we have some new material that will go into our next album. There is a long way to go yet but we are very excited about it... If everything goes well we believe it will be released in 2018.

The artistic and graphic presentation of the product (CD Vinyl or Cassette) is indispensably linked to the message and attitude that the band wants to show off to some artist's estimate in particular or is there someone you would like to work with in the future?

We have a very clear image about how the artwork should be for every release and we work with some great artists (like Milovan) that understand our concept and perfectly express it visually... We are very pleased with the results and we'll continue to work with them in the foreseeable future.

Feel free to say what you like like anecdotes, episodes or anything else about your music and artistic experience ...

Abdicamus Fictum Salvatorem.

          Reshep - Xolferoth