Lords of Metal
Arrow Lords of Metal
Péter ‘Sahsnot’ Sallai: “Learning is not only the acquisition of knowledge, but also its permanent reinterpretation. So it never stops, in my opinion, it lasts all the way to death.

Vanuit Hongarije bereiken ons niet veel bands met internationale ambities. Ondanks de aanwezigheid van grote festivals, zijn de metal bands die we regelmatig in het nieuws zien eerder schaars. Bornholm is één van de uitzonderingen. Sinds 2000 is dit het paganistische vlaggenschip van Péter Sallai – bekend als grafisch designer voor o.a. Sabaton – die zich hier als Sahsnot profileert met epische black metal vol heidens gedachtegoed. Vijf jaar na ‘Primaeval Pantheons’ spreken we met de Hongaarse spraakwaterval over de vijfde worp ‘Apotheosis’. 
Vera Matthijssens Ι 24 december 2021

Congratulations with the new album ‘Apotheosis’! How are you doing? 
Thank you very much, everything is fine, so much to do so by the end of the year. We’re just beyond filming two video clips, we’re all a little tired, but there’s still a lot to do with the new album. Anyway, everyone is fine, thank you very much.

Bornholm was formed in 2000 in Hungary. During that time you released four albums and a split CD on several smaller labels, but for ‘Apotheosis’ you are signed by Napalm Records. Can we see this as a new start for you and how did you get in contact with Napalm, finally inking a deal? What are the expectations?
We definitely consider it a new beginning, but it is also a straight continuation, and this album is our work so far. It did take a long time, but there were also significant breaks. It happened that several years passed between albums, but now we have reached a completely different level, both musically and humanly. The relationship with the label turned out rather strangely, because in January 2020, when the mastering was over, we still didn’t know where to go at all. At the time, we thought we were talking to management who was trying to find the right place for us. Meanwhile, an old acquaintance of mine who also works for the management came into the picture and mentioned that he had heard that we were working on a new record. He asked me to send the new record to him, and then suggested which labels could be the ones who might be interested in the material. Among these labels was also Napalm Records. Classically, promotional material was prepared and the plate was distributed with the not yet final master. After a couple of weeks we got very positive feedback and we were surprised. After almost weeks, everything was done, the conclusion of the contract, the date of publication, everything was in place. I could also say that this is a completely incredible end result of the long two years of work that preceded the completion of the album. We are all very positive about this collaboration, as it is one of the most dynamically developing record labels in the world. When we signed the contract, we didn’t feel at all that the work was over here; in fact, the whole story would just start now.

The previous album was ‘Primaeval Pantheons’ in 2016. What happened with you and the band since that release?
We had a few gigs after recording the previous album but it was very difficult to organize the concerts at that time due to lack of management, so it got a little difficult to start and with the band membership I didn’t feel that everything would be okay. We had to rethink a lot of things again and we had to decide where to go next, which was a very difficult time. At first we were happy with the record itself, but later we felt we could still work on it. Somehow we felt it was all confusing. On the one hand, we had the new record in our hands, and on the other hand, neither the label nor the circumstances allowed us to have longer-term opportunities for concerts. This thus resulted in a rather difficult situation which created a lot of tension within the band and we already caught on to the next record with a completely different attitude. First of all, we decided to look for a new label, which is not an easy task at all after the fourth album. We felt like we were stuck in a situation that we could very hard get out of. We had to rethink who had what goals and what kind of future we wanted for the band. But really, this difficult period only strengthened us, as we had a longer and harder job ahead of us. This would have been impossible at the previous level. We had plenty of ideas since songs were recorded during the recordings of the previous album that were put on ‘Apotheosis’. With the implementation, however, we wanted to reach a completely different level. Accordingly, we worked on the record for a very long time, almost two years. Each musical idea was rethought several times, several versions of the songs were made, and in the end, if we thought we were still in the studio and shaping the songs.

When did you actually start writing for the new album and who were the main songwriters this time? Can you tell a bit more about this writing process?
As I mentioned, some of the songs were born in rudimentary form at the end of 2015, if I remember correctly, three was what was already embodied at that time. In all cases, the main songwriter was me on the previous records, but the drums praise D’s work. Also, I wrote almost every instrument. This is the case from the beginning, so I write most of the instruments on my own, but of course sometimes others come up with ideas, but this is very rare. This was followed by a longer pause, which was filled with song writing, reviewing each other’s ideas. Some songs didn’t get much further than the demo version. I take song-writing pretty strictly, if I feel like something doesn’t fit into the concept of the record, I’d rather leave it. This period is smaller with larger interruptions of approx. It lasted for a year and a half, during which the songs developed a lot; many versions, many parts were replaced, and this record became much more thoughtful than the previous ones. When it comes to music, feeling is always paramount; it always matters what evokes me. I have to rework a song up to four or five times if I have to. Each track has a separate story, each a separate world, and each written in a completely different emotional period. Musically, they are somehow related, but that is why the material has become very diverse. Song writing with us usually takes place alone at home and then everyone sends their ideas to the other. And that’s how it goes until I feel ready. The final word is usually what I say, as I feel what this music requires. This working method works very well; we are already working with almost finished songs in the rehearsal room and we are much more prepared in the studio as well. I have almost the whole record in my head when we start working. But like I said, nothing is carved in stone; a better idea can come at any time; you can change tracks at any time until the track order of the album is complete. There is a certain mood, an emotional surplus that the music has, and this must be felt by anyone who listens. Some little things changed even during the recording process, and overall the work in the studio was very creative. The material lived a separate life, shaping itself almost. At first it was very strange to experience this, but we are very happy that it happened that way.

Did you put some goals upfront before doing this? Musical direction?
The musical direction is always foggy somewhere when I start working. You always need some inspiration that leads you to a certain path that then leads to writing music. It’s like when one picks up a yarn and follows it into the unknown. Musically, I feel like I just found myself in the band; now I have found it in a music world that is completely its own. It’s not conscious; it just turned out that way. Now is the time for this record to be born. On the other hand, it is only natural that one wants to be better and better than oneself. We wanted to go to a higher level with this record compared to the previous one. It is a natural need in every musician to provide something that was completely impossible until then. This required consistency and, to some extent, the involvement of circumstances that were not given at any time. I just wanted to write this record out of myself. It was a difficult process like birth itself. At first only small cracks appeared, and then its outline became more and more visible; than its direction, then actually took shape in the end. When writing music, I always let myself be controlled by my emotions; it’s a bit of a feeling like when something drives a person you can’t explain. But there is no conscious decision or pre-conceived way of working behind it. I’m not a so-called science musician who invents everything in advance; things can change at any time. We haven’t changed it musically for any pre-determined purpose; it’s simply what comes from us.

Bornholm was always inspired by history and pagan heritage. How is this reflected in the lyrics this time? Is there a concept or a red thread?
The lyrics approach the topic much more philosophically than historically. We don’t live in the past; we try to translate this thing into today’s mindset. Since the texts are written almost entirely by me, they are very personal in part. There are many educated references in them. I am very interested in this topic and I have had a lot of my own experience with it. Behind written history is a hidden, little-known parallel history. We are not the kind of band that writes their lyrics from history books or with a kind of traditional intent. I think of this today, in the now. So they are much more mystical texts with some historical touch than texts that evoke or explain certain historical events. There are plenty of thoughts of their own in them that reflect my worldview. When texts are born, I don’t always stand for him to consciously write them, but I rely on an outside influence, a feeling. Maybe it’s something like when something else drives a person’s thoughts. I don’t even want to tell you too much about them because of this, as it’s best for people to delve into them themselves or discover what they have to say. However, for me, music has always been the priority, so it is important that it can be enjoyed perfectly without knowing or interpreting the lyrics. Of course, quite a few heretics have thoughts and different interpretations. I have always loved to take separate paths, and this is clear from the texts. There are plenty of references to events in the world today, to things to happen in the future. Because of this, sometimes I don’t even realize what I’ve written down years later. But it’s an interesting thing because there’s always something new for me, too. One can also discover new interpretations and new connections in connection with present events. There has always been a peculiar religious taste in the band’s lyrics, a misty, ambiguous wording. Actually, that’s why they’re very freely interpretable for some people, but somewhere that’s exactly the goal. Paganism as a theme, as a way of life, appears in them. It is not a remnant of a bygone age; not a look back at the events of the past, but a living thing that is maximally present in today’s world. It is a worldview, a way of thinking. It is a specific, completely different interpretation of the world from general perception. I am inspired by books, pictures, films, anything I come in contact with.

The band line-up has been stable for a while now. Did it make it easier crafting this album?
The membership of the band changes at certain intervals, which has become almost common. But the spine of the band is stable. However, this has no influence at all on music writing, as it has been written by myself and D for many years. In terms of concerts, however, you need a full membership, so obviously the others also play an important role on stage. On the other hand, the burden of playing in a band cannot always be borne by anyone for years, which also plays a role in the replacement of a member. The human factor also plays a very important role; it affects the overall picture. If not everyone wants the same thing, it is unnecessary to strain. But they have relatively little role in writing the record. It has always been a personal process and D is the one who complements this with the drums. It’s very important to have the music in one hand, as I’ve never been a believer in a band making a big change in their style. I found it a lot more interesting to hear about a kind of development, a change that takes me from somewhere to somewhere, but its individuality doesn’t disappear for a minute. If you recognize at first glance what it’s all about, then that band has already achieved something that could shape their own style, whether I like it or not. I think this is a key thing. Nevertheless, I am always open to musical ideas from others. If it fits into the concept, it can come without further ado. However, the change in the membership of the band does not affect the writing of a record at all; apart from me, only D is the one who takes on a permanent role in this.

For a long time you have been interested in earlier mentioned topics like history and pagan heritage, but how did that ever grow upon you? Can you tell something about the development of this current attitude in life since you were young?
This is not only due to youth age; this interest or development continues to this day. Because I grew up in the countryside, away from the noise of the city, in a small village close to nature, so I had a lot of things to experience. Religions have always been attracted to me, attracted by the power behind them, which influences people’s consciousness. Although I am not baptized and have never been a member of any church, I do not intend to be, yet I consider myself to be spiritually minded. From my childhood, I have been attracted to mysticism, forbidden, hidden things, everything that is far from the interest of the average person. I wasn’t the special kind of kid from the outside, but my inner interest was completely different. The stories of old times are much more appealing to me, than the grey reality of today’s world. And I was sure that everything was there behind the grey veil we call the modern world that was there in these old stories. Somehow this also led to rock music, later metal, because the lyrics of these bands were written in something completely different dimension. Of course, as a teenager, I also lived rock’n’roll. I didn’t have to complain later either, as I ate life with a big spoon. I am not self-restrained today either, but I am thinking much more maturely. But somewhere the founding of the band can also be attributed to such an inner spiritual need. In this music, I found the means by which I could fulfil this mystical, dark circle of interest. I have loved horror since I was a child, both in film and in readable form. But he was always more attracted to the mystical, creepy world of Lovecraft than to the bloody, violent horror genre. For me, horror was not, and does not mean undisguised violence, but is actually a very dark, terrifying, mystical genre. Fear of the unknown also attracts people. Because I have been working from home for more than a decade due to my work, I have the opportunity to do something that the average person is not given. Namely, I have plenty of time to think, and I consider that a great gift. In the life of every person with such an interest, there come moments when you have the opportunity to personally experience that there are different forces in the world. This has happened to me several times, but I don’t really want to talk about it because it’s a very personal thing. On the other hand, it gave a huge boost, inspiring in the lyrics. So this whole thing around the texts can be attributed to the totality of these things. In my opinion, one is always evolving, changing in every moment, experiencing things. He realizes connections, reinterprets his life so far, and sets new goals for himself. Learning is not only the acquisition of knowledge, but also its permanent reinterpretation. So it never stops, in my opinion, it lasts all the way to death.

This album should be a return to some early beginnings of the band, in which ways?
In the sense, yes, that this record is probably a new beginning. We ventured more boldly into the musical elements that characterized our early records. But we didn’t want to meet anyone anymore; it just drove us to be happy with ourselves. You can feel the kind of liberation that characterizes the initial career of a band. We felt this in the studio as well as while writing music. This process was much more creative than before; we were not afraid to try new things. That is why we felt that we had found ourselves; we had found a way that was only ours. But I’m no longer the same person I was at age 19; this change obviously makes its mark on music as well. I couldn’t and wouldn’t want to be exactly like that in the early days, since what I learned back then was that this material could come into being. Everyone changes over time and this has to be accepted, but I am happy about that; however it is a fact that early effects can be discovered on the material. This can only really be said by anyone who listens with an outside ear. For me, this record is an imprint of a phase of life, just like the others.

In contrast with the harsh vocals, one can hear more clean vocals and choirs (heathen    harmony chants) on this record. Is this an ongoing evolution you want to expand?
We used clean singing much more boldly than before and that did the record a lot of good. Personally, I have always loved that melodic parts sometimes appear in addition to rough vocals. It gives a very sublime atmosphere and makes the material much more musical. It is not explicitly solo vocals, but rather choruses that can be heard that blend into the music and complete it. It forms a good contrast with the rough vocals, but we did not overdo it. In this direction, and we wanted to change a little, we definitely wanted a lot more of these than on the previous materials. To help us with this we also had a couple of acquaintances in the background preferring only coloring. But the main vocals of the melodic songs are, of course, I bring. I really liked such parts on Bathory’s records, or on some of Emperor’s material, and I never hesitated to incorporate this into the music. For me, this is not incompatible with black metal. I was careful not to go through the thing in heavy metal, not to soften the music too much, but rather to reinforce the uplifting mood where it was needed.

What can you tell about the recordings in comparison with the previous albums you created?
The recordings for the previous album were made in several places; the guitars were recorded in a small studio, and the drums and mixing were recorded in a much larger studio which has now ceased to exist. We all went home after a day of studio work and we were there again early in the morning; it was pretty tiring to do the whole thing. I sang on that record for the first time as a singer, but on this record I was much better prepared for the job. However, we were able to deal with this album by living on the spot. We worked in one of the best equipped studios in Hungary, which required us to provide maximum performance every minute. We completely excluded the outside world, as the studio itself is located on the outskirts; no one lives nearby. We felt like we were on another planet. We were completely immersed in our own world and didn’t break out of it until the end of the studio work. We also encountered a couple of difficulties during the recordings. D, our drummer, noticed signs of chickenpox himself, so we had to interrupt the recordings. These were replaced at another time, which was not easy due to the tight schedule of the studio. Before the vocals, my voice was gone too, so we had to replace them at that time too, but in the end we solved everything. The mixing will take place in almost a year, during which I was able to completely rethink the material I have recorded so far. A lot of things, e.g. I wrote solos, plus vocal inserts, plus harmonies for the songs. So by the time it was mixing, we had heard almost completely different material than at the beginning. It took that time for the thing to be understood in them and to make a material that we are all happy with. The process of mixing also took place in this studio, and the whole thing is interesting that just then, this whole epidemic thing struck, and so we even felt like we were cut off from the outside world. But it all just helped us focus better on the record, the music itself, and the mixing process. We even joked that the whole world had stopped so we could work calmly. Actually, we were mostly the two with the sound engineer in the studio as well as a bunch of cats while they lived in the studio yard. A very strange mood prevailed, sometimes already taking on an apocalyptic character. No one was on the streets, the store masked people, if we might even go out for a while shopping. But that only made the work even more special; every minute was significant; we really enjoyed it. Mastering was completed as early as January 2021 in Los Angeles and somehow the entire process was completed by the end of January. When you cut in, you don’t really think about what it will really be in the end. It had to happen this way, if we had let it out of our hands sooner, it might not have been like that.

There is a fine video clip for ‘I Am War God’ and I think you can tell more about this making of since it was on location and it was the first true pro video you have shot… Can you also tell a bit more about this song?
This track is one of the most direct songs on the record, perhaps the one that is the most black metal. Quite aggressive, fast and heavy riffs alternate in it. From the beginning, we thought it would be one of the songs we’d make a clip for. It intentionally became black and white; it was also a concept. We thought a lot about who we could work with, but in Hungary we didn’t find much who fully understood the essence of this style. We got to Johan through a well-known Hollywood video clip friend, and he had already worked with Watain, for example, and I really liked his work. After a few correspondence, we agreed that he would make our video clip. So we had to travel to Sweden, which was not an easy thing because of the epidemic, and we only had 36 hours to travel out, pick up the clip and come home. One can imagine the pace at which things went. But Johan was very professional about it; everything was organized in advance. We worked in beautiful woods; we all really enjoyed the work. There were difficult moments when e.g. all three of us stood waist-deep in the cold water, but the end result compensated everyone. Since the track itself is quite aggressive and a summoning of the god of war, we also smuggled in quite a few archival war footage. There were also some professional actors to help us, whose work we thank again. Overall, it was like a very long dream when we got home. We wanted to bring something back from the old mood that made this style of music what it is, and we feel that with this video, it did somewhat. We had great luck both in terms of travel and in terms of organizing, though sometimes it was a near thing. But something seems to have taken care to keep things going. The world will then move in a very dangerous direction, but nothing is accidental and there is a definite order of events. From time to time, a force emerges that upsets the world, shapes and transforms it. What happens in the human world happens according to the intent of certain people who control it from the background. There is a reason and a reason for each incident, and so it is with wars. This song evokes this force and the devastation it can cause.

A lyric video is made for ‘Spiritual Warfare’. How do you see this spiritual warfare? Is reading the news not spiritual warfare in a sense?
Behind the conflicts of the visible world there is always a completely different kind of conflict. There are always spiritual forces colliding in the background that are not always perceptible or noticeable to the average person. There is a struggle against the subconscious in this world because consciousness is already completely confused. Slowly, the model that man has built of the world itself and that he thinks of the world is collapsing. Maybe nothing was true that anyone had believed so far. This collapse fills people with tremendous fear, but it also provides an opportunity to build a whole new world. For good and evil, everyone thinks they are opposite and completely incompatible. But there is still a being who unites these two and man himself. If they understand this, they will understand many other things. This is one of my favorites on the record, this song was made the last time we worked on it, maybe the most. The record has a certain spiritual, religious taste which is also intentional. This song presents the events of the world from a perspective that is hidden from the eyes of the average person. There is deliberately hidden behind the foggy, weird lyrics, because although music is always my priority, but if anyone is interested in what the songs are about, it should also be necessary to look it up on their own. Experience for yourself what you are talking about. The lyric video is based on the album cover, which I made since I am a graphic artist in civilian life. I sent the cover in a layered version and it was greatly animated. There are a lot of symbols, hidden references in the picture, something that only happened after the record was written, and that is why it has a kind of prophetic edge. There are many references to Apocryphal writings, but hidden teachings are largely interpreted by my own thoughts. The news, the media, the various channels that affect people’s consciousness are just tools. The real intention is much deeper. So somewhere, every single thing that a person’s consciousness comes into contact with is a tool for warfare. The question is whether people recognize this or continue to live under the illusion that the world was created for them and that they are the ones at the centre of it all. In some ways, let’s say this is the case. In my opinion, we live in the most malleable age ever, and everything is slowly approaching a huge end result. By no means can it be accidental or purely human intent. We are witnessing a change of era when everything really turns out to be what it really was. This realization lays the groundwork for the collapse of the old world and the reconstruction of the new. I have always loved to play with ambiguous and mystical things, long preoccupied the human mind with the reason for its own existence, and also seeking meaning in the existence of the world. However, due to the rush of everyday life, most people are not worth thinking about at all, but only see that they are living in a huge chaos. In reality, however, what happens is very important, but it does not take place in people’s eyes but in their souls. The things you see are the only consequences. They are convinced that they know who is good and who is bad. But in fact, it is not so clear at all. This distinction may not make any sense at all. This is exactly why the ground slips out from under their feet and they are afraid to cling to anything they offer them. It is stronger than any weapon, and this warfare is really what is going on in the spiritual world. Modern man has long laughed at the stories or prophecies of ancient times. We can now witness the same man facing the falsehood and destruction of his own world.

What can you say about the live experiences of Bornholm so far? Could you support the albums enough or are you planning to work on more gigs when it will be possible for this album? Any plans in that direction?
We definitely want to play more live; it has always been our intention. But either our financial means or the situation in the world was in the way of that. Since most of our records are released abroad, we have always been out of line in Hungary. We are both musically and qua attitude differently than most bands at home. That’s why we even hang out a little out of the scene; we’ve always been referring to ourselves. We had to build everything completely alone; we had very little support, although in retrospect it might have been better that way. We tried to perform, though we never exaggerated. However, we really like to play live and now we want to perform as much as we can with this record. There are certain songs that sound much better live, and that’s exactly the experience we want to convey. At a concert, the music always has a much stronger effect on me than on a record. There’s a kind of magic on stage that the audience can feel, so it’s a band that is inimitable. A concert experience can completely change a person’s life, not only in the ranks of the audience, but also in the case of musicians. We look forward to being on stage again.

Did the Hungarian metal scene developed in a positive or a negative way since your early days? Is there still a huge contrast with other EU countries these days?
The Hungarian underground scene was a very rich and lively scene at the time we started playing in the early 2000s. This lasted for five or six years, and then a slow decline began. Black metal came from underground and therefore can’t really be destroyed if you get back there. This was also the case at home, with some bands and a hard core of fans persevering throughout. Today, in the age of the internet, the music scene looks completely different than it did at the dawn of this. There are few people going to each other for different music; everyone is mostly sitting alone at home in front of the computer. Therefore, much different bands are emerging today than they used to be. At the time, almost everyone who listened to such music tried to form some kind of band. As a result, there were plenty of bands on stage, of which almost nothing is left today. Of course, new bands are forming, but with a completely different attitude; they approach this whole thing from a different perspective. At the time, both fans and bands were completely separated from the ordinary world. Today, metal music, along with music fans, makes a very mixed impression. There is no feeling that we belong to a separate society. Everything has become just a part of a big whole in which it slowly dissolves. However, this does not have to happen in my opinion at all. After all, this music always came from under; strength was always drawn from exclusion. For us, metal was always an escape from the ordinary world; it was always something that few could feel. On some level, black metal is a countercultural phenomenon and as it becomes part of culture it loses its own essence. Everything is different in Hungary today, but there is always a generation that discovers this music and this feeling of life. At first, few will be fulfilled again and that’s how it goes on. But since we as a band have always been torn out of the common Hungarian metal scene, we were not very affected by this. We walk our own way and advise others on this as well. In other countries, you can find the old kind of attitude; maybe they are not so influenced by the fashion waves so much. I think the opportunity is given to everyone to find the way that suits them best. However, the huge amount of music found on the internet today poses an almost impossible task for anyone looking to explore certain types of bands. Too much information, too much noise. The only connecting thing between the band members commonly is the music, and there are no common experiences, no common youth or life stage together that really forges a band together. We lived this music in reality, not on the internet. Even today, I want people to actually experience what this lifestyle is called metal. In my opinion, the common Hungarian metal scene is very closed. Musically, a special world developed here that I somehow never really loved. And since most Hungarian bands use Hungarian bands as role models, it is very difficult to change the music. The metal here is mostly text-centric, and for me, music has always been the primary consideration. On the other hand, bands don’t dare to be big; they’re always with it that a band becomes big because they were born in a good place. This may be partly true, but it in no way explains if someone is not successful enough. Music comes from the soul, not the ID card… Nowadays, everyone can get the best instruments, amplifiers, everything a musician can need. Here, as in other European countries. In fact, from now on, it all depends on talent and human quality. I hope this brings some change; it’s somewhat felt today.

You are also a famous graphic designer with well known artists at your roaster. How did you ever get into this?
I don’t want to talk about my graphic artist career in an interview what is about the band. It’s really a completely independent thing, partly a job, and partly a completely different career. It doesn’t have much influence on the band’s things. But I’m very happy to answer your questions about this in another interview.

What can you tell about the artwork for ‘Apotheosis’?
However, I am very happy to say a few things about the album cover and although it is also my work related to the band and it is a completely different thing. The picture itself is very complex; perhaps the most detailed picture I have ever taken for ourselves. I don’t want to reveal every detail, but I’ll give you some clues anyway. I must add that this was the first album cover that was born almost immediately and remained in its original form. The image itself depicts a change of era, the point where humanity is entering the Age of Aquarius. The crying angel is none other than Lucifer, or Prometheus, the bearer of divine knowledge. The colours red and white, the duality of fire and water, and air and earth can also be found in the picture. The arrangement of the composition is not accidental either; there are religious references, references to star coexistence, and there is also a reference to a spiritual awakening that the human figure symbolizes. He has an opened forehead, is surrounded by two snakes in a spiral shape, and the sword, the symbol of the ability of physical resistance, falls out of his hands. He seems to perish but still looks upwards and is saturated with force. It symbolizes crossing the border between two eras and also refers to the title of the record, which means deification. Man is transferred from his physical body to another quality. It stands at the top of a pyramid, but he is not free. His body is under control, but his consciousness is completely expanding. Lots of contrasts, dualities are represented at once. I really like the detailed covers that can be browsed for hours and you always find something new on it. This is also such a picture and I would like people to delve into it themselves.

To occlude what would you mention as main differences in the approach of your music or recordings during the last years? (in comparison with earlier albums)
I’m not very used to comparing our own music to others, but I think the music is like a new imprint. At least if one writes music from the Spirit, it will most certainly be different from everything. Everyone is an individual; everyone is born with different music. Maybe a little bit of our attitude goes back to where this whole genre started and deals with things that are far from material reality. It draws people’s attention to things that the modern world has already completely excluded from itself. And musically, somewhere it combines all the influences that have ever affected us. By this I mean the atmosphere of thrash, heavy, or classic black metal records. But by no means do we copy anyone; all you hear is our own, and it came entirely from us. What we interpret through this kind of music through our filters is really what our own metal is. And although I don’t know all the records that have been released in recent years, I also feel that it’s maybe a little different. But that’s probably better for the audience to say. It differs from our own previous albums insofar as we ourselves are different from our self at the time.

If there is anything you’d like to add to this interview, please feel free to do it right here…
I think it is important that people do not live our lives according to pre-written instructions or recipes; dare to go on overgrown, hidden paths, dare to study themselves. Don’t accept anything ready, anything they put in front of them, question everything. Get to know yourself, this is the most important thing and then you will get to know the whole world. Thank you very much for the interview!