Trident | interview

#trident #blackmetal

Deathblack metal from Sweden

interview | Defiler

Defiler welcome to Metaller. Congratulations for your new album, it is a blast. The Swedish black metal scene needs releases like this nowadays, when back in the mid 90’s you were sweeping and dominating the whole world. Do you think this feeling will come back?

Thank you! We feel truly honored for all the good reviews and positive feedback we’ve gotten since the release. If we were to chase any feeling it would be just this, that people appreciate the things we create in a similar way as the pride we feel over its completion. In a way the golden age of this genre has passed, but with fans still hungry for more, we can only hope that we exceed the ecstasy of our past conquers.

Which band do you miss from these days?

There was a lot of good metal being produced back then, some are still active and others either choose to leave their mark unaltered or were forced to end with many losses to the world of music. With a most humble respect to all the greats of this golden age, I must say that I miss Ace, Quorthon and his work with Bathory the most. His music still inspires me to this day.

Let’s go to the all fresh and new “North” album. What are your emotions about it? Do you believe that everything you’ve done for this album sounds rewarding?

It has been a journey with many ups and downs… We wanted to record something that we ourselves enjoy listening to, and in the process get a good well needed creative release. And ultimately the whole band is very proud of what we managed to give creatively to this piece. So I would say yes, extremely rewarding on so many levels.

Ten years have passed since the release of “World Destruction” and five from the “Shadows” EP. Were the songs of “North” written during all these years or are they relatively recent compositions?

Some songs were already in the making since “World Destruction” or even earlier, either as previously unused riffs and Ideas or as almost complete songs that didn’t fit at the time or just needed some fine tuning. The years after the release of “Shadows” was when the songs truly started to take their current form.

The whole band is very proud of what we managed to give creatively to this piece.


What are some striking differences between the new album and your debut?

Well, since there has been a shift of bandmembers, and every artist has their way of performing the general vibe has been altered a little. Small changes in theme and the overall sound but definitely noticeable. But mostly I must say it’s the quality of production in the sound, still raw but with new spectra of nuance and depth.

When I, and not only me, first saw the stunning cover its colors brought me to mind of Bathory’s “Blood On Ice”. Tell us more about it, as well and some things about the lyrical concept of the album?

Excellent work from Juanjo Castellano, extremely talented artist in my opinion.
There is definitely some homage made both with the sound and the visual appearance, to a certain era of extreme metal including the cover art styles of Bathory and Dissection etc. The art is however meant to summarizes the overall feeling we as a band felt from the music we wrote to this album, so parts of lyrics and concepts were sent to the artist to give a general idea of what to create. And it came out greater than we could’ve imagined. The lyrics of the “North” album is a journey inwards, many of the songs describe themes from folklore and ancient Magick practiced by the people of the north. But north as a place in the lyrics is not as much a physical place you can visit, but the concept of a far off realm where our forefathers sent illness and demons away from the sick and burdened so that it would not find its way back to haunt the host again.

What have you gained and what you lost or missing during the pandemic?

We haven’t really gained that much except for some time perhaps, but we miss a lot of things… Most importantly it would be our inability to perform the new album live. Being able to tour abroad and meet our fans is how a release is supposed to be, and now we’re stuck waiting for changes in the state of the world. It’s frustrating but temporary, it’ll all pass eventually one way or another.

Tell us few things about the songwriting process, the recordings, the new members?

We’ve had the same lineup since the “Shadows” release with the exception of our new bass player BloodLord. He was our previous sound engineer in the studio on both the “Shadows” EP and “North” album, and we are thrilled to having him aboard as a full time member of the band. The songwriting progress differs from song to song but usually starts with some guitar riffs composed by Reaper. Which then Ulv and Svart put their personal touch to with additional riffs (sometimes also the bass), melodic guitars and percussions. The lyrics are written by Defiler who listens to and follows the musical writing progress during rehearsals.

What’s the next step for Trident? It’s been a great promotional job till now and fans/press has totally embraced the new album.

Yeah, our fans and our label Non Serviam Records has treated us very well, cheers guys. We have plans to play some live shows and tours, almost all of it on hold though but since there is a lot of planning to be done we want to be ready for it when the state of the Pandemic changes. Write new material, now is the perfect time to get productive and write more music. And if it all goes as planned, we will be releasing another album sooner than it took between our last releases.

End credits?

Thanks for having us. Be sure to take a listen to the “North” album if you haven’t already, check out the lyrics videos for “North” and “Death” posted on YouTube, the complete album can be found on Spotify, or even better order your own physical copy to the collection. Stay strong, stay true, and we’ll meet further up along the twisted road.


Cobra Spell | interview

#cobraspell #heavymetal

Heavy Metal from USA/The Netherlands

Interview with Sonia Anubis

Sonia welcome to SFTV. Your first EP will be released in a few days. How do you feel about it, and what are your intentions, dreams and expectations? ‘

Hi! Thank you so much for having me on your interview. I have been super excited for the release of our debut EP “Love Venom”. The reactions on the music have been better than I ever expected, certainly because we are a new band and nobody knows us. We have had a lot of pre-orders and great reviews, we can’t be more thankful. We all in the band are very passionated about music and we have a lot of future dreams. We really hope to tour internationally, release a following full-length and certainly play our favourite festivals. We surely hope it will become reality.

Why is it a DIY release? Wasn’t there any approach from labels? Why Crypta have signed a deal but Cobra Speed not?

That’s right. Our EP has been released independently. The reason why Crypta is signed and Cobra Spell not, is simply because Cobra Spell hasn’t gotten any offer yet.

Give us some further info about “Love Venom”. The songwriting process, the recording sessions, production etc.?

We started the process of writing “Love Venom” in 2019. Compositions are made by me and the lyrics are mainly done by Sebastian. From there I create the singing line melodies. I make demo’s at home from the compositions. From there we sent it over to our singer Alexx so he can record the vocals for a demo version. For “Love Venom”, we had a session drummer named Marco Prij, he made some very cool drum-lines. Mixing and mastering has been done by Alejandro Gabasa Barcoj.

A band’s music is a combination of influences. From where or what do you draw inspiration to write music for Cobra Spell?

The biggest influences on Cobra Spell are without doubt anything 80’s – such as aesthetics, music, looks and architecture. Music wise, our favourite bands that inspire our sound are Dokken, Ratt, Whitesnake, X Japan, Yngwie Malmsteen and many more.

Could you please develop us your lyric-themes of your songs?

“Come On Tonight”: Overall this song is about getting ready for the night. Enjoy the night as much as possible. “Poison Bite”: Chasing down someone that you really like. “Love Venom”: Being in love. “Shake Me”: Being addicted to someone.

Your nickname is inspired by Egyptian mythology, and you seem to be deep into it. Why don’t you work on similar topics with your bands (or will you do it with Crypta)?

Most probably it might appear on Crypta lyrics.

What about your first full-length? Could you give us some info about it? Do you have any idea when it will be released?

With Cobra Spell, we are already working on the following full-length indeed, we are hoping for next year. With Crypta we have already the debut full-length finished writing wise. We are planning to go to the studio soon. We are releasing it next year too.

Leaving Burning Witches was my hardest choice so far in my short musical career. But I don’t regret it one bit.

Sonia Anubis

How do you like to spend your time when not being Sonia Anubis of Cobra Spell and Crypta?

Honestly music is my full-time thing, so you will always see me making music. I like to play around with synthesisers and orchestral VST’s on my computer, watch crime series, and doing gymnastics.

Any news from Crypta? Where are you with the new album?

We have finished the writing process, we are getting ready to book a studio soon to make this reality.  The album is expected/planned to be released next year.

How do you see the future of extreme metal and traditional heavy metal, two genres that you are into?

Right now, it’s hard to say since we there are not many concerts and no festivals and all has to be done online. Which really sucks. Even though I see fans keep and try hard to support their favourite bands even in this difficult time. I am hoping that after the pandemic, more people will put appreciation on the live concerts of both heavy metal and death metal bands.

Where do you enjoy jamming most? With the ladies in Crypta or mixed like in Cobra Spell?

Both in their own special way.

What has been the most challenging point of your career?

Having to make choices, such as leaving a band. I think leaving Burning Witches was my hardest choice so far in my short musical career. But I don’t regret it one bit.

Thanx for the interview and give an end.

Thank you a lot for the nice questions and support, and all the people reading this. Please check our music; it’s available on all popular streaming platforms or get our digital/physical music/merch. Stay tuned for our future endeveaours. Cheers.

You can support us here:


Dimhav | interview

#dimhav #progpowermetal

ProgPower Metal from Sweden

Interview with Staffan Lindroth

Staffan welcome to SFTV. What is the latest news from Dimhav? How are you holding up with the pandemic up there in Sweden?

Thank you, great to be here. This spring and summer have certainly been different from normal, but since Dimhav is not doing live performances we were not as affected as a lot of the bands out there. By now the situation over all is of course a lot better than 2-3 months ago, but I guess it’s not time to relax and go back to normal just yet. The upside of this mess is that spending more time at home means more time in the studio as well, which is always welcome.

You have released “The Boreal Flame” some months ago on physical format via Omniversal Records a label that is yours. Why not a label and an independent DIY effort?

Since the beginning of planning “The Boreal Flame” we were set on doing the release ourselves. Partly because we were much more focused on producing an album of high musical quality than getting as wide attention as possible. But still, we are of course really happy about each and every listener and fan, and the great reception we feel it has gotten. The extra services a label provides were not that interesting to us in this particular case, especially since there were no plans for touring, or extensive marketing campaigns etc. For most bands, those aspects are usually much more important so there is of course still a role to play for record labels out there. It all comes down to what you need.

Which is the response from the press and the fans til now? We see that, before an album is released, many people stay just on words to support a band, and when the album is released the sales might not have the expected result.

The response has been very good. When it comes to reviews, and direct feedback, it has all been very positive and it’s particularly nice that a lot of the listeners seem to “get” what the album is intended to be and pick up on a lot of the things we made an effort to manifest in the music. We were especially happy to be listed on the “Top 50 Albums of 2019” in Sweden Rock Magazine, in their December issue. As for sales/streams, first of all we didn’t have any specific expectations, so we are quite happy about where we’re at. But we still feel that there are a lot of potential listeners out there, so we do want to reach a bit further as well.

Give us some further info about “The Boreal Flame”. The songwriting process, the recording sessions, production etc.?

The songs on “The Boreal Flame” were all written by me and Olle. Some of them were written very much together, such as “Star And Crescent” and “Realms Of A Vagrant King” and some more individually. “Boreal Ascent”, for instance, was written almost entirely by Olle – with me figuring out appropriate guitar parts afterwards, which was a fun process. Some of the songs were written a while back, with the intention to play them in our band at the time (“Shadows Past”, now on ice) but stylistically they did not quite fit, we found. That’s also why we had the idea for Dimhav, where we could fully explore the kind of music we wanted to do.

As for recording, we had full demos of all songs which – when all song structures were set – were used as basis for the drum recordings. We have our own little drum studio where this was done over the course of a few weeks. After Olle had finished the drum editing I recorded all the bass and rhythm guitars and added “sketch vocals” as well – as a guide for Daniel (and no, my own vocals will never go public (haha). Daniel then received project files from us with stems and all tempos and time signatures in order. We live in different parts of Sweden, so he did all his recordings at his place, sending files back and forth as needed. When the vocals were done I proceeded to record all the guitar and keyboard leads as the final step. I then mixed the album in my studio last summer. The intention was to keep a natural, dynamic and not “over-produced” feel on the album, which hopefully comes through. It was then mastered by Jacob Hansen, in Denmark, who really did a great job with it.

How did you convince Daniel to sing on the album? I think it was quite easy for him to accept your offer, as your music is close to what he has done in the past with Lost Horizon?

Yeah, we’re really happy that it worked out to have Daniel sing on the album – the process was simply that we got in touch and talked about it, and since he liked the songs it was straightforward from there. And you’re right that the vibe of the album probably does fit in with what he has done earlier as well. The songs on “The Boreal Flame” are quite varied in terms of vocal range and intensity, so having such a great and versatile singer was really key to getting the end result we wanted.

we were much more focused on producing an album of high musical quality, than getting as wide attention as possible

Staffan Lindroth

A band’s music is always a combination of influences. What are your influences to write music and are there influences that might be able to possibly surprise your fans?

Yes, some of our influences might surprise our fans. There are some obvious ones of course, like all the metal bands we’ve grown up listening to – Helloween, Symphony X, Angra and a lot of others. We are both big Devin Townsend fans as well, and there are some more recent bands as well, like Fleshgod Apocalypse, Scar Symmetry, Wintersun, Brymir and others that we both listen to. We both enjoy classical music as well, which is not unique in the metal world of course, but in our case perhaps not the “usual suspects”. Dmitri Shostakovich has been an influence on both of us, especially his symphonies, and in my case the symphonies of Anton Bruckner are often on the playlist. Ravel, Debussy and Wagner are constant sources of beauty and inspiration as well. In short, classical music is a huge world which is well worth tapping into for anyone.

Could you please develop the lyric-topics in your songs? Is it a concept album?

To a degree it is a concept album, since we did want to have a “red thread” going through the songs and the music. There is a loose narrative which is based on the idea of a man waking up after a very long sleep in something akin to a prison cell, to a deserted world. He then searches for the reason why he was locked away, and who or what he actually is. This narrative is not fully explained through the lyrics, which is conscious since we did not want to do a “metal opera”, but it provides a context for each song and helps establish a mood in the music, we think.

What made you decide to start Dimhav and what are your intentions and dreams with it?

The intention with Dimhav was and is for us to have a vehicle of creating the music that we want, with as few limitations or compromises as possible. Our current plan is to keep making the music that we like, and possibly explore some new directions with it as well. As for dreams, simply having people find and enjoy our music goes a very long way!

How did you choose the name Dimhav?

The Dimhav name was not there from the very beginning but appeared at some point during the process. It is a Swedish word which means “Sea Of Fog” and having a Swedish name is kind of a nod to where we come from. There is a famous romantic painting called “Wanderer above the sea of fog” which might be a more or less conscious source for the name. That painting shows a man with his back to the viewer, looking out over a foggy landscape, which evokes thoughts about the relationship between individuals and nature, exploring the unknown etc.

Did you make any plans for your next album?

So far nothing is set in stone, but we are continuously writing music and evolving new songs, so a second Dimhav album is very probable. As for the timing, and exactly what it will be, we’ll have to wait and see!

Thanx for the interview and give an end.

Thank you. It was great talking to you and sharing a little bit about our background. Thanks also to all our listeners and all those who bought our album so far.


Lord Of Light | interview

#lordoflight #interview

By the morningstar a new day begins. Let thelight of the lord shine bright and bring you strength. Let it illuminate what was dark, and give hope where once was only despair. You are invited to listen to this new Heavy Metal album in the name of the Lord Of Light. It offers shimmering timbres, keen rhythms and wondrous melodies by the hands of talented musicians and engineers, to bring you something truly radiant and exciting for the modern age. Mastermind of the band, Nicklas Kirkevall, answered to our questions, and let’s see what he has to say.
Interview with
Nicklas Kirkevall

Nicklas welcome to SFTV. What is the latest news from Lord Of Light? How are you holding up with the pandemic hysteria there in Sweden?

Things are good. The summer finally reached us up here, so it’s been a few slow weeks now before the working year starts again. In terms of the pandemic things could definitely be better, but they could also be a lot worse. I think most everyone is ready to go back to normal now, but we’re not quite there yet, and no one knows exactly when we will be.

You had the “Morningstar” songs bouncing in your head around a decade and eventually you released them. Why it took you so many years to decide to release them?

When I started writing my mind was more or less in straight up power metal mode, and I think I wasn’t really comfortable there. The songs weren’t fully formed and I just didn’t know where exactly I wanted to go or how I wanted things to sound, so it took a long time for me to find that out and to put it all together. In the beginning I also wasn’t anywhere close to being able to sing the stuff, so that took a long time to get comfortable with.

With such amazing songs that you’ve written where there’s no approach from labels and why did you choose No Remorse records?

Since it was all done over such a long period of time there was never any obvious point to start marketing ourselves, so we just focused on making as good an album as we could, and worry about that later. When it was finally done we decided to just release it digitally so we could start focusing on the next one. Lucky for us No Remorse found us out pretty quickly, and after some back and forth it was obvious to us they were the right label. Enthusiastic, attentive and professional. And with good taste.

Do you have written any new material for a possible future release?

Yes, we’re just about to start the production of the next one. There’s a bunch of new and exciting ideas I can’t wait to get to and I’ve selected ten of them to make the new album from. It’s not all written yet, but a few of the songs are almost done.

Give us some info about “Morningstar” recording sessions, production etc.?

Well, for the most part it was a pretty traditional recording session, but since there is so much synth work and vocal layers on some parts, that was done separately. The synths actually took a very long time do get done because of all the different sweeping pads and things I did, and in so many layers, but it turned out great in the end. For any gearheads out there, the synths mostly all done with a Jupiter-6, with a little bit of Juno-60 and Polysix.

What made you decide to start your own band and what were your intentions and dreams with Lord Of Light?

Since I was a teenager I knew that writing music was the main thing I wanted to do in life, and there was never anyone who was that interested in the kind of metal I gravitated to. I’ve always loved Iron Maiden and Stratovarius among many others, and I felt that I maybe had an angle on it all that hadn’t been fully explored, so I was very keen on getting something together so I could do that.

From where or what are you drawing inspiration to compose your music?

Anything really, from politics to rocketry. As long as there’s something interesting going on there that maybe isn’t obvious at first glance. But mainly it’s about sharing experiences, I suppose. I like to look for the things that we all have in common. I can’t hope to solve anyone’s problems but if we can share a moment we can find some truth in there maybe.

This album is about hope, sometimes misplaced, and how the best of intentions can lead down dark paths, both as individuals and as a society.

Nicklas Kirkevall

A band’s sound is always a combination of influences. What are some influences that might surprise your music’s fans?

I don’t suppose anyone would guess it by listening to the music but one of my favourite bands is The Offspring, and I certainly think I’ve gotten some things in my writing from them. Any music with strong melodies has always stuck with me, from Bonnie Tyler to Beethoven.

Could you please develop the lyric-topics in your songs?

This album is about hope, sometimes misplaced, and how the best of intentions can lead down dark paths, both as individuals and as a society. Finding your own path and not just someone else’s. About the silver lining in the grim stuff.

Which is the response you have for “Morningstar” til now?

It’s incredible how many people from all over the world have reached us and given their compliments and well wishes. I was completely in my head about all the little flaws on the album when we released it, so it’s been a true blessing to get all this positive and enthusiastic feedback.

Thanx for the interview and give an end.

Thank you for taking the time. It’s a pleasure. And to all the readers our next album is planned for release before summer 2021. I hope you’ll stay tuned.


Temple Of Void | interview

#templeofvoid #alexawn #interview

Temple Of Void is an uncompromising collaboration from the depths of Detroit. Temple Of Void harkens back to the somber sound of early British doom, while channeling the energy and devastation of old school American death metal. Mastermind and guitarist of the band Alex Awn has got the answers about their third latest album “The World That Was”.
Interview with Alex Awn

Alex welcome to SFTV. What is the latest news from the Temple Of Void camp? How did you spend your time during the pandemic and what do you see happening?

Hey there. Temple of Void is busy writing new music these days. We dropped “The World That Was” in March and ironically, the world we knew was no more. Shows came crashing to a halt. We’ve had to cancel any tours and fests we had, but we’ve capitalized on the downtime by working on new material. You won’t have to wait another three years for our follow up to this one. I can assure you that much. We’re energized by the response to “The World That Was” and chomping at the bit to write and record new songs and finally get back out on the road to support our album.  

Which was the response for “The World That Was”? Have things gone as expected?

The response has been fantastic. Each time we drop an album we’re astounded by the response from the underground. This time has been no different. People are digging it. It’s definitely gotten the best immediate response of the three thus far. The bar has been raised once more.

We know who we are and what we’re all about. We will never write the same record twice, that’s for sure. So don’t expect album four to be the same as album three.

Alex Awn

Let’s go to your origins and your main influences; when did you decide to start your own band and what were your main intentions, at least at first and when did you see the whole phase differently?

Detroit didn’t have any death-doom bands. It was a genre that Eric and I both loved and we believed we could bring something new to the table, at least from a Detroit perspective. So he brought Jason and Mike on board and brought on Brent. We started writing and the second song we composed was “Exanimate Gaze.” When we wrote that one I think we know “that was our sound.” That track set the template for what we would be known for and what would become our signature perspective and blend of death and doom. I don’t think the band has changed that perspective. We’ve broadened what we allow into our mix a little bit over the years. Our experimentations have always yielded positive results. But we’re very conscious not to lose sight of our core death metal and doom metal ingredients.

Tell us about the recording sessions; where did you record it and how did it go? Are you satisfied with it?

Mount Doom Studios in Detroit has been involved in every one of our recordings. We just keep improving on our sound. As the band improves, the studio improves, and we just bring one another along for the ride. We’re very happy with “The World That Was”. It’s not perfect, but what is? There are things that could be improved upon, but you gotta ship it at some point. It has to feel organic still. I’m particularly happy with our use of sound design and synth. The latter has always been a fixture on our albums, but we really nailed the mix and the contributions on this record. To me, that was the single biggest improvement from album to album.

Could you please develop a little bit on the main lyric-topics in your songs? Is there a concept behind “The World That Was”?

Mike is the sole lyricist so I can’t really talk too much about that. But the title is a loose allusion to the end times of the Warhammer mythos as it transitioned from the World that Was to the Age of Sigmar. However, the lyrics on the record are much broader than any one mythos. And the artwork brings together many other ideas and myths outside of Warhammer. We’re not Bolt Thrower and don’t pretend to be. But I can’t deny a Warhammer, high fantasy, and horror influence. Our earlier material was more lyrically focused on horror storytelling. But the new one tackle more introspective horror. There’s more metaphor and personal experience layered into our tales of terror and the supernatural.

On that record you’ve got some guests. How did you get them involved? And what was your choice based on?

Omar has provided synths on all three albums, but Meredith is new to us. I used to work with her and thought her cinematic approach to sound design would really enhance the atmosphere on the record. As I said earlier, I think Omar and Meredith’s contributions really set this record apart from any other death-doom bands. We treat the packaging and the music more like a film than a band. It’s a very three dimensional approach.

On “Leave The Light Behind” there’s a different approach than the rest of the album. Does this show a future direction musically for the band, do you like to experiment?

This was the one track I contributed synths to. I’m a fan of Hawkwind and krautrock in general, and I wanted some of that spacey synth for this track. I love the movement and depth it adds. I love modulation effects. We’ve been Katatonia fans since day one, and their influence has always been there. This track just brings that to the foreground a bit more, but it still retains the TOV identity. I wouldn’t consider it a future musical direction any more than “Graven Desires” from Lords of Death was. It’s just one of the sides of our personality shining through more brightly than at other times.

Enough bands after their second-third album change drastically their music direction. Why do you think is this happening?

I think this probably happens more with younger bands. When you’re younger you’re exploring more music (hopefully), and you might get bored with where you’re at, so it makes sense to experiment to avoid stagnation. But when you’re in your 40’s and you set out to do a band, you have a very different perspective. We set out to be the greatest deathdoom band on the planet and those aspirations haven’t changed. We know who we are and what we’re all about. We will never write the same record twice, that’s for sure. So don’t expect album four to be the same as album three. However, it should all still sound like Temple Of Void. And it should all still be deathdoom at its core.

Do people in States were going to see, in the pro-Covid19 era, the underground bands like you, not with “big names” only? What do you think will change after this will end?

I don’t know, man. The future is unwritten. We’ll figure it out and cross that bridge when we come to it. I’m sure we’ll be back to normal at some point in 2021. The show must go on.

Do you follow the metal scene? In your opinion, how much did it change? How is your local underground nowadays doing?

Unfortunately, I haven’t been to a local show in quite some time. COVID put a stop to all that. Detroit has a good amount of nationally recognized bands. From the most underground and cult to the biggest names in metal. It’s a great group of people here. The internet certainly changed metal, and obviously changed LIFE in a massive way. There are pro’s and con’s to the instantaneous and all-knowing access we have now. I can’t deny that I do look back fondly on the pre-internet days of getting into bands by reading zines and thanks-lists, etc. I prefer the slower pace of life that we had before the internet. I don’t like being “always on.” However, it’s afforded us and the metal scene incredible opportunities that we may not have had before. It’s all about walking the middle path.

Thanx for the interview and give an end.

Thank you for taking the time to compose these questions. I hope to see people in a live setting once more in 2021. Hopefully coming to a country near your readers soon.


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