INTERVIEW: DEAMONOLITH

 

 

Genre: Experimental/Progressive Death Metal

 

Country: Poland

 

Questions by: Nick Parastatidis

 

Answers by: Marcin “Major” Meyer (guitarist)& Łukasz Kobusiński (Vocals)

 

Photo by Adam Grudzinski

 

Site: Bandcamp

 

1) Most bands spend their debut trying to grab attention with three-minute "hits." You chose a 35-minute single-track odyssey. Was this a conscious rebellion against the "TikTok-era" attention span, or did the music simply refuse to be severed into pieces?

 

Marcin “Major” Meyer (guitarist): From the very beginning as we composed and created the sounds our goal was to craft a sophisticated extreme metal track that goes beyond contemporary trends. Of course we could have divided the song into parts (we call them “episodes” in reference to the lyrics) just as we did on the CD and on YouTube, but we deliberately chose to keep it as one powerful track on other platforms. It’s a middle finger aimed at the modern music industry, modern society, and its fast-food consumption culture. I’m fully aware of the consequences of this approach. I genuinely despise TikTok and similar short-attention-span media, even though my wife and daughter have tried to unsuccessfully convince me to use them.

 

2) You’ve joked that a 10-minute song is “a walk for losers." In an era of playlists and singles, "The Monolithic Cult of Death" demands a "theatrical" commitment from the listener. Do you view Deamonolith as a musical entity or more of a ritualistic experience that requires total immersion?

 

Major: We can perceive Deamonolith in both of these dimensions. On the one hand it is a manifestation of our powers, dreams and anxieties transformed into sound; on the other, it emerges as a dark energy flowing through our veins demanding a deeper level of focus from both us and the listener.

 

I recommend experiencing the album in complete darkness - you may uncover additional hidden layers that expand perception beyond the surface. As I continue to develop spiritually, I find myself moving toward a more immersive, ritualistic approach indeed.

 

Łukasz “Kobuch” Kobusiński (vocalist): Both.

 

Our music composition is a consistent story, musically and lyrically as well. It leads the listener to its universe. And we will act this way in the future – Deamonolith band will create music backgrounds and lyrics themes directly connected with each other within every song.

 

It is natural that it needs to grab the attention of the listener. If one wants to get into it, of course. I find the song not boring and makes the listener focus on the theme. That’s my own opinion.

  

3) With members having roots in bands like Gortal, Imperator  and Lost Soul there is a massive amount of "old school" DNA here. How did you balance that classic Polish Death Metal ferocity with the more avant-garde elements like the saxophone and piano without losing the "foundation of death"?

 

Major: The foundation of the composition is based on extreme metal subgenres. I couldn't avoid classic death metal riffs - it is an inseparable part of my music personality. The avant-garde elements serve as additional layers that expand the range of expression. As long as the riffs remain brutal these non-metal elements make the compositions more multidimensional and unpredictable.

 

4) The lyrics follow a harrowing narrative: a Leader, a Council and a failed search for a Messiah that eventually leads to the stars. Does this story reflect your view on modern humanity — that we are constantly seeking salvation in the wrong places, whether it’s ancient religion or future technology?

 

Major: The story unfolds on multiple levels of meaning. Each band member interprets it through their own lens and the same applies to the listener. From my perspective it serves as a quiet warning - an invitation to preserve one’s individuality rather than submit to the “truths” imposed by modern society and their tribalism. In an age crowded with self-proclaimed messiahs I choose to follow none of them.

 

5) In section four, “The Acknowledgement”, you mention that Mecca, Jerusalem, and the Vatican have given up their secrets. Is the "Monolithic Cult" a critique of organized religion or a celebration of the "Absolute" that exists beyond human dogma?

 

Kobuch: I find every form of organised religion as worthless. Each of them makes people feel guilty of thinking and having doubts.

 

And I have always had a feeling that there is something beyond control of human minds, something above the world as we know it. I wouldn’t go so far to celebrate the Absolute or to celebrate even a feeling of its presence. But it certainty pushes me to ask questions.

 

6) The Astronaut at the end of the album realizes that "The horizon has no end" and "There is no Risen from the Dead." It’s an incredibly nihilistic conclusion. Is the "Afterfall" a warning or an inevitability?

 

Kobuch: It’s not a warning at all. It’s a fact.

 

Leave the Risen from the Dead. This existence form (or non-existence, to be precise) is not necessary for us to realize the truth. Let’s think about space.

 

We are not able to imagine the overwhelming size of our galaxy. Distances between planets in the Solar System are enormous. And what about the Milky Way? What about the universe at all? Is there “a universe” that has size?

 

Man has always thought of himself as a centre of something.

 

We are less than moon dust.

 

7) Recording a single 35-minute piece is a logistical nightmare. How did the atmosphere in JNS Studio differ from your previous experiences? Did you record in long, grueling sessions to maintain the "flow" or was it a surgical assembly of movements?

 

Major: It’s not possible to record individual tracks in a single take given the level of effort involved, but in the end the process was relatively smooth. When you come prepared the only thing that matters is staying focused on delivering your best.

 

And each band member did so without any real obstacles.

 

We know JNS Studio very well. It’s a professional and comfortable environment that allows us to achieve the right creative flow while also offering the precision needed when a more surgical approach is required.

 

Kobuch: I did my part of recordings in Bydgoszcz, my home town, at Santa Studio with Szymon “Sigmar” Grodzki as a sound engineer. I come back to this place and this guy every time I need to record vocals. For years. Smooth cooperation.

 

8) Major and Desecrate, you spent two years trying to reactivate Gortal before Deamonolith emerged. What was that specific "spark" or "new energy" that told you this material needed a brand new name and a more progressive identity?

 

Major: I’d like to point out two reasons. The first, quite obvious, was the absence of Chryste, the founder of Gortal. At that time he had other priorities than rehearsing. We had made a pact among ourselves that if one member out of the three was missing, the band would be buried.

 

The second reason emerged naturally. The music evolved into a more sophisticated form and a new identity became inevitable. We wanted to maintain integrity and coherence — both for ourselves and for the audience.

 

9) You have guests contributing clean vocals and saxophone. These aren't standard tools in the Polish death metal kit. When you were composing, did you "hear" those instruments in the void, or did they emerge as a way to color the cosmic themes of the album?

 

Major: I’ve had a few moments of clarity where I realized we needed to enrich the composition with additional layers. These were external inspirations that struck me deeply and almost “poisoned” my mind in a creative sense. For example, while running, I came across Misanthrope’s track “Regard Vers L’Infinité”, and from the very first moment I knew the saxophone had to be part of the arrangement.

 

10) You’ve planned a very specific release schedule - from CD jewel cases to vinyl and finally cassettes in 2026. In the digital age why is the physical "relic" so important for a concept album like this?

 

Kobuch: Personally I think that physical releases are the core of music. I am an old school guy and I will always go back to them (CDs in my case). When using digital streams I always look for albums worth buying on CD. Maybe it’s because I get the feeling of owning something after touching a physical copy, not earlier? Digitals don’t bring this feeling to me.

 

As for Deamonolith, our release schedule included digital, CD and LP releases at the beginning. We were looking for a label that could be interested in cooperation with releasing a tape format (MC), but there wasn’t any then. Anastasis of Greek Nuclear Winter Records joined a year and a half after the premiere.

 

And we are pleased to have the release formats table fulfilled now.

 

11) Does the name Deamonolith represent a physical object (like the monoliths in your lyrics) or is it a state of mind — the "unbreakable stone" of the metal scene you’ve been a part of since the 90s?

 

Kobuch: Interesting… I remember I was thinking of it for a while shortly before joining Deamonolith. I didn’t come to a final conclusion then.

 

The imagery of weird, scary sculpture is quite alluring, nevertheless this explanation is not enough. I would rather like to consider the name of the on the various levels - starting with physical forms and then going to more abstract concepts. Stone of the metal music scene could be one of them.

 

Same as creation of life. Continuous changes of forms of existence. Self-destructive acts of probably the highest evolved representatives. And so on.

 

12) After reaching the "edge of the universe" on your debut, where does Deamonolith go next? Can you ever go back to writing "short" songs or has the portal been opened too wide?

 

Kobuch: My point of view on composing music has been reconstructed so much since I’ve joined the Deamonolith band, that I am not able to even think of creating three or four minutes lasting tracks now. What’s even more, I very often have a feeling that songs I daily listen to end much too quickly if you know what I mean.

 

So, as you have written, the gates have been opened too wide to be closed again.

 

At the present time we are into the creation process for the next album. There will be long songs on it. The formula will be similar to the debut, but we think of composing two “blocks” if we may name them this way. And maybe they both will be split into two parts.

 

Thank you kindly for this interesting (I hope so) interview and for your support for the Deamonolith band. See you somewhere, sometime (maybe on our live show in Greece?).

 

Take care of yourself!

 

https://deamonolith.bandcamp.com/

 

https://www.youtube.com/@Deamonolith

 

https://www.facebook.com/DEAMONOLITH

 

https://www.instagram.com/deamonolith_official_pl/ 

Emergenz Release Debut Album Becoming None

 

German Melodic Black/Death Metal newcomers Emergenz have unveiled their debut album “Becoming None”, a release that introduces the band’s atmospheric yet aggressive sound to the metal scene. The album was recorded, mixed, and mastered by renowned producer Andy Classen at Stage One Studios, a name well‑known to fans of extreme metal production.

REVIEW: DEUS INVERSUS – Mastery over the World

 

DEUS INVERSUS – Mastery over the World

Nihilistic Empire Records

DEUS INVERSUS deliver a qualitative form of brutal death metal that leans heavily into Satanic themes while incorporating surprisingly melodic and morbidly atmospheric guitar work. The band operates with evident chemistry: the performances feel tight, coordinated, and purposeful, allowing the compositions to balance brutality with blackened melodic elements. Even when the riffs move into chaotic territory, the lines remain discernible — an essential factor for listeners who want to follow and appreciate the structure of each track.

The tempos are predominantly ultra‑fast, yet the band maintains control and precision, avoiding the sloppiness that often plagues extreme-speed releases. Their approach shows discipline as much as aggression.

Fans of DEICIDE, IMMOLATION, and ACHERON will immediately recognize the lineage and should find plenty to enjoy here. Mastery over the World stands as a focused, well-executed example of modern brutal death metal with a strong sense of identity and intent.

George Kefalas

REVIEW: TITAN FORCE, Titan Force

 

TITAN FORCE, Titan Force (1989)

U.S. Metal Records

Η μετουσίωση μιας ολόκληρης δεκαετίας

Αφήνοντας πίσω του δύο σημαντικά σχήματα, τους Satan's Host και βεβαίως τους Jag Panzer, ο δαιμόνιος τραγουδιστής Harry "The Tyrant" Conclin βρίσκεται στο στρατόπεδο του συγκροτήματος των τριών αδερφών Flores. Mario (κιθάρες), Stefan (ντραμς), John (μπάσο) και μαζί με τον μακαρίτη Bill Richardson (πλήκτρα και επιπλέον κιθάρα) συμπράττουν για ένα ακόμη ντεμπούτο που άφησε ιστορία.

Το ομότιτλο άλμπουμ τους αποτυπώνει όλα τα στοιχεία της αμερικανικής Power Metal, όπως διαμορφώθηκε στη δεκαετία του '80, μαζί με κάποια χαρακτηριστικά progressive metal ψήγματα, και μεταμορφώνεται σε εννιά μοναδικά κομμάτια. Ένας διαχρονικός δίσκος, καθώς πρόκειται για ένα έργο που άφησε τις καλύτερες εντυπώσεις και διαχρονικά οι μεταλλικές γενιές πίνουν κρασί, μπύρα και άλλα οινοπνευματώδη, τιμώντας τη μουσική κληρονομιά.

Πόσες φορές δεν απολαύσαμε στα κλαμπ και τα μέταλ καφέ κάποιο από τα πιο χαρακτηριστικά του τραγούδια, όπως τα: Chase Your Dreams, Master of Disguise, Lord of Desire, Toll of Pain, Blaze of Glory, Wings of Rage, New Age Rebels, Fool on the Run;

English:

The Manifestation of an Entire Decade

Leaving behind two significant bands, Satan's Host and, of course, Jag Panzer, the fiery vocalist Harry "The Tyrant" Conclin finds himself in the camp of the Flores brothers' band. Mario (guitars), Stefan (drums), John (bass), and together with the late Bill Richardson (keyboards and additional guitar) collaborate on yet another debut that made history.

Their self-titled album captures all the elements of American Power Metal as it was shaped in the 1980s, combined with some characteristic progressive metal nuances, and transforms into nine unique tracks. A timeless record, as it left a lasting impression and, across generations, metal fans continue to raise glasses of wine, beer, and other spirits in homage to this musical legacy.

How many times have we enjoyed in clubs and metal cafes some of its most iconic songs, such as: Chase Your Dreams, Master of Disguise, Lord of Desire, Toll of Pain, Blaze of Glory, Wings of Rage, New Age Rebels, Fool on the Run?

Nick Parastatidis

Rolling the Dice with Life

 

Yesterday was a rainy day in Thessaloniki. As I was squeezed into a crowded bus on my way to work, watching the endless crawl of traffic, my mind began to wander just to kill the time. Within that small, mundane "pause" in reality, a thought was born—one that initially felt strange, almost jarring:

What could Fyodor Dostoevsky, the titan of 19th-century literature, possibly have in common with Lemmy Kilmister of Motörhead, the wild child of rock ’n’ roll?

Two figures belonging to different centuries, different cultures, and different universes. And yet, the more I dwelled on it, the more underground connections began to surface—shared themes, a strange kinship between the Russian thinker and the British high priest of raw sonic energy.

Two Works, One Obsession

The common ground I identified between these two creators is rooted in two works that, despite being a century apart, engage in a subterranean dialogue: Dostoevsky’s novel The Gambler and Motörhead’s metal epic Ace of Spades.

• In the novel: Dostoevsky dives deep into the psychology of a man trapped by the obsession of the game. Alexei Ivanovich is not just a gambler; he is a man living on the edge, struggling between self-destruction and the illusion of the ultimate win. Dostoevsky—one of the first to attempt such profound psychological analysis—wrote this work in just 26 days, under immense financial pressure and hunted by his own debts. He was, after all, a passionate roulette player himself.
• 
  
  
• In the anthem: On the other hand, Ace of Spades is not just a song about gambling. It is an ode to life at the extremes, to the acceptance of risk as a philosophy of existence. Lemmy wasn’t a particularly skilled card player, nor did he care for the technicalities of the game. What captivated him was the rush, the adrenaline, the idea that life only gains meaning when played "all or nothing." In fact, he once admitted that if the song had been written by a real gambler, it would have been much more technical—and much more boring.

The Raw Truth

Despite their differences, there is a point where Dostoevsky and Lemmy meet completely: both possessed an authentic passion for the gamble.

For the former, it was an internal battle—an addiction that led to financial and psychological decay. For the latter, it was transformed into a symbol of his uncompromising lifestyle. This is why both The Gambler and Ace of Spades are more than just works inspired by gambling; they are nearly autobiographical.

In both, passion is captured raw, without embellishment or moralizing. They don’t tell you "don't play" or "be careful." They show you what a human looks like when they surrender to their passion—how gambling can become a way of being, where adrenaline and self-destruction coexist. Both creators leave you to draw your own conclusions: to see the gambler, to see yourself within him, and to understand that passion—whatever form it takes—always comes with a price.

The Intersection of Words and Noise

One could say that Ace of Spades is the natural, almost self-evident soundtrack to The Gambler. The same impulse, the same adrenaline, the same self-destructive attraction to risk permeates both works.

One captures it with words, the other with electricity and noise, but the heart of the message remains the same: the person obsessed with the gamble lives on a thin line between freedom and the abyss.

Perhaps that is why the convergence of Dostoevsky and Lemmy feels so natural. Two creators who, across different eras and through different mediums, recorded the same human experience: the experience of—literally or metaphorically—rolling the dice with your life.

Nick Parastatidis

Παίζοντας τη Ζωή στα Ζάρια

 

Χθες, μια βροχερή μέρα στη Θεσσαλονίκη, καθώς στριμωχνόμουν στο αστικό πηγαίνοντας στη δουλειά και η κίνηση έμοιαζε ατελείωτη, ο νους μου άρχισε να περιπλανιέται για να περάσει η ώρα. Μέσα σε αυτή τη μικρή, καθημερινή «παύση» της πραγματικότητας, γεννήθηκε μια σκέψη που στην αρχή μου φάνηκε παράξενη, σχεδόν αταίριαστη: τι κοινό μπορεί να έχουν ο Φιόντορ Ντοστογιέφσκι, ο κορυφαίος λογοτέχνης του 19ου αιώνα, και ο Lemmy Kilmister των Motörhead, το ατίθασο παιδί του rock ’n’ roll; Δύο μορφές που ανήκουν σε διαφορετικούς αιώνες, διαφορετικές κουλτούρες, διαφορετικά σύμπαντα. Κι όμως, όσο περισσότερο το σκεφτόμουν, τόσο περισσότερο άρχιζαν να αναδύονται υπόγειες συνδέσεις, κοινές θεματικές, μια παράξενη συγγένεια ανάμεσα στον Ρώσο στοχαστή και τον Βρετανό αρχιερέα της ωμής μουσικής ενέργειας.

Το κοινό στοιχείο που εντόπισα ανάμεσα στους δύο αυτούς δημιουργούς εδράζει σε δύο έργα που, αν και απέχουν έναν αιώνα, συνομιλούν υπόγεια μεταξύ τους: το μυθιστόρημα «Ο Παίκτης» του Ντοστογιέφσκι και το metal έπος «Ace of Spades» των Motörhead. Στο πρώτο, ο Ρώσος λογοτέχνης καταδύεται στην ψυχολογία ενός ανθρώπου παγιδευμένου στην εμμονή του τζόγου. Ο Αλεξέι Ιβάνοβιτς δεν είναι απλώς ένας παίκτης· είναι ένας άνθρωπος που ζει στο όριο, που παλεύει ανάμεσα στην αυτοκαταστροφή και την ψευδαίσθηση της απόλυτης νίκης. Ο Ντοστογιέφσκι, από τους πρώτους λογοτέχνες που επιχείρησαν βαθιά ψυχολογική ανάλυση των χαρακτήρων τους, γράφει το έργο αυτό μέσα σε μόλις 26 ημέρες, πιεσμένος οικονομικά και κυνηγημένος από τα δικά του χρέη — αφού και ο ίδιος υπήρξε παθιασμένος παίκτης της ρουλέτας. 

Από την άλλη πλευρά, το «Ace of Spades», ο πιο αναγνωρίσιμος ύμνος των Motörhead, δεν είναι απλώς ένα τραγούδι για τον τζόγο. Είναι μια ωδή στη ζωή στα άκρα, στην αποδοχή του ρίσκου ως φιλοσοφία ύπαρξης. Ο Lemmy δεν ήταν ιδιαίτερα καλός χαρτοπαίκτης, ούτε τον ενδιέφερε η τεχνική πλευρά του παιχνιδιού. Αυτό που τον συνέπαιρνε ήταν η αίσθηση του ρίσκου, η αδρεναλίνη, η ιδέα ότι η ζωή αποκτά νόημα μόνο όταν παίζεται «όλα για όλα». Μάλιστα, είχε παραδεχτεί πως αν το τραγούδι γραφόταν από έναν πραγματικό χαρτοπαίκτη, θα ήταν πολύ πιο τεχνικό — και πολύ πιο βαρετό.

Κι όμως, παρά τις διαφορές τους, υπάρχει ένα σημείο όπου ο Ντοστογιέφσκι και ο Lemmy συναντιούνται απόλυτα: και οι δύο είχαν αληθινό πάθος για τον τζόγο. Ο πρώτος το έζησε ως εσωτερική μάχη, ως εξάρτηση που τον οδήγησε σε οικονομική και ψυχική φθορά. Ο δεύτερος το μετέτρεψε σε σύμβολο της δικής του ακραίας στάσης ζωής. Γι’ αυτό και τόσο ο «Παίκτης» όσο και το «Ace of Spades» δεν είναι απλώς έργα εμπνευσμένα από τον τζόγο· είναι σχεδόν αυτοβιογραφικά. Και στα δύο, το πάθος αποτυπώνεται ωμά, χωρίς ωραιοποιήσεις και χωρίς ηθικολογίες. Δεν σου λένε «μην παίξεις» ούτε «πρόσεχε». Σου δείχνουν πώς είναι ο άνθρωπος όταν παραδίδεται στο πάθος του, πώς ο τζόγος μπορεί να γίνει τρόπος ύπαρξης, πώς η αδρεναλίνη και η αυτοκαταστροφή μπορούν να συνυπάρχουν. Και οι δύο δημιουργοί σε αφήνουν να βγάλεις τα δικά σου συμπεράσματα: να δεις τον παίκτη, να δεις τον εαυτό σου μέσα του, να καταλάβεις ότι το πάθος —όποιο κι αν είναι— έχει πάντα κόστος.

Θα μπορούσε κανείς να πει πως το «Ace of Spades» είναι το τραγούδι που θα έντυνε ιδανικά, σχεδόν αυτονόητα, το μυθιστόρημα «Ο Παίκτης» του Ντοστογιέφσκι. Η ίδια παρόρμηση, η ίδια αδρεναλίνη, η ίδια αυτοκαταστροφική έλξη προς το ρίσκο διαπερνά και τα δύο έργα. Ο ένας το αποτυπώνει με λέξεις, ο άλλος με ηλεκτρισμό και θόρυβο, αλλά η καρδιά του μηνύματος παραμένει κοινή: ο άνθρωπος που παθιάζεται με τον τζόγο ζει σε μια λεπτή γραμμή ανάμεσα στην ελευθερία και την άβυσσο. 

Και ίσως γι’ αυτό η σύγκλιση Ντοστογιέφσκι και Lemmy μοιάζει τόσο φυσική: δύο δημιουργοί που, μέσα από διαφορετικές εποχές και μέσα, κατέγραψαν την ίδια ανθρώπινη εμπειρία. Την εμπειρία του να παίζεις —κυριολεκτικά ή μεταφορικά— τη ζωή σου στα ζάρια.

Νικόλαος Παραστατίδης

REVIEW: STEEL PROPHET, Omniscient

 

STEEL PROPHET, Omniscient (2014)

Cruz del Sur Music

Με φρέσκο αέρα από το παρελθόν

Η μπάντα που ακόμα αγνοεί η μεγάλη πλειονότητα — μιλάμε για μη αναγνωρισμένους βετεράνους του σύγχρονου Power Metal. Ένα συγκρότημα που υπάρχει από τη δεκαετία του '80 και που πραγματικά έχει ζήσει την ακμή του λεγόμενου U.S. Power Metal κινήματος, εν τη γενέσει του.

Και αυτό εδώ είναι ένα σχετικά πρόσφατο άλμπουμ, το οποίο δεν είχα προσέξει τότε και που με την πρώτη ακρόαση με κολλάει κάτω! Οι Αμερικανοί επενδύουν εδώ στο δικό τους στυλ, με λιγότερα Iron Maiden στοιχεία απ' όσα τους είχαμε συνηθίσει παλιά (και καλύτερα!), και φτιάχνουν μια «Οργουελικη» ιστορία επιστημονικής φαντασίας, κάτι σαν αυτό που ζούμε τα τελευταία πέντε και κάτι χρόνια.

Ακόμα, έχουν έρθει και εξωγήινοι από πάνω, με τσεκουράτα U.S. Metal κομμάτια, όπως τα Trickery of the Scourge, When I Remake the World (A Key Flaw), Chariots of the Gods, The Tree of Knowledge, Oleander Deux, Through Time and Space, Transformation Staircase, και προς το τέλος του άλμπουμ, το μεγάλο και τίμιο encore: η διασκευή στο Bohemian Rhapsody των Queen.

English:

A Fresh Breeze from the Past

The band that the vast majority still ignores — we're talking about unrecognized veterans of modern Power Metal. A group that has been around since the 1980s and truly experienced the peak of the so-called U.S. Power Metal movement right from its inception.

And this is a relatively recent album, which I hadn't noticed back then, but on the first listen, it completely hooks me! The Americans here invest in their own style, with fewer Iron Maiden elements than we were used to from them in the past (and perhaps better!), crafting a "Orwellian" science fiction story—something like what we've been living through the last five-plus years.

Furthermore, they've even brought aliens into the mix, with fierce U.S. Metal tracks like Trickery of the Scourge, When I Remake the World (A Key Flaw), Chariots of the Gods, The Tree of Knowledge, Oleander Deux, Through Time and Space, Transformation Staircase, and towards the end of the album, the great and honest encore: a cover of Queen's Bohemian Rhapsody.

Τάκης "Ε-Μortal One" Γιώτης