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/