INTERVIEW: BLACK REUSS 2026

 

Genre: Melodic Gothic/Doom Rock/Metal

Country: Liechtenstein

Questions by: Nick Parastatidis

Answers by: Maurizio Dottores  (Vocals, All instruments)

Site: Homepage

1. With Death closing the tetralogy, do you see this final chapter as a resolution—or more of a transformation into something undefined?

More a transformation into something undefined. Death completes the conceptual cycle, but it doesn’t feel like a final statement. It’s more the point where form dissolves and certainty disappears. The tetralogy ends there, but Black Reuss itself continues beyond it.

2. The river metaphor has been central to Black Reuss from the beginning. After completing this cycle, has your personal interpretation of that symbol changed?

Not fundamentally. The river still represents movement and inevitability. You cannot stop it or fully control it. But over time, I became more aware that the river also loses itself eventually. On Death, it reaches the sea and dissolves into something larger. That became an important part of the symbolism.

3. Death seems to explore dissolution and silence. Was there a moment during its creation where you felt creatively “emptied” rather than inspired?

Not emptied, but quieter. The writing process was more restrained than on the previous albums. Since Death deals with interpretations of something unknown rather than direct experience, I approached it with more distance and less emotional urgency. Inspiration came more from reflection than intensity.

4. Across the four albums, how has your relationship with darkness evolved? Is it still something to confront—or has it become something you coexist with?

I think it became something I coexist with. Earlier albums are more confrontational and reactive. Over time, darkness stopped feeling like an enemy and became more a part of the emotional landscape. I don’t romanticize it, but I also don’t try to escape it. It simply exists alongside everything else.

5. Your work often feels cinematic. If Death were a film, what kind of visual world or narrative would accompany it?

It would be minimal and slow. Wide empty spaces, cold light, fog, water, long static shots. Not much dialogue. More atmosphere than narrative. I imagine a visual world where movement becomes gradually slower until everything dissolves into silence and openness.

6. There’s a strong sense of solitude in Black Reuss. Do you see solitude as a necessity for your creativity, or something that comes with a cost?

Both. Solitude gives me clarity and allows me to work honestly without too much external noise. But it also has a cost because you carry everything yourself creatively and emotionally. Still, Black Reuss probably couldn’t exist in the same way without that solitude.

7. The presence of Diego Rapacchietti adds a new dynamic to Death. Did his involvement influence the emotional direction of the album in unexpected ways?

Not the emotional direction itself, but definitely the physical presence of the album. Diego brought precision, restraint, and weight. His understanding of space was very important. The drums support the atmosphere rather than overpower it, which helped reinforce the calm heaviness of the record.

8. You’ve maintained full creative control over Black Reuss. After finishing such a large conceptual arc, have you ever felt tempted to break that isolation and fully collaborate with others?

I’m open to collaboration, but only if it feels natural and honest. Black Reuss was built around a very personal and consistent vision, so too many outside influences could easily change its identity. But collaboration itself isn’t something I reject. It simply has to serve the atmosphere rather than redirect it.

9. Many artists fear repetition after completing a major concept. Do you feel liberated or challenged now that the tetralogy is complete?

More liberated than challenged. The tetralogy gave structure, but it also created boundaries. Finishing it opens space creatively. There’s no pressure to continue the same narrative anymore, which allows new directions to emerge naturally.

10. The titles “Oblivion,” “Endgame,” “Phoenix,” and “Elysium” suggest both finality and rebirth. Is Death more about endings—or hidden continuations?

It’s about both existing at the same time. Some songs represent dissolution or judgment, while others move toward continuation or peace. I didn’t want the album to define death through one perspective only. The idea was to let different interpretations coexist without deciding which one is correct.

11. How important is silence in your music—not just musically, but emotionally?

Very important. Silence creates space for reflection. Musically, it gives weight to what surrounds it. Emotionally, silence often says more than intensity or noise. Especially on Death, space and restraint became essential parts of the atmosphere.

12. Looking back, is there a moment within the tetralogy where you feel Black Reuss truly found its identity?

Probably during Journey. That was the point where the emotional direction, atmosphere, and philosophical side of the project aligned most clearly. From there on, the identity became much more defined and grounded.

13. Your music is deeply introspective. Do you ever worry that exposing so much of your inner world leaves you vulnerable in ways that are difficult to reconcile?

Not really anymore. Earlier on, maybe more. But over time I understood that honesty creates connection rather than weakness. Also, with Death, the writing became less autobiographical and more interpretative, which created a certain distance naturally.

14. The production on Death is described as dense and immersive. Did you consciously push the sonic boundaries further than on Arrival?

Yes, but not by making it bigger or more aggressive. The focus was on density and atmosphere. I wanted the album to feel immersive and physically heavy without overcrowding it. Space and decay became just as important as the instruments themselves.

15. Artists often change once they complete a long-term vision. In what ways has Black Reuss changed you as a person?

It taught me patience and acceptance. The project developed slowly over many years, and through that process I became more comfortable with uncertainty and less attached to needing clear answers. Creatively, I learned to trust restraint more.

16. If someone listens to the four albums in sequence, what emotional journey do you hope they experience by the end?

I hope they experience movement toward acceptance. The cycle begins with fragmentation and confrontation, moves through struggle and grounding, and ends in stillness. Not despair — more a sense of calm reflection and openness.

17. Do you think concepts like “death” in your work are more literal, symbolic, or something beyond both?

Mostly symbolic and interpretative. I never wanted to define death literally. The album explores different perspectives — dissolution, rebirth, peace, continuation, judgment. It’s more about the emotional and philosophical possibilities surrounding death than about explaining it.

18. Now that this chapter is complete, do you already sense where the “river” might flow next—or is that still unknown even to you?

I think the direction is still open. The river continues, but without the structure of the tetralogy guiding it anymore. That uncertainty feels healthy. I don’t want to force the next chapter before it naturally reveals itself.

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/ 

INTERVIEW: Risen Crow

 

Genre: Melodic Power Metal

Country: Italy

Questions by: Nick Parastatidis

Answers by: Risen Crow

Site: Facebook

1. How do you precisely blend Power Metal's energy with Gothic Metal's atmosphere? What is the critical balancing point you strive for in every song?

For us it happens naturally, we create a power metal draft with notes that aren't too epic or happy and then the magic happens when Alex inserts darker and more gothic melodies with the keyboard.

 

2. Considering your influences (Nightwish, Kamelot, etc.), what is the single, definitive signature element that makes the Risen Crow sound immediately recognizable as yours?

Let's say that our peculiarity is the two voices, how they dialogue with each other in the songs without creating rivalry and neither prevails over the other.

 

3. Does the history and atmosphere of Rome actively influence your lyrical themes or melodic structure, and if so, how?

There are some historic alleys in Rome that at night create a darker and noir atmosphere, which contributes in some way, but the most obvious inspirations come from our more melancholic and dark side and why not also a pinch of Tim Burton that we love

 

4, Out of obsession, damned love, and sacrifice, which theme was the most challenging to translate into compelling metal lyrics for “Requiem For A Damned Love”?

Our idea was to create a love story but with dark nuances and a dramatic ending that makes the listener understand that love goes beyond death.

 

5. Why was the track "Risen Crow" chosen to be the single? How does it specifically prepare the listener for the full emotional arc of the album?

We thought the best way to attract the listener was to offer a powerful song, with an intro that could enter the head and heart and I think Risen Crow is the most appropriate one.

 

6. How did forming the band in 2020—during a period of global isolation—uniquely shape the intensity or dark nature of the music you created?

2020 was a terrible time. Seeing so many people dying and being isolated at home triggered an explosive mix within us, made of sadness but at the same time hope, and the addition of a pinch of madness greatly helped our creativity.

 

7. Which specific instrumentation or production technique is non-negotiable for achieving the "haunting melodies and atmospheric soundscapes" you describe?

There isn't really a single instrument or technique, but keyboards have certainly played a fundamental role in our songs, creating those atmospheric soundscapes that characterize our sound.

We don't use particularly sophisticated or rare hardware: we work primarily "in the box," leveraging software and plugins, trying to focus more on the idea and emotion than on the instrumentation itself.

Rather, what really makes the difference is the way we treat the sounds: the use of wide reverbs, delays, and layering allows us to add depth and movement, transforming even simple timbres into something more evocative.

In the end, it's a balance between writing and producing: we start with essential elements and then gradually enrich them, always trying to leave space and breathing room, so that each sound contributes to creating a coherent atmosphere.

 

8. In the context of the new album, is the theme of 'sacrifice' portrayed as a necessary good, a pure tragedy, or something else entirely?

The theme of sacrifice is central and is particularly evident in the final track, "Black Rose," where he forgives her and lets her know how much he loves her. She, in turn, understands the importance of being by his side and ultimately takes her own life to join him. True love transcends death.

 

9. What is the most essential non-musical element (stage design, props, or lighting) needed to translate the album's dark, romantic narrative to a live audience?

We don't use any special effects live; we like to be a little theatrical when we sing, using darker, less colorful lightin6g. The intro to "Funeral Jack" is absolutely essential; it shows the listener just how twisted Rose's mind is.

 

10. As a new face, what specific mark or change do Risen Crow intend to make on the international perception of the contemporary Italian metal scene?

We really like Italian metal like Vision Divine and Labyrinth, but we're trying to lean more towards a Teutonic style. It's not easy to create new music, but at least we're trying.

 

11. When songwriting, do you prioritize emotional impact over instrumental complexity, or must both technical precision and depth always be achieved?

We look for depth and precision first and foremost, and we believe it's not important to include virtuosity. We spend more time on orchestral parts and vocals rather than necessarily finding virtuosity.

 

12. Now, almost a year after the release of Requiem For A Damned Love, what has been the most surprising or rewarding audience reaction to the album, and based on that response, what is the immediate creative direction or priority Risen Crow will pursue heading into 2026?

The public asked us not to fear the shadows, and in 2026, that's exactly where Risen Crow has chosen to dwell.

In short: the immediate priority is to consolidate the 'Theatrical Gothic-Power' brand, transforming what was an intuition from the first album into the cornerstone of our musical future.

INTERVIEW: Wildfire

 

Genre: Melodic Heavy Metal/Hard Rock

 Country: Greece

Questions by: Nick Parastatidis

Answers by: Dimitris Megalios (Bass)

Site: Facebook

1.  Your debut full-length “Rise” has finally arrived. If this album were a cinematic soundtrack to a post-apocalyptic movie, what would be the very first scene the audience sees when "Leap of Faith" starts playing?

Bella Ciao, Professor & the Berlin scene.

2. You worked with David Prudent at “Made in Hell Studio”. Many bands say the studio name is literal—did he push you into any "hellish" territory to get those high notes or riffs just right for the record?

It was actually the opposite! We were the ones pushing David “hellishly”! And we thank him for his patience and for the amazing job he did! 

 

3. "Night with a Witch" has been with you since the 2021 EP and was re-recorded for the new album. How has your relationship with that "Witch" changed over the last four years? Is she still the same character she was back then?

The Witch on this album has dressed up in her finest in order to “seduce” even more souls!

4. In your track "Navigators," there’s a sense of epic journeying. If Wildfire had to set sail and leave Athens behind to "conquer" one specific city or country with your music, where would the compass be pointing?

Wherever there is kindling!

5. You’re playing Ghostlands & Ravenlands, which evolved from the Caravan of Shadows. Do you feel like "shadows" and "ghosts" are a fitting backdrop for Wildfire’s brand of melodic metal, or are you the "fire" that’s meant to burn those shadows away?

Wildfire has both its bright and its dark side! It burns everywhere with the same intensity!

 

6. Tolis, we heard there’s some clarinet hidden in the track "Rise." That’s a very "un-metal" instrument on paper—how do you make a woodwind instrument feel like it belongs in a heavy metal anthem?

Hello from me too (Tolis)! “Rise” doesn’t have a clarinet — it’s actually on “Navigators”!

Why a clarinet? Because it’s a traditional instrument from our country and our folklore, and the way it’s used is extremely “heavy metal” because it brings out epic emotions, just like traditional music does. It was a gamble that paid off, since we can see the impact it has at our live shows.

 

7. The Silent Rage members started this festival. Since you share the stage with them, if you had to "steal" one element from their live performance or sound and "Wildfire-ize" it, what would it be?

Their singer, hahaha!

 

8. You collaborated with William Joestar on lyrics for tracks like "Navigators" and "Inside the Box." Is there a specific line on the album that makes you think, "I wish I’d written that myself" every time you sing it?

Since our singer is currently absent for an indefinite period (in other words, we’re actively looking for a new voice at the moment), this question will be answered once the position has been filled.

 

9. The song "Inside the Box" suggests a struggle with boundaries. In a scene as specific as the Greek NWOTHM, do you ever feel "boxed in" by the expectations of traditional metal fans, or is that box exactly where you want to be?

In this particular song, I happened to have the original musical inspiration. Personally, I don’t feel boxed in by expectations. I always write “outside the box,” based on what I would like to hear myself, hoping of course that the listeners will like it too!

 

10. "Mirror’s Edge" is one of the longer, more complex tracks on the new album. When the band looks into the "mirror" today compared to 2019 when you started, what’s the biggest change you see in yourselves as musicians?

We see a few more gray hairs on our heads, hahaha! Of course there’s a difference compared to 2019. Each of us has grown on a personal level, and as a band we’ve evolved both musically and as people. I think that shows on Rise compared to our EP — and you’ll hear and see it even more in the releases we’re preparing!

 

11. The Ghostlands & Ravenlands Festival is becoming a staple in Athens. By the time the next edition of this festival rolls around, where do you want the "Wildfire" to have spread?

First of all, we’re very happy to be playing for the first time at the Ghostlands & Ravenlands Festival and to contribute to this growing institution! “Wildfire” aims to burn in as many hearts out there as possible, in Greece and beyond. Why not even at a major international festival?