never written as a concept album but there is a simple truth inherent; that without sacrifice there can be no evolution. The roots of classic black metal are visible, but you also put some modern ritualistic soundscapes. This is where the mundane darkness meets the esoteric pursuit? With this album we intended to paint a vivid picture through sound and word of the undertaking of a sinister journey, it is one that of course requires sacrifice in order to transform, evolve and become enlightened through the trials and ordeals. As befits the nature of our music some ritualistic elements are present and besides employing vibrational chant into the vocal style these lay very minimally within the album’s sound. The magickal aspects of the album really lurk between the hidden lines and
don’t display themselves overtly. The esoteric pursuit, as you mentioned, is what is expressed in a poetic way through the album and while music is only an artistic platform, the darkness sought and expressed is far from mundane. Let’s talk about the artwork… I see a gateway from where light is expanding and a creature is reluctant to accept it. Can you explain the concept? It is good that you are using your intuition and imagination to interpret this artwork, as far as the painting itself is concerned the concept can be rather amorphous and malleable. When working with Denis Forkas Kostromitin to construct “Temple Under Hell”’s artwork, both parties existed on two different yet synchronously connected wavelengths. Besides discussing the general tone and theme of the al-
bum we had no involvement in the conceptual creation of the painting and it is this process we feel has born a unique and genuine work of art stemming from the creative regions of a very unique and genuine person. The artwork is inspired by the theme inherent in the album, that being a descent and spiritual transformation through the ecstasy and horrors of the underworld. On Denis’ part it is also inspired by ‘Visio Tngdali’, a medieval tale with common theme and inspiration to Dante’s Inferno. While this text was tapped for his own artistic study in spiritual alchemy, his choice absolutely reflects our own initial visions for the album in composition and intent. Are you influenced by the European scene? I can see some Watain in you – and take this as a compliment.
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