In this issue we will dedicate our time and energy to one of metals most polarising genres, Black Metal. We feature interviews from some great bands and well as my take on the support of the scenes more "interesting" individuals!
For various unimportant reasons this issue has taken longer than I'd like to compile. It has, however given me the chance to dedicate this issue to the memory of the Prince of Darkness Ozzy Osbourne. I hope you and Randy are having a good time wherever you are.
D. Gilmore Out of Step Uk
Hailing from the vast, frostbitten wilderness of Siberia, Grima have carved a unique path through the modern black metal landscape. Steeped in atmospheric grandeur and nature-worshipping mysticism, their music evokes the raw majesty of ancient forests, echoing with sorrow, fury, and solitude. Today, we sit down with Grima to explore the minds behind the masks, their creative process, and the spirit that guides their art.
As a band, you have a very unique and striking image. Could you tell me about the inspiration behind the band’s aesthetic?
V: We wanted to become a part of our own mythology—to embody the face of Grima on stage and deliver our music alongside a fitting visual representation. We transform into ancient, mighty tree spirits, wearing ritual robes, allowing us to conduct ceremonies in the proper form.
Your latest record 'Nightside' has been incredibly well received by fans and critics alike. How does it feel to get new music out there?
V: Releasing new music is always a very exciting process for us. With every new album, we aim to surpass the previous one—it’s a comprehensive effort that involves songwriting, the album's concept, and its visual design. Everything has to feel cohesive, and that approach requires a lot of emotional investment—we have to fully immerse ourselves in the creative process. We're happy to see such a positive reaction to our music, but even if the reception had been negative, it wouldn’t change how we feel about our work. We’re very proud of Nightside—for us, it was an unforgettable experience.
Is there an overall concept or theme throughout the record?
V: The album is united by a nocturnal theme—the forest is depicted as a mystical temple, inhabited by otherworldly entities. Each new album expands the mythology of the band. We continue working within a concept that began with our very first record. The lore gradually evolves, centered around a mystical vision of the Siberian forest, where the cult of Grima serves the taiga’s darkness. Lost souls wander along endless, twisted paths, Skull Gatherers set out in search of trophies and the dead count the minutes left to the living.
The band’s use of an accordion is also pretty unique within metal in general. How did the instrument's incorporation into your music come about?
V: We use the bayan (a type of accordion) in a way similar to an organ. It’s a striking artistic element that highlights our authenticity. Its sound conveys a sense of Siberian melancholy, something deeply rooted in our homeland. This instrument was frequently used in Soviet animation soundtracks, so in a way, its sound has influenced us since childhood.
I have to admit, Grima is the first band I can think of that has come from Siberia. What is the black metal scene like back home?
V: There has always been an interest in dark music in Siberia. Our city is surrounded by taiga and people feel a primal spiritual connection with nature. Back in the 2000s, we had quite a few music stores selling black metal albums. By the late ’90s, there were already concerts happening with bands who took their understanding of black metal and used it to create their own sound. Harmony in Grotesque, one of Krasnoyarsk’s oldest metal bands, experimented with multiple genres on the fringes of black metal. They’re still active today and remain in good form for a local band. The modern Siberian scene includes several atmospheric black metal projects that have gained more recognition abroad than in Russia. Eoront and Gloosh have a distinct sound with their own unique style—their albums are exemplary works for our region.
My first introduction to black metal was Cradle of Filth's 'Midian' scaring the crap out of me as a kid. What was your introduction to the genre?
V: King Diamond – Voodoo and Cradle of Filth – Dusk and Her Embrace were the first to capture our attention with their eerie aura and horror-infused atmosphere. The dark intros and horror movie-inspired musical elements fascinated and drew us in.
What is it like working with your twin brother? Do you think it helps the creative process being so closely related?
V: We started making music together when we were 12 years old. The creative process has always been collaborative, and we have an easy musical dialogue with each other. Writing music always begins with guitar parts—some songs are written individually, while others are composed together. But in any case, we always shape the final version as a duo. We never write lyrics for an album in advance. Only after all the arrangements are complete do I begin working on the lyrics—my words are a continuation of the music, completing the overall sonic landscape.
Does the band have any plans to come to the UK anytime soon?
V: We have shows scheduled in the UK in May. It’s still early to say, but we think our first visit to the UK will go well.
I understand the band will be playing Ragnarok Festival at the end of April. There are some other awesome bands playing—will you get the chance to check any out?
V: Yes, the line-up is incredible. Many of these bands have been part of our lives since childhood. It’s an honour to share the stage with musicians who have influenced us. We hope to see as many performances as possible, but unfortunately, there won’t be enough time for everything.
Since 1998 England's own 'Old Forest' have established themselves as a consistently great Black Metal band. Vocalist/Synth player Kobold took some time to talk about the bands history as well as their brilliant record 2024's 'Graveside'
Your latest record
‘Graveside’ has been incredibly well received by fans and critics a like. How does feel to get new music out there?
Old Forest live for the creative process – it’s great to have this piece of work out there. Also, it was hanging around for a year before release (we worked on it concurrently with the previous album). Really nice to see people reacting so well to music that was bereft of commercial sensibilities and aspirations. It’s true Black Metal – this is the way
Do you have a favourite track on the record?
About 3 or 4 tracks from the ‘GRAVESIDE’ album are personal favourites ; ‘Curse of Wampyr’, ‘Witchspawn’, ‘Decrepit Melancholy’, ‘Forgotten Graves’... but I generally listen to the whole album all the way through this is not usual for an album that has so much time spent on it – so this is a really good sign. It’s possibly my favourite Old Forest album – an honest record, that really has the atmosphere of 93/94 on it
Is there an overall concept or theme throughout the album?
This time, there was none at all. Thematically, it’s a standard Black Metal album, with the usual tropes and clichés of horror – but it’s done knowingly. Too much time is wasted by creative individuals on frivolous concerns like ‘originality’ and ‘concepts’. We’ve reached a point with Old Forest where we are doing this out of a devotion for creating what originally drew us to Black Metal in the early/ mid 90s. It’s a ‘tribute’ to those feelings.
My first introduction to Black Metal was Cradle of Filth’s ‘Midian’ scaring the crap out of me as a kid. What was your introduction to the genre?
My personal introduction to modern Black Metal was through bring given tape copies, and then obtaining the vinyl of the Emperor mini album & 7”, Darkthrone ‘ablaze’ and ‘funeral moon’, Mayhem DMDS, Satyricon DMT, Burzum first 3 albums and Immortal Pure... then Emperor’s ‘Nightside..’ came along and blew my mind. I loved that Black Metal had the ferocity of Death Metal, but had very melodic and ambient sound. And, mostly, a creative, cerebral and cultured quality that wasn’t moronic, like 99% of Death lMetal
Does the band have any plans to tour to UK any time soon?
No. We very quickly decided that Old Forest wasn’t for the live environment. I personally dislike seeing bands live – even those that I worship. Black Metal, in particular, is not really for crowds. To see it marketed as such is quite depressing to me.
What was it like being an English black metal band in the late 90s? At the time there weren’t a great many home grown bands in the genre.
94-95, it was still virtually impossible to get hold of albums. After a while, perhaps 96,, bands started playing London more, and were great to see –as well as gather will other fans of what was still a very obscure underground scene ; Marduk, Gehenna, Emperor, Dissection, Immortal.. got to see all of those before the venues & egos got too big. However, I still much prefer to listen on my headphones. I wouldn’t go to see many of those bands play now, even in my home town. There were only about 5 or 6 Black Metal bands / projects in the UK up until 98 or so ; Cradle of Filth, Hecate Enthroned, Thus Defiled (who I played guitar for a few gigs with), Ewigkeit (my solo project), Old Forest (my first band) and that was about it.
I’ve always thought the English folklore and history lends itself just as well to Black metal as that of Scandinavia, would you agree?
Old Forest have always taken inspiration from our local nature and history. I don’t understand why people would think they should write about Vikings, mountains and ice if they are from Spain.. That’s just beyond ridiculous. Our most overt use of local culture was with the ‘Tales of the Sussex Weald’ trilogy of Eps, which I think started in 2008 ? It was eventually released as a full album on CD in 2013 (?). More recently, as a double vinyl by ‘Amor Fati Productions’. We also like to use artwork for album covers, which is quite typical of the Victorian era, which has a natural dark and sincere quality of simplicity.
What were the bands influences back at the beginning and has that changed at all?
Biggest inspiration for us were the debut full-lengths of the following bands ; Emperor, Gehenna, Forgotten Woods, Satyricon, BxxZxx, Dimmu Borgir, Immortal, Mayhem... Of course, we dont live in a bubble, and listen to much other music aside from Black Metal. But these are certainly some of the best of that genre, and still influence Old Forest to this day.
It’s been some twenty six years since the bands debut. If you could tell anything to your younger selves about being in a band what would it be?
We should have written & recorded more, pontificated less, been more ferociously independent and just have done as much as possible. But you can’t turn back the clock, so we will do that now instead...
Few bands have weathered the storm of black metal’s evolution with the consistency and venom of Enthroned. Hailing from the unholy depths of Belgium’s extreme metal scene, the band has remained a steadfast force of darkness for over three decades. I sat down with vocalist Normgast to discuss the bands legacy, the spirit behind the chaos, and what lies ahead for the blackened horde.
Interview with Nornagest (Enthroned)
I understand the band is in the studio recording the new record at the moment. How is it coming along?
Indeed, we are currently entrenched in the recording of our twelfth full-length, and the process has taken on a life of its own. With the band now distilled into a trinity of purpose and will, there’s a renewed intensity surging through every layer of this work. What’s emerging isn’t just a continuation, but something sharpened, stripped to its essence, and utterly uncompromising. The studio has become more than just a space, it’s a vessel. And while we’ll keep the veil over the details for now, rest assured: what’s coming will speak with venom and conviction when the time is right.
Is there an overall concept or theme throughout the album?
There is indeed a thread woven through the album, though it's not one bound by linear narrative or dogmatic clarity. It’s more of a vision—a fevered revelation, if you will. A journey through spiritual collapse and ascension, where the sacred is desecrated and the desecrated becomes sacred. We explore the fracture between voice and silence, flesh and light, the illusion of divinity and the raw assertion of will. It’s not an album that offers answers—it proclaims, it dissolves, it transcends. But I’d rather not reveal too much just yet.
Would you say that the new album is a continuation of your last record (2019 Cold Black Suns) or something different entirely?
This album marks a threshold. A severing. The band has entered what we internally refer to as The Third Woe, not merely a new chapter, but a new state of being. The essence of Enthroned has been distilled to its raw form: direct, crude, brutal, yet cloaked in darkness. There is no pretence here, no adaptation to trend or expectation. This is the sound of conviction, sharpened to a blade. With the trio restored, the vision has grown clearer, each of us moving as one, not in agreement, but in unity of purpose. The recording process reflected that: unfiltered, merciless, and driven solely by the will to honours That to whom this offering is dedicated. This work does not
Previously you were the bands guitarist. How did you find the transition from that to frontman? I appreciate the change was necessary but was that a position you feel you'd have gravitated too without the onset of your tendinitis?
The transition was not something I sought, nor something I welcomed. It was born out of necessity—first from within the band, and later from within the body itself. When our former vocalist departed. It became clear that something had to shift. I began the process of searching for a replacement, but it was the others in the band who insisted I take that role. I resisted. It wasn’t a position I desired. But the pressure grew, not from ego or ambition, but from those around us: bandmates, allies, the audience. There was a sense that this was the path, whether I liked it or not. Eventually, I gave it a try. And once I stood in that space, something aligned, something cold, something clear. It became less about performance, and more about transmission. The tendinitis was the final nail. It forced the separation between the physical weight of the guitar and the spiritual burden of voice. I remain involved in composition and recording, of course, but live, I now channel only the
If Wikipedia is to be believed. You originally turned down playing on the bands first record way back in 1995. Is this the case, if so what led to your change of heart?
I am not sure if Wikipedia is the best source of reliable information but to be clear on this matter, there was no change of heart. The simple truth is, I did not play on the first record because I was not ready, and more importantly, I had contributed nothing to its creation. By the time I joined, the material had already been written and recorded. The producer offered to re-record the guitar tracks with me, since the album wasn’t released yet, but I refused. That record was not mine to claim. Black Metal is not about ego or convenience. It is about conviction—and stepping into something you have not built, simply to have your name on it, was never an option. I stood aside because it was the only honest thing to do.
My first introduction to Black Metal was Cradle of Filth's 'Midian' scaring the crap out of me as a kid. What was your introduction to the genre?
My introduction to Black Metal was never a single moment of revelation, it’s always been a part of me. From a very young age, it was in my blood, as my direct cousin is one of the founding figures of the genre. You could say it runs in the family. My upbringing was shaped by both worlds; on one side, my mother was involved in esoteric matters, and on the other, my father’s English side of the family brought with it the raw energy of metal and punk. These influences didn’t collide, they merged, and from that union, Black Metal became the natural tongue, a language I understood before I even realized I was fluent in it. It was never about discovering the genre, it was something that grew within me, nurtured by my surroundings. You could
Does the band have any plans to tour to UK any time soon?
For now, our focus remains on bringing the new album into being, as it must be. London, however, holds a particular place for us—New Babylon, as we call it. The city stands as both a monument and a crucible, and we recognize the devotion of our followers there. While nothing is set in stone at this moment, rest assured, when the time comes, we will return.
It's been some twenty eight years since the bands debut. If you could tell anything to your younger self about being in a band what would it be?
The first album was actually released 30 years ago, not 28—time slips by, but the essence remains. What would I tell my younger self? Perhaps to make certain decisions sooner, but I don't dwell on regrets. Every mistake, every misstep (of which there were many) has shaped the path I walk today. It was all part of the process. Adversity was never something I bent to, nor were the countless obstacles we faced. They were part of the fire, part of the crucible. And I wouldn’t change any of it, because it’s brought us here, standing tall despite it all.
If there's anything else you'd like to promote feel free to add it here:
Our new album is coming this fall, released through Season of Mist. Keep your eyes open. It will be unleashed when we say it’s time. We don’t need to waste words, just feel the impact
As fans of Black Metal, we quickly come to realise that many of the musicians we devote our time, money, and attention to often hold views that clash—sometimes violently—with what society generally considers acceptable. This raises a difficult and recurring question: should we enjoy art created by those of questionable moral character, or should we cut ourselves off entirely from their creative output?
Art, in any form, is undeniably a reflection of the artist. So, when we consume media created by individuals or groups with unsavoury beliefs, are we opening ourselves up to those influences? Perhaps. But does that exposure necessarily matter? As long as we live according to our own moral compass, can it really cause harm?
There’s a valid argument that by supporting controversial artists— whether through album sales, streams, or ticket purchases—we help amplify their voices, giving them a platform to spread hate. On the other hand, some outspoken musicians use their own platform to hang themselves out to dry, exposing their ignorance to widespread ridicule. In many cases, the absurdity of their views undermines them more effectively than any boycott could.
Black Metal’s roots are steeped in controversy—church burnings, murder, and ideological extremism, particularly in early 1990s Norway. Most readers will be familiar with the crimes of Varg Vikernes, Faust of Emperor, and Jon Nödtveidt of Dissection. These acts were, and remain, deeply repugnant. And they’re far from the only ones. So where do we draw the line?
For example, I will never listen to another Lostprophets track, yet I still find joy in In the Nightside Eclipse. Why? Because ultimately, it comes down to personal boundaries and what each of us can reconcile internally.
There’s also a broader social dimension to consider. If an artist actively promotes hate or harmful ideologies, supporting them—even passively—might contribute to normalising those beliefs. Still, it’s equally valid to argue that individuals should have the freedom to engage with art however they see fit, without being seen as endorsing every aspect of the artist’s life or worldview.
I recently asked a few musicians for their thoughts on this thorny issue. Here’s what they had to say:
Kobold – Old Forest
“I think boring bands are desperate for attention and use controversy as a gimmick. Music and politics, in my view, make poor bedfellows. The only band I listen to that’s (incorrectly) seen as political is Burzum. I got into them before Varg went to prison and started spouting his badly-formed ‘ideas’. Those first three albums are 90s Black Metal classics and have nothing political in them. Count Grishnackh was musically brilliant; Varg, however, was mostly a twat.”
V – Grima
“There are plenty of controversial bands that make powerful music while promoting extreme ideas. They attract attention with their statements, but in doing so, often lose touch with the music itself. For me, the sound is what matters most, regardless of the person behind it.”
Normgast – Enthroned
“We don’t concern ourselves with the politics or personal views of others. Our focus is the sonic ritual. What others do or think is their own business. It doesn’t affect us. We walk our path according to our will, and respect the space we occupy, leaving others to do the same.”
In the end, it’s up to each listener to decide where their boundaries lie. Some will choose to separate the art from the artist; others may find the connection between the two inseparable. As for me—I can enjoy the music of Emperor, Dissection, and yes, even Burzum, without burning churches or stabbing anyone.
And maybe that’s the point. Art doesn’t make us who we are—it just challenges us to figure that out for ourselves.
Behemoth- The Shit Ov God
For years I was under the impression that a didn't like Black Metal at all. Granted I hadn't really exposed myself to much outside of one or two key bands. Now in 2025 I'm very much in love with the genre. As it turns out it was just Behemoth that I had a problem with.
So once again the stars have aligned and it's time to see if that opinion has changed with the bands newest record, 'The Shit Ov God'. This time around I just about managed to keep my hand off the skip button but it didn't have me reaching for the baby oil and butt plug either.
Lazy album title aside the record itself is pretty much what any passing listener would expect from the group. Excellent musicianship and guttural delivery but missing the stand out tracks of years gone by.
I am loathe to use the old adage of 'more style over substance' but that seems to be what has happened here. The band have always had a strong image and that remains the same. It is a shame that songwriting doesn't seem to follow.
A competent and no doubt passionate effort but For whatever reason Behemoth's appeal continues to allude me. Well I guess its back to the dark oubliette in which I dwell to listen to my Mayhem and Darkthrone bootlegs.
Warmoon Lord - Sacrosanct Demonopathy
Needing a palette cleanser after reviewing the latest Behemoth record I decided to risk it all on a band called Warmoon Lord and their latest offering Sacrosanct Demonopathy. Like my pull- out game this was a gamble worth taking.
The album is a harsh and brutal call back to the Black Metal of the 1990's. It reminds me of Gehenna, Old Forest and early Burzum. In addition to the cold soundscapes the band paint there is a wonderful Melodic twist to the music due largely to some fantastic guitar lines and keyboard/syth parts. These are kept low in the mix but add a fuller and more dynamic sound than I was expecting.
My favourite part of SD are the vocals. Sounding like a particularly pissed off demon being kicked in the balls the vocalist uses their voice in a way that demands attention yet doesn't distract from the overall composition. Musically each instrument works as a collective, without one overshadowing the other, a hard task for many groups and one I appreciate.
I'm not sure what I was expecting from Warmoon Lord but with this album the band has pushed the boundaries and expectations of what Black Metal in 2025 truly is. Marvellous work.
Album Review
Gaahl's Wyrd - Braiding the Stories
Being the dishevelled heathen that I am I was mostly unaware of Gaahl's music outside that of his time with Gorgoroth. It came as some surprise then for me to hear his latest record "Braiding The Stories".
Rather than the abrasive black metal I was expecting this album sits somewhere in the progressive and atmospheric landscapes. Gaahl's clean vocals are much more soft than I thought possible. They could even be described as soothing at times. The frontman never breaks into his trademark throaty roar. Instead he uses the aforementioned clean vocals and frequent use of the spoken word which adds a huge amount of atmosphere to the already rich palette of this band.
For reasons that are hard to pin down this record has an eerie, otherworldly aura surrounding it. This aura bursts with images of nature and isolation in a way that I've rarely experienced.
Like a group of confused American journalists being lead up a Mountainside in the Winter. This record took me on a surprising Journey (If you get that reference we can be friends). Overall 'Braiding The Stories' is an accomplished, passionate and retrospective album. Is it Black Metal? No not really. It is somewhere in between genres and holds a unique grip over me perhaps more than anything else I've heard so far in 2025.
Draugveil – Cruel World of Dreams and Fears
Reviewing this record in the traditional sense would be like giving your political opinion at a family barbecue after eleven pints of lager. A no win situation. There are many claims out there stating that this album is AI generated as is its cover art. Having listened to it a few times I can't say definitively either way. Like the musical variation on display during "Cruel World of Dreams and Fears' my options are rather limited in giving my opinions good or bad.
If indeed it has been created artificially then it deserves no more attention than a straight person at a gay pride event. The individual that entered the prompts and claimed it as their own has no business being in any scene let alone the Black Metal one.
On the other side of this double edged sword if the artist created this legitimately then why not come out and dispel the rumours so we can digest his work without reservation? As a side bar I did reach out to 'Draugveil' to do an interview and set the record straight. As of writing i have had no response.
To sum up my meandering point here's a poem Chat GPT wrote about AI taking over Black Metal. I hope the irony is not lost.
“No frostbitten fingers, no candlelit screams, Just prompts and plugins birthing your dreams.
No church to burn, no blood to shed— Just AI riffs from a file called dead.
No forest walks or pagan lore, Just loops from Hell's app store. Trve kvlt, they say, with lifeless pride— All hail the algorithm… the scene has died.”
