With new vocalist Necrosodom rounding up the Azarath lineup after the departure of previous vocalist Bruno, the band released their new album, Blasphemers' Maledictions last year. The difference in the sound of the albums before and after the entrance of Necrosodom is obvious, with Blasphemers' Maledictions showing a more intense side of the band. We talk to him to find out more about the writing of the new album, and their departure from Agonia Records...
HMT: Greetings Necrosodom! Thank you for gracing our interview column once again! Before we begin the interview proper, how are things going for yourself and the band?
Necrosodom: Hell-o! Everything seems to be on the right place. We just came back from the Hatefest tour in company with Marduk, Triptykon, Kataklysm and the others. At the moment we focus on our private things and so on.
This year sees the band release your new album, Blasphemers’ Maledictions under Witching Hour Productions, while the band’s previous releases were handled by Agonia Records. What was the reason behind the switch in labels, and how has it been working with Witching Hour so far?
N: The fourth album “Praise the Beast” was the only one released by thievish Agonia. Lack of honesty and unprofessional attitude to the bands rises upon this label as a stench of a rotting cunt. I’d like to warn everyone before its’ owner of Agonia Records (Filip Jewsion) who hardly ever adheres to conditions of signed deals. He’s a fucking humbug and he owes a lot of money to many people and bands (including me and my non-existing band Thunderbolt). Witching Hour build their position on entirely different basis. They are professional and honest partners. Since we cooperate together, we have wide promotion, we play regular tours, etc.
Bart: I have to add that as AZARATH we have nothing to complain about Agonia Records work. They did everything they were obliged with the deal.We were not defrauded in any way and we hadn't experienced any unprofessional attitude to our band. We had one record deal, completely fulfilled.
As for the new album, how has the response been so far?
N: The most of reactions are very enthusiastic, especially from foreign fans and magazines, but we also get some disappointed voices from people who expected the album in vein of the previous ones. Well, we state that Black Art needs to be unexpected and usual forms need to be refreshed from time to time. We won’t stand in one place. We look for the new dimensions to express ourselves and we are still brutal Death Metal band.
When listening to the new album, the evolution in musical direction is prominent, with the band now focussing more on both the speed and intensity compared to the previous album, Praise the Beast. Was this a conscious shift on the band’s part?
N: All things recorded before “Blasphemers’ Maledictions” were more violent, chaotic and aggressive. The last album is the most ordered, temperate and epic than everything what Azarath did before and those changes were conscious. Bart and Inferno are responsible for the musical side and this time they wanted to create some different atmosphere.
On top of the heaviness in the music that the band has built up over the years, there are also various influences that can be heard such fellow countrymen such as Infernal War, especially in the guitar department. What are some of the other influences that the band has incorporated in the songwriting this time round?
N: We never look at other bands how they create their songs or riffs. We just do our best to catch specific atmosphere for our band. We listen to many bands and many music styles and the final effect is a resultant between our ideas and feelings. Maybe there are some unconscious influences too.
The song that surprised me was the introductory track, Arising the Black Flame, which was a short 4 second track. How did that track come to be included on the album as a separate track, instead of being placed together with the next track?
N: We wanted this album to contain 11 tracks regarding to eleven Chaos Gods standing behind the name of Azerate. Initially we had longer introduction, but we weren’t perfectly satisfied, so it was shorten to the one essential verse: Lucifer illuminatio mea!
How has the songwriting process differed compared to previous releases, especially this was your first time contributing to the creative process for the band ?
N: Bart and Inferno are still the main songwriters. I was responsible for the lyrical content of the album and it’s the only significant change in the band. I wrote all lyrics during one month, sitting and writing everyday for many hours. It was so fucking intensive and draining, but I was really satisfied when I finished. Those are the best lyrics I ever made. Occult themes and reality inspire me a lot but I look at everything through the prism of my beliefs which of course correspond with other members’ thoughts.
Another difference that was noticed is in the artwork of the album. While previous albums had simplistic white-on-black album artwork, the artwork on Blasphemers’ Maledictions displays a different style. What was it that made the band decide to do so?
N: In the same time when the songs being created, we reached the point of awareness that if the album is something new from the musical side, we need totally new graphic concept, pictures, etc. – the new uncompromising quality in any way.
Are there any underlying concepts or themes behind the album artwork and the music and lyrics of Blasphemers’ Maledictions?
N: We never let the things go accidentally. “Blasphemers’ Maledictions” is a conscious form in any way. There’s even no accidental cedilla or dot in the lyrics. We concern on our beliefs which guide us through “cursed” knowledge in the search for the inner flame of divinity. We blaspheme against the godly forces which trapped us within the boundaries of the cosmic prison. All songs are more or less involved in chaos philosophy and all together are the anthem for Chaos Gods to rise.
Prior to the release of Blasphemers’ Maledictions, the band released the Holy Possession EP, which featured a track from your other band, Damnation. What was it that made the band decide to do a cover of a song of your previous project?
N: It was my idea to do a cover song because for me Damnation was the best polish death metal band. Bart and Inferno were members of Damnation in the past, so when I joined Azarath once I asked them to do any song to play on live shows. We decided to record the title song from “Rebel Souls” album during the recordings for “Blasphemers’ Maledictions”.
The band also recently saw the addition of P. on bass. How did this come about, and how has it affected the dynamics within the band?
N: We know P. since many years. Once he was the guitarist for polish Death Metal band Lost Soul and also the technician for Behemoth and Marduk. He’s dedicated person to everything he does and very good musician.
Azarath recently embark on the Hate Fest Extreme Tour this December with bands like Marduk, Triptykon and Kataklysm. How was the Touring Experience like?
N: Hatefest was very worthful experience for us. We did 17 gigs in Germany, France, Switzerland, Austria, Czech Republic, Belgium and Netherlands. Touring with Triptykon and Marduk was great thing. Especially watching the shows of Triptykon every evening on stage were special moments for me - the more I saw, the more I understood the phenomena of Tom G. Warrior and all his previous bands. I was always big fan of Hellhammer, Celtic Frost and Triptykon but after that tour I am totally insane about those bands and their creations. I want them more!
We have come to the last question of the interview: the last words are yours!
N: Stay strong and never give up!
Thank you once again for answering our questions, and we wish you and Azarath all the best in all upcoming endeavours!
N: Thanks for the interview. Hail Satan!
Related articles:
Interview with Azarath (2010)
Azarath on the internet:
Official website
MySpace
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