interviews by fok ‘bs’

“When we started Doomherre, we already had a very clear vision of what we wanted to play.”

“We started to see the album more as a collection of horror stories.”

“‘Bonegoat.’ It really sets the mood.”

“People often tell us: ‘You sound like five people on stage — where’s the rest of the band?’”

“Everything is important – it’s all part of the artistic process.”

“Darkness can be beautiful, but it can also challenge the listener.”

“If a song doesn’t move us, we scrap it.”

“We’ve found our sound and the kind of music we want to make.”

“Our writing is mostly myth-building, but there’s probably a lot of subconscious material working its way in as well.”

“A full concept album that’s 100% Bonegoat saga is something we definitely want to do.”

Doom metal has always been about more than distortion and despair.
At its most potent, it builds worlds – places where atmosphere, symbolism, and sound merge into something oppressive yet strangely magnetic.
Doomherre understand this instinctively.
With ‘Serpent Shrine‘ and an upcoming album increasingly described as a ‘Book of Horror‘, the band delve deep into myth, decay, and emotional weight, without losing sight of the human pulse beneath the ritualistic surface.
Drawing on shared roots in ’90s death metal, stoner heaviness, and raw underground ethos, Doomherre craft music that feels ancient but lived-in – heavy not just in sound, but in intention.
We spoke with Doomherre about horror as narrative, atmosphere as architecture, and why Doom doesn’t have to choose between darkness and beauty.
‘Serpent Shrine‘ is a title filled with ancient and arcane imagery.
If that shrine were an actual physical place – what would it look like, and what sensations (smell, sound, atmosphere) would someone experience stepping inside?
“An overgrown temple, lit by burning torches, with the constant smell of decay hanging in the air.”
Your upcoming album has been referred to as a sinister ‘Book of Horror‘.
Is there a central storyline that binds the chapters, or is the concept intentionally fragmented like nightmares stitched together?
“Some of the songs follow a storyline, similar to what we did on ‘Bonegoat’. But since not all songs were written for that narrative – and some story-connected songs didn’t make it onto the album – we started to see it more as a collection of horror stories. Both approaches work well for us.”
Doomherre is built on members with roots in very different scenes – Stoner, Death, and raw underground metal.
How has this mixed heritage shaped your personal definition of what Doom should be in 2025?
“We actually got to know each other back in the ’90s, when we were all playing death metal bands, so we share that background. We’ve all played in stoner bands as well – only one of us has experience in progressive metal. When we started Doomherre, we already had a very clear vision of what we wanted to play.”
You’ve described ‘Dark Hand‘ as one of your most personal tracks.
If it had been written as a diary entry instead of a song – what would that entry have said?
“Another night with no sleep. This sucks big time.”
Were there songs on the EP where you deliberately decided not to lean on classic Doom conventions – in favor of something more experimental or even uncomfortable?
What motivated those decisions?
“’Stormfather’ and ‘This Burning Guilt’ were written from music that existed about ten years before Doomherre was formed, so they’re a bit more melodic. Max suggested I should sing more in the hard rock style I used back then, and it worked out great. The music for ‘Bonegoat’ also comes from that period.”
“’Serpent Shrine’ and ‘Hymn for Helios’ have Iron Maiden-inspired parts at the end – we wanted to see if we could pull that off without sounding lame. I think we delivered, and they’re great songs for festival crowds.”
Your lyrics often feel like stories wrapped in symbolism.
How much of your writing is metaphor for real experiences – and how much is meant as pure myth-building?
“That’s a great question. Mostly myth-building, but there’s probably a lot of subconscious material working its way in as well.”
You follow a strong DIY ethos – from songwriting to releases.
What freedoms has that given you, and where has it forced difficult decisions, compromises, or even creative limits?
“Compromises are always part of the process. In terms of limitations, time and energy are the biggest challenges. I handle most of the tracking and am present at almost every recording session except bass tracking. Add mixing the album to that – while also working full time – and it becomes a balancing act.”
Atmosphere is crucial in Doom – but how do you balance the visual element (cover art, logos, stage presence) against the raw power of sound?
Are they equal tools, or secondary to the music?
“Everything is important – it’s all part of the artistic process. We’ve worked with incredible artists to create our visual world, and our sound is carefully constructed to be massive live.”
“People often tell us, ‘You sound like five people on stage – where’s the rest of the band?’ That’s because Daniel hits like two drummers, Max plays like a second guitarist and bassist at the same time, and we all push beyond just our instruments.”
If Doomherre were not a band but a place – a landscape – what would that landscape look like?
Is it a forest, a ruin, a frozen shoreline, or something far less earthly?
“There’s a castle ruin in Scotland called Dunnottar. That place inspired the lyrics for ‘This Burning Guilt’. I’d love to visit it someday.”
Doom is often associated with despair, loss, and decay – but do you see beauty, release, or even hope within darkness?
Or should Doom remain merciless by nature?
“Doom actually covers a wide emotional range. Pentagram, for example, has a lot of variety in their lyrics. Darkness can be beautiful, but because Doom carries so much emotional weight, it can also challenge the listener. Sometimes it’s wise to take a break.”
Songs like ‘This Burning Guilt‘ evoke themes of failure and inner demons.
Do you see Doom Metal as catharsis – for musicians, for listeners – or more as confrontation without escape?
“We write songs with the hope that others will feel what we feel when playing them. If a song doesn’t move us, we scrap it. That’s our standard.”
“The lyrics are often inspired by art or images I’ve seen. I connect those visuals to storytelling. Music is very visual to me – I try to conjure cinematic scenes and situations through the lyrics.”
Imagine looking back five years from now – how would you want Doomherre to have evolved sonically, visually, and emotionally?
“We’ve found our sound and the kind of music we want to make. Better production is always a goal – and having someone on stage in a Bonegoat costume, Iron Maiden-style, would be amazing. A full concept album that’s 100% Bonegoat saga is something we definitely want to do.”
If you had to introduce your music to someone who has never heard Doom before – which Doomherre track would you choose, and what would you tell them right before the first note hits?
“’Bonegoat’. It really sets the mood.”
Doomherre don’t treat Doom metal as a relic or a genre box to tick.
For them, it’s a landscape – one shaped by ruins, stories, and emotional gravity.
Whether through mythic horror, personal exhaustion, or sheer sonic force, their music invites listeners into a space that is oppressive, immersive, and strangely alive.
‘Serpent Shrine‘ stands not just as a song or a title, but as an entry point into that world – a place where decay breathes, darkness resonates, and Doom remains as heavy in meaning as it is in sound.
by Fok ‘bs’

“The challenge lies in condensing storylines that can take over 100 hours to play into a few minutes of music.”

“Not everything always has to be black and white – there are shades of grey, even in power metal.”

“The music always comes first. The story is just context if you want to look for it.”

“A balance between power metal, heavier elements, and orchestral parts is what makes us stand out.”

“We form a bridge between Ensiferum’s heaviness and Freedom Call’s joyful power metal.”

“We never really tried to avoid nostalgia – we grew up with that sound, and we embrace it.”

“Whenever I listen to music, I automatically see images. Translating that into artwork feels natural.”

“Perseverance defines us. We’ve made it this far against all odds.”

“If you can connect things into a bigger picture in hindsight – why not?”

With their new single ‘Shadow and Flame‘, Austrian power metal veterans Dragony close a conceptual trilogy inspired by the dark fantasy worlds of FromSoftware.
What began as a fascination with ‘Dark Souls‘ and ‘Bloodborne‘ now reaches its conclusion in ‘Elden Ring‘ territory – not as a rigid concept exercise, but as a natural extension of the band’s musical instincts.
Rather than chasing trends or reinventing themselves for the sake of novelty, Dragony continue to refine a sound rooted in late-’90s and early-2000s power metal, expanded through cinematic production, visual storytelling, and a steadily evolving lineup.
As the band approach their 20th anniversary, perseverance – both thematic and real-world – has become a defining trait.
We spoke with the ‘Dragonslayer‘ Siegfried Samer about translating sprawling game universes into songs, embracing ambiguity in power metal, and why longevity sometimes matters more than grand plans.
‘Shadow and Flame‘ completes a trilogy of FromSoftware-inspired songs.
Looking back, what did this journey teach you about translating interactive worlds into linear music?
“I think the interesting part and challenge lies in condensing sometimes very long storylines in games that can take over 100 hours to play into a few minutes’ long song. But since I’m a huge fan of these games, I found that always very enjoyable.”
Power metal often leans toward clear heroes and villains.
How do you approach moral ambiguity when drawing inspiration from darker fantasy universes like ‘Elden Ring‘?
“I think that’s intriguing about these games, that most of the villains have sad backstories, so defeating them is always a bit bittersweet. I think that works well in a musical context, even in Power Metal – that not everything always has to be black and white, but that there are shades of grey.”
This single feels both epic and restrained.
How important is contrast – between light and shadow, melody and heaviness – in Dragony’s songwriting today?
“I believe we have evolved our songwriting considerably over the years, which has much to do with the changes in our lineup on the one hand side and with including our producer Frank Pitters more and more into the whole songwriting and production process. Everyone brings different elements to the table, and our sound today is basically the amalgamation of all these elements. A balance between the Power Metal, heavier aspects and the more flamboyant orchestral parts is what makes us stand out in the genre, I think.”
You’ve worked extensively with layered narratives in recent years.
Do you see yourselves primarily as storytellers, or as musicians who use stories as texture?
“Definitely the latter. The music comes first, and whatever I use as inspiration or background for the lyrics, is really just that – a bit of context for the music to add some additional meaning if you are looking for it.”
With an expanded vocal spectrum now at your disposal, how has your perception of what a ‘Dragony song‘ can be changed or challenged?
“This we will see more clearly in the future when we write more songs with Maria in mind as an additional vocalist. ‘Shadow and Flame’ was a first effort in that direction, but originally not planned with so many vocalists in mind – that just sort of happened. In future songs, I guess we will explore those options more deeply.”
Your music often sits at the crossroads of classic power metal and modern cinematic production.
How do you avoid nostalgia becoming limitation?
“We never tried to avoid that, haha. From the start, we’ve always said that we wanted to make music reminiscent of the Power Metal of the late 90s and early 2000s, which I grew up with. Over the years the songwriting has of course changed a bit and adopted other influences which naturally happens when you listen to a lot of different contemporary stuff… but at the end of the day we don’t really think too much about that, but just want to write music that we enjoy playing and that our listeners hopefully like as well.”
From artwork to orchestration, Dragony place strong emphasis on visual imagination.
At what point does an image become a song – or a song become an image?
“It works quite naturally for me, as whenever I’m listening to a song (not just Dragony), I automatically get visual images in my mind. So I guess when I’m the one creating the song as well, I have those images and those can then be translated into artworks or background stories for the respective songs quite well.”
Front-loaded concepts can sometimes overshadow emotional connection.
How do you ensure that listeners still feel something personal beneath the epic layers?
“I think this happens through the stories that we tell in our songs, as that’s the essential purpose of storytelling as it has been throughout mankind’s history – you tell stories so that the listeners might learn something from them and apply it to their own lives. I think it works much the same with music – it leaves a lot of room for interpretation, and people can take from it whatever element or idea works for them.”
The FromSoftware worlds are defined by struggle, decay, and perseverance.
Which of those themes resonates most strongly with Dragony as a band right now?
“Definitely perseverance. In 2027, the band will turn 20 years old – and I guess we’ve made it this far pretty much against all odds. We started out as a band of humble younglings who didn’t have much grasp of songwriting, music production or live performances, but gradually grew as musicians and performers, and even through difficult times like the Covid19-pandemic managed to keep the band going, even though it was always only as a passion project and never on a ‘full-time job’ level. So I think this perseverance against all odds is what defines us.”
Touring with bands like Ensiferum and Freedom Call brings very different shades of metal together.
What do you think Dragony represent within that broader power-metal ecosystem?
“I think we form the bridge between the epic but heavier and more Melodeath- and Folk Metal inspired music of Ensiferum and the super-happy Power Metal of Freedom Call, as we incorporate elements of all these styles into our songs at one point or another, especially now with Maria who is also contributing some extreme vocals now to several songs. It’s an interesting mix to be sure, but should be quite a unique experience for the live crowd!”
Do you consciously think in ‘chapters‘ and ‘arcs’ when releasing music – or does that structure only become clear in hindsight?
“Not really. We just do what we feel up to, and if in retrospective you can tie it to a common whole… then why not? Haha!”
If ‘Shadow and Flame‘ were stripped of its references and imagery, what core idea or emotion would still define it?
“I mean the music would stay the same, so it would still be an epic, melodic Power Metal song – but whatever alternative lyrics would be then included would I suppose recontextualize the song, don’t you think?”
Now that this trilogy is complete:
does Dragony feel more inclined to build new worlds – or to break away from worlds entirely and write from a different place?
“We’ve actually not thought about that too much yet, we’ll see what the future brings after our big European tour with Ensiferum and Freedom Call!”
As ‘Shadow and Flame’ brings Dragony’s FromSoftware-inspired chapter to a close, the band appear less concerned with what comes next than with staying true to what brought them here.
Their approach remains instinctive rather than calculated – rooted in a love for classic power metal, shaped by collaboration, and carried forward by persistence rather than pressure.
With a major European tour ahead and two decades of band history on the horizon, Dragony continue to prove that longevity in metal isn’t about chasing reinvention, but about knowing when to evolve – and when to simply keep going.
by Fok ‘bs’

“Destruction and rebirth are the engine of evolution.”

“Changing one event might only replace a known horror with an unknown one.”

“The Doomed Cycles world is our real world – just seen without filters.”

“Our music is a lens that forces people to see extreme realities up close.”

“Every myth carries a lesson.”

“Truth is revealed when structures fall.”

“Collapse is the end of an illusion.”

“There is a brutal and honest aesthetic in chaos.”

“Metal refuses to be background music.”

“Our art is the culmination of all our life experiences.”

In an era where shock has lost its impact and collapse has become a daily headline, Cult of Alcaeus approach metal not as provocation, but as revelation.
With their conceptual trilogy ‘Doomed Cycles‘, the Portuguese band strips away illusion to expose a world caught in an eternal loop of destruction and rebirth – not as fantasy, but as reality seen without filters.
In this interview, vocalist Ares Baal reflects on myth-making, philosophical decay, the beauty hidden in chaos, and why metal still matters in a desensitized world.
What emerges is not a manifesto, but a challenge:
if the cycle is inevitable, what will you do once you truly see it?
‘Doomed Cycles‘ frames humanity in a loop of destruction and rebirth.
If you could rewrite history with one break in that cycle – what moment or decision would you change, and why?
“First of all, thank you for inviting us to this conversation! It is an excellent and complex question to start with!
The truth is, there are countless moments I would be tempted to rewrite… The rise of a tyrant, the fall of an empire, or a disastrous technological decision. But I believe both destruction and rebirth are necessary. Changing one event might just exchange a known horror for an unknown one. There is no guarantee that the new cycle would be better. So, I would not change anything. The cycles, however painful they may be, are essential. They are the engine of evolution, the only force that truly cleanses the decay to allow something new to emerge. I accept the cycle.”
You explore heavy existential themes – but offstage, what genuinely inspires you?
Literature, film, philosophy, real-life experiences?
“What genuinely inspires me is Art. Music, obviously, but also cinema and literature, which are great forms of storytelling. Then I also have my life experiences, like traveling and seeing how the world works in other places. But what I think inspires me the most is people. The way they interact, their stories, their struggles, their obsessions, their failures, their resilience… These are the things that make my brain work and give me a lot of inspiration.”
Your music – and especially the ‘Doomed Cycles‘ concept – seems to have philosophical underpinnings.
Do you view your art as social critique, personal catharsis, prophecy, or something else entirely?
“Fundamentally, what I really enjoy is telling stories. People can interpret them as social critique or catharsis, and those messages may in fact be there. What is real can blend with what is fiction. But for me, the priority is the narrative. It’s the art of taking an idea and turning it into an intense story.”
When writing the trilogy, did you feel like you were constructing a myth or a warning?
And if the latter – warning to whom:
to society, to individuals, to a future generation?
“The main focus is always the narrative, so I feel I was primarily constructing a myth. However, every myth carries a lesson, so the trilogy ends up functioning as a warning. But it’s a warning focused more on the individual. I’m not interested in warning society, which often chooses not to see. The warning is a challenge to those who are already aware. Knowing that the cycle is inevitable, what do you do with that information?”
If ‘Doomed Cycles‘ were not just a concept but a world – what would that world look like?
A ruined cityscape, a broken civilization, a psychological hellscape – or something stranger?
“The ‘Doomed Cycles’ world is our real world, but seen without filters. All those ideas of ruined cityscapes, broken civilizations, or psychological hellscapes are real things. They are happening right now, somewhere on the planet. But for most of us, they seem distant. I believe our explosive, chaotic, and intense music is a lens that forces us to see the world’s most extreme realities up close.”
Looking ahead:
If you could complete a second trilogy after ‘Doomed Cycles‘ – what would it be about?
Rebirth? Resistance? Salvation? Despair?
What message would you want to leave behind?
“The ideas are always emerging, but our music stems from what we feel intensely in the moment. We don’t force themes. The next trilogy will be built on the pure emotion that dominates us at the time of creation.”
Your music carries a distinctly Portuguese atmosphere – even without overt cultural markers.
Do you believe your country’s history (empire, tragedy, fado-melancholy, revolution) subconsciously shapes your sound?
“Yes, in part it is inevitable. The art we make is the culmination of all our life experiences, and the history and culture of Portugal are what is closest to us. The country carries the weight of a certain historical melancholy, ‘saudade’, or the feeling of tragedy and lost glory. We don’t use obvious cultural markers, but that atmosphere and feeling also can end up being present in our sound, even if subconsciously.”
Metal scenes differ drastically from country to country.
What defines the Portuguese metal community in your eyes – and what do you wish the world understood about it?
“I actually partially disagree with that statement. There are many subcultures that vary vastly from country to country, but the Metal scene actually seems quite similar everywhere, which is great! I love visiting another country, discovering an underground bar, going to shows, and immediately feeling at home. It’s like visiting family abroad. The community and passion are the same, Metal seems universal! At least in European countries, which is where I travel more often.”
When performing live, do you aim to bring listeners into the world of ‘Doomed Cycles‘ – or to bring the themes of ‘Doomed Cycles‘ out into the real world?
“We just want to put on a great show and transmit our message with the most energy we can!”
Has there been a moment on stage when you felt your music changed the energy of a room – not just entertained, but transformed it?
What happened?
“Yes, and it’s always a phenomenal experience! It happens when we and the audience enter into synchronicity. It’s a moment when we feel we have managed to transmit our message and that the audience is willing to really listen to us and feel what we are playing. That moment of profound connection is the culmination of all our work and the main reason why we step onto a stage.”
Writing concept-driven music requires discipline.
Do you write from a rigid framework first – or do the concepts emerge after the music takes shape?
“As I said before, we are very much driven by feeling. We don’t work from a rigid framework. What we feel at the moment of creation is what comes out, and that includes the concepts. Things always end up connecting organically because the feeling is genuine.”
Metal often deals with extremity – violence, collapse, despair – but there’s also beauty in chaos.
Do you believe there is an aesthetic – or even a form of truth – in collapse and decay?
“Yeah I agree, otherwise Metal would become hollow and lose a great part of its interest. Truth is revealed when structures fall. Collapse and decay are the end of an illusion. There is a brutal and honest aesthetic in chaos, because it is real. It is the purest way to expose the fragility of everything we build.”
Finally:
Do you think metal still has the power to provoke – not just offend, but genuinely challenge ways of thinking – in a world that has become desensitized to shock?
“Yes, ideally that’s what happens. Metal is already a mature genre that doesn’t try so much to offend, but rather to convey real and profound themes. In a world where shock barely works anymore, Metal provokes through its pure intensity and its demand. It demands that we stop, and listen to the complexity and the violence of the sound. That brutal honesty and the refusal to be background music is what truly challenges people’s way of thinking.
Thank you once more for the opportunity and the excellent questions! Stay Heavy!”
Rather than offering salvation or easy answers, Cult of Alcaeus embrace inevitability.
Their music does not promise escape from the cycle – it demands awareness within it.
‘Doomed Cycles‘ stands as both myth and mirror, forcing listeners to confront collapse not as an abstract concept, but as a fundamental truth of existence.
In the end, Cult of Alcaeus are not interested in warning the blind, nor comforting the fearful.
Their art is aimed at those already listening – those willing to face chaos, accept decay, and find meaning not beyond collapse, but inside it.
Fok ‘bs’

“It felt like creation had manifested itself so clearly.”

“I was shaking with pure creative energy – like I’d been struck by lightning.”

“All the words, the melody – everything just came out.”

“We knew changing anything would destroy the magic.”

“If it’s right, it will come through.”

“When we finish ‘June’, I just have the biggest smile.”

“I found myself within this music – and that is life-changing.”

“You can’t force creativity. If you do, it feels hollow.”

“Momentum and energy are everything.”

“Our originality is what defines us.”

With momentum from the worldwide success of ‘Break On‘, Daytura now unveil their most instinctive work yet:
‘June‘ – a single that wasn’t written but emerged fully formed in a spontaneous burst of inspiration.
It’s classic rock at its most alive:
unfiltered, intuitive, and emotionally resonant.
We sat down with Sam Britton singer, front-woman of Daytura to talk about lightning-strike creativity, the magic of capturing a moment, and how their journey from festival stages to Salvation Studio continues to shape their identity as one of the UK’s most compelling new rock bands.
‘June’ arrived in one spontaneous moment.
What did that moment feel like from the inside – calm clarity, chaos, or something indescribable?
“I have the voice note!! I was working out some lyrics to something else and just recording the rest of the band jamming, they stop and I say ‘there’s some really good bits in there’ but that was a serious understatement! Whilst they were playing the riff came through at minute 2:43 and I wrote it in my notes because i knew there was something bigger then anything we had written before like a palpable energy coming through! I knew I had heard something very exciting and I wanted to do it justice because I felt like creation had manifested itself so clearly. The next morning I looped the Jam twice and set it up to play through my laptop and I would sing into my phone. I started to sing and it just came out – all the words, the melody everything! I laughed at the end because I have never found phrasing so easy and partly because I was in shock! I was supposed to be getting ready for work so I left literally after recording it once and played it back over and over on my drive. I was shaking with pure creative energy, it felt like I had been struck by lightning and sent it to the drummer to see what he thought! He loved it so the rest was worked out back in another rehearsal session and that was it!!”
You kept the melody and lyrics exactly as they emerged during the jam.
Was there any temptation to polish them afterward, or did you immediately sense the fragility of the moment?
“Yes! Completely, it was like we had been given this gift and to try and change it would destroy it. We rehearsed the song a few times with spralling 4 minute long instrumental prog sections, which was interesting but it felt right as the version that it is now! The only thing we did add in was a Hammond organ and Lesley speaker, we all felt it needed it and I didn’t want to pass up the opportunity to play it when we recorded it!”
‘Break On‘ achieved global airplay.
How did that unexpected success shift the emotional atmosphere within the band before ‘June‘ was even conceived?
“‘Break On’ has always been our intro song, we recorded it at the same time as ‘June’ along with 2 others and we all felt that they were a part of an EP amd showcased our diversity. They were all recorded back in June (haha) and we have been working through them all to get them mastered and released. We were going to wait to release it with the others but it felt too special so we filmed a music video in a church and really pulled out all the stops (video to be released in the next couple of weeks) :)”
Some musicians chase inspiration;
others try to engineer it.
After capturing ‘June‘, how has your understanding of creativity changed?
“Since we recorded the songs we’ve all been doing shows and rehearsals for the shows which has been great to get out because that’s what we love the most – connecting with people in real life. But we had a writing session a couple of months ago where I came in with a couple of rough ideas and we kind of sketched them out. What I think we have realised is if it’s right it will come through and some really awesome things have done! I have a much more open mind to how songs form and really just letting them happen has seemed the most productive and enjoyable. A little tangent can change the whole feel of something and there’s definitely ones that don’t flow and I have learnt just to let them go because I’ll most likely borrow something from them later on!”
If you could isolate one second of the ‘June‘ recording that captures the band’s pure chemistry, which moment would it be – and why?
“I think it’s the end outro! We all get to shine in this song, be it the vocals, guitar solo, bass solo, percussion. The end just feels like we’ve all been to the end and back and reemerged triumphant and when we play it live I just have the biggest smile when we finish playing it!”
You’ve played major festivals and supported rising UK bands.
Which live experience directly influenced the emotional tone you brought into the session where ‘June‘ was born?
“Ironically this song was really beating to the sound of its own drum! The other songs on the EP definitely has some references in them but this one was its own thing. We all spoke at length about what would be commercial etc. and despite the current music climate I didn’t really want to do that. And I figured we love it so do it anyway, do it for us.”
Both ‘Break On‘ and ‘June‘ showcase huge vocal presence, but in completely different ways.
What emotional ‘gear‘ does each song activate for you as the singer?
“I’m really influenced by blues and soul, I love rock and metal but I have different ranges and tones I want to play with! For me ‘Break On’ is more desperate, it conveys a harsh reality which I feel in the lyrics. It is the first song on our set and I want it to kick off with a bang so I feel like that’s the energy it carries! ‘June’ is very much bravado, I revelled in the vocal runs and power of the chorus. I feel bold and confident, it’s definitely a different flex but within the context of all our music it makes it fun!”
Phill Brown has worked on legendary recordings.
What was the most surprising or unconventional piece of advice he gave you while shaping your new material?
“We did the whole EP as a live session which was such a joy. Phill was passionate about keeping the room feeling alive and not losing the energy of the songs and being true and authentic to our sound. He was very laid back and gave direction with mic’ing up everything and not complicating things and keeping it flowing! I wasn’t sure about getting the Hammond and Leslie out as we were coming to the end of our session – it’s huge and takes a little while to warm up but he encouraged me to do it and I’m so glad he did! Phill was really keen on keeping my voice exactly how it is and staying true and authentic to it, which surprisingly I don’t get that often. A lot of the time with other projects or sometimes external mixing people change my voice and it gets compressed, brightened, squeaky. I felt fully supported by his production – which when you are recoding your own music for your own project is the most important thing.”
If ‘Break On‘ represents the band’s momentum, what does ‘June‘ represent – vulnerability, trust, instinct, or something else entirely?
“‘June’ is its own beast entirely! 😅 it feels passionate, instinctual. It’s quite hard to put into words but it conveys the story of love and lust which I feel is a conventional topic for a rock song but from my perspective and voice it feels unique.”
Your sound carries echoes of Led Zeppelin and Heart, yet ‘June‘ feels uniquely yours.
What subtle detail in the track do you think most defines Daytura today?
“I think the cohesiveness of the track marries together all of our voices (instrumentally & vocally) it has all of our input, all of our ideas expressed together in a flow state and I think that it’s set the bar for what we can achieve. Sonically it’s defined as a blues rock song and yes it includes those themes but it’s unique to us and our originality is what defines us.”
Festival audiences can be unpredictable.
Did any specific crowd reaction from Teddy Rocks, VDub Fest, or other shows influence how fearlessly you approached recording ‘June‘?
“Actually all the crowds we perform influence how we feel about songs we perform or want to record. Quite often the crowd feels completely differently to how I might feel about a song. But it became more and more obvious as a new band that momentum and energy is everything. To a new audience that don’t know any of our songs all that matters is the vibe and that people are having fun. The show is one thing and ‘June’ is a another thing but both can exist in the same space! It was recorded because we love it not the other way around. It’s actually one of the slower songs we have in our set list but if we can’t keep the train rolling at least we have made something true to ourselves!”
‘June‘ is the sound of capturing lightning.
What’s the closest you’ve come to losing a great musical moment – and what did that teach you?
“Actually this happens all the time. I write most days and I might have a phase or melody that is great but it doesn’t fit, I can’t make it work with anything. When I first started writing I would spend hours on the ‘phrase’ and it would be soul destroying. But I have learnt to let it go. Be critical and acknowledge that yeah this is good but the rest isn’t. Leave it there. let it go and move on. Most of the time it comes back in a different form, sometimes years on and better then before. I’m not really sure what instigates creativity or inspiration but I know now that you can’t force it, if you do it feels hollow.”
If someone were to listen to ‘Break On‘ and ‘June‘ back-to-back for the first time, what story do you hope those two songs tell about who Daytura are becoming?
“I would love people to hear how passionate we all are about music and how joyous it is to be creative. I found myself within this music and that is a life changing shift – I want that for everyone. I hope it is the prelude to something greater then us, something authentic and meaningful that can inspire change and lift the soul.”
With ‘June‘, Daytura prove that great rock music doesn’t always come from planning – sometimes it comes from surrendering to the moment.
As the band continues to evolve, their instinctive creativity, onstage fire and growing international recognition signal a trajectory that’s only gaining height.
If ‘Break On‘ opened the door, ‘June‘ shows us what happens when Daytura step through it with pure, unfiltered inspiration.
Fok ‘bs’

“No Murder No Moustache has always been about highlighting injustice and tragedy while still drawing inspiration from absurdity – Welsh folklore has both in terrifying amounts.”

“The album lives in the same space as those old stories – where horror and humour sit uncomfortably close together.”

“Balancing Celtic storytelling with punk chaos is always a gamble – sometimes the pipes take over, sometimes the riffs win, and that’s part of the thrill.”

“Being a solo artist means I never have to choose between the punk or the Celtic – I just follow the story and hope the chaos behaves.”

“Song order is still a creative act – it’s how you consolidate emotions and messages. Some tracks didn’t make the cut simply because they didn’t help tell the story.”

“’A Demon in the Dark’ smells of wet forest mud and feels like travelling home in a wooden ship through a storm in the dead of night.”

“The darkest ideas make the sharpest jokes – sometimes you have to laugh at the world just to keep from screaming.”

“I once turned political scandal and racial violence into punchlines; humour can be a scalpel for scars that never healed.”

“I had to hold back the anger – shouting is easy, storytelling isn’t.”

“If the future belongs to the far right and mega-capitalism, maybe this album proves someone cared – or maybe it just proves we were still making plastic CDs when the planet was burning.”

“If No Murder No Moustache were a mythic character, it would be the one who drank too much Guinness, forgot to close the floodgates, and drowned the kingdom.”

Welsh Celtic Punk has always been a place where stories, anger, and laughter collide – and few acts embody that spirit as vividly as No Murder No Moustache.
With a new single on the horizon and an ambitious new album coming in early 2026, the project stands at a turning point.
The sound is bigger, the emotions sharper, and the songwriting both more personal and more political.
We sat down with the mind behind the music to explore the stories, struggles, and strange inspirations fueling ‘As Everything Else Decays‘.
If the new album ‘As Everything Else Decays‘ were a piece of Welsh folklore, what kind of tale would it be – heroic, tragic, mischievous, or something far stranger?
“Great question, I’m going to choose a small part of the story of the king Math fab Mathonwy (info here) particularly the part about how the king’s nephews conspire to send him to war so they can r*pe his foot holder while he is away (Math must keep his feet in the lap of a virgin when he isn’t at war or he will die). As punishment, Math turns both of the nephews into a range of animals for 3 years with the requirement that they must mate with each other and produce an offspring before they can be turned back. That’s quite an intense story to open an interview, but the reason I’ve chosen it is that No Murder No Moustache has always been about highlighting injustice, tragedy, and some of the most terrible aspects of the human experience, whilst also drawing inspiration from absurdity. This story definitely has both of these in.”
Your music blends Celtic tradition with punk energy.
Which side is harder to control – the emotional storytelling or the chaotic punk instinct?
“It’s absolutely a fine balance and difficult to control both sides at times. Some tracks like ‘Dic Penderyn’ from the new album, or ‘A Trace Of Blood And Tears’ from the last album take the Celtic instrumentation a bit further, with some quite long (for a punk song anyway) instrumental parts, building off each other. Other’s such as ‘One More Round’ and Second Chance were a struggle to get any Celtic bits in at all. Being a solo artist though, I don’t have to worry too much as there aren’t other bands members to consider so no one will be left out of anything if the song goes more punk or more celtic. I like to bring the chaotic side into the live shows though.”
What moment in the writing process made you realize the album needed to exist, not just as songs but as a full narrative or emotional arc?
“Growing up in the 90s, listening to albums start to finish was how I listened to music so I always wanted to make sure it kind of flowed properly. It’s not the same now with streaming, but I still see song choice, and song order on an album as a creative activity and an opportunity to consolidate messages and emotions across songs. There were 2 songs that didn’t make it onto the album for that reason alone, they just didn’t add anything to it.”
If the upcoming single had a scent, a texture, and a weather condition attached to it, what would they be?
“‘A Demon In The Dark’ to me feels like the wet muddy forest where I filmed the music video in a torrential rainstorm. Everything was soaked, the cameras were in plastic bags to protect them, lots of the video effects have come from drops of water on a lens, and the smell of damp stayed in my car for a week. In terms of lyrics, it’s about travelling back to your homeland, and in my mind it’s travelling in a wooden ship, in the pouring rain in the dead of night.”
Celtic Punk is known for mixing humour with heavy themes.
What’s the darkest idea you’ve ever wrapped in a joke – or the funniest idea you’ve ever turned into something heartbreaking?
“On this album, there’s definitely some darkness, but in terms of turning it around into humour, it’s a choice between ‘Tested On Animals’ (about an ex-UK prime minister and a pig) which potentially contains the funniest lyrics I’ve ever written in ‘I’ve got an itch, that needs a pork scratching’, or the bonus track ‘Grey Tracksuit’, which is about race riots in 2024 where one of the racists got ‘Hit in the dick with a brick’ (look it up on youtube).”
What’s a traditional Welsh instrument, phrase, or cultural reference you’ve always wanted to use in your music but haven’t yet – and why?
“In Welsh there is a word ‘Hiraeth’ which doesn’t really have an English equivalent, but it kind of means longing, or homesickness tinged with grief and sadness over the lost or departed, especially in the context of Wales and Welsh culture. It is a mixture of longing, yearning, nostalgia, wistfulness or an earnest desire for the Wales of the past (which may no longer exist or never existed anyway). I’ve always liked the idea of using this as a concept and as a Welsh speaker, I feel that I can use it appropriately in a song, but it’s become so popularised as a term in Wales, especially in music scenes, that in some ways, it doesn’t have the same meaning to me as it used to.”
Imagine someone hearing your music for the first time at the worst possible moment.
What misunderstanding about your sound would you fear most?
“Some of my songs are written in the first person, so occasionally I will sing in the role of someone that I am making a parody of. If you played one of those tracks at the wrong moment, you’d catch me singing something awful that is building up to the parody but hasn’t got there yet and that might put me very out of context. There’s a track that I’ve stopped playing live because of this exact reason.”
Your lyrics often walk the line between anger and reflection.
What’s an emotion you consciously pushed against while making this album?
“I’ve definitely had to hold back on the anger in lots of ways when putting this album together. It would be really easy to just go heavy on each song, shout about things, and simplify them into a repeatable 3 word chorus. I love songs like that, but they aren’t really my sort of style and there’s a lot of people doing them a lot better than I could too. I have to push myself away from doing that in order to find the right storytelling method and flow for the songs, bringing in a bit of shoutyness just where it has the most impact, but still maintaining what I like to think of as informed lyrics.”
What real-life event – big or small – unexpectedly shaped one of the new songs in a way even you didn’t see coming?
“I’ve already mentioned the prime minister and the pig, and the racist getting hit with a brick, so I’ll skip those for this one. When I was writing ‘Sending The Soldiers In’, I was researching a range of times when governments sent a disproportionate military/police response against civilian protest. One of the events I found was in a place called Llanelli in South West Wales which is a place I’m familiar with, where in 1911 the army shot 2 protesters. It’s barely spoken about in the same way as similar events in other towns so it was a real surprise for me to read about it.”
If you could collaborate with any non-punk musician to add an unusual flavour to your sound, who would it be and what role would they play?
“An impossible one unfortunately, but I’d love to incorporate more non-male vocals on some of the tracks. Immediate I’m thinking of Sinéad O’Connor to give an absolutely haunting vocal crossover line in a couple of the anti-war tracks. (Look up on youtube of Sinéad and the Chieftans in 1995 performing ‘The Foggy Dew’, it’s absolutely immense).”
How did your identity as a Welsh artist influence this record – deliberately, subconsciously, or even in resistance to certain expectations?
“Of course there’s some classic manifestations of Welsh stories on this album in songs like ‘Dic Penderyn’ and ‘Celtic Skies’. I usually include a Welsh Language track on all EP or Album size releases too, and despite writing one, it didn’t quite fit with the flow of the album, so there’s just a couple of Welsh words in Dic Penderyn instead. I would say less-consciously the influence of seeing the way that Welsh (and other Celtic nations) have historically been treated is what gives me the need to tell these stories, and write about injustices of other types too.”
If the new album were a physical artifact found centuries from now, what would archaeologists think it reveals about our current era?
“Let’s sadly assume that mega-capitalism and the far right win the culture war and that’s what the history books show. In that case I’d like to say that it would help to reveal that there were people who cared about other people, were anti-war, and could see through the charade of media bias and right-wing press. That’s probably a bit egotistical of me though. More likely it would reveal that we still wasted plastic and precious metals producing CDs when we should have been saving the planet.”
Your project name is famously unique.
If No Murder No Moustache were a character in a Celtic myth, what would its personality be – and what would be its fatal flaw?
“There’s a story of a place called Cantre’r Gwaelod, in which a wealthy kingdom drowns under the sea due to the man who controlled the flood gates to the city having too much of a party and forgetting to close them. (It reminds me of the song ‘White Pearl Black Oceans’ by Sonata Arctica too which is one of my favourite metal bands). Anyway, I can definitely see No Murder No Moustache drinking ‘Six Pints Of Guinness’ and forgetting to close the flood gates.”
With ‘As Everything Else Decays’, No Murder No Moustache steps into a new chapter:
one where the Celtic Punk roots sink deeper, the emotional weight grows heavier, and the songwriting reaches new levels of grit and honesty.
The December single is only the beginning of a story that promises both catharsis and chaos – a reminder that even as everything else decays, music remains a force worth holding on to.
Fok ‘bs’

“The album is red – and hot enough to melt steel.”

“’Thrashin’ Beer’ didn’t fit us at first, but it turned out perfect.”

“Past, present, and future – that’s the force driving us.”

“This isn’t a comeback. We already did that three years ago.”

“No one influences us. We aim to create something with its own identity.”

“Don’t rush – you have more time than you think.”

The legendary Greek thrashers FLAMES return to the forefront with a brand-new album, ‘Frequency Of Illusion’, that awakens memories of the golden age of Greek metal while firmly looking toward the future.
Armed with endless energy and decades of experience, the band presents a record that serves both as a tribute to their past and a starting point for a new era.
In this interview, FLAMES speak openly about their evolution, and what it means to carry the history of an entire scene on their shoulders.
Your new album is being released after a long creative break.
What was the moment or reason that made you realize that now is the right time to create a new record?
“Three years isn’t really that long since the previous one, if you consider that we hadn’t released an album for 26 years before ‘Resurgence’. The reason is always the same: having something different to present.”
If you had to describe the new album with a smell, a color, and a temperature, what would they be and why?
“Red color and a temperature that melts steel…”
Which elements or ideas from the ’80s and ’90s – those you embodied back then – did you absolutely want to keep on this album, and which ones did you consciously leave behind?
“No one really thought about something like that. We simply play the way it naturally comes out and satisfies us. We have elements from the past but also new ones… but nothing is deliberate.”
How does it feel to return after so many years and see a scene where retro-thrash, modern thrash, and extreme metal all coexist?
“We existed before terms like ‘extreme’, ‘modern’, etc. even appeared… For us, it continues to be just metal. Whatever anyone likes is perfectly fine.”
Was there a song during the production that took a completely different direction from what you originally imagined?
“‘Thrashin’ Beer’. I think in the beginning it didn’t really suit us, but in the end it turned out perfect…”
Greece has a long history, mythology, political turbulence, and a strong cultural identity.
What typical Greek elements – conscious or unconscious – find their way into your music?
“Hmm… we don’t really have many Greek elements in our music. Unconsciously, we used a 9/8 rhythm somewhere in one track, but not on purpose.”
If you could send a creative or personal warning to your younger selves from the early FLAMES era, what would it be?
“Don’t rush, because you have plenty of time ahead of you…”
After so many years in the scene, what is emotionally more difficult for you:
releasing a comeback album or entering the studio as newcomers?
“There’s nothing to discuss here… there is no difficulty. We pour our soul into it and we’re fully present. Our mindset isn’t different from the old days. And this is not a comeback… we already did that three years ago.”
Which band or artist inspired you during this phase of your career, even though you didn’t expect it?
“No one influences us… our effort is to create something with its own identity.”
How has the dynamic within the band changed – musically and personally – from your early years until today?
“Musically, we’re better technically… and on a personal level, our bond with each other has grown stronger.”
Imagine you had to choose three words that describe the driving force of FLAMES today.
Which would they be?
“Past, present, and future…”
What misunderstanding about the band would you like to clear up once and for all?
“I don’t know if there is a misunderstanding surrounding the band, but if there is, we’re here…”
If you had to describe the new album as a film genre, which would it be?
And which scene would ideally depict the opening track?
“A horror movie… someone being chased, but fighting back and winning…”
The return of FLAMES is not simply the revival of a historic name;
it is proof that a band with true vision, perseverance, and faith in its music can remain creatively alive for decades.
With their new album, FLAMES are not relying on their past – they are building upon it.
And if one thing becomes clear from this conversation, it’s that the new era of FLAMES has only just begun – and their flame burns hotter than ever…
Fok ‘bs’

“When we play ‘Rising’ live, I almost slip into a trance. It stops being a song and becomes a state of mind.”

“Our next album would be a vast, empty desert – no people, just space and truth.”

“The ultimate rock band is a trio: raw, direct, cut to the bone.”

“The next album would be a stoic, proud creature – speaking through fire and water.”

“Success for us now means playing many more gigs. That’s where the magic really happens.”

As Zeup are newly introduced on Radio Highway Pirate’s homepage, it’s an opportune moment to spotlight their journey.
Emerging from Copenhagen’s vibrant rock underground, this trio channels the energy of 70s heavy rock, the dirt of stoner grooves, and the raw honesty of grunge – all while preserving an analog, no-frills sound.
With ‘Mammals‘, they proved they can write heavy riffs and introspective songs.
Now, as they continue to carve out their identity, we dive into their creative process, inspirations, and what makes Zeup distinctly themselves.
Your name, Zeup (‘soup‘), feels playful yet enigmatic. If your band were a flavor of soup, what ingredients would it have – and what unexpected spice would define it?
“Chilies lots of chillies and ginger as secret spice.”
You’ve mentioned an ‘analogue-sounding‘ approach. What’s the most ‘imperfect‘ moment in your studio recordings that you’re secretly proud of, because it sounds more human?
“The fact that ‘Rising’, rises in tempo through the song is a perfect example.”
Stoner rock often evokes vast, open landscapes, but your music also has intimacy. If your next album were a physical space, would it be a canyon, a bunker, a cabin – or something else?
“Our next album would be a vast desert with no people.”
Which personal or societal fear did you confront when writing ‘Mammals‘, and how did it shape the mood of the songs?
“The fear that we overpopulate the planet.”
If you could invite any rock legend – living or dead – to a rehearsal, who would it be and what would you play for them?
“Neil Peart from Rush and i would play ‘Escape’ to him.”
You are a trio, a tight unit. How do you navigate the tensions between being ‘three‘ – creatively, personally, musically – especially when writing together?
“Being a trio brings less tension in my opinion. I think the ultimate rock band is a trio. Cut to the bone. I write all music and lyrics and we arrange together, which is easier when you are only three people.”
Which song of yours feels like a secret ritual: when you play it live, it unlocks something inside you (or the audience)? Describe that feeling.
“‘Rising’ is an example where I almost go into a trance.”
If you could strip away one genre that influences Zeup (say, stoner rock or grunge), how would your sound change – and would you want to make that album?
“If you strip away the stoner rock, we would be more punkish which would be fine but boring in the long run.”
What was the most surprising lesson you learned from recording ‘Mammals‘ in Sweet Silence Studios (a legendary place with rock history)?
“It was a surprise to us how easy and smooth the process was.”
If Zeup were to score a movie scene, what kind of scene would it be – a desert drive, an inner monologue, a showdown – and how would your music serve it?
“A long desert drive with no monologue.”
What’s a misconception people often have about stoner rock (or rock in general), and how do you intentionally challenge or embrace that in Zeup?
“People often think that its the same riff going on for hours, that is certainly not the case.”
After ‘Mammals‘, how do you define ‘success‘ for Zeup now? Is it touring, artistic growth, a particular sound – or something else entirely?
“We would like to play a lot more gigs, thats where the magic happens.”
Picture your next album as a living creature: What would its personality be like? Would it be stoic, wild, dreamy, or haunted – and how would it communicate with you?
“That creature would be stoic and proud and it would communicate through fire and water.”
Zeup is more than just a stoner rock band – they’re architects of groove and emotion, crafting songs that feel both heavy and heartfelt.
As they continue to evolve from their early demos and EPs toward a more mature identity, they prove that the spirit of rock doesn’t need polish – just passion, honesty, and a little bit of fuzz.
With their analog ethos and deep-rooted chemistry, Zeup is shaping a sound that’s as much about the journey as the destination.
fok ‘bs’

“’Venom Within’ is stunning on the surface but dangerous underneath – like the Amazon rainforest. That clash of light and darkness is the essence of humanity, and the core of our sound.”

“Recording this album was like a theater performance. Every vocal had to become a character: screams, thrash, high-pitched, low – more than 20 tracks per song. Chaos became identity.”

“Doubt isn’t weakness – it’s a tool. By questioning everything, we removed what we loved but sharpened what mattered most.”

“We started with a blank page. White. Anxiety-inducing. Slowly, the songs began to emerge, and that white became a landscape for ‘Venom Within’.”

“Giving up control wasn’t easy. Letting someone else shape promotion, artwork, and production opened the door to a sharper, more focused album.”

“A lonely night drive is the ideal way to experience ‘Venom Within’. No distractions, just the music breathing in your ears.”

“Every lyric on this album owes something to the darkness Stefánsson writes about – human nature revealed starkly, the perfect canvas for The Losts’ mythology.”

“’A Dark Place to Hide’ captured it all. That’s when we knew this was the album’s identity – its musical and vocal essence.”

“If ‘Venom Within’ were a character, it would be a quiet child, observing, learning, aware but hiding. Curious yet fully present.”

“Our music doesn’t just accompany – it guides. If it scored a TV series, it would explore inner turmoil and complex characters, inviting the audience into their unspoken worlds.”

With their third studio album ‘Venom Within‘, French heavy metal band The Losts dive deeper into darkness, mythology, and sonic experimentation.
Known for blending theatrical vocals, melodic intensity, and concept-driven narratives, the band has evolved into a force that challenges both themselves and their listeners.
We sat down with the members to explore the album’s creative process, emotional depth, and the world they’ve built within their music.
If your new album were a location on a map, what kind of place would it be – and what dangers or revelations would a traveler encounter there?
“‘Venom Within’ could be the hostile and vibrant Amazon rainforest. Beautiful on the surface and dangerous underneath. Venom is everywhere in this place: in the air, in the soil, in every choice you make. What is dangerous is also attractive and captivating.”
“A traveler would face both wonder and darkness. That clash between light and shadow is the essence of humanity … and the core of our sound.”
What element of your sound proved the most challenging to evolve on this third record – the melodies, the intensity, or the storytelling?
“I would say the vocals. We treated the sessions like a theater performance, switching constantly between characters: deep or high pitch voices, black metal screams, thrash attacks, even female vocals.”
“Phil Renalter, our producer, had to bring all these personalities together and had to manage more than 20 voice tracks per song. Mixing it was a war for him, but it shaped the album’s identity.”
When writing this album, what belief or habit from your earlier years did you deliberately decide to abandon?
“We let go of some of our freedom. This time, we accepted more direction from Phil. During the pre-production and production stages, he proposed many modifications of our initial creations, giving the songs a harsher, more cutting impact. We also stepped aside from the usual graphic design approach of DGC and let Alek Vladski create the entire booklet. And instead of self-releasing, we entrusted The Losts’ image and promotion to the label Inverse Records.”
“Giving up control was a choice, so we could deliver a more focused and professional album.”
Heavy metal thrives on emotion. Which emotion did you find yourselves unexpectedly embracing this time?
“Doubt.”
“By delegating promotion, artwork, and parts of the production, we stepped out of our comfort zone. We weren’t fully in control anymore, and that’s unsettling.”
“But doubt pushed us forward; it forced us to question everything and sharpen the record. We also had to get rid of some music parts that we loved, which could be frustrating, but for the better at the end.”
If a listener wanted to fully absorb the spirit of the album, what would be the ideal setting to experience it – a crowded venue, a lonely night drive, or something stranger?
“The ideal setting to experience the album would be somewhere quiet, where nothing gets in the way of the details of our music. ‘Venom Within’ demands several focused listens to truly uncover all the album’s subtleties.”
“A lonely night drive is perfect. No distractions, just the road, the dark, and the music breathing in your ears.”
What is the most unusual or non-musical source that influenced a song on this album – a book, a place, a conversation, a dream?
“The writing of the lyrics for this album happened in parallel with my reading of Jón Kalman Stefánsson’s masterpiece ‘Your Absence Is Darkness’. In its pages, there’s a line that struck me deeply: ‘You told me there was no better place than hell to learn how to write, for it is there that human nature reveals itself most starkly…'”
“Those words reaffirmed my desire to continue expanding the mythology of The Losts. In a way, every lyric on the album benefited from that reading experience.”
Some bands become heavier with time, others become more melodic. What ‘direction’ did this third album push you toward – and was it intentional?
“‘Venom Within’ further amplifies the shift that began with ‘Mystery of Depths’, our previous album, moving toward a sound that’s a little less heavy but more direct and darker. When we rehearse our older songs, we can now clearly feel the difference in the writing, the impact, and the atmosphere. It’s actually quite shocking for us, we all noticed it while preparing for the Release Party happening in two weeks.”
If you had to describe the album using only sensory impressions – a color, a smell, a texture – what would they be?
“I feel that ‘Venom Within’ is a white album, much like its artwork; a pure, immaculate white that gradually gives way to a multitude of grey and black details. This white also echoes the genesis of the composition: after ‘Mystery of Depths’ (2021), we had no material left. We were truly starting from a completely blank page… a slightly anxiety-inducing one. I can almost still hear it slipping under my fingers.”
“Then we began scribbling onto that white page, eventually shaping this new collection of songs. Perhaps that’s why ‘Venom Within’, while still unmistakably The Losts, has its own face, somewhat removed from our previous work.”
What was the moment during the recording process when you realized, ‘Yes, this is the identity of the new album’?
“I would say that moment emerged during pre-production, when we were recording the demos for the new tracks. For this album, we began composing all the instrumental parts first. The vocal lines, the voices, the lyrics came later, especially during that pre-production phase, where I took the time to carve out space for the full vocal spectrum.”
“I think it was after finishing ‘A Dark Place To Hide’ that I said to myself, ‘There it is. This is The Losts!’ At that moment, musically and vocally, we were holding the essence of everything the album would become. That’s also why we chose that song as the first single and as the album opener.”
Imagine THE LOSTS composing the soundtrack for a TV series. What enre would the show be, and what role would your music play in its atmosphere?
“That would be awesome! The concept of The Losts already provides a eady-made storyline 😉”
“The series would definitely need a psychological dimension, a perspective turned toward the inner turmoil of the soul. We would follow complex characters searching for elevation, sometimes against themselves, sometimes against their environment, caught in storms within and deep personal questioning. The music would invite the audience into the unspoken erceptions and inner worlds of the protagonists.”
What aspect of the French metal scene has had the greatest impact on your development – whether as inspiration or as a challenge to overcome?
“Unfortunately, one of the main challenges of the French metal scene is the lack of places to play. A lot of venues in France but also in Belgium have been closing for years. Ten years ago, the underground was alive with many bars and small stages. Now it’s a struggle to find a room for a show. You have either to pay the rent of the room or to be stuck on a long waiting list in the remaining places.”
“It’s frustrating, but it forces us to push harder.”
You are now three albums into your journey. What question about THE LOSTS do you feel people never ask – but should?
“I think this one is pretty good: ‘What question about THE LOSTS do you feel people never ask – but should?’, even if that question has already come up once now 😉”
If this album were a character in your own mythology, what would its personality be like? How would it speak, fight, or dream?
“In our previous album ‘Mystery of Depths’, the song ‘Tattoo the Child’ uses the image of a ‘child out of control‘. I’m quite fond of that idea, a kind of wild, disorderly, wayward innocence that doesn’t quite march in line. ‘Venom Within’ could be that child, quietly observing while hiding from the constant currents of its world.”
‘Venom Within‘ is not just an album – it’s a journey into shadow, mythology, and human nature.
The Losts have created a work that balances theatrical vocals, intricate storytelling, and emotional intensity.
Each listen reveals new layers, making it clear that this is a band embracing evolution while staying true to the dark, melodic core that defines them.
“Giving up control was a choice, so we could deliver a more focused and professional album. Doubt pushed us forward and sharpened everything.”
fok ‘bs’

“For 25 years I never thought about my music. People told me others were influenced by it, but I had no idea until we stepped back onstage.”

“Music is the only emotional and physical time machine.”

“Some people want authenticity, others want AI-sanitised crap — and too many don’t care about the difference.”

“People forget how much we did before the debut. Those songs were forged on the road long before they were recorded.”

“Technology smooths out the imperfections that push music forward. It kills passion and makes recordings sterile.”

“Perfection used to be about performance. Today it’s about software — and that’s dangerous for music.”

“If a musician can’t improvise, the chemistry dies. A trio needs freedom or it’s not rock’n’roll.”

“Vardis are just a loud, heavy rock’n’roll band.”

Vardis in concert 2026:
aug15th Zeeltje Rock 2026 Deest/NL

Few bands embody the spirit of the New Wave of British Heavy Metal as fiercely as VARDIS.
Formed in the late 1970s in Wakefield, the trio broke with expectations from day one:
high-voltage rock, blues grit, punk urgency and a metallic edge collided to form a sound unlike anything else emerging from the NWOBHM movement.
Their debut ‘100 M.P.H.’ – a live album released as their very first statement – instantly marked them as outliers.
Combined with the wild, unmistakable energy of frontman and guitarist Steve Zodiac, VARDIS quickly earned cult status.
After a long break, the band resurfaced in 2010 with new material, festival appearances and a cross-generational fanbase that had never truly let go.
Today, VARDIS are back in focus once more – thanks in part to newly remastered video clips that transform their adrenaline-charged history into crisp modern quality, reaffirming their legacy in heavy metal, hard rock and the early British underground.
Fok ‘bs‘ spoke with Steve Zodiac about lost footage, creative reinvention, the secret behind their stamina – and what NWOBHM really means in 2025.
When you revisited your old video archives for the recent restorations, what emotion surprised you the most: nostalgia, pride, or sheer disbelief?
“The feeling of being there. Time travel, not nostalgia. Music is the only emotional and physical time machine.”
Many NWOBHM bands only gained recognition later. When did you first realise the lasting impact VARDIS had made?
“For 25 years I never thought at all about my music. I never stopped songwriting and always enjoyed it, but threw myself into other work in sound: theatre, education, production. Sound is music, music is sound, there was always a sense of continuity, forward momentum. I had offers to reform the band down the years, and people would give me tapes of Megadeth and say ‘these guys really dig your stuff’, but I was unaware how many people still liked my music. It was only when we played our reunion shows in 2014 that I understood, the whole experience was very humbling as well as enlightening.”
Your debut was a live record, a bold move even today. How has that shaped your identity as a band over the decades?
“All we had known since the mid 70s was how to play live. We had little studio experience when we signed with Logo so it just felt natural and logical to make a live album our first major release. People don’t realise how much we did as a band before that debut album in 1980. Quo Vardis started gigging in 1973, Vardis became a trio of myself, Tony Boulton and Paul Wadkin in ’76, Alan Selway replaced Tony on bass in ’77 then Phil Medley replaced Paul on drums in ’78. That trio cut the ‘100 M.P.H.’ EP in 1979 and we made the transition from semi-pro to pro. All those years shaped that album, the songs were road tested. When I walked away from Vardis in 1986 without looking back, I guess my identity as Steve Zodiac protected and enabled me to build a new life doing other things in the industry. Since reforming Vardis in 2014 the personnel has changed just as much, but the hard work and rock’n’roll ethos has never really changed from the start, it’s built into the music on some level, even if every lineup has brought a different chemistry to it.”
While restoring old footage, what was the most unexpected detail or forgotten moment you rediscovered?
“How tight and fast the band played, especially at such a young age, and that we had already created a unique sound.”
Your early sound blurred the lines between hard rock, boogie, punk spirit, and metal. How consciously did you shape that hybrid approach then, and how conscious is it now?
“I always listened to a wide range of music. My mum played records and radio and sang rock and roll at home growing up, it was always there in the background for as far back as I can remember, so I suppose it must have been a big influence on me.”
What does authenticity mean to you in an era when music often sounds ‘perfect‘ rather than real?
“We all strive for perfection, but in the old days this was subjective based on the performance, and a good producer was paid to recognise this. Unfortunately today this art of production is being lost because we have so many computer technology options. This does two things: firstly it makes striving for perfection in performance less important because technology can shape the sound later, and secondly it smooths the imperfections in sound that push music forward to conform to the computer’s objective technical perfection. This often ‘corrects’ the very essence in the performance that makes the sound recording unique, destroys the passion and feel of the artist, and makes for a sterile recording in my opinion.”
Some early tracks are incredibly direct and raw. Are there songs you would approach differently today or avoid playing live altogether?
“I write most of my songs as country blues tunes on acoustic guitar. Everything beyond that is a different approach. Every performance is a new interpretation unique to that room, that stage, that moment. I’m always open to playing everything I’ve written live.”
How much room do spontaneity and risk still have in your music compared to the chaotic early NWOBHM years?
“I always want every musician I play with to feel they can express themselves. We only rehearse the structure of most songs, but we play live freeform. There are many accomplished musicians who can’t do this, but finding that chemistry in a trio is part of what I enjoy most. It makes every show we play different, dangerous and more fun.”
NWOBHM produced both legends and overlooked underground gems. Where do you personally see VARDIS in that history?
“Vardis are just a loud, heavy rock n roll band.”
If you could pass on only one creative lesson from your career to young musicians, what would it be?
“The performance is the sound. As a creative musician you strive for great performance, as a creative producer you strive for the instinct to recognise this.”
What was the biggest challenge in bringing your vintage footage into the modern era without losing its original character?
“I transferred the physical tapes myself but my son is in charge of the restoration process. He’s very anti-AI so takes the time to restore the years of degradation while staying true to the medium of recording, whether it’s a VHS camcorder or multi camera pro shot TV footage. Thankfully most of the character is in the music itself. The intimate dark sweaty vibes in the old video footage are genuinely how it was. Some people want authenticity, some want AI sanitised crap, and sadly there’s a lot of people who don’t care about the difference.”
You’ve experienced peaks, breaks, and rebirths. What has consistently driven you to carry on and return to the stage?
“Music is the only phenomenon that puts me in the same place I was age 20. The feeling of playing, of performing, is exactly the same. A true time machine.”
What’s one question no one ever asks about VARDIS but should, because it unlocks something essential about the band?
“Why did you want to escape?”
More than forty years after their first roar, VARDIS stand not as a nostalgia act but as a living force in British heavy rock.
With restored video clips, ongoing creativity and a fiercely loyal following, they shine a new light on their legacy – not as a museum piece, but as a foundation that still shakes the ground.
And that’s exactly how they sound today:
raw, honest, and unmistakably alive…
Fok ‘bs’

The Birch is an up-and-coming German modern-psychedelic rock trio that fuses analog warmth, twanging guitars, progressive structures, and cinematic sound textures into a style all their own.
Founded out of a shared love for psychedelic rock history and raw modernity, the band moves between hypnotic soundscapes, dark atmospheres, and driving rock’n’roll energy.
With their upcoming album ‘Vicious Minds‘, The Birch open a new chapter – more intense, bolder, and more emotional than ever.
On their new record, the German psych-rockers pack dark sonic clouds, Miami impressions, classic Hammond organs, and sweaty rock’n’roll vibes into seven tracks that oscillate between visionary modernity and retro-nostalgic soul.
Fok ‘bs‘ spoke with the band about courage, magical coincidences, inner demons, and the art of crafting a second album that refuses to be a copy of the first.
Your new album feels like a trip through light and shadow. Which inner ‘Vicious Minds‘ did you feel most strongly while writing the songs?
The Birch:
“Mountain Dew and American patriotism.”
You recorded in Miami – not exactly the typical location for German psychedelic rock. Which impressions of the city actually changed your sound?
The Birch:
“America in general is a very technical country, yet still very family-oriented and old-school. Miami in particular has a strong South American flair. All these impressions shaped the album’s sound significantly. And you definitely hear a lot more Aerosmith on the radio than in Germany.”
Many of your songs feel like they take place at night. Is darkness a creative state for you or more of an aesthetic statement?
Lucas Habenreich (guitars, vocals):
“Aesthetically, the night means very little to me. Still, it’s my main time of day, so it shapes the songs a lot. Nights have something ecstatic about them – ideally, everyone is where they want to be and who they want to be.”
How do you decide when a track should remain hypnotic – and when it’s allowed to ‘break out‘?
The Birch:
“There’s not much decision-making involved – it just happens. Our dogma is dynamics, and few things are as dynamic to us as music with sonic variety. Whether that’s psychedelic, noise, or trance doesn’t matter. We’re just unfortunately not yet pros on the synth.”
Your music often has a very cinematic character. Are there directors or film scenes that have influenced your sound?
The Birch:
“The first thing that comes to mind is the Jupiter scene from 2001 – A Space Odyssey. The way Stanley Kubrick creates tension in his films is definitely a big inspiration for us. Also Wes Anderson, who produces ultra-modern films with a vintage aesthetic, is clearly one of our inspirations.”
‘Downpour‘ features that special string arrangement. How does a psychedelic trio come to the decision to suddenly use strings?
The Birch:
“Our top priority is writing good songs, so we don’t restrict ourselves with a rigid concept. Without strings, the song would have felt like a rough draft to us. Just like the ‘naked versions’ of some Beatles songs don’t feel finished, we didn’t want to miss out on that obvious character.”
You sound modern but never artificial. Where do you draw the line between contemporary and timeless?
The Birch:
“Timeless means reflecting on what elements from the past still fit today’s world. We’ll always make loud, hard music as long as the world is loud and hard. But we can’t sing Vietnam flashbacks anymore – our time offers too much else. Being contemporary also means using modern technology because, in some areas, it’s simply better. We’re very glad we don’t have to play with a Woodstock PA.”
Many of your songs feel like dialogues with inner voices. Did you ever feel like you were watching yourselves while writing?
Lucas Habenreich:
“Not really. I write about things I can’t put into words. If I manage to do that somehow, it’s only in the form of lyrics. There’s little strategy behind it. I focus much more on certain craft elements in the writing.”
How has your band dynamic changed from the first to the second album – especially in moments when you didn’t agree?
The Birch:
“Unlike the first album, the second one comes entirely from our sessions. Since Volker became a permanent member, the writing process has become much more organic and everything flows into each other. When we argue, it’s about details – not about someone not standing out enough.”
If your music were a place – what color, what weather, what temperature would it have?
The Birch:
“A red house on La Gomera, 35°C, sunny, with clouds in the distance.”
Is there a musical ‘no-go‘ you’ve imposed on yourselves to keep your sound clear?
The Birch:
“Quantization and autotune… all natural.”
Psychedelic rock is experiencing a kind of renaissance right now. Do you see yourselves as part of that movement or as outsiders who just happen to orbit the same universe?
The Birch:
“We definitely see ourselves as part of it. The process of a young scene forming is slowly beginning, and we’re all very excited for what the future brings.”
What’s one question about THE BIRCH that nobody ever asks, even though it would reveal the most about you?
The Birch:
“No one ever asks: ‘Who’s driving?’ That would answer a lot. 😉 It’s Volker, by the way!”
THE BIRCH remain a band that refuses to be pinned down – neither by nostalgia nor by genre boundaries.
‘Vicious Minds‘ presents them more seasoned, bolder, and with the confidence to evolve their sound without compromise.
If the trio continues on this trajectory, the modern psych-rock world won’t be able to ignore them much longer.
Fok ‘bs’