Duality Productions stands at the vanguard of live‑music curation in Turkey, marrying strategic rigour with a passion for the underground. Founded by longtime collaborators Taner ÖZTONBUL and Umur BAYER, the company’s mission is unapologetically bold: to import and elevate “cult” acts that have historically bypassed our stages, crafting concert experiences that resonate both emotionally and operationally.
Most recently, in mid‑April 2025, Duality Productions successfully executed the Marduk Turkey Tour—staging powerhouse performances on April 13 in İzmir, April 14 in Istanbul, and April 15 in Ankara. This landmark engagement not only underscored our logistical prowess across multiple cities but also reinforced the commitment to delivering seamless, high‑impact events for both artists and fans.
Since its inception, Duality Productions has championed marquee names such as Harakiri for the Sky, Swallow the Sun, Avatarium, Vektor, Cryptosis, and Wolfheart—each of which had never performed on Turkish soil until our expertly orchestrated events. “Active, productive, and eager is our primary criterion when selecting bands,” affirms Umur BAYER, underscoring a selection process that balances artistic integrity with market demand. This forward‑thinking approach ensures every show is not just a concert, but a strategic partnership between artist, audience, and organizer.
Doom Over Istanbul is the city’s premier one‑day festival for the darker currents of heavy music by Duality Productions. The 2024 edition took place on November 24 at IF Performance Hall in Beşiktaş, bringing together acts from doom metal, dark rock, black metal, post‑punk and related sub‑genres whose work embodies emotional depth and sentimentality. More than a concert, it offers musicians and fans a focused space to share in the catharsis of weighty riffs and brooding atmospheres.
Beyond the live arena, Duality Productions extends its narrative into the digital realm. On Instagram (@productionsduality), the team curates immersive behind‑the‑scenes glimpses and high‑fidelity stage captures that activate a global fan base, reinforce brand loyalty, and generate buzz for upcoming events.
This integrated storytelling model transforms followers into advocates and positions Duality Productions as more than an organizer—a true architect of cultural moments.
Kamos: A Sonic Odyssey Through Darkness and Devotion
As Kamos unfurls their breathtaking compositions, crafting a soundscape that emerges from the absence of light and plunges into a profound darkness, it’s a true privilege to explore the artistry of this remarkable band. Hailing from my hometown, Izmir, Kamos stands as a beacon of inspiration and musical prowess, channeling both raw talent and an unwavering devotion to their craft.
With incendiary tracks that burn with intensity and profound depth, Kamos blends their unique identity with a spirit deeply rooted in homage to Children of Bodom. Their latest album traverses the intersection of melodic death metal's evocative, stirring paths and the creative spirit that shatters darkness to pave the way for new realms of expression.
This is not just an album but a journey—one that metal fans will find captivating and endlessly replayable. Step into the interview, and discover the stories, inspirations, and passion behind Kamos' latest opus!
Black Metal Chronicles: The Turkish metal scene in the 2000s witnessed some extraordinary projects, and one standout is the melodic death metal band Kamos from İzmir. Back in 2019, you released the EP Living Without Light, and in 2024, you unveiled your long-awaited album, The Entity. How has the response been to the album?
Alper: The feedback has been phenomenal. I think we have connected with the right audience through this album. Our first EP did not make much noise, but it did help us build a loyal listener base—people who genuinely understand us. We even keep in touch with many of them, which is a small but meaningful group and that is enough for me. Having someone truly grasp your music and follow, it closely is far more inspiring than just chasing ratings. The reactions to The Entity have been far beyond what we anticipated, and I am confident that we will continue to reach more listeners, step by step.
Rüzgar: I was not part of the band during the EP’s release, but I have embraced all five songs as if they are etched into my soul. I have loved playing and listening to them. As for The Entity, we have not received a single negative comment. The album’s heavy, brain-melting transitions were particularly well-received. Scythe On My Neck has become the fan favorite, and I think listeners tend to gravitate toward tracks with a strong, hard-hitting opening.
Kamos - The Entity (2024)
BMC: To give listeners a general idea, I am summarizing here: your music spans from melodic death metal to black metal, incorporating progressive and folk elements along the way. How would you define Kamos' musical identity? In addition, how do you leave your unique mark on the melodic death metal genre?
Alper: The term Melodic Death Metal is meaningful, but it is also a somewhat unlucky genre that’s caused confusion and has only a few truly good examples. We identify with it at our core, but really, this is just Kamos. It is something unique to us, not crafted to fit into any specific genre or mold.
Rüzgar: Our musical identity is a mix of melancholic sections, exhilarating parts, and brain-melting transitions. I love how we can pack so much emotion and feeling into just 3-5 minutes in some of our songs. The guitars are masterfully arranged to do exactly what they need to at the right moment. For example, in Kamos, the self-titled track, the first section is intense and energetic, followed by a calm section, and then transitions into a chilling melody. In Elize’s Nightmare, the atmosphere perfectly conveys the haunting, depressive nightmare vibe that the title suggests. The way this ambiance is delivered to the listener is flawless. To avoid spoilers for those who have not listened to the album yet, I will refrain from giving further examples.
Kamos - The Entity (2024) full album
BMC: Your album cover evokes a metaphor of a mind burdened by the weight of the past, seamlessly interweaving all memories. Who designed this evocative visual, and what does it signify for you?
Ayberk: It feels like the final piece that completes the puzzle after the songs were created. It carries an energy that gradually reveals itself, subtly bringing the album’s essence to life.
Rüzgar: The image represents us. Even though life’s challenges attempt to wear down the figure in the artwork—dragging them into darkness, nothingness, and a place they do not belong—they remain resolute and undeterred.
Alper: First of all, I think your (Zeynep’s) reading of this album’s texture and story is absolutely spot-on. Your insightful observations and comments are something we are incredibly grateful for, and our collaboration throughout the process was truly a privilege. Particularly your description of it as ‘a metaphor of a mind weaving all memories’—I can only take my hat off to that and won’t even attempt to add to it.
The cover, in a way, found us. The plan was completely different at first. You might remember the iconic cover of Dissection's Storm of the Light’s Bane. We envisioned a darker version of something like that. Gustav Doré’s Death was our reference point. Initially, the album was supposed to be called The Tale of the Unknown One, but something about that idea didn’t feel entirely right.
During the recording, mixing, and mastering phases, I was constantly researching and refining every detail. One night, while searching for inspiration for the cover, I came across the image that became our final artwork. The moment I saw it, I thought, ‘This is it. We’ve found it!’ There was no doubt in my mind. Knowing my bandmates, I was sure they would love it too. I immediately reached out to the artist—a graphic designer from the U.S., though I cannot recall their name right now. Unfortunately, the website where I found them is no longer accessible, which is odd, I admit.
The figure in the artwork represents the Entity. It also connects back to Living Without Light but in a slightly altered, more visible form while still retaining its mystery. The original piece had a complete face, but we decided to split it in half. The final touches and edits were done by our graphic designer, Veronica. If we ever do a physical release, we might include the other half of the face on the back cover or release it separately one day.
"Music often finds itself in a dual role—sometimes as an escape, and other times as a refuge we seek out relentlessly."
BMC: Kamos is a band where siblings play together. In the metal scene, such projects always strike me as genuine and heartfelt, perhaps because the shared mindset translates directly into the music. What was the core inspiration that brought you all together as a band?
Alper: I think Rüzgar should answer this one.
Rüzgar: All four of us were die-hard COB (Children of Bodom) fans, and fate brought us together.
BMC: Children of Bodom has clearly been a significant inspiration for Kamos. As a band devoted to their artistry, what does COB’s music represent for you? I know it is a tough question, but which COB track has influenced you the most?
Rüzgar: For me to add a song to my playlist, I need to love every second of it. Even if I like 90% of a track but not the rest, I will not include it, nor will I listen to it just for that 90%. With COB, I genuinely love almost all their songs—no other band has reached that level for me. They excel at composition. Many of their tracks have moments where I think, What more could they possibly write? For example, in "Pussyfoot Miss Suicide," at the 1:44 mark, the song builds you up step by step for an explosion. Then, the riffs signal that something big is coming, and the melody delivers the final blow straight to your soul, leaving you in a state of peace. It is something they manage to do in almost every song, which is incredibly challenging. If I had to pick one, "In Your Face" stands out the most. That said, despite listening to them for years, I only recently realized my favorite album is Blooddrunk.
Alper: COB’s music represents discipline and dedication to me. When you look at their band chemistry—especially in their early years—they were like brothers. This sense of unity is evident in their music, often emphasizing togetherness, as in Hate Crew Deathroll. The COB track that has influenced me the most changes every year. For 2024, I would say Hellbounds on My Trail.
Ayberk: COB’s music feels like a magical journey, evoking that this is it sensation. That journey spans everything from the northern lights to barren landscapes. The song that’s impacted me the most is Banned From Heaven.
COB Tribute by KAMOS: Honoring Alexi Laiho, Izmir(Turkey), January 2024
BMC: In 2023, you achieved something unprecedented by organizing COB tribute concerts in various cities to honor Alexi Laiho. How did these shows go? What were the most memorable moments for you?
Ayberk: From our perspective, the concerts were both enjoyable and deeply fulfilling. It felt like we created the kind of atmosphere we always wanted to be a part of, and sharing that with other fans was a beautiful experience.
Alper: The concerts were a success—this, I must proudly admit. We had our fears because, let’s face it, putting on a concert comes with its own brand of stress, in every sense. My biggest hope is that one day we can do this with less anxiety. In Istanbul, we were greeted by an amazing Hate Crew Army. It reaffirmed our belief in what we were doing and showed us we were not wrong. Especially hearing from fans who never had the chance to see a Bodom show say that we made up for it—they told us we did not let them feel its absence. What could be a greater reward than that?
In İzmir, it felt like we were playing at home, surrounded by friends. Honestly, the whole experience feels like a dream, and I don’t have one standout memory. I often have to ask others about the details afterward. So, let’s hear from Rüzgar for more vivid moments.
Rüzgar: Our first COB Tribute concert was at Taksim Dorock, and it was the first time in my life I could hear both myself and all my bandmates clearly while playing. We were exhausted and sleep-deprived beforehand, but we pushed through. At the house we rented, we practiced a few songs unplugged, and since everyone in the band is so skilled, we were ready without much studio time. The band playing before us was from Georgia, and one of their guitarists had an Alexi Laiho tattoo. Even though I did not particularly like his personality, seeing that tattoo on him felt like a meaningful coincidence.
When they wrapped up their set, the audience was sparse—only about 10 or 15 people. For the first time, I started to worry: What if only 10 or 15 people show up to watch us? While I do not care about making money from a show, having an audience is crucial to me. The connection, the compliments from strangers, singing the same songs, and headbanging together—that’s what gives me joy.
As our set time approached, I went backstage to pass the time. Just before going down, I bumped into Oktay’s girlfriend, Açelya, who told me, “Rüzgar, the venue is packed.” I thought she was joking. However, when I went downstairs and saw the crowd, I was elated. All those people had come to hear COB and our own material.
The most unforgettable moment was during Bodom Beach Terror (our second song). A middle-aged man in the audience was so eager and into the music—singing along, mimicking guitar and drum movements, and even struggling to take off his jacket mid-song! During certain tracks, we were headbanging in sync with him as a band, which created a truly special connection. At the end of the show, I dropped my guitar pick, and the audience helped me find it. A girl found it and gifted me a lighter in return. I still keep that lighter as a memento of that day.
BMC: Let’s delve into your lyrics. They exude a poetic richness and profound depth. During the writing process, what inspires you the most—a book, a personal experience, or pure imagination?
Alper: Our approach to lyrics is completely based on imagination and fiction. They integrate into the music organically, and they truly find their place. We make sure they resonate well, but of course, they are often born from personal experiences. However, music always comes first for us. We have different lyricists for four of the songs, which is almost half the album. One of my favorite experiences was working with an author friend of mine—Zeynep Çolakoğlu, the lyricist for Elize’s Nightmare. This is a huge honor for us. It could not have been better. Of course, I was only able to voice the visible part of the iceberg, but the full poem is much longer and deeper. Maybe one day we will release the whole thing somewhere. Wouldn’t that be amazing?
BMC: What themes do your songs typically explore? Do you aim to convey a particular message or guide your listeners toward a specific emotion?
Alper: Absolutely. We believe in the healing power of music. I think there are parts or even entire songs where people can find pieces of themselves. I can almost hear them saying, "Yes, I get you, my friend." Or perhaps listeners experience something entirely different—something bigger and more profound than my own interpretation. In a way, that's how the universe works. By that point, it's the song writing itself, not me anymore. This is such a fascinating question, and I believe you realize we’ve just opened an intriguing door here. Who knows how many albums we’ll have in ten years or how many people will read this interview by then? Or what experiences will shape us along the way? Let’s revisit this conversation when that day comes.
"We believe in the healing power of music"
BMC: Does music serve as a form of catharsis for you, or is it more about embracing heavy emotions to create balance or contrast in your life?
Ayberk: Music often finds itself in a dual role—sometimes as an escape, and other times as a refuge we seek out relentlessly. Even when the songs delve into darkness, being immersed in them brings a sense of peace.
Rüzgar: For me, music is the sole purpose of my existence. This is my final band, and though I do not believe it will happen, if I were to leave, I would part ways with music at its peak. I genuinely believe I was born to play bass guitar, and my greatest joy comes from standing on stage, playing alongside friends I love. Music is my form of catharsis because, when I am on stage, I feel godlike. However, when the lights go out, it is as if everything ends, and the monotony of life takes over.
Alper:
“Information is not knowledge.
Knowledge is not wisdom.
Wisdom is not truth.
Truth is not beauty.
Beauty is not love.
Love is not music.
Music is THE BEST.”
― Frank Zappa
BMC: What tones do you usually prefer to work with on your albums? Do you stay loyal to specific equipment or techniques in your musical process?
Alper: We focus on ensuring that the instruments sound as natural as possible, and I hope we can achieve this even better in the future. Of course, there are certain brands, models, and technologies we rely on. However, I am always inclined to experiment with new things. For our upcoming work, we might use much lower tunings—or perhaps the exact opposite—depending on what the songs demand. Our main criteria are that the sound is excellent and that we avoid creating a copy of a copy.
Rüzgar: Under Ate’s guidance, we aimed to achieve the brilliance of Blooddrunk on the album. For bass guitar, I use what I call a "bony tone," which I achieve with the Mammoth plugin and the Tech 21 SansAmp Bass Driver DI pedal. I have a preference for Schecter bass guitars, and I’ve named every bass I’ve ever owned. I even had a reversed cross engraved between the pickups, a design I owe to Sıla.
Between 2017 and 2018, I tested almost every bass pick available in Turkey, and even tried many electric guitar picks. The only ones that stood out for me are Clayton 1.52mm or 1.26mm bass picks—they are simply the best. They do not slip during live performances and are incredibly comfortable to use. I will not play with any other pick.
I pay close attention to how I grip the pick. Whether I am playing with the guitar tilted to the side or raised in the air, the angle of the pick against the string must remain consistent for proper articulation. For strumming, I rest the inner part of my hand on the body of the guitar to ensure the cleanest strokes. When playing the guitar diagonally, I adjust my arm and grip accordingly.
Most players rely on their wrist and the bone of their thumb for power, but I prefer to draw strength from my arm and solely my thumb. Thanks to Oktay, I have learned to emphasize notes selectively rather than strumming everything flatly. In addition, with Ate’s influence, I have moved from playing with two fingers to using all four.
"...Creating a unique identity... is about boldly pursuing originality and making music that feels authentic."
BMC: How do you perceive the development of metal music in Turkey? As Kamos, how do you contribute to the growth of this culture? Are there any other Turkish metal bands producing unique and remarkable work?
Alper: Absolutely, there are distinctive and original works emerging. For instance, within a few years, particularly female-fronted metal bands from Turkey might begin to appear on the global stage. A confident subculture is taking shape. I listen to demos sent by younger musicians, and they genuinely make me proud. There are excellent examples of technical death metal among them—truly talented individuals.
This potential will undoubtedly not go to waste. Eventually, there will be a breakthrough, and the “Turkey-metal dichotomy” will no longer even be a topic of discussion.
Rüzgar: More international bands are coming to Turkey for concerts, which is a positive trend. However, the Turkish bands supporting these big names tend to remain the same for years. When the privileged dominance of those bands comes to an end, our time will begin. Recently, many new bands in İzmir have been leaning toward black metal, largely because it is easier to play. However, I’ve noticed that their primary aim is often to impress the opposite sex rather than genuine musical passion. Using something as sacred as metal music as a tool for such shallow objectives is ridiculous. I avoid interacting with these individuals and even block them on social media.
That said, there are also young musicians forming bands purely out of a desire to create music. I prefer engaging with them, although I do not want to name names since many are still in the cover-playing phase. As Kamos, we believe we are leading the way in melodic death metal. Our Children of Bodom tribute projects are unique and unparalleled globally, which has earned us recognition from melodeath enthusiasts, even among younger fans. We often receive messages like, "Watching your shows inspired me to pick up my guitar every day".
BMC: Do you think it is possible to create a unique identity for metal music in Turkey under the umbrella of heavy metal? If so, what would that identity look like?
Alper: This question should be written in bold letters at the entrance of the country—so relevant! Anyone who can answer this definitively would practically ascend to enlightenment (laughs). But seriously, this is my second favorite question. It made me realize how powerful asking the right questions can be. My answer is a resounding yes! It is entirely possible by enhancing our musical skills and broadening our listening habits. We must first become good musicians. Without a doubt, some of the world’s best instrumentalists hail from these lands. For instance, look at how we used synthesizers in the ’90s pop scene. You can even hear metal influences in some keyboard or guitar solos from that era. Unfortunately, much of that talent was squandered due to industry focus and life’s struggles. If nurtured, this country could easily produce bands like Stratovarius, DragonForce, or Dream Theater. Murat Ilkan’s Fanus album is a pinnacle example of this potential. To me, creating a unique identity does not require blending Turkish music with metal. It is about boldly pursuing originality and making music that feels authentic. Over time, this organic process will define the identity.
Kamos - Living Without Light (2019)
BMC: Which global metal bands have you been listening to recently? What are your top albums of 2024 so far?
Alper: Without a doubt, Jinjer is the first name that comes to mind.
Ayberk: Nightwish’s Yesterwynde and Fit for an Autopsy’s The Nothing That Is are some of the albums that delighted us this year. Among the new wave, Spiritbox, Jinjer, and Poppy are names we closely follow.
Rüzgar: I keep returning to Children of Bodom and Dissection. Occasionally, I dive into Kylähullut, Ensiferum, Eluveitie, Kalmah, Arch Enemy, Amon Amarth, Almora, Kataklysm, Wintersun, and Norther. Although my favorite bands did not release albums in 2024, I enjoyed Arch Enemy’s two singles.
BMC: Do you listen to any surprising non-metal genres? Have you incorporated elements from other styles into your music?
Ayberk: We genuinely appreciate synth-dark pop and electronic ambient genres. While their influence on our music is indirect, the associations and elements they evoke have undeniably inspired us.
BMC: How do you see emerging musical technologies, digitalization, or AI impacting your music?
Rüzgar: I have seen AI-generated songs, but I do not think it can replace humans unless it evolves significantly. Right now, it lacks the emotional depth and compositional nuance of human creators. If I were to make an album with AI, I would not truly feel it was mine. Music should come from your soul and emotions, and AI cannot replicate that yet.
Alper: I completely agree.
BMC: If Kamos were a mythological creature, which one would it be and why?
Rüzgar: Cthulhu. (Reading from the book)* The leader of the Great Old Ones, lying in a submerged city in the Pacific Ocean, waiting for the stars to align so it can rise again. It’s a being that communicates through dreams and drives mortals to madness. That profound mysticism and commanding presence resonate with us.
Design by Black Metal Chronicles
BMC: What can we expect from Kamos in the near future? Any new projects, tours, videos, or surprises?
Alper: We want to create a powerful music video—possibly using a track from this album or even a new piece. There are no tour plans at the moment; we’re taking time to relax and regroup. However, we are continuing to brainstorm and work on future projects.
BMC: Are there any other musical projects or bands you are involved with?
Rüzgar: No, and I do not plan to.
Alper: I have been collaborating with Arsames for about a year now. In addition to guitar, I have had the chance to play some traditional instruments, which was an incredible experience. The music we recorded is fantastic, and I believe the new album will be impactful. I am also working on some Turkish songs and instrumental pieces that I plan to release eventually.
BMC: Any final messages for your fans? Thank you for the interview.
Rüzgar: You only live once. If you love metal and performing on stage, chase it with all your heart—even if it means going hungry. I have met countless people in bars regretting not pursuing their dreams. Do not sacrifice your passions for a “safe” career, especially in a country where nothing is guaranteed. Live in the moment, follow your dreams, and do not look back.
Alper: Thank you to the BMC team for this opportunity. We send our love and respect to your readers and listeners.
Black Metal as the music of emotion and the reverse of
everything; death when there is life, breath when there is absolute
nothingness. Always in there to surprise, shock and inspire!
We have met how the circulating sounds weaved around
stories are able to hunt by Ghost Bath (interview can be found on Black Metal
Chronicles –BMC- pages) and Tolkien –dedicated fantastic shores by The
Summoning (also on BMC). Damián is like Lovecraft in the music scene in terms of productivity as he has
been continuously composing new materials -500 more by now! Now we are delving
deep into the enchantment of wild, exotic universe of Trhä and its creator Damián
Antón Ojeda from USA(Texas).
Damián Antón Ojeda (Thét Älëf), one of the most
prolific people in the music scene, continues to create new music by using his
own language “Hadlhaj” in the dark fantastic worlds of him unceasingly.
Starting in 2020, his project Trhä (meaning the key to
true perfect magic, true fantastic desires and pleasures, and this distant
magic place) quickly created its own cult.
Here Black Metal Chronicles presents
Trhä interviewed by Deniz “slechepar” SEZER.
"The aim for Trhä was always to play just pure
black metal".
Since you have many other projects including Sadness,
Life, Ser, Comforting, Liminal Dream and so on, what is the point of starting a
brand new one with a new name? What was the starting point for Trhä?
For Trhä
specifically I knew I wanted it to be a new project because it needed to
be an entirely new entity. Everything from Trhä was going to take place in and
talk about a very different place than any of my other projects. Especially
with the first album which is entirely based on the lore of a different
world in which the music exists and the languages are from. When I started
writing Nvenlanëg the first thing I did was "alandlhan nítaq ëlh" and
this was originally going to be Sadness (so was tálcunnana...) and they were even
going to be in Hadlhaj. Even before that what ended up being "jadështahh
nudahhhana dëvét" and "grã sôhhlen bem rhôn trhãthàs" were
originally going to be Sadness songs, but eventually the idea occurred to me to
make a whole new project that would be strictly black metal and also a specific
place to channel all the things related to the worlds I describe and also Trhä
would be the only project I write in Hadlhaj (the Sadness song
"fairysad" was originally called "jininic" but I changed it
to English for this reason). When I made Nvenlanëg I was listening to a lot of
Paysage d'Hiver and i wanted to do exactly that too. Also at first Trhä was
supposed to be anonymous and I wanted to have an anonymous project so that's
another reason I made a whole new one instead of making it part of my other
projects. Also Trhä sounds much different from Sadness and Life and everything
else.
In Trhä you
use languages created by you -mostly Hadlhaj- and as far as I know the lyrics
tell kind of magical feelings and things happening on a fantastic new land
where your languages are used. What is the main purpose of it? Can we read
it as the real world is not enough to live desires, and it can only happen in a
place created in a person's mind? Is it a bit pessimistic or let's say
anarchic?
I fall into this other place voluntarily and involuntarily, voluntarily
for feeling that it is where I truly belong, I long for such a perfect place,
especially when I'm unsatisfied with where I am here on planet earth.
Involuntarily because all the things I create for Trhä come from my imagination
but also preexist in the deepest parts of my soul. Oftentimes I don't have to
search for inspiration or ideas, all of it is already there. I don't aim for
anything I compose to have negative or pessimistic connotations.
How many words are there in your languages? How do you
create grammar? Do you take time to generate new words and write them
somewhere? Can you speak them fluently or do you check your notes while you are
writing a new song?
I'll comment
on Hadlhaj because it's the most complete and internalized in me. There
are far more words than I can count. The grammar and syntax is created from an innate
sense of language I have for Hadlhaj and so when I create sentences I just
write them how they make sense. The word order is completely unrelated to any
other language that I know also.
I write all the new words I come up with in a
large archive that contains every Hadlhaj word and many things about grammar. I
can speak it somewhat fluently, when I'm writing lyrics, oftentimes I just
write the Hadlhaj translation from memory but I do also many times have to
refer to the word archives to remember how to say something. Learning Hadlhaj
isn't as easy as learning a language that millions of people speak because I
can't just talk to other Hadlhaj speakers or watch movies in Hadlhaj (although
that would be amazing).
Since Trhä seems quite personal, how does your life
influence your music? And how does it feel still being underground and kind of
mysterious? Does it feed your music and its cult? On the other hand, could you
please tell me a bit more about the lyrical theme of Trhä? The books, authors,
philosophies or cultural heritage that inspire you if there are any.
Nothing I write for Trhä ever has anything to do with personal events directly
(almost always), but rather when I create stories I can refer to the magic I
have experienced in the beauty that exists in life and in this world. I
wouldn't say Trhä is mysterious anymore since everyone knows who I am, but I do
love retaining the mystery that I'm the only one who truly knows what I'm
saying. The lyrical themes of Trhä are usually magic, the magic of these
beautiful countries on the grand continent, ancient poems, history, absolutely
beautiful and perfect moments, simple and soft perfections in life in
Endlhëtonëg, poetry. I can only truly say that what influences the writings in
Trhä is my own imagination and what I feel deep in my soul.
"Trhä is very important as it gives me a joyful and magical outlet for these specific things I love to talk about"
Can you tell us the process of your new songs? There
are parts like composing, playing with different instruments, writing lyrics
and maybe translating, bringing them together and so on. What I know from my
life is, a person cannot be productive if he/she is not disciplined. What is
your understanding of being disciplined? What is the hardest part of Trhä’s
music for you and what is the most entertaining part of it?
Writing a Trhä song is almost always the same.
1. Make up
something (guitar, synths) until I have a full song (this is entirely unplanned
and usually on the spot improvising) as I almost never have anything written
beforehand, maybe sometimes I'll have ideas of how I want things to go but
there is really no composition before recording the riffs and melodies. This is
how I make music for all my projects, and I believe that the most magical art
comes from pure impulse, not from tedious work and organization. Sometimes I
will take something I recorded from many many years ago and use that in the
song, in that case I will copy the recording and put it where it belongs or
finish the song from where it left off.
2. Record drums over the guitar/synth (again from impulse in the moment).
3. If the song has bass, then bass. If not (it would be in the synths) and I'll
write lyrics, if I wrote them first in English I'll translate them to Hadlhaj,
then record vocals. I don't really discipline myself, whenever I make music I
just want to have fun.
The hardest
part about Trhä's music is not really anything about the music because that's
easy and just flows, it's probably when I write out the lyrics by hand for the
LPs(he uses an artistic alphabet he created). Not that it's hard but
rather it's tedious and I have to take it slow so that it looks pretty.
The most entertaining part is probably recording vocals.
"Trhä
would be the only project I write in Hadlhaj"
It is quite difficult to categorize Trhä's music. If I
had tried, I could say atmospheric black metal (with so many melodic parts
though), ambient, dungeon synth etc. The songs have progressive structure and
you cannot guess what you will hear a few minutes later which I like
personally. A dark melody might continue with a joyful one. In some parts you
hear the influences of old school bands like Venom, some reminds me of Paysage
d'Hiver but mostly it is somehow unique, especially with using synth so often
and avant-garde vocal style. It is both raw and harsh but it makes me feel like
it is brand new with its production. You and your music are more emotional than
what we see from the others. Are there bands or musicians that influenced
you? How would you describe and categorize your music in black metal
scene? What would you tell me about your music style?
The aim for
Trhä was always to play just pure black metal. Sometimes I drift away from
black metal a bit, but I would say Trhä is black metal. Like I said before
Paysage d'Hiver was a huge influence on the album Nvenlanëg, but other
than that I would say black metal in general, couldn't really name any bands or
artists in particular. Also Nuit Noire absolutely.
As one of your followers, I know you work to create a
live band for Trhä to perform live music. How is it going? Did you hire the
musicians that will work with you and start rehearsing? When can we expect your
first concert in a realistic forecast?
Maybe 2024. I've gotten together some musicians so far I've even jammed a little
bit, I want to get this going and have high hopes this will turn out great.
Both with Trhä and Sadness you are producing new music
as splits with other musicians nowadays. What is the main motivation for it?
What do you see in Trhä’s future? Do you have any other plans that you work on?
I thought it
would be fun to accept doing a split with anyone who asked, so right now I have
like 20 splits to do for Trhä and Sadness. I realized now I don't like having
the responsibility to do this but it's still fun to make music. Before I start
a new Trhä or Sadness album I'm going to finish all these splits. In the future
Trhä will have more full length albums (some of them are already planned).
How important is Trhä for you? I guess you sometimes
get bored or lose your enthusiasm for any of your projects and it only belongs
to you whether you will continue to produce or not. Will Trhä be one of the
pioneers of your music for a long future?
Trhä is very important as it gives me a joyful and magical outlet for these
specific things I love to talk about. It's also just pure simplistic easy to
make music that's very expressive and very fun. It's also done very well for me
in supporting me and I've received many heartwarming comments from fans that
make it even better.
Finally Damián, thank you for the interview and
your music. Please tell us if you have anything more to say.
Aethereus new album "Leiden" is ripping the heart out of the musical boundaries all over in the very progressive shores.
Album: Leiden
Release Date: 14 January 2022
Label: The Artisan Era
Genre: Technical Death Metal
Country: USA
Line Up:
Benjamin Gassman - Guitars Kyle Chapman - Guitars & Vocals
Matt Behner - Drums
Vance Bratcher - Vocals
Scott Hermanns - Bass
Guest-solos from Mike Low (Inferi), Malcolm Pugh (Inferi), and Sanjay Kumar (Wormhole, Equipoise), as well as guest vocals from Mike Alvarez (Flub) and Kyle Rasmussen (Vitriol).
AETHEREUS - Behold, The World Eater [Official Music Video]
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