The Belgian multi-instrumentalist on 30 years behind the guitar, his new black metal work with The Desolation Process, and why authenticity keeps him going.
INTRODUCTION
Few musicians balance a life in heavy music with a career of service the way Mattias Theuwen does. Best known as the founder, guitarist, and screams vocalist of the Belgian band Thurisaz, he has spent more than three decades shaping one of Belgium's most distinctive names in atmospheric black-doom metal, while also working as a social worker and running the Headache Music Agency booking agency.
With five studio albums, a live acoustic album/DVD, and new projects such as the post-metal act Ka'Una and Mathieu Vanlandtschoote's black metal band The Desolation Process now in motion, Thurisaz continues to explore themes of loss, tragedy, and human suffering through its heavy, melancholic sound. Senem Semiz, on behalf of Black Metal Chronicles, spoke with Mattias Theuwen about his musical beginnings, artistic inspirations, vocal approach, and the future of the band.
Band Profile
Thurisaz is a Belgian band founded in 1997 by guitarist and vocalist Mattias Theuwen. Playing a rare blend of black, doom, and atmospheric metal, the band has released five studio albums and one live acoustic album/DVD, establishing a strong presence within the European metal scene. Their latest album, Re-Incentive (2020), has surpassed 10 million streams, making Thurisaz one of the most-streamed Belgian metal bands.
Hello
Mattias! To start, could you introduce yourself to our readers?
I’m Mattias, best known
as the founder, guitarist, and screams vocalist of the Belgian band Thurisaz.
I’m from Wervik, a border town in West Flanders, right next to France. Away
from music, I work as a social worker, mostly supporting young people going through
a hard time.
How did
your musical journey begin, and which bands or musicians inspired you along the
way?
Music was always a big
part of my life growing up. My father played guitar and taught me my first
chords. He would often put on vinyl records like The Beatles, Led Zeppelin, and
Genesis, and that introduced me to the heavier guitar sound. Later, through friends,
I discovered bands like Korn, Metallica, and Life Of Agony, and that pushed us
to start a band of our own. On my 13th birthday, I got my first electric guitar
and amp, which sparked a passion that’s been going strong for over 30 years
now.
Early on, artists like
Devin Townsend (Terria, Deadhead), Empyrium (Songs of Moors
and Misty Fields, Where at Night the Wood Grouse Plays), and Opeth (Still
Life, My Arms, Your Hearse) were huge sources of inspiration and
motivation for me. Later I was especially drawn to Anathema, Cult of Luna,
Porcupine Tree, and Sólstafir. And plenty of others, of course.
What
projects have you been involved in so far?
For many years my focus
was solely on Thurisaz. We handled everything ourselves, both musically and
practically, which was already like a full-time job. A few years ago we started
Ka’Una, a post-metal project with Hannes Leroy (also from Thurisaz) on vocals.
The drummer, Stijn Decoene, previously played in bands like The Rg’s and
Scrape. Both are long-time close friends of mine.
More recently, together
with Pepijn De Raeymaecker (Thurisaz drummer), I joined The Desolation Process,
a black metal project by songwriter Mathieu Vanlandtschoote. We’re planning to
release our debut in 2026, so definitely keep an eye out. I also
recorded guest vocals for VroK, the one-man project of Youri Seynaeve, a
multi-talented musician who will soon release his own album. That’s another one
to watch.
Outside
of music, what are some of your hobbies and interests?
Outside of making music,
I volunteer to help organize an annual music festival in my hometown of Wervik,
where I mostly take care of the practical side and logistics. Together with
Stijn Decoene I also run Headache Music Agency, a booking agency mainly focused
on post-metal and stoner bands in Flanders. Stijn handles most of the bookings
and promotion, while I work more on strategy and long-term planning. Every year
we also organize our own Headache Fest and create opportunities for bands by
working with other organizations.
On top of that, I
sometimes restore stained glass projects when they come my way. I find it a
fascinating old craft that deserves much more attention. And to stay in shape,
I make sure to run, swim, or cycle every week. Hopefully that keeps me fit.
THURISAZ Monologue Official Video
How did
your vocal journey start? Do you remember how you first discovered this path?
Back in the early days of
Thurisaz, exploring what my voice could do was a real challenge. We thought it
would be interesting to bring different “characters” into our music, and that
led to experimenting with screams, grunts, and clean vocals. Over the years, as
I refined my technique, I found my own style and really made the screams my
own.
For you
personally, what is the most important aspect of music?
For me the most important
thing is fun. I get energy from the enthusiasm of other musicians, and fun is
at the heart of that. If I ever feel that something is being done just because
“that’s how it’s supposed to be,” without personality or authenticity, I lose
interest.
Finally,
is there a message you’d like to share with your fans? What can they expect
from you in the future?
Making music and living
it will always be a huge part of my life. That will never change. Fans can
definitely expect things to keep moving. But how, when, or in what form? That
stays open for now.
Closing Words
Beyond his work with Thurisaz, Mattias Theuwen has also recently collaborated with the Turkish gothic doom/death metal band The Choir of Agony. He appears as a guest musician on the band’s single, “Enchanted Nocturne,” a song that further strengthens the artistic bridge between the Belgian and Turkish doom metal scenes.
The collaboration brings together musicians who share a passion for atmosphere, melancholy, and emotional depth, showing how the contemporary underground metal community continues to cross geographical borders through creative partnerships.
Listeners familiar with Thurisaz’s dark, melancholic soundscapes will recognize a similar emotional resonance within “Enchanted Nocturne,” making the collaboration a natural artistic meeting point between the two bands.
The Choir of Agony's Enchanted Nocturne lyric video
featuring guest vocals by Mattias Theuwen of Thurisaz
Turkish gothic death/doom metal act The Choir of Agony have officially released their long-awaited debut full-length album, The Burden of Buried Tales, available now on all major digital streaming platforms.
After introducing their musical identity through a series of internationally acclaimed singles, the band now presents a complete artistic statement that unites those compositions with new material into a cohesive journey through grief, spirituality, and gothic melancholy.
Blending crushing death-doom riffs with cinematic atmospheres, ritualistic vocal arrangements, and emotionally charged songwriting, The Burden of Buried Tales showcases a distinctive approach to modern doom metal. At the heart of the band's sound is the commanding extreme vocal performance of Senem Semiz, whose deep growls and expressive delivery redefine the classic "beauty and the beast" dynamic from a fresh perspective.
An International Choir of Voices
Remaining true to its name, The Choir of Agony continues its unique artistic vision by bringing together respected vocalists from across the international doom and gothic metal scene. Rather than presenting guest appearances as isolated collaborations, each vocalist becomes an integral part of the album's emotional and conceptual narrative.
Featured guest musicians include:
Gogo Melone (Aeonian Sorrow) – Forsaken Lament
Nikos Vlachakis (Ocean of Grief) – Ashes on the Ground
Frederic Simon (Lying Figures, ex-Inborn Suffering) – Night I Pass Through the Egypt
Sonia Hernandez (Scandelion) – Fallen Is Babylon the Great
Berk Öner (Yaşru) – Where Only Shadows Go
Terezza Rohelova (Opia) – The Distance Between Us
Lucia Amelia (Ghostheart Nebula) – When the Stars Fade
Each collaboration was carefully selected to complement the atmosphere of its respective composition, creating what the band describes as a "choir" of voices united by darkness, melancholy, and emotional depth.
A Journey Through Darkness
Across ten compositions, The Burden of Buried Tales explores themes of existential despair, biblical symbolism, spiritual abandonment, divine wrath, inner collapse, and gothic romance. Slow, crushing riffs intertwine with haunting melodies and ritualistic vocal arrangements, resulting in an immersive listening experience that unfolds like a continuous dark liturgy.
Rather than functioning as a simple collection of songs, the album presents a unified narrative where sorrow, transcendence, and cinematic storytelling coexist within an oppressive yet beautiful sonic landscape.
A New Chapter
Since its formation in İzmir, Türkiye, The Choir of Agony has steadily gained international recognition through collaborations with prominent musicians from the doom and gothic metal community. With The Burden of Buried Tales, the band establishes itself as more than a traditional doom metal act—it presents a collaborative artistic platform where different voices converge under a singular creative vision.
As the band's debut full-length release, The Burden of Buried Tales marks the beginning of a new chapter, inviting listeners into a world where crushing heaviness, ritualistic atmosphere, and profound emotional expression become one.
Genre: Gothic Death/Doom Metal
FFO (For Fans Of): Draconian, Swallow the Sun, Trees of Eternity, Saturnus
Release Date: June 26, 2026
Recommended Tracks:Enchanted Nocturne, Ashes on the Ground, When the Stars Fade, Where Only Shadows Go
The Burden of Buried Tales is available now on all major digital streaming platforms.
As Aeonian Sorrow prepares to celebrate its tenth anniversary, founder Gogo Melone discusses the band's origins, songwriting process, artistic influences, visual design career, and plans for a new album and European tour.
INTRODUCTION
Few artists manage to balance music and visual art as successfully as Gogo Melone. Best known as the founder, vocalist, keyboardist, and creative force behind Aeonian Sorrow, she has spent the last decade shaping one of the most distinctive names in the modern doom metal scene while simultaneously building a respected career as a graphic designer for bands, festivals, and record labels.
With two acclaimed albums, two EPs, and a third full-length currently in development, Aeonian Sorrow continues to explore the emotional depths of doom and gothic metal. Senem Semiz, on behalf of Black Metal Chronicles spoke with Gogo Melone about her musical beginnings, artistic inspirations, songwriting philosophy, and the future of the band.
Band Profile
Aeonian Sorrow is a Finnish-Greek doom
metal band founded in 2015 by vocalist and keyboardist Gogo Melone. Combining
elements of doom metal, gothic metal, and atmospheric melancholy, the band has
released two full-length albums and two EPs, establishing a strong presence
within the European doom metal scene.
Black
Metal Chronicles: Thank you so much for doing this interview with us. To begin,
could you introduce yourself to our readers?
My name is Gogo Melone and I'm the founder member/singer of the Finnish - Greek Doom Metal band Aeonian Sorrow. Some people know me from my other job in graphic design as I work for the music industry, other artists and labels.
Black
Metal Chronicles: How did your journey with music first begin? What was that
process like?
Well, you know I was the typical kid who was going to school and accidentally ended up singing for the school's choir because of natural talent. Then I went through that phase to where all the kids of my school were listening to pop music and I was the only one listening to Metal and being different so I guess that intrigued my interest to explore music even more and practice my artistic side through singing. This was the first experience but of course the most serious experimentation came after high school when I joined my first band and I started to record songs with other people, play concerts across the country and share nice memories.
"Sometimes sorrow leads to catharsis, reflection, and even inner peace."
Aeonian Sorrow - Harbinger of Ruin (Official Video)
Black
Metal Chronicles: Alongside clean vocals, we’ve also seen you perform harsh and
scream vocals. When and how did you learn this vocal style?
I initially learned harsh vocals through
self-practice and experimentation. Later, I took professional lessons to refine
my technique and ensure I could perform them properly both in the studio and on
stage.
Black
Metal Chronicles: Which bands or artists have inspired you the most?
Bands such as Theatre of Tragedy, Anathema,
Paradise Lost, My Dying Bride, Katatonia, and Type O Negative have all
influenced me in different ways. Beyond metal, artists like Dead Can Dance,
Sisters of Mercy, The Cure, Portishead, and The Gathering have also had a
significant impact on my musical perspective.
Black
Metal Chronicles: Beyond music, you also have a strong background in graphic
design. How did that creative path begin?
It is not just a hobby or interest, this is my job for the last 18 years. I do CD and Vinyl artwork, layouts, T-shirt designs, logos and everything a band needs to release an album or go on a tour. I finished college and then I started to work with small underground bands and through the years, I got customers such as Kamelot, Wolfheart, Xandria, Before The Dawn, Insomnium, Omnium Gatherum and more. Today I continue to provide the same services to artists, labels, festivals, and even a booking agency now called Dark Moon Events.
Black
Metal Chronicles: Can you tell us about the origins of Aeonian Sorrow?
The band was formed by me in 2015 when I was still living in Greece. I've been a fan of Doom Metal and Gothic Metal music since years so it was somehow a personal preference to create a project that follows this line. At first it was more like a solo band to where I was writing songs and exploring the sound that I wanted to create and then some of my Finnish friends heard about this project and they offered to help me record it in the studio. We ended up recording an entire album together named "Into The Eternity A Moment We Are" which it was so good that there was no way we could let the band stay as a studio project only. So later on we found extra musicians to complete the line up and we started travelling across Europe, playing shows and having a couple of tours and festivals. 10 years later we are counting two albums, two EPs and now we are working on the 3rd album and the next tour production for 2026. Our current line up is Joel Notkonen (vocals), Taneli Jämsä (guitars), Jukka Jauhiainen (guitars), Achilles Papagrigoriou (drums), Jani Mikkänen (session bass) and me in vocals and keyboards.
Black
Metal Chronicles: How does your songwriting process work?
I'm not sure if there is anything interesting or mysterious about the songwriting process. We mainly write individually in our houses through our computers and then we share demo tracks with each other. Once the main peace is done and the lyrics are done, we meet at the studio and we start recording everything. I think the recordings is one the most challenging things to do and the most exciting process at the same time. You have to keep a creative line, to change things if needed and make choices while you are trying to put all the pieces together. It's a difficult process but also very enlightening in an artistic level as you're always learning something new from it. But to be able to do all that, you need a motivation or to create a goal and in most cases ours is to sit down and compose something new that it won't take many years to complete. If you are in a semi-professional band or in a full professional band then targets and goals are vital for your continuation so we are trying to keep a balance with all that.
Black
Metal Chronicles: We love your band’s name. What does 'Aeonian Sorrow' mean to
you?
Our name is highly influenced from the Greek word "Aionios" which means Eternal. Of course this has a connection to my place of origin but with the word "Sorrow" next to it, it also describes a state of mind which is linked to grief and pain. The topics might be sad and depressing but it's also an experience to go through. Sometimes they provide you a catharsis or an inner peace so it doesn't always end badly.
Black
Metal Chronicles: Finally, what can fans expect from Aeonian Sorrow in the near
future?
Thank you for the invitation and this interview. This autumn, the band will be celebrating its 10th years anniversary so we are preparing something special for the occasion. The songwriting for our 3rd album has started too but it is at a very early stages yet. For sure the fans should expect more shows and another EU tour in 2026.
Closing Words
Beyond her work with Aeonian Sorrow, Gogo Melone has also recently collaborated with Turkish gothic doom/death metal band The Choir of Agony. She appears as a guest musician on the band's single, Forsaken Lament, a song that further strengthens the artistic bridge between the European and Turkish doom metal scenes.
The collaboration brings together musicians who share a passion for atmosphere, melancholy, and emotional depth, demonstrating how the contemporary underground metal community continues to transcend geographical borders through creative partnerships.
Listeners familiar with Aeonian Sorrow's mournful soundscapes will undoubtedly recognize a similar emotional resonance within Forsaken Lament, making the collaboration a natural artistic meeting point between the two bands.
The Choir of Agony's Forsaken Lament lyric video
featuring guest vocals by Gogo Melone of Aeonian Sorrow
Turkish gothic death/doom metal act The Choir of Agony has unveiled the official video for its new single “The Forever People II”, featuring legendary My Dying Bride vocalist Aaron Stainthorpe alongside Eduardo P. "Harbinger of Doom" Mota (The Cross) and Daniel Fauaze (The Cross).
Turkish Death/Gothic Doom Metal band The Choir of Agony has officially released its new international collaborative single and video, “The Forever People II”, now available on YouTube and digital streaming platforms.
Bringing together musicians from Türkiye, Brazil, and the United Kingdom, the release further strengthens the band's growing international presence within the gothic and death doom metal scene while continuing its collaborative artistic vision.
The song features legendary guest vocalist Aaron Stainthorpe, widely known as the iconic voice of My Dying Bride and current frontman of High Parasite. As one of the most influential figures in gothic doom metal history, Stainthorpe's unmistakable vocal style and lyrical legacy have helped shape the genre for more than three decades. His participation marks one of the most significant collaborations in The Choir of Agony's career to date.
Joining him is Eduardo P. of Brazilian gothic doom metal band The Cross. Known for his dark, melancholic approach and powerful vocal presence, Eduardo adds another layer of emotional depth to the composition. The track also includes contributions from Daniel Fauaze, further emphasizing the project's international character.
Founded in İzmir, Türkiye, The Choir of Agony has steadily gained attention through its combination of death doom heaviness, gothic atmosphere, and ritualistic songwriting. The band's music is characterized by cinematic arrangements, oppressive emotional weight, and an evolving network of collaborations with respected musicians from across the global doom metal community.
At the center of the band's identity stands vocalist Senem Semiz, whose deep and commanding extreme vocals have become one of The Choir of Agony's defining trademarks. Her performance on “The Forever People II” creates a powerful contrast against the song's melancholic atmosphere, reinforcing the band's distinctive interpretation of gothic doom metal.
Accompanied by an official video, “The Forever People II” presents a dark and emotionally charged meeting between established figures of the classic doom metal scene and a new generation of international gothic death doom musicians. The result is a work that bridges the heritage of traditional doom metal with The Choir of Agony's contemporary and collaborative vision.
Listen to "The Forever People II" on streaming platforms and watch the official video on YouTube.
Turkish Death/Gothic Doom Metal band The Choir of Agony is preparing to release its new collaborative single, “The Forever People II”, on May 22 across all digital platforms.
The release brings together musicians from Türkiye, Brazil, and the United Kingdom, further strengthening the band’s international gothic doom metal identity and collaborative artistic vision.
The single features legendary guest vocalist Aaron Stainthorpe, best known as the iconic voice of My Dying Bride and current member of High Parasite. Considered one of the defining figures of gothic doom metal, Stainthorpe’s poetic and mournful vocal approach has shaped the genre for decades. His appearance on “The Forever People II” marks a significant milestone for the band.
The song also includes contributions from Eduardo P. of the Brazilian gothic/doom metal band The Cross. Eduardo is recognized for combining gothic melancholy with heavy doom-oriented songwriting, making The Cross an important name within the South American dark metal underground.
Another guest musician appearing on the release is Daniel Fauaze, whose participation further expands the song’s international character.
Founded in İzmir, Türkiye, The Choir of Agony has been attracting attention with its ritualistic atmosphere, emotionally oppressive structures, and dark cinematic aesthetic. Blending gothic doom, death doom, and atmospheric metal influences, the band continues to build a distinctive identity through international collaborations and multilayered compositions.
One of the most striking elements of The Choir of Agony is the vocal performance of frontwoman Senem Semiz, whose deep brutal vocals stand at the center of the band’s sound. Semiz draws attention with a vocal style that merges the darkness of death doom with the emotional intensity of gothic metal, while also representing the growing presence of female extreme vocalists within the global metal scene. Her harsh vocal delivery creates a powerful contrast against the melancholic and atmospheric structures of the band’s compositions.
With “The Forever People II”, the band is expected to deliver a deeply melancholic and emotionally intense work that unites veteran figures of the doom metal scene with modern gothic extremity.
Manifesto Sentence: A restrained sob that turns melancholy into resonance.
Context Note:
With Le sanglot, IMPURE WILHELMINA steps into a new phase. Writing entirely in French gives the album a different accent and melodic contour; it genuinely opens a new side of the band. There are moments of chaotic undercurrents, yet the overall movement feels smooth and deliberate. The darkness does not erupt; it flows.
Michael Schindl’s voice is unquestionably the emotional core. It carries a deep, inward suffering that never turns theatrical. At times, it reminded me of the Swedish band Kent, that same restrained intensity, that same quiet ache beneath clarity.
Midway through the record, “Train mort” emerges like something leaking through a dark crack. Its post-black edge casts a shadow over the album, almost like a black glance interrupting the flow. The echoing transitions and trembling vocal tension are striking, unsettling, but powerful.
Artwork & Conceptual Frame: Le sanglot does not dramatize pain; it contains it. The title itself suggests not a scream, but a held sob. The aesthetic direction reflects this inner compression, which is controlled, melancholic, and lucid.
Country: Lithuania
Genre: Experimental Sludge Metal / Metalcore
Album Title: Epigrama
Release Date: May 29, 2026
Label: Season of Mist
Manifesto Sentence:
A suffocating meditation on modern decay where sludge density meets existential fracture.
Context Note:
With Epigrama, ERDVE move beyond the abrasive volatility of Savigaila into a more deliberate and structurally unified territory. Self-produced and entirely shaped by core members Vaidotas Darulis and Adomas Varnelis, the album emphasizes cohesion between composition, lyrical content and sonic architecture. Rather than amplifying chaos, the band refines it — channeling their experimental sludge foundations into a darker, more introspective and disciplined framework.
Epigrama carries the melancholy of the contemporary condition. The vocal delivery — emotionally strained and reminiscent of post-black metal’s expressive intensity — creates a painful yet deliberate bridge between lyric and sound. On “Skepsis,” especially, the sharp structural transitions showcase ERDVE’s originality: tension fractures and reforms without resolution.
This is sludge in its most experimental and abyssal form — dense, suffocating, and intellectually aware. The darkness here is not theatrical. It is internal. ERDVE do not explode outward; they implode inward, crafting a controlled descent into modern disquiet.
Artwork & Conceptual Frame:
The visual presentation mirrors the album’s internal collapse — minimal yet unsettling. The photography and design choices reinforce a sense of psychological erosion rather than external aggression. Conceptually, Epigrama functions as a reflective rupture: a confrontation with personal guilt, fragmentation and modern disintegration. The Lithuanian lyrics deepen this introspection, preserving cultural identity while amplifying universality.
Thematic Axis:
Existential self-disintegration, guilt-consciousness, modern alienation, entropic decay, and psychological implosion. Bandcamp
From Shadow to Thaw – Music, Philosophy, and a Glass Raised to the Night
I want to begin this piece like a letter of confession. This is the quiet confession of having never written, perhaps even never quite managed to write, about this music until now, even though for a long time I have been stepping blindly into every song they compose and, each time, setting off on my own psychedelic journey.
The 2025 album Shadow Play, the April 2026 EP Thaw, and my visit to Çal at the end of March finally brought this article into being, one centered on Drudkh’s music, lyrics, and a particular wine that accompanies them.
This article is about Drudkh, the Ukrainian atmospheric black metal band. Drudkh is a dark musical mirror of suffering, pain, and social decay. There are no live performances and no masks in this universe; what you encounter instead is a series of albums in which the notes cry out and the music is transferred from one body to another. Entering the realm of Drudkh is like holding a one-way ticket; after that, you begin to desire getting lost yourself. Especially if you are among those atmospheric black metal listeners whose veins have long been claimed by melancholy.
In DRUDKH’s music, melody flows without ever hurrying, while repetition becomes more than repetition, creating a hypnotic state that pulls the listener inward. The transitions do not arrive through harsh ruptures, but by slowly dissolving into one another; the music does not erupt, it expands inward. The mid-tempo passages, at times leaning toward doom, deepen this darkness even further. The long, echoing, and controlled screams never turn into spectacle; it is as though a narrator speaks from afar, telling his story without shouting, yet without surrendering. The sense of nature does not emerge through flutes or folk instruments either, but from the very texture of the melody itself, as if mist were rising on its own from between the notes.
The album I still place in a category of its own within their discography is Blood in Our Wells (2005). I can say that the epic intensity of this record reveals the spirit of the band in its most unguarded form. However, Furrows of Gods (Blood in Our Wells), Glare of Autumn (Autumn Aurora), Only the Wild Remembers My Name (Estrangement), and The Nocturnal One (All Belong to the Night) are essential milestones for tracing Drudkh’s footsteps.
The inclusion of texts by Ukrainian poets in their lyrics is one of the cornerstones of DRUDKH’s aesthetic line. The melodies of Drudkh carry the poetry of major figures of 1920s and 1930s Ukrainian modernism, such as Volodymyr Svidzinsky, Bohdan Ihor Antonych, Maik (Mykhailo) Yohansen, and Yevhen Pluzhnyk. The album A Few Lines in Archaic Ukrainian (2019), in particular, places these poets’ archaic Ukrainian verse at the center of its musical vision, forging a powerful connection between language, history, and cultural memory. Shadow Play (2025), meanwhile, moves this line onto a more inward and meditative plane.
2025 – Shadow Play
Released under Underground Activists, the underground-focused sub-imprint of Season of Mist, Shadow Play carries DRUDKH’s timeless aesthetic into a more refined darkness. The album creates a field of tension between the oppositions of existence: light and shadow, silence and storm, memory and oblivion.
While the band’s characteristic atmospheric and pagan black metal language remains intact, themes of exile, roots, and the cycle of life and death are strongly felt in the album’s narrative backbone. Tremolo-laden melodies, hypnotic repetitions, and a melancholic ambience place the listener in a world suspended between past and present.
DRUDKH embraces anonymity not as an aesthetic gesture, but as an ontological position. It refuses to surrender to the culture of visibility. Only the music speaks. Historical memory is felt not only on the lyrical level, but within the structure of the composition itself. In the lyrics, the legacy of poets such as Yakiv Savchenko resonates through this music. DRUDKH, in fact, produces timelessness. It speaks not through trends, but through historical consciousness.
Drudkh - "The Eve"
The sorrowful grandeur of The Eve, the defiant grief of The Exile, and the destructive beauty of The Thirst shape the album’s inner tension. This is not merely an act of listening, but an experience of turning inward.”
2026 – Thaw EP
Set for release in 24th April 2026, the Thaw EP was recorded during the same creative period as Shadow Play and stands as a direct extension of that album. It is not an independent change of direction, but a concentrated continuation.
The opening track, Memory, points not so much to nostalgia as to permanence. With a structure that stretches beyond seven minutes, it moves forward slowly, expanding its layers and carrying those familiar, epic Drudkh tones I find impossible to give up. It reflects the fragile dissolution of a frozen state of mind.
This three-track EP explores a state of lingering on the threshold, inner exile, and the quiet instability of change. Thaw is, in essence, a transitional work. Neither entirely new nor entirely old. A dissolution, but a controlled one.
Drudkh - Memory
As one falls asleep, as one emerges from sleep, the screams gradually spread and lengthen. Its atmospheric black metal structure leans toward doom. A dark spirit that seeps into us. This is precisely where DRUDKH’s black pearls are hidden.
Wine Pairing – Çal Karası (Lermonos)
While listening to the 2025 album Shadow Play, with its strong sense of local emphasis, I chose a local character from these lands: Çal Karası. The pride of the Çal region of Denizli.
Çal Karası is mostly used in the production of rosé. Yet the Denizli-based producer Lermonos has let the blood of this distinctive grape run, transforming it into a true red. Its pale red, brilliant color appears elegant, yet its structure is deeper than one might expect.
This is a grape that speaks in many tongues. It opens with red fruits: sour cherry, pomegranate, red plum. Then it brushes against fine spices, touches of clove. With a sudden turn, it leaves greenish reflections at certain angles. On the palate, it moves from reds that steadily intensify toward faint green tones, and with a bitter finish, it throws the truth in your face.
Its acidity is pronounced, sharp, and vivid. Being a child of a continental climate, it knows hardship well. The temperature difference within the day reveals itself in that piercing acidity. With its slender body, it carries shrill screams, yet it also possesses aromas deep and lingering enough to carry the melodies alongside them.
This is the wine of the night. Red enough for the full moon to want to fill its goblet with it. It is built to be drunk in the silence of the night, accompanied by heavy melodies. With the purple flowers it keeps trapped inside, it makes one final gesture and, as the night goes on, draws melancholy over itself. Like DRUDKH’s music, Çal Karası first leaves behind an intense shadow; it hardens with its pointed tongue, then curls inward with an unexpected elegance. Like silenced Renaissance poets, it bears pain in an aesthetic form. It is a refined yet sharp reply from Anatolia to the memory of Ukraine.
I raise my glass to a night paced out on the ground by His Twenty-Fourth Spring, and to Drudkh’s musical epic tale.
Lermonos Carovino Çal Karası 2024
DRUDKH listens not only to the poetry of the past, but to the tremor of a land still shaking beneath the present. The connection it draws between historical memory and present-day fragility makes their music not only timeless, but painfully relevant and unmistakably black metal.
"The equinox is behind us.
A cold spring night. In every sound, In every breath, In every gust of wind, April."
Between Beauty and Beast: The Dark Architecture of The
Choir Of Agony
Hailing
from İzmir, The Choir Of Agony stands out as one of the bands that still
carries the deep-rooted legacy of metal music in its strongest form today.
While remaining faithful to the traditional vein, the band does so not merely
through stylistic allegiance, but with a high level of musicality and
intellectual maturity. Reinterpreting doom metal’s “beauty & beast”
structure through the brutal presence of a female musician, the band frames
this contrast not simply as an aesthetic choice, but as a space of existential
rupture. In the tracks featuring guest musicians, an intense, ceremonial, and
dark atmosphere emerges, one that invites the listener into the rite of a black
choir. In short, The Choir Of Agony does not merely create dark music; it
constructs darkness within an intellectual and aesthetic unity. In this
comprehensive interview, the band answered many of my questions, ranging from
their creative processes and influences to their musical approach and lyrical
world.
Moving
along the doom/death axis, The Choir of Agony creates a dark and layered
atmosphere through the dramatic tension between brutal and clean vocals.
Blending divine wrath with existential melancholy in the same crucible, this
structure builds a powerful and distinctive identity through a stage presence
centered around a female brutal vocalist. When was the band formed? Who are the
current members, and how would you describe your music to someone hearing it
for the first time?
First of
all, thank you very much for doing this interview with us. The Choir Of
Agony was first formed in 2023 as “Draconian Tribute.” Later on, as a band,
we decided to create our own compositions. Our current line-up consists of
Senem Semiz (extreme vocals), Mecit Ege Yılmaz (guitar), Hürkan Çağlar (bass
guitar), and Volkan Günakın (drums). If we were to describe our music for new
listeners, we could say that it establishes a structure through which one can
feel the inner conflict of the human being, musically, down to the very cells,
with a doom metal influence.
Senem Semiz
With the
name The Choir Of Agony, you point to a distinctive identity that
foregrounds a multi-vocal structure. If I am not mistaken, you have released 6
singles to date and collaborated with foreign musicians in these works. How did
these ideas emerge? Which names did you work with?
At first,
our band’s name was “Enchanted Nocturne.” As a brutal vocalist, my greatest
wish was to sing with the vocalists of the bands I love and enjoy listening to.
I first realized this dream with Gogo Melone, the clean vocalist of Aeonian
Sorrow. Later, we released a single with Nikos Vlachakis, the brutal vocalist
of Ocean of Grief. These collaborations and duets made us think that we should
continue as “Choir,” and by mutual decision, The Choir of Agony was
born. We chose to name our third single Enchanted Nocturne to keep our original
name alive. Mattias Theuwen, whom we know as one of the scream vocalists of
Thurisaz and Ka'Una, also accompanied us on this single. We recorded our fourth
single with the contribution of Sonia Hernandez, the clean vocalist of Scandelion,
and at the same time, the composition of this song belongs to my very dear
friend Duru Şimal Durmaz. We recorded our fifth single with Eduardo (Harbinger
of Doom), the vocalist of The Cross, with whom we are also working on a project
that will arrive like a bomb in the future. Frederic Simon, whom we know from
former Inborn Suffering and currently from Lying Figures, also accompanied us
on our sixth single.
Hürkan Çağlar
What
criteria do you consider when choosing the musicians you collaborate with? In
my opinion, in one of your best tracks, Enchanted Nocturne, Senem’s
deep, dark, and smooth brutal vocals are strikingly completed by the inwardly
surging, textured screams of Matthias Theuwen, whom we know from Ka’Una and
Thurisaz, as they bind the piece together in a remarkable way. This track was
selected as the Best Metal Song of the Year by Surge Türkiye in 2025, was it
not?
We can say
that Enchanted Nocturne is the apple of our eye. Surge Türkiye honored
us by selecting it as the “Best Metal Song.” If you notice, the names we choose
to work with in these collaborations are the ones that complete that particular
song. For example, Forsaken Lament. In that song, we could not think of
any vocal color other than Gogo’s, and we still cannot. It required a strong
voice capable of performing the song almost like a lament. And that was Gogo.
We can say that it is entirely a choice shaped by the atmosphere of the song.
We can say that Enchanted Nocturne is the apple of our eye. Surge Türkiye honored us by selecting it as the “Best Metal Song."
Enchanted Nocturne/ The Choir of Agony
In
doom/gothic metal, within the traditional “beauty and the beast” dynamic, the
brutal vocal is usually performed by a man, while the clean vocal is performed
by a woman. The Choir Of Agony reverses this established pattern. Was
this a conscious aesthetic choice? How would you describe, in your own words,
this approach that carries you to a distinctive and original point?
This is
actually a question we have always wanted to be asked. In doom metal, beauty is
generally defined as the clean vocal, while beast is defined as the brutal
vocal. What we try to express in the lyrics of our songs is also the “beauty”
and the “beast” within the human being. We believe that this, too, can be
gathered within a single body, as a woman (beauty) and brutal (beast).
Mecit Ege Yılmaz
"What we try
to express in the lyrics of our songs is also the “beauty” and the “beast”
within the human being"
Although
The Choir Of Agony is positioned on the doom metal axis, I believe the
melodic death metal influences in Night I Pass Through the Egypt, along
with the gothic, melancholic transitions that emerge within the songs, show
that the band also draws from different genres. What is your take on this?
We can say
that Night I Pass Through the Egypt was actually an experiment for us.
In this single, we wanted to take our listeners beyond the boundaries of doom
metal to some extent and bring them together with a different atmosphere. When
we present it to you as part of the album, we hoped that in this musical
journey, once Night I Pass Through the Egypt ends and it continues with Enchanted
Nocturne, it would convey the feeling that the war had ended and been won.
Are you
planning new international collaborations? What kind of roadmap are you drawing
for the upcoming period? As far as I know, you are also preparing an album.
What can you share about the recording process and concept of the album?
In our new
international collaborations, Lucia Amelia, the clean vocalist of Ghostheart
Nebula, Tereza Rohelova, the clean/brutal vocalist of Opia, and Thomas Jansen,
the brutal vocalist of Saturnus, will be taking part. In our other
collaborations that will not be included on the album, we also worked with
Aaron Stainthorpe, whom we know from ex-My Dying Bride and High Parasite, on a
very special project. Heike Langhans, herself the ex-Draconian clean vocalist,
will accompany us in the future. The recording process of the album progressed
in a disciplined manner; since the instrument recordings had been prepared, we
were able to devote a great deal of time to vocal composition. Conceptually,
the album is actually like day and night. We can say that it is a beautiful
union of opposites.
Volkan Günakın
How does
The Choir Of Agony construct its songs? Does the process usually begin
with an idea or an atmosphere, or does it move forward through a musical motif?
Is the balance between brutal and clean vocals a structure planned from the
very beginning, or does it take shape naturally during the process?
We first
compose the songs on paper as notes, and then make them concrete by playing
them on guitar and piano. Since the songs are mostly composed conceptually by
me (Senem), as the brutal vocalist, I determine the atmosphere, theme, and even
the vocal color that the song should have before it even enters the recording
stage, and I share these with my bandmates. After the ideas are taken in and
developed, and once we reach the point where we say, “Alright, this is the
song,” the track is recorded and prepared for the vocal recording. So in fact,
both a planned process unfolds, and the feelings and thoughts that the journey
brings us are what enable us to compose the song.
After a The
Choir Of Agony concert, in what emotional state would you like the listener
to leave?
After our
concerts, we would like our listeners to enter into an inner dialogue with
themselves, awaken a sense of curiosity within, and question the aspects of
themselves they have not yet come to know.
"The metal world
has recently become acquainted with many highly successful female extreme
vocalists."
Senem Semiz
Do you
think perceptions of gender in the extreme metal scene are changing, or are
they still resistant? I believe that in metal music, which is the voice of
freedom and rebellion, we need to move faster on this issue and break these
patterns one by one. As a band that has made progress in this regard, what are
your thoughts on the matter?
We can say
that our thoughts on this are split down the middle. Receiving very positive
feedback as a band that continues with a frontwoman gives us strength. Comments
such as, “It really doesn’t sound like these vocals are coming from a woman,”
in fact, stretch the notion of “gender” in this context somewhat in favor of
women, in our view, because the metal world has recently become acquainted with
many highly successful female extreme vocalists. But just as there are
conflicts within the individual, which are also reflected in our music, there
is also a certain segment that still has its own disagreements on this matter.
That is why we cannot say that the perception of gender in metal has fully
reached a state of peace.
Senem,
your brutal vocal performance breaks the established expectations of the genre.
How did you develop your technique? Do you apply any particular method in order
to protect your vocal health? To you, what kind of form of expression is brutal
vocals: a sonic weapon, a tool of catharsis, or a dark mode of expression?
The biggest
factor in developing my brutal technique, as funny as it may sound, has been
making witch, monster, and goblin sounds ever since childhood. When I became
interested in this vocal technique, I realized that I had actually unlocked it
as a child, and I pursued it further. My interest in doom metal is obvious, but
my vocal technique is not limited to this genre. I am also interested in
techniques found in other metal genres. The biggest factor in the development
of my vocals to this extent is, in fact, my impulse to imitate the sounds I
hear. This can be anything from a bird sound to the sound of a dolphin. I am
the same way in metal music as well. I can perform vocals ranging from doom to
grindcore. This technique is a true catharsis for me. It is my way of feeling
purified and, in a way I have never been able to express, of feeling that I
have expressed myself and have been understood.
Themes
such as apocalyptic divine wrath, existential abandonment, cosmic fate, and
personal melancholy stand out in your lyrics. At the same time, references to
sacred texts such as Psalms, Revelation, and Exodus are also striking. Do you
approach these sacred references as a spiritual reckoning, an existential
rebellion, or an apocalyptic reinterpretation? What philosophical or literary
influences nourish your writing process?
We can say
that existence is the fundamental building block of every theme and every
phenomenon. We sometimes seek to convey these phenomena to listeners through
quotations, verbally and from a divine point of view; at other times, through
symbols. From a literary perspective, there are many sections in our work that
can be shown as examples of the influence of symbolism. Philosophically as
well, it is possible to say that our works are fully reflexive in nature.
Are
there any books, writers, or albums among your musical sources of inspiration
that hold a particularly special place for you? Which albums affected you the
most in 2025?
If we are
to give examples of writers and books, the dark narrative of H. P. Lovecraft
and Necronomicon, along with its extraordinary descriptive technique,
inspired us greatly. Since we first embarked on this path by playing
Draconian’s Under a Godless Veil from beginning to end, this album holds
a very special place and importance for us. Another album that influenced us
deeply would be Moonflowers by Swallow the Sun.
The Choir Of Agony / Bloodflower (Draconian Cover) Live
How do
you evaluate today’s metal scene? In the age of artificial intelligence,
production and distribution processes have become easier, and home studios have
become widespread. In your opinion, what are the advantages and disadvantages
of this?
Today, we
can comfortably say that artificial intelligence is very useful when it is used
well. It gives instant answers to every question we ask. For example, let’s say
the question is this: We are recording a doom metal album. We have guitars
equipped with EMG and Seymour Duncan pickups. Which one do you think would be
more compatible? The fact that it can answer such a question instantly and
offer us an idea is excellent. But of course, nowadays it does not stop at
doing only that. Unfortunately, it also writes lyrics, creates cover artwork,
and does alone the work that ten people could do. This, of course, leads some
people toward laziness. But when used intelligently, it is a great service. As
for home studios, we think they are wonderful. Whenever we want, if a melody
comes to mind at home, we can immediately bring it to life. Of course, because
this gradually reduces interaction with other people, it also brings a greater
degree of subjectivity with it.
There is
a strong metal scene and a deep-rooted underground tradition in Turkey.
Although some cities may seem to have a more dominant and intense atmosphere, I
believe İzmir has a spirit of its own. On the one hand, there is a sense of
damp darkness; on the other, relentlessly sunny days… While the outside is
filled with light, shadow accumulates within. The darkness inside and the
unending sun outside actually create a great contrast, and this is something
that can inspire dark arts. Do you think this contradictory nature of İzmir
affects doom-oriented production emerging from the city? How do you position
İzmir in a creative sense?
To us,
İzmir is a true The Choir Of Agony song. The contradictions within the
human being that we try to convey in our songs are felt beautifully in the city
itself, through its weather that is at one moment warm, at another cold, at
another rainy. And there are definitely quite a few songs we have written
simply by watching the outside through a window. Enchanted Nocturne, for
example. And there is also When The Stars Fade, which has not yet been
released, a work born from a dark night when the electricity was cut off.
I would
also like to mention another band, Metal Charm, in which members of The
Choir Of Agony also take part. It is a band that holds a place in the
Turkish melodic death metal scene with its strong compositions. Your second
album, Visions of Escape, was released in 2025 by the French label
Bitume Productions. What is happening on the Metal Charm side? Could you tell
us a little about it?
Metal Charm
is actually a project that reflects our energy and makes us happy. These two
bands we are part of are actually like night and day. They clash with one
another. While one contains heavy melodies, the other is more energetic.
I
believe this is what brought us together as a band on common ground. We can say
that, on the Metal Charm side, we have begun preparations for a third album.
Metal Charm is, in fact, the outward expression of the happiness within us. It
is one of our forms of expression.
"Existence is the fundamental building block of every theme and every phenomenon."
May I
have your final words and wishes? Thank you for the interview.
As for our
final words, first of all, we would like to say once again that we are
thankful. Our lyrics will be published together with the album. Take a look and
see in which of these songs you will find yourself. Will the songs be an answer
to your questions, or will they give rise to new questions?
Bonus
Question: Considering the identity of The Choir Of Agony and the
dramatic tension you create in your music, what dark figure, mythological
being, or metaphysical universe would represent you best? (I will have a
surprise for you depending on your answer.)
We could
say the Lovecraftian (Cthulhu) universe.
We would
also like to say that we strongly associate our music with the films of
director Tim Burton. For example, Nightmare Before Christmas.
The Choir Of Agony Through the Eyes of AI Designed by Black Metal Chronicles
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