Vampirska:
Nocturnal Debauchery
7/28/21 | J.Proust
Since 2019 the American one-man band Vampirska has stalked the peripheries of the modern black metal underground, slowly but steadily approaching the center of the arena. Beginning with their demo, Noćna razvratnost, Vampirska has come to signify guaranteed bloodshed through their own style of deranged and relentless slaughter. A year after the chokehold of their demo, Vampirska mercilessly exsanguinated its past-self with Torturous Omens of Blood and Candlewax, their debut full-length. Six tracks long and rutilant with potential supreme evil, Torturous Omens… was exactly that. Six portends of the forthcoming true manifestation of Vampirska.
Vampirska has since followed up their debut full length with—so-far—four consecutive split releases. As if touring the nightmare world and hunting alongside fellow monsters Vampirska has shared black tape and sable wax with the likes of Drug Darkness, Forbidden Tomb, Wampyric Rites and several others still. Across these splits Vampirska’s mounting supremacy has grown increasingly palpable like a trail of blood leading to the true carnage.
Despite their prolific attacks, the nameless count behind the rising tyrant banner Vampirska found the time to dip his quill in the living skulls of his victims and respond to our numerous and lengthy inquiries. Disarmingly candid and bitterly devout to the cause, Vampirska flawlessly upholds our tradition of presenting our readers with long-form interviews worthy of their time.
The following correspondence was conducted throughout late June and early July of this year with much appreciation to our subject; lightly edited only whenever absolutely necessary for the sake of clarity.
First of all, please tell us about your moment of awakening. When did the seed of Vampirska first form in your mind? Was there a delay between the desire and the fulfilment? If so, what goaded Vampirska into actualization?
Hi there, thank you for having me here.
I have no clear reason why I started Vampirska. Raw black metal was just something I wanted to do at the time. Rather than plan everything out accordingly, I just wrote a couple songs and recorded them on a 4 track tape recorder I had. I didn’t know much about writing and recording my own music, which I think was a big help in its nature of not trying too hard and executing a vision that you didn’t have to think too much about. Some reading probably hate this answer, though. All it took me was a long interest in the genre, and some time to write out and record the songs. No attempt at mixing was made at all.
This project did start in about the summer of 2019 if I remember correctly. It took some months to motivate myself to take the project through the steps of writing the songs and recording, to be honest.
How true to that original inkling of what Vampirska would be is what we hear on Noćna Razvratnost?
There has been much change throughout the lifespan of Vampirska. If I could say one thing that has stayed the same, I’d say is the emotional value that I put into it. Production, style, structure, everything can change except emotion. It’s a project that means a lot to me, and I put everything I have into it. Whether it be money, time, dedication, etc. There are changes yet to be heard as of this interview, but I will touch on that later here.
I never just want to release an album, or song for that matter that doesn’t hold any emotional value to me. If it doesn’t mean anything, and I’m recording songs just for the sake of getting something out; that’s the time to stop what I’m doing, take an elaborate break, and have a moment to reflect about why I’m doing this in the first place. If I’m hacking these songs out, I do not deserve the label’s time and resources. If there’s any advice I can give to people reading this: Find meaning in what you do, and don’t accept anything less than that.
What is it about vampyrism that draws you to it? What aspect of this creature's undead lifestyle do you feel is reflected in your own existence?
I know it’s a VERY oversaturated theme in black metal nowadays, but I personally think it is cool. I chose this path simply because of my fascination with the LLN bands. Hearing Mütiilation for the first time was a big influence on me music and image wise at the time, and that seems to be something that has stuck with me since. Of course it’s goofy and people will forever make memes about it, but I don’t see anything wrong with it. Sometimes the vampire artwork and photos have a certain haunting aura that surrounds them. That’s the part of what I enjoy about it. Plus I enjoy the atmosphere that candles on a candelabra, corpse paint, and creative scenes or poses bring to a release. It can really tie the music and images together, creating a beautiful work of art in the process.
Have you played in bands before? Do you prefer to be a solo musician?
I have played in real bands before and currently. Due to the pandemic last year, of course there was not much of that going on. I think there are many pros and cons to both being in a band and a solo project.
With a band: you have multiple collaborators, potential to have live performances, and most importantly you have different interests. Say every member in a band has a different taste in metal or other music, you can come up with really unique results that way. I really love it when bands create a style of their own, it’s always so motivating to see bands do something new and creative, rather than try to sound like their friends or whoever they worship. Which also isn’t a bad thing, I just prefer the former.
With a solo project: there are no disagreements, you can do what you want with your music and no one can stop you, you have free rein to express yourself in anyway you choose to. Of course it can be hard at times because you are the only member, but no one should be rushing you, unless you are rushing yourself, of course.
I don’t think I have a matter of which I like better, I have fun and I am able to be myself in both a band and a solo project. But in 2020, the solo project route definitely won, haha.
Which instrument is your strongest? Which is your favorite to play?
My strongest and favorite instrument is drums, for sure. I’ve been playing drums since I was in elementary school. Growing up I idolized drummers like Joey Jordison, Dave Lombardo, Lars Ulrich, Morgan Rose, etc. and it’s just the instrument I’ve focused on for so many years of my life. I didn’t start learning guitar until a few years ago, and it probably shows in my music but I don’t care.
My family was always into music, and as a child I mimic’d other drummers I would see on tv so eventually at a very young age I got into playing drums. I was playing some lower difficulty Slipknot songs by age 8. I remember being self taught, other than my dad and uncle teaching me the basic beats from whenever we got our first drum kit.
I would love to do more elaborate drum parts in Vampirska, and I might.
At the end of "Black Sigils Covered in Blood I" we hear what I have come to identify as the 'Vampirska twang.' This is a sound repeated quite a lot throughout your discography and always to great effect. How did you stumble upon this brilliant and unexpected guitar tone? Do you care to dive into this question? Please, feel free.
Of course, I won’t go into the specifics of how I get this tone but I will elaborate on this sound. I love using this sound because it’s off-putting to the listener. At first, in “Black Sigils Covered in Blood I”, I used it because it added a certain dark touch that the demo was missing. It is meant to lead into the second part of the demo seamlessly. And since then, I’ve used it plenty of times as just a really cool effect on certain riffs. And of course, it’s great to stand out and do something different to have my own personal sound, whether others see it that way or not.
I have a love for weird and strange sounds in music, and when I came up with the concept of the weird guitar, I knew it was something I had to incorporate. Whether it gets tiring to some people or not, I love using it whenever I feel a need to. To me, it adds to an already melancholic atmosphere.
Did you learn anything on your first demo that has held true throughout your experiences recording for this project?
Yes, of course. I would say I have learned to not expect anything to be easy. I had almost zero recording knowledge going into the first demo. Same for structure of songs, and whatever music theory is. I still don’t know much of that stuff now, but since then I have applied myself, learned, and have grown from my own experience. I wouldn’t say I’m great at any of the above, but I’d like to get there at some point. All it takes is dedication.
I can always make it easier on myself over time, but sometimes it can be really hard. I’ve had to work through music on deadlines in this project, and it’s so stressful. Things have been streamlined production wise, but that’s it. I will never go into writing or recording and expect it to be easy, like I did at first anyway. It was a massive learning experience, but I’m glad I kept up with it.
Tell me about the recording process for Noćna Razvratnost, please? Was this your first time recording yourself?
It wasn’t the first time I had recorded myself, but it was the first time on a tape recorder.
The drums were completely improvised, I recall. It was my first time trying to record drums to songs without any references, there are certain parts in the very demo that didn’t go on long enough, and seem to be cut short. The guitars were also challenging to record, as under the pressure of recording I started to forget how to play certain riffs and almost completely forgot them at times. I am sure a riff or two on there wasn’t supposed to be intended for the recording. Also, hearing the drums while recording guitars was near impossible to me sometimes. Recording the vocals was definitely a weird experience, trying a way different vocal style, that hurt my voice so much. I knew what I wanted to go for, but I wasn’t executing it right. The howls I have since got better at, as heard on the split with Drug Darkness and the recent 4-way split. I made no attempt to mix this demo at all, it was basically finalizing the tracks and uploading them to Bandcamp. And then I went from there on.
Alas, this struggle of a recording session made me learn what to expect when doing this sort of thing. I look back on it now humorously because I didn’t know any better at the time, hahaha. I still have similar moments nowadays, but I have adopted certain practices that let me memorize the songs in my head better while tracking drums, remembering riffs, and knowing what I want out of the release before I get to recording.
What makes you take such an anonymous approach? Why is your identity so hidden? Does anyone know that you're Vampirska?
This is a hard question for me to answer, honestly. My original intention was to be completely anonymous, a public image just is not important to me. To me it’s not important who I am, but what is, is the music. I’m sure at some point in the future I will “emerge from the shadows” but now is not the time, because I don’t feel the want or need to do so. It’s not so much as an intention now, I’m not trying that hard with it; but as it stands now, I would like to be left alone, there’s nothing interesting or special to find. If you know me, you know me.
And yes, some of my close friends and family know that I’m Vampirska. They always get the first helping of artist copies/shirts that I get from working with these cool labels. I do have close friends and family that are very supportive of me and what I do and I’m happy to have them in my life.
A bit of an odd or confusing answer probably, but I would rather not be bothered by strangers about Vampirska, black metal, or anything else.
Less than a year after the release of your demo, you stabbed from the void with a full-length album immediately fulfilling your potential with the hot, noble blood of a prophecy come true. What can you tell us about recording a solo album on an analog 4-track? Was this like a traditional Tascam setup? How did Torturous Omens of Blood and Candlewax come together across those various summer and winter nights in 2020?
If I’m honest, it was a very stressful recording session. I’ll elaborate on the worst part of it after I talk about how hard it is recording by yourself, on 4-track (TascamMFPO1) especially. For drums, I would have to get up and walk across the room to hit record, run back to the drum kit, count in and then play the song completely from memory. No guitar, no references. All from memory or at times, improvisation. I repeat this entire process from song-to-song. If I messed up (and I did), I would have to rewind the tape to find the beginning of the song and start all over. After drums came guitar and bass, which weren’t much of a problem other than hearing the drums over myself playing, sometimes [this] was impossible. And vocals were the easiest part of recording, to be honest. And that’s usually the hardest part for me, there’s a fair few moments on that album (and all other Vampirska releases) where I vomit while performing vocals. I don’t do them right. Anyway, I’m sure some try-hard who’s better than me is laughing at me while reading this because he devotes his life to black metal more than me.
Now for the worst part of recording this album. The original tape was ruined the morning after I recorded everything. The 4 track was no longer working properly at that point, still haven’t got it fixed. That day I spent re-recording the entire thing on a new tape, that didn’t fix some issues within the record but it was way better than the previous tape. Something that is not known, there was a song titled “The Dark Harvester of the Black Flame” intended to be track II. But that song was ruined on the second tape as well so I cut it out. I may rework it into the future for Vampirska some day, but I do not know if it will ever happen.
What did you find most rewarding about writing, recording and releasing the full-length? Had you always had it in mind that you would do a demo then a full-length?
Honestly, the reception and support was totally unexpected and I am forever grateful for it and getting this far. For years, I wanted a vinyl release of my music. Sending my music to labels and getting turned down or ignored, did not think I was worthy of one. But luckily, Obscurant Visions contacted me shortly before the official release about a vinyl version and I was quite excited for it. Definitely a huge milestone for me, even if it doesn’t seem like much to everyone. I’m still proud of myself for it.
A demo and then a full-length definitely the intended thing to go for at first, and it still worked out. There was a split that I wrote and recorded while working on this full-length that I will discuss later. We had a lot of trouble finding a label to release the split throughout the year, contacting labels until we encountered some great labels toward the end of the year.
On Torturous Omens… it becomes clear that Vampirska not only has riffs, but memorable and melodic riffs. What were you channeling at the time when writing tracks like "Hateful Spirits Emerge Bleeding from Open Wounds" and "Feasting on the Dried Blood of Majesties," the latter of which has one of my favorite Vampirska riffs in it at 1:35.
Thanks for the kind words. For those songs, they were probably worked on/written on the same day. One of those days where it’s raining, and the mandatory quarantine was active. It was a scary and definitely different time for everyone. Lots of uncertainty going on in the world, and unfortunately many lives lost to COVID-19. That’s the best I can sum those songs up to be honest. Definitely a sad, scared, and confusing undertone to them as I see it. The most emotion-packed song on that album lyrically is “Hateful Spirits Emerge Bleeding from Open Wounds” as it’s about a spirit that possesses you during a dark and depressing time and only causes you to think about negative things, which you don’t want especially in a time like 2020.
“I have been long dead and trapped in this desolate realm for so long. Behind the dark shadows I weep tears of blood and anguish as I lay waste manifesting in my melancholic visions. Torturing, I wait patiently... for nothing to come.”
I don’t know if it’s the same for all other musicians, but in my experience, a melody is what drives everything. The song, the emotion, and the message.
Since your debut album, you've done four splits. What draws you to splits instead of EPs or short demos?
I wouldn’t necessarily say I’m drawn more to splits, it does seem that way though. These splits I’ve done so far were amazing opportunities and experiences to work with great bands/friends on releases. I’m sure there will be more splits in the future, but as of right now I have the rest of my year already planned. Vampirska / Wampyric Rites split isn’t completely out yet as of the time I write this, but that is the only split left scheduled this year. I have one other split ready that probably will not be released until next year, but don’t quote me on this as it is up to the label.
In the next year or more, I would like to maybe do one split or a demo, as I will first take a break after this year and work on something cool for the end of 2022.
Your first split with Drug Darkness features some of your finest, most batshit work to date. The production is blown-out and, compared to your full-length, it's pure chaos from the start. Did you feel compelled to go harder than usual on this split? What can you tell us about the recording process and the state of mind you were in for this release?
That one was definitely an interesting one. We both decided on doing really long songs about 18 minutes long. And it took me a really long time to get anywhere when writing my side. I had only the first riff for a while.
During this time, I was sick with COVID. Me being human, there was not much I could do but lay in bed all day. Some days it was all I could do. But when I felt like moving around I worked on this one song. I had finally got it where I wanted, and I recorded the song having COVID. I probably went harder on this one because of everything I went through that time. Feeling the worst I ever did, nevermind not leaving the house but not leaving a room; whenever I felt good enough, the moment was particularly inspiring. I believe that song was all instruments and vocals recorded in one day. Maybe two, I don’t really remember.
Recording wise, I recall the drums being a lot of guesswork. Which is a recurring theme in the Vampirska discography, but I remember this split being more of it than usual. Still no guitar track playing through headphones, just fighting my way through the drum track. Also—couple facts you and some people reading might find interesting about the song “Hopelessness in Hearts of Void... Cover the Face of Majesty in Stone, and Watch Him Waste Away...”. I chose this to be the song title, because I either heard it or said it in a dream I had while being sick. I don’t remember the context or anything else in the dream except that. Lyrically, I’m sure you can guess what it’s about. Side tangent: Looking back on it now, I’m pretty sure I could be more imaginative in all my lyrics. I kind of cringe at them now because the themes are so typical and boring; to me anyway. Lyrics to Vampirska songs probably will not ever arise, unless they are new and I want to include them in a release. Another fact is that the guitar tuning changes during the noise/synth interlude. The first half was sort of in E standard and I switched guitars. The second half, that guitar was sort of in D standard.
You started this year off with By Sanguinarian Will, a split with Glemt, an English band. How did you come to meet Glemt and what inspired the joint release with them? How do you feel about your side of this split? It's some of my favorite Vampirska material. The production is just right and the songs themselves are like demons in flight, graceful, even beautiful, but sinister and deadly.
I met Glemt through social media, Instagram probably. I don’t really remember how, but we started talking and sent each other our music. At the time, I had only the Noćna Razvratnost demo and he liked it, we soon initiated a split out of this. To this day, we’ve remained great friends. Talking about music, sending memes, trading tapes, lending guest vocals, etc. I had Glemt do vocals on my cover of Sargeist’s “Frowning, Existing” on the reissue of my first demo, and he did a perfect job. Amazing vocal performance.
My side of the split, I guess some could see it as a continuation of Noćna Razrvratnost. It kind of is. It’s the same sound, it was only written and recorded some months after my first demo. Production wise it’s completely the same as Noćna and Torturous Omens…, but this was a time where I did not stress the recording process. I knew the songs, i had them completely memorized, and I knew where I wanted to go. It was raw, stripped down, straightforward, and that was my direction at the time. Theres definitely something unique about it though, honestly I think the riffs in there are my most unique riffs. I hear them occasionally and ponder on how I even thought of those, they were so weird to play. Especially on tracks II and III. Track I had a more upbeat/good feeling to it. Channeling different influences from punk and pop artists definitely, cue laugh track. II and III were definitely intended to be weird, but I guess it’s not a bad thing. I still pull the record out every now and then and only listen to Glemt’s side, though. haha.
Has your recording process changed much at this point? Things still sound quite analog-y to me . . .
It has changed drastically. Not much analog going on here these days. After my 4-track had all its issues during the Torturous Omens of Blood and Candlewax sessions, I started putting more focus into a digital setup. I know I’m going to get a lot of hate from the guys who try too hard to keep their “kvlt” status, but it’s worked out better for me, personally. It sounds better, and it’s easy. I still retain not using a metronome or listening to a guitar track though while recording drums. But it’s nice having so many options mixing wise and having potential to grow as an artist. Vampirska is now headed in a better direction because of it, but of course that is my opinion.
It probably sounds quite analog to some because I am still learning my way through a new recording process. So things are still bound to sound rough, that could be a good thing though :)
Analog is so expensive to obtain and upkeep, and it’s not worth it in the slightest to me. After my tascam started having issues, I attempted to fix it and that was the end. Analog vs digital... No offense to anyone but I find this debate pointless. If you only like bands who exclusively record on a 4 track or are a band that records analog only, that’s great. There’s some people out there that are way too militant about it. Why should someone pay hundreds/thousands of dollars on analog gear on top of keeping it all maintained, just to sound identical to bands in the 80s/90s? They were working with what they had that was cheap and available to them, were they not? Then again, these are probably the same “purists” that spend hundreds on a single record for social media clout. To the people out there crying about this, just enjoy the tape you paid $150 for.
You recently appeared on the four-way split like a cagematch between Saidan, Hermitess and Forbidden Tomb. What did you know about this split going into it? Did you already have the material ready or did you write your tracks with the lineup in mind?
Forbidden Tomb and I had organized the 4 way split ourselves, it started out just me and Forbidden Tomb. We were wanting to do a 7” split, but could not find a label who would be willing to do a 7” for us. We decided to do a 4 way split instead, and we added Saidan and Hermitess to it which were perfect choices.
I wrote my track specific for this 4 way split. I’m normally really slow when it comes to writing a song, I’m well sure everyone was done with their sides way before I was. But this was when I had a really tough time figuring out how I’m gonna go about songs, and thats sort of when the song/production style of Vampirska started to change was the song on that split.
What can you tell us about your side on The Drowning Void, Vampirska's split with the almighty Wampyric Rites?
This one was definitely an interesting process. I was honored to take part in a split with them, as they are one of my current favorite bands. My side of the split was written, recorded, and mixed in the span of 2 weeks. The first track of mine titled “As Their Faces Fade From My Memory...” (at the time of this interview, has not been heard publicly) is about 11 minutes long if I remember correctly, and the only ways I can describe it is experimental and weird. For me, at least. The second track, titled “Encompassing Death’s Lightless Flame” is sort of an homage to mid 2019 era Vampirska, even before the first demo was recorded. Most of those riffs I had back then, but did not know how I could work them into a song properly. Thankfully, I was able to bring this one to life as I find it very reminiscent of this project’s very humble beginnings.
Lyric-wise, the first track’s theme came from a dream I once had. Basically, it’s about the fear of forgetting your loved ones who are gone, and never remembering who they were or how much they meant to you. The second track’s lyric basis is keeps the theme of the early Vampirska days, of how it was story-based rather than personal experience based.
“A return to my previous form... A death I once knew. My carcass; the essence of time burns under this spiritual blaze”
Wampyric Rites side has to be my favorite of their material. I really hope they can find a way to push on after they properly mourn. My heart goes out to those guys and Vrolok’s family. To quote what Wampyric Rites said, “may your spirit soar behind horizons. RIP.”
Rest in peace, Vrolok.
What's your favorite Vampirska track so far? How come?
This is a hard one, I usually grow so tired of all these songs after working on them so much. I might revisit some every once in a while just to reflect back on those sessions. If I had to pick one that sticks out to me, though, it would be “Hopelessness of Hearts in Void.... Cover the Face of Majesty in Stone, and Watch Him Waste Away...” from the split with Drug Darkness. Simply because, the entire session of writing and recording was just so bizarre for me. Catching COVID, and being confined to a room for some weeks. It was rough, but I personally think musically it portrayed some interesting results. Like you said before, it’s pure chaos.
What kind of guitar do you play? What made you get this guitar?
I use mainly an ESP LTD EC256 i believe it’s called. I’m not much of a guitar guy. i know almost nothing about them, and I don’t want to know anything about them. I got that one because I’ve always liked the shape of the Les Paul style guitars and it came in a matte black finish. This is the guitar I use for almost all Vampirska recordings, but I do own another guitar that I have used on one song of mine. It’s a bc rich warlock. I don’t really know the specifics, but I had a coworker a few years back sell it to me for a very cheap price. Could not turn it down. I used the warlock on the second half of my split with Drug Darkness. I also own a 7 string Ibanez, I do plan to use it on a Vampirska release at some point, as I’ve come up with some cool riffs in B standard on it. Maybe I’ll actually use it, but who knows.
For bass, I use a 5 string Rogue. I don’t know the specifics of it at all. It’s probably over a decade old at this point, my dad bought this one off of his old bass player back a number of years ago. I don’t think I used bass on Vampirska releases until Torturous Omens… I could be wrong though, I don’t really remember. To my attempting memory, with the exception of the Sargeist cover on the the reissue, Noćna Razvratnost and the split with Glemt titled “By Sanguinarian Will...” I did not use a bass guitar. Doesn’t sound like it to me, anyway.
I have read on your Bandcamp page the opinion "Vampirska grows with every release," and while I think, yes, that is a good thing . . . It also introduces the idea, to use a popular meme, of lesser Vampirska releases. Would you agree with this assessment? I'm not so sure that all of your releases are chronologically in sync with your writing and recording them. Are they?
To be completely honest, I agree. I would love to put out less each coming year, and I hope for it to get that way. 1-2 releases a year or every other year might be what I would like. But if I’m proposed a split release with a friend or a band I like, I’m always honored to take part in it. I don’t really have a lot of control of when something releases. It’s left up to the label(s) involved. Last year in 2020 and this year in 2021, I did not have much going so I basically had a lot of splits/releases come my way, and it was something for me to do. I had loads of time on my hands. I don’t see it as a bad thing that I’ve put out so much already, but I will say I need a break and I do plan on taking one after I take care of what is to come next this year. For me, writing music is a very long process. And it does not take long for me to feel drained of creativity.
I believe most of my releases are chronologically in sync. The only one I can recall not being in order, was the split with Glemt. I said earlier that there was a split that was recorded a few months after the first demo, and this was it. We weren’t able to find any labels interested in releasing it until we came across Azure Graal and Inferna Profundus Records at about the end of 2020. Both great labels, and we got Wulfhere Productions (another great label) to release the CD version.
As a fan of black metal, what's been the most validating thing so far when it comes to people's reactions to Vampirska? Are any of your black metal idols fans of Vampirska?
People enjoying what I create, really. It sounds dumb but it still surprises me most times. I sometimes get messages through the Bandcamp contact form or emails of just really cool people saying how they’re a fan of my music or they can’t wait for what’s next. It’s particularly inspiring to know that people are appreciating what I do, especially in the time we’ve been in the past year.
I don’t know if any black metal idols enjoy my music or not. To be honest, my black metal idols would probably hate me for the vampire aesthetic or just for simple fact that I’m a black metal project after the 90s, haha. But if anyone knows if Ihsahn, Meyhna’ch, or any members of Dimmu Borgir like my music, please feel free to let me know, haha.
Release after release, Vampirska remains raw and straight-forward black metal. Would you ever evolve? Add synths? Get a studio production? If not, what is it about the cloistered and dead-to-growth approach that satisfies you?
Yes, I would say that what is coming next, is definitely in a new direction. I am branching out into more interesting territory. Synths will be involved, song structures will be less predictable for Vampirska, and a change to the production style. I’m sure this will turn a lot of people away, sadly. But the riffs are still remaining melodic and weird as ever, how I’d like keep them; as well as using the guitars to complement other instruments, such as drums and synths in subtle parts; not used too frequently. I don’t think professional studio quality would ever happen to my sound, as I am using a home studio setup and working with what I have. I would just recommend to give it a chance when it’s available, it’s not super different aside from just some added touches. There’s not much I can say on this right now, I will just allow everyone who’s listening to formulate their own opinion when the time comes.
What's next for Vampirska?
A new full-length scheduled for late 2021/early 2022 titled Vermilion Apparitions Frozen in Chimera Twilight. Vinyl and CD through Inferna Profundus Records, and cassettes to be announced. This is the album I felt best suited as the time to evolve my sound to a new level for me. When this full-length is released, for itself, it will speak.
Also, be watching for the entity of Vampirska throughout the rest of this year and 2022, as there might be some news.
Any final sentiments, my friend? Care to thank any labels or give any shout outs?
I would like to thank you once again for the invitation to appear on The Call of the Night, my friend. I have enjoyed answering these questions to the best of my abilities.
I would like to thank the following labels and urge you to go follow and support them: Obscurant Visions, Inferna Profundus Records, JEMS label, Crown and Throne, Azure Graal, Narbentage Produktionen, Triumphant Cadaver, Arcane Altar, Undead Serpent, Wulfhere Productions, Altare Productions, Cemetery Horror Productions.
And I would love to thank some personal friends of mine: Glemt, Saidan, Klanen, Hermitess, Forbidden Tomb, Amargor, Marabbecca, Rotting Reign, Vanen, Oleg, Jorge, Blake, Travis, Houston, Joey, and most important: my family.
