Six years have passed since the band's formation. Five since their debut demo. Three years since their brilliant EP. In those six years, the Warsaw-based Clairvoyance haven't buried their rubble (sic!) in the ashes. The time has come for a full-length album. "Chasm Of Immurement", released on July 18th, 2025, by Carbonized Records, confirms what many of us have long suspected – Clairvoyance is one of the most powerful and interesting bands in contemporary death metal, not only in Poland but across the entire continent. The sound? Crushing. The live show? Concrete. The vision? Coherent and non-negotiable. They don't succumb to trends, they don't dilute their message – they play death metal. Authentic. Heavy. Immersive. I spoke with guitarists Denis and Kacper, and drummer Adrian, about the recording process, the lyrics, their collaborations with labels, and their plans for the future.

Levi

"Chasm Of Immurement" is a title that sounds like an executioner's verdict. Where did the idea for this title come from, and how does it fit into your vision for Clairvoyance's entire catalog? Is it a record of a moment, a new chapter, or a continuation of a long-chosen path?

Adrian: On the one hand, we're continuing where we started five years ago – playing death metal with a more old-school approach, but to avoid being just another re-creation band, we're adding our own ideas and flavors. On the other hand, it's hard not to notice – especially from our perspective – the evolution between releases. Let's say it's another chapter, but in the same book. We'll see what the next one brings. As for the album title – we all feel walled up in some way, trapped, overwhelmed. Whether it's everyday life, internal problems, or the surrounding hopelessness. If you're looking for a deeper meaning in this title, that's the key.

Your debut is a very cohesive yet multi-dimensional material. What was the process like for creating this album? Was it all a painstaking process, or did you know right away what you wanted to achieve?

Denis: We had ideas and concepts for a new album right after the EP's release in 2022, but as often happens, life intervened, and for various reasons, finishing "Chasm Of Immurement" took almost two years. As the band's lead songwriter, I try to write new songs on the fly, from start to finish, and then make adjustments, taking into account the ideas and feedback from the rest of the band. I believe this way we maintain fluidity and consistency in the song structure, which is very important given our approach to making music. We focus more on progression in riffs and song structure than on a classic writing style with choruses and verses. That's where this multidimensionality comes from, because yes, there's a lot going on, and I think that sets us apart from similar bands on the Polish scene.

Adrian: Two songs from this album were written over a year ago, and we also played them at several shows. Later, we gradually wrote more. It took a while, but it's hard to say the album was born in pain, because even though it was a lot of work, it still brings us joy. As long as there's passion and desire, it won't hurt. The album's sound is its greatest strength – dense, inhuman, yet clear. Where and with whom did you record the album? We know how it is with death metal, but how important was control over the final production?

Kacper: We recorded the tracks at our friendly studio, Dobra 12, in Białystok. I handled the entire recording and production process myself. After the recordings were finished, we began working on the final mix, which we ultimately completed together with Piotr Polak at the same studio, also handling the mastering. Bringing in an outsider turned out to be a great decision, as it brought a lot of freshness and a new perspective. I suggested Piotrek because I knew we would get along well and that there wouldn't be any technical difficulties taking over the project, as we'd collaborated on other recordings before. Even before the sessions began, we talked extensively about how we wanted the final material to sound and what exactly we wanted to achieve. Ultimately, we're very happy. We had a lot of freedom and complete control over the entire process, from the first sound to the final mastering. We're even more thrilled that the reviews are paying attention to the sound, as it's a sign that we've done a really good job.

After two successful and well-received releases, including one for the highly respected Blood Harvest, you decided to work with Carbonized Records. How did you first contact this label, and what convinced you to change labels?

Adrian: We'd been in touch with Chad from Carbonized Records for a while now. We spoke again once we had the material ready. We sent him a listening session, and he immediately suggested a quick release date. We also talked to other labels in the death metal scene, but ultimately, we chose Carbonized. And so far, we're very happy. It seems like a great decision. As for Blood Harvest, I don't want to slam the label, because the EP release process itself went well. However, we decided a long time ago that we wanted to release the LP elsewhere.

Do you think your development—from demo, to EP, to full-length album—has been natural? Overall, the core of the band has remained the same from the beginning… Have you had moments of doubt or stagnation?

Denis: Sure. We've had our ups and downs, and even moments of stagnation, especially in 2022. When we started the band, we didn't really have any long-term plans, and the main goal was just to have fun. That's probably why there are differences in sound, songwriting, and approach to writing lyrics between the demo and the LP. Over the past five years, we've gone through a (sometimes quite bumpy) development process and decided to take it a bit more seriously, while still keeping in mind that it's still just a hobby. We all work full-time and unfortunately don't have the time or financial resources to focus solely on music.

Kacper: Absolutely. The weaker moments were most often caused not by musical conflicts but rather by our personal issues and challenges, which inevitably affected the atmosphere within the group. However, we strive to cultivate relationships outside the context of the band, as we believe that good music is born not only from professionalism but also from genuine connections between people.

Your music lacks unnecessary embellishments – it's classic death metal, but with character. Where do you draw your inspiration from? Are they specific bands, or is it more of a state of mind?

Denis: More of a state of mind. We obviously have our influences, but we also try to avoid mindless copying. On the other hand, we have absolutely no problem saying that Clairvoyance's music isn't unique or innovative. In my opinion, death metal was completely shut down long ago. Of course, interesting albums continue to come out, like the latest Blood Incantation or the latest releases by Worm, Bedsore, or Horrendous, but the truth is that we're not reinventing the wheel, so we simply try to do what we do well. And not overcomplicate things when it's not necessary.

Adrian: We all listen to a lot of different music, so it's hard to pinpoint specific bands that inspire us. It's more of a mix of everything we hear. When it comes to death metal, and especially drumming, I definitely prefer the old-school approach—both in terms of the parts I play, but also in terms of the "live" sound. And as Denis says, we won't reinvent the wheel. But is there even a need for someone to do that?

As far as I'm concerned, definitely not! Okay, let's move on to your concerts, which are getting great reviews – many consider you a well-oiled machine. How important are live performances to you, and what do you try to convey to the audience, blasted from the low registers by a wave of noise?

D: Concerts were something we focused on from the very beginning. Playing live is like a separate medium, conveying completely different emotions than those you can experience by listening to the music itself. This year's Black Curse concert comes to mind, where I felt like I was in a trance, resonating with the dense atmosphere of their fucked-up music. For me, this is the benchmark of live performance, and it's what we strive for as a band. That's why we try to rehearse regularly and work on so-called stage presence, which, in my opinion, is often lacking in young bands, especially in the death metal scene.

A: Yes, concerts are key. We want to play as much as possible and also travel further afield with our music. Recording in the studio and releasing an album is great and an interesting experience, but it's playing live that gives me the greatest satisfaction. On stage, you can disconnect from everything else, meet friends and unknown enthusiasts at concerts, and also—it's a huge privilege—to share a stage with bands we listen to, that inspire us in some way, and meet other musicians.

In death metal, words are often lost under the weight of sound – what role do lyrics play for you? Are they a conscious narrative layer, a vehicle for ideas, or rather an element that builds atmosphere, on par with vocals treated as an instrument? Where do you draw the line between narrative and abstraction? Do you treat lyrics as a separate channel of communication, or as a ritual of words subordinated to the mood of the music? What do you think about "Chasm Of Immurement"?

D: We treat vocals as another instrument whose role is to build atmosphere. However, we haven't placed any limitations or boundaries on our vocalist, Maciek, when it comes to the content of the lyrics. So, in Clairvoyance, vocals are still a vehicle for the emotions, ideas, and concepts (often quite abstract) residing in his head.

In retrospect, what do you consider the most important step or success in Clairvoyance's history so far?

D: For me, the greatest success is the release of the LP. After releasing the EP in 2022, I felt dissatisfied and frustrated because I think (for many different reasons) it didn't quite turn out the way we wanted. And "Chasm Of Immurement" was a great opportunity to show what we're truly capable of as a band.

K: For me, the greatest success was that we managed to compose and record the album despite many challenges along the way. In my case, the recording coincided with some difficult personal experiences, and I'm glad that despite that, I managed to create something that now gives me a lot of satisfaction and something I'm proud of.

A: There's no denying that the most important step is our latest album, which—we can already see—is resonating much better than anything else we've done so far. My greatest success is that in 2021, we managed to play three shows on the same stage with a legend—KAT—meet Roman and exchange a few words with him. It was a great experience for me, and his death less than a year later made me even more sad.

The Polish death metal scene has had a well-established brand and global reputation for many years. Do you see yourselves as part of it? Or are you more interested in being outsiders and preferring to sit a bit on the sidelines?

D: We're very proud of what the Polish extreme metal scene currently offers, and I think it will only get better, considering how many people are involved and how many new bands are emerging across the country. We play in Poland, but we also have our own ambitions, and we don't want to just languish in our hometown, playing in the same clubs, often for the same crowd, but rather expand into the world. Because why not?

A: Of course, we're part of the Polish scene. We don't want to disassociate ourselves from it in any way or stand aside. But that doesn't change the fact that, in addition to touring in Poland, we've always wanted to play abroad, both near and far. It's great that we managed to release the album on Carbonized Records; it's already paying off, and maybe it will open some doors for us.

What are your expectations for "Chasm Of Immument"? After all, it's a long-awaited debut – are you hoping for a significant response, tours, and a wider reach?

D: We're already seeing that the reception is exceeding our expectations (largely thanks to the reach of Carbonized Records), so for now, we're just going with the flow and seeing what happens.

A: I think that with this LP, we can solidify our position and get some people looking forward to the next album and coming to shows. And what am I hoping for? To play a good tour, maybe a few festivals next year, and raise the money to record another album.

Death metal is an extreme and niche genre these days, but a loyal fanbase can be priceless. What do you think keeps people drawn to such an extreme form of music in 2025?

A: I have the impression that every metal genre has always attracted maniacs who, once they're into something, stick with it 100% and stay with it. Death metal still has a lot to offer. The scene has been very vibrant for the past few years, with no signs of stagnation. Great albums are being released, and more and more people are listening. Not to mention all the classics from the '90s. A lifetime really isn't enough to hear and be amazed by everything.

Phantom Corporation recently released their sophomore album "Time And Tide" which turned out into a really brutal beast (read review here). Song titles like "Western Decline" or "Krokodil" are just screaming to be asked about and so vocalist Leif Jensen took the time to answer my questions very detailedly. So go, check the album, read the interview and enjoy a brutal lesson in violence!

Michael

Hey, how are you guys doing?

Hi there Michael and everyone reading! Pretty good actually, thanks for asking. Hopefully you too? It's interesting times as far as the band because the new album "Time And Tide" finally comes out at the end of this week and we can't wait for people to hear what we have been working on…

I personally think that "Time And Tide" has turned out a little bit punkier than "Fallout" – what would you say is the main difference to your debut?

Interesting to hear so. I have heard from others that it seemed more (death) metallic, so I guess everyone has an own take and perspective?! I feel there is a bit more of everything going on with "Time And Tide". Basically we tried to expand and intensify the various shades that compose the sound and attitude of the band, so basically broadening the horizon but at yet also going further into the extremes. Some of the stuff is really melodic for us, but at the same time we have the first two tracks ever with Phantom Corporation that feature blast-beats. Some of the difference also lies explained in the fact that we have had three songwriters on this new album, all with a rather different approach to their ideas and riffing. Our usual combo of writers, guitarists Philipp and Arne, got joined by bassist Ulf this time too, who also contributed two songs to "Time And Tide". I think that added to the variety and opened some new doors for us right there. Other than that, I guess we all had "Fallout" to look up to and basically use it as a reference where things come from and where to take them, also in terms of production and sound, since we have been working again with Jörg Uken at Soundlodge Tonstudio. We also had a larger amount of songs in the works to choose from for this new album, so we made sure to keep a good eye on the flow and the most interesting sequencing and musical width we could offer…

The title spreads a certain calm atmosphere like what Heraclitus the ancient Greek philosopher once said: "panta rhei". I guess you didn't have that in mind when you chose the title, did you?

Our guitarist Philipp came up with the title, initially just for the song but when we realized that it has a quite epic and not so cliché sounding approach, we ended up using it as album title too. I think he was just meaning to follow the saying "time and tide wait for no man…", but yeah, interesting take here. And yes, I would agree about the calm, but yet very decisive atmosphere. I personally liked the idea and interpretation that the title somehow deals with finality and comes with a strong overall vibe in that sense, looking deeper into the individual lyrics. I checked with Philipp but he confirmed that Heraclitus was no influence. It was more in the sense of: where are we coming from and where are we going? But I absolutely like the fact everyone could find a certain personal connection to such title and meaning.

When I look at the track titles, it is obvious that you deal with some actual political things like the decline of the Western world and the values most of us share ("Western Apocalypse"). How important is it for you to make some political statements with your music?

Very much so. It's rough times, pretty much everywhere and for almost everyone. And I feel there should be no holding back with any critical view towards the current developments. It's such a crazy and radicalizing world out there right now, and people seem to quickly adapt, losing morals and compassion at an incredible speed…scary! But yeah, that goes for a few of the lyrics but not for all. There are also some more personal topics and also some rather simple themes with some of the other songs too. "Western Apocalypse" actually felt like the suitable, right ending for this album, both lyrically and musically, so we gave it the important closing slot on the sequence. Not sure how it feels for others, but I personally had a great time hitting a repeat play for the entire album after the faded ending of that song…

"Krokodil" has a very cryptic title and I don't think that it is a cover by Master's Hammer. Can you go a little bit more into detail with that song?

Oh, wow…we didn't even know of the song by Master's Hammer with the same title. I just looked it up and gave it a listen…wicked stuff, as to be expected with that band, haha. So yeah, no…not a cover song for sure, hahaha. I remember liking some of the early 90's Osmose releases by Master's Hammer, but didn't really keep track of them afterwards, to be honest. Our track is quite straight forward and grinding, containing a large Terrorizer "World Downfall" influence to support the heaviness of the topic, as this is not only just about a dangerous animal, but rather deals with the horrible drug of the same name. I think it was inspired by a documentary about it, so that's that. We have already been playing "Krokodil" live already as well and it has a very enjoyable catchiness to it, next to being extremely aggressive too of course.

Do the lyrics on the album have a common thread in a certain way?

One might think so because a few of them are quite socio-politically minded, but the songs really all deal with something else. So it's nothing like a mandatory overall concept, even though the general attitude happens to be quite obvious, eminent and imminent. There is a certain red thread to a few of the tracks indeed, but not a continuous story or anything like that, if you meant it like that. I usually like to see the lyrics support the atmosphere of the music and possibly even add a next level to things. I wasn't much involved with the lyrics myself this time around, I must say. For most of the tracks, actually the songwriter contributed the lyrics this time as well, and Ulf wrote the words for the songs written by Arne, so there was always a direct connection between music and lyrics somehow. The way the material came together, I must say that I was extremely impressed and supportive of seeing the others bring in full songs basically. It's a very hard-hitting release and I think the lyrics play a major role in that as well!

Musically you have a cool mix between punk, crust, death and thrash. Any preferences when it comes to these styles?

Yes, you got it right there. We enjoy all the different styles of heavy and extreme music. And it's fun to mix stuff up, going for the best elements, also some grindcore, doom and so on. I think the list of preferences would vary a bit between members and everyone has his personal input, but I can dig some Propagandhi or Drain, as much as I can listen to Amebix, Terrorizer, Holy Terror, Sacrifice, Tragedy, Morbid Angel, At The Gates, Blood Incantation or Circle Takes The Square. Really depends on the day and on the mood, so it's hard to say. Those examples are just what came to mind first, so not necessarily a list of direct inspirations. But yeah, there is a ton of great and inspiring music out there for sure!

What is always important, at least for me, is a good cover for a good album. This time the artwork looks more like a painting with many details than the one on "Fallout". Who had the idea for it and who was the creator of that beautiful cover?

We loved the artwork we had on "Fallout" as that was 100% exactly what we wanted and needed on that album! For the new release we had to go back and forth a bit. It wasn't easy because we also at first didn't have the title fully settled. And then we wanted to also get an artist involved with an opinion and interpretation of the title. I think finally our guitarist Philipp found a Norwegian artist (https://www.skurktur.com/) during an exhibition. He got into his work and approached him with our music and concept. I think he only added some brief input as far as symbolism, but after a first sketch we knew this would turn out to become something really suitable and special. It's catchy and epic at the same time. Pretty dark too. It was something different than we were expecting ourselves, so maybe that's why we liked it and quickly approved it as the right way to go for "Time And Tide". Happy to hear that you liked it too! WE have received a lot of cool feedback for it…

Like the previous one the album was produced by Jörg Uken who has become a very busy guy in the last couple of years when I look up all the stuff he did. Why do you think has he become such a desired producer?

Well, I first worked with Jörg at Soundlodge some almost 20 years ago for my previous band Dew-Scented and our drummer Marc even recorded with him way before that with his former death metal band Obscenity, so you could say we go "way back". Jörg is a great guy and knows what he is doing. We already noticed during the Phantom Corporation sessions we had there for "Banner Of Hatred" and then of course "Fallout" that we can achieve a really kick-ass final result in our co-operation, so we had no doubts at all about getting together for this new album again. We enjoy his efficient approach and also the fact we can all be around at the studio together, so it wasn't just about the one guy currently recording but in fact a full-band concept so that everyone could stick around and help each other with company and input, or simply have a good time with BBQ or do some beers in town together after the daily recording sessions. His studio is located in the rather quiet and peaceful Eastfrisian area of Germany, which for a guy like me that lives in a bigger city almost feels like a holiday. At least it's far off and allows you to focus on what you are doing. Jörg is a great musician (drummer) too and has an awesome ear for details, so that I always get the feeling we make a good team with him. I think he had fun working with us too, so that always leads to the best of both worlds…

The album comes out in December, what are the upcoming plans to promote "Time And Tide"?

Well, actually we will play shows in record stores on the weekend of release now, in Bremen and Hamburg. That should be fun and something special indeed. Afterwards it's regular shows, hopefully as many as we can, and also hit some new cities that way. We have a next (split) mini-album release in the works for late Summer 2026 already as well and I recently heard we have a first couple of new songs coming in already, so yeah, things sound like fun and as if we would stay busy for the next while….

The final words are yours!

Dankeschön! We truly appreciate the support and the time everyone here spent on this and with Phantom Corporation. Check out our Bandcamp site for some new merchandise: https://phantomcorporation.bandcamp.com/ And then hopefully see you around sooner or later along the way…Peace out! 😉

Veteran of the American heavy metal scene, David K. Starr has built a solid and respected career over several decades, leaving his mark on essential bands such as Vicious Rumors, Chastain, and more recently WildeStarr. A bassist by trade but always driven by a strong compositional instinct, Starr now steps back into the spotlight with "Not Dead Yet", a single and music video that represent not only a new artistic chapter, but also a powerful personal statement. Diagnosed with Parkinson's disease in 2020, the musician transforms pain, uncertainty, and resilience into a manifesto of survival — direct, intense, and universal.

More than just a release, "Not Dead Yet" marks a series of firsts in Starr's career: for the first time, he takes on lead vocals and records all the guitars, embracing a rawer, more urgent approach without sacrificing the trademark heaviness of his work. In this exclusive interview, David speaks candidly about the impact of his diagnosis on his creative life, revisits key moments from his history with Vicious Rumors and Chastain, reflects on his current artistic choices, and makes it clear that, even in the face of adversity, his creative flame remains lit — and more defiant than ever.

Marcelo Vieira

You play all the guitars on the track "Not Dead Yet" and take on lead vocals for the first time. What proved to be the biggest challenge in juggling those roles — the technical demands or the emotional weight of exposing yourself in a new way?

Aside from a few shitty bands I was in when I first started out, I had never sung before. So this was all completely new to me. That said, I think I did a pretty good job, and the fans have told me they like it. I was really nervous before the song went live on YouTube, because I honestly had no idea how people would react!

As a bassist, you've long been recognized for your drive and rock-solid rhythmic sense. Now that you're writing and recording as the primary guitarist, how does your background on bass shape your riff and harmony choices?

To me, it's all just music. I've always thought about the song as a whole when coming up with bass parts. These days, I'd rather be known for my songwriting abilities. When I was in Vicious Rumors, my bass lines were a bit more melodic and complex — when I could get away with it. I don't really play like that anymore. Now I'm more focused on supporting the vocals and the guitars.

The structure of "Not Dead Yet" is direct and urgent — almost like a manifesto. During the writing process, were there moments when you had to simplify ideas or cut elements to preserve that sense of immediacy?

The message of the song is very personal and powerful, so I wanted four minutes of pure, kick-ass metal. I did simplify the lead guitar parts, but that has more to do with the issues I'm dealing with because of Parkinson's and the effect it's had on my playing. I can't really play the way I did on the three WildeStarr albums anymore, so I brought things down a notch or two to a level where I felt comfortable. Less technical, but still raw and powerful.

Across your albums with WildeStarr, you've explored literary and emotional themes in very different ways. Where does "Not Dead Yet" fit within that creative evolution?

In WildeStarr, our singer London Wilde wrote all the lyrics to the music I composed. "Not Dead Yet" really stands apart because I wrote the lyrics, the music, and also sang the song. I'm nowhere near the singer she is, but I believe I got the message across. In that sense, it represents a creative evolution — being able to pull all of that together at a high level and tell my own story.

You've said you avoid mentioning Parkinson's directly in the song to prevent it from becoming overly sentimental. How did you draw the line between honest vulnerability and excessive self-exposure?

The origin of the song is rooted in the problems I've faced over the last five years since my diagnosis. But as I worked on the lyrics, I turned it into an anthem for anyone dealing with serious challenges in life. That could be the death of a loved one, a broken heart, a serious incurable disease like mine, or anything else life throws at you. We all experience pain at some point. "Not Dead Yet" is about standing tall in the face of adversity.

Many artists say a diagnosis can change their creative urgency. Since 2020, have you felt a shift in how you write or choose themes?

For starters, I don't know how much longer I have to live — or how much longer I'll even be able to play guitar. So yes, there's a real urgency to get as much done as I can in whatever time I have left. Parkinson's is a huge drain on my energy, and that's something I deal with every single day. I have a million things I want to do, but limited time and energy to do them.

Is there any advice you received — from doctors, friends, or fellow musicians — that became essential in helping you face the disease and keep creating?

Basically, it's very important to stay busy, stay active, and stay engaged. Life goes on, and the worst thing you can do is sit around feeling sorry for yourself. Those are reminders I give myself every day.

Do you see "Not Dead Yet" as a standalone work or as the beginning of a new creative cycle, perhaps even a full solo album? What kinds of ideas are emerging for your next steps?

"Not Dead Yet" is a standalone single and video, but the response and support I've received have been amazing. At this stage of my life and career, I don't really have the desire to record full albums anymore. I'm more interested in releasing one or two songs and videos per year. I definitely have plenty of new song ideas.

Now, walking down memory lane… During your first run with Vicious Rumors (1984–1993), the band helped define a style of metal that was precise, technical, yet deeply emotional. Which aspects of that aesthetic do you feel were directly shaped by you — things only the band members might truly notice?

Aside from being the bassist on those albums, I was the one responsible for bringing Carl and Mark into the band in 1986. That was huge for Vicious Rumors — it changed everything. A lot of fans don't know that story.

Digital Dictator (1988) is still cited as an influence by younger musicians. At the time, did you have any sense you were creating something long-lasting, or was it simply a daily pursuit of being "better than yesterday"?

It's a great album that has truly stood the test of time. Thirty-eight years after its release, it still kicks ass. When I brought Carl and Mark into the band, everything just clicked — it was magic. At the time, all we cared about was making a great album. There were no grand designs and no crystal ball. We had no idea what a huge impactDigital Dictator would have.

Is there a moment from that era that, to you, perfectly captures the spirit of the band at the time?

That's hard to say. We had a very strong following in the San Francisco Bay Area, and the shows kept getting bigger and bigger. I have very fond memories of that period. We were climbing the ladder, having a blast — it was an amazing time for the five of us.

By the time you returned to Vicious Rumors in 2005 for Warball, the metal landscape had changed significantly. What shifted in your approach to playing and recording bass — and in the band's dynamic — compared to the late '80s and early '90s?

That was a strange time for me. I had been clean and sober for about six months before recording that album. I played an eight-string bass (4x2) on all the tracks, keeping things mostly low and heavy. But honestly, my heart wasn't fully in it. Carl and Mark were gone, and I had already started writing songs with my wife — which became the beginning of WildeStarr, what I really wanted to focus on. I recorded Warball and shortly afterward told Geoff I was leaving. He wasn't happy, but I felt it was the right decision for me. It's a great album, and it was cool to work with Geoff and Larry again, but I didn't want to be known as "the Vicious Rumors bassist" for the rest of my life. I had other things I wanted to do.

Regarding your time with Chastain and the album In an Outrage (2004): what was the most striking difference between working with David Chastain and the more collective dynamic of Vicious Rumors?

With Chastain, I was essentially a hired gun, a session player. For the most part, I kept my opinions to myself. It was David Chastain's show, and I knew that. That said, he was great to work with — an amazing talent and an all-around great guy. Plus, it was the first time in years that Larry Howe and I played together again.

On In an Outrage, some tracks carry a darker, more introspective weight. What was it like contributing to a record that felt more somber than your previous work?

Some of that material reminded me of Vicious Rumors. The singer, Kate French, was a big fan of the band, so that probably had something to do with it.

You've mentioned that you always aimed for bass lines that went beyond simply "holding down the foundation." Which track from your entire career best represents that philosophy?

"Out of the Shadows" has a great bass line — it's practically a song in itself. Mark wrote that one, and he was more open to my writing complex, moving bass parts. "Ends of the Earth" is another great example, with a cool, flowing bass line. And "Ship of Fools" as well — most of the bass parts are simple, but Mark, Geoff, and I play that three-part harmony solo together, and it sounds absolutely epic.

Finally, which famous bass line do you wish you had written — and why?

Wow, that's a tough one! I actually had to sleep on it for a few nights. It's hard to pick just one, but Joe Bouchard from Blue Öyster Cult is one of my favorite bass players. His bass lines on "Burnin' for You" are so melodic and expressive. I absolutely love his playing.

Link to the original:https://www.marcelovieiramusic.com.br/2025/12/david-k-starr-entrevista.html

German black-thrashers Desaster don't need any big introduction. Always delivering great stuff. I had a very long and nice chat with guitarist Infernal K. about the new album and some things I had read in a German magazine. Out came a very interesting, funny and profound interview. Enjoy reading.

Michael

Hi Markus, my wife is always making fun of me that my first question usually is "how are you"? So this time let me ask you: are you crazy?

Haha, why, are you crazy?

Well, I read that you don't want to do another album any more. What's going on? You cannot mean this serious!

Well, you never know exactly. At the moment we really have come to the point that we felt it quite exhausting to record the album. We worked about nine months on it very intense and once again we had a lot of technical issues, the vocals lines had vanished and had to be recorded completely new so it was a complete disaster, as always. It is always difficult to do a whole album because we don't rehearse that often anymore. We rehearse once in a month or even once in two months and you also have to practice old songs for live gigs. And if you do a new album, you have to do ten more songs at each rehearsal and this is super exhausting. For sure we like the song writing the most but we want to focus more on some temporarily projects such as singles or EPs. My idea right now would be to release a single every time we have finished three songs and when three singles are released to put the songs as a whole on an album. This is something I can imagine but a whole album after four or five years, no let it be (laughs). I was short before a burn-out.

Well, to be honest, I guess releasing some singles and putting them on a full-length afterwards is something that might not be too popular for the fans…

You don't think so? I always thought that our fans are underground and I also like this kind of releases.

Hm, I don't have the best feeling with things like these. But this is my opinion, of course it is possible that everybody else thinks that this is a cool thing.

I think that these days it becomes more and more difficult to keep the people listing to a whole album. I have the feeling that nobody except us old farts nobody does that anymore. The younger people just listen on Spotify some songs, sometimes even just for 15 seconds and then they skip. I doubt that they have the patience listening to a record with a beer and to skip sides in the middle of the album. The listening habits have changed. Of course we wouldn't say that we don't make any more records because of that but it really is a phenomenon of the modern times.

Fair enough but then Hollywood could also say that they don't make any more movies because the kids can't follow the plot after 20 minutes.

To be honest, sometimes I like this thought. I almost watch series only where one episode lasts about 45 minutes. Best is half an hour. After that I cannot focus on it, haha! This "Lord Of The Rings" movie with three hours running time – no, for this I don't have any time and also no mood for that!

Then you have watch it in two sessions.

Yep, when we watch movies, they are split and I always fall asleep.

Yeah, we all don't get younger.

And what comes to all that, I have so much to do. I had with Moontowers, my other band, also a new album in creation process. It isn't released yet although we started earlier with that one and also there a lot of things went wrong. Only catastrophes!

Coming back to Desaster – if you would record some stuff again, what about the idea to re-record "Evil Arschloch" (means "Evil Asshole"in English) from your first demo? I mean, every day you can see so many evil assholes in the news and somewhere else.

Laughs. That's right! Then we could dedicate that song to a lot of politicians and many more, haha! What is going on these days is really strange. Due to that, the album title was created. In the past we had, apart from "Evil Arschloch" songs like "God Is Dead" or "Scream For Mercy". As Venom fans, it was mandatory that we sing about hell, Satan and demons. Of course it was never meant to be that serious. I have to do my outing here. I am actually no Satanist. I am sorry, dear fans! In the past we sang about the hell that is described in the bible which is some sort of fantasy book like "Lord Of The Rings", today we sing about the real hell. This is here. Just turn on the news. It is all around us. Our vocalist is quite pissed-off and lets it all out in his lyrics. All these self-proclaimed idols, all these politicians and religious fanatics that destroy the Earth and who are just led by greed and pull out the money out of the people's pockets to spend a luxury life themselves…it is really terrible what's going on in the world. So our vocalist said that he dedicates the album title to all of that. But everybody can put in his own idol into that. For some also teachers are idols, haha! And I bet that you have also some teacher colleagues about whom you might say that they failed in their profession. But they are put in front of the class as some kind of role models and you don't get rid of them. They are there and you have to suffer them for years. I had the same. I also had some colleagues who were really shitty. Nothing else to say about that.

Yes, sometimes it can be pretty hard, I know what you're talking about. Sometimes you even have to switch your place of work. But you can also have soccer player as idols, for example players from Schalke 04 (Infernals' favorite German soccer club which has a huge rivalry with my soccer club; M.).

Haha!!! I really would like to kill them although the new season is pretty good at the moment.

Yeah, I really hope that they will ascend into the first league again. I am eager for a derby once again. That was way too long this hasn't happened. But coming back to the lyrics and social criticism: "Towards Oblivion" also deals with the topic that we destroy our planet but that our planet is surviving us.

That's right. Our vocalist made some thoughts about that and it goes a little bit into the direction of "Learn To Love The Void" from our last album. It dealt with the fact that there were probably much lesser conflicts between people if there weren't having wars because of religion and to just accept that after death comes nothing. You would not need to argue who has the best religion and the greatest god or where the most beautiful paradise is but if everybody would accept the void, we had much more peace. Into this direction tends "Towards Oblivion" also, everybody can notice what is happening on Earth, all the greed mankind has and we are the worst predator on this planet and we don't only kill each other but take everything we can. I don't want to know how many species we already have become extinct since mankind exists. At a certain point we will extinct ourselves but okay, Earth will survive. I guess there will be some bugs left when mankind has ceased. I wouldn't even say it's social criticism, this is a difficult term but our vocalist is describing. He is describing the state of our world and he also doesn't want to change anything, he just says it is as it is and man is presumptuous and thinks that he is the pride of creation. Since the Age of Enlightenment we think that we are so rational but no. You can see it every day how rational mankind is. Because of that we will destroy ourselves at a certain point. That's just a determination and Desaster are producing the soundtrack to that.

And it seems that you took some natural science books to mind also. "Ash Cloud Ritual" with the volcanic eruption, Earth starts to freeze and become dark….and "Stellar Remnant" might be about something in space that explodes. Don't know exactly, I don't have the lyrics.

Exact. Our vocalist subscribes some scientific magazines which he reads with a lot of passion, especially about some theories that are presented there. So it's about the big bang theory, black holes and I don't know what. That's too high for me (laughs). When I was a kid, I was also interested in astronomy but it was more about knowing the planets (laughs). A black hole goes far beyond my imagination. But our vocalist is interested in these things and puts it into his lyrics. And there are also a lot of personal things in them. He had a period of insomnia lately where "Thrones Of Ecstasy" was created. I still didn't get the connection between sitting on a throne of ecstasy when you cannot sleep but he is processing all this in his lyrics.

Yeah, I can tell you…when I come back from class trips that lasted some days I also feel like having consumed a lot of drugs.

Yes, this state has an influence on you. This can be euphoric but it can make you mad also. He has to take care about his health; also his job is very exhausting. He is the organizer for some events in the association community. They are doing some concerts with cover bands like Deep Purple or Pink Floyd and I guess he underestimated how much work it is. This is a lot of public work and he doesn't like to be in the focus. He also doesn't like to be in the spotlight which you might not guess. He really doesn't like this star hype. "Kill All Idols" is also against this hype around musicians and he doesn't like when people are coming to him and worshipping him because he is the vocalist of Desaster. On the other side he also isn't the guy who would get autographs from other people.

I didn't like your new album that much when I heard it the first times but it took me some time to get used to it. First of all are some doom songs on it and with "Ash Cloud Ritual" you have this war metal song on it. Can you comprehend that some people might have difficulties with it?

I was very surprised that all reviews were great so far. In my private environment was only one person who said it wasn't his cup of tea. But music is personal taste, some things you like instantly, others not, some things you have to find into but of course I accept it when people don't like it. I won't change my song writing because of this and there are a lot of old fans that say we should do something in the vein of our first record with more black metal in it. Others say we should do more thrash metal – Desaster is a mixture of it all. I think we never had so many different things on an album like this time. Of course you can criticize that too because there is no common thread in it (laughs). But despite the fact that we have a punk song with "They Are The Law" and a super fast one with "Great Repulsive Force" you can always hear that it is Desaster.

It's just…when I got the promo and I always copy them on my watch, I wanted to go running but this was quite tough for me to get a good pace with that. Of course there are great songs on it and it is a good album but not easy listening. "They Are The Law" reminded me right from the start of "Iron Fist". Was that intentional?

That's more inspired by The Exploited. They also have a similar song with a bass at the start and we always wanted to do something like that. We all are punk fans and between the two albums we released this punk single with some cover versions ("Here Lies Desaster"; M.) and we always wanted to write a Desaster song in a punk dress.

"Ash Cloud Ritual" kicks off very slow but also has some war metal elements in it. Does it accidentally have anything to do with your other project "Doom Cult Commando"?

Haha, this is the whole time super fast stuff. This is also really great, I love it. There you can let loose and is something totally different. It was a lot of fun to make music with the guys and it can be that it had a little influence. We never had anything like that on a Desaster album before. I mean we had some fast black metal stuff but never such a blunt thrashing with a very simple riff and less melodies as possible. I thought that the song was very doomy in the middle part, even slower than Asphyx, and as a contrast something fast before and after that slow part would be cool and enhances more power to it.

The album cover is the first one after 20 years which was created by Chris Moyen. The last one he did for you is on "Angelwhore". Why did you ask him now once again?

That was more a coincidence it is 20 years now. It all was quite clear concerning the concept which was in our vocalists' brain. He had the title and a clear vision of what should be on the cover. Maybe you have recognized, it is a classic painting made by Caravaccio in the 16th century. He did a biblical scene called "Judith Beheading Holofernes". Holofernes was a general and they had conquered half of Palestine and oppressed the citizens there. Judith ensnared him and they had a nice encounter and the next morning she hit off his head and saved her people. It shall not have anything to do with today's politics, we don't interfere into that, but our vocalist liked this painting and also thought it would match perfect as cover and to the album title.

Well and soon the winter is coming and you move into your model railway basement?

Haha, actually I am quite often there. I have a dartboard there so I let the train drive, play darts and listen to music.

What model railway do you have?

I have a Fleischmann.

Ah, cool. I have a Märklin HO.

Yes, I have also HO. I inherited it from my dad and there is a cool story. My brothers are about 10 years older than me and at that time home births were quite often. One day the doctor came with the midwife to our house because my mother had contractions. So he came in and saw that model railway and was totally flashed. So he played with my dads' model railway and my mom was screaming. She wanted to deliver the baby and they played with the railway first. So I got the railways from my dad who died some years ago. I have it because of nostalgic reasons, I don't play with it every day nor do I work on it too often but I run it sometimes, think of my parents and the old times, this is really nice.

Yes, same here. So I have come to an end with my questions, the last words belong to you!

I want to say thank you to all our fans who in parts are accompanying us since our demo times. I talked to a guy lately who said that he even likes the new album, of course it isn't as good as the demos, haha! Since the demo they became shit, haha! But to be honest, every band has released their best album when they were young. You are fresh, wild and you have ideas and in the past all that was quite new. Today it is quite tricky to do something worldshaking. Even Iron Maiden – the new albums probably aren't bad but they never can reach "Killers" or "Number Of The Beast". We know it too and we know that our best ones were "Hellfire's Dominion" or "Tyrants Of The Netherworld" but still we have a lot of fans from the past and we won't win too many new fans anymore (laughs). But kids who like Midnight or stuff like that sometimes come to our shows and are telling us that they recently discovered us. Cheers to you all and thanks for the long support! We stay alive and even if we won't release a new album anymore there will be new stuff coming from us and also live we will move our old bones and get on stage.

Bavarian Drudensang are a quite mysterious and very unique band combining icy black metal with Bavarian mysteries. Not only the music is something very special but also the band behind, wearing special Krampus masks during their live rituals and being anonymous. Lately they have released their new EP "Geysterzvvang" via Folter Records which is a logical continuation of their first full-length "Tuiflsrijtt". Vocalist / bassist Krámpn brought some more light into that mysterious band, answering my questions. Enjoy reading and, if you still don't know the band, check their albums!

Michael

Photo Credits: NecroHorns

Hails Krampn, I hope you are doing fine! Drudensang is still quite unknown in the black metal scene although you already released a very good full-length ("Tuiflsrijtt") and lately a superb EP ("Geysterwvvang"). Maybe you can introduce the band a little bit more to our readers? 

Drudensang isn't a project seeking for attention. We're a tool, a vessel for what burns within and through us: The gloryfication of the devil, devouring darkness, macabre shadows of death. Our music is incantation and sacrifice at the same time – it shouldn't please, but have an effect. Who listens doesn't just encounter us but also something which is older than us.

I already said to Joerg that I don't really understand why you didn't release a complete album but an EP…what were the reasons for this step?

A work does not follow a plan, but the rhythm it sets itself. "Geysterzvvang" was too heavy to hold back and to standalone to be part of an album. We don't publish anything out of calculation, but because it forces us – and sometimes the deep abyss and the darkness gives birth to a shorter, but all more concentrated grimace.

You deal a lot with Bavarian saga and the nature in your area. How important is this folklore for you?

It's our blood. These stories, these forests, these mountains aren't just mere backdrop – they are the body from which we were born. Humans believe folklore is a fairy tale. Truth is, they are encrypted memories to what still haunts us. When we sing from these myths and legends, we sing from our origin and ultimately of the inevitable end.

A very special character you deal with is "Krampus" and you also dress like that. What makes this saga that special?

The Krampus is not just a folklore figure for kids to smile about. He is the grimace of the devil, the black beast that haunts every human soul in their sleep. He is the proof that fear and pleasure, punishment and salvation are inextricably linked. We're part of it and we don't wear the mask as a sort of show, but to embody him: the horror that is closer than you think.

Like Alice Cooper says that Alice is a character he is acting on stage, is this something similar to what you do?

No. We don't play a role. What we do on stage is a ceremony, a communion with our gods, a celebration in their honor. The rapture, this dehumanization that we assume when we detach ourselves from this reality and immerse ourselves in our world is not a show but an invocation. When we're on stage, we aren't just Drudensang – we are vessels through which the Krampus, the devil, and death itself talks.

Apropos these special masks – I've read that you are also the owner of Bavarian Krampus Arts. Does that mean that you create your masks on your own and if so, how do you do that?

Yes, the masks are created together with our carver S.P. through our thoughts, ideas and visions, similar to a Drudensang work, born of fire, horn, blood and sweat. Every cut is a wound, every notch is a curse. They are more than costumes – they're totems through which the ancient powers see. When we wear them, we don't wear masks but a face that was always there. However, this has little to do with Bavarian Krampus Arts. With Bavarian Krampus Arts I design Cover Artwork and Logos for other Bands and Projects.

Your lyrics are kept in German, mostly in a Bavarian dialect. I can imagine that it is a very fitting thing to sing in the language the folklore is about but don't you think that it might be a little obstacle to gain more popularity?

If popularity would be our goal, we would sing in English. Our texts are incantation and summoning. This only works in the language from whose soil it grew. The dialect is no obstacle, but a weapon which sharpens the ritual and makes it more real. Who wants to understand must dive deeper than words.

Musically you have a lot of symphonical, almost cinematic elements in your music that make it like an auditive trip through the snowcovered Alps. How important is creating this atmosphere for you as band?

The atmosphere is no accessory, it is the core. The music must sound like a storm in the Alps, like the crack of bones under ice, like the breath of the devil in your neck. Without atmosphere only raw Black Metal remains. Only with atmosphere gospel becomes a ritual.

Photo Credits: Lovodium

Listening to the aforementioned albums, I would say that Satyricon (the opening riff in "VVydergaenger" sounds a lot like "Mother North") or Emperor are your main influences. But maybe also Metallica when I listen to the intro of "Tuiflsrijtt"? Apart from this, what would you say are the biggest influences on you?

We don't really let ourselves be influenced by other bands, but of course we can't prevent this from happening subconsciously. Of course we hear Bathory, Mayhem, Dissection, Metallica too, Iron Maiden, Sodom and Morbid Angel or The Devil's Blood, but the biggest influences aren't mostly musically. Equally important are the church bells, the howl of winds, the voices of the Rauhnachts-Masks. Our biggest influence is the silence of the mountains that always smells like death.

Which five albums are a must-have when you are banned to a deserted shack in the snow-covered Bavarian mountains?

Bathory – Under the Sign of the Black Mark Dissection – Storm of the Lights Bane Funeral Mist – Salvation Krater – Urere Celtic Frost – To Mega Therion Even these five will fall silent, for the snow has a mightier voice.

Next month you are going to play at Damnation Fest in Oberhausen together with Primordial and Beherit. How excited are you about that?

Excitement is the wrong word. It is more like hunger. To share the stage with Beherit and Primordial means to mix blood with blood. We don’t go there to play a show, but to lit a ritual. And everyone who will be there, will either be consumed – or leaves the hall never to be the same again.

And now, the last words are yours!

To the devil be our glory! The devil's march goes ever on!

Thanks for the interview!!

Stay morbid!