Devilish Impressions - Logo

1.Greetings, how are things Quazarre? How did you find out about Heavy Metal and later on about Black Metal, what was it like back then and do you still have the same feelings about our favorite kind of music?

Hey! All good here, thank you! Well, it must have been around 1990 when I borrowed a cassette of Metallica’s “Master of puppets” from my then neighbor. I immediately felt in love with it and from then on started to discover more and more metal bands: Kreator, Death, Iron Maiden, Sodom – that’s how the snowball started to roll down the hill. As for Black Metal I think it was 2 years later when I bumped onto “Epitaph of Christ” demo tape by Poland’s Christ Agony followed by their debut full-length “Unholyunion”. It was the real thing back then! Well, it still is, same as with their next game-changers “Daemoonseth Act II” and “Moonlight”. At the time I was also digging a lot other Polish band called Taranis. The creation of the two mentioned opened up the whole new dimension for me and made me start listen to older stuff such as Bathory, Mercyful Fate but also most of what was coming from the then exploding 2nd wave of Norwegian Black Metal: Mayhem, Emperor, Burzum, Limbonic Art, Arcturus, Old Man’s Child etc. Generally the Scandinavian scene impressed me a lot. Sweden’s Marduk, Dissection, early Tiamat. Finland’s Beherit, Thy Serpent, Impaled Nazarene. Also the Greek scene is worth to mention with bands like Necromantia, Rotting Christ, Nightfall. Austria’s Abigor, Switzerland’s Samael and Celtic Frost – it all shaped up and blackened my musical taste.

2.What does Black Metal mean to you, is it your favorite music style or is there more behind it?

I would say both. I mean it allows you to liberate yourself from any limitations imposed on you by the surroundings, it makes you create your own path on which you don’t necessarily need others to walk with. It is the way of life, a continued rebellion and fight for a freedom against anyone or anything that tries to take it away from you.

Photo by Robert Zembrzycki

3.When you started out with Devilish Impressions in 2000, you still had a real band line-up going, but that didn’t last too long, if I remember correctly… So, please let us know about the members who were involved in the early incarnation of the band and why you parted ways with them…

I started the band with Starash (guitar) and we had later been joined by Turquoissa (synth) and it is the three of us who appeared on DI 2002 demo “Eritis sicut Deus”. For the recordings of our debut “Plurima Mortis Imago” album we recruited Dragor and Adrian of Luna Ad Noctum yet the guys never played a single gig with us, shortly after recordings they got replaced by Icanraz (drums) while the position of the second guitarist was taken over by Armers due to Starash not being able to commit himself to the band’s activities any longer. Although as a bassist, Starash played with us our first European tour in Autumn / Winter 2006 and left right afterwards. We remain close friends up until now and meet up whenever possible. When it comes to Turquoissa, well… She used to be my wife back then, when she decided to walk her own private path in 2008 I had no other choice but to quit our musical journey too.

4.What inspired the band’s name and did you plan on having any kind of musical concept based around it when you started out? Was Devilish Impressions ever meant to be a Anti-Christianity band?

Let’s travel back in time back to the second half of the nineties. It was a very crazy period in our lives I must say. We would meet at the rehearsal room every single day along with a bunch of my closest friends who shared the same passion and ideas, and spend ages on expressing our ever-increasing hatred towards Christianity and other religions, while listening to basically everything that was dark and evil enough to inspire us to create our own thing. We would then play our riffs, or use a synthesizer to present each other with possibly the most twisted ideas meant to pull the right strings in someone’s mind. It may sound naive, cliché even, yet I still believe certain sounds enable you to open up gates that are otherwise inaccessible. Not to mention we’ve used lots of, name it “not so commonly accepted” means to help ourselves achieve that sought after state of mind back then.
Aside from being inspired by endless discussions and each other’s reflections, as well as by the newly-discovered bands from all over the world, I believe it was Ozimek’s scenery (Ozimek – Quazarre’s place of birth) that somehow boosted the process of shaping up our own spirit and self-consciousness too. Imagine, having one of the oldest in Europe and one of the biggest producers of steel castings in the country that spreads its shadow over the city on one hand, and miles of forests surrounding it on the other. Forests, where we would walk in at night, almost every time after having enough of being locked in the practice room, to talk and contemplate the forces of nature. It was a place where a large, industrial area, sort of a disheartening monument of an evolutionary path humanity had taken, meets original beauty that reminds you of where we all have actually come from. Just add on top of that a small town’s strong community gathered around the local church which, in response to our unsettling activities, would constantly strike back to our detriment, and you have a clear picture of what was happening back then… Anyway, it was around 1998, when for the first time ever we had come up with the name Devilish Impressions Circle, being initially sort of a secret association of people united in similar taste in music, literature and any other form of a Dark Art, but also an evil, subversive and dangerous youth that stood against the so-called normality. In 2000 November the 1st (All Souls’ Day), at the territory of a local cemetery illuminated by thousands of burning candles, we officially decided to give birth to Devilish Impressions.

5.In June 2002 you recorded the three songs „Moon”, „Var” and „Dies Irae”, which got released as your one and only demo „Eritis Sicut Deus” later on. None of those songs ever appeared on any Devilish Impressions release again later on. What is the reason for that? Will you ever re-release the original demo-recordings in the new future, maybe as bonus tracks or something?

Photo by Robert Zembrzycki

We actually did. As you know, in 2015 we released the “Adventvs” MLP on a 12’’ vinyl via Hammerheart Records, right? So it seems you have missed out that ahead of the vinyl release the “Eritis sicut Deus” demo had been paired up with the tracks known from “Advents” and came out as a digi CD entitled “Adventvs / Eritis Sicvt Devs”. Of course, you’ll definitely see a huge distance between the opening tracks of “Adventvs” and those from the “Eritis sicvt Devs” era, especially on a technical level. But that was the whole point as we wanted to leave our fans with a glimpse into what DI was doing in the years it was created and let them compare it to what we did quite presently. And although “Eritis…” was in a way created to pay homage to all those acts that so strongly influenced our creation, I believe it was also a
brave reach out and search for ways to the band’s very individual expression.

6.Since those early days you decided to call yourself Quazarre. Tell us more about this pseudonym and why you decided to use it.

It refers to ‘quasar’, an extremely luminous active galactic nucleus, in which a supermassive black hole with mass ranging from millions to billions of times the mass of the Sun is surrounded by a gaseous accretion disk. As gas in the disk falls towards the black hole, energy is released in the form of electromagnetic radiation, which can be observed across the electromagnetic spectrum. The power radiated by quasars is enormous: the most powerful quasars have luminosities thousands of times greater than a galaxy such as the Milky Way.

7.How did you get together with the rather unknown Polish/UK label Conquer Records for the release of your debut CD „Plurima Mortis Imago” and follow-up „Diabolicanos – Act III: Armageddon”? What made you sign with them and what kind of experiences did you make during your co-operation with Podol?

We got to know Podol at some concert in London where I used to live in between 2000-2010 or so. We started to visit each other at numerous occasions, met on many gigs, hanged out together, drunk gallons of alcohol and smoked tons of weed, and became friends eventually. Once we recorded what is now known as DI’s debut full-length “Plurima Mortis Imago”, Podol – who at the time used to run Conquer Records – was the very first one who approached us with an offer to release it via his label. And since the conditions of the contract seemed to be decent enough we simply decided to give it a ‘go’. He was actually doing pretty good job for us back then. A lot of great exposure landed DI a spots as direct support on European tours with Aeternus, then with Marduk and we played quite a number of some off shows and festivals here and there. All seemed to be really good so when we started works on the sophomore record we did not even think of reaching out to any other record label. Once “Diabolicanos – Act III: Armageddon” was released in 2008, again on Conquer, we followed up with the great success of the album by a headlining tour in Eastern Europe, landing a support slot on European tour with Behemoth and Suicide Silence as well as embarking on a tour with Dismember in the UK and Ireland. In the meantime we were also invited to partake on select shows of “Wacken Road Show 2008” with Overkill, Tristania, Samael and Enslaved. This enabled us to release “Diabolicanos” in Poland via Empire Records followed up with a joint home country tour with Hate. The Summer of 2008 proved to be extremely proactive for us too as we supported Satyricon, co-headlined Pro Rock Festival with Rage and appeared at Metal Heads Mission Festival with Moonspell, Gorgoroth and Samael. On one hand it was the hottest period in the band’s career, on the other hand those were the times when things started to fall apart. Parting ways with my now ex-wife followed by the departure of two other members of the band and cancellation of the upcoming Autumn / Winter tour made me stay along with Icanraz (ex-drummer) as the only two willing to continue the band. On top of all that, imagine my surprise when I discovered that invoices from several magazines came to my address in Poland for unpaid advertising, indicating me as someone being responsible for Conquer Records! It was the proverbial straw that broke the camel’s back. I kind of regret now that I did not follow with taking further legal action against Podol
and Conquer Records. But I was totally broken, also money-wise, thus I did not bother with what I now know that I actually should have done back then. Fuck that! At least I learned my lesson and, most importantly, that shitty period of time I was going through made me realize who my real friends are.

8.Can you even remember what the atmosphere reigned during the recording of your debut? Where exactly was it recorded, how a long did it take and happened there any problems at recording process? Was the recording of your debut a new experience to you or rather a routine from the previous recordings?

Photo by Robert Zembrzycki

I gathered a lot of experience from several recording sessions with Asgaard, the rock / gothic band I am a vocalist of ever since 1998, so “Plurima…” sessions were meant to be smooth and easy. Unfortunately, it turned out just the opposite! And, while I am still happy with how the guitars, synth and vocals recording sessions ended up, I still can’t get over the fact how the drums are all fucked up here and there. Don’t really want to get into details after all these years. To cut it short, the guy who recorded it made some serious mistakes when setting microphones, mistakes that made us unable to edit the drums later. We learned this only when we took all the tracks from him to eventually mix the album with different producer as we were tired with the previous one’s continued delays and bunch of lies he was feeding us with. It was too late though, we simply ran out of the budget as well as out of days off at our day time jobs. Having no perspectives on how and when to finish the album we decided to leave it the way it was.

9.Listening to your musical evolution I would say that Devilish Impressions not only has turned more and more towards the Death Metal genre, you also became a lot more intense when it comes to the speed of your material (especially on the brand new album). Were you tired of performing mainly symphonic black metal material or did that happen by coincidence?

Well, I think DI constantly evolves… No matter whether there are more black or death metal elements to it, the key is and always was to create and maintain a certain atmosphere. These days we do it with 7-strings guitars and without the use of synthesizers yet it doesn’t mean we won’t use them in the future. If you listen to any of DI offerings you’ll easily notice that each of them is characterized by a unique aura, something that is typical for this or that record only. I never wanted my band to be the fastest or the most brutal out there. I would say that it is the emotions locked down in certain constellation of sounds and words that are somewhat a key to understand what the spirit of DI truly is. As for your last question, I never plan on which direction we will be heading to music-wise during the writing process.

10.Big step in DI evolution history was your second album ” Diabolicanos – Act III: Armageddon”. Have you had an accurate and clear idea how should ” Diabolicanos – Act III: Armageddon sound? Szymon Czech was producer of this work and how do you actually solve it at recording? First do you clarify how it should sound or you leave it purely on him? Are you satisfied with the sound? Has everything turned out as expected?

Indeed, it was “Diabolicanos” that gave us much wider recognition and brought us back on the road for what turned to be a half-a-year-long touring cycle. Working with Szymon Czech and at times with Marcin
Kiełbaszewski, the owner of Studio X, was a truly great experience and I think it brought great results too. We didn’t have a crystal clear vision of how it was supposed to sound like. We simply worked on it at particular stages of the recording session, e.g. we’d search for the adequate sound of drums in first place and started tracking only once we were really satisfied with the final output. It was the same with guitars and other instruments. As soon as we had it all recorded and mixed we sent it to Stage One Studio wherein the album was mastered by Andy Classen. So, yeah! Speaking of its production I am still super proud of how it came out.

11.Since then DI play a technical Blackened Death Metal, but that technique is not dominant, it rather serves only as an element. More technical bands manage to achieve some atmosphere only rarely, which certainly is not your case. Is the music atmosphere the reason you are doing all this?

Exactly! As I have mentioned a bit earlier, the atmosphere is the most important thing in our music. Of course, being able to play lot more technical may be of help when transforming your visions into certain notes, however at the end of the day it doesn’t make you a better composer, does it?

12.How did you exactly hook up with Lifeforce Records after the release of „Diabolicanos”? Have you ever been approached by other labels during that period of co-operation? What makes you stay with Lifeforce Records for five years?

After what happened in 2008 I had to rebuilt the band almost from scratch, so to say. It wasn’t easy considering earlier significant line-up changes and so on. So, it was around 2010 when we were finally ready to slowly start work on a successor of the “Diabolicanos” album. It was also at that time when we decided we won’t continue as a five-piece, instead we would go as a four-piece with all the synths and effects from then on being played from the backing track. Once the new line-up had been solidified I started tracking the pre-production version of what is now known as “Simulacra” album. The recording process took as a while as we used several different places to put all the stuff together. Having the album done we sent it out to record labels and decided to go for the offer that came from Lifeforce. A few years later we released “Adventvs” MLP on Hammerheart Records simply because Lifeforce wasn’t interested in such a format. But, as you know, we returned to them when searching out for the label willing to take over our next offering – “The I”. Why Lifeforce again? Well, we already knew what we could expect and that the album will be given a sweet push from their end in terms of its promotional campaign. Moreover, it was them again who shown more enthusiasm towards the album than other record labels that also wanted to work with the band.

Photo by Robert Zembrzycki

13.When you signed a deal with them, how much pressure did they put on you regarding the promotion (interviews, playing gigs around, etc.) they expect you to do? Do they understand that you all have day jobs, families and stuff so promotion may be limited especially when it comes to doing longer tours?

DI is the type of the band that consists of members who fully commit to its crusade, the type of the band that requires from each involved to be often lot more committed to its own, collective purpose than to a
personal ones. Obviously, it is not easy, considering the subgenre we are moving within and its rather narrow range comparing to pop music, but that’s the way it is. Either you are fully into something or you do it half measures, which eventually makes you sort of a “weekend band” only. At times, or most of the time, it tends to be extremely difficult. It often puts you in a situation where you think like: what am I actually doing this for? Because you never really know what comes next. So, in the end it all comes down to how much you want to do what you are doing, and thus you really have to work your ass off if you want to keep your band rolling. Such approach also makes the label’s work lot more effective because all those people that work for you in the backstage need to know that you’re personally involved as much as they are, or even deeper. It wouldn’t have worked otherwise.

14.DI is not touring pretty often and quite extensively, so I was wondering if Lifeforce also helps you out in that department?! Is there a specific tour of yours which you enjoyed immensely and which stood out in one way or another?

Nope, booking is not the label’s thing. You either do it yourself or hook up with a concert agency that takes care over booking on behalf of the band. In fact there have been dozens of tours we took part in. I can’t point this very particular one, because each of the runs we did had something unique going on, something that the other one hadn’t.

15.What do your live shows mean to you? How do you perceive them, it is something like a ritual or it is just show of your work at the moment? Do you play the songs exactly or even you sometimes improvise?

Well, our drummer plays to a metronome so there’s no space for improvising, at least not when it comes to the songs’ structure. It is hard to describe what playing live is like. I mean, in our case it all starts quite a while ahead of every concert. We all fall into a certain mood when getting ready to bring up on stage what we want to convey via our art, when putting stage clothes and corpse-paint on. It’s a specific sort of a celebration of what is to come. Each of us is then trying to create a space for himself only where one can fully immerse in his own universe. And when we finally enter the stage it is right there where we all unite, it is there where we all get the nerve of this feeling that we are becoming a complex of entities waving a flag of something much bigger than ourselves only. And from that very moment we just go fucking wild! At the end of the day, it’s a devil’s work.

16.Surviving in the music business is a tough game. Money is tight and the markets have changed drastically due to the digital revolution with illegal downloads being a big part of the picture. In that sense I can understand why labels are under so much pressure nowadays as they are constantly striving to survive and to keep their boats afloat. You know something about it because you’ve been running a record label Icaros Records, by yourself for some time…

Yeah, I used to, but unfortunately it did not last too long. I was focused on Polish market only and tried to get the label’s releases out to wide distribution, made all our titles available not within underground only but also in chain music-stores. In order to do so I have had to use a distribution company as those stores wouldn’t take Icaros releases directly from myself. Now we are getting to the point where we talk of some ridiculously high margins. Yep, the mark-up of distributors do not only include the profit margin of these companies but also their costs between purchase and re-sale. Plus there’s a margin of stores on top of that, which eventually makes the price of any title three times as valuable as when you sell it to a distribution partner. And while it probably works well with big companies that put out shit-load of stuff on a regular basis, the one I used to run was small with very limited budget therefore I simply wasn’t able to follow up.

17.Well, let’s get straight to the main course. Can you tell us something about new DI album, how this new material sounds to your ears and how it differs from everything you’ve done in the past?

The present path on which the band stomps leaves much more room for musicianship to shine through in the rhythm department which, as a consequence, has led our music towards yet new dimensions.
Moreover, it’s our second offering on which we did not use keyboards and synthesizers. Although the melody has always been an important part of our creation, all the stuff that occasionally appears in the background is just additional tunes and effects, mostly done by Przemyslaw Nowak, the Impressive Art Studio’s owner. So the entire atmosphere had been crafted mostly with the use of guitars and vocals backed up with other instruments. It’s also the heaviest of all our works since we’d introduced the 7-strings guitars several years earlier. If I had to compare it to the previous ones I’d say it’s definitely closer to “Diabolicanos” when it comes to its complexity. While we’ve got only 2 songs here that one may describe as ‘catchy’, the rest of the record is way more demanding.
There have been lots of orchestrations used on 2012 “Simulacra”, quite a lot of keys on 2002 demo “Eritis Sicut Deus” followed by 2006 debut full-length “Plurima Mortis Imago”, however if you strip the synthesizers tracks off of songs coming from the mentioned recordings you’ll easily notice that they’re all based, or at least have been built up, around guitars mainly. It’s just that, even though one may perceive the use of keys in our case to easily label the band “symphonic” I suppose it’s audible that each and every time we’d tried to come up with something fresh and unique, especially when implementing the use of synthesizers. Now, I truly hope it’s audible we’d been brave enough to leave the ‘safe zone’ we were in to eventually not repeat ourselves over and over again and, thank to such approach, left behind several pieces of ourselves that are far way from typical ‘symphonic black metal’ offerings. For example, if you take the above mentioned “Diabolicanos” album, even though still filled with many keyboards parts too, thanks to incorporating more death metal riffs it had brought our art towards much harsher take on atmospheric metal or whatever you’d call this sub-genre. And while “Simulacra” may seem to somehow soften that more brutal approach taken on its predecessor, “Adventvs” EP – as still appearing shockingly to many – again saw us unexpected turn towards even darker and gloomier fields than ever before. I’m sure there are some fans of DI complaining about it as much as about decreasing the use of synthesizers or clean vocals. Especially those who dig “Simulacra”, which is pretty much ‘in-your-face’ production-wise and filled with quite a lot of orchestral stuff and bombastic vocal parts. This time around we didn’t want to overdose such parts, simply because we didn’t feel they’d fit in here. At the end of the day I think it’s up to everyone’s personal taste. Either it speaks to you or not. We can’t please everyone and it certainly was not our intention to do so anyway.

Photo by Robert Zembrzycki

18.”The I” was fucking brilliant. You play a very original style of Black Metal that is a breath of fresh air in a scene where there is nothing, but countless clones. Where do you and the other members of Devilish Impressions draw their inspiration from?

I would like to believe that with the time passing by we’ve simply become better composers, musicians, arrangers etc. Needless to say we were always pretty much different comparing to the rest bands out of the Poland’s scene. But, honestly speaking, were we to record “The I” right now it’d more than likely sound different anyway. The same thing can never happen twice. That’s it! As for the second part of your question, it’s really hard to pin point any particular sources of inspiration. Every new offering opens up the new era… Of course, it may be somehow associated with older stuff in terms of its atmosphere for instance, yet at the same time it announces the coming of something entirely new. I always prefer to keep crossing boundaries within our sound even further out with each consecutive release rather than to look back at any of the previous achievements and stick to certain stylistics.

19.When you were composing songs for „The I” album did you feel that you needed to shed your skin and not repeat any of your other albums? Are there some specific situations or moments in your life when you may feel most creative or inspired; I mean, those specific, golden moments when you feel an urgent need to start composing new material for DI?

We surely worked our asses off as hard as never before, pushed things back and forth to get the best out of it. As a result we’ve got something we are damn proud of, something that we believe surpasses everything we’ve done in the past on all possible levels. But it’s kind of obvious we wouldn’t be able to come up with something like “The I” let’s say fifteen years ago, simply because we were different kind of people back then, less experienced, younger, way more naive and ignorant. At the same time, I had never focused or planned how this or that album was supposed to sound like, or which way it should or shouldn’t have headed stylistically. It’s something that comes out naturally. It’s about being able to somehow ‘switch to a different mode’ only. There may have been many different factors that inspired me to track down what’s now being known as this or that album, including “The I” of course, but I do not necessarily realize which one was the most important of them all. I can’t even recall any specific vibe or whatever else made me do it. I believe that every time it’s a culmination of emotions that all of a sudden makes me want to compose, write lyrics or whatsoever. I usually await stars to align, await this spark that eventually forces me to create.

20.Quazarre I find you are complex band which forms a concept, whether it concerns image, lyrical, musical or sound side, everything fits well within itself, it all makes sense, link. I can hear you are fully committed to Metal and the band is not just for killing boredom to you. Can you see this likewise?

When it comes to the artwork, visuals etc. – I always like when albums of my favorite artists come out in the most coherent way possible. That’s the reason why we try to do the same with our records, so when our fans put their hands on them can also feel this very intimate relation with them. Yes, lyrics and artwork are in my opinion as important as the music itself. And yes, I definitely wouldn’t be doing what I
am doing for so many years if I wasn’t so passionate about it. I believe that doing something out of pure passion is the most important thing and as such it should remain the only reason for being a part of the scene.

21.The global scene has become more aware of bands and releases out there. The internet brought everything together and now it is really easy to listen to new music or get in touch with people. Something that usually took months back in the day. In your opinion, has there been drastic changes in the underground? Is the „spirit” still there? Or do you think nowadays, since „everybody is doing it”, one can just record stuff and put it out there just for the sake of it?

It depends… Indeed, it seems to be more difficult to find people with “spirit” these days. These new kids are mostly all about profits and their self-fulfillment rather than willing to go out and fight for something bigger, something that goes beyond their ego. I’m not saying every single youngster’s acting like that. For some of them it may be a business sort of thing, for others it’s about self-challenging as well as the need to create or at least participate in something fresh and rejuvenating. I am not that type of guy who consider music that was created in the past being the only good and worthy. There is still good music being created nowadays. Furthermore, there are many new bands out there popping up with excellent debut stuff, often way better that the old-time classics. Yep, you heard me right. Fuck this narrow-minded ignorant attitude!

22.Do you think the sound you have achieved is also one of the things that shape the overall characteristics of the band, like a typical way of riffing or band image? How can you see your direction in the future, will you stick to similar sound or you’ll walk again somewhere else?

It’s hard to say if that’s the path we will follow. DI has always been somewhat unpredictable thus we have always been heading towards unexpected directions.

23.DI really isn’t the kind of band that releases a new album every year. I was wondering if while in the middle of the songwriting process you have started flagging heavily for the kind of either musical, lyrical or conceptual ideas that would cause there to be a gap of 3-4 years (or more) between albums?

When I formed DI I promised myself we won’t be eating our own tail by putting out the same sounding record over, over and over again. And there are many factors causing a gap of several years between each of our records. I tend to believe that each of them really requires certain amount of time to really mature and take roots in the hearts and minds of people before we could eventually strike with the new one. It seems that in order to be able to create something I hadn’t done yet I also need this kind of a distance myself.

24.How many times do you think the listener needs to really digest “The I”? The reason this is being asked is due to the all the details in the music. The music (almost) never rests and it demands a lot from the inexperienced as well as the experienced listener.

I’d say that “The I”, due to its aura and complexity, requires a lot of time and effort to dig it, to really drawn down within its atmosphere. Both music and lyric-wise, it takes the listener to even more twisted, dark and unpredictable dimensions thus one really needs to take his/her time and spin it at least several times to discover all the details we’d been working on.

25.As far as your lyrical approach goes, it can sincerely be said that you do pay quite a lot of attention to them, trying to make them to match with your music as perfect as possible – and avoiding them to look like cheesy or anything like that. In other words, it can also be stated in the very same breath that you take lyrics definitely as seriously as your music so that the whole package could work for you guys, right?

Absolutely! I wouldn’t have put it any better. And I am glad that you are among those who appreciate it and perceive it likewise.

Photo by Ewa Olbryt

26.How do you feel about our epoch of mankind in general if you compare it with ancient or medieval for example? Do you think we are going ahead or down into the depths of doom? Are you glad you live just at this time?

Obviously, with the ever-increasing development of technology at its every department and level it seems we are continuously going ahead of the past. However, if observed from other perspective we are certainly going down the pit. It’s really hard to say if we’d be more happy or whatsoever if being placed in a different epoch. We can only get a small and rather blurry picture of it based on what we for example see in movies or documentaries, which is still only the imaginary, presumed version of what would it be. Having said that, yes, I am happy to live just at this time.

27.Are there some topics about this whole universe that DI would not touch even by a long stick as far as writing lyrics for the band is concerned, topics that you absolutely avoid like a plague?

Politics and shit like that. Too much of it to digest in our daily lives to further waste our time and energy on it.

28.Year 2018 turned out to be difficult year for the band, at the same time inscribing in the DI landscape, namely, subsequent changes in human department and you remained without the support of the label, because the contract with Lifeforce has expired / has not been extended.

It wasn’t that bad after all. Seeing Lifeforce wasn’t interested in releasing an EP, all we needed at the time was the fresh blood to be pumped into the veins of DI. The decision to move under the wings of Non Serviam Records was dictated by the need for a change and Ricardo’s (Non Serviam Records founder / CEO) very enthusiastic attitude to our work. At the same time it also must be said that I have nothing against Lifeforce. They fulfilled their obligations towards the band the best they could and I was more than happy to work together with them. So things aren’t as bad as they tend to be seen. Of course, I had also been yet again struggling with next line-up changes but… that’s the way it is.

29.DI has had many different line-ups over the years with musicians coming and going. Why do you think DI has struggled to have a steady line-up from one record to another?

It’s an extremely tough task to keep the band’s stable line-up for its whole career. It usually works for those who succeed massively with their very first record, otherwise people usually tend to lose interest in doing something that doesn’t get as big as expected. People come and go. Some are quitting the band in a professional manner, others act like fucking assholes. End of story.

30.”What doesn’t kill you will make you stronger”. Drummer Icanraz and bassist Vraath who recorded with you „Postmortem Whispering Crows” leave soon after. They are replaced by Isemal on the second guitar and drummer Avernatvs. The role of the bass player in 2019 is taken over by Tzar. Please briefly introduce your new partners in crime!

To cut it short: Isemal used to play in a black metal band called Proch. Avernatvs still has a couple of bands going, including death / thrash Sekator. Tzar’s a bassist of Heretique and Spatial. All the guys proved themselves to be great musicians and companions while on the road. We had become friends and are now fighting arm to arm in the first front for what DI tries to convey via tunes and words.

31.Where was „Postmortem Whispering Crows” recorded? Did you record the album like the bands back in the 80s with everyone in the studio at the same time playing together or was it a more modern effort with different parts recorded at different times?

The latter one. Again at several different places to eventually complete the recordings at Impressive Art Studio with Przemyslaw Nowak behind the knobs.

32.EP is released through Non Serviam Records which is a Cult Black Metal label. What can you tell about them, what about your label-mates and how have they promoted you so far? Are there any plans for further cooperation with them?

As I have mentioned earlier, NSR supports the band the best they can. We do feel that their attitude towards the band comes straight out of heart and reflects their pure fascination of our art. It is really important to work with someone who truly supports everything you do. I know that they want to extend this co-operation, same as we do. Both sides will simply have to look into details at some point and… we shall take it from there.

Photo by Ewa Olbryt

33.What about the distribution and the possibilities of Non Serviam Records? What do you expect and how can you and they reach a bigger market (like e. g. the European one)? Do you think they can support you the way you need it?

They are focused on European market mainly and actually this is the one within they succeed the most I would say. “Postmortem…” is being distributed mostly by Season Of Mist, both in Europe and North
America. As for expectations in regards with the EP, we didn’t have many, it is way more different when it comes to the full-length records. As I said before, we will be discussing further co-operation thoroughly as soon as the next album’s at certain stage of works.

34.As the EP „Postmortem Whispering Crows” has been completed for a little while now, what are some of your reflections about this three tracks and how it has turned out? If you had to do it over again, would you change anything?

These are actually unreleased tracks from the “The I” album recording sessions. For some reasons we just considered them inconsistent with others which landed in the “The I” album’s tracklist. I mean, they still fit within the concept behind the latest full-length lyric-wise but we felt that musically they were way to diversified, thus we decided to mix and master them once again in a different way we did the album and had them released as a separate thing. We would surely do some things slightly different if we had to record them again, but it doesn’t really matter now.

35.How would you say this latest release of yours compares to your previous work, and what ambitions do you have for this latest record? What lessons have you learned from „Postmortem Whispering Crows” that you will take forward for your next album?

I believe one may find it really interesting to see the band yet again explore slightly different musical dimensions. Let’s take the EP’s opening track for instance… Those who are familiar with the band’s previous offerings can easily notice never we had played this way before. And, although the second track may in a way refer to some of the stuff we did earlier on, the closing song’s again very much different. Lyric-wise these songs are perfectly wrapping up the concept of the “The I” album. However, as stated earlier, it doesn’t necessarily mean that it sets the course that we will follow on the next release. Of course, there will always be stuff within songs we come up with that can be easily associated with DI sort of a trademark, but we’ll definitely make sure not to repeat ourselves.

36.What are the biggest challenges for a band like DI and, on the other hand, what are biggest rewards of doing what you love? Could you imagine life without DI or has it become such a fundamental part of who you are that it would be hard to fill that spot if there was no DI?

There are always up and downs to it. But I fucking love it! I mean, being able to share stages with people you always admired, or with bands you have never heard of before whose both music and members are later becoming part of your life forever. Meeting fans after the show, talking to them, getting to know their cultural background etc. I think that being on the road and playing in front of audiences in different parts of the world makes you feel that the thing you do somehow pays back. It’s so encouraging to see people enjoy your music, to witness this very special link between you as its creator and them as those who perceive it as something that is so important in their lives. That’s the best reward you could ask for.
Can’t imagine if there’s anything that could ‘fill in that spot’ – as you named it. On the other hand DI is just one of the tools I express my inner self through.

37.What are you hoping to achieve with DI within the next 2-3 years or so? Have you set any personal goals for yourself where you’d like to see this band being at?

Our music is still very underground and somehow elitist, thus it goes to hearts of strictly selected fans only. On the other hand we’ve been lucky enough to tour all over Europe on different occasions, to share stages with some of our all-time favorites groups, to bring forth our live rituals to as far as China, Taiwan, Singapore, Hong Kong and Indonesia. I wouldn’t have done it if it wasn’t for all the fans of the band, which is why I am very thankful to them for it. I’m also hopeful our next album will take us even further but I also learned you can’t really make big plans and place yourself in a too distant future. With several plans currently being shaped let’s see what it holds for us.

38.Thank you so much for your time to get this interview done. Last but not least I sincerely want to wish all the best with your future endeavors with your band – and let’s hope more and more people will get to hear about DI within the following months. If there’s still you’d like to add to conclude this interview, then feel free to do so now…

Thank you very much for your support and for your patience. Keep the flame burn brother!



„Postmortem Whispering Crows”
EP – Digipak
Non Serviam Records