Interview Wurgilnõ

Discover the evolution of Wurgilnõ from Mergelland, its themes rooted in Southern Netherlands history, and the band's journey, insights, and aspirations in this interview.

1. Can you tell us about the origins of Wurgilnõ and how it evolved from your previous project, Mergelland?

In 2020, when the world went into lockdown, I was feeling quite fed up and decided to start a new Black Metal project, which became Mergelland. At that time, I was also involved in Corpusculum and Inverted Pentagram. I released one demo and an EP with Mergelland. In 2022, I began a Doom/Sludge project called The Curse of Yig, and when I had a bunch of riffs left over that leaned more towards Black Metal, I decided to start something new, which became Wurgilnõ. I could have continued with Mergelland, but starting something fresh felt better. Interestingly, the new album features a track that was originally written for Mergelland back in 2020.

2. Your debut album "De Doden Rusten Niet in Vrede" received favorable reviews. What inspired the themes explored in this album?

For "De Doden..", I didn't spend much time researching the stories back then; they were mostly small tales that I wrote myself. For the new album, I spent several months selecting stories, legends, and myths from my own region and made a selection from there. I love history, and our province certainly doesn't lack in that department. A history that began in prehistoric times and has continued through the first inhabitants of the Netherlands, through occupations by the Romans, Normans, Spaniards, French, and into our time. Our small piece of the Netherlands has experienced enough and tasted enough blood to write several more albums about.

3. "Krijtland," your upcoming album, is set to be released soon. How does it continue the narrative or themes established in your previous work?

As I mentioned, there's plenty of material in our history that I could just delve into, although for this album, I did do a bit more research and searching for stories. Some stories I used directly for inspiration for the lyrics, while for others, I added a bit of creative fiction. Besides the music, writing the lyrics should also remain a challenge for me.

4. Your music often delves into the legends and myths of the Southern Netherlands and Flanders. What draws you to these historical and cultural elements?

History has been a passion of mine since my early childhood; it's important to me for trying to understand certain aspects of life. Culture, in any form, is also significant. When I'm on vacation, I'm always deeply interested in the local culture—what are the cultural differences? Where did certain things originate? These kinds of things greatly interest me. So, it's not surprising that I find the cultural heritage of my homeland important. Limburg, both the Dutch and Belgian parts, has an incredibly rich history and cultural heritage. Because we only became part of the Kingdom of the Netherlands in 1867, we have developed differently here, and our own language is a good example of that. Even after all this time, many Limburgers feel no connection to the Netherlands and feel more drawn to our Belgian brothers and sisters.

5. The transition from Merg & Been label to Fetzner Death Records for your debut album's release was significant. How has this impacted your journey as a band?

Merg & Been is my own label where I mainly release my own music; it's easier for me that way. One issue that seemed to arise was that many other labels thought I was under contract with a label, Merg & Been. FDR was actually the first serious offer I received, and it felt right from the start. Alexander is a wonderful person to work with, and he's open to pretty much anything. Since we entered into this collaboration, I've been able to help him in various ways to grow his label.

6. Collaboration seems to be a significant aspect of your music, with releases on different labels and collaborations on EPs. How do these collaborations influence your creative process?

I enjoy collaborating; it helps me stay creatively engaged and expand my network. I receive occasional offers for releases and collaborations, and while I can't accept everything, there's often something beautiful that comes out of it. Soon, there will be a re-release of "De Doden rusten niet in Vrede + Angst" on a Colombian label. This is because the postage costs have become so high, and this way, I can ensure that South American fans can also get my albums. It was a really cool project to do, and it was a collaboration with Wesley Pluim, who has contacts in South America. This way, you're constantly meeting new people and forming new friendships.

7. Could you share some insights into your songwriting and composing process? How do you approach creating music for Wurgilnõ?

Typically, it starts with a story that I then write lyrics for, while in the meantime, I'm already working on writing riffs. I begin by searching for riffs and bridges that fit the story, then I write a second guitar part and determine tempos. All of this happens at my home, where I have my "studio," allowing me to work on my music at any free moment. When I feel that a song is ready, I let it sit for a while or I make an initial mix to listen to in the car or living room. Often, after a few weeks, I make adjustments and potentially re-record guitar melodies. It's a lengthy process, but it brings me immense satisfaction.

8. "Angst," your EP released in 2023, explores different sonic territories. How do you navigate experimentation while staying true to the band's core sound?

I've heard that from several people, and it was also mentioned in a few reviews. They found it somewhat more progressive than the album and slightly more accessible. For the Angst EP, I did take a bit more time, four months to be exact, and this allowed me to capture more details as I envisioned them in my head. There was indeed more room to experiment, but the foundation remained the same. On the new album, you'll hear this approach further developed, both in the songwriting and the production.

9. Your singles often have evocative titles like "Kraaien op het Galgenveld" and "Tot Eenzaamheid Verbannen." How important is storytelling within your music, beyond just the lyrics?

  Perhaps telling a story is one of the most important aspects of music. People often seek elements within music with which they can identify themselves, finding inspiration or even solace. I find it more important to tell a compelling story than to write about how incredibly evil I am and how I worship the devil.

10. What are some of the challenges you've faced as a band, and how have you overcome them?

Since Wurgilnõ is a one-man band, there are times when ideas run dry and absolutely no music comes out. During these periods of writer’s block, it's particularly tough for me because there are no bandmates to rely on. It feels like hitting a wall that I can't get over. But usually, after a few weeks or months, something or someone breaks through that wall, and then I can continue. Last December and January, I was in such a situation, and it felt really awful. Additionally, I handle everything myself—artwork, merchandise, sales, interviews, and so on. This naturally takes up a lot of time.

11. Looking ahead, what are your aspirations and goals for Wurgilnõ in the coming years?

In the coming months, I'll mainly be focused on the release of the new album "Krijtland." Additionally, I'm working on a project called Vergankelijk with the vocalist from the Belgian band Nether, which leans more towards Doom with Black Metal and Sludge influences. We still have a lot of work ahead as we've laid out concepts for three albums that are interconnected, exploring the transience of the mind, body, and soul. Then, in August, a new Wurgilnō track titled "Blokbreker" will be released. I anticipate a new album next year. There are plans to take Wurgilnõ live, but so far, they're just plans.

https://wurgilno.nl/