DEUS SABAOTH emerges from Ukraine's challenges to deliver a deeply introspective black metal experience. Alyona Neith reflects on mortality, existential struggles, and the power of resilience in Cycle of Death.
1. Can
you share the journey behind the creation of DEUS SABAOTH? How did the band
come together, and what inspired the project's inception?
Alyona
Neith (author of the project): I started writing these songs years ago but
could never find musicians to form a band, as I lived in the small city of
Ternopil (Ukraine), where the metal scene, especially black metal, is poorly
represented. Just before the war started, I moved to Ivano-Frankivsk, where I
met some musicians interested in this genre. In the summer of 2022, we started
playing together as a full band (six people). However, as the situation with
the war in Ukraine grew more difficult, a few members left the band. I decided
to continue as a studio project.
2. Your
upcoming album Cycle of Death delves deeply into themes of mortality and
existential struggles. What personal or collective experiences influenced these
dark and thought-provoking concepts?
It was inspired by personal experiences and
concerns, as well as by the struggles of others I’ve observed in my immediate
surroundings. Enveloped by poverty, grief, anger, and despair, one naturally
questions the meaning of existence, wondering if all the effort to be a decent
person makes any sense when human actions are driven by jealousy and
selfishness. Most people around me found their answers in Christianity, as the
region of Western Ukraine is deeply religious. Being pious in this life was
seen as the path to a better afterlife. Just as simple as that. Others believe
in karma, reincarnation, or an almighty Universe that guides them. But once you
realize these are just attempts to escape the unavoidable suffering, injustice,
and death, you’re forced to question the meaning of your existence, the moral
code, and all your perceptions of the world.
3. The
album reflects on the interplay between architects of faith and their
followers. How do these themes connect with the modern world, and what message
do you hope listeners take away from these explorations?
Despite the
high level of science and technology in the modern world, faith still remains
one of the strongest tools for mass manipulation. The message I hope to convey
through the album is that this is often a codependent relationship. On one
hand, the architects of religion diligently adjust the world to their
convenience, allowing themselves power and enrichment. On the other hand, their
followers are willing to be blindly led by the master’s hand to avoid the
responsibility for their lives and to receive easy answers to the most complex
questions they cannot deal with.
4. You've
mentioned inspiration from classical Baroque music, particularly J.S. Bach. How
did this influence shape your songwriting and the overall sound of Cycle of
Death?
As I
learned to play the piano, I developed a deep admiration for Baroque composers'
works, which share many similarities with black metal, especially the
compositions of J.S. Bach. When I started writing the songs for Cycle of Death,
I noticed that some parts were influenced by that music. I'm not sure to what
extent it's noticeable to the listeners, but when the session pianist started
recording piano parts for us, she eventually said, "Hey, that sounds like
Bach." As the album developed, I really liked the idea of combining these
two genres. Both have that intellectual component and a dark sublime
atmosphere. The Baroque elements complement the religious themes perfectly.
5. The
title track, "Cycle of Death," seems to serve as the thematic anchor
of the album. Can you elaborate on the meaning behind this track and its role
within the broader narrative of the record?
Accepting
your own mortality is probably the greatest challenge when you realize that
neither God nor the Universe "has a plan" for you, and life is just a
fleeting moment that holds meaning only for yourself and those closest to you.
Whatever lies we fall for, death remains the only constant in life’s equation.
The song is written from the perspective of a person who confronts the
inevitability of losing loved ones and chooses to embrace loneliness instead,
believing that in death, we are all ultimately alone.
6. The
album portrays a grim acceptance of death and the isolation of humanity in its
final moments. How did you approach conveying these intense emotions musically
and lyrically?
The lyrics
address this theme from several perspectives, reflecting the stories of
different characters. This allows the listener not only to feel the intense
emotions but also to understand the struggles behind them. Musically, there are
many contrasts that create tension and depict the evolution of the state of
mind — from grief to anger, from despair to boldness, from self-pity to
destructive aggression.
7. Black
metal has a rich history of challenging conventional narratives and exploring
existential themes. How does DEUS SABAOTH aim to push the boundaries of the
genre, and where do you see yourselves within the evolving black metal scene?
We offer a
highly personal perspective on black metal. The music reflects a unique vision,
inherently expanding the genre’s limits. I find it important to resist the
temptation to conform to traditional expectations of what black metal should
be, whether it’s adhering to specific conventions or responding to external
criticism like, "this part doesn’t fit black metal," "it’s not
like Mayhem, so it’s not black metal," or “you should cut the violin and
add more guitars.” Each individual’s perspective is inherently unique, and it
naturally pushes the music beyond conventional boundaries. Furthermore, the
motifs used in DEUS SABAOTH’s compositions are not the most typical for black
metal, which places the project in a space where the genre is evolving from strict
tradition toward more personal and innovative expression.
8. Given
the tumultuous situation in Ukraine, how has the current environment impacted
your music, themes, and the process of creating Cycle of Death?
Since the
concept of the album and most of the songs were created before the war started,
it didn’t influence the music or the ideas it conveys. But it had a huge impact
on the recording process and the band itself. As mentioned before, some of the
members left the band (e.g., our pianist fled to Great Britain), and we
couldn’t replace them since some musicians left the country, and others went to
military service. Tragically, many great metal musicians have passed.
9. What
challenges did you face during the recording and production of the album, and
how did these challenges shape the final outcome?
The
greatest challenge was understandably the war. Regular air raid alarms and
power cuts made it almost impossible to work on the music for some periods.
When there was no power for 14-17 hours a day, it was difficult enough to
maintain a daily routine, let alone accomplish anything on top of that. As a
result, the recording process took us much longer than expected. Occasionally,
we had to compromise when things didn’t go as planned. There were moments when
things could have been approached differently. But at the end of the day, it
feels like a true achievement to have recorded our first album under those
circumstances.
10. With
Cycle of Death set to release in January 2025, what are your plans for
promoting the album? Can fans expect live performances, music videos, or
additional singles leading up to the release?
One more
single, The Priest, will come out at the beginning of January. Since we are
currently a studio project, we don’t plan any live performances in the near
future.
Deus Sabaoth (@deus.sabaoth_band) • Instagram photos and videos
Post a Comment