Articulo Mortis: Interview with Elf Eggs (USA) (ENG)

Hi! Please introduce yourself to the readers and tell us a bit about yourself.

Infernal and impure greetings and thanks to Articulo Mortis and the legions of maniac readers. I am E of the Elf Eggs label spreading audial chaos blasphemy and hopelessness among those true adherents of raw evil art.

You are a member of numerous bands, in fact, you are the sole member of almost all of them. How did that come about?

In winter MMXXII the foul and bestial aspect of man began to express through me. This manifested as an unquenchable thirst to create artifacts of worship, to make tangible some aspect of this forsaken soul and its reflection of the shadow archetype before the flesh decays. The multi-person projects usually come about is a result of my tireless obsess with tape trading. The graven idols come and go, but the eternal black flame always shines through…

How did these projects form? What was driving you at the time?

I was driven by a combination of freedom and scorn - freedom to create what the devotion called me to, and scorn for anyone who would look upon it. The worship was stronger than the desire to do it "properly", by finding collaborators or learning the tools. Those things come with time, but one must heed the call of inspirtion when it's heard.

What do names like Vëřťžîmbrÿġțžûmşțřě and Zkywbrezdreb mean?

Invocations of the unknowable! True names of higher beings! Utterances in the black tongue beyond death! The foundational truth of chaos and Entropy, as the human species reaches its denoument, whispered through catacombs! Sigils in letter form!

Where do you draw your inspiration from?

S Craig Zahler, Lovecraft, Ildjarn, David Lynch, Dark Souls…. when I commune with the work of masters and monsters, the black flame of creativity is stoked. I am motivated by the knowledge that all people have the capacity to create worthwhile art, and yet time is short…

How do you go about making music? What does your creative process and the final recording stage look like?

The process and tools change constantly, as comfort leads to stagnation and falsehood. Some phases of time are focused on fully analog 4-track productions and total DIY duplication. Other moments look to modern tools and fancy plugins. These methods are mixed in arbitrary combinations, the blasphemous results observed, and the research continues toward more perfected death worship.

What are your thoughts on VST plugins? How appropriate are they, and can they really replace analog effects pedals and amplifiers in general?

Modern computers can copy sounds from analog circuits almost perfectly, I challenge anyone to gouge out their own eyes and listen for the difference. However, with infinite options the creativity instinct dilutes and spreads thin. The limitation imposed by physical tools breeds inventiveness. Mathematical randomness makes plugins sound quite realistic, but it does not replace the chaotic unpredict of the physical medium.

How do you usually come up with the artwork for your releases?

The art that I make for releases is bleak collage. Without much drawing practice this is the best way for me to craft worship objects suitable for the devotional task. The elements used in a collage often appear on whims and only fit into place much later. Anything that reflects malice, rottenness, and humanicide. I practice drawing infernal band logos sometimes, and most of the logos for my projects are my own creations.

Tell us about your background as much as you feel comfortable sharing. What was the turning point that made you who you are today?

The turn toward art in mmy adult life happened after the collapse of multiple sources of belonging that had sustained me for more than a decade. That was a period of profound spiritual barrenness with by my full-time employment by a large company in a knowledge profession. Creation provided nourishment of the soul starved by crushing capitalist reality. I started with abstract and experiential painting. A few chance encounters with music and musicians pushed me to disinter my skills of audial desecration, which despite study throughout my entire adolescence had moldered for decade.

What is your take on live gigs? Not just your own music, but events in general do you attend any?

A rock & roll concert is unmediated communion with the unseen forces and one of the few redeeming qualities of life on this wretched planet. Playing on stage is one of the purest rituals of communal worship. I have no interest in playing my own music live, but I enjoy playing in other Black Metal bands (for instance BRONZE EAGLE with whom I play bass). I used to go to a lot of live shows, usually of big touring metal bands, but my descent underground has coincided with a decrease in such outings.

What can you say about the Black Metal/Punk subgenre and its recent rise in popularity? What do you think is driving this trend?

Simple primitive music is closer to the source. The sort of thing that anyone could make, but few actually do it. In such cases something contained within is needing badly to escape, often a shadow emotion, anger, scorn, hate, sorrow. Maybe its popularity owes to such feelings shared among thousands. This is only why I create works that may be categorized as such, not for acceptance from adherents of a trend.

Tell us the story of Elf Eggs label how did it form?

Elf Eggs is a banner under which I can explore various ideas and execute physical releases without requiring the approvals of other labels, who for the most part don't understand these creations. It formed when I created the first TSELECH demo tape after three ASIRATIC LITHOMANCY demos. The label provides a covenant thread visible across a multitude of musical projects and ideas, for those who care to seek it. Still, the earliest releases were all quite tiny and quietly left on the shelves of local record stores, to be discovered one day by only the truest maniacs.

What is depicted here?

A Caged Elf, wrong may she lay.

Tell us about microreleases for example, the 12 copies of Gale of Encryption. How? What? And why?​

Gale Of Encryption was complete DIY, no learning and no craft, just raw unpolished creation. There was something inside that needed to escape, in a moment of pure invention that can never be perfectly recaptured. The music is not for anyone else anyway, no copies need to be made. Those who seek with dedication are rewarded. Sometimes chance and circumstances combine to make larger releases make sense, sometimes not.

What is the current state of the American Black Metal scene?

There is immense energy being expended by a small group of devoted worshippers of Black Metal. Those motivated not by selling records but by true adherence to their vision, however orthodox or otherwise it may be. The work of prolific lifelong adherents to this art provide an incredible source if inspiration for for me. There is also a huge amount of falsity, pandering, and silliness - thankfully this is easily ignored and not worth a second thought. Even a bit of black humor sometimes conveys most effectively the triviality of worthless human concerns.

Are there any labels whose activities you follow regularly?

56bile's work from Alberta displays an admirable and masterful pursuit of raw creativity. I'm in a band INSANITY RUNE with the individual behind this label. Eye Of Rot from the USA has an unbelievable clarity of vision and ability to execute on it. Murder On Ponce has kept a keen ear to the American underground for some time now. Also worth mentioning the late Vile Reliquary, a short-lived but exceptional tape label from Pennsylvania.

All the music in the world has deleted. Only one band remains. Which one, and why?

This is a truly impossible question! Let Captain Beefheart and his Magic Band survive the deletion of all groups that take themselves far too seriously. His direct and unfiltered creation unconcerned with trivialities such as theory or genre reflecting universal entropy. "Making music is like going to the bathroom...not something I want to look back on".

How serious is the issue of state surveillance of ordinary citizens?

Unbelievably serious, and truly a sign of impending collapse. A grasp at control from a waning empire, which will trigger untold human suffering. But the timeless unfeeling cosmos cares not and even the aggrieved planet will soon swallow whole this pitiful species.

Is the day of the harvest near?

The earth will not suffer humans to defile her much longer. "I dream of a day when they may rise above the billows to drag down in their reeking talons the remnants of puny, war-exhausted mankind -- of a day when the land shall sink, and the dark ocean floor shall ascend amidst universal pandemonium."

Thanks for the answers. Is there anything else you’d like to discuss?

Hail Articulo Mortis! Hail Primitive Devil Worship! Long live nothing! Fuck you!

---

September 2026

Interview for Articulo Mortis

Out now! Malefikvs "Lunar Void" demo 2026

A black spirit, forged from the primitive threads of ancient sorcery, swoops through the damp and gloomy forests of Ingria. The scent of peat and swamps echoes with the cry of an owl and the millions of creaks of mysterious groves. The moon shoots its cold rays, illuminating the night forest for a moment. It is a witch's endless night, a mad dance over the bones of the past, promising only a life leading to the tomb.

MALEFIKVS - "Lunar Void"

Professionally duplicated CD & presented in a hard Digifile.

Limitied edition to 99 copies. Pro-CDR.

Articulo Mortis: Interview with Nordths (Chile) (ENG)

Band: Nordths Country: Chile Genre: Black/Death Metal

Tell us a little about your band. When and how did you form? Who are the members?

Nordths was formed around 2019, although its roots go much further back. Before Nordths, there were several unsuccessful attempts to establish a stable project. One of them was Mordtoh, which managed to play only one show before disappearing. Over time, the project evolved into NourD and eventually became Nordths.

The name itself emerged quite spontaneously during a conversation with our friends Tom and Frank from Sodom. We were drinking beers, smoking red Lucky Strikes and talking about music and what we wanted to do with the project. At some point, Nordths came up, and the name simply stayed. Some decisions don't really need a complicated explanation.

Today, the core of Nordths consists of Jeysson Reveco on guitar and myself, Bruno, on vocals. Jeysson is also my twin brother and has been fundamental to the musical development of the project from its earliest days. For certain recordings and live performances, we work with session musicians.

I don't consider Nordths to be the result of one person's work. It is a shared construction, and Jeysson has been an essential part of it.

What do you see as the meaning of your existence as a band? What is your goal?

Nordths is an exploration of death, consciousness, dreams, mental decay and whatever may exist beyond our perception.

We are not interested in providing answers. We prefer to construct questions and atmospheres.

Our goal is to develop our own identity within extreme music and create works that can be experienced as something more than a collection of songs.

At the moment, we are working on our first full-length album, Death Fog, which represents precisely that direction.

The concept of the album revolves around the journey of the soul after death: a passage into unknown territory, where certainty disappears and only the fog remains.

What is your ideological background? Are you religious or atheistic? What are your views on the subtle plane of existence?

I don't think Nordths needs to be placed within a specific religious category.

There is a deep interest in spiritual matters, but not from a doctrinal perspective. I am interested in death, dreams, consciousness and the possibility that our existence does not necessarily end with what we are physically capable of perceiving.

The subtle plane, to me, belongs precisely to that unknown territory.

I don't claim to know what exists after death. Nobody can speak with absolute certainty about something like that. What we can do is explore the uncertainty.

That uncertainty is one of the foundations of Death Fog.

You recently released a new single. How did the song come together? Was it carefully composed or more of an emotional release?

Both.

A composition can begin with a riff, an atmosphere or simply a feeling. Then comes the process of construction, where that initial idea becomes a complete song.

Jeysson and I work very closely together. There is a natural communication between us, probably also because we are brothers and twins, but that doesn't mean everything happens spontaneously. There is a great deal of work behind every composition.

We try to maintain a balance between structure and spontaneity.

Emotion starts the process; composition gives it form.

I would especially like to highlight your riffing on "Infernal Delirium of the North." It's unhealthy and definitely evil, reminiscent of the echoes of psychological illness. What inspired it?

The intention was precisely to create a sense of deterioration.

Infernal Delirium of the North is built around the idea of a mind beginning to lose the boundaries between reality, delirium and perception.

I didn't want the riffs to simply be aggressive. I wanted them to be uncomfortable. There had to be something dysfunctional about them, as if the music itself were being affected by what it was trying to represent.

For me, a good riff in extreme music needs to have personality. It isn't enough for it to be fast or heavy. It has to provoke a reaction.

How important is the visual component to you? What does the cover represent, and how was it created?

The visual aspect is fundamental to Nordths.

I personally create our covers and much of the band's visual material. Many of the images originate from dreams I've had, which I later try to materialize.

The cover of Infernal Delirium of the North came from one of those dreams.

In the dream, there was a skull and a mirror. The mirror descended and showed the face of Christ. The image was accompanied by one very specific idea: death.

I am not interested in using that image as a conventional religious statement. I see it as a symbolic representation of the encounter between humanity, death, faith and that which we cannot understand.

With Death Fog, we are developing this visual language even further. The album represents the journey of the soul after death and its transition toward whatever exists beyond our known reality.

How would you describe the underground scene in Chile? Have you received much support from it?

It would be dishonest to say that we have received a great deal of support from the Chilean scene.

We have had loyal followers who have remained with us, and we value their support enormously, but Nordths has not had a major support structure within our own country.

With time, you learn to accept these circumstances.

Perhaps that is also part of what the underground is about: finding your own path when your immediate surroundings don't necessarily respond to what you are doing.

I have no interest in turning that into a dispute. We simply continue working.

And perhaps that is precisely why we are looking elsewhere.

Which Latin American country do you consider the most active in terms of underground activity?

Peru is one of the places that interests us most at the moment.

There is a very strong connection with extreme music and an audience that seems to have a genuinely deep relationship with the underground.

One of our goals is to undertake a small tour through Peru and then explore other possibilities throughout South America.

There are also very important scenes in Brazil, Argentina, Colombia and Mexico. Latin America has a significant history within extreme music and continues to produce interesting projects.

What are your plans for the future?

Our absolute priority is to finish Death Fog.

It will be our first full-length album, and we want it to function as a complete work, both musically and conceptually.

After that, we want to undertake a small tour through Peru and South America. We are also working toward bringing Nordths to the United States next year.

We have begun working with session musicians to expand our possibilities for live performances and to continue developing the project beyond Chile.

We have no intention of rushing the process. We would rather build something solid and then take it wherever it belongs.

Which bands have influenced you the most? Why them and not others?

Our influences are quite diverse.

Among the bands that have had the greatest impact on our vision are KISS, Troll, Kovenant, Ljå and Godkiller, along with many other bands that have been part of our musical journey.

What interests me about these bands is not only their music, but the identity they built around it.

A truly important influence isn't necessarily a band whose riffs you copy. It is a band that shows you that you can construct a universe of your own.

That is what we are trying to do with Nordths.

Finally, is there anything you would like to say to those reading this interview?

Don't expect to find definitive answers in our music.

Nordths is about what remains after the answers disappear: death, consciousness, dreams, decay and the unknown.

We are currently building Death Fog, our first full-length album, and for us it represents the beginning of a different stage.

I also want to acknowledge Jeysson's contribution, because Nordths would not have reached this point in the same way without him. We have been building the same vision together for years, and that continuity is important to the project.

To those who have followed us from the beginning, thank you.

And to those discovering Nordths for the first time, simply listen to the album when the time comes.

Death Fog is a journey.

We don't know what lies beyond the fog.

---

August 2026

Interview for Articulo Mortis

Articulo mortis zine #2

Articulo mortis zine #2

This is in preparation and will be released by the end of the year 2026, featuring new material and material published on the our site over the past two years.

Therefore, you have the opportunity to participate in this issue.

We are looking for: bands, labels / distros & artists.

We are collecting: news and interviews. No reviews.

If you are interested, send us a press kit, which will include: biography, photos, logo, release information, promotional materials, & any other materials you deem appropriate.

Contact: def.north [at] gmail [dot] com

Обновление каталога дистро 15/08/2026

• T.H.R.O.N. " Here Lies Paganism" [Der Schwarze Tod/Unholy Dark Castle] - CD
• T.H.R.O.N. "Throne Will Be Ours" [Der Schwarze Tod/Unholy Dark Castle] - CD
• T.H.R.O.N. "Seductions of the Unbaptized Darkness" [Der Schwarze Tod/Unholy Dark Castle] - CD
• Пламень "Гимны черной энергии" [Thou Shalt Kill! Records] - A5 Digipak
• Noctivagum "De Arcanis et Ritibus Sulphuris" [Independent] - Digipak

Teufelsdom - 2026 - patches

TEUFELSDOM patches with sigil. 9.5 cm in diameter, purple base with black embroidery.

Hand-numbered, limited edition of 50 copies.