While in essence there is nothing wrong with so many other bands in the genres that claim to lean on the principles of paganism, the number of bands that really feel a deep connection to it is scarce. This becomes even more serious when we start looking at the bands that manage to put their pagan beliefs into music in a credible way. In recent years, the underground scene’s eyes have mainly been on Diabolical Fullmoon. And not without reason, these Poles represent exactly what it should be about: pride and reverence for the nature and customs of your native land. With two excellent demos under its belt, the focus can now also be turned to Spain’s Azelsglare. This now one-man band offers exactly those core values in a glorious Black Metal sound that honors all the greats of the genre. I spoke with Ephel about what drives him and how he sees the band’s future…
Hi Ephel, after two great releases it was a logical step to contact you and fire some questions your way, so let’s start right away. The journey with Azelsglare started out as a full-band with musicians from different countries. To fully understand the band’s identity, it helps to know its roots. How did you all meet up and how would you describe that first period as a trio?
Hails! First of all, it’s a great honor to have this brief conversation. Azelsglare, more than just a trio, actually began as a duo—Kriegsheks was in charge of the lyrical themes, while Gohr handled rhythm guitars, bass, and drums. As for me, I’ve always been responsible for the band’s compositions as well as its entire conceptual framework.
Azelsglare was originally intended to be a solo project; however, it was a great honor to have both Gohr and Kriegsheks involved in the recording of the demo. It was a brief and fleeting “era,” truly short-lived, yet fun—though admittedly stressful due to the issue of distance.
The new EP, ‘Autumn Passes As The Winds Start Their Chant’ was recorded solely by you, with the other two leaving the band just before things started rolling again. What happened and made you break up with Gohr and Kriegsheks?
It was nothing personal with them—just the challenges that come with trying to manage a project from different parts of the world. The EP, like the demo, was entirely composed by me, as Azelsglare had already become a solo project a few months before I began writing the EP.
Kriegsheks and Gohr will always have my eternal respect, and they will certainly be involved in future works, though not as full-time members—once again, due to the issue of distance.
As a whole, how do you think the whole process was different between creating your debut demo as a threesome and the new EP with only yourself at the helm?
The only real difference lies in the speed at which everything was created. Since the EP, like the demo, was written entirely by me, the creative process itself didn’t change much. However, when it came to recording, the pace was noticeably faster.
This increased productivity comes from the fact that a single person—with a clear vision—can materialize ideas much more quickly. This applies not only to Azelsglare, but to any other project, and even to things beyond the realm of music. Collectivism is a mistake!
Before we a little deeper into the music and the meaning and intention behind everything, it is noteworthy that the titles of both releases mention a season. First up was ‘When The Purity Of Winter Falls’, then ‘Autumn Passes As The Winds Start Their Chant’. Is the turning of the seasons, or perhaps the passing of time in general, something that interests you?
Nature is one of the main reasons I compose music. I am a spirit that wanders through the seasons of the year, admiring each of their moments. When the Purity… is a demo entirely dedicated to winter, and how this season embraces pagan spirits with greater strength and reflection.
Autumn Passes… is an EP fully devoted to autumn, and what sets it apart from the demo is that each song can be seen as another chapter of the season—expressing its most vivid and elevated moments. You can think of the EP as a single, continuous song that speaks purely of autumn.
One must become one with nature—that is Azelsglare.
Musically then, if we’d compare the new EP with ‘When The Purity Of Winter Falls’, it is obvious that you are following a strong musical path. Still, if you’re asked to go down to the nitty-gritty of Azelsglare’s musical formula, where would you say you see the main differences between them?
The main difference is that the demo, although dedicated to the winter season and its purity, is raw, fast, and primarily focused on expressing paganism and pride in perfection. It’s a demo clearly influenced by Gontyna Kry and Nazgul.
The EP, on the other hand, follows a more atmospheric path, centered on autumn—and how each song should be seen as a single entity that fully transports you to yellow forests, with cold winds brushing against your skin. It’s an EP still clearly influenced by the Polish scene, but also by the Ukrainian one, especially Drudkh.
That’s why the EP is fully focused on a more atmospheric and landscape-driven form of black metal.
You are not exactly making a secret of your musical sources of inspiration. More than once I’ve seen you hailing the old Polish Temple of Fullmoon collective as well as newer bands like Diabolical Fullmoon. What do these bands and that specific sound mean to you?
This unique and special scene—as well as bands like Diabolical Fullmoon—represent my main source of inspiration, not only musically. I fully praise and respect the work of these bands for creating a form of black metal that is both unique and proud of its roots. Even today, bands like Diabolical Fullmoon, which I consider the clearest representation of the genre, continue to keep the true spirit of black metal alive.
The majority of these Polish bands have a distinct Pagan vibe incorporated into their brand of Black Metal, but as compared to most of the Scandinavian bands from the mid 90’s, the Polish for the most achieved that with majestic riffing instead of Viking-like chanting and epic keyboards. How would you describe these differences? Are they, to you, incomparable or just two sides of the same coin?
I see these differences in the same way that Leszy from Diabolical Fullmoon described the distinctive sound of Polish Pagan Black Metal:
“Polish Black Metal is just different. It’s hate, but from a different side. In terms of sound, Scandinavian Black Metal has always been easier and less hateful for me. Polish Black Metal equals pride, hatred, and paganism.”
Leszy’s vision perfectly captures how I feel about that sound: epicness, majesty, hatred, pride, and a stronger pagan atmosphere that truly evokes ancient times.
Although Azelsglare shares some common ground with bands like early Satyricon, Ulver or Borknagar, the music is mostly in sync with the proud tradition of Eastern European bands. For instance, some clear resemblances with bands like Drudkh, early Nokturnal Mortem and the BlazeBirth Hall bands are hard to deny. Especially evident in the oppressive yet propulsive drive, the melodies and acoustics. To me even more so than the Polish sound. Can you see where I’m getting this feeling from?
That feeling is absolutely accurate, especially considering the core concept behind the latest work. I am clearly influenced by those bands, as well as by the BBH scene. While the Polish scene remains my favourite, I also draw inspiration from other sounds and folkloric traditions across Europe and its magnificent pagan spirit.
Drudkh, in particular—as I mentioned earlier and as you and several others have pointed out—has been one of my most significant influences. And far from seeing that as a negative thing, I take pride in the fact that Azelsglare’s sound reminds listeners of classic bands. Azelsglare, beyond being a vehicle for my ideas and my pagan pride, also strives to keep the flame of true black metal alive.
The profound fiery Pagan character of the music fits well to the overall identity of the band. How important is that overarching imagery and aesthetics for you?
Aesthetics are not the most important thing to me; however, I clearly do not disregard them. Unconsciously, music, aesthetics, and ideology will always meet at the end of the bridge—because each one depends on the other.
Something that I always intrigued by: do you think paganism, as a philosophy and way of life, still has a place and meaning in today’s society? Is it just a sort of romantic yearning to days of yore, or is it a strong countermovement to the shallowness and vulgarity of daily life anno 2025?
We, the pagans, are spirits that affirm life, with its good and bad aspects. We appreciate nature, and highlight the values that today have been lost with the spread of Judeo religions that have poisoned the true meaning and nature of life. Paganism, for the pagan, can mean the three things: today, many bands adopt this paganism as a counterattack, others as a reaffirmation of life and its true nature.
I, on the other hand, am a spirit proud of our pagan values and how they represent an attack on such superficiality and modern vulgarity—woke culture, the new Christianity.
Both ‘When The Purity Of Winter Falls’ and ‘Autumn Passes As The Winds Start Their Chaint’ were given a release on cassette tapes through Diabolical Vitriol from France. Both releases are presented in a simple but professional way, I personally love the 90’s feel of the tapes. How did the contact with that label establish and how is that working out so far? Are you satisfied with how the tapes turned out?
Diabolical Vitriol reached out to me a couple of weeks after the demo had already been uploaded to YouTube and Bandcamp. When I saw that such an honourable label was interested in releasing the demo, I accepted without hesitation. Both works were to their liking, and that led to a great effort on their part—an effort for which I am truly grateful and often remind them of.
The tapes turned out perfect, and without a doubt, this is a professional label that continues to preserve that essential 90’s atmosphere that is sorely lacking today.
Judging from the great quality of both your demo and EP, it is hard to believe that Azelsglare is your first band. At least, there’s no data available that tells you were part of bands before. Especially the strong and dynamic song writing implies some previous experience. Can you tell something about your personal musical journey leading up to Azelsglare?
I’ve always been deeply passionate about music. I started composing relatively recently, mainly influenced by Varg’s ideology: “The intention is not to show how virtuosic you are with the instrument, but what you can transmit with it.”
Azelsglare is truly my first and only project, and I attribute my way of composing to the fact that my life revolves entirely around listening to music—nothing more. I’m a simple person, but my passion is always present.
Spain might not have delivered major metal bands, but I have always fascinated by its underground metal scene. Whether it’s the great likes of Nazgul and Uruk-Hai or the utter devastating brutality of Teitanblood and Proclamation, there’s so much good music going on. What’s your opinion on the Spanish metal scene? Do you feel related to and a progeny of your national scene?
I am very proud of that scene, especially because of bands like Asgaroth, Nazgul or Blazemth, which have been strong pillars of inspiration for me. At first glance, the scene may seem small, but there are truly great bands hidden within it today—such as Lord Bakartia or Fullmoon Procession, the latter being just as influential to me as Nazgul or Diabolical Fullmoon.
With two more than convincing short players under your belts, this of course sets the bar high for your upcoming work. Is there anything you can reveal from what you are currently working on?
I’m currently preparing a split together with another band that I hold in high regard—one that features hymns which, to this day, are among my favourites.
Aside from this, there are more demos that need to see the light—demos that have been buried for years in the abyss and must rise again from the ashes to become something as close to purity as possible… Perhaps through another project?
Alright Ephel, that was it for now, I will be keeping an eye on your future work and our paths will definitely cross again. Last words are yours…
It was a great honour to answer your questions, and I truly appreciated how interesting they were for me to respond to. Keep the flame of our ancestors burning high!
“Not the intensity but the duration of high feelings makes high men”
—F. Nietzsche
