Despite, or rather because the band is rarely in action, there is all the more reason to take a good look at a new album from Norway’s Shaarimoth. With ‘Devidom’, the Death Metal band has delivered another stellar piece of work in which it manages to combine first-wave Death Metal influences well with excellent technical ingenuity and Black Metal-like atmospheres. Not for the first time, the association with Morbid Angel’s ‘Blessed Are The Sick’ surfaces, but with that also fits the contrarian nature of Deathspell Omega. To top it all off, it is all poured into an attractively dark and certainly not gritty-sounding production. In short, there is again plenty to discover on ‘Devildom’ and together with vocalist Rune ‘R’ Andreassen, I discussed this latest chapter in the Shaarimoth book that reads like a slow but extremely suspenseful novel…
Hi Rune and welcome! This interview is a great opportunity for me to clarify some of the questions I have had since I first heard your debut album ‘Current 11’ in 2005. To me, Shaarimoth has always been a bit of an elusive enigma. Hard to catch, harder to classify and impossible wrap your head around on the first encounter. How would you personally characterize your music?
I prefer not to confine our expression by forcing it into a specific category. Instead, I believe in embracing a sense of freedom that avoids limiting it to a narrow classification. Shaarimoth`s music is about breaking boundaries and the ultimate freedom, not to be bound by any rules or genres. Additionally, in these times, traditional labels within this genre have lost all their initial meaning. Through our music, we aim to channel adversarial energies, serving as an outlet for the powerful currents that dwell beneath the surface. We invite listeners to engage with these forces in all their complexity and glory. By exploring the darker aspects of existence, we create a space for reflection and connection, allowing the audience to experience the raw, transformative power that lies within and beyond. Our intention is to harness these energies and present them as a vivid exploration of emotion and sound, encouraging a deeper understanding of the multifaceted nature of our shared experiences.
If I were to explain it to someone unfamiliar with our music, I would describe it as a fusion of dark and atmospheric elements, with its strength rooted in a creative blend of influences, styles, and genres. This combination allows us to create powerful soundscapes that urge listeners to confront the dark aspects of themselves.
With “hard to catch” I mean that Shaarimoth recordings are pretty much a rare thing. Much like a full lunar eclipse, something you are able to encounter only rarely. What makes it that we only able to welcome a new Shaarimoth recording once every few years?
We believe in quality over quantity, recognizing that this kind of music cannot be rushed. Music demands a commitment to authenticity and sincerity, as any superficiality will inevitably reveal itself in the final offering. Every note and layer in our music needs to be crafted with purpose and precision, ensuring that the core message we wish to convey is clearly expressed.
When we invest ourselves wholeheartedly in the creative process, the result is something that feels both genuine and profound, reflecting our vision and passion in every detail. Ultimately, it all comes down to dedication, both to the craft and to the essence infused within it. This commitment enables our music to stand apart from the mass-produced products of today’s “scene”. By prioritizing depth and authenticity, we create a body of work that embodies a unique identity, inviting listeners to engage with something truly meaningful and lasting.
In a sense, your way of working also affects the atmosphere of obscurity and exclusivity that surrounds the band. Although this question somewhat overlaps with the previous one, I wonder if you guys are fully aware of this and if it might even be a very conscious choice…
We are aware of the atmosphere that surrounds our work, and our approach is both deliberate and unintentional. In many ways, the music seems to create itself, we see ourselves as instruments for the energies we’ve aligned with, allowing those forces to express themselves through us. This dynamic relationship between intention and the unintentional is essential to our process, allowing us to channel something that transcends our individual selves.
While Shaarimoth has never been a band to craft easy-to-digest music, I do have the impression that ‘Devildom’ is maybe a tad less technical and wild than its predecessor. Yet it does have a strong unorthodox character, but mostly, as a whole, it feels like a more well-rounded and mature record. How do you look back on your new offering compared to your other output?
I believe that each album reflects our mindset and circumstances at that particular moment in time. Evolution is essential, stagnation is certain death. Our growth is evident in our music, with each release marking a progression in our creative journey, revealing how we adapt and transform over time.
That said, I view every album as equally significant, inviting us to explore uncharted territories. Each album builds upon the last, creating a solid foundation that anchors our sound while allowing new aspects to emerge from the depths. This journey is about pushing boundaries, it’s about daring to venture further into the unknown. Only those willing to risk going too far can truly discover how far one can go, right? This pursuit of exploration is what drives us, compelling us to challenge our own limits and embrace the unknown. Each record captures a chapter of our journey, deepening our evolution and the complexities of our experiences across all facets of life and the spiritual path.
Another thing that caught me on ‘Devildom’ is the overall darker atmosphere. One could even say it has a bit of an occult/ancient spirit. Not entirely comparable, but I sensed a bit of a similar brooding ambiance as Morbid Angel’s ‘Blessed Are The Sick’-album. Again: elusive, also in the feeling of the music. Can you relate to such a statement?
You are not the first one to mention this, and in many ways, I agree. Devildom embodies many of the same emotions found on Blessed Are the Sick. It resonates not only in the atmosphere and aura of the music but also through the brief instrumental interludes that enrich the overall experience. Our inspirations shine through more clearly than ever, especially those golden years of the ’80s and ’90s.
What I find intriguing is the essence of Morbid Angel, especially during that era. Their music encapsulated a raw energy that resonates deeply with us, evoking a sense of darkness and intensity. In old interviews, Trey Azagthoth expressed that they were tapping into something profound and sinister, channeling those energies through their music and lyrics, much like how we approach our own craft.
I agree that there is a notably darker ambiance compared to our previous works. This shift directly reflects our journey into the unknown darkness. Embracing this darkness has inevitably infused our entire being, shaping the very foundations of the music we create. We have opened ourselves to invite these powers to guide us, allowing them to permeate our sonic incantations and evoke a deeper connection with our inner selves.
While Shaarimoth is obviously built upon the touchstones of the old and not-so-simple Death Metal, there clearly is a good dose of Black Metal in the music as well. Especially the guitar sound is more sharp than heavy. Where does this, according to you, come from? A simple outsider will be quick to point to your Norwegian background…
While it’s true that Shaarimoth draws from the foundational elements of more technical old-school Death Metal, I believe our sound transcends geographical boundaries. Music isn’t confined to borders, it’s rooted in spirit.
The guitar sound on the album is stellar, and fortunately, Michael Zech grasped our vision after we sent him the demos. He already had a clear idea for the way forward when we entered the studio and quickly nailed the sound we were aiming for. The sharpness of our guitar tone is just one aspect, the way the music is crafted, infused with Black Metal influences (if one were to categorize the genre by sound, as many incorrectly do), reflects a broader artistic vision that embraces the full spectrum of our inspirations.
Although already touched upon briefly before, I am intrigued by your musical formula. It has bit and pieces from different genres, take a song like ‘Lord Of Putrefaction’ from your previous album. That sounds like as if Deathspell Omega and Venom are joined with a Death Metal vocalist. How does your creative process look like? How does the birth of a Shaarimoth song looks like?
Our creative process is fluid and unbound by traditional formulas. We don’t follow a strict blueprint, instead, we open the gates to the other side, allowing the music to evolve (un)naturally from that source. We often have a multitude of demos and riffs, but we only keep the parts that genuinely reflect the essence of the song, without forcing anything or restricting ourselves to specific categories.
Each song becomes a journey of discovery, driven by the energy and emotion that resonate within us. Ultimately, the birth of a Shaarimoth song is about channeling raw forces and uncovering the right combination of riffs and atmospheres that breathe life into something significant and otherworldly.
While it’s a bit of a standard question, I imagine that in the case of Shaarimoth it’s a bit less obvious than for the average Death Metal band: where do you guys get your main inspiration from? In the previous question, I already cited some less obvious references, because to me, Shaarimoth sounds like a mix between Morbid Angel, Deathspell Omega and Venom. What stokes your fires?
We listen to everything from ambient and classical to rock and metal, and the bands you mentioned are certainly part of that mix. Morbid Angel remains a timeless source of inspiration, while Deathspell Omega has undeniably set the bar high with their originality and complexity. Many have tried to copy their sound, but in my view, they have all failed miserably.
Personally, I find myself less concerned with the current music scene. I prefer to delve into the past, immersing myself in the raw energy of old demos and classic releases. Bands like Sarcofago, Vulcano, Dark Angel, Nihilist, Merciless, Bathory, Necrovore, Von and Autopsy represent a golden era that’s hard to surpass. That said, I still appreciate classic and fundamental acts like Dissection, (old) Emperor, Nifelheim, Drastus, Arckanum, Limbonic Art, Funeral Mist, Altar of Perversion and Abigor, to name a few.
I also have a deep admiration for many artists from less extreme genres—Iron Maiden, Judas Priest, Mercyful Fate, The Night Eternal, In Solitude, and The Devil’s Blood have all left their mark on me. Beyond that, I find inspiration in artists like Lustmord, Nick Cave, Swans, Puissance and Leonard Cohen, whose work resonates on a different level. The list of influences is vast and varied, reflecting the depth of our creative spirit. Ultimately, it’s this diverse array of sounds and ideas that fuels our fire and shapes the essence of Shaarimoth.
Also something that came up briefly earlier: your (Norwegian) origins. Apart from you, the core of Shaarimoth includes Frode Ramsland, and while neither of you necessarily have an extensive CV, you did both play together in Antarctica and Disiplin. Looking back on your musical development, anno 2024, a path within the Norwegian borders and past those two other bands, how would you describe that journey? What shaped you guys?
Our journey has been anything but straightforward, marked by numerous obstacles and changes along the way. Shaarimoth has existed for a long time, and throughout that period, we’ve faced lineup changes and challenges that tested our spirits. We’ve witnessed the rise and fall of not only great bands but entire genres that once burned brightly, only to fade into obscurity like ashes scattered in the wind.
Reflecting on our roots, both Frode and I have shared experiences that have significantly shaped our musical development. Our time in Antarctica was essential, providing a foundation from which we could explore and evolve. Each step has allowed us to absorb influences, musical and spiritual alike, and forge our identity.
We have embraced the darkness, pushing forward despite obstacles, which ultimately defines the essence of Shaarimoth, a testament to our dedication to the music and the deeper spirit behind it.
Speaking of which, how do you look back on your time in Antarctica and especially Disiplin? Although I don’t think you did any recording with Disiplin, that is a band that enjoyed some prestige in the 00’s…
As previously mentioned, our time in Antarctica was a significant period that helped shape our musical journey. It laid the groundwork for exploring darker themes and pushing creative boundaries. However, it was a different band, more immature in many ways, compared to what I consider our first genuine attempt at creating true black art, which emerged through Current 11 in the later years of Antarctica.
As for Disiplin, I find the entire era to be somewhat of a joke. Despite what’s been written, Haakon Forwald never contributed anything meaningful to Shaarimoth. He was merely a charlatan, pretending to be something he clearly was not. That phase in our history holds little weight and is a chapter that was closed a long time ago.
We’ve always been dedicated to forging our own path and embracing the essence of our art, rather than getting lost in the recognition of past projects. Our commitment to exploring the depths of sound and spirit is what truly defines us and remains our guiding force.
Although you have worked with several other musicians in the past, Shaarimoth’s core was indeed you and Frode Ramsland. Currently your line-up consists out of Semjaza on bass (known for his work in Acrimonious, Thy Darkened Shade and previously of Kawir) and drummer CSR (of Ruïm and current/ex drummer for Arkhon Infaustus, Profanation and Thy Darkened Shade). This means this line-up is quite diverse in origin and musical views. How does that translate into the music of Shaarimoth?
As grateful as we are for the contributions of all our past members, each of whom has left their mark on our journey somehow, I believe our current lineup is by far the strongest we’ve had. With Semjaza on bass and CSR on drums, we bring together diverse backgrounds and musical perspectives that have truly shaped the outcome of Devildom.
This diversity enriches our sound and allows us to explore new territories within our music. Each member contributes with their unique influences, and this fusion of ideas has helped us further develop our sound.
I also want to acknowledge our loyal live guitarist, Cain Letifer, who has been an integral part of our performances for years. His presence adds another layer to our sound and complements the dynamic we’ve established. Together, we channel a collective energy that resonates deeply, allowing us to create something quite unique.
On both of your previous outings you delved into the realm of occultism, spiritualism, deep religious darkness and esoterism from different corners of the world. That seems much less the case with ‘Devildom’. Did you feel you had told what there was to tell? What drove you to a non-musical level this time? Or am I completely wrong?
It’s actually the opposite of what you might expect. This time, we made a deliberate choice to mask the deities to which the tracks are dedicated. We want to distance ourselves from the pseudo-occult and so called satanic “scene,” so we decided to take a step back.
The essence of Shaarimoth has always been, and will forever remain, the same, even if the lyrics are expressed through different lenses. Shaarimoth is the devil’s music, and that spirit continues to guide us, regardless of how we choose to articulate it. Our commitment to exploring the darker aspects of existence and beyond remains unwavering, even as we navigate through various thematic expressions.
Just as you are not quite the most prolific band when it comes to releasing new music, Shaarimoth isn’t a band that you can see touring every year either. Although you have done some live performances, this also seems a rather rare event. Is this a conscious decision in the sense that playing live is not really something you’d like to do?
It’s true that we’re not the most prolific band when it comes to releases, and our live performances have been few and far between. Part of this is simply because we’re all busy with our own lives, which makes it challenging to tour and arrange gigs. We don’t have the biggest network, and we certainly won’t beg on our knees for a slot. We take things as they come, and if an opportunity sounds right and interesting, we’re open to it.
That said, our aim is to be a bit more active than in the past. We’re exploring ways to bring Shaarimoth’s music to the stage when the circumstances align. So, let’s see what happens. The spirit in our music remains strong, and we’re always ready to channel that energy when the stars align.
I end the lion’s share of my interviews by asking what else is in store. This question is all the more interesting in the case of Shaarimoth, will we have to wait a very long time again before we get to hear from you guys?
I can assure you that we have more in store than it might seem. In fact, we already have another album recorded, but we’ll share more details after the release of Devildom. It hasn’t been so long since our last musical offering either, we contributed to the split ‘SamaeLilith – A Conjunction of the Fireborn’ just a few years ago. While it may not be the most widely known release, I highly recommend checking it out, along with the rest of the discography from all the involved bands.
So, while it might appear that we’re quiet, there’s a lot happening beneath the surface. We’re committed to continuing our journey, and you can expect to hear from us again sooner than you might think.
Okay Rune, thank you very much for your time and insights into the somewhat mysterious world of Shaarimoth. In good tradition, I also leave to you the honour of concluding the interview with your own words…
Thank you for the support, Death awaits!
A.M.L.G.
