Articulo Mortis: Interview with Apokalyptic Raids (Brazil) (ENG)

Band: Apokalyptic Raids Country: Brazil Genre: Black/Death/Thrash Metal

Sometimes sudden things happen that you don't even think about anymore. It's like chaos magic, where you send out an impulse and then forget about it, so that the seed can be sown and then grow at the right time. That's what happened with Apokalyptic Raids. I emailed Leon back in the summer of 2020 and... And nothing happened. Until he replied in late 2025.

1. AM: Man, tell me what must have happened that made you check your email mailbox from almost six years ago?

AR: Hello! Well I’m very systematic about it. I save all emails, and I keep unresolved issues in my Inbox.

So when trying to clean up I answered you as well as some other unanswered interviews, just to see if the magazine was still going…

2. AM: Back then (during the fucking pandemic), I was in contact with a lot of Brazilians; I even had a separate zine dedicated exclusively to the Latin American scene. I was told a lot about the bureaucratic "quirks" of your country and how COVID sometimes completely paralyzed normal life. How did you survive those times? What's the situation now? How is Apokalyptic Raids doing?

AR: My girlfriend lives countryside 1h from Rio, so I stayed there for as long as I could.

Then I put some stuff in order like home repairs, equipment repairs, organizing and cleaning my collection, all kinds of internal works. And then there are family stuff, health issues…

In 2023, I started going to São Paulo again for business and watching some shows. In late 2024, I re-started some stuff like our own early Celtic Frost / Hellhammer cover project called Morbid Tales. I also joined local band Tyranno, which I wanted to for quite some time.

Then Victor from Whipstriker invited Apokalyptic Raids for European Tour in November 2025, so we spent this year remembering songs and doing some local gigs.

That’s the 5-year hiatus story short...

3. AM: The Pentagram was released seven years ago. We're already starting to miss new material. Is it something to look forward to?

AR: Yes.

First, we released on bandcamp some extra tracks from The Pentagram 2017/2018 sessions.

I also appeared in 2021 on the Procreating The Wicked Celtic Frost Tribute from our brothers Morbid Tales from Texas-USA (same name as my own cover project haha)

And I also recorded a track for Warhammer’s last album in 2021, released now in 2025.

I recorded some guest lead vocals for a local band called Huntdown, to be released.We started to record the 6th Apokalyptic Raids album + extras somewhere in 2019-2020, but things have been slow until now. I think next year we will be able to finish it.

4. AM: How would you sum up Apokalyptic Raids in a few sentences, looking back on the years you've been active as a band? Has anything changed significantly over the years?

AR: Ah, we changed as people, so it reflects in the band.

In the beginning we were to young and too naïve, in the first 2 albums.

At some point in 2003-2004 I decided to dedicate myself exclusively to the band, and this “second phase” brought a more professional approach, for good and for bad. We toured Brazil 2008, then South America 2010, and Europe in 2014 and 2016, then Brazil again 2017, as well as a lot of one-off shows and mini-tours like in Chile for example.

And then the pandemic simply unplugged us suddenly. Now, 5 years later, I am older, sicker, angrier and more bitter hahaha

But what really matters is the art, and I am still obsessed with recreating the naïvete and primitivity of Hellhammer, even if Mr. Thomas Fischer would take a different path in his current bands...

5. AM: What do you consider your greatest achievement?

AR: I love our latest albums’ sound the most, of course. I think some compositions and tomes will stand the test of time.

6. AM: You're definitely a live band and love performing. What was your best show? What factors mark you as a success?

AR: A high point in our history was to play with Warhammer in Oberhausen in 2014. That was so intense for all the right reasons. I think the complete show is on youtube.

The recordings on our 2015 Live album are so good too. We did 3 shows in a row in Chile, so we were really into our set. It was recorded at the third one without us knowing and it ended up perfect.

7. AM: Tell us about the technical aspects of recording you use. How, where, and on what do you record your work?

AR: We used to record on analog tapes the first 3 albums, but it is too hard to find it here, so we had to do the 4th and 5th on pro tools.

But we always go as simple as possible, miking up the drums then recording it all together with guitars, no matter small bleeds in microphones.

Then we add vocals and solos, and that’s it.

Mixing is VERY detailed and takes quite some time. I’m only satisfied with a song when I start to fail in distinguishing our recording from Hellhammer-originals hahahaha And I listened to Hellhammer thousands of times, so I know it by heart.

The studios we used for previous albums are no more. But our drummer has built his own during the pandemic, so we will probably try to record things there.

8. AM: Do you still buy and read zines? Or is the internet enough information for you these days? Can you recommend a couple of zines?

AR: There aren’t much available here anymore.

With the exception of Armamento Bélico (Old Death Metal zine)

As a grumpy 53-year old, I’m not into much new stuff these days, you know.

9. AM: How do the visuals and music come together? Do you write the music first and then create the design for it, or does the visual image come first and then you imagine the music that will match it?

AR: It goes in parallel.

I’m always after ideas for graphic art, sometimes a cover art sits there for years between planning and releasing.

As for the sound, sometimes I also have a riff or lyrics in store for years or decades before I can finish the song. Sometimes (rare) it comes in a rush, one monthe before studios…

So, there is no formula. I just go collecting good ideas until I think I have enough to structure a good album.

10. AM: Regarding physical media, here in Russia, the purchase of CDs and tapes has significantly decreased in recent years. Sometimes it seems like only old metalheads who are used to expanding their collections are buying them. How is this situation in Brazil?

AR: Same here. And add to that the shitty economy.

Our minimum wage is under 230 euros. So imagine what the average kid can buy with it: almost nothing.

And then there are a lot of shitty releases, so one has to go through a lot of new stuff to find real good stuff worthy to keep.

There are a few guys buying, some new, some old, or even rebuying their collection that they had to sell because of unemployment…

11. AM: Do you go to shows? Chile Terrorfest is taking place in December 2025, with Mayhem, Triptykon, and Sacrifice headlining. I wouldn't be surprised if you're planning to attend!

AR: I love Chile, but it is quite far from here. And I’m not into Mayhem nor Triptykon… They played in São Paulo, but I have avoided attending to. I’m not into their downtuned versions or softer/goth vocals.

I go to some shows in São Paulo (6h road from here) maybe 1-2 times a year. And the occasional local gig, but there isn’t a lot to attract me these days.

12. AM: In general, how much do you pay attention to modern bands? Can you point out anyone you've liked recently? Maybe someone from your country?

AR: Not much really. I’m into Pentacle, Hellish Crossfire, one Nocturnal album, first Quintessence album, some Heavy Metal stuff, but I think the ones I mentioned aren’t “new” haha.

From Brazil, I like Tyranno, Velho, Whipstriker, Flagelador, Cemitério, and a few others.

13. AM: How does the Brazilian extreme scene differ from the rest of the world?

AR: Here things are more raw, more naïve, for good and for bad.

All the difficulties, struggling economy, the slums, the language barrier, it all makes things here become wilder.

From your viewpoint in a cold country, we are probably midway to Africa, and in my opinion you’d be correct to say that.

14. AM: Have you heard anything about Russian metal?

AR: We know almost nothing about Russian Metal here. In fact we know little here about Russia in general.

Just some iron-curtain-era stories, those tales about records being cut on x-rays films, some occasional compilations most people can’t read names because of ciryllic alphabet, and more recently one or two more modern black metal bands.

I know sometimes some zines do specials on eastern European Metal, new or old, but it is kinda rare.

I’m the in-person kind. I’d love to visit there and get to know it in place. We learned a lot of South America and Europe in tours, that you don’t get over the internet…

15. AM:  Thanks for your answers. What are your final words?

AR: Thanks a lot for your interest after all these years.

I hope the shit situation the world is now improves at some point (can we call it World War III already?) and – who knows – we’ll play more Eastern European countries and of course Russia too at some point.

Until then, please check

www.apokalypticraids.com

www.apokalypticraids.bandcamp.com

And also my own label Hell Music

www.hellmusicrecords.bandcamp.com

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October 2025

Interview for Articulo Mortis

Articulo Mortis: Interview with Repugnator (Portugal) (ENG)

Band: Repugnator Country: Portugal Genre: Black/Death Metal

1. AM: How are things in these strange times?

Repugnator: Strange times indeed., but we perceive that as a way to maintain focus on being consistent and productive so the band can move forward. This has been the key since the creation of the band in 2023.

2. AM: You are a new band. Tell our readers about the essence of Repugnator, the concept and history of the band.

Repugnator: Essentially, Repugnator is a putrescent black death metal band formed in the end of 2023, in the city of Porto, Portugal. The band is composed of Scourge Degragator on vocals, Cryptic Smog on bass, Poisonous Fumes on drums and Sulfuric Wraith on guitar. Our idea was to pick up the right influences and make a primitive, evil and disconcerting sound, fueled by spastic and transfixing riffs, a gurgling bass, cataclysmic vocals and pouding drums. With this being said, we want to do our own thing and create something that we feel is unique and powerful.

Since the creation of the band we’ve played with a couple of kick-ass bands such as Morbific, Hexecutor, Hyperdontia and one of our greatest influences, Mystifier. Many more evil nights to come, for sure.

3. AM: How was the band formed and what meaning do you put into the name?

Repugnator: The band started with Sulfuric Wraith and Poisonous Fumes jamming with an intent to make something evil. Having been together in bands before, such as Back Alley Lobotomy (deathgrind/grindcore) they’ve always been used to playing together live and creating extreme music. At this point , without having anything put together, Scourge Degrator was already in the band, even though we had met him briefly before he joined. The day we got to know him, through a common friend, we had such a connection due to our passion for bestial black metal that we invited him right away and we didn’t regret it for a second. We could see he clearly shared the same vision for the band and once we heard his vocals we knew we had made the right choice. Cryptic Smog, being a close friend and having also played with Sulfuric Wraith and Poisonous Fumes before, was an obvious choice to play bass in Repugnator.

Regarding the band's name, we wanted to have something that would portray the entity that embodies chaos, destruction, evil, punishment, all part of the blight and plague that we channel through the unhallowed death that is Repugnator and honestly there so many legendary bands with the “tor” in the end such as Mutilator, Vomitor, Ampütator that we wanted to pay homage to them in a way.

4. AM: Your debut EP "Foul Transfixation" was recently presented to the general public. Thoughts taking shape, real magic! Tell us how these recordings went from the concept stage to embodiment in physical form? What kind of mood reigned during this process?

Repugnator: The recordings of the EP were smooth and very productive. Everyone had their homework done. Everything was live-recorded in two days, except for the guitar part, which had a few overdubs, and the vocals. This way of recording was a part of the concept as a whole: we wanted something raw, organic and impactful. Seeing our EP taking shape and turning into the beast that is Foul Transfixation is something we are really proud of.

In terms of lyrics, we conjured a parallel world, kind of a hell of our own design, a shadowed mirror of modern society, where the rot of mankind festers beneath a thin veil of order. It is a dirge in prose, echoing the dread and madness.

Once the EP was ready to be released, we contacted a few labels that we felt were the right fit for our cause.

5. AM: The EP was released through Godz ov War Productions and several other labels. How did you choose the labels?

Repugnator: Yes, our EP was released by Godz ov War Productions (Poland), Noxious Ruin (USA) and Sacrifice Records (Portugal).

To be honest, we’re not that demanding in terms of what we expect from a label, but there are some characteristics that for us are non-negotiable when choosing one: they must be active and passionate about this genre, as much as we are, and we have to respect the bands that they’ve already released. This was the case for the 3 labels that chose to put out our release and we are very grateful to them.

6. AM: Tell us about the people who worked on the visual aspect: the logo and the cover art.

Repugnator: Our logo was done by Pierre de Palmas. Sulfuric Wraith and Poisonous Fumes previously worked with him for Back Alley Lobotomy’s logo and they had a very good impression of his work ethic and obviously its quality. And they were not wrong!

The cover art was made by Maria Madalena, aka Nosfewatuwu. She’s with no doubt one of the biggest talents in terms of drawing and painting that our scene in Portugal has to offer, especially talking about horror, gore and evil themes. Since we discovered her work, working together has always been a goal. Definitely worth checking her work.

7. AM: What ideas did you want to convey to listeners through your work? What special thing could you point out in your EP-album?

Repugnator: The intention is for our listeners to immerse themselves in the alternative world we've created on our EP. This has always been the primary intention behind the lyrics and everything that has to do with the production. Everything was well curated to suit the band's music and aesthetics so that whoever actually listens to it considers everything coherent and with a certain "aura" attached to it.

Something we’d perhaps like to highlight in our release is the way the vocals alternate between desperate high-pitched screams and pitch shifted low-end vocals, something that we consider to be a perfect match with the schizophrenic riffs and primitively unexpected beats.

8. AM: Name three albums that influenced you the most and ultimately led to the formation of Repugnator.

Repugnator:

Profanatica - The enemy of Virtue

Blasphemy - Fallen Angel of Doom

Incantation - Mortal Throne of Nazarene

And honestly we couldn’t not go without also mentioning Blood - Impulse to Destroy. It’s the grindcore influence we adapt in our music.

9. AM: Tell us about your musical experience. When did you start playing music?

Repugnator: We all started going to underground punk, hardcore, and metal shows when we were still teenagers. I think something we can all share as underground fanatics is the need to express our love for the music we listen to. Listening and buying all of this extreme music and not try to compose it and do it ourselves just makes us feel like this obsession is pointless. Most of us, either among ourselves or with other people, were in grindcore and hardcore punk bands before. Even nowadays our band members have other bands, from other genres. Shows and playing in bands in general has always been very present in our lives since we were young and it will definitely continue to be a passion for us.

10. AM: Regarding Black Metal and Black/Death in particular. What does it mean to you as a musical experience and philosophy? How would you describe your spiritual system?

Repugnator: We would describe Black/Death as being born from the arcane shadows of black metal and the primal depths of death metal. It is kind of a balance between the relentless pulse of one and the chaotic fury of the other. That’s totally what Repugnator is. We are not confined by definitions or bound by tradition but this genre is our homage to the spirits of the '80s and '90s, to the bands who carved this path in blood and distortion. But more than that, it is our way of forging something barbaric yet distinct, feral yet deliberate. Ultimately, an ode to the decadence of humanity.

11. AM: What are your plans for the future?

Repugnator: In 2026 we will be releasing a full length album. We have a few new songs that we are already presenting live. Additionally, we will play in Belgium at the Black Khaos Assault, on the 16th of january with the mighty Naked Whipper and our portuguese brothers Necrobode so that is something we are pretty stoked about.

12. AM: The last word is yours. Do you want to say anything to the readers?

Repugnator: Thank you for the opportunity to talk about our band and its release with you. It’s always great to see the passion in this genre. Make sure you keep an eye on our Instagram, @repugnator, so you can follow our work there. Contact [email protected] for any business matter. Cheers!

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October 2025

Interview for Articulo Mortis

Out now! ULVDALIR "In the halls of Eternal Night... cold winds blow"

• ULVDALIR "In the halls of Eternal Night... cold winds blow" – лимитированное издание в 33 копии.
• Это первая в дискографии Ulvdalir репетиционная демо лента, содержащая 6 гимнов из разных периодов творчества проекта, записанная в новом составе.

Анонс релиза Necrovomitator "Unholy Belialism"

 

Necrovomitator "Unholy Belialism".

Кассеты, 33 копии.

Релиз запланирован на вторую половину ноября 2025.

Записано в Храме Больного Звука в неизвестное время.

Out now! Teufelsdom "s/t" (2025)

The full-length album is out!

Teufelsdom (Full-length) [2025]

released October 11, 2025

To order: [email protected]

Articulo Mortis: Interview with Galväo (Portugal) (ENG)

Band: Galväo Country: Portugal Genre: Post-Black Metal

1. AM: Hello! How are you?

Galväo: I’m feeling pretty rough, stuck at home with the flu, running a fever, and just trying to recover. Definitely not my favorite way to spend the week!

2. AM: What does "Galväo" mean? How did you choose the name for your band?

Galväo: “Galväo” is actually the name of my grandfather. He was a quiet, serene man who had this rare ability to bring calm to everyone around him. In many ways, that same sense of calm is what this project gives me. When I started it back in 2021, I felt that naming it after him would be a fitting tribute a way of keeping his presence and spirit alive through music. From now on, the project will also include Sérgio Ramos, who will be handling vocals and lyrics, marking a new chapter in Galväo’s music.

3. AM: What style do you play? How did it all start and how did you arrive at this form?

Galväo: The music we create falls somewhere within the realm of post–black metal a space where intensity and atmosphere coexist. There are moments driven by blast beats and raw energy, contrasted by passages that are more melodic, emotional, and immersive. We arrived at this sound in a very organic way, without any premeditated plan or rigid framework. It was a natural process of exploration and emotion shaping the music.

With our latest release Abismo De Almas Enfermas, that balance became even more evident. Sérgio Ramos’s vocals added a crucial layer of weight and depth that was previously missing, giving the songs a new emotional and sonic dimension.

4. AM: How is music written and arranged, and what audience is it intended for?

Galväo: Our music comes together in a very organic way. It usually begins with a single riff, a spark that sets everything in motion. From there, I start shaping the song around that initial idea, always trying not to repeat what I’ve done before. That’s the foundation, although I don’t follow it as a strict rule; the process remains open and intuitive.

For this EP, I wrote and structured all the instrumental parts first. Once the music was in place, Sérgio stepped in and created the vocal melodies and lyrics, recording them over the existing tracks. In one or two songs, after hearing his vocal takes, I went back and added some additional melodic layers to enhance the emotional texture and atmosphere.

As for the audience, I don’t think of a specific listener while composing, it’s more about channeling emotion and honesty into sound. But I believe our music will resonate with those who seek something raw yet introspective, where aggression and melancholy coexist in the same breath.

5. AM: Your first works were instrumental. On Abismo de Almas Enfermas, vocals were added. The artwork has also changed; it's now darker and less socially charged than before. What prompted these changes?

Galväo: Honestly, we’re not interested in following any aesthetic trends or creating something that feels socially acceptable or “beautiful.” We simply create what feels right to us in the moment and release it as it is. Our only real concern is authenticity, making music that comes from an honest place, without preconceived ideas or artistic limitations.

With Abismo de Almas Enfermas, the project entered a new phase. The addition of vocals brought a human presence and emotional intensity that transformed the way the music communicates. Sérgio’s voice became another instrument, carrying anguish, reflection, and vulnerability, emotions that were previously only implied in the instrumentals. The result feels more direct and visceral.

The artwork and overall aesthetic naturally evolved alongside this change. The imagery became darker and more introspective, reflecting the weight and depth of the record’s atmosphere. Abismo de Almas Enfermas isn’t meant to be pretty or comforting, it’s a descent into emotional and psychological spaces that are often uncomfortable but real. That honesty is what defines Galväo at this stage.

6. AM: What motivates you to do what you do?

Galväo: For us, this project is a form of liberation, an escape from the dull routines of everyday life. It’s a space where we can truly breathe and create without boundaries, without having to please anyone or fit into any defined mold. Making music gives us a sense of freedom that reality often denies.

There’s something deeply therapeutic about channeling everything, frustration, exhaustion, hope, into sound. It’s not about ambition or recognition; it’s about expression and honesty. Each song becomes a release, a moment where we can strip away the noise of the outside world and reconnect with something real inside ourselves. That’s what keeps us going, the need to feel free and to translate that freedom into music.

7. AM: How does music influence a person's life, and what is its meaning? What impact should your music have on the listener?

Galväo: Music has the power to reach places that words alone can’t. It can expose emotions we didn’t even know were there and help us make sense of what feels chaotic or undefined inside us. For us, music is not entertainment, it’s communication at its purest level. It’s an exchange of emotion, energy, and vulnerability.

With Galväo, we’re not trying to deliver a message or impose an interpretation. The goal is to create something that each listener can experience in their own way, whether it brings them peace, discomfort, or reflection. Abismo de Almas Enfermas isn’t about guiding emotions; it’s about opening a space where they can exist freely.

If the music leaves an imprint, if it makes someone stop for a moment and feel something genuine, even if it’s hard to describe, then it has already fulfilled its purpose. That quiet, invisible impact is what gives meaning to what we do.

8. AM: To what extent do you think your genre needs discoveries and revelations? To what extent should music be open to new things? Where is the line when it's not appropriate to cross certain boundaries?

Galväo: We believe that any form of art, especially within heavy or experimental music, should remain open to discovery. The moment you stop exploring, the music loses its soul. Black metal, post–black metal, or any related genre doesn’t need to reinvent itself completely, but it does need to keep feeling alive, to keep reflecting the inner world of those who create it. Innovation doesn’t always mean using new sounds or techniques, sometimes it’s simply about being honest and fearless in what you express.

At the same time, not every boundary needs to be crossed. Some limits exist not as rules but as a sense of respect, for the emotion, the message, and the integrity of the work. Crossing boundaries just for the sake of provocation often empties the art of meaning. For us, what matters is intention: if something new feels genuine, if it serves the atmosphere and emotion, then it’s worth pursuing.

In the end, music should evolve naturally, not because it’s trying to be different, but because it’s trying to be true.

9. AM: Who are your teachers? What inspires you? Specific works or people? Nature or the transcendental?

Galväo: Our teachers have always been the people we’ve played with and exchanged experiences with in the various bands we’ve been part of. Every collaboration, every rehearsal, every shared idea has been a lesson in itself.

As for inspiration, it comes from our everyday experiences, the music we listen to, and the moments when we discover a band or a piece of music that makes us think, “This is amazing.” One of our biggest influences is Nuno Verdades. Sérgio is part of one of his projects, Ethereal Wound, and I played with him for ten years in another band. The dedication, vision, and evolution of his work have been truly inspiring and remain a significant reference for us.

In addition to these human influences, we also find inspiration in more abstract or transcendental realms. Nature, for instance, teaches patience, resilience, and subtle complexity, qualities that often find their way into our compositions. And there’s a certain transcendental element in music itself: the ability to connect with emotions and thoughts that go beyond language or everyday reality. That space, between the tangible and the intangible, is where much of Galväo’s essence comes from.

10. AM: What meaning do you put into your songs?

Galväo: Our songs delve into the darker aspects of the human experience, themes like human decay, emotional turmoil, and existential despair. The title Abismo de Almas Enfermas (Abyss of Diseased Souls) encapsulates this exploration, portraying a descent into inner torment and confronting the sickness within both the individual and society.

The lyrics often depict scenes of grotesque rituals and spiritual cannibalism, where the act of consuming becomes a metaphor for internal destruction and the insatiable hunger for transcendence. For instance, in "Festim Infernal" (Infernal Feast), the banquet symbolizes a feast of human ruin, where the spectators become the consumed, reflecting a cycle of obsession and decay.

These themes are not just artistic choices but reflections of our own observations and feelings about the world around us. The music serves as a medium to process and express these emotions, allowing us to confront and understand the darkness within and around us.

11. AM:  What's it like being a musician in Portugal? What's the local scene like? Has anything changed dramatically in recent decades?

Galväo: Being a musician in Portugal, especially within these more underground genres, is not an easy path. It often means struggling to make ends meet if you want to dedicate yourself fully to music. Financial stability is rare, and many musicians have to balance their artistic pursuits with day-to-day survival.

That said, the local scene is vibrant and full of creativity. There are always new projects emerging across the spectrum of extreme music, which is really encouraging. The scene feels healthy and alive, particularly in Lisbon and the northern regions, where there’s a consistent flow of concerts and events. In contrast, in areas like Alentejo, the scene is much weaker, with fewer opportunities for live shows or collaborations.

The internet and digital platforms have allowed bands to reach wider audiences and connect with international listeners, which has helped invigorate the scene. While life as an underground musician remains challenging, the passion and dedication of the community continue to sustain it, making it an exciting and rewarding environment for those willing to persevere.

12. AM: What are your creative plans?

Galväo: For now, our immediate plan is to continue recording in the same way we’ve been working so far. We aim to release another EP or possibly a full-length album at the beginning of next year. Beyond that, we’re also considering expanding the project by collaborating with additional musicians, which could bring new textures and perspectives to the sound.

Our focus remains on exploring and evolving organically, without forcing ideas or adhering to expectations. Every new release is an opportunity to deepen the emotional and atmospheric impact of our music, while still keeping the authenticity and rawness that define Galväo.

13. AM: Thank you for the conversation. Here you can convey a message to readers.

Galväo: We want to thank everyone who takes the time to listen to our music and engage with what we create. Galväo is a project born from honesty, emotion, and a desire to explore the darker and more complex aspects of human experience. Our hope is that our music can resonate with listeners in their own way, whether it brings reflection, catharsis, or simply a moment of connection.

Continue seeking what moves you, whether in music, art, or life itself. Stay open, stay curious, and don’t be afraid to confront both the beauty and the darkness around you. That’s where growth, understanding, and truly profound experiences often lie.

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October 2025

Interview for Articulo Mortis