#317 Void Odyssey // Stoner Doom // Nemo, Tibor, Tom // 14.9.2026

1. Kto si, čo robíš a čo ťa najviac zaujíma práve v týchto dňoch?

Nemo: Volám sa Martin, volajú ma aj Nemo alebo Peter Marcin. V kapele sa snažím hrať na bicie a mimo kapely sa snažím nejak sa z tohto všetkého nezblázniť.

Tibor: Aktuálne sa starám o malých potomkov a snažím sa o nejaký ten balanc. Baví ma nájsť “nové” albumy z minulosti / posledných rokov, ktoré mi unikli.

Tom: Pivo a Whisky


2. Void Odyssey je na scéne od roku 2017 a na konte má jedno EP z roku 2022. Vyzerá to na doomovú päťročnú frekvenciu, čo pripravujete na rok 2027? 

Snažíme sa skladať, vymýšlať nové veci, ktoré sa síce pomaly ale isto zbierajú. Hneď ako budeme cítiť, že to už dáva ako tak hlavu a pätu, tak to pôjdeme nahrať. Je dosť možné, že to bude práve budúci rok, ale nič nie je ešte na 100% isté.

3. Kto tvoril Void Odyssey v roku 2017 a kto je v kapele dnes?

V podstate sa základná zostava vôbec nezmenila, stále je tu Nemo na bicích, Tibor na base a Tomáš na gitare. Podarilo sa k nám pribrať Alžbetu, ktorá hrá na podladené husle. Na tom sa snažíme stavať novú tvorbu.

4. Ako ste sa dostali k stoner doomu a čo predchádzalo vzniku kapely - poznali sa členovia pred založením kapely?

Tom: Poznali sme sa dlho pred založením Void Odyssey. Hrali sme predtým také garážové covery. Ale nič čo by stálo za zmienku.

Nemo: S Tomom sa poznáme dlhé roky a v určitom momente sme si povedali, ze si nájdeme nejaký priestor, kde by sme si mohli občasne zahrať nejaký cover pre radosť. Do toho nám priplachtil Tibor a nejak sa to prirodzene vyvinulo až sem.

Tibor: Jo, ja som vlastne nehral na nič než sme sa stretli, ale vždy som mal rád dobré spodky - basové linky tak som sa toho chytil.


5. Keď sa obzriete za takmer desiatimi rokmi Void Odyssey, v čom je dnešná kapela úplne iná než tá z roku 2017 a čo sa naopak vôbec nezmenilo?

Tom: Už sme tak nejako z časti hudobne dospelejší, to sa potom odzrkadľuje aj na našej tvorbe, počúvame viac iné žánre. Taktiež sme trošku viac sebakritickí, než by bolo treba. To je aj jeden z dôvodov prečo sa veci v kapele hýbu pomalšie.

Nemo: Čo sa určite nezmenilo je naša schopnosť prekecať celú skúšku… To bude tiež dôvod pomalej tvorby heh.

6. Ako vznikali prvé riffy a skladby - mali ste predstavu, ku ktorej ste sa chceli priblížiť a ako dlho vám trvalo nájsť svoj zvuk?

Na začiatku sme si išli hlavne Black Sabbath to bol náš hlavný zdroj inšpirácie, neskôr sme sa viac začali približovať modernejšiemu doomu, typu Belzebong, Monolord... Mám pocit, že hľadanie zvuku je u nás nekonečný proces. Stále objavujeme a skúšame nové veci.


7. Debut z roku 2022 je postavený na masívnych riffoch, ale zároveň má psychedelickejšie až rituálne pasáže. V akom momente ste spokojní s novým riffom a ako s ním pracujete ďalej?

Najlepší riff je ten, ku ktorému človeku hneď napadnú dalšie pasáže. Vždy to zatial bolo o hladaní takého riffu. Keď ho nájdeš, zvyšok už príde sám.


8. Prečo ste sa rozhodli fungovať bez vokálu? Bol to zámer, alebo ste nenašli hlas, ktorý by vašej hudbe dal niečo viac?

Ešte počas coveroveho obdobia sme skúsili niekoľko spevákov, ale nikdy nám to spolu nevyšlo. Tak sme si nakoniec povedali, že vlastne, načo spev.


9. Vzhľadom na to, že nemáte vokály - aké vizuálne a pocitové asociácie máte pri hraní vašich skladieb?

Nemo: Je to v tomto žánri trošku už cliché, ale keďže nemáme spev tak sme sa pokúsili jeho absenciu nahradiť, respektíve vykompenzovať, kadejakými nahrávkami z filmov, seriálov či rádiových hier. Mne osobne sa počas hrania a počúvania v hlave prehrávajú jednotlivé scény z ktorých určitý sample v danom songu je.

Tibor: Mám to ako pri počúvaní hudby všeobecne. Dostane to človeka do nejakej nálady, čo je zintenzívnené tým, že priamo aj hrám. Plus keď to šlape ako celok je to bomba. A potom výplach mozgu keď príde masif riff hehe.


10. Ktoré fuzz pedály používate a ako ste sa k nim dostali? Čo okrem fuzzu tvorí základ vášho zvuku?

Tom: Ja som dlho fungoval so silikonovym fuzzom od Minotaur Sonic Terrors, dokým sa nepokazil a teraz mám Sunn Life Pedal V3 od Earthquaker Devices

Tibor: Obdoby Green Muff. Občas skúšam niečo iné, ale to väčšinou neopustí skúšobňu a vrátim sa naspäť k tomu čo funguje. Takže momentálne Sovtek Deluxe Big Muff, čo dobre vyplňuje moj poloprázdny basácky pedalboard.

11. Ako je podľa vás slovenská stoner/doom scéna vnímaná za hranicami? Je kapela zo Slovenska stále exotika, alebo je dnes už jednoduché dostať sa na medzinárodnú scénu so všetkým čo k tomu patrí - pozvánky na festivaly, ponuky od zahraničných labelov, atď?

Tak k tomuto sa žial vyjadriť nevieme. Zatiaľ sme hrali len doma, aj keby sme si veľmi radi zahrali v podstate hocikde (ak to číta niekto kto by nás chcel na akcii, píšte, hráme aj za pivo :D) 


12. Podarilo sa vám hrať s niekoľkými výraznými menami svetovej stoner-doom scény. Čo vám tieto účinkovania dali a podarilo sa vám vďaka nim exportovať váš zvuk von?

Vždy sa tešíme keď môžeme s takými kapelami hrať. Málokedy sa stane, že taký koncert pritiahne nejakých nových fanúšikov, to skôr ale dávam za vinu tomu, že sme strašne slabí na sociálne siete.


13. Kto okrem vás tvorí bratislavskú, ale aj slovenskú stoner-doom scénu a sú kapely navzájom v kontakte?

Tu môžem znova odkázať na našu alergiu na prácu so sociálnymi sieťami. To bude stáť asi aj za tým, že nie sme v kontakte v podstate s nikým zo scény.


14. Má dnes Slovensko dostatok kapiel a publika na samostatný stoner/doom festival, alebo by na druhý ročník prišlo tých istých 25 ľudí ako na prvý?

Ja si myslím, že kapiel je tu už dosť a určite by sa taká akcia mohla uchytiť.

15. Pre nahrávanie vášho debutu ste si vybrali štúdio PULP - prečo práve oni a ako ste boli spokojní s výsledným zvukom?

Hľadali sme štúdio kde sa dalo nahrávať naraz celá kapela, nech to ma taký "vintage" feel. Pulp bol vtedy pre to asi najlepšia voľba. Zvuk je super a s celým procesom aj so zvukom sme nad mieru spokojní. 


16. Ako prebiehalo nahrávanie a tvorba finálneho zvuku - bola to stávka na istotu cez osvedčené stoner nastavenia, alebo ste šli svojou cestou?

Už prvotná nahrávka bola veľmi obstojná následne sme si všetci spolu sadli a doladili detaily.


17. Pri stoner/doome sa veľká časť výsledku rodí až pri nahrávaní, mixe a masteringu. Uvažovali ste pri novej nahrávke aj nad štúdiom alebo producentom mimo Slovenska, ktorý má s podobným zvukom skúsenosti?

Tým, že ani jeden z nás nemal absolútne žiadne skúsenosti s nahrávaním, sme nad ničím podobným vtedy neuvažovali.


18. Cover na vašom debute pochádza od vychyteného talianskeho ilustrátora MontDooma - ako ste sa k nemu dostali, a ako ste boli spokojní s tým ako vystihol feeling albumu?

Našli sme ho na Instagrame myslím a vedeli sme, že pri ňom to bude stávka na istotu. Cover sa mu určite podaril a vystihol v ňom všetko čo sme chceli.

19. Aj touto cestou vám chcem poďakovať za spoluprácu na kazetovom benefičnom splitku s Bongsilisk, kde ste venovali finančné prostriedky na liečbu pre Michala zo Zmyrny - ako ste spokojní s kazetou a výberom oboch kapiel pre toto vydanie?

Kazeta sa podarila na jednotku a sme radi, že sme mohli svojou troškou aspoň trochu pomôcť.


20. Na benefičnom splite sa objavil materiál z debutu. Kde je teda nový Void Odyssey? Máte už hotové riffy alebo celé skladby a bude nový materiál pokračovaním debutu, alebo sa za tie roky zmenila aj vaša predstava o tom, ako má kapela znieť?

Na nových veciach sa pomaly pracuje, na koncertoch už pravidelne znejú niektoré nové skladby aj s husľami. Hneď ako bude dosť materiálu s ktorým budeme spokojní, ideme nahrávať. Tvorba sa samozrejme za tu dobu trošku zmenila, čerpáme inšpirácie z iných kapiel. Pevne veríme, že nové veci budú rovnako alebo ešte zaujímavejšie.

21. Majú pre doomový feeling lepšie prednastavenie metalisti alebo punkeri?

Asi skôr metalisti. Minimálne tak to na koncertoch vyzerá.


22. Bol Jiří Schelinger prvý československý stoner-doomový interpret? Keď si človek pustí Kartágo alebo Lupič Willy, miestami tam počuje riffy, za ktoré by sa nemusela hanbiť ani kapela o štyridsať rokov neskôr. Kde by ste hľadali pravek československého doomu?

Pravdupovediac, o týchto skladbách počujem prvý krát. Vždy sme ho mali len za horšieho coveráka.


23. Do akej miery je podľa vás marihuana ešte autentickou súčasťou stoner kultúry a do akej miery už iba žánrovou rekvizitou – niečo ako corpsepaint v black metale? Dá sa vôbec robiť stoner bez reeferu? Platí, ako hovoria naši severní bratia, že je 'Zajebiście palić liście'?

Tom: Hudba je to ako stvorená pre trip, takže nás vždy poteší, keď sa niekto tak dobre cíti, že si na našom koncerte dá. Určite sa tá hudba robiť dá, pozrite na nás. Ja som voči efektom imúnny, je to len strata peňazí. Basáka zasa po jednom šluku odpáli až na Saturn a bubeník má z toho úzkosť. 
Takže sme prestali úplne.

Nemo: Sme už len starí pózeri…


24. Čo počúvate, pozeráte a čítate v týchto dňoch?

Tom: Od Russian Circles cez Stinga až po King Crimson.

Nemo: V týchto dňoch som po dlhšej dobe celkom tlačil do hlavy Nine Inch Nails. Okrem toho nový album Sleep (to je smutné sklamanie), českých P/\ST či Russian Circles. Aby som to pomixoval tak sa ešte nechávam unášať šťavnatými groovmi Donnyho Benéta (12.9.2026 Kácečko, tešíme sa).

Tibor: Posledné dní Torche, Ulcerate a zhodou okolnosté nejake staré dedkóry. Jeseň trochu pomení žánre. Čítam skôr staršie knihy (viac neprečítaných ks z antikvariátov mi postáva v knižnici). Nové veci radšej na odporúčanie. Momentálne Stendhal.


25. Je niekto, s kým by ste si radi prečítali rozhovor na JDØS?

Tom: Ethereal Pandemonium :D

Nemo: Taký nezaujímavý fun fact je, že náš úplne prvý koncert sme odohrali v 2018 s Besnou. Odvtedy som ich veľký fanboy a hoci sú to dnes už celebrity, rozhovor na JDØS by som si určite rád prečítal.


26. Motto alebo odkaz na záver. 

Na Black Sabbath

 

1. Who are you, what do you do, and what are you most interested in these days?

Nemo: My name is Martin, but people also call me Nemo or Peter Marcin. In the band, I try to play drums, and outside the band, I try somehow not to lose my mind because of all this.

Tibor: At the moment, I'm taking care of my little offspring and trying to find some kind of balance. I enjoy discovering “new” albums from the past or from recent years that somehow slipped under my radar.

Tom: Beer and whisky.

VOID ODYSSEY BAND CHANGES AND HISTORY

2. Void Odyssey have been around since 2017 and have one EP from 2022 under their belt. That looks like a proper five-year doom cycle, so what are you preparing for 2027?

We're trying to write and come up with new things, which are slowly but surely piling up. As soon as we feel that it all more or less makes sense and holds together, we'll go and record it. It's quite possible that it'll happen next year, but nothing is 100% certain yet.

3. Who made up Void Odyssey in 2017, and who's in the band today?

Basically, the core line-up hasn't changed at all. There's still Nemo on drums, Tibor on bass and Tomáš on guitar. We've also managed to bring Alžbeta into the band, who plays downtuned violin. That's something we're trying to build our new material around.

4. How did you get into stoner doom, and what came before Void Odyssey? Did you guys know each other before forming the band?

Tom: We knew each other long before starting Void Odyssey. Before that, we played some garage-style covers together, but nothing really worth mentioning.

Nemo: Tom and I have known each other for many years, and at some point we said we'd find ourselves a place where we could occasionally get together and play some covers just for fun. Then Tibor drifted our way, and somehow it all naturally developed into what we have today.

Tibor: Yeah, I actually didn't play anything before we got together, but I'd always loved a good low end — basslines and that sort of thing — so I picked up the bass.

5. Looking back at almost ten years of Void Odyssey, in what ways is the band today completely different from the one you started in 2017, and what hasn't changed at all?

Tom: We've somehow become a bit more musically mature, and that naturally shows in the music we make. We also listen to a wider range of genres these days. We're probably a little more self-critical than we need to be as well. That's one of the reasons why things tend to move more slowly in the band.

Nemo: One thing that definitely hasn't changed is our ability to spend the entire rehearsal just talking shit instead of rehearsing... That's probably another reason why we write so slowly, heh.

RIFF / FUZZ AND NO VOCALS

6. How did the first riffs and songs come together? Did you have a particular sound you wanted to get close to, and how long did it take you to find your own?

In the beginning, we were mainly into Black Sabbath — that was our primary source of inspiration. Later, we started moving closer to more modern doom, bands like Belzebong, Monolord... I feel like searching for our sound is an endless process. We're constantly discovering and trying new things.

7. Your 2022 debut is built around massive riffs, but it also features more psychedelic, almost ritualistic passages. At what point are you satisfied with a new riff, and how do you develop it from there?

The best riff is one that immediately makes you think of other passages that could go with it. So far, it's always been about finding that kind of riff for us. Once you find it, the rest just comes naturally.

8. Why did you decide to remain instrumental? Was it intentional, or did you simply never find a voice that could add something more to your music?

Back when we were still playing covers, we tried a few different vocalists, but it never really worked out between us. Eventually, we just thought: actually, why do we need vocals at all?

9. Considering you don't have vocals, what kind of visual or emotional associations do you have while playing your songs?

Nemo: It's a bit of a cliché in this genre, but since we don't have vocals, we've tried to replace — or rather compensate for — their absence with various samples from films, TV shows and radio plays. Personally, when I'm playing or listening to the songs, the individual scenes that a particular sample comes from start playing in my head.

Tibor: It's similar to how I experience listening to music in general. It puts you in a certain mood, except that feeling is intensified because I'm actually playing the music myself. Plus, when the whole thing really locks together, it's fucking great. And then comes the brain-melting moment when a massive riff kicks in, hehe.

10. Which fuzz pedals do you use, and how did you end up with them? What else besides fuzz forms the foundation of your sound?

Tom: For a long time, I used a silicon fuzz from Minotaur Sonic Terrors, until it broke. Now I've got a Sunn Life Pedal V3 from EarthQuaker Devices.

Tibor: Various versions of the Green Muff. Occasionally, I try something different, but it usually doesn't make it out of the rehearsal room and I go back to what works. So right now, it's a Sovtek Deluxe Big Muff, which nicely fills out my half-empty bass pedalboard.

THE BRATISLAVA / SLOVAK DOOM MICRO-SCENE

11. How do you think the Slovak stoner/doom scene is perceived abroad? Is a band from Slovakia still something exotic, or is it relatively easy these days to break into the international scene, with everything that comes with it — festival invitations, offers from foreign labels, etc.?

Unfortunately, we can't really comment on that. So far, we've only played at home, although we'd be more than happy to play pretty much anywhere. If anyone reading this wants us at their event, get in touch — we'll even play for beer.

12. You've managed to share the stage with several prominent names from the international stoner-doom scene. What did those shows give you, and did they help you get your sound out beyond Slovakia?

We're always happy when we get the chance to play with bands like that. It rarely results in us gaining any new fans, though. But I'd mostly blame that on the fact that we're absolutely terrible at social media.

13. Who else besides you makes up the Bratislava and wider Slovak stoner-doom scene, and are the bands in contact with one another?

Once again, I can point to our allergy to social media. That's probably also one of the reasons why we're basically not in touch with anyone else from the scene.

14. Does Slovakia have enough bands and enough of an audience today to support its own stoner/doom festival, or would the second edition just attract the same 25 people who came to the first one?

I think there are enough bands here by now, and an event like that could definitely catch on.

RECORDING, PULP AND THE COVER ART

15. You chose PULP Studio to record your debut — why them, and how satisfied were you with the final sound?

We were looking for a studio where the whole band could record live together, to give it that kind of “vintage” feel. PULP was probably the best option for that at the time. The sound is great, and we're more than satisfied with both the whole process and the final result.

16. How did the recording process and creation of the final sound work? Did you play it safe with tried-and-tested stoner settings, or did you go your own way?

Even the initial recording sounded pretty decent. Afterwards, we all sat down together and fine-tuned the details.

17. With stoner/doom, a large part of the final result often takes shape during recording, mixing and mastering. For the new recording, have you considered using a studio or producer outside Slovakia with experience in this kind of sound?

Since none of us had absolutely any recording experience at the time, we didn't really consider anything like that back then.

18. The cover of your debut comes from the acclaimed Italian illustrator MontDoom — how did you find him, and how satisfied were you with the way he captured the feeling of the album?

I think we found him on Instagram, and we knew he'd be a safe bet. The cover definitely turned out great, and he captured everything we wanted from it.

BENEFIT FOR MICHAL CETERA AND NEW MATERIAL

19. I'd also like to take this opportunity to thank you for collaborating on the benefit cassette split with Bongsilisk, where you donated the proceeds towards the treatment of Michal from Zmyrna. How satisfied are you with the cassette and with the pairing of the two bands for this release?

The cassette turned out great, and we're happy that we could do our small part and help, at least a little.

20. The benefit split featured material from your debut. So where is the new Void Odyssey? Do you already have finished riffs or complete songs, and will the new material continue where the debut left off, or has your idea of what the band should sound like changed over the years as well?

We're slowly working on new material, and we're already regularly playing some of the new songs with violin at our shows. As soon as we have enough material that we're happy with, we'll go and record it. Naturally, our songwriting has changed a little over the years, and we're drawing inspiration from different bands now. We firmly believe the new material will be just as interesting — or hopefully even more so.

JDØS FINALE

21. Who has a better natural predisposition for the doom feeling — metalheads or punks?

Probably metalheads. At least that's what it looks like at the shows.

22. Was Jiří Schelinger the first Czechoslovak stoner-doom artist? When you listen to Kartágo or Lupič Willy, there are moments where you hear riffs that even a band forty years later wouldn't be ashamed of. Where would you look for the prehistoric roots of Czechoslovak doom?

To be honest, this is the first time I've heard of those songs. We always just thought of him as an inferior cover artist.

23. To what extent do you think marijuana is still an authentic part of stoner culture, and to what extent has it become just another genre prop — something like corpsepaint in black metal? Is it even possible to make stoner without reefer? Or, as our northern brothers say, is it true that “Zajebiście palić liście”?

Tom: The music is practically made for tripping, so we're always happy when someone is feeling good enough to light one up at our show. You can definitely make this kind of music without it — just look at us. I'm immune to the effects, so for me it's just a waste of money. One puff sends our bass player all the way to Saturn, while our drummer just gets anxious from it.

So we've stopped completely.

Nemo: We're just old posers now...

24. What are you listening to, watching and reading these days?

Tom: Everything from Russian Circles through Sting to King Crimson.

Nemo: These days, after quite a long break, I've been feeding my head a fair amount of Nine Inch Nails. Besides that, the new Sleep album (sadly, a disappointment), Czech band P/\ST, and Russian Circles. And just to mix things up a little, I've also been letting myself get carried away by the juicy grooves of Donny Benét (12 September 2026 at Kácečko — we're looking forward to that).

Tibor: Over the last few days, Torche, Ulcerate, and, coincidentally, some old-school deathcore. Autumn will probably change the genres around a bit. I tend to read older books — I've got quite a few unread second-hand finds sitting on my shelves. With new stuff, I prefer recommendations. At the moment, Stendhal.

25. Is there anyone you'd like to read an interview with on JDØS?

Tom: Ethereal Pandemonium.

Nemo: A not particularly interesting fun fact is that we played our very first show in 2018 with Besna. I've been a huge fanboy ever since, and even though they're basically celebrities these days, I'd definitely like to read an interview with them on JDØS.

26. A motto or final message?

To Black Sabbath!

#316 JIG-AI // Grindcore // Jarda a JIG-AI // 31.8.2026

 

 

photos: www.truemetal.it - Davide Sciaky

 

 

JIG-AI BAND INTRO

1. Za dve desaťročia ste prešli od anime goregrindu k pomerne vážnemu konceptu o japonskom pekle. Dozrel žáner, alebo skôr vy ako jeho autori?

Určitě je to souhra vícero faktorů, ne jen jeden jediný. Ten posun je jednoznačně způsoben naším vývojem jako kapely, což je přirozený proces, který se děje kdekoli. A nepochybně se na tom podepsaly i personální změny uvnitř kapely. Japonsko jako téma nám zůstává blízké, jen se na něj teď díváme z úplně jiného úhlu.


2. Väčšina ľudí považuje pig squeal, alebo 'tenor' ako ste ho nazývali v dobách minulých, za vrchol extrému. Na novom albume ste sa rozhodli od neho ustúpiť. Prečo je to tak a akým typom vokálu dnes dopĺňate 'bass'? 

V určitém období byla metalová scéna prostě ‚přepigsquealovaná‘. Je zajímavé, že tuhle techniku zmiňuješ jako vrchol extrému – nám už to tak rozhodně nepřijde. :-) Přijde nám to už spíš absurdně nadužívané, a tím to v našich uších ztratilo tu původní razanci. Dnes sázíme na jiné polohy, které nám k současnému zvuku sedí víc.

3. Predposledný album Entrails Tsunami vznikol tesne pred covidom a v starej zostave? Do akej miery vám covid rozosral plány a zapričinil sa o nový line-up?

Řekněme, že covid nám plány pořádně naboural :D. Kašpy po nahrání desky kapelu opustil a chvíli trvalo, než jsme našli náhradu. Když už pak Jarda naskočil do sestavy a nadrtili jsme celý playlist, abychom mohli vyrazit na domluvené japonské turné s Pig Destroyer a Brujerií, přišel zákaz cestování. Takže Jardův první koncert s JIG-AI byl sice ve městě, jehož jméno začíná na T, ale Tokio to nebylo – skončili jsme v Trutnově :D. Nutno ale dodat, že tenhle ‚malý Obscene‘, kde byla backstage vlastně přímo na stage, byl super zážitek.


4. Do novej zostavy ste priniesli ostrieľaných borcov z death metalovej scény - sú oni príčinou väčšej temnoty zamerania nového albumu na úkor tradičných hentai komiksových gore tém? Ako sa prejavuje deathmetalová temnota v grinde? 

To je zajímavý úhel pohledu a určitě na tom něco bude. Jarda i Rob mají za sebou zkušenosti z kapel, které mají death-grindové kořeny – Rob teď hraje v Taedifer, Jarda zase v Perferii a Noises. Oba ale do JIG-AI přišli s tím, že respektují zvuk a identitu kapely. Nejde tedy o revoluci, ale o přirozenou evoluci. Zajímavostí je, že poslední desku Jigoku nám pochválil i původní bubeník Štefy s tím, že je to podle něj nejpovedenější nahrávka JIG-AI, což nás hodně potěšilo. :-) Určitě je ale potřeba zmínit i Buráka, který jako zakládající člen vždy směřoval kapelu k old-school goregrindu – tedy k té verzi žánru, která vznikla jako evoluce grindcoru v nekompromisní, hutnou a brutální muziku. Tenhle mix všech vlivů se na výsledku zkrátka podepsal.


5. Info pre gear nerdov - na čom sa vyrába zvuk Jig-Ai? Zmenili ste nástroje a aparatúru alebo sa držíte osvedčených nastavení? 

S tím zvukem nejvíc laboruje Rob – řeší zesilovače, efekty, kytary a propojení dvou aparátů. Burák pak vyžaduje nekompromisně ‚bagrující‘ brutální basu a Jarda se zase snaží, aby z těch bicích za tou stěnou aparátů aspoň něco zbylo. :D Ve výsledku bychom ale řekli, že jsme v tomhle ohledu spíš tradicionalisté – držíme se osvědčených postupů, které nám prostě sedí.

NEW ALBUM MYTHOLOGY

6. Ako som už spomínal, Jigoku vnímam ako posun od hentai gore k folk-horrorovej démonologickej támatike. Ako súvisia príbehy Injectatora Kruta s Yōkai, ktorí sa objavujú na novom albume a kde je Kruto-san dnes?

Přímou linii nebo nějaké příběhové propojení v tom úplně nehledej. Je to prostě nová sestava, nová deska a s tím spojený i úplně nový pohled na naši japonskou inspiraci. Nové album JIGOKU se netočí kolem Kruta, ale plně se soustředí na démony ONI a samotné japonské peklo – Jigoku. Deska má celkem 20 songů a každý z nich vypráví svůj vlastní minipříběh. Všechny tyhle příběhy jsou zmíněné už v klasickém obalu CD, ale ve speciální 'long box' verzi CD je navíc ke každému příběhu i samostatný obrázek. Úplně stejně to pak bude vizuálně zpracované i u chystaného vinylu. Celé album je zkrátka koncipované jako komplexní, naprosto samostatné dílo. Není to link na naši předchozí historii, je to zbrusu nová kapitola. ;-)


7. Aké parametre museli spĺňať a čím sa kvalifikovali jednotliví démoni na album Jigoku?

Byla to kombinace ukrutnosti a řekněme jisté výstřednosti. Všem silně doporučujeme se aspoň trochu ponořit do japonské mytologie – je to bezedná studnice divnosti a zvrácenosti, kde narazíte na postavy jako je děsivý Aka Manto, přízrak v červeném plášti, který se objevuje na toaletách a dává lidem na výběr mezi smrtí červeným nebo modrým papírem. Setkáte se tu i s Enmou, mocným králem a soudcem podsvětí, který podle japonské tradice rozhoduje o osudu duší a jejich dalším znovuzrození v pekle Jigoku. A samozřejmě nechybí ani Tanuki, šibalský psík mývalovitý, který je v japonském folklóru proslulý svou schopností měnit podobu a dělat si z lidí blázny – v tradičních zobrazeních je totiž známý tím, že ke svým magickým kejklím a trikům kreativně využíval i svá obří varlata. Všechny tyto příběhy rezonují se všemi pozitivy i špatnostmi lidské nátury. Takže si projděte tracklist našeho posledního alba a schválně si ty jednotlivé démony zkuste trochu zavyhledávat. ;-)


 

8. Keby Enma naozaj otvoril brány pekla dnes, koho alebo čo by podľa vás démoni poslali späť dole ako prvé?

Hele, těch adeptů je tolik, že by to byl nekonečný seznam. Defacto by tam letěla většina politiků, sebestřední narcisté, glorifikátoři moderní doby a všichni ti, co jedou ten tupý, konzumní pohled na svět. Prostě by to byl pořádný humbuk, kdyby se to začalo třídit..


9. Jigoku je japonské peklo, ktoré ale nie je večné - len dočasné, kde po vykonaní trestu môže nasledovať reinkarnácia. Nie sú v udeľovaní trestov kresťania trochu viac dôslednejší a existuje v japonskom folklóre koncept väčného zatratenia?

Tohle je trochu matoucí pohled na věc ;-) Zapomněl jsi totiž na jeden podstatný detail: do Jigoku se v podstatě můžeš vracet donekonečna. Takže se nabízí otázka – co je vlastně horší? Jedno kontinuální, věčné peklo, nebo nekonečný řetězec utrpení, kde sice teoreticky existuje naděje, že to může skončit, ale v praxi se v tom kolečku točíš pořád dokola? Hmmm… Pokud jde o víru, ta je jako taková v pohodě, ale církve a institucionalizované náboženství, to je pro nás naprosté manipulační peklo.


10. V japonskej kultúre ma fascinujú tzv. jisei - básne písané odsúdenými krátko pred popravou, alebo rituálnou sebevraždou. Predstavte si, že máte 5 minút do popravy - aký jisei vás napadne? 

Safra to není pro nás uplně jednoduché zadání :-) co třeba toto?

Zavírá se backstage a pódium mlčí,
naše cesta krví a řevem je u konce.
Nelitujeme konce a nehledáme ticho.
Slyšíme, jak se z hlubin zvedá bouře
mohutná hradba podladěného bahna,
nekonečný blastbeat a absolutní hluk.
My mizíme v temnotě,
ale ten zvuk tu bude hřmít věčně.

GOREGRIND HISTORY and EVOLUTION

11. Čechy majú už dekády kvalitnú grindovú scénu. Pamätáte si začiatky? Kto boli pionieri scény a ako sa vyvinul a zmenil žáner od jej počiatkov?

Tohle je otázka, která by sama o sobě vydala na celý rozhovor. Důležité je vnímat, jaká to tehdy byla doba – před třiceti a více lety se na nějaké škatulkování moc nehrálo. Kdybych měl někoho vypíchnout, vystřelím jména jako Pathologist, rané nahrávky Malignant Tumor, prapůvod Cerebral Turbulency nebo Ingrowing, kteří to tak pěkně ‚chlívovatěli‘. Do toho další jako Deaf and Dumb, Contrastic nebo Agony Conscience... Určitě jsme na spoustu dalších zapomněli, ale musíme zabrousit i za hranice k naprostým základům, jako jsou Carcass nebo Dead Infection. Je toho prostě mraky.


12. Aký rozdiel je v dnešnej dobe medzi punkovým a metalovým vnímaním a prístupu ku grindu a v čom sa oba prístupy stretávajú? 

Tady se musíme opět vrátit k té době, kdy jsme jako muzikanti i fanoušci začínali. Tehdy se na nějaké škatulkování moc nehrálo, nebo se to všechno míchalo takovým způsobem, že pokoušet se o exaktní odpověď je vlastně nesmysl. Pro nás to nikdy nebylo o tom, jestli jsme víc punk nebo metal – šlo o ten samotný přístup a energii, která se v tom všem potkávala.


13. Čo okrem blastbeatov a krátkych skladieb definuje esenciu grindcore? Ak by ste mali niekomu vysvetliť grindcore bez toho, aby ste pustili jedinú skladbu, čo by ste povedali? 

Tady hrozně záleží na tom, jestli to vysvětlujeme někomu, kdo má aspoň trochu přehled a tuší, že existují i tvrdší verze metalu než Nothing Else Matters, nebo někomu, kdo je úplně mimo... Pokud ale hledáš tu nejuniverzálnější odpověď? Grindcore je prostě čistá, neředěná a agresivní energie.

 

JIG-AI WORLDWIDE ExPERIENCES and PLANS

14. Jig-Ai za dvadsať rokov existencie precestoval kus sveta - koľko času ste strávili na cestách a do akej najväčšej exotiky sa vám podarilo dostať?

To už dneska asi nikdo přesně nespočítá – a to ani za JIG-AI jako celek. Na cestách jsme strávili neuvěřitelné množství času. A ta největší exotika? Amerika, Mexiko, Japonsko nebo Austrálie... vybrat jedno místo je skoro nemožné. Tempo ale rozhodně nepolevuje – teď o víkendu letíme do Španělska, zrovna jsme se vrátili z Itálie a před námi je Německo, Normandie, Švédsko nebo Belgie.


15. V akej krajine má Jig-Ai najväčší fan base?

Bez debat je to Mexiko a další země Jižní Ameriky, pak samozřejmě Japonsko a v neposlední řadě Česká republika.


16. Ktorý extrémny zážitok z ciest vás napadne ako prvý? 

Takhle to bohužel nefunguje :D Nelze vybrat jen jednu věc. Jakmile se na to zeptáš, okamžitě vylítne jedna vzpomínka za druhou. Je to prostě nekonečná koláž šíleností. Máme samozřejmě i plno historek, které jsou nejlepší na vyprávění v backstage nebo u piva, ale úplně je nechceme pálit tady do éteru. Některé z těch ‚publikovatelných‘ kousků se ale objevují v našich vlozích na YouTube, Facebooku nebo Instagramu – stačí nás sledovat a ono se to k vám dřív nebo později nějak dostane. ;-)

17. S ktorými kapelami radi zdielate pódium a ktoré kluby alebo festivaly máte najradšej?

To je zase hrozně široké téma, které nás trochu nutí generalizovat. Jsou kapely, které nás třeba hudebně úplně neoslovují, ale jsou to skvělí lidi. Pak jsou ty, které nás baví hudebně a ještě si s nimi perfektně sedneme lidsky – a stejně to funguje i s kluby a festivaly. Když máme ale vypíchnout jednu konkrétní věc, tak je to italský Frantic Fest. Úžasná atmosféra, skvělí lidé, od backstage až po návštěvníky, a perfektní festivalová crew. Jediný lehčí škraloup jsme tam zažili, když se zvučilo a zvukař tehdy vystupujících Igorrr si stěžoval, že jsme moc nahlas a že náš ‚chlív‘ ruší jejich vystoupení :D :D :D. Tak jsme chvíli počkali, až se jejich veličenstva dohrála, a pak jsme se do toho pustili my. Jsou to zkrátka úžasní lidé a úžasné akce. Někdy je to sice trochu slabší, ale pořád je to dar – můžeme takhle jezdit po světě, hrát, potkávat tuny fajn lidí a mít nezapomenutelné zážitky.


18. Kde uvidíme Jig-Ai najbližšie a aké plány má kapela v 2026?

Jelikož se ptáš na 2026, tak ten máme z hlediska bookingu už prakticky uzavřený – máme odehráno a soustředíme se na to, co přijde v roce 2027. Naší hlavní prioritou bude samozřejmě propagace aktuální desky. Po klasickém CD a limitované edici Long Boxu teď chystáme kazetu a vinyl, který bude zase vizuálně vymazlený. Rozdělaný máme i další klip, takže se fanoušci mají na co těšit. K tomu plánujeme i nový, speciální merch. Co se týče živého hraní, máme v jednání jedno nebo dvě tour a hromadu dalších koncertů. A v neposlední řadě si v kapele říkáme, že je čas začít skládat další materiál, takže nudit se rozhodně nebudeme. Je toho zkrátka hodně, co máme v plánu!

JDØS FINALE

19. Minule sa mi priznal známy, že jeho "guilty pleasure" je Keep the Faith od Bon Jovi. Na to som mu v mobile ukázal svoj 90s dance floorový playlist a on pochopil že peklo nemá len jedno poschodie a pojem hanba je relatívny. Čo sú vaše guilty pleasures za ktoré vás Enma pošle do najhlbšej priepasti Jigoku?

Ten dance floor playlist, to je slušná fajnšmekrovina :D A Keep The Faith je mimochodem super song! :-) Já poslouchám hrozně široké spektrum muziky. Kdybych měl za sebe vybrat něco, co by se od goregrindera úplně nečekalo, tak je to asi záliba v českém rapu nebo trapu. :-) Ve všem se dá najít zalíbení – někdy je ten ‚cringe level‘ takový, že je to vlastně nechutná kokotina, ale nějak tě to magnetizuje a prostě si to musíš pustit. Každý to má jinak – a jak to máš ty? 

20. Čo počúvate, pozeráte a čítate v týchto dňoch?

Aktuálně jedu staré britské a francouzské černobílé detektivky. I když občas projedu novinky na streamovacích platformách, čím jsem starší, tím víc mě táhne stará kinematografie. Ty filmy totiž nejsou tak polopatické, najdeš v nich skvělé detaily a mají mnohem větší hloubku. A čtení? Mám pár knížek odložených stranou, ale ty si nechávám až na dlouhé podzimní a zimní večery.


21. Je niekto s kým by ste si radi prečítali rozhovor na JDØS?

Určitě by bylo zajímavé dát prostor pořadatelům koncertů, provozním nebo dramaturgům hudebních akcí. Zajímavé osobnosti jsou ale i výrobci merche, designéři, kteří dělají obaly k muzice, kterou všichni posloucháme, nebo tvůrci videoklipů. U undergroundové hudby je skvělé, že ti lidé, na které by ses ptal, většinou dělají víc věcí najednou – a právě tyhle ‚propojky‘ a zákulisní vazby jsou ultra zajímavé.


22. Motto alebo odkaz na záver.

Díky moc za příležitost se “vypovídat” ;-) a Motto? Mějte vlastní hlavu, ověřujte si zdroje informací, poslouchejte muziku, podporujte kapely, choďte na koncerty. Žijte životy mimo obrazovky. Žijte životy! Dík Jarda a JIG-AI

JIG-AI BAND INTRO

1. Over the course of two decades, you've gone from anime goregrind to a fairly serious concept about Japanese hell. Has the genre matured, or have you matured as its creators?

It’s definitely a combination of multiple factors, not just a single one. This shift is clearly caused by our evolution as a band, which is a natural process that happens anywhere. And undoubtedly, the line-up changes within the band played a role as well. Japan as a theme remains close to us, we just look at it from a completely different angle now.

2. Most people consider pig squeals – or "tenor," as you used to call it back in the day – the ultimate extreme vocal technique. On the new album, you've decided to move away from it. Why, and what kind of vocals do you use alongside the "bass" these days?

At a certain point, the metal scene was simply 'over-pig-squealed'. It’s interesting that you mention this technique as the peak of extreme – we definitely don’t see it that way anymore. :-) To us, it feels absurdly overused, and because of that, it lost its original punch in our ears. Today, we bet on different vocal ranges that fit our current sound much better.

3. Your previous album, Entrails Tsunami, was recorded just before Covid and with the old line-up, right? How badly did Covid fuck up your plans, and how much did it contribute to the new line-up?

Let’s just say covid really messed up our plans :D. Kašpy left the band after recording the album, and it took a while before we found a replacement. When Jarda finally jumped into the line-up and we grinded the whole playlist so we could go on a booked Japanese tour with Pig Destroyer and Brujeria, the travel ban hit. So Jarda’s first gig with JIG-AI was indeed in a city starting with a 'T', but it wasn't Tokyo – we ended up in Trutnov :D. But we have to add that this 'little Obscene [Extreme]', where the backstage was literally right on the stage, was a great experience.

4. You've brought some battle-hardened guys from the death metal scene into the new line-up. Are they partly responsible for the darker direction of the new album at the expense of the traditional hentai/comic-book gore themes? How does death metal darkness translate into grind?

That’s an interesting perspective, and there’s definitely some truth to it. Both Jarda and Rob have backgrounds in bands with death-grind roots – Rob currently plays in Taedifer, and Jarda in Perferia and Noises. However, both joined JIG-AI respecting the band's sound and identity. So it's not a revolution, but a natural evolution. An interesting fact is that our original drummer, Štefy, praised the latest Jigoku record, saying it's the best JIG-AI release in his opinion, which really pleased us. :-) But we definitely have to mention Burák, who as a founding member always steered the band towards old-school goregrind – meaning the version of the genre that evolved from grindcore into uncompromising, dense, and brutal music. This mix of all influences simply left its mark on the final result.

5. Some info for the gear nerds – what do you use to create the JIG-AI sound? Have you changed your instruments and amps over the years, or do you stick with tried-and-tested setups? 

Rob experiments the most with the sound – he deals with amps, effects, guitars, and linking two rigs. Burák strictly demands a brutal, 'bulldozing' bass tone, and Jarda just tries to make sure at least something from the drums survives behind that wall of amps. :D But ultimately, we'd say we're more traditionalists in this regard – we stick to proven methods that simply work for us.

NEW ALBUM MYTHOLOGY

6. As I mentioned earlier, I see Jigoku as a shift from hentai gore towards folk-horror and demonological themes. How are the stories of Injector Kruto connected to the Yōkai appearing on the new album, and where is Kruto-san today? 

Don't look for a direct line or any story connection there. It’s simply a new line-up, a new record, and with that comes a completely new perspective on our Japanese inspiration. The new album JIGOKU doesn't revolve around Kruto, but fully focuses on the ONI demons and the Japanese hell itself – Jigoku. The record has 20 songs in total, and each tells its own mini-story. All of these stories are already included in the standard CD booklet, but the special "long box" CD edition also has a separate illustration for each story. The upcoming vinyl will be presented visually in exactly the same way. The whole album is simply designed as a complex, completely standalone piece of work. It’s not a link to our previous history; it’s a brand new chapter. ;-)

7. What criteria did the individual demons have to meet to qualify for a place on Jigoku?

It was a combination of cruelty and, let's say, a certain eccentricity. We strongly recommend everyone to dive at least a little into Japanese mythology – it’s a bottomless well of weirdness and perversion, where you'll come across characters such as the terrifying Aka Manto, a ghost in a red cloak who appears in toilets and gives people the choice between death by red or blue paper. You'll also encounter Enma, the mighty king and judge of the underworld, who according to Japanese tradition decides the fate of souls and their subsequent rebirth in hell – Jigoku. And of course there's Tanuki, the mischievous raccoon dog famous in Japanese folklore for its ability to shapeshift and play tricks on people. In traditional depictions, it's also known for creatively using its enormous testicles in its magical tricks and mischief. All of these stories resonate with both the good and bad sides of human nature. So go through the tracklist of our latest album and try searching for those individual demons yourself. ;-)

8. If Enma really opened the gates of hell today, who or what do you think the demons would send straight back down first?

Look, there are so many candidates it would be an endless list. Basically, most politicians, self-centered narcissists, glorifiers of modern times, and all those pushing that ignorant, consumerist view of the world would fly right in. It would be a massive uproar if they started sorting them out..

9. Jigoku is Japanese hell, but it isn't eternal – it's only temporary, and after serving your punishment you can be reincarnated. Aren't Christians a little more thorough when it comes to punishment? And is there any concept of eternal damnation in Japanese folklore?

This is a somewhat confusing way to look at it ;-) You forgot one crucial detail: you can basically return to Jigoku infinitely. So that raises the question – which is actually worse? One continuous, eternal hell, or an endless cycle of suffering where, theoretically, there's always hope that it might eventually end, but in practice you just keep going around and around in the same circle? Hmmm... As for faith, that's fine in itself, but churches and institutionalized religion, to us, that's absolute manipulative hell.

10. One thing that fascinates me about Japanese culture is the so-called jisei – death poems written shortly before execution or ritual suicide. Imagine you've got five minutes left before your execution. What jisei comes to mind? 

Damn, that's not exactly an easy task for us :-) how about this?

The backstage closes and the stage is silent,
our path of blood and roaring comes to an end.
We don't regret the end and we don't seek silence.
We hear a storm rising from the depths
a massive wall of downtuned sludge,
an endless blastbeat and absolute noise.
We fade into the darkness,
but that sound will thunder here forever.

GOREGRIND HISTORY AND EVOLUTION

11. The Czech scene has had a strong grind scene for decades. Do you remember the early days? Who were the pioneers, and how has the genre evolved and changed since its beginnings? 

This is a question that could take up a whole interview by itself. It’s important to realize what times those were – thirty or more years ago, people didn’t really care about putting things into boxes. If I had to pick a few names, I'd immediately mention Pathologist, the early recordings of Malignant Tumor, the very beginnings of Cerebral Turbulency, or Ingrowing, who were getting nicely filthy and disgusting with it. Then there were others like Deaf and Dumb, Contrastic and Agony Conscience... We surely forgot a lot of others, but we also have to go beyond the borders to the absolute foundations, like Carcass or Dead Infection. There are just tons of it.

12. What's the difference today between the punk and metal approaches to grind, and where do the two meet?

Here we have to go back again to the time when we started as musicians and fans. Back then, no one really cared about categorization, or it all mixed in such a way that trying to give an exact answer is actually nonsense. For us, it was never about whether we were more punk or metal – it was about the approach itself and the energy that converged in all of it.

13. Apart from blast beats and short songs, what defines the essence of grindcore? If you had to explain grindcore to somebody without playing them a single song, what would you say? 

This heavily depends on whether we are explaining it to someone who has at least some overview and suspects there are harder versions of metal than Nothing Else Matters, or to someone completely clueless... But if you're looking for the most universal answer? Grindcore is simply pure, undiluted, and aggressive energy.

JIG-AI WORLDWIDE EXPERIENCES AND PLANS

14. Over the course of twenty years, JIG-AI have travelled a good part of the world – how much time have you actually spent on the road, and what's the most exotic place you've managed to reach? 

Nobody can probably count that exactly today – not even for JIG-AI as a whole. We have spent an incredible amount of time on the road. And the most exotic? America, Mexico, Japan, or Australia... picking just one place is almost impossible. The pace definitely isn't slowing down though – we're flying to Spain this weekend, we just got back from Italy, and ahead of us are Germany, Normandy, Sweden, and Belgium.

15. Which country has the biggest JIG-AI fanbase?

Without a doubt, it’s Mexico and other South American countries, then of course Japan, and last but not least, the Czech Republic.

16. What's the first extreme experience from your travels that comes to mind?

Unfortunately, it doesn't work like that :D You can't just pick one thing. As soon as you ask, one memory after another instantly pops up. It's just an endless collage of madness. We obviously have plenty of stories that are best told in the backstage or over a beer, but we don't really want to burn them here on air. Some of the 'publishable' bits do appear in our vlogs on YouTube, Facebook, or Instagram though – just follow us and it will reach you sooner or later somehow. ;-)

17. Which bands do you enjoy sharing the stage with, and which clubs or festivals are your favourites?

That is again a hugely broad topic that forces us to generalize a bit. There are bands that might not completely appeal to us musically, but they are great people. Then there are those we enjoy musically and also vibe with perfectly on a human level – and it works exactly the same with clubs and festivals. But if we have to highlight one specific thing, it's the Italian Frantic Fest. Amazing atmosphere, great people – from backstage to the audience – and a fantastic festival crew. The only minor stain we experienced there was during soundcheck, when the sound guy for Igorrr (who were performing at the time) complained that we were too loud and that our 'noise' was disrupting their show :D :D :D. So we waited a bit for their majesties to finish playing, and then we went for it. Simply put, these are amazing people and amazing events. Sometimes it's a bit weaker, but it's still a gift – we can travel the world like this, play, meet tons of nice people, and have unforgettable experiences.

18. Where can we see JIG-AI next, and what plans does the band have for 2026?

Since you're asking about 2026, that year is already practically closed for us in terms of booking – we are done booking and are focusing on what's coming in 2027. Our main priority will, of course, be promoting the current record. After the classic CD and the limited Long Box edition, we are now preparing a cassette and a vinyl, which will again be visually pristine. We also have another music video in the works, so the fans have a lot to look forward to. Along with that, we're planning new, special merch. As for playing live, we have one or two tours in negotiation and a bunch of other gigs. And last but not least, we're telling ourselves in the band that it's time to start writing new material, so we definitely won't be bored. There's just a lot we have planned!

 

JDØS FINALE

19. A friend recently confessed to me that his "guilty pleasure" is Bon Jovi's Keep the Faith. In response, I showed him my 90s dancefloor playlist on my phone, and he realised that hell has more than one level and that shame is relative. What are your guilty pleasures that would make Enma send you straight to the deepest pit of Jigoku?

That dance floor playlist is quite the connoisseur choice :D And Keep The Faith is a super song, by the way! :-) I listen to a huge spectrum of music. If I had to pick something for myself that wouldn't exactly be expected from a goregrinder, it’s probably a fondness for Czech rap or trap. :-) You can find something to like in everything – sometimes the 'cringe level' is so high that it's actually disgusting bullshit, but somehow it magnetizes you and you just have to play it. Everyone has it differently – how about you?

20. What are you listening to, watching and reading these days?

Currently, I'm binging old British and French black-and-white detective movies. Even though I occasionally check out new releases on streaming platforms, the older I get, the more I'm drawn to old cinematography. Those movies aren't so spoon-fed; you find great details in them and they have much more depth. And reading? I have a few books set aside, but I'm saving those for the long autumn and winter evenings.

21. Is there anyone you'd like to see interviewed on JDØS? 

It would definitely be interesting to give space to concert promoters, venue managers, or dramaturgs of music events. But merch manufacturers, designers who create album covers for the music we all listen to, or music video creators are also fascinating personalities. The great thing about underground music is that the people you'd be asking usually do multiple things at once – and exactly these 'connections' and backstage ties are ultra interesting.

22. A motto or final message? 

Thanks a lot for the opportunity to “speak our minds” ;-) And a motto? Have a mind of your own, verify your sources of information, listen to music, support bands, go to gigs. Live lives off the screens. Live your lives! Thanks, Jarda and JIG-AI.

#201 Lord Belial Reviews: Solipsism - Pedagogy for the Existentially Exhausted (2026)

 

Solipsism - Pedagogy for the Existentially Exhausted (2026)
By Lord Belial

 

 „the only dance we dance
is the dance of decadence.“
Gallowswaltz, Solipsism

Je smutným fenoménom dnešnej doby, že mnohí zotrvávajú v svojich životoch, hoci po ňom už dávno netúžia. Najväčšou iróniou takejto existencie je práve to, že vôľa žiť pretrváva aj tam, kde sa vytratila vôľa tešiť sa zo života. Srdce poslušne odmeriava čas vo svojom naučenom rytme, kým telo naďalej strojovo plní príkazy z mozgu. Myseľ podvedome skúma, či ešte pod nohami nájde pevné dno. Smrť sa vtedy prestáva javiť ako nepriateľ. Človek k nej po celý život kráča, no len málokedy si prizná, že bez smrti by život nebol krajší, len by sa donekonečna odkladal. Ľudia vyčerpaní bytím sú smutnými žiakmi beznádejnej existencie. Už ich neoklamú sľuby trvalého šťastia ani predstava, že utrpenie je iba omyl, ktorý sa dá veľmi ľahko napraviť. Nádejou nech je ten zvláštny paradox človeka, že aj keď už pozná svoj koniec, každé ráno znovu vstane a na krátky okamih sa správa, akoby svet ešte stále stál za ďalší nádych. 

Musím priznať, že banskobystrický Solipsism vnímam na scéne len veľmi krátko, no stihli už u mňa zanechať veľmi silný dojem. Ich melancholicky ladený post black metal hodnotím veľmi vysoko, a to najmä po tom, čo som si vypočul ich druhý full album Pedagogy for the Existentially Exhausted (Pedagogika pre vyčerpaných bytím). Ten vyšiel na CD koncom mája v Sun & Moon Records a na ploche 50 minút prináša témy, o ktorých sa v spoločností ešte stále hovorí oveľa menej, než by sa malo. 

 

Úvodný song K pádom a vstaniam je úžasnou metalovou meditáciou o pádoch, beznádeji a neustálom hľadaní radosti v priestore, ktorý často pôsobí absurdne a bez jasných odpovedí. Namiesto prvoplánového optimizmu ponúka konfrontáciu medzi rezignáciou a vôľou pokračovať. Motívy noci, pádov a smrti vytvárajú nielen temnú lyrickú atmosféru, ale aj hudobnú; kombinujúc tradičné  blackmetalové pasáže s melancholickými je cítiť, že s ľudstvom niečo nie je v poriadku a treba to povedať nahlas, jasne a zrozumiteľne! Napriek smútku, beznádeji, bolesti a nevyhnutnému koncu má význam pokračovať, ak človek nájde svoje vlastné prečo. 

Hľadanie zmyslu žitia namiesto bezcieľneho pôžitkárstva či úniku pred prázdnotou nájdeme v prenádhernej druhej piesni Strive For Meaning. Človek nie je pasívnou obeťou, ak sa správne rozhodne, čím naplní svoj život. Ale čo ak nie? Pieseň sa nesie v o niečo pomalšom tempe s viacerými melancholickými pasážami a zúfalo vykričanom refréne  "Strive, strive, strive for meaning", ktorý dôrazne upozorňuje, že hodnoty nevznikajú len tak samovoľne, ale človek ich musí vytvárať vlastnou vôľou. Súčasne sa tu predstavuje prvý z až piatich hostí tohto albumu, ktorým je A.G. (Gergely Almasi) z Autumn Nostalgie.  Pri tomto sa na chvíľu pristavím, osobne hodnotím veľmi kladne skutočnosť, že scéna drží pohromade a kapely sa podporujú, len takto bude silnieť a prinášať nové hodnotné diela. 

Na tretej On Life’s Belongingness sa spolupodieľal dánsky hudobník, žijúci v Bratislave, Rasmus Ejlersen, známy zo svojho projektu Udånde. Rasmus na nebál nahlas hovoriť o svojich vnútorných démonoch, úzkostných stavoch a depresií, čím sa jeho účasť stáva vysoko autentickou, a tak sa k nám dostáva nekompromisná výpoveď o živote, ktorý človeka neustále skúša, zraňuje a napokon pripraví o všetko. Vykresľuje život ako nemilosrdnú milenku, ktorej človek obetuje všetko čo má napriek tomu, že vie že tento vzťah nevyhnutne vedie ku koncu. Ako kurvu, ktorú neplatí peniazmi, ale vlastnou existenciou. 

Everything is Nothing (With a Twist) sa hneď na úvod pokúša odložiť smrť a získaný čas vyplniť hýrením, kariérou, koníčkami, mechanizmami dnešnej doby, ktorými človek tak často prekrýva úzkosť z vlastnej smrteľnosti. Skladba sa, podobne ako tá predošlá, nesie prevažne v strednom tempe, znie o niečo viac old schoolovo, avšak prináša aj veľmi pestré aranžmá, ktoré v spojení s naliehavým  vokálom vytvárajú atmosféru, ktorú poslucháč musí cítiť aj bez toho, aby poznal motív. Toto je súčasne asi najsilnejšia stránka celého albumu, že znie presne tak akútne, tak brutálne autenticky, ako akútne sú myšlienky vyjadrené v textoch. Neviem, či to viem správne napísať, ale určite to tam cítim. Krásnym príkladom je krátke intermezzo Hovor so mnou, kde melancholicky zvuk klavíra a  sirény na konci vytvárajú doslova husiu kožu. Náladotvornosť Solipsism ma fascinuje! 

K samému sebe je pieseň nasiaknutá tichou bolesťou, v ktorej sa ozýva osamelosť človeka, strateného medzi spomienkami a prázdnotou. Zachytáva chvíle, keď človek bojuje s vlastnými démonmi a zostáva sám so svojou ťažobou. Samota však nemusí byť len nedostatkom spoločnosti. Metaforou vnútornej bolesti je karmínový atrament .. papier neodmieta, nesúdi, neopúšťa.  Človek môže byť obklopený davom a napriek tomu zostať absolútne izolovaný. Každý tón nesie pocit beznádeje, zvlášť akustická melancholická pasáž v druhej polovici, v ktorej zase raz Solipsism dokazuje neuveriteľnú schopnosť hudobne zhmotniť ich myšlienky. Záverečné naliehavé opakovanie „všetko je len v tvojej hlave“ to len neuveriteľným spôsobom dokazuje! K samému sebe považujem za najintímnejšiu výpoveď z celého albumu. Temná sebareflexia o návrate k sebe samému. Pretože vždy sa najväčšia prekážka aj najväčšia šanca na zmenu nachádzajú na tom istom mieste – v človeku samotnom.  Na tejto piesni hosťoval Kverd z brnenskej kapely Heiden, ktorá si prešla svojou cestou od tradičného  black metalu post black až k súčasnému rockovejšiemu štýlu, avšak vzhľadom k životným skúsenostiam samotného Kverda je jeho účasť na albume úplne prirodzená. 

Samuel z Besna a N. z Porenut hosťujú na ďalšom skvoste, V podkroví som našiel lano. Tak ako ľudia zvyknú odkladať rôzne haraburdy na povalu, rovnako odkladajú svoje starosti a žiale; avšak pred vlastnými démonmi sa nedá donekonečna utekať. Lano tu funguje ako veľmi silný ústredný symbol – najprv je obyčajným predmetom v podkroví, potom sa postupne mení na obraz traumy, bezvýchodiskovosti; a napokon jedinej možnosti úniku. Opakujúci sa refrén „V podkroví som našiel lano“ s každým opakovaním dostáva temnejší význam: od obraznej metafory, cez priznanie problému, až po vetu „A nečakám viac ráno.“ Hudobne sa song nesie v melancholickom, ťažkom tempe, skvele zhmotňujúcom jeho zúfalý motív. Pripúšťam isté korelácie s tvorbou Besna, čo je však vzhľadom k žánrovej príbuznosti a hosťovaní Samuela úplne prirodzené a vôbec ma to nevyrušuje. 

On Facing Outwards je vyše osem minútový epos, a je to bezprecedentná ukážka toho, ako ďaleko sa Solipsism posunuli vo svojej tvorbe od debutu. Z pohľadu štruktúry skladby, zmien nálad či striedaní klasických blackových pasáži s melancholickými sa jedná o najkomplexnejší song albumu, a súčasne ma necháva zvedavého, či práve takto bude vyzerať ďalšia tvorba kapely, alebo sa vyvinie niekam ďalej. Vlastne ani neviem, čo by som chcel viac;  dotiahnuť toto k dokonalosti, či nechať sa prekvapiť niečím úplne novým? Priznám sa, láka ma jedno aj druhé. Určite nebudem sklamaný! 

 

Záverečná pieseň Gallowswaltz je jednoducho úžasný hudobný zážitok! Jedná sa o metalový valčík „se vším všudy“, existenciálny tanec na hrane sebazničenia. Smiem prosiť? Ďakujem, neprosím!  Základom je apatia, depresívna úzkosť, sebazápas a fascinácia hranicou medzi životom a smrťou. Tanec na okraji priepasti. Vôbec do nej netreba spadnúť, stačí už len tanec na jej okraji, elegantný valčík na hrane vlastnej skazy. Tanec dekadencie. Už neviem, ako z toho von, tak ma len nechaj chvíľu tancovať. Lebo neustále pozeranie do vlastnej priepasti môže byť samo o sebe pascou schovanou v našich mysliach. 

Black metal býva často vnímaný ako hudba temná, extrémna a provokatívna. O to neobvyklejšie, no veľmi dôležité je, že Solipsism tento priestor využíva na niečo oveľa hlbšie – na skúmanie tém, o ktorých spoločnosť radšej mlčí. Texty o osamelosti,  psychickom utrpení, sebaklame, existenciálnej úzkosti či neustálom pohybe na hrane priepasti nie sú samoúčelnou temnotou, ale obrazom človeka, ktorý zápasí sám so sebou. Práve black metal môže byť pre takéto témy mimoriadne silným médiom. Jeho extrémnosť umožňuje hovoriť o extrémnych vnútorných stavoch bez prikrášľovania a bez potreby predstierať, že všetko bude vždy v poriadku. Takáto hudba môže pomenovať pocity, ktoré mnohí ľudia nedokážu alebo nechcú vysloviť. A už samotné pomenovanie môže byť dôležité – pretože utrpenie, o ktorom sa hovorí, prestáva byť úplne neviditeľné. Zároveň je cenné, že tieto texty neponúkajú jednoduché odpovede. Nesnažia sa rozdávať lacné rady o pozitívnom myslení. Pýtajú sa, čo s človekom urobí príliš hlboký pohľad do vlastného vnútra, kde sa končí sebapoznanie a začína sebadeštrukcia a či je možné nájsť zmysel skôr obrátením pohľadu späť k svetu. Práve táto neistota robí ich posolstvo ľudským. Vďaka za tento album, Solipsism! 

 

 

Solipsism - Pedagogy for the Existentially Exhausted (2026)
By Lord Belial 

 

„the only dance we dance
is the dance of decadence.“
Gallowswaltz, Solipsism

 
It is a sad phenomenon of our time that so many people carry on with their lives even though, deep down, they have long since stopped longing for them. The greatest irony of such an existence is that the will to live persists even where the will to enjoy life has disappeared. The heart obediently measures out time in its familiar rhythm, while the body mechanically continues to follow commands from the brain. The mind subconsciously searches for solid ground beneath its feet. Death then begins to seem less like an enemy. We spend our entire lives walking towards it, yet rarely admit that without death, life would not necessarily be more beautiful — it would merely be postponed forever. People exhausted by existence are sad students of a hopeless existence. They are no longer fooled by promises of permanent happiness or by the idea that suffering is merely some mistake that can easily be fixed. Let there be hope in that strange human paradox: even when we know how our story ends, every morning we get up again and, for a brief moment, behave as though the world were still worth another breath.

I have to admit that I have only been aware of Banská Bystrica's Solipsism for a relatively short time, but they have already managed to leave a very strong impression on me. I rate their melancholic post-black metal very highly, especially after hearing their second full-length album, Pedagogy for the Existentially Exhausted. Released on CD by Sun & Moon Records at the end of May, its 50 minutes explore subjects that society still talks about far less than it should.

The opening track, K pádom a vstaniam (To Falls and Risings), is a wonderful metal meditation on falling, hopelessness and the constant search for joy in a space that so often feels absurd and devoid of clear answers. Instead of easy optimism, it offers a confrontation between resignation and the will to carry on. Images of night, falling and death create not only a dark lyrical atmosphere but a musical one as well. Combining traditional black-metal passages with melancholic ones, you can feel that something is wrong with humanity — and that it needs to be said out loud, clearly and without ambiguity. Despite sadness, hopelessness, pain and the inevitable end, there is still a reason to carry on if you can find your own why.

The search for meaning in life, rather than aimless hedonism or an escape from emptiness, lies at the heart of the beautiful second track, Strive For Meaning. A person is not merely a passive victim if they can decide what to fill their life with. But what if they can't? The song moves at a somewhat slower pace, with several melancholic passages and the desperately screamed refrain, “Strive, strive, strive for meaning,” forcefully reminding us that values do not simply emerge on their own — we have to create them through our own will. This track also introduces the first of no fewer than five guests appearing on the album: A.G. (Gergely Almasi) of Autumn Nostalgie. I'll stop here for a moment because I personally see it as a very positive thing that the scene sticks together and bands support one another. That's how a scene grows stronger and continues producing new and worthwhile music.

The third track, On Life’s Belongingness, features Danish musician Rasmus Ejlersen, now living in Bratislava and known for his project Udånde. Rasmus has never been afraid to speak openly about his inner demons, anxiety and depression, which makes his participation feel highly authentic. What we get is an uncompromising statement about a life that constantly tests us, wounds us and eventually takes everything away. Life is portrayed as a merciless lover to whom we sacrifice everything we have, despite knowing that the relationship must inevitably end. A whore we pay not with money, but with our own existence.

Everything is Nothing (With a Twist) begins by trying to postpone death and fill the borrowed time with partying, careers, hobbies — all those mechanisms of modern life we so often use to cover up the anxiety of our own mortality. Like its predecessor, the song mostly moves at a mid-tempo pace and sounds somewhat more old-school, yet its arrangements are remarkably varied. Combined with the urgent vocals, they create an atmosphere the listener can feel without even knowing what the song is about. This is probably the greatest strength of the entire album: it sounds exactly as urgent and brutally authentic as the ideas expressed in the lyrics actually are. I'm not sure I can put it into words properly, but I can definitely feel it there. A beautiful example is the short intermezzo Hovor so mnou (Talk to Me), where the melancholic piano and the siren at the end literally give me goosebumps. Solipsism's ability to create atmosphere fascinates me!

K samému sebe (To Oneself) is soaked in quiet pain, echoing the loneliness of a person lost somewhere between memories and emptiness. It captures those moments when we fight our own demons and remain alone with the weight we carry. But loneliness does not necessarily mean the absence of other people. Crimson ink becomes a metaphor for inner pain — paper does not reject you, judge you or abandon you. A person can be surrounded by a crowd and still remain completely isolated. Every note carries a sense of hopelessness, especially the melancholic acoustic passage in the second half, where Solipsism once again demonstrate their incredible ability to turn ideas into music. The urgent repetition of “everything is only in your head” at the end proves it yet again in an extraordinary way.

I consider K samému sebe the most intimate statement on the entire album. It is a dark self-reflection about returning to oneself. Because the greatest obstacle and the greatest possibility for change are always found in exactly the same place — within ourselves. The track features Kverd from Brno's Heiden, a band whose own journey has taken them from traditional black metal through post-black metal to their present, more rock-oriented sound. Considering Kverd's own life experiences, his appearance on the album feels completely natural.

Samuel from Besna and N. from Porenut guest on another gem, V podkroví som našiel lano (I Found a Rope in the Attic). Just as people tend to dump unwanted junk in the attic, we also store away our worries and sorrows — but we cannot run from our own demons forever. The rope serves as an incredibly powerful central symbol. At first, it is merely an ordinary object lying in the attic. Gradually, it transforms into an image of trauma and hopelessness, and finally into what appears to be the only possible means of escape. The recurring refrain, “I found a rope in the attic,” grows darker with every repetition: from a figurative metaphor, through an acknowledgement of the problem, until finally arriving at the line, “And I no longer wait for morning.”

Musically, the song moves at a melancholic, heavy pace that perfectly embodies its desperate subject. I can hear certain parallels with Besna's music, but given the stylistic kinship and Samuel's guest appearance, that feels entirely natural and doesn't bother me in the slightest.

On Facing Outwards is an epic running for more than eight minutes and an unprecedented demonstration of just how far Solipsism have progressed since their debut. In terms of song structure, changes of mood and the alternation between classic black-metal passages and melancholic sections, it is the most complex track on the album. At the same time, it leaves me wondering whether this is where the band's future music is heading or whether they will evolve somewhere else entirely. Honestly, I don't even know which I'd prefer: for them to perfect this approach or to surprise me with something completely new. I admit I'm tempted by both. I'm sure I won't be disappointed!

The closing track, Gallowswaltz, is simply an incredible musical experience! It's a full-blown metal waltz — an existential dance on the edge of self-destruction. May I have this dance? Thanks, but no thanks!

At its core are apathy, depressive anxiety, inner conflict and a fascination with the boundary between life and death. A dance at the edge of the abyss. You don't even have to fall into it; dancing along its edge is enough — an elegant waltz on the brink of your own destruction. A dance of decadence. I don't know how to get out of this anymore, so just let me dance for a while. Because constantly staring into your own abyss can itself become a trap hidden somewhere inside the mind.

Black metal is often perceived as dark, extreme and provocative music. That makes it all the more unusual — and all the more important — that Solipsism use this space for something much deeper: exploring subjects that society would often prefer to keep silent about. Lyrics dealing with loneliness, psychological suffering, self-deception, existential anxiety and the constant movement along the edge of the abyss are not darkness for darkness's sake. They are a portrait of a human being struggling against themselves.

Black metal can be an extraordinarily powerful medium for precisely these subjects. Its extremity allows us to speak about extreme internal states without embellishment and without pretending that everything will always turn out fine. Music like this can give a name to feelings that many people cannot, or do not want to, put into words. And the very act of naming them can matter — because suffering that is spoken about ceases to be completely invisible.

It is equally valuable that these lyrics offer no easy answers. They do not hand out cheap advice about positive thinking. Instead, they ask what happens when a person looks too deeply inside themselves; where self-knowledge ends and self-destruction begins; and whether meaning might ultimately be found by turning our gaze back towards the world.

It is precisely this uncertainty that makes their message so human.

Thanks for this album, Solipsism!

#200 Flork! Reviews: HKSPK - Heimkehr (EP, 2026)

 

HKSPK - Heimkehr (EP, 2026)
By Flork!

Some records arrive with unfortunate timing while others seem to acquire an entirely different atmosphere because of it.  As I sit in my corner office of the offices of JDØS and look out at the skyline of Bratislava, I recall that it is September 11, 2026, the 25th anniversary of the attacks on the Twin Towers in New York, and it is impossible for me to listen to Heimkehr today without that date hanging over the experience. And while there is no reason to assume the date was chosen to evoke the attacks, HKSPK‘s music has an unsettling ability to bring back images I remember seeing on the news that day: smoke rising above Manhattan, buildings collapsing, streets filled with people running, and the bewildering experience of watching something horrific unfold live on television. But the release date of Heimkehr is likely more coincidental, as the album‘s lyrical terrain draws on themes of war, loss, friendship (also the demise of friendship), revenge, despair, memory, and certainly mental exhaustion (this one sums up the album best).

Coming from the Northern German state of Brandenburg, HKSPK, or Hello Kitti Scum Porn Killer, the trio formed in 2023, and their particular collision of Black and Death Metal, Doom, melody, and punk directness provides an unlikely, yet fitting soundtrack for those memories. The title Heimkehr, which means „homecoming” or „the return home”, provides the album its emotional centre. To be clear, this is not a „prodigal son“ type of journey back to familiar surroundings, but rather a return of someone who has been altered and slightly destroyed by what they have experienced. Tracks like Torture, Kill the Weak, and Rot in Despair make their intentions clear enough, yet the album is considerably more interesting than its blunt titles might suggest. There is a human thread underneath the aggression, especially in the themes of memory, loss, and also seeking revenge. The band leaves room for the absurdity of the world around them as well, preventing the album from becoming one long exercise in miserable seriousness. For example, Sonnenjaeger and Rain in the Face strengthen the emotional palette, while the title track ultimately brings the album‘s ideas of return and aftermath into focus. And so, instead of functioning as a conventional concept album, Heimkehr is undoubtedly a collection of memories and stories, even impressions that have all been filtered through the band‘s worldview. The result is the description of an existence fragmented in various places, although that fragmentation is certainly forgiven. Memories rarely appear in neat, chronological order.

 

And the music? The individual tracks reveal just how much ground HKSPK cover in such a short space. Prelude is an ominous introduction, creating an atmosphere before the album properly erupts. It feels less like a conventional song than the opening of a dark narrative, presenting the path to the listener and inviting them to take the intial step. Torture then delivers the first real assault: it is fast, hostile, and direct, with the kind of raw vocal attack that makes the song feel genuinely uncomfortable rather than theatrically brutal. Tracks like White Secretions or Sonnenjaeger (Sun Hunter) continue that aggression while demonstrating the band‘s heavier Death Metal side.  Their blunt force is balanced by enough rhythmic variation to keep things moving at a heavy pace. Sonnenjaeger is more intriguing still, since it shifts the mood and allows the band‘s German-language material to add another dimension to the album (although I can’t really tell the difference due to the raunchiness of the vocals, but I’m sure demons and other evil spirits aren’t limited to screaming in English). But I really liked this track, as well as Kill the Weak, which is perhaps the album‘s most immediate punk-inflected moment, because of its brevity and confrontational directness that make it difficult to not respond physically. All of these tracks convince me that HKSPK are at their best when they stop worrying about genre boundaries. Take for example Heimkehr, the six-minute title track and emotional destination of the record. I get the impression that the music has finally arrived at the place suggested by its title, although there is really nothing comforting about the journey‘s end. The track gradually accumulates weight, melody, and atmosphere, bringing together the themes of memory, loss, friendship, and the consequences of violence. Even the closing moments feel more like resignation rather than resolution. But this kind of progression is one of the album‘s strongest qualities. Black Metal supplies the coldness, Death Metal the muscle, Doom the sense of collapse, and punk the directness. The production at Room13 also leaves enough roughness intact to preserve HKSPK‘s underground identity. Written and produced entirely by the band, Heimkehr sounds self-contained and unpolished in precisely the right places. At roughly 25 minutes, it also knows when to stop.

And Flork‘s prognosis? Listening to Heimkehr on September 11th inevitably colours the experience for me, since there are moments when the combination of distorted guitars and an increasingly ominous atmosphere bring those old television images back with uncomfortable clarity. But to be honest, the album is not just a soundtrack to catastrophe, but instead, its real subject focuses on aftermath: what people carry with them, the things they remember, what they lose and whether returning home can ever mean returning to who they were. The closing title track gives that idea a fittingly unresolved conclusion. On an anniversary already filled with memories of smoke, fire, loss and bewilderment, Heimkehr makes for an unexpectedly powerful companion. It is a short, bruising journey and, appropriately enough, one that leaves me wanting to take the trip again.