Interviews About Albums: TRYBLITH - Draconis Maleficium (2024)

In this new interview, we sat down with the American Black Metal band TRYBLITH to ask questions about their album, "Draconis Maleficium".

1. "Draconis Maleficium" marks your third album release. How does this album differ from your previous work in terms of sound, themes, or overall approach?

L: I think this album, sound-wise, has better quality while still maintaining the grittiness and atmosphere of Black Metal—kind of like 'High Definition Black Metal,' haha. It has a more straightforward approach musically. The album's themes are rooted in psychedelic meditation, occult techniques, and poetic gnosis, often drawn from trance-like states. My approach to writing, especially the lyrics, involves listening to and feeling the music first, then meditating within that soundscape to write based on the emotions the riffs or overall atmosphere evoke.

2. The first single, "Chalice Ov Opulence," is now available for streaming. Can you give us some insight into the lyrical or conceptual inspiration behind this track?

L: "The inspiration and concepts behind this track revolve around a form of shapeshifting in the mind’s eye, achieved through a magical substance (the psychedelic wine) and ritual performed at a specific time to attain a higher or even lower state of consciousness. The name comes from the vessel in which the initiate drinks the wine.

3. The track names like "Grip Ov The Devil's Hand" and "Path Ov Sorcery" suggest a strong occult or mystical theme throughout the album. What inspired these themes, and how do they tie into the overarching narrative of "Draconis Maleficium"?

L: I was inspired to write these songs based on experiences that align with their themes. For example, in 'At the Grip Ov the Devil’s Hand,' the 'Devil' is used to represent a spirit working with or through the sorcerer (hence 'Path Ov Sorcery') to fulfill the magician's will. This ties into the overall theme of the album, Draconis Maleficium, as some view the Great Dragon as a force that can grant magical consciousness through various means. Theology, for instance, may interpret this Dragon as a devil or The Devil. The album's lyrics are influenced by the Draconian current, Chaos Magic, and my own consciousness.

4. The production on this album is described as raw-yet-full. How did you approach the recording process to balance the rawness typical of black metal with a more expansive sound?

Troll: The production on the album was all about finding that perfect balance between rawness and fullness. We wanted to maintain the gritty, unpolished edge that’s central to black metal, but also ensure that every instrument had room to breathe and contribute to a more expansive sound.

We approached the recording process by using a blend of lo-fi and high-quality techniques. For the raw feel, we kept certain elements intentionally stripped down—like recording guitars and drums in a way that preserved a lot of their natural aggression, with minimal polishing. But at the same time, we paid close attention to how everything fit together in the mix. By carefully balancing the low end, particularly boosting the bass, and adding layers of synths and atmospheric effects, we achieved a richer, more textured sound.

It was crucial to let the rawness coexist with the expansiveness rather than have them clash. We used reverb and space in the mix to give it that cold, distant black metal feel while still maintaining clarity, especially on the more melodic or atmospheric parts like the piano and synths. In the end, it created a unique blend—raw but still full and immersive.

5. With titles such as "Lysergic Gnosis" and "Atlantean Cataclysm," it seems like the album explores both metaphysical and historical concepts. Can you elaborate on the stories or ideas that shaped these songs?

L: The song 'Lysergic Gnosis' is about acquiring sacred knowledge through occult or shamanic means, induced by the psychoactive Lysergic molecule—LSD, to put it simply—in a trance state.

'Atlantean Cataclysm' is about the fall of Atlantis, inspired by my own channeling, visions, and readings. It portrays the downfall of Atlantis through the misuse of ancient technology, leading to a cataclysmic end.

6. Black metal is known for its intense emotional and atmospheric depth. What feelings or atmospheres were you aiming to evoke in the listener with this album?

L: Intense wonder and mystery, shock, and awe, deep trance-like states, cosmic or subterranean expansion of consciousness, empowerment, and self-development through occult techniques and meditations.

7. The cover artwork for "Draconis Maleficium" is described as elegant, yet your sound remains rooted in a raw black metal aesthetic. How important is visual representation to the overall identity of the band, and how does the artwork reflect the themes of the album?

L: For me, the visual representation of the art is important because it reflects the themes of the album. I like that it aligns with the lyrics, evoking settings where these types of rituals could take place—deep in the forest, surrounded by mountains, under a starry sky.

8. "Draconis Maleficium" is set to release on Halloween, a significant date for the macabre. Was this intentional, and if so, how does the release date tie into the album's themes?

L: Yes, we planned the release of this album for All Hallows' Eve because it's a very powerful and occult day, which aligns perfectly with the album's atmosphere. After all, the veil is thinnest at this time of year, making it ideal for such workings to be performed.

9. What was the songwriting process like for this album? Did you follow a structured approach, or did the songs evolve more organically during jam sessions and experimentation?

Troll: We take a very organic approach to songwriting, evolving the tracks over time through a combination of rehearsals and in-studio collaboration. Instead of sticking rigidly to a preset formula, we allow the songs to grow naturally as we play them together, experimenting with different ideas and arrangements. Each rehearsal or writing session becomes an opportunity to refine the tracks, tweaking sections and exploring new dynamics until we find the right combination that resonates with us. It’s a fluid, collective process, where every member’s input shapes the final product, ensuring the songs feel cohesive and authentic to our vision.

10. As a band with a distinctive and captivating sound, how do you stay true to your musical roots while also evolving and pushing the boundaries of the genre?

L: I’d say we stay true to our roots, especially in our writing process. Our sound tends to follow once an idea strikes, and we build on that based on the feeling it evokes. However, we are also evolving, particularly in how we approach writing. For example, we may draw inspiration from other genres and incorporate elements of those sounds into our creative process, allowing us to explore new soundscapes. From there, we add a Black Metal touch, whether through synth work or even different drum patterns.