Siena Root is one of the most significant Swedish bands, when it comes to vintage heavy rock. A band with more or less 2 decades of a very distinctive, soulful, and organic sound, very well rooted in the 60s and 70s, with an outstanding career and great albums throughout the years. ‘Revelation’ is their upcoming album, which sounds amazingly good, a record which solidifies their sound, is true to their past but is looking promisingly to the future with a dynamic and ‘classic’ (to the band’s standards) approach. Myth of Rock had the privilege to speak – among other things – about it with Love Forsberg, the band’s drummer/percussionist who was one of the founding members of the band and is one of the most fitting persons to discuss with us all matters around Siena Root’s past, present and future.

by Antonis Mantzavinos


Good afternoon my friend, how are you doing? Where do we find you?

 Hello Antonis, I am doing fine, I am just home now, from some appointments, returned home and I need to go to a dinner first and then off to the rehearsal room, so, quite a busy Sunday I must say!


I would like to start with the upcoming album, soon to be released. What is the story behind the title first of all? Any specific meaning that you would like to share with us?

Yeah, some might think that it has something religious about it. I wouldn’t say it’s like that because none of us is specifically religious at all. We were writing and recording this album in a long period of time, first we thought ‘Maybe it would be an all-acoustic album’. But then after a while, we discovered that these electric songs are really nice and they fit together with the acoustic songs, both theme wise and lyrically wise. Then we had the whole album recorded, and we thought ‘Ok, what’s the name of the album going to be?’. We listened to it and it sounds like a dynamic root revelation!


Give us a little bit of the background for writing songs on this one. I know also that you had the album ready a bit earlier as well, so I am interested to hear the story behind making this wonderful record, one of my favorite of the band.

Well, what I can say about it and as I said before, it was during a long period of time, there was covid, we realized that it was not possible to tour and make any live shows at all in the year 2020. So, we thought like, what are we gonna do? So, let’s record some new material. So, it was difficult to keep up with the steady work, when there was not live show, Siena Root is a live band what we got used to be active on stage and play live gigs and be close to the people and our fans. We had to figure something out. It just happened naturally that this recording took a lot of time. At first, we recorded it in Dalarna, in a studio outside of Borlänge, called Omnivox. We recorded there our last album “The secret of our time”. But then it started out the guy who owned the studio, wanted to do a video of the studio itself and our recording sessions, and we thought, ok, let’s try out. Like many other things with Siena Root, it blows up and becomes big! After a while, we thought that this is not working out. The studio owner went one direction, and we went another direction. The film maker was fine doing a lot of shooting but at the end, we had an album and a movie, about 40 mins long. A documentary about how the album was actually made and recorded. So, here we are now, 3 years later!


Thank you for all this trivia, this is quite interesting and detailed!
Siena Root has evolved a lot as a band to my opinion. Keeping its core sound values and DNA, it has developed throughout the years. How do you perceive this change over the course of time?

Oh, yeah, that is a tough one, very good question actually! Wrapping up 20 years of development is not a n easy task! You are right, that some things stayed the same and some others simply doesn’t. Like it can become obvious to some people, the lineup has been changing but it has been a steady change so far I must say. This is the first album with the same vocalist we used on the exact previous album. Zubaida is doing a great job, both singing the songs but also writing songs and lyrics. She is a very dedicated band member; this is a big change that has happened during the recent years. But what I can also say is that, with the first album, being a steady 4 piece into a more hippie collective that has been incorporating guest artists to then come back again into a steady member band, it has been a fantastic trip for us! It’s also about, not focusing too much on the personnel or the lineup per se, but the music, the ideas, the inspirations. There are many bands out there that want to do AC/DC, keep the same line up and write the same songs over and over. Not many bands manage that, because it is so damn hard to doit! We always wanted to stay fresh and stay on our toes and move forward in the song writing and try new ideas about how to write songs and inspirations, everything from vintage music to North African inspired music, etc. We necessarily don’t want to be repetitive, not make the same songs again and again, even though you can hear a lot of resemblance in our albums of course.


Coming back to ‘Revelation’, I must say that an amazing work has been done on the overall production and the warm and organic sound on all songs, but I must specifically praise the vocals of Zubaida on this album, where she absolutely shines! She has a fantastic voice and is a great performer as well. How did it come up working with her and what do you think about her contribution on the Siena Root sound? To me, she perfectly fits on this modern-vintage version of the band which I really like.

Yeah, I can just say that I noticed her on several occasions, when she played with the Frank Zappa cover band, I am huge fan of Frank Zappa myself, she did an amazing work there. She has done some blues stuff as well, so I had a pretty good image of her playing live. I instantly noticed that she has a unique music talent. She plays fantastic keyboards too, you have seen that yourself, right?


Absolutely, I remember the last time I saw Siena Root in Nalen and she was awesome behind the keyboards too!

When we came to the position that she has done guest performances with us, both Matte and Eric, were not able to be on tour with us anymore. It was very natural to ask her, she was very hungry for new music and to participate with the band. It was really nice to welcome her in the SR family, and as you say, her voice is perfect for what the bands plays and wants to play. She is also becoming a very good keyboard player, evolving further.



What is the story of Siena Root? How did the band start and evolved throughout the years? You have collaborated with so many different musicians and have done so many excellent records, live albums, etc. And also, what are you most proud of about the band? The latter is a question, I have always wanted to ask you, since I heard the band many years back and first saw you playing with the band in Greece.

That’s a really nice question actually, thank you for this! First time anybody asked me about this! What comes naturally to me is that we have managed to stay true to keeping the music and art in the first place and put priority in the fun and the having a good time together playing together. Putting art in the first place, rather than this is what the fans wanna hear or this sells more records. Of course, we think about these things as well, no question about it. But on the forefront as a priority for us is music and art put in the core and as a priority. We always come back to if we don’t like this or the sound or fancy doing this song or this riff and melody, we don’t do it at all, there is no point. Very often, we play on the shows the songs that we think fit most of the current lineup at the given time. Its not necessarily the most popular songs. I am really happy and proud of that. If you listen only to what others like or say, then you find yourself in a very difficult situation. It’s easy to get lost and I see that in many bands, it is not appealing to me, the way I see things.


Have you played in another band/project in your career? And also give us a short description of how you started playing music yourself, what have been your main personal influences, etc.

Oh, ok, when I was younger I was playing in cover bands and smaller bands of course, nothing big. Currently I have this solo project, called ‘Unconditional Love’, it was released last year from Root Rock Records. Sam plays bass on many songs, K-G previously in Siena Root plays keys and a little bit guitar, Erik plays a bit of keys on 2 songs, it’s my project that I started during covid, where I elaborate with famous speeches and the beat, the rhythm, I write songs from famous speeches, e.g.: Martin Luther King Jr., Greta Thunberg, etc. So, I am pretty excited about it! It’s on LP and almost the entire album is on Spotify. I did the arrangements; a bit of songwriting was done together with my fellow musicians, and I also produced the album myself. The lyrics is all pre-recorded from famous speeches, there are 8 tracks with 8 different speakers.


This is definitely very inspirational and intriguing! Sounds really cool and reveals another creative part of you!

Yes, I am very happy about it!
Coming back to your question about what made me started playing music, I was in a music school where my dad encouraged me, doing classic percussion, but it was so appealing to me. After a while, in the higher school grade, I discovered that it was possible to play the drum kit with my school friends, we started playing the music we were listening to, like Guns N Roses, Black Sabbath, etc. And then like everyone else I guess, I tried to find my own way, I started my own bands, and then I met Sam on a birthday party of a mutual friend of course, we thought, let’s try to form a band, we both like the same stuff, like KISS! After a while it became what we called Siena Root!


Coming to the contemporary times, what could you share with us about the movie premiere on Thursday February 23rd of ‘Wheels of Revelation’?

Actually, you need to come and watch yourself on Thursday in Stockholm, you’re gonna like it! It is a documentary about the recording of the album, a very nice movie, around 40 mins.

Something between a road movie, full of pictures, without dialogues, and a lot of Swedish countryside!

If you had to name only one as the very special gig that Siena Root has played all those years so far, what would that be? Tough choice I know, but let’s try to pick one very unique for you.

Ha-ha, I think that, playing in Germany, it was Burg-Herzberg-Festival in 2005. Fantastic experience! A very special thing for me personally… We did not know what to expect at that time, we didn’t have any sleep at all the night before, we were locked out of our apartment, the trip from Berlin down to mid Germany and showing up on stage in front of thousands of people, totally sleep deprived, in a huge hippie event! We were gonna do the show just before Ten Years After! I thought it was a crazy and hilarious moment!


That must have definitely been very special, absolutely I can imagine that!
The last word is on you: any special message to the fans out there?

 I am very much looking forward to meeting you all on stage after all these years of not having concerts, so, let’s see you all out there!


Thank you so much for today, I hope to see you soon out there in a gig.

Thank you very much Antonis, always a pleasure! See you in Stockholm next Thursday, let’s have some fun!


With the release of their sophomore album, "Distant Kingdoms", Depressive Withes managed to pique our interest. The French band plays in a nice black n' roll style, combining various elements and influences. Myth of Rock was surprised with the fresh, catchy music material of Depressive Witches and talked with Sick Bab (vocals, guitars), who was polite enough to answer our questions. 

by Dimitris Zacharopoulos

When, where and under which circumstances was Depressive Witches formed? Give us a bio of the band, please.

Me and my brother Torvuus started to learn guitar at the same moment, 8 years ago, then we started to create some songs, which was really shitty, haha. Then in 2018, Torvuus started to learn drums and we started Depressive Witches together, as a doom metal band. In 2020 during the lockdown, we created the first album "Bad Flask", with a record session planned in February 2022.

Why did you name the band Depressive Witches?

The association of words is cool I think, and a "depressive witch" represents the quintessence of what loneliness and madness are.

 “Distant Kingdoms” was released some months ago. How do you see this album now? Would you change something to it, if you had the opportunity?

You always can change something, but what is recorded is recorded. We can change the songs when we play it live if we want…

How would you describe the musical style of Depressive Witches? How much have you progressed in comparison with your debut album?

A mix of black metal and rock'n'roll for sure, it's why we talk about black'n'roll. Bad Flask was primitive and catchy, Distant Kingdoms is less dark, more "fun" ? There is a true progression of course, but in fact, we started to write Distant Kingdoms just after Bad Flask, as a continuity.

Which are your music influences? What music do you listen to nowadays?

Black metal, hard rock, country… Very various, it's why we don't sound like a "typical black metal" band. About what we listen, nothing really extreme anymore in my case. Just classic rock, country, EBM, glam, goth rock… I have to admit that I'm a little bit tired of extreme metal these days. Torvuus loves rock n roll stuff, give him Motorhead and ZZ Top and he's happy

How do you compose the songs of Depressive Witches? What comes first, music or lyrics?

Sometimes, just taking the guitar in the morning is enough to find a riff. So mostly the music first, but we can find a concept by writing the lyrics first, as a poem.

Where do your lyrics refer to?

Medieval fantasy, battles, legends, personal themes… The lyrical themes change on every album in fact. Video games/movies are our main sources of inspiration for sure

Where was “Distant Kingdoms” recorded? Who did the production, the mixing and the mastering? Describe the recording sessions and the production process, please.

Like for "Bad Flask", we recorded it at Blackout Studio in Brussels. The recordings were supervised by Jonas Sanders and Ivan Houben, then Jonas mixed and mastered the whole project. Recordings took less than a week, we record fast.

I like very much the cover artwork of “Distant Kingdoms”.  Who has done it? Give all the information, please.

The artwork was made by Thomas Ewerhard. I found his work interesting, and we were looking for a realistic painting for the new album, he made artworks for Avantasia by the way. We knew the result was gonna be great.

How did the contract with WormHoleDeath come up?

Our manager at the time was looking for a label and he found them. The collaboration is good, we arranged the contract as we wanted.

Which are your ambitions for the band?

Good question. It will depend on the opportunities we will have, but I can tell you that playing on a mainstage in a big festival is clearly not a goal. I can't stand to be far away from the crowd, it's not interesting at all.

Do you play live in concert? Do you have any tour plans?

Yes, we made our first tour one year ago in Eastern Europe, then we played in Belgium, Switzerland, and we go back on tour at the end of February in Bulgaria/Romania/Serbia/Germany/France…

How did the Covid-19 pandemic affect you?

It wasn't so bad for us, because we wrote our first album. But it has been hell just to go into a bar and drink a beer.

What do you think about the war against Ukraine?


Send your message to the fans!

Thank you all for the support you guys give to Depressive Witches, all around the world!


Top class power/progressive metal! That’s what you will find in “Rage”, the new album of Pyramid. Pyramid is an international, all-star project around bassist Lance Sawyer, whose extraordinary vision is incarnated in a beautiful musical corpus, with the help of well-distinguished musicians from all over the world. “Rage” waits for your response, as Lance Sawyer was kind enough to answer our list of questions!

Where, when and how was Pyramid formed?
It was formed in 2017 by me .. Joey Izzo (keyboards) and Adam Bentley (guitars) were both fresh out of Berklee and I reached out to the both of them and ideas and music came about.

Why did you decide to form Pyramid as an international all-star project and not as a simple band?
I wanted certain elements and music ideas that to me made sense to the music I was producing.

Is Pyramid a studio only project or do you also play live in concert?
Pyramid is a project at the moment but there have been talks of bringing this to the stage.

How do you feel now that you have released your new album? Are you satisfied with the response of the media and the fans?
“Rage” is getting lots of attention and that is amazing and very satisfying.

How much has Pyramid progressed in this new album?
Pyramid is building parts and pieces and making a solid structure and foundation. Each brick is just as important as other.

Now that almost four months have passed since the official release of “Rage”, what would you change to it, if you had the opportunity?
I’m very happy with the release. I’m not sure I would change anything.

 Many musicians take part in “Rage”. With which criteria did you select the guest musicians?
Yes I did. I constructed and put together the band and vocalists.

How was it to collaborate with two famous metal singers, Tim “Ripper” Owens and Harry “The Tyrant” Conklin?
It’s amazing. Both of these two love and have passion for what and who they are.

I noticed that in some parts of your songs we can hear violin. How did you decide to add the violin? Who is the violinst? Give us all the info!
Yes, the old school Celtic Violin of Perrine. She’s a world renowned violinist in France. I reached out to her and she was honest that she has never played in a metal project like this. As she recorded and time went on, she found herself very excited and happy to be part of it.

Describe the recording sessions and the whole production of “Rage”. Who did the mixing and the mastering?
The recording process is awesome. We all recorded our parts in the luxury of our own studios. Adam is a mixing engineer, so he did all the mixing and engineering. Maor Appelbaum a world famous mastering engineer did all the mastering.

How would you describe the music of Pyramid?
It’s a combination of modern and new retro styles combined.

Where do your lyrics refer to?
Lyrics are everyday life, feelings, politics and extreme loss.

Which are your favorite music styles and your favorite musicians/bands?

I like Rush, Tool, Animals as Leaders, Dream Theater the list goes on.

How is a typical Pyramid song composed? How much important is the (complex) song structure for Pyramid?
I write all the structure of the music. It’s a combination of many styles and ideas that is typically more design of how I play and write music.

If you could choose a famous artist to co-operate with in the next Pyramid studio album, who would he/she be?
As we speak, Glen Driver formerly lead guitarist of Megadeth and King Diamond are collaborating on music now.

How did you decide to work with Sleaszy Rider?
Andry Lagiou was signed under the label, so she introduced Tolis to me.

Which are your future plans?
To keep writing building a concept and put awesome music out.

Send your message to the fans!
Thank you for all your support and love.


One of the finest folk metal exports of Brazil, Tuatha de Danann, named after the supernaturally-gifted race in Irish mythology, has recently released a new single (and music video), “The Nameless”. Myth of Rock and Raquel Miranda, enchanted by the band’s Celtic metal tunes, contacted Tuatha de Danann and had a long, detailed discussion with singer and founder Bruno Maia, who had many interesting things to say!

Hi there, my friend. Thanks for accepting this interview and greetings from Greece to Brazil. Hope all is great with you.

Hi! I’m the one who thanks the support and a big hello to the Greeks!

First of all, I’d like you to introduce the band, the members and a little of your history, please.

Oh, we are a Brazilian folk metal band and we’ve been doing it, since mid the 90’s. It’s kind of strange a Brazilian band doing Celtic, Irish music, but that’s what we are. The band members have changed through the years and only me and Giovani Gomes, the bass player, are on it, since the beginning.

You’ve released your new single, “The Nameless”, that will be part of your next full length album. It’s darker than the previous ones. It’s even dramatic and emotional. Why these feelings? You even talk about justice in the lyrics. Care to talk about a little more, please?

Yes, this song is a bit more emotional and deeper than a lot of our content. It’s due to what we see in the world, right? Lots of hatred, murders, wars, here in Brazil we’ve been facing a fascist government that drove us to an indigenous genocide and almost a million of deaths on the pandemic, a ridiculous and ultra-right government against all that comes from the people, from the workers and minorities. We couldn’t sing about fairies back then.

One of the main inspirations for this single was the German philosopher, Walter Benjamin and his “Thesis on the Concept of History”. Was he a huge inspiration, since you’ve studied Irish History? Tell us about your university education and how it influenced this band.

I studied Literature and History, but my first graduated course – which I didn’t conclude- was ‘Communication’ . On these three different graduations, there was iconic texts from Benjamin, in Communications I studied “ The Work of Art in the Age of Mechanical Reproduction”, on Literature was “The Storyteller’ and when I did History the “Thesis on the Concept of History” was a huge study. Everywhere I was there was Benjamin! I really like his work, he had an unique mind, original, challenger, and revolutionary. A man who lost his life for the ultra-right fascists of Hitler. And ‘The Nameless’ was very connected to some thesis, specially 2, 4, 6 and 7, where he says we must be careful to catch the moments, when the past storms in present and how we will only have real justice, when we have the justice of memory and history hailing those ones who struggle in the past and loose everything, the nameless slaves, nameless poor people over those the parade of the powerful steps over.

The cover was created by Rodrigo Barbieri and seems like a painting. What was your main theme for it?

I let him free with the lyrics and he stroke again, he is just amazing!

The single was produced by you, Bruno, at Braia Studios, in Varginha, your homeland and will be released by Heavy Metal Rock, the label that discovered you. Will they do the same with the record?

Yes, they will release our album in Brazil, we are friends, they are a very decent and serious company, and we are all ok.

We know that the record will come soon and has eight tracks. What can we expect from it? More Celtic sounds? And what will be the themes? Care to tell us the name of it, please?

It will probably have nine songs, actually. The Celtic influences and instruments will be always there, this is our common ground. What changes is the direction we tend each time, we can be more progressive, or more heavy metal, or going towards power metal, or like ‘The Nameless’, which I believe it tends to something darker, dramatic, like Anathema, My Dying Bride, I don’t know…. The lyrics are a bit more realistic than the old ones.

Let’s talk about the past, shall we? You’re the pioneers of folk metal in your country’s metal. All began in 1994. Congrats, since it’s your 29th anniversary! How do you feel about that?

Jesus Christ, I never realized that it was about to reach 30 now! HAHAHA. I was only 13 years old, when we did our first concert, it was mad, I was writing metal music, since my 12 years old! HAHAHAH. As we were very young and things changed really fast at teenage age, the band wasn’t folk at all in 94, it was death/doom metal… we went into folk in 1995, but kept some gothic and doom stuff and then only in 98 we reach a kind of folky heavy metal.

Your first album, “Tuatha de Danann”, began this journey for you. What do you remember from that experience?

We recorded it very far from home and we were very young and crazy. We thought we were like Mötley Crüe guys with all that madness, hahahaha, good madness…. And the album did very well, it sold a lot in the Brazilian underground, which brought us lots of concerts and the band’s name was growing very good. The sound quality, execution and performances were all are dreadful, but that was real, there’s real feelings and emotions there. The music is a bit strange for us today, at least it’s very different of what we do today, nowadays we only play live the first song ‘Us’, but that was quite a good debut album.

“Tingaralatingadun”, from 2001, is the most iconic and well-known album from you. Everyone knows it for the video you’ve made for the music. How was it for you to make the record, twenty-four years ago? The producer, Thiago Bianchi, even said on the documentary about this record that it was one of his craziest that he produced.

Oh yeah, it was crazy! We were a bunch of rural people in one of the biggest cities in the world (São Paulo)… and we stood on Thiago’s studio a full month or more. We were still like maniac Mötley Crüe guys at that time, but the recording was serious… It was a big shock for us, we had to record with click tracks for the first time, it was painful, hahaha. But there are memorable songs like ‘The Dance of the Little Ones’, ‘Tan Pinga ra Tan’ and ‘Be hold the Horned King’… we were creating and developing a sort of our own mythology, with our characters (Finganfor, Lyx the fox), our places( Tan Pinga ra Tan) and events like Tingaralatingadun and I believe we found something very unique in our music there, despite the errors and mistakes that haunts the album yet…. We could mix well our influences like Beatles, the 60s psychedelia stuff, some prog touches and death, doom and power metal all with Celtic and Irish sounds and instrumentation. From this album on, we’ve been being ourselves.

How about re-recording it? Will you remake that music video?

Actually, we just re-recorded the track ‘The Dance of the Little Ones’ to this anniversary edition. But through the years, we did different versions of two other songs from this album, ‘Tan Pinga ra Tan’ and ‘Battle Song’ that we did it instrumental under the name ‘Moytura’.

“The delirium has just began” was released in 2002. What delirium were you talking about?

We were into psychedelic things and experiences, mushrooms etc.… and there is that epic Yes album, “Relayer”, with the song ‘The Gates of Delirium’…. How I love that! And there was this song, a big one, with lots of different sections and parts which we called ‘The Delirium has just Begun’…that was it. And this is the first album of ours that I don’t have any complaining… I like all the performances till today, the sound and everything. It was our first album released in Europe, in France, and it went pretty nice in there, the label ended up releasing all our catalogue in there after ‘The Delirium…’.

“Trova di Danú” is a very dear album to the fans. Why is that? Tell us more about that album, please.

The sound and the whole production of this album was incredible for us at that time…And the musicality is very diverse on it: you have the shinning songs like ‘Bella Natura’, ‘Believe: its true’ and ‘Land of Youth’, you have the acoustic and mysterious ‘Trova di Danú’, a ballad ‘Spellboundance’, a heavier one ‘The Arrival’, the progressive ‘The Wheel’…. Is a very complete album.

 “The Tribes of Witching Souls” has more Irish influences in it. “Turn” is one of the best compositions ever. “Warrior Queen” has a strong vibe. Fernanda Lira (Crypta) and Daísa Munhoz (Twilight Aura) sang both in it. How was the composition in this album, lyrically and musically speaking?

I love this album! I love how it sounds, the guitar tones, the drums and the songs! I believe the title track and ‘Turn’ are among our best songs ever, and maybe I’d include ‘Warrior Queen’ as well. The composition was quite the same: I am the main composer, but there’s always some partnership happening. Martin Walkyier wrote the lyric to ‘Your Wall Shall Fall’ and sang this one as well. This song is a calling against the savage capitalism that explores nature without limits and responsibility… The lyrics depends on the songs, the title track is about the band itself, ‘Turn’ is about passivity, conformity and for you to have bollocks to face life and maybe the ‘system’, ‘Warrior Queen’ is a tribute we did to all woman in the world, we have loads of feminicide in Brazil and we know how women face prejudice, have more obstacles to win and etc….’Conjura’ is about a Brazilian conspiracy during the colonial times that happened in our state Minas Gerais. There’s loads of themes in there. This album was released in Europe by the German label, Trollzorn.

“In Nomine Éireann” is your last one. Was it a difficult one?

It was hard, because we were in the middle of the pandemic, so everything was hard to achieve… But it was a big learning time as well. I am ten times more experienced and safer on studio now. It’s a special album, in which we chose some Irish traditional songs and tunes and made our own version of those. I like it in its whole!

You even have an acoustic album. What is this album, and where was the shooting? How was the experience?

Actually, that was a DVD called ‘Acoustic Live’ …we recorded it on 2008, but only last year we released this audio online. The show was in São Paulo and was very nice to do that…very funny full of beautiful and nice people.

“The Molly Maguires” is a very popular Irish song and you sing it with Keith Fay, from Irish celtic metal band, Cruachan, and violinist Kane O’Rourke. Tell us more about that experience.

Yes, this is a very known song for Irish people and the Molly Maguire’s movement as well. I invited Keith, because we are long time friends and who could do it better than the Irish pioneer of Folk Metal? Keith Fay! He was amazing in his parts!!! Kane is a savage fiddle player and a very nice friend of mine. In the middle of our Molly Maguire, we insert a reel called ‘Fermoy lasses’ and it was deadly cool.

You have your own project: Braia. Tell us more, please.

Oh, yeah! Around 2006 I was creating some music, still having this Celtic inspiration but that doesn’t fit to what I realized Tuatha de Danann should sound like. Then I decided to record a full album. Some guys from Tuatha de Danann helped me recording, Giovani Gomes and Edgard Brito and I believe it was a very nice album. It was released in France as well, that was grand, because was in Portugal and the label released it, because there were a lot of Tuatha de Danann fans in there… And I released the second album last year, an instrumental one, still with huge Irish influences and instrumentation, but with more Brazilian music. There’s the guest Felipe Andreoli from Angra.

You play traditional Irish instruments. Which ones? Is it difficult?

I play some, like tin and low whistles, Irish Flute, bouzouki and banjo. They are difficult as any other instrument is. On ‘Trova di Danú’, I played a small pipe on ‘The Danann’s Voice’.

You went to Wacken, Germany, in 2005. How was the experience for you? Did you see any bands? What do you remember?

Fantastic! How could we imagine we would play at Wacken! It was marvelous! We were in a French tour that our French label booked, it was 15 gigs around France, so it ends with three concerts in Germany, one in Aschafenburg, one in Metal Bash and Wacken. We went very well, the place was really full and the crowd was very warm, I’ll never forget that.

You even have a festival, Roça’N’Roll. Andre Matos was one of the guests to perform there. Tell us the concept of it, please. Will it happen this year?

This festival lasted 19 years. Roça means a countryside, rural place… It starts very small and ended up very nice with 3 stages, bands and people from all over the world, we have also one of the biggest medals of Greek metal music in one edition: Rotting Christ, it was a fantastic concert. The festival was born with the concept of being a tool for new and talented bands to have a decent place and gear to play; with time it gets bigger and we brought international bands, like Rotting Christ, Grave Digger, Cathedral, Samael, Orphaned Land, Pain of Salvation, Amorphis and many more. Angra, Shaman and many other Brazilian well-known bands performed there too, Andre Matos came three times to Roça’n’Roll.

And what about the tour this year? What are the plans? Will you come to Europe? Would you like to visit some countries, such as Portugal and Greece? What can we expect?

We’d love to do that! But its not completely in our hands… We need festivals interested in our music, concerts, etc.…It would be marvelous to know Portugal and Greece, I hope we can do it someday, THIS YEAR, haha.

Bruno, tell us more about yourself. Hobbies, bands that you like and more, please, so that fans might know you a little more.

I’m a lucky bastard, because I´m still resisting and striking by living with music and arts. So, my work is what I love. Music is a hobby, history, literature and cinema. Favorite bands are hard, but I could say Paradise Lost, old Helloween, Amorphis, Rainbow, Yes and Beatles. 

Bruno, thanks once again for accepting this interview and greetings from Greece to Brazil. Hope to talk to you soon. Cheers!

Thank you a lot and I hope Greek people give us a chance following us on Spotify, Bandcamp and most of all: hope to see you on tour. Still safe and healthy!


“Ascension Beyond Kokytus” … the best way to drown in an atmospheric metal madness, a way shown by the amazing Costa Rican band VoidOath. On behalf of the band, Christopher De Haan (guitars, vocals) spoke to Myth of Rock and Dimitris Zacharopoulos and gave his nice, polite and interesting answers. Get ready to burn down in this sludge metal inferno!

Give us a short biography of VoidOath until now.

VoidOath was formed in 2018. We’ve known each other from other bands (Age of the Wolf and Redhead Match), and we wanted to create something different and heavier, more focused on creating music that comes from our interpretation of horror works.


You released your debut album some days ago. Which are your feelings now?

We are very happy with the overall reception for the album, Cursed Monk’s batch of the album has already been sold out, and Cognitive Discordance Records is almost out of copies as well.

People have been very receptive to the record, which we really appreciate. We got great reviews from different publications, including being featured on Cvlt Nation’s Top 10 Sludge Releases of 2022.


Give us all the information about the recording process and the whole production of “Ascension Beyond Kokytus”.

We wrote the album in about eight months, and we had been playing around with riffs since the release of “Illumination Through Necromancy “(Harmful Existence), so we already had various ideas on what we wanted for the record and how we wanted it to sound like.

After that, we recorded, produced, and mixed the album by ourselves.


You are being described as a doom/sludge metal band. Do you agree with this description? Why?

We mainly got around sludge and doom on our first release, and this was heavily based on the nature of the source material we were adapting. For this new release, we found ourselves having some death and black metal influences, as well as retaining those sludge and doom elements.


Who is main composer in VoidOath? Which are your music influences?

Jose Rodriguez handles most of the guitar composition, but every member adds their own interpretation to Jose’s riffs. We also, collectively, decide on removing or adding specific parts as well as adding synths and that kind of stuff. It’s hard to say which influences are prevalent at any specific time, our goal is to bring something different to each record. We are definitely fans of bands like Sumac, Yob, Interarma, Neurosis, Isis, Toadliquor, Corrupted, Kongh, The Body, Kurokuma, to say a few, but we really listen to all kinds of stuff.


“Ascension Beyond Kokytus” is a concept album. Who writes the lyrics? Can you give us all the necessary details about the concept and the lyrics of the album?

Christopher wrote the lyrics to the album, based on the source material of "Who Goes There", John Carpenter’s "The Thing", as well as expanding into the lore set up by multiple media such as videogames and comics. The album, a lot like the movie, details a starship crashing down in the arctic, that then is recovered by humans. To the human’s demise, the creature starts to consume them, isolate them, and make them distrustful of each other.


Who did the cover artwork of the album? Give us all the details please!

The artwork was handled by Nataly Nikitina; we gave her a rough sketch of what we wanted, and she delivered an awesome cover, completely desolate and aggressive.


Why did you name the band VoidOath?

No reason in particular, it sounded cool, but it’s just a name


You come from San Jose, Costa Rica. How are things for metal in Costa Rica? Is there a metal scene? Which difficulties do you face as a metal band in/from Costa Rica?

We have a small scene in our country, but we have a shit ton of bands, mostly thrash and death metal bands, but in late years we’ve had a lot of new genres incorporating the whole of the scene.  One of the many difficulties is that we are very severed from the world community, band and music wise, it is also a very expensive country to travel from and to, and being such a small country that is mainly used as a vacation spot, the country’s size doesn’t help.


VoidOath has intricate, long compositions. Why is that?

Weed. But also, some of the pieces we adapt have themes and atmospheres that lend themselves to very long and hypnotic layering.


One of VoidOath’s characteristics is the sultry, dark atmosphere of your songs. Do you agree with me? How would you explain this atmosphere?

We like to make things quite atmospheric; we believe this is a very strong part of our songwriting process. We like to make people feel like they are drowning and then forcefully pulled to reality.


Which are your ambitions for VoidOath?

We’d like to play live more, get our record out on Vinyl, and work on our next album.


Is a tour on your schedule?

We are hoping to visit some countries in Latin America. We hope we can materialize that soon enough!


How did the Covid-19 pandemic and its restrictions affect you as individuals and as a band?

We stopped working momentarily during the first weeks as we had no way to get to gather due to heavy restrictions. So, we worked on a side project called Dilapidated Mechanism which we did around the first months of the lockdown, it took about two weeks to put everything up remotely. But shortly after this, we were able to get together again and keep on working on the songs during rehearsals. So, we eventually got around restrictions to be able to finish the album.


Send your message to the fans!

Greetings to the fans of Myth of Rock, give “Ascension Beyond Kokytus” a listen and tell us what you think! Thanks for the support, and thanks to you Dimitris for having us for this interview. Cheers!

AMERICAS:  (Jewel Case CD w/ Exclusive O-Card, Poster, Stickers and Download Card)

UK/EUROPE: (digipak CD)  


Digital/Streaming Media:  

Cognitive Discordance Records: