Some critics of black metal cite the often occult or satanic subject matter as less important than discussing life problems like crime, social injustice or whatever. I get that, but the truth is, black metal has value like any genre and can be a valid examination of boiling, aggressive feelings gaining voice via meditations through certain forms. The genre, like any genre, can be as freeing or restricting as the individual artist’s whim. Sometimes it is thought out and other times it is a freak out, ripped from the interior of the artist. Aosoth choose the road of deeply mined inner desolation, and whatever the outer trappings, they have hit the nail powerfully on the head with Ashes Of Angels.

Some people don’t like bands where they have to work to understand the vocals, but whether you can decipher them or not in this case, there is no misunderstanding the torrent of frustration, agony and hostility wound up within Aosoth’s killing frenzy. Aosoth rely on a lot of vibe, like seeing a live band, which makes for some looser sections that only add to the color and feel of this release, like your awareness dawning on a particularly ominous storm cloud. Elsewhere the band fires away on all cylinders with precision but still sticks to the rawer side of the black metal approach. It feels live in a sense but is still well honed, reflecting darkly in the dancing chaos light of the personal knife edge.

Whether you believe in the material world as transient and raw emotions worth assimilating and meditating through towards bliss or whether you think the hard edges of this reality we live in are worth chipping a tooth on via precise true to life accounts and engaged struggle, there remains merit in Aosoth’s deep examination of suffering. It is not just a pointless wallowing in pain, but a full-blown sonic explosion documenting a certain state of being that is also a part of the ever grinding wheel of life.

MORGAN Y. EVANS: Your song “Path Of Twisted Light” was so impressive, or should I say oppressive, that I had to try and interview you guys. I love that it is such a lengthy, dark journey, both slow and frightening. The loose yet controlled playing vibe is very overwhelming and feels very emotional yet claustrophobic and numb! There is a non-black metal band called Life Long Tragedy that have a few dissonant, weird songs like that also and I am a fan of anyone who can do that in a song. Can you talk about the writing process for Ashes Of Angels? What goals and feelings did you want to make sure you summoned up? The guitars are like waves of darkness that wash over you.

BESTIAL SATANIC T: Hails. First of all thank you for those kind comments. The writing process was actually extremely spontaneous. You could even compare it to automatic writing. At no point was there any intention to go towards any particular direction. This is just expression in its rawest form. What makes this album dark, or at least darker than the previous one is the state of mind we were in as individuals when we recorded it. Extremely negative.

MYE: I like the way the songs change into the next. It sounds almost like listening to a band play live.

BST: As I said earlier, it just sounds as it came, music-wise. Now as far as the production goes, I always try to keep things as organic and raw as possible. I really wouldn't see myself make a record with a crystal clear clinical sound in the vein of modern stuff like Dimmu Borgir etc... Just wouldn't work with the music I write.

MYE: Yeah. Works for some bands, but you guys have just what you need with this approach. Can you talk about the album name? I can’t believe no one ever used it before in the metal world. Why did you decide it was appropriate for these songs?

BST: The lyrics are mostly based on personal experiences and the idea of decay from an individual's point of view, the putrefaction of the soul... ASHES OF ANGELS refers to that aspect, and also more precisely to the use of certain drugs that are a part of our existences.

MYE: With certain types of metal being more hip/popular than others at some points, do you think categories for metal help people decide what they like or does it make people judge ahead of time without giving a band a chance? Do you think people look at a band and decide ahead of time if they like it instead of listening and letting the music overpower them?

BST: I guess it has been a common marketing trick to use and abuse labels for music, especially in metal. It's most of the times a tool from the record companies in order to sell more copies, and from the press, just to show off I suppose...Anyways, it really isn't something I pay too much attention to, as I define the music I hear with my ears, with it's sonor identity, not with a word someone shoved in my throat to describe it. What makes people judge music ahead or not, or if those people judge my music ahead or not...it really doesn't matter to me in the end. What I do in Aosoth is mainly for myself.

MYE: How have things been with Agonia Records? How did you get involved with them? They have a good variety of bands. I love that grimy new Venom-esque Die Hard record NIHILISTIC VISION, and you guys have done a split before with Temple Of Baal, right?

BST: We have done a split with them indeed, which was released on another label though. Agonia is doing a really good job, keeping its every promise, and we're very satisfied of this collaboration. And I'm also glad to be working with a label that works with as many talented bands. It's good to be pretty much a part of that sort of "team".

MYE: How do you feel about the controversy when black metal bands or death metal bands get on bigger record labels? It seems like barely anyone buys records anyway now, so who cares as long as the integrity is still there? Agree or disagree?

BST: That controversy is created by people who have no fucking idea how the business works anyway, or even how music works. Ninety percent of the time, they're stupid internet virgin kids who have no clue what they are talking about. What's a big label, according to them? How much money do they think a band like us makes? How much money do they think we'd make if we were on Century Media? I'll give you an answer : Not much. Music doesn't pay, Metal doesn't pay, Black Metal does not pay a fucking cent. We do this because we are passionate, and whoever releases our stuff will get nothing but our stuff in its pure form, no correction will be made so it fits the latest trend or anything. So I agree, it doesn't take the shittiest underground label to have integrity, and it doesn't take a huge major to be a poser. That's my personal opinion at least.

MYE: I agree. Like, who cares if a band like Valkyrja is getting attention for being on Metal Blade. That label is great, anyway! So, what are your feelings about the underground scene in France? I know there are a lot of kids and journalists, some of my French friends, who love the underground and seem to always know a lot more about bands than my United States friends, but I hear that it is also very difficult there for bands at times. Still there is a lot of good stuff coming from France like your band or Necroblaspheme!

BST: I believe we do have a strong scene and great bands, such as Hell Militia, Antaeus, Vorkreist, VI, Temple Of Baal, Blut Aus Nord, and of course Deathspell Omega.We have good musicians and songwriters, but not that many people able to organise a decent show, book a tour, or anything like that. So in the end we have no huge band, and no real opprotunity for our black metal bands to grow bigger. It takes a lot of hard work for an ever mediocre result.

MYE: Yeah, the biggest band is Gojira, who I am a fan of. It would be nice for more black metal and other stuff to get much more attention as well. “Songs Without Lungs” is a great song name. It reminds me of the Soilent Green album title A Deleted Symphony For The Beaten Down, like, evil metal is living under the earth somewhere if you can find it! “Teaching/Erasing” made me think, also, do you think too many bands make music to become famous instead of having something to say? Your band seems very true to form.

BST: Well, making that kind of music to become famous would be pointless, as we don't reach an audience that is wide enough, unless we comit a few murders... But as much as I love fame, I won't spend some time in jail for it (especially not in France). There is a deep and personal meaning behind all our songs, and we use music to express things, not to try and be "popular".That's for sure.

MYE: “Summon The Dead” sounds like it is about necromancy, but also it conjures ideas to me of voices of history, whether in metal or in the true, violent history of the world. Do you think people ignore history too much in the fast day-to-day?

BST: I can't say that I care enough for people to think of what they're doing too much or too little. I find history interesting, and knowlegde in general. If people in general are stupid and ignorant, than it's for the best. It will only make them easier to manipulate by people like us.

MYE: [laughing] That reminds me of Machiavelli. What can people expect from a live show if they have never seen you play yet? I understand you have been gigging more and more with Aosoth the last few years?

BST: We have, indeed, and the experience has been great and intense. One should only expect something honest, dark, brutal, and the smell of alcohol surrounding us.

MYE: I interviewed Devin Townsend recently and some of his new solo records are about being addicted to being miserable and in pain and trying to break away from that. At the same time, metal can be very useful for people to have “Communion Through Pain”, like your song name. I think as long as they still can live their lives without fucking up too much, it is good to get out aggression in metal sometimes and can express important truths. What do you think?

BST: Oh, as far as we are concerned, we are way beyond any salvation from fucking up our lives. We get our aggression out to burn peoples’ face with it. We need to express the contempt we have for the mass of sheeps that is our society. The hatred we spit at their ugly faces is only a statement of the fact that we feel they are way inferior to us. It's not a way for us to feel better, rather a way to make those pieces of shit feel worse.

MYE: In Satanism, the lifestyle of the individual who wants to be free of control is often the reason behind many songs for some bands/artists. Some people become Darwinist but some even vegetarian and hermits. What do you feel are some of the biggest misconceptions about black metal, Satanism, or metal in general?

BST: I don't see it as something meant for everyone to be free from the chains of religions. I see those chains as a great tool to control the weak masses. My vision of Satan is not of a bringer of freedom. La Vey's speech may be appealing to the youth, but I still think even that was made in order to push sheeps blindly towards a goal that was decided for them.

MYE: Any literature or music you drew inspiration from for Ashes Of Angels?

BST: So many it would take ages to name them all...

MYE: Thanks.

BST: Thanks to you. AMSG.