Interview: Lychgate

Interview by Transmontanus

In the vast and often self-referential landscape of contemporary Black Metal, where orthodoxy is both revered and ritualistically contested, Lychgate stands as a singular architectural anomaly, a project whose foundations are carved as much from philosophical introspection and compositional rigor as from the genre’s traditional vocabulary of extremity. Since their emergence, the band has cultivated an artistic identity that resists easy categorisation, drawing together the austere solemnity of ecclesiastical atmosphere, the labyrinthine structures of progressive composition, and a persistent fascination with the metaphysical thresholds that lie between ruin and revelation.

Rather than merely inhabiting the sonic language of Black Metal, Lychgate appear to interrogate it from within, expanding its grammar through an alchemical fusion of organ-driven grandeur, baroque sensibility, and a deeply literary approach to thematic construction. Their work unfolds not as a sequence of releases, but as a gradual unfolding of an internal cosmology, each album a new chamber within an ever-expanding edifice of sound and symbolism. The result is music that feels less like expression and more like invocation: an act of disciplined transcendence in which violence and beauty are rendered indistinguishable.

With the release of “Precipice”, this trajectory has reached a new and unsettling clarity. The album stands as both culmination and threshold, distilling years of aesthetic refinement into a work that confronts the listener with an atmosphere at once oppressive and luminous. Where earlier incarnations hinted at hidden depths, *Precipice* descends into them with deliberate intent, embracing structural ambition and emotional density without sacrificing the stark immediacy that first defined the band’s voice.

In the following conversation, we move beyond surface narratives of influence and genre allegiance, seeking instead to explore the philosophical impulses, compositional methodologies, and evolving emotional landscapes that sustain Lychgate’s singular vision. What emerges is a portrait not simply of a band, but of an artistic continuum, one that navigates the precarious boundary between discipline and dissolution, tradition and transformation, always poised, as their latest work suggests, upon the edge of the precipice itself.

This Is Black Metal: First and foremost, thank you for your availability for this interview. Can we start off with a short introduction of the band and the band’s journey so far?

Who are Lychgate, and what does the band represent to you on a personal level?

Vortigern: Lychgate began in 2012, continuing where a previous project, called Archaicus (2002-6). We began as a band closer to those roots, but over time, we have progressed our sound into something richer. On a personal level, this band represents individualism: the opportunity to exist in the metal scene without fear of conforming to trends.

TIBM: For those encountering Lychgate for the first time, how would you describe the band’s sound and identity, in your own words?

Vortigern: Black/Death Metal with influences from Classical Music and RIO (Rock in Opposition). This simplifies it massively, but it’s mostly accurate. Some people like to refer to our sound as Black/Doom or Death/Doom, and perhaps they’re right, but when a band does not fit neatly into sub-genres and categories, it gets a bit messy to ascribe too many descriptors. In any case, if Doom is part of our sound, it is more of a small element.

Lychgate

TIBM: Since your formation, your music has evolved in complexity and scope. What do you feel remains at the core of Lychgate’s artistic vision?

Vortigern: Something can be more complex, but still keep the core identity. The core is, as I mentioned above, the free-thinking, individualistic approach to composing. I love classic bands, but for Lychgate we mustn’t repeat what other bands have done. We believe every band should try to communicate its own personality.

TIBM: Turning to your most recent work, what can you tell us about the writing and recording process behind it?

Was there a particular atmosphere or conceptual direction guiding the album?

What does that album represent to you creatively and personally at this point in your journey?

Vortigern: Unfortunately, Precipice was not written in one period because I had commitments and did not have time to work on it. So, it was worked on intermittently since our last EP, Also Sprach Futura. However, most of the work on it took place in 2023 and it was finished in 2024. As with all our releases (apart from the debut album), we used dystopian literature as a major influence on the theme – this time E. M. Forster’s The Machine Stops. In my opinion, it is our best album. I think the production really worked this time.

TIBM: Were there specific emotional, philosophical, or artistic themes explored on “Precipice” that marked a departure from your earlier material?

Vortigern: No, the album has been a logical progression from previous material.

TIBM: Now that some time has passed since its release, how do you reflect on “Precipice” today?

Has your perception of the album changed with distance and audience reception?

Vortigern: No, it hasn’t changed at all. We had time to sit with the recording for over 6 months because the recording session was a bit delayed. For that reason, there were no surprises to find out later, and if anything needed changing, we did so.

TIBM: Lyrically, your work is dense and evocative. What inspires your approach to lyrics, and how closely do they intertwine with the musical compositions?

Vortigern: For me, lyrics are an embodiment of our life experiences. We see a world around us and we can choose to express it in different ways. For some, this is literally. For others, it is metaphorical. My attitude to lyrics is a bit “philistine” in the sense that I am not motivated by them, ironically. My interest is in music and not in lyrics (unless it’s another band that I am listening to!). For example, in classical music, I mostly listen to instrumental works. If I was to write a novel or a poem, that would be different because somehow it tends to be less forced by default.

But most of the time, in bands, I find that lyrics are kind of a nuisance. I would rather just write music and that’s it. However, luckily (since we have to write lyrics), I have managed to find something interesting each time, so it’s Ok. I could even say I am happy with the lyrics I wrote for the latest album.

TIBM: Musically, Lychgate strikes a balance between extremity and intricate composition. Which influences, musical or otherwise, continue to shape your sound?

Vortigern: 20^th century classical, including Bartok, Shostakovich etc., or earlier (Liszt and Bach) and in metal, Emperor, early My Dying Bride, Unholy, Thorns, Abigor and so on. To a lesser extent, Morbid Angel, Nocturnus, early Atrocity, and Disembowelment.

Unsurprisingly, I am also a big fan of the RIO movement, including Art Zoyd and Univers Zero. Sub-Niggurath (closely related). Musique concrète (Pierre Schaeffer), and after that, various bands not related to Metal at all. The British scene in the 90s, for example. I grew up with that period, after all – a lot of great bands.

Lychgate

TIBM: You’ve been part of the Black Metal world for many years. How do you view today’s Black Metal scene in comparison to when you first began playing music?

Vortigern: When I released the first Archaicus Demo, it was in January 2003. It was quite different then. Some copies of it were even sold in a local record shop, which is unimaginable now because most record shops have closed down, and if they exist, they are formalised.

There were far fewer bands. Now there are too many bands and not enough quality control. I also believe that the presentation of the art on the Internet is against the core philosophy from which Black Metal came from. It was better when there was a bit more mystery surrounding individuals and the bands they play in. When I listen to an album, it is better to just listen to it as a work of art. We don’t need to know about the people on it, do we?

TIBM: Are there aspects of the contemporary scene that you find inspiring, or conversely, elements you find limiting or problematic?

Vortigern: Not much of it is inspiring, to be honest. But, occasionally, I hear something new and it gives me hope. I respect bands like Vektor who are managing to keep things fresh, despite what you might expect from such a style. And of course, we still have amazing bands like Gorguts, who will thankfully release a new album soon. Reveal! ‘Scissorgod’ was interesting (actually, whoever is behind Sepulchral Voice Records has good taste in general – Concrete Winds and Vorum were great).

For me, the main issue with the current scene is a trend of not writing actual songs. If you do an analysis of tracks being released now and compare them to tracks in the 90s, you will see a major difference in song structure. Is a song a storytelling device, is it not? It has a start, a journey and it has an end. Not always, of course, but you know what I mean. If a song is structurally dead, then there is absolutely nothing interesting there. (I am not talking here about ambient or drone-like, minimalistic works because that’s different. It’s like reading a book that has no tension and no surprises in it. Songs need dynamics – they need to hook you in. I don’t find much evidence of that now, especially when bands release tracks which have one or two “riffs” in them – it really annoys me. Braindead – bullshit.

TIBM: Looking ahead, how do you see Lychgate evolving?

Are there ideas, directions, or concepts you’re currently exploring for the future?

Vortigern: The next album will be a continuation of where we left off with Precipice, so probably not radically different. But it will be a development, with some things we have not done before. I already have a lot of the track ideas written.

TIBM: What would you like listeners, especially those discovering Lychgate now, to understand or take away from your music?

Vortigern: That’s up to them. Lychgate = active listening. It is not background music. Those who are into it understand this.

TIBM: Finally, do you have any closing words or messages for those who continue to support and engage with Lychgate?

Vortigern: Thank you to all who supported us. Follow us to receive updates.

TIBM: Thanks for your time!