Interview with Alcameth of NIGHTBRINGER conducted by J.B. Bauer of Full Moon Productions, December 2005.

1.) Hails… To begin, tell us about the creation of Nightbringer…

Nox Corvus and I formed Nightbringer in 1999. Our third member, Ophis joined us a year later. Our location has always been and more then likely will remain Colorado. Nightbringer was created to manifest our thoughts and philosophies on the subject of death in audile form. This was basic and profane in the beginning. As we developed as a band and individuals, our philosophies developed as well. Nightbringer is our conduit for the forces of death.

2.) What is the significance and why have you chosen the band name “Nightbringer”?

I suppose that it was first chosen for the personal connection we feel with the night, it being the time commonly associated with the working of “dark” forces and energies, with the realm of dreams and death, and by the inspiration that the sight of the night sky awakens within us. Moreover, it is a name that has only increased in personal meaning over time, so that the plurality of meanings latent in the word itself, as symbols of a greater reality, are gradually revealed. For us, the symbolism of Night encompasses the manifold processes of death, both inner and outer, and has also a mythic, cosmic, and ritual/spiritual dimension.

3.) The Nightbringer / Temple of Not “Rex Ex Ordine Throni” Split CD has just been released through Full Moon Productions. What does the album title translate to and what can you tell us about this split (concept?) release? Musically, what can be expected from this split?

The translation is “King of the Order of Thrones”. This refers to certain adverse aspects of the Sefirah Binah in the Qabalistic system.
Each work featured on the album conveys the essence, understood by us, of the forces surrounding the terminus of life. Musically, Nightbringer is dark scathing black metal of a higher caliber. Temple of Not is amorphic black ambient.

4.) Why have you chosen Black Metal as the vessel for Nightbringer? What is it about Black Metal that you relate to and align Nightbringer with?

Well, it is something we have all been involved with since our youth and comes very naturally for us. Though many bands, especially now, produce cliché and completely uninspired works that are merely means to entertain, there is something very real and potent that was found in some of the early black metal works and still remains in the select few bands today. This dark and tangible spirit is what keeps us intrigued with this specific form of art. We strive to imbue our works with this spirit. Such emotions and energies that are invoked by such great works can only manifest in certain platforms in regards to music. Genres such as ambient and classical as well as black metal are suitable vessels for such forces. The members of Nightbringer pursue all of these to some degree.

5.) Tell us about the covert artwork concept for the Nightbringer / Temple of Not split CD… This split album was also recently released on double gatefold LP through Forever Plagued Records (U.S.A.). How did this vinyl version come out, as I have not seen it just yet? The music is the same on both versions, but an alternate cover artwork was used for the vinyl version, correct?

The cover art of the CD release depicts a human skull crowned with two skeletal serpents rising on either side of a black sun accompanied by baleful serpent eyes. The double-headed serpent is an important figure in our works, and represents the two maws of the Ouroborus Dragon; one breathes the forces that create life while the other devours life. In this rendering, the baleful aspect is emphasized. This is the two-fold death, that of the flesh, and that of the spirit, the profane and the divine. The black disk is an eclipse of the sun or solar principal as profane consciousness and represents a descent to chaos. The multiple eyes are the lidless serpent’s gaze, ever open and ever present. The vinyl version has different cover art altogether. The Nightbringer side is a painting by Zdzislaw Beksinski, which we felt was fitting due to our personal interpretations of the piece. The Temple of Not side features only the logo which contains the symbols of the eye and pentagram.

6.) It is evident in Nightbringer’s music that much skill, time and thought are put into the musical composition and execution. One of your members is even classically trained in music theory and composition, which is highly impressive. How does this effect and benefit Nightbringer’s music and song writing?

One of us does indeed study piano and composes parts on keyboard; these parts are then transcribed for guitar. However, none of our members is classically trained per se; we merely have an appreciation for such music and attempt to incorporate its more complex structures in our works. Hence, we spend a lot of time writing and refining our music before we record it. Anything less would be pointless. I feel the amount of time and attention given to our works shows in the final product. Each track has depth and real spirit, and from track to track the individual pieces form a greater whole, making the entire album one complete work. Our only regret in regards to “Rex ex Ordine Throni” is the variation in production from the first two tracks to the third and then the last track. This was a direct result of recording the tracks in sessions over a period of two years. Though we still record in sessions over a long period of time, our studio engineer has formulated a process that lets us apply the actual guitar tones as well as overall production at the end of the entire recording process for the album. The guitars are all actually recorded clean, though they are processed through a program to give them temporary distortion and tones while we record. Then, once the entire album has been recorded the temporary distortions and tones are stripped away, so that only the clean tones remain, then through the process of re-amping the final distortions and tones are applied, giving the entire album, from track to track a cohesive production. In regards to the overall production itself, this is something that we experimented with, with varying results during the recording process of “Rex ex Ordine Throni”.

7.) Nightbringer’s writing and recording process is incredibly detailed and well thought out; however, unlike traditional bands who either collaborate or have a sole song writer, Nightbringer approaches song writing in a different manner. Each Nightbringer member composes his own song(s) individually, which are then combined for the album/release, yet the final result still sounds and flows as if it were created by the same individual/force. How is this achieved? Can it be assumed that all of Nightbringer’s members exist on the same “current”? Can you also elaborate on Nightbringer’s writing and recording process?

Each of us has contributed our parts, some times as collaborations with other members and other times entire songs are written by a single member. On any given track, different members, with the exception of the drums, play different instruments. All of us play guitar on “Rex Ex Ordine Throni” and this will be the case for “Death and the Black Work” as well. Through working and writing with each other over the years we have developed and honed our specific style. All of us have an intimate relationship with the spirit of Nightbringer so we know very well how to manifest the sound. The writing process can take months for each individual song. We will focus on one or two tracks at one time and then record those tracks before we begin writing the next, which ensures that each track is given our fullest attention. This is why our recording process takes such a long time.

8.) Nightbringer possesses a truly colossal “voidal” sound and production. It is a highly “professional” sound, although incredibly dark and powerful with immense atmosphere, and not sterile or over polished. You do record in a completely professional studio, although you are able to recreate this massive sound flawlessly in a live setting as well. What can you mention about your studio experience? Since you record in sessions of only a couple of tracks maximum at a time, you must spend a lot of time in the studio?

We see the studio process as merely the necessary means to manifest our work. The end result is all that is relevant, not the steps we took to reach it.

9.) Temple of Not is an Occult Black Ambient project of Nightbringer’s members. How long has this project been in existence and why was it created?

I have always had a love for ambient, and being a musician it was only natural for me to create my own ambient. It is very dark by nature. The themes and philosophies are, like Nightbringer, occult and specifically dealing with the forces surrounding death. Temple of Not was something that developed over a period of about five years and did not fully manifest until the recording of the Nightbringer material for “Rex…”. On the Horde of Darkenwood comp. there were two Nightbringer tracks, one of which was the early incarnation of Temple of Not, “Oblivion’s Descent”.

10.) Complete Nightbringer lyrics are included in the Nightbringer / Temple of Not split CD booklet, which appear to hold a lot of depth and meaning. Do you consider the lyrical aspect of Nightbringer to be as crucial as the music? Can you provide some insight into your lyrics? Also, what do the song titles “Mors Philosophorum” and “Vir Sapiens Dominabitur Astris” translate to?

The lyrics are equally important as the music itself. A lot of time and thought are put into our lyrics. Certain aspects are fairly straightforward, while others admit a greater complexity of interpretation as well as allusions taken from our studies in the occult. “Mors Philosophorum” translates to “Philosophical Death” (a term taken from alchemy and denoting the Black Opus) and “Vir Sapiens Dominabitur Astris” translates to “The Wise Shall Dominate the Stars”.

11.) In particular, a reoccurring theme within Nightbringer’s “Rex Ex Ordine Throni” lyrics is children; dying, sick, starving, “lost”, etc., etc. What does this allude to?

The passages from “The Void” to which you refer, at its most profane level, is meant to relay the ultimate realization of one’s inevitable death, which to the “slumbering” is a realization of stark anxiety, horror, and despair. From the perspective of one who may not have the imminent realization of death upon their shoulders, those others who are faced with such things act as windows into the void. “…and in the eye’s of their dying children they shall see…”

12.) Nightbringer are heavily involved and well studied in the Occult. Can you provide an overview of the subjects and areas of focus for Nightbringer’s occultism and ideology?

There is most certainly occult study and aspiration within the circle of Nightbringer. We have had glimpses of certain things, later confirmed in the writings of others. However, we are not masters by any means, and one should be wary towards any who claim such things so openly, especially in this scene.
The subject matter of Nightbringer has already been established. I can, however, mention a few of the occult influences highly significant to our work: Alchemy and the Hermetic Tradition, Luciferian Gnosis; more specifically, the writings of J. Evola and the UR Group, the Cultus Sabbati, A.O. Spare, and A. Crowley.

13.) How do these topics relate to Nightbringer’s Satanism, or Luciferianism may be a more appropriate term? You have also stated that Nightbringer do not adhere to Satanism/Luciferiansim as in “Devil worship”; can you shed some light on this?

Everything we have conveyed is relevant to our studies and philosophies. Anyone versed in traditional occult fields will see the parallels. As far as “Devil worship”, we understand “Satan” to be the Idol of opposition, the Opposer or Adversary. Others interpret this differently. Any form of crude “Satanism” we are detached from entirely. The goal is a complete transformation of one’s being, from a state of debility to that of power; as such, any form of worship could only be a means to an end and is ultimately of a passive nature, whereas we seek an active transcendence centered in the Self. Note that this is neither egotism nor individualism. There is no god to be worshiped; there is only the Great Work.

14.) You are currently in the recording process for the debut Nightbringer full-length album, entitled “Death and the Black Work”, to be released on Full Moon Productions in 2006. What can be revealed about this album?

“Death and the Black Work” is a major undertaking. This will be a more complete vision of what we began with “Rex ex Ordine Throni”; descent into the corrosive waters of Lethe, falling into the two-fold death.

15.) Death is a dominant motif for Nightbringer. What does death represent and embody for you, and can you explain why you have chosen death in particular as such a focal point for Nightbringer?

Death is the ultimate manifestation of the forces that subjugate man. It appears before us and all around physically. It is the corrosive poison that dissolves all. It is also the immediate gate that leads from corporeality.

16.) Nightbringer had originally planned on recording “Death and the Black Work” deep within the woods of Colorado; however, studio constraints ultimately made this idea an impossibility, at least for this recording. Do you still hope to realize this type of recording in the future? You had also spoken about experimenting by using a cave or valley for natural reverb on your vocals. Tell us more about this…

Yes, the original plan was to record the album in the woods. The woods and mountains here in Colorado are sacred to us and are an atmosphere conducive to what we are doing, so it would be the most suitable place to record our works. The natural ambience would also aid the over all sound especially in regards to the vocals which could be done in a cave or valley and recorded at different proximities. Unfortunately we were unable to do this due to financial limitations, but we hope to be able to do so in the future.

17.) What can be said about the “Horde of Darkenwood”, which Nightbringer belongs to? What other bands are associated with this clandestine circle and what is the Horde of Darkenwood’s purpose and intent?

The Horde of Darkenwood was a mantle given to the close circle of black metal bands here in Colorado. It originally consisted of multiple bands and had many individual members, but over the years most of the bands dissipated as members turned away from this form of music and dropped out of the “circle”. Very few of us remain and currently the only remaining functioning bands are Nightbringer, Serpentinam, and Temple of Not, all of which are partly comprised of Nightbringer members. Each band that did belong to the Horde of Darkenwood had their own specific focuses and philosophies which had no bearing on the other bands, we all were our own entities that stood on our own and still do regardless of this mantle.

18.) Nightbringer partook in a Horde of Darkenwood Compilation CD release. When was this CD released and what other bands participated? How does Nightbringer’s material on this compilation compare to the “Rex Ex Ordine Throni” or “Death and the Black Work” material?

If I remember correctly the HoD comp. was released in 2000 / 2001. The bands were Bellum, Rhune, Excommunion, and Nightbringer. The tracks that Nightbringer contributed were some of the first tracks we wrote and are very rudimentary compared to the later material. Our style had yet not fully developed.

19.) Nightbringer have performed live twice, at each year of the Gathering of Shadows, an annual event held at a secluded location in the woods of the Colorado Rocky Mountains, which is planned and organized by the members of Nightbringer and the Horde of Darkenwood. What else can you tell us about the Gathering of Shadows?

As you said, the Gathering of Shadows is a clandestine gathering of black metal bands held in the woods of the Rocky Mountains. This is the standard for live black metal performances. We feel black metal should be taken out of the bars /clubs and placed outdoors in secluded areas. This only makes sense given the nature of black metal, be it occult, satanic, pagan or other. We facilitate the ideal atmosphere for black metal bands to perform each year. There are no restrictions; the bands are free to do what they will. We hope to see bands take more advantage of this in the future, perhaps with more ritualistic aspects, or other such things that you would not perhaps be able to do in a venue. Our hope is that others elsewhere will follow suit, and put on similar gatherings of their own.

20.) Preparations for the next Gathering of Shadows for 2006 are already well underway. Which bands are confirmed to perform and who else has shown interest in playing? Are there any other details for the next Gathering of Shadows yet?

So far Demoncy, Incursus, Tenebrous, Pestilential Shadows and Nightbringer are all confirmed. We are talking with many others including some European bands, but I think it best not to mention names until confirmed. Other than that all I can say is that next year’s Gathering of Shadows will be held under a full moon and thusly entitled: “Rise of the Full Moon Temple”. (The Official Gathering of Shadows Website is now online at www.gatheringofshadows.com and will be updated with all news and details concerning this event. – Ed.).

21.) Nightbringer’s live performance is an incredibly powerful Death-exuding experience, which has been compared to massive black portals being opened in the nocturnal sky by your incantations to consume all… A completely blood freezing and overwhelming aura. You also go to great measures for your live visual presence and aesthetics with black ritual garb, detailed corpse paint and the black scepter you wield with massive nail spikes and a human child’s skull adorning its point. A Nightbringer performance is also highly ritualistic and potent for yourself/the band members… Can you describe this experience from your/the band’s position?

It is hard to relay entirely, and the experience is somewhat sacred to myself. Personally, I can say that the regular thought process ceases and another, more hidden, aspect of the self arises. The combination of nerves coupled with a specific mental focus, invoked images of the void and of my own personal death, starts a process that is nearly overwhelming and even physically nauseating and unnerving. This culminates into an almost unbearable level during our ambient intro as I willfully maintain and try to intensify this focus until the first chords are struck. The energy of this corrosive mental process is forcefully projected outwards, and a feeling of symbiance is felt as I become a conduit of these forces and I am no longer harmed by them. Nausea turns to exhilaration and at this point I feel ablaze. It is wholly engrossing and intoxicating personally. I do not see the audience really, once it has all begun, just the dark, the night sky and the visions I invoke within my mind. It is powerful. Outside of my personal preparation, a lot of thought and effort as a group goes into our live performance. We strive to make it as ritualistic and ceremonial as possible. Though true ritual obviously could not fully arise outside an initiatic context, we try to incorporate as many ritualistic aspects as we are able, thus the ritual garbs, intricate paint, child’s skull, so on. We do not wish to entertain, but instead to project the forces of death onto the congregation. These natural and primal forces flow in abundance within the secluded areas of nature and it only takes a measure of real focus and effort to bring their presence to light in the minds of those congregated who are attuned and sensitive to such things.

22.) What are Nightbringer’s immediate plans for the future? What about the distant future? Do you see Nightbringer releasing multiple full-length albums?

For now all our focus is on the completion of “Death and the Black Work”. After the album is finished we will prepare for the next Gathering of Shadows and perhaps some European appearances.

23.) How far along are you with the recording of “Death and the Black Work”? When do you expect to have the album completed and released?

We have about one third recorded and nearly the entire album written. We hope to see it complete come Spring.

24.) What does the future hold for Temple of Not? Do you have any other material recorded for this project? Are there any tentative releases planned?

I do have new material recorded for Temple of Not, but as of yet no desirable label to release them through.

25.) Which classical composers and/or select pieces can you recommend that may be of interest to those into music of a darker nature?

Arvo Pärt’s Litany is a personal favorite among the modern composers, as well as the works of Ligeti (Requiem, Lux Aeterna). More traditional composers include Beethoven (Late String Quartets), Bach (Organ Works), Mozart (Requiem) and Rachmaninoff (Isle of the Dead).

26.) Much appreciation for your time and for participating in this interview. I really see tremendous potential and great things happening in Nightbringer’s future. Are there any final thoughts or words you would like to convey?

“Magick is the True Creatrix of Nature, and yet is its Devil, its Destroyer. For Nature Itself desires the breaking of its own laws and possibilities, and thus even its own Iconoclasm. The Perfected Sorcerer must ally himself to this Design and by Magick he must walk beyond it.” —Andrew Chumbley, Azoetia

27.) To conclude, what do you envision as the ideal visual representation of Nightbringer’s music?

A man lying asleep in an open grave, his body embraced by the coils of a serpent.





The NIGHTBRINGER / TEMPLE OF NOT “Rex Ex Ordine Throni” Split CD is out now and currently available for order from FULL MOON PRODUCTIONS.


A rough mix MP3 sample excerpt of the new NIGHTBRINGER song “Womb of Nyx”, taken from the forthcoming NIGHTBRINGER “Death and the Black Work” debut full-length CD to be released on FMP in 2006, can be downloaded by clicking on the following link:

NIGHTBRINGER “Womb of Nyx” MP3 (Rough Mix Sample Excerpt)