Urgrund have always been a supreme horde. Your sort a - humble correspondent’s been flying their banner in these pages for years now, first with a review of their gritty ‘n’ gas-guzzling The Graven Sign debut, then with a Fast Forward spot heralding their even-better Unchangeable Fate; somewhere along the way, I’m pretty sure I shed some positive ink on the interim Battle Skin 7”. Well, along comes their third full-length LP, the tellingly- titled- in- more-ways-than-one Disciples Of Supremacy: Not only trumping themselves, the Aussie cult’s nearly trumped all else. This is veritable heavy metal WAR — dirt, dread, grime, grit, triumph and terror; of trampling the weaker and unworthy under steel-shod boot, of rising above the self, no excuses made and no quarter taken. Precisely and generally, then, what makes black metal so belligerent, death metal so dirty, and heavy metal so invigorating — but all mainlined through a traditional-yet-idiosyncratic muse, one that’s part hooligan and part philosopher-king, yet one that’s all Urgrund. Through thick and especially thin, founding frontman/guitarist Bolthorn R. Scavenger has steered the good ship Urg rund, and took some time out to explain what it means to be Disciples Of Supremacy.
Metal Maniacs: It seems the lineup’s stabilized, at least for the time being…
R. Scavenger: Yes, things have always been on juggling terms with the band. It’s ever so common in Australian bands and especially Victorian bands here to share musicians from other bands. We do have a lineup set in stone. Chris Volcano is the only member that contributes both to Abominator/Ignivomous and Urgrund. [Current bassist] Josh Necrovore, who was once with us, has realigned himself with Urgrund and it’s working out perfectly [Note: A.D. Barathrum played bass on Disciples Of Supremacy but is currently living abroad]; [guitarist] Mike Possessed works well with other guitars.
MM: Still, three lineups in just as many albums — that must be frustrating.
RS: Aye, although being the creator and original member — I guess being the main driving force, keeping the band afloat — I could almost say that we only use session members for live shows, thus Volcano and I deal with the songwriting efforts. Fucking frustrating, indeed. Some people’s heart and oomph just isn’t there, or the punch that they wanted to bring to the band died quickly, or members relocated and Urgrund was left buried for a period contributed to the numerous changes that held the past. But the Oskorei Cult rides again!
MM: Earlier in correspondence, you said Disciples Of Supremacy possesses darker, more intense points whilst also being a bit more “out there.”
RS: We’ve expanded and delved into the more occult aspects of periods past rather than the fact or deeds involved. For instance, we have lyrics in earlier albums that flag a time in history, like “ Scourge (Of God)” [from The Graven Sign] and Attila The Hun etc.; I’ve written more material in the first person and more story detail than explaining someone’s life or tragedy. The new album studies a varied source of powers and uprisings, ancient lore and secret orders — “Nightwatch Heresy (De Bokkerijder)” is a good reference to the Masonic folk of Belgium/Holland with its Christian slander, the Banner Of The Goat. I’ve been more open to other interests rather than a standpoint alone and Germanic scripts itself.The strong ancient Ur-type stuff is still there, but I’ve developed
beyond the horizon that surpasses just singing about war, the apocalypse and mythology-based material. I’ve found ingredients that work for Urg rund — “The Days Behind Iron,” for example could be an anthem for the convict history of Australia itself, a good track based on the settlements and prison life of the whole “ball ‘n’ chain days.”
MM: Did life itself inspire this direction?
RS: Somewhat, but more so other bands — when bands write about the same shit, Satan this, Odin that…It’s time to get a different point across, something that’s real, an attack that stands for something. I try to emphasize what I find interesting and what I can express through this band. Now, bands can write about killing Christianity and being Vikings all they want, but seriously, this doesn’t make a great band. It makes them rather sheep-like and very unoriginal. But in saying this, the material still should have an irreligious backbone and darkness, otherwise, it just ain’t black metal or death metal. We have strong references with Germanic culture, hence the strong bindrune insignia that we have and the Oskorei themes, but at least we use ‘em in a good form.
MM: So, do you dictate to the lineup your ideas ‘n’ ideals — a benign dictator, as it were — or is there some democracy here on the new record?
RS: There’s been more of a group effort this turn. Although I’ve written all lyrics myself and the music was worked on by Chris Volcano and me, the new members will not hold back with their inputs and ideas.
MM: But what place does or should “democracy” have within a band?
RS: To a point where the whole team knows who’s best at what they do, and let them stick to that task; some people know their place in a band and just know their practical value. Either way, the flames are strong within the band.
MM: There’s more variety in your arsenal on Disciples Of Supremacy, and plausibly; each song is its own epic, retaining their own respective identities and also moving countless places within those epics.
RS: The need to stay away from stagnating and not being a concept band, this is very important. We try not to repeat ourselves even though elements are used regularly, but this is to put across an identity that is strictly ours. Many songs are based on focal points in history, somewhat interesting and educational, too; the ingredients of tragedy, war and death mould what it is. I’ve started using open-based riffs again like the very old material, atmosphere and darkness…There ’s always a peak/climax in the song, being the bridge or the shout-along chorus; we try to provide power, also. It’s also more of a guitar-based album as I was the main axe-man during the last two albums. This eff o rt unleashed more variation in the guitar work.
MM: The new record’s characteristically dirty but just cleanly enough to allow the nuances, of which there are more here, to shine through and powerfully. How do you go about finding that
balance between the two? Think you’ve hit the perfect balance between grit and gleam, at least for the time being?
RS: Yes, we failed bloody miserably with the last production qualities; The Graven Sign was okay, as it gave off a harsher edge. As the recording [of Disciples Of Supre m a c y] was fat and intense, we wanted to polish it up a bit to make all the instruments heard, especially the faster songs — less treble on the guitars, making a more mid-range attack.
MM: Your vocals, too, are more pronounced here but without losing any grime or bite. Is it all really down to recording, or is it in the performance?
RS: Indeed, I wanted the vocals heard rather than back in the mix; a good war-like yell was achieved. Whispers and spoken snarls are still very noticeable, too. Unrelenting — and, yes, it has bite.
MM: Urgrund’s now flying a banner of “Black Death Metal Supreme” — that covers just about everything.
RS: You betcha it does!
MM: Being so gnarly so consistently, do you think your sound’s distinctly Australian?
RS: I wouldn’t say “distinctly,” but I guess the vibe and sound is there. Even so, the scene has progressed in many forms. You can still witness an Australian feel in a lot of bands, as diverse as it is; I think the thrashing black metal backbone has slowly opened doors to more aggressive styles.
MM: Urgrund are now sorta elders of Aussie dirt-metal, so are there any up ‘n’ coming hordes you’d suggest? Shackles, Assaulter, Trench Hell and Funerary Pit all quickly come to mind.
RS: Cauldron Black Ram, Kill For Satan, The Dead, Nocturnal Graves and Cemetary Urn come to mind. I’m sure there’s a handful of others worth it
MM: But are Aussie black/death hordes really the hooligans they’re perceived to be?
RS: Not sure — you must hear some stories, then. I know for certain that we don’t take our beliefs as seriously as some bands from northern Europe…
MM: Does your nation’s convict-continent past largely inform its culture and, especially, its heavy metal?
RS: I think it does. Even so, it’s in the back of a lot of people’s minds. They haven’t expressed it in song as yet; Grenade and Urgrund are the two that specifically bring forth the convict theme in at least one song. Even though I was born in Europe, I still find Australia’s convict history interesting. There’s so many little tales of tragedy and crime; the Port Arthur convict site in Tasmania has some good, dark history. I guess there were a lot of wild ones roaming the land in the early times once white man settled here — a definite inspiration for a metal track. Back to hooliganism, like so many other English-speaking nations, Australia likes its beer and beverage, so drunkenness and disorderliness is very common. Australia lacks culture because it’s a colony being made up of a lot of “people,” not one culture or identity; that’s why sport and alcohol here are major players in what we call “culture.” The less-formal, “I don’t give a fuck” lifestyle works.
MM: So, who precisely are the “Disciples Of Supremacy”? And what does it mean to be “Raw To The Bone?”
RS: Disciples” is a track based upon warlords and their connections to occultists’ strive for power, to reign and bring the apocalypse theory forward with the use of artifact and blood. “March of the black sun, initiate me” — strong references to ancient orders , practice and societies that thrived with the intention of global supremacy and gain; chaos and darkness. “Raw” is based on dictatorships and a nation’s following; there’s a strong link to the World Wars of Europe, the whole reference of casualties and the need for destruction by one means to bring forth a better world and evolution. Unchallenged/Dominant...
MM: I’m guessing, then, you still “hail the hunt?”
RS: Yeah, a slogan that was used for some time, somewhat of a Skal / Prost term — “The Oskorei Rides.” I’ve used it in the band for years.
MM: How would you address folks, then, who say such lyrical subjects and personal beliefs are a bit dodgy?
RS: Ah, it’s the case for those who don’t understand traditionalism. If they think it’s dodgy, I think it may be ignorance.
MM: With this new record being your best — and one of the year’s best, for that matter — do you think Urgrund will finally get its due? Or do those who “know,” k n o w?
RS: Well, we’ve always hovered about in the darkness as a cult act; I think this won’t change, as we limit ourselves when it comes to touring etc. But by all means, our voice is definitely heard.
Interview by Nathan T Birk For Metal Maniacs Magazine