With their new album “Hexenhammer 1486”, released on October 31st, German extreme metal veterans Mystic Circle conclude the unholy trilogy that began with “Mystic Circle” (2022) and “Erzdämon” (2023). Mixing black and death metal with melodic and symphonic touches, the duo Beelzebub and Blackwar dive into the dark history of the witch hunts, exploring themes of oppression, hypocrisy, and freedom. We caught up with Beelzebub to talk about the concept behind the album, spirituality, creativity, and the band’s long-awaited return to the stage.
M.I. - Mystic Circle has always stood against religious oppression. How do you see the modern parallels? Do you feel the witch hunts continue today in different forms?
We are, as people know, against the institution of the Holy Church because its origin is to keep people under pressure and to control them. The witch hunts of the past aren’t the same today, but they can be compared. Conservative institutions are rising again worldwide, so everyone must keep fighting for freedom. Mystic Circle stands against these conservative powers and against the Holy Church.
M.I. - Freedom seems to be fading these days. How is the situation in Germany?
In Germany, we can still say what we want, but we must fight for it. Metal, and especially black metal, is all about freedom. I feel things are becoming more conservative, but we don’t face direct institutional pressure. Still, we must remain vigilant.
M.I. - The title “Hexenhammer 1486” evokes both destruction and purification. Is the fire in this album symbolic of annihilation or transformation?
It represents a very dark age of human history when many innocent people, mostly women, were tortured to death by the Church. On this album, we have a trilogy of songs plus an intro and outro that deal with the witch hunts. We wanted to go deeper, focusing on Heinrich Kramer, the author of Malleus Maleficarum, but also dedicating the songs to all the innocent women who died. We mixed history with our own style and storytelling.
M.I. - You’ve described Heinrich Kramer as “a vile sadist who acted out his resentment toward women under the cloak of Christian scripture.” What does confronting that kind of hypocrisy mean to you personally?
It confirms we are on the right path. Mystic Circle began as a satanic band, not because Satan is evil, but because he’s a symbol of freedom and inspiration. The institution of the Church is built on greed, lies, and power. A few people stand above others, treating them as slaves. So, our music is a rebellion against that. Even other Christians rejected Kramer for his sadism, but he spread terror everywhere. He was a monk who received absolution from the Pope and wrote Malleus Maleficarum, which became a tool for persecution.
M.I. - When you channel such historical darkness, do you approach it as a storyteller, philosopher, or as a ritual act?
A bit of all three. We’re storytellers and also detectives, because we love researching these topics. The lyrics have a philosophical side too, but ultimately, we tell these stories in our own artistic way. That’s our vision.
M.I. - You often speak of following one’s own path of faith. What does spirituality mean to you today?
I believe in an energy that stays when the body fades. The symbol of Satan inspires me, it’s powerful and helps me meditate. When I was younger, it was rebellion; now, it’s reflection. I meditate about 20 minutes a day to find calm and focus. Writing songs and lyrics is also a form of meditation, it’s our way of going deep into our own world.
M.I. - Do you think you’ve become wiser with age?
Yes, definitely. And I don’t regret anything. I’ve lived my life fully. We toured a lot and followed our passion, so I’m grateful for everything.
M.I. – “Hexenhammer 1486” completes a trilogy that began with “Mystic Circle” and “Erzdämon”. Was it always planned that way?
Yes, almost everything in Mystic Circle is planned. The trilogy is mainly connected through the artwork by Rafael Tavares from Brazil. The covers tell a story: on the first, Heinrich Kramer opens the book; on Erzdämon, he goes mad; and on Hexenhammer 1486, the mother of all witches curses him. It’s our own universe.
M.I. - The album ends with a dramatic outro. What emotion did you want to leave the listener with?
The outro features Natalie from Okay Comics, who wrote a comic about Malleus Maleficarum. She read the final words from her book for our outro, which closes the circle beautifully.
M.I. - How much of your concepts come from research and how much from imagination?
A lot of research. We read books, watch movies, and even visit historical places to feel their atmosphere. The visuals, cover art, and videos are all part of the same concept. It’s like a dark theatre… we see Mystic Circle as a complete artistic project.
M.I. - What’s your role in the songwriting process?
We both write. I often compose on acoustic guitar, then record ideas with Blackwar. We’re very connected spiritually and creatively. Our producer, Niels Lesser, has worked with us on all three albums, he’s like the third member of the band.
M.I. - Are you afraid of artificial intelligence in music?
No. It’s a tool, not a replacement for creativity. We use technology for inspiration and production, but the art comes from us. AI can’t replace emotion or authenticity. Our music must come from the heart.
M.I. - Your sound combines black, death, and traditional metal with ‘80s synthwave influences. How did this mixture evolve?
We grew up with bands like Iron Maiden, Venom, Dismember, Paradise Lost, and Deicide. Melody is important for us, it adds emotion. We call our style “traditional heavy metal in a disharmonic way”. The orchestral elements create atmosphere and tension. We like it when the music feels evil and unsettling.
M.I. - The female voices of Sarah and Karo add another dimension to the album. What do they represent symbolically?
Sarah and Karo are longtime friends who sang with us in the ’90s. They represent the witches in this concept. Their voices bring contrast and emotion. We love working with different characters and atmospheres.
M.I. - Critics are calling “Hexenhammer 1486” your best work yet. What makes this era different from the ‘90s?
The essence is the same. The style Blackwar and I created decades ago is still there. We just evolved technically and conceptually. If people think it’s our best work, that’s great, it means our passion still connects.
M.I. - Do you have plans to return to the stage soon?
Yes! We played around 400 shows in the past with bands like Marduk, Cannibal Corpse, and Rotting Christ. After I left in 2007, we stopped, but now we’re back. We’re with Flaming Arts Agency and will tour South America in April 2026, followed by festivals and European dates. We’re rehearsing now with three session members, two guitarists (one female) and a drummer. No keyboardist; we use samples live.
M.I. - Will you come to Portugal?
I hope so! We’ve played there before, at the old Hard Club in Porto. It w
as an amazing venue and audience. We’d love to return; Portuguese fans are passionate and loyal.
as an amazing venue and audience. We’d love to return; Portuguese fans are passionate and loyal.
M.I. - Finally, could you leave a message for your Portuguese fans?
Of course! We hope to return soon to play for our supporters in Portugal. You are an incredible audience, full of passion. Thank you for supporting “Hexenhammer 1486”… we gave it everything. Write to us on social media; we always answer!
For Portuguese version, click here
Listen to Mystic Circle, on Spotify
Questions by Sónia Fonseca
