Born from a fascination with the occult and driven by a sound that refuses to be confined by labels, Okkultist have been steadily carving their own path through Portugal’s extreme metal scene. From the raw beginnings of “Eye of the Beholder” to the increasingly mature and defined identity explored on “Reinventing Evil” and “O.M.E.N.”, the band’s journey has been one of constant evolution, experimentation and self-discovery. Now, with “Teeth of the Hydra”, Okkultist appear to be entering a new chapter… one where their musical and conceptual identity takes on an even more deliberate form.
In this interview, Okkultist look back on the origins of the band, the experiences that shaped their sound, and their work with Pedro Paixão and Tue Madsen, while discussing their connection to Bathory, their time with Alma Mater Records, and the evolution that has taken place since “O.M.E.N.”. They also delve into the darker and more philosophical dimensions of their lyrics, the differences between Portuguese and international audiences, the challenges faced by Portuguese extreme metal bands abroad, and what the future may hold for Okkultist.
M.I. - To begin with, how did Okkultist come into being? Where does this identity so closely linked to the occult and the infernal come from? Your presentation is quite intense… “born from the ashes of the occult”… does this reflect merely aesthetics or is there also a philosophy behind the band?
Okkultist were born as a simple project between friends, without a name or objectives, and with the sole intention of having the occasional “jam”. It happened due to word of mouth, and inevitably, a buzz around us began to grow. Eventually, we came up with a name, recorded the few songs we had, without having the proper conditions, and played our first concert to a full house, filled with curiosity to get to know us. From that moment on, what had begun almost by chance ceased to be merely an experience between friends and became the Okkultist we know today. The rest is history.
The desire to explore the occult as a concept, and not merely as an aesthetic, came naturally with the associated sound. There is a philosophical and esoteric dimension to the band, where symbols, archetypes and the idea of the unknown serve as tools for reflection on human nature, transformation and the relationship between the individual and that which transcends the rational. “Born from the ashes of the occult” represents, in this sense, an idea of spiritual death and rebirth. The destruction necessary to make way for something new.
M.I. - Your debut EP “Eye of the Beholder” paved the way for the album “Reinventing Evil”. What was that initial evolution like? Do you feel that you already had your identity defined from the beginning or was it something that became consolidated over time?
It was an identity that became consolidated over time. “Eye of the Beholder” was essential for us to realise that we could be freely creative, while “Reinventing Evil” already reflected a slightly more defined vision, both musically and conceptually. It was a natural evolution, in which each release allowed us to better understand which path the band should follow.
M.I. - “Reinventing Evil” marked an important moment for the band. What was it like working with Pedro Paixão and Tue Madsen? In what way did these collaborations influence your final sound?
It was an essential process for us to gain an understanding of the potential of our own abilities. Pedro was an excellent mentor, and we all had the opportunity to learn a great deal from him. Our contact with Tue Madsen was brief, but very objective. He knew how to interpret the references we had in mind, and give us a mix and master with enormous precision.
M.I. - The album includes a cover of “Satan Is My Master” by Bathory. Why that choice? How important are the roots of classic black metal to you?
At the time, the label suggested that we do a cover, specifically of Bathory. Of all the songs we discussed, the band agreed that the song “Satan, My Master” fit perfectly with the concept we had in mind.
M.I. - You released your work through Alma Mater Records, associated with Moonspell. How did this opportunity arise? Do you feel that it helped open doors nationally and internationally?
The opportunity arose very organically, through a proposal from Fernando Ribeiro, who believed in the project and invited us to join Alma Mater Records. It was undoubtedly an important moment in Okkultist’s journey and an experience that we value greatly. The exposure and recognition that we have been gaining, both nationally and internationally, happened naturally as the band built its own path and through the work we have been developing.
M.I. - In 2023 you released O.M.E.N.. How does this album differ from “Reinventing Evil”? Is there a clear evolution in your sound or was it more of a natural continuation?
The band went through an evolutionary process in the journey made between the two albums. In fact, it ended up being a natural continuation, but influenced by that entire process. It was precisely on this record that our current drummer joined, and we began exploring other rhythmic approaches which, consequently, gave other colours to the entire creative process. In this way, there was indeed a clear evolution between these two records.
M.I. - Your single “Teeth of the Hydra” seems to point towards a new phase for the band. What can you reveal about this release?
We feel that this single represents the band’s identity more closely, in a more intentional, calculated and mature way. It represents the break from the discovery phase, towards the phase that truly defines the essence of Okkultist. “Teeth Of The Hydra” was our first creation after the album “O.M.E.N.”, and inevitably came to define the foundation of our new type of sound. We are trying to be clearer and more direct in our compositions, with a greater appreciation for the power of dynamics between intensities.
M.I. - Is this new song a first preview of a forthcoming album? If so, what stage is that work at right now? Even if there are no concrete dates yet, can you give us an idea of when it might see the light of day?
Naturally, we are constantly in a creative process, and eventually a new album will emerge in which this song will be part, but, at this moment, we prefer to maintain the mystery surrounding our upcoming releases.
M.I. - Your sound crosses death and black metal in a very aggressive way. How do you balance these two approaches? Is there any band or scene that has been particularly influential in this crossover?
In truth, we do not think about whether this type of crossover is present, because it ends up being the natural influence of each one of us. When we compose, we do not make a prior commitment to any musical style, we focus only on there being cohesion with what we have previously created. We understand that there is this perception, even because, indeed, we do not focus on a specific musical commitment. We like to keep in mind that, whenever we release something new, there is a new guise. In other words, we naturally evolve and, consequently, so does our sound. It is important to us that our compositions reflect our current vision, and we are perfectly aware that, when we eventually have more albums, these will distance themselves further from our initial sound. This is to say that, for us, what truly matters is how free we feel from everything that constitutes labels, genres, or sub-genres.
M.I. - Your lyrics and aesthetics are quite dark. What themes do you most like to explore? Is it more of a conceptual approach or does each song tell its own story?
The lyrics mainly stem from a conceptual approach, although each track may take on its own narrative. We are interested in exploring the darker side of the human condition, the occult, transgression, duality and liminal states of consciousness. We do not necessarily seek to tell stories literally, but rather to create different layers of interpretation, where the symbolic and intuitive carry as much weight as the immediate meaning. Each song may take on its own narrative, but there is a conceptual thread that unites them: the search for what is hidden beneath the surface, for the meaning that reveals itself through spirituality itself, and through inner destruction/construction.
We do not seek to impose a single interpretation or absolute answers. Above all, we are interested in creating a dimension open to individual interpretation, where each person can project their own experiences and find in our music a form of liberation. We want Okkultist to be able to constitute this space of imaginative comfort, where the listener can detach themselves from the outside world and inhabit, even if only for a few moments, this dimension and universe created by us.
M.I. - How have the reactions from the public been, both in Portugal and abroad? Do you feel there are differences between the national and international audiences?
Naturally, the national audience witnessed the entire process of building the band, from the embryonic phase to our current maturation. And, of course, this means that their perception of the band places every step that was ever taken into context. The international audience, on the other hand, began to discover the project after we had already moved beyond that initial phase, which means that they have a different view of the band and, consequently, have a greater and warmer approach because they are getting to know us at a different level of maturity. At the same time, we take into consideration that, abroad, we are also seen as an international band, which means that they have a greater appreciation for the project. However, we must say that, with every greater objective that the band has been achieving, such as the bigger international dates, we are increasingly well received and regarded by the national audience, which has been welcoming us better and better every time we return.
M.I. - How do you see the current state of extreme metal in Portugal? Do you think there is a strong and united scene or is there still a long way to go?
We think that extreme metal in Portugal has a very strong and talented scene, with high-quality bands and an identity of its own. However, there is still room for greater unity and collaboration within the community, especially to create more opportunities and international visibility. We believe there is a great deal of potential.
M.I. - Do you feel that Portuguese bands still have more difficulty establishing themselves internationally or has this reality been changing in recent years?
There is quite a lot of difficulty. Despite having bands with a great deal of quality and potential, Portugal continues to have less visibility and fewer opportunities on the international circuit than other European countries. The reality has been changing, but it is a slow process that requires a great deal of work, investment and persistence from the bands and Portuguese culture itself.
M.I. - Which Portuguese bands would you recommend at the moment within death/black metal? Is there any that you consider underrated?
We have no specific recommendation, because we believe that what matters is supporting the national scene in the fairest and most united way possible. We believe there is a great deal of talent in Portugal, and that, besides being very important to support the community as a whole, national bands should be valued equally to international names.
M.I. - What are the next steps for Okkultist?
We want to continue working towards constant evolution, both musically and visually, and create new opportunities to take Okkultist to more stages and audiences.
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Questions by Sónia Fonseca
