Interview: Lamp Of Murmuur
I think few bands in modern times can offer an experience as intense and overwhelming as Lamp of Murmuur.
Lamp Of Murmuur are shortly about to head out on an extensive European tour that will see the US black metal mavericks bring their majestic sonic assault to the stage along with both Dödsrit and One Of Nine. Ahead of the tour, Gavin Brown caught up with Lamp Of Murmuur mastermind M. to talk about the tour, the latest Lamp Of Murmuur album The Dreaming Prince In Ecstasy and black metal.
E&D: How much are you looking forward to be heading out in tour in Europe with Dödsrit and then One Of Nine?
M.: I’m beyond excited to finally be able to showcase my new material in a live setting, which I think it’s our forte. I think few bands in modern times can offer an experience as intense and overwhelming as Lamp of Murmuur. We’ve shared on the road in the past with both One of Nine and Dödsrit, so to have the opportunity to do so again is an absolute pleasure.
E&D: How is it playing with Dödsrit when you play live?
M.: It is no secret that Dödsrit function as my backing band when doing live shows. They’ve become an essential part of my live delivery and we’ve developed an acute sense of understanding during our performances.
E&D: You toured with Dödsrit along with Blackbraid a couple of years ago, how was that tour for you and what were some of the highlights?
M.: It was our first time sharing with Blackbraid in a full scale tour and it was a marvellous experience. Bonds were formed that continue to grow and strengthen to this day.
E&D: Will you be playing all three parts of The Dreaming Prince In Ecstasy live? That would be incredible!
M.: Not for the time being, I intend to do so maybe in the future.
E&D: Similarly, would you be open to playing the new album if any of your other albums in full?
M.: I’ve been thinking about it, and I’m completely open to the idea of performing The Dreaming Prince… in full if the opportunity rises. Not so much with previous releases as I don’t think they have the same narrative weight as this last album, but I wouldn’t discard the idea altogether.
E&D: Is it a challenge adapting the more grandiose aspects of Lamp Of Murmuur’s music to a live arena?
M.: Not at all, we’ve shown ourselves that we are beyond capable of delivering all the facets of my creations in an integral and impactful manner. If anything, our live shows have become stronger and I’m sure they will continue that path.
E&D: Have you been happy with how the new album has been received?
M.: Very. I knew from the start that these creations were something special, unlike anything that’s happening right now in the metal world but still, I didn’t expect it to be as highly regarded as it continues to be.
E&D: Këkht Aräkh and Frank Iero (aka xofrnk) feature on the album, how was it having them adding to the atmosphere of the albums closing track ‘A Brute Angel’s Sorrow’?
M.: It was an unexpected, yet very rewarding decision. That one song is the only one in this album that wasn’t recorded during this session, but rather an old one from 2022/2023. The files from the last section of vocals were damaged, and after I re-recorded those fragments I felt as if they didn’t fit. That’s when I thought of both Crying Orc and Frank to add their voices to that section. On one side, there’s frailty and tenderness, and on the other side there’s strength and operatic grandeur. All in all, I think it was a great choice to finish the album in such an odd and remarkable manner.
E&D: Is this album the most major statement of intent from Lamp Of Murmuur so far?
M.: So far, I guess so. I think it’s the one where I showcase a newfound sense of confidence in a lot of aspects. Songwriting, concept, overall presentation, execution. Everything that was already present in previous releases is now merged in a chaotic cauldron of creativity.
E&D: It’s been less than five years since the release of your debut album Heir Of Ecliptical Romanticism, but The Dreaming Prince In Ecstasy is your fourth full length album in that time, do you like to be prolific with your music?
M.: I don’t think “like” would be the word that I’d use, I’m rather grateful that I’m able to crystallise my ideas in a manner that feels stripped down and brutally honest instead of crawling through the writing process as if it was a slog, and being able to release my stuff whenever I want, the way I want with no label dead lines or requirements regarding the pace or fashion in which I unleash new material.
E&D: Are you wowing in new music now that you can tell us about?
M.: I’m always working on new music to be honest, it’s a craving I can’t stop even when I’m trying to focus on other aspects of my daily life. A couple days ago as I was practicing and preparing for the first show of the year and I was immediately struck by a ton of riffs and melodies that may or may not be used in a future Lamp of Murmuur release. What’s definitely happening is that I’m working on a new Magus Lord album, I have two or three songs already written, with one that has already been recorded.
E&D: Do you feel that the state of US black metal is the strongest just now than it has been in a while?
M.: Not at all, US black metal has always had amazing outlets with different approaches to the genre and a richness that shouldn’t be overlooked. It is true though that US black metal bands like Lamp of Murmuur, Blackbraid or Worm have been slowly generating more and more attention from not-so-underground media outlets and fanbases to varying degrees, but beyond the bands that are put in the spotlight there’s a whole scene that has been thriving non stop.
E&D: What newer black metal bands are really pushing it forward for you?
M.: I think anything that comes from the Wergild collective, they’ve been releasing non stop amazing material. Iron Firmament, Astral Gauze and Ebony Pendant are some of the most exciting yet traditional sounding black metal projects around. Scimitar from the UK is another band that I’ve been obsessed with.
E&D: What are the most essential black metal albums that you would recommend for someone just starting to the into the music?
M.: That’s an absurdly difficult question given how varied the genre is, but if I had to choose…
Bathory – Blood Fire Death. I don’t think there’s much more that needs to be added about this project and this album in particular. Absolutely essential.
Katharsis – Kruzifixxion. ‘The Last Wound’ is a perfect exercise in evil, straight forward, absolutely unhinged black metal. Violent, grim, and in some places oddly melodic as well, this album’s intensity has only been paralleled by Katharsis themselves throughout their entire discography.
Hades – Again Shall Be… If there’s a word I would use to describe this album, it would be “majestic”. Unmistakable sound, ancient sounding production, oozing atmosphere. Untouchable.
Volahn – Aq’Ab’Al. Prime example of how absurdly creative USBM can be. Unique sound, elite riffing.
Emperor – Prometheus (The Discipline of Fire and Demise). I have blurry memories trying to decipher if either DMDS from Mayhem or this one was the first ever black metal album I’ve ever listened to. Even though In The Nightside Eclipse and Anthems to the Welkin at Dusk (rightly so) receive all the flowers, Emperor’s final studio release is a great introduction to the genre.
Photo by Gonzalo Resti
