Exclusive Interview – Lorn: ”There’s an aim to induce a sort of trance, but without forgetting the pain.”

Lorn was born in South Tyro, ltaly, back in the winter of 2000. The inspiration and direction was in the way of primitive black metal, in the Darkthrone tradition, until the release of the full-lenght Towards the Abyss of Disease. At that point guitarist Radok and bassist Deadchrist started all over, making more atonal and experimental black metal.


The music has since evolved, and in 2017 Lorn released an album, Arrayed Claws, that is truly a contender of the AOTY-title. You can visit the band’s Facebook here.

Bara Metal spoke to the bands founder Radok, in a place where minus temperature is ever present 1200 meters above sea level:

I know you have been busy working in a mountain farm the last months, without Internet, and it has been quite hard to reach you. Is that important for you, getting away from everything and logging out?

– I have always been sort of a coy person, selective and limited socialization was always a primary exigence. Definitely I’m not alone with this tendency, but probably not everyone organizes their lives in order to satisfy this necessity. It’s not a particular aim, it’s just an attitude.

Your music has been described as catchy and violent/unfriendly at the same time. Schizofrenic someone else wrote. That is kind of spot on, don’t you think so yourself?

– Oh yeah! Those definitions correspond to the feelings that have triggered the majority of the songs. The impending unknown, the fate, can arouse deranged reactions and reflexes in human being. Abstract Trap for example, describes a kind of struggling escape, from inner subconscious revelations, turned from seductive Insights, towards a vivid fate, closing inexorably his jaws: unpredictable forces of the invisible and visible realm of nature far away from human control.

Your music is quite monotonous as well. What does that mean to a song, sticking to the same riffing for so long? What does it do to the music?

– The monotony in music, to induce trance where the spiritual/mystical elements are important, is almost predominant in all the traditional music. Also in Lorn there’s an aim to induce a sort of trance, but without forgetting the pain, then there’s a split and layered cohabitation between apathy and neurosis, sleep and anxiety. Internally the nature of the riffs is not static, but is resulting in a draining hypnosis, especially for the first two tracks of the album.

Arrayed Claws is full of dissonant endings to riffs and atonal structure in many places. I like it, and I would like to hear how you think about it.

– Well, I think there is a disharmonic relation between today’s society and nature’s order. Somebody can ignore it and just smile, others can become sick, with consequences in any sphere of the human condition.

Listening to the album, I get the impression that singing and vocals are secondary, the instruments are in the centrum. How do you regard the vocal part of making music? Unnecessary? Not as interesting as guitars? Or am I wrong about this?

– Yeah you get it right! Well, due to my lack of experience with singing I’m forced to keep vocals marginary.

Shorter songs are quite unusual for Lorn. Why? Is, like, three minutes not enough time to build the atmosphere that you are trying to achieve?

– I try to give a sense of journey in my songs, therefore to approach and experience varied states of minds that resides in different longitudes, it needs time. Even if there’s sudden riff changes, they belong to the same feelings’ dominion of struggle and anxiety. The endings of the songs are prevalently related to contemplative moments, binding consequences after the energy spent by fighting and aberring!

Wow. I had not noticed that the calmer endings kept reoccurring in the songs!

– Well, this is more evident in the first song. In general the change is in terms of going from disharmony to harmony. The final part of the second song is not calmed down at all, but it has a kind of realigning tonality, with high anxiety and trying to escape that feeling. In the third and fourth songs, the change is made by the keyboard presence.

That instrumental part in Abstract Trap, between 02:40 – 04:00 is one the best pieces in black metal I’ve heard in a long time. Totally uniqe and genious. Tell us how you came up with that structure!

– Oh, thank you for your words. Honestly the riffs were born in an afternoon of improvisation, thereafter I met the drummer, Chimsicrin, and together we have defined the structure in another afternoon thanks to his clever and lucid contribute.

So, how much time did it take to make and release Arrayed Claws?

– Well, all the songs, except Abstract Trap are older than the previous album. I have eliminated them from subconscious metamorphosis due to the mood differences between them and the album. Since I had the opportunity to record them many years have passed. I had the opportunity to track the drum line in August 2013 during the recording session of Chimsicrin’s death metal side project Inverted, then in December 2015 I started to track the guitars. I wish I could have been faster actually, but also other commitments and problems of different origin, have delayed the release of this album.

With that much time on your hands, it sounds like you own your own studio where you put the songs together?

– Yes, I have my home recording studio, since 2013 I’ve moved twice and since 2015 I have a good mixing environment, and in January I will move yet again into yet another place. There I will arrange my definitive production studio, finally! I have produced also Earth and Pillars, both are now close to release their third albums, Gorrch and Inverted.

Some of your titles are words that I, admittingly, have not heard before. Iv’e read that “Toybodïm” and “Süt-aq-Köl”, are lakes in the altaian mythology – could you please explain this further. 

– The Altaian mythology has many things in common with European mythology like the Nordic and Celtic and so on, like the concept of Axis Mundi for example: Alti Bùrlù in the altayan myth corresponds to YggrdrasIl or Imrinsul in the Nordic and Germanic Myth. Still today these beliefs are existing in many siberian Tribes.

– Toybodïm is a black lake where impure spirits, after death, are damned to be immersed, being transformed into horrible larvas. The song Süt-aq-Köl, refers to the place where the souls are ”generated”, taken by the ”Yayuci” which is the guardian angels of the Lake. Here the souls are also purified after life. My interest in that myths comes also from my fascination towards those Majestic Lands, the Altai Muontains, with their  people, able to survive in such extreme enviroinment.

And what does the Altaian mythology mean to you?

– It’s seeking a spirituality outside the everyday life, emptied by any reference towards the trascendent.



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