With their twelfth full-length Ashspawn set for release on December 5 via Season Of Mist, ENTHRONED enter what may be the most defining chapter of their three-decade legacy. Far from a nostalgic revival, Ashspawn is a scorched rebirth — a meticulously constructed ritual work forged alongside occult author Gilles de Laval, channeling both spiritual death and transcendence. Described by the band as their most personal and ferocious release to date, the album merges ritualistic extremity, metaphysical lyricism, and a renewed creative fire that reaffirms ENTHRONED’s place as one of the most uncompromising forces in occult black metal.
Driven by blinding percussion, serpentine riffing, and a lyrical architecture meant to transform rather than simply be heard, Ashspawn stands apart not only as a continuation of ENTHRONED’s vision but as a weapon of transformation — a rejection of stagnation, compromise, and the digital void in which much of modern art decays. Waiting for the release, we spoke with Nornagest about creation, integrity, occult devotion, tradition, and the fires that still burn behind ENTHRONED’s unrelenting presence.
In the comments under the video “Raviasamin”, it’s emphasized that “the film was constructed entirely without generative tools.” Do you believe that AI is killing creativity? Where do you see the fine line between using digital tools in combination with manual work and relying on AI’s full capabilities — when you have a clear vision of the final result and craft detailed prompts, for example? What do you think makes the difference?
Killing creativity isn’t really the issue here… people are responsible for their own development & demise. You can’t blame a machine for your weight gain if you’ve been living on burgers for weeks and then complain about being overweight. The same principle applies here.
Am I completely against the use of AI in art? Yes, absolutely. That being said, I recognize it can serve a purpose in other areas, but art isn’t about that. Art is about experience, emotion, intent, and the human capacity to translate inner chaos into form. That process can’t be replaced or simulated by a machine, no matter how advanced it becomes.
Digital tools are not a problem to me as long as there’s a human behind them, they’re like a brush or a canvas, instruments serving the artist’s vision. With AI, it’s the opposite: the tool dictates and steals the result. There’s no discipline, no struggle, no genuine spark. Creation should carry the mark of its maker; the flaws, the tension, the uncertainty.
Without that, what’s left isn’t art, it’s imitation.
Art is the expression and application of human creativity, emotion, and imagination, producing works that communicate ideas, feelings, and perspectives through visual, auditory, or performative forms. Artificial Intelligence, on the other hand, is the science of creating systems that simulate intelligence. Art equals emotion and depth; AI equals artifice, soulless, derivative, and insipid, merely mimicking what already exists. Pretty obvious, isn’t it?
You create remarkable things through your Ibex Designs project, yet you often entrust the artwork for ENTHRONED releases to other artists. Why is that?
Thank you. I’ve always handled the artworks, layouts, and merchandise for the band. Up until the last album. In fact, for the four previous ones, our former guitarist took care of the front covers. As both of us were artists within the band, we naturally shared the visual responsibilities. He’s more of a painter and visionary, especially when it comes to abstract and deeply symbolic art, whereas my approach leans more toward structure, layout, and an archaic aesthetic.
For Ashspawn, we invited José Gabriel Alegría Sabogal to contribute to the visual side. José works within the same artistic sphere as I do (both of us draw from Renaissance and medieval line techniques, working with everything from homemade oils to modern pencils) but he’s a true master craftsman compared to the humble artist I am. The goal was to intertwine our visions throughout the booklet and layout, creating a dialogue between two artists bound by a shared language of tradition, form, and devotion.
Would you describe yourself as a conservative person when it comes to music and creativity, or do you follow new trends with curiosity?
I wouldn’t describe myself as conservative, but rather as a traditionalist when it comes to art.
I value craft, intent, and the human touch… elements that require time, discipline, and sincerity. Artistic trends rarely hold my attention because they tend to lack depth, credibility and permanence. That being said, I remain curious about new techniques and tools as long as they serve expression rather than replace it. To me, human creativity has and should have no limits whatsoever. It is something utterly personal that no one can take from you. You face the greatness, the misery, and the consequences of what you create, and that is what makes it indescribable, and what makes it yours.
Judging by several of your past interviews, I got the impression that you often contrast the pursuit of popularity with artistic and ideological integrity — meaning that a true black metal band should not aim for fame but rather focus on the creative, spiritual, and ideological essence. So, if a band like BEHEMOTH dominates social media and invests heavily in selling all kinds of merchandise, does that disqualify them from being “true”? What’s wrong with wanting to spread one’s ideas to as many people as possible?
Let’s put things into perspective. People tend to make quick assumptions about my views on this topic, as if I see things in absolute terms, but it’s not like that. I don’t condemn popularity or exposure; that would be absurd. What matters is the foundation it’s built on. I’ve never cared about numbers, visibility, or trends, because none of that defines the essence of Black Metal. Integrity and conviction do. That word “true” makes me grin, it’s been thrown around so much it’s lost all meaning. For me, what counts is whether the art reflects genuine belief, a clear purpose, and an uncompromising intent.
Black Metal should never aim for attention or sales at any cost. It’s a path tied to Satanic and occult principles, to extremity, transformation, and spiritual discipline. Where most see decay or despair, we see clarity and strength. Black Metal stands serene where chaos thrives.
If a band stays sincere in what it preaches and lives by its own code, then success doesn’t make it less genuine. I don’t judge that. The problem lies only when the art becomes hollow, when image replaces intent. Envying or mocking those who reach further would just reveal weakness and small-mindedness, and I’ve got no time for that.
In 2024, ENTHRONED went through another lineup change. Is it easy for you to adapt to new members (and to let go of the former ones)? What are your main criteria when choosing musicians for ENTHRONED, and is it easy to find people who fit?
Lineup changes are never easy, especially after so many years of shared work and vision. But time changes people, priorities shift, personal circumstances evolve, and sometimes creative paths simply diverge. In the case of our former guitarist, Neraath, for example, his focus had started moving toward other directions in life, and that was something we respected completely. His departure was handled quietly and respectfully, as it should be after two decades of shared dedication. Of course, there are also moments where we’ve had to make difficult decisions ourselves, when certain attitudes or behaviors no longer align with what ENTHRONED stands for. In those cases, it’s not about conflict or judgment, but about preserving the integrity of the whole. Out of respect for the band, the music, and the people who truly support it, we sometimes have to draw a line.
When it comes to new members, I’ve become more selective with age. I need to know who I’m working with, not only as a musician but as a person. Technical skill is one thing, but mindset, conviction, and compatibility matter even more. At this point in my life, I have no time for unnecessary drama. Enthroned must continue with people who share the same fire, the same purpose, and the same respect for what this band represents.
After leaving the band, Lord Sabathan appeared in an adult film titled ‘Phallusifer – The Immoral Code’. In your view, would that have been acceptable if he had still been part of ENTHRONED? Or do you consider such things and that kind of “publicity” inappropriate for the band?
That situation was, to say the least, unexpected and uncomfortable. At the time, he was still part of ENTHRONED, and none of us were informed beforehand that it did actually happen. And yes, he did mention his intention to do it, and we tried to dissuade him, not out of prudishness or moral concern, but because we knew how absurd and damaging the outcome could be for the band and for us as individuals.
We’ve never been offended by such things; that’s not the issue. But there’s a difference between freedom and foolishness. When you are part of something that carries a certain weight and identity, your actions inevitably reflect on more than just yourself. In this case, it was simply embarrassing… not because of what it was, but because of how little awareness there was of its consequences.
You are the cousin of Conrad “Cronos” Lant and Anthony Lant. What are your thoughts on the legal battles between Cronos and the coalition of Jeff “Mantas” Dunn and Anthony “Abaddon” Bray over the rights to the VENOM name? Whose side are you on? Do you and Cronos stay in touch?
I’m aware of the situation, of course, but it’s not my concern. I don’t involve myself in other people’s disputes or personal matters. Whatever happens between them is for them to resolve, not for me to comment on.
How did your distinctive corpse paint style come about? What inspired its design?
That question tends to surface often, and it always misses the point… corpse paint is not decoration. In truth, mine came from a ritual experience years ago, during a working with an obsidian mirror. In the interplay between darkness and candlelight, I began to perceive shapes and shadows moving across my face, an optical illusion of sorts, but charged with meaning.
I later tried to replicate that vision as closely as possible.
I haven’t had the chance to attend an ENTHRONED show yet, but judging from the live footage, your performances seem to be a very intense and immersive experience — both musically and spiritually. Does it annoy you when people film the show on their phones instead of absorbing the atmosphere?
People do what they want, but I personally don’t understand it. A live performance is meant to be lived in the moment, experienced with your whole being. Does it annoy me? There was a time when it absolutely gutted me, but I’ve learned to let it go.
Would I prefer a venue without phones raised during the entire performance? Absolutely. Where I come from, burying your nose in a device while someone is speaking or sharing something is impolite and disrespectful. I’m aware, however, that not everyone shares the same perspective, cultural differences exist, and phones have become part of this mindless, distracting culture. It is what it is.
You’re well-versed in occultism and have studied various religions, including those outside Christian teachings. What are your thoughts on Islam? Have you ever tried to understand it on a deeper level? And do you think that, in today’s Europe, opposition to Islamic values has in some ways become more significant than opposition to the Christian church?
To me, all these religions are ultimately the same: systems designed to suppress individuality and limit the power one can gain through self-growth and spiritual development, under the control of a hierarchy. I’ve read the Bible, the Quran, the Torah, and countless other key texts, yes, as one cannot hold an opinion without knowing what they are talking about.
These specific doctrines, in my view, are primitive tools to dominate the minds of the weak, placing the individual beneath the judgment of others. I understand aspects of some teachings, but I reject what conflicts with my own way of being, my views, and my ethics. One cannot rely on principles dictated by other people and certainly not by individuals who have read only a single book in their lifetime. My concern is not with ideology as a political or social weapon, but with clarity, knowledge, and the individual’s confrontation with reality… the metaphysical, the spiritual, and the limits of human possibilities & understanding.
Continuing with the topic of rituals — which ones, among those you’ve read about, have impressed or even shocked you the most?
I won’t go into specifics, occultism exists for a reason. Among the rituals I’ve studied, a few stand out for their precision and intensity, including certain rites from Le Grand Grimoire du Dragon Rouge and Sacerdotium Umbrae Mortis. It’s not about being impressed; these are not spectacles or exercises in shock value. What matters is the demand for complete focus, discipline, and the willingness to confront forces beyond the ordinary. These rites are practical, rigorous exercises in transformation, deeply effective for the initiated who commits fully to the work.
Where do you believe we go after death?
You would have to summon me after my passing to answer that question with certainty. For now, I focus on the present and keep such beliefs to myself.
Some time ago, you moved from Belgium to Norway. Do you feel that this country is closer to your spirit?
Although my reasons for moving are mostly personal, Norway feels much closer to my spirit. There’s a quiet rhythm to life here, less noise, less vanity, less of the constant friction that seems to dominate modern existence. The air, the lighting, the vastness of the land… all of it invites silence and reflection. People are actually welcoming, yet they respect distance and solitude, which I value deeply. It’s a place that humbles you and reminds you how small you are before the elements, and at the same time, it strengthens you. There’s an honesty in the landscape that mirrors the kind of life I seek, stripped of unnecessary distractions, grounded, and real.
What are some of your favorite non-metal bands?
I’ve always listened to a wide range of music outside of metal. Pink Floyd, Queen, Dead Can Dance, Elend, In Slaughter Natives, TRIore, Led Zeppelin, The Velvet Underground, Wovenhand, Creedence Clearwater Revival, Nick Cave & The Bad Seeds and The Animals… the list goes on. Each of them carries a particular atmosphere or something that resonates with me.
What matters is the spirit behind the music, the intent, and the feeling it leaves behind.
What’s your opinion on parody black metal bands? Are humor and a less serious approach to the genre and its ideology acceptable to you?
I have a certain type of humor, but this is a firm “no” for me. Humor has its place in life, but not here. Black Metal is built upon Satanism, devotion, discipline, and a very specific kind of inner fire, something that demands respect for the forces it invokes. It’s probably the only form of music that, in its essence, is not meant for clownery or casual amusement, even if polluted by many of these vermins. Turning it into parody strips it of its meaning and essence. There’s nothing wrong with humor in itself, but when applied to this artform, it becomes mockery of something that was never meant to be taken lightly. Those who understand this either respect it or walk away. Those who don’t will always turn it into a joke, because they lack the depth and/ or mental capacity to comprehend what lies behind it.
Finally, what would you like to say to your fans ahead of the release of Ashspawn?
Check out Ashspawn, this record isn’t about perfection, nor redemption. It’s about movement, the slow and deliberate act of becoming something else, something harder, maybe even truer. If it speaks to you, then perhaps we’ve stood in the same darkness. So, listen as if it were a confession, or a séance. Something that demands your full presence.
Band Photos © Emanuela Giurano