– Hello, lots of thanks for answering our interview. How is everything going into the THE GRAVE MIASMA’s camp right now?

Having returned invigorated from the Sepulchral Doom tour with brethren Necros Christos, we are already working on ideas for our next recording.

– First off, as you have just released your debut full-length album; could you please share some history of the band? You started under the name of GOAT MOLESTATOR, why did you decide to change the band’s name? Did the name change was also accompained by a musical change?

I do not believe that the decision to change the name needs explaining. Although one major reason was that we felt the material we had starting writing in 2005 did not suit such a primitive banner.


– With your first release under the name of GRAVE MIASMA, the «Exalted Emanation» EP you already managed to gain a good reputation into the underground. Did that release open new doors for the band?

Certainly – this marked the start of our inexorable relationship with Sepulchral Voice records. Additionally, the strength of the record and attention gained enabled the band to perform in North America and more extensively throughout Europe.


– Now you are releasing, as I said, you debut album, «Odori Sepulcrorum». How is its feedback being thus far? How are you feeling about having it released and about the overall final outcome?

Overall, the feedback has been extremely positive so far. Perhaps more importantly, the inner fire to build upon the foundations of the album in preparation for the next material is insatiable. The final outcome was enormously satisfying taking into consideration the amount of time the band collectively invested in the writing and recording process in order for the album to be pressed by the time of the European tour.


– In general I think it has a certain US Death Metal sound (I noticed certain INCANTATION-like nuances). I guess you are mainly inspired and influenced by non-musical elements but, talking about music, what have been some of the most influential acts for GRAVE MIASMA?

Certain American bands have had a pervasive influence on our sound since our inception (Goatlord for example), though this element is just as intrinsic as the old Greek Black/Death Metal sound as an example. Aside from Metal, we are indebted to 70s electronic records and the traditional music of Kurdistan, Persia, Greece, India and elsewhere in the Middle East for providing inspiration.


– Compared to your previous EPs guitars are faster on «Odori Sepulcrorum». Was this something you were aiming for?

Writing the material was a natural process, where initial ideas constructed songs without a conscious attempt to differentiate the output from what was found on ‘Exalted Emanation’.


– Personally I think one of the most notable improvements on the album is in the songwriting. «Odori Sepulcrorum» has different dynamics, variety of pace… Why did you think it was fitting for the album? Or could you say it was rather a natural evolution?

I agree that the song writing is more developed. We would never attempt to write the same album twice and the natural evolution of incorporating additional elements to enhance the dynamism of the material came about through an embedded idea of what we wished to collectively achieve with the recording.


– I guess in any band evolution must be a constant process but, how do you think has GRAVE MIASMA evolved from your previous releases to this full-length?

One factor of importance than I can acknowledge now is that we did not commence writing the material for ‘Odori Sepulcrorum’ until mid-2010. This allowed the band to recharge rather than work from a continuous flow led by ‘Exalted Emanation’. The increased volume of live appearances in support of ‘Exalted Emanation’ also indicated as to what elements that material was missing.


– As I said, I noticed a slightly different approach/improvement to the songwriting so, was different the crerative process this time around?

‘Exalted Emanation’ was written whilst the band members were residing in different cities, and the process was not carried out in equal measure. ‘Odori Sepulcrorum’, on the other hand, was benefited by all members living in closer proximity. This enabled ideas to be written and shared quicker.


– As always, the cover artwork for «Odori Sepulcrorum» fits the musical atmosphere on the album, as well as the lyrics; it’s really dark, somber and occult but, would you mind to elaborate a bit on how did you work on it and what does it represent?

The cover was painted by Denis Forkas Kostromitin, an esoteric artist highly regarded within the art community. Borrowing concepts from Egyptian, Mesopotamian (as evident with the unorthodox portrayal of the Wedjat and architectural nods towards the Sphinx) and Greek mythology, the painting depicts death as a portal to a higher dwelling, a vessel for both decay and rejuvenation predominately reflected in the Greek legend of Oedipus.


– All this about «Odori Sepulcrorum» being said; how could you describe it in just 3 words?

Death’s meditative trance.


– You are hailing from the UK, and though there are some good extreme Metal bands there, it doesen’t seem to be a really prolific country for Metal as some countries on Northern Europe for instance but, how do you see the Metal world over there as an insider? Any bands worth suggesting?

I am reluctant to provide a list of good bands, although I am satisfied with the less prolific nature of the country’s output. Some excellent bands have put out releases in the last 2 years that are receiving deserved attention. Less is more.


– And finally, what are your near-future plans?

Our path is clear, and there is no retreat from our journey downwards.


– That’s all, thank you once more for answering our questions. If you want to add some final words; feel free to do it.

Please visit or for future updates.

Disce mori!


Tania Giménez

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