Once upon a time, any combination of "American" and "black metal" most likely was the punch-line to some bad (music-based) joke. Loathe as many Yanks are to take off their rose-tinted glasses, there was indeed an era in the American underground where its blacker legions merely contented themselves with copping a Scandinavian move or two - or at the very least, the (now) scene-vets had yet to find their collective footing. Sociopolitical connotations aside, "proud to be an American" was far more a cursed-to- eternity albatross than a browbeaten-into-nothingness slogan.

Come 1999, enter the upstart Kult ov Azazel, who at the time was going under the Azazel banner, and who wasted no time thereafter in making its name heard - on both sides of the Atlantic. Coincidentally enough, Kult ov Azazel's entrance into the BM fray was timed perfectly; that year, it could be argued, was the year "USBM" had truly found its bearing, and the momentum since has been staggering. Regardless of what was occurring around it, though, the Kult's relentless endeavors culminated in 2001's "Triumph of Fire", one of the most widely revered BM debuts of the present age: Staggering in its obsessive, nearly monomaniacal pursuit of physical oblivion, this record churned'n'spurned with ruthless malicious intent, reaching absurdist levels of intensity more in line with Brazilian hyperblast rather than the more atmospheric wanderings of anything erstwhile European. It was a cruel cruel record and, more importantly, displayed to the international metal masses that Americans could be left to their own (black) devices... and succeed, admirably.

While the interim's been busy, to say the very least - and especially 2003, if anyone's kept up with the band's burgeoning discography - along comes LP # 2, "Oculus Infernum". Less humid than its predecessor, thereby colder yet no less burning - and arguably crueler, when you factor in the thoroughly stressed-out riffery oft on display here - "Oculus Infernum" savagely shows that Kult ov Azazel hasn't blown its load, evincing a band miles beyond a one trick pony. Of course, coolly intact are the band's dizzying multi-angle war-chants, unremitting arterial-spray execution, and a jackhammering battery bordering on the ridiculous, yet altogether "Oculus Infernum" sounds like a new Kult, battle-ridden but reinvigorated. What's spawned this incremental-yet- significant improvement? Their upgrade to a quartet? The spirit of the underground? Founding guitarist/vocalist Xaphan clues us in. Interviewed by Nathan T. Birk

First off, how would you compare the new LP to the first, as far as satisfaction levels? Likewise, how would you compare the outcome of 'Oculus Infernum' to how you originally envisioned it?

As far as satisfaction it has completely exceeded our past effort, at least in my eyes. In a sense we rushed things because it was either record now or wait another year or two until the time arose again. Going in to the studio the song structures were there but most of the songs themselves had no lyrics, no harmonies, nothing except a shell of a song. So as we recorded the songs themselves came to life so to speak in front of us. It was definitely a way we'd never recorded before since in the past we've always been prepared when we've entered studios to record. The vision of what we set out to achieve was there but we didn’t know how it would come out in the end. Now that’s it’s all behind us I’m quite satisfied and think the others are as well. In the end that is all that matters anyhow.

Like I said before, I really fucking enjoy the tenser, stressed-out riffing here on the new LP - what sort of visions/sensations do you hope to evoke in the listener via such? What, if anything, provoked such riffing to come forth from you?

With the new album we went about writing quite different than we have in the past. So what really provoked the writing was the chemistry that this band now has. Almost all the songs were written together as a whole meaning that we composed most of the songs when we would get together. In the past most songs were written by an individual and then brought to rehearsal as a song where as this time around we’d get together as a band and write the songs. As for writing riffs many different things can provoke me to write a song. Anger, stress, disgust, an idea, a tone, it’s endless. Overall there is no special atmosphere needed just different things trigger the motivation to write the music and then from the music is drawn the inspiration for the lyrics.

How would you estimate the impact of expanding to a quartet? How does that alter (if at all) your guitar-playing and -writing now?

It’s something we had been thinking about doing for some time now. We had actually planned to bring in another guitarist after we recorded “Triumph of Fire” but certain circumstances prevented us from doing so. So when we began writing on “Oculus Infernum” Xul and I decided it was time and we asked Nocturath to join. As far as my playing goes it really hasn’t altered it. If anything by adding a second guitarist it gives me someone different to feed off of and get ideas from. All in all I would say it was the right move for us.

I must say, the new LP is absurdly triggered - indeed, the effect you were going for? What are your thoughts on triggers, in general, especially in BM?

Being from an engineering background and having a degree in studio/live sound I find triggers, and when I say triggers I mean kick drum only; not entire drum kits because the drums at that point become to synthetic, but on the kick drums to be quite useful in our approach. We have always had drummers that play with kick triggers and will continue to have them in the future. Fuck those that have a problem with it! But when playing at speeds that we do it is essential to have them in order obtain a clean, constant level on the kicks. We never have been concerned with being a necro band and having shitty sound. I like that stuff just as much as the next but when it comes to this band and myself being knowledgeable about what sounds good and what sounds like shit, we will always go with a constant clean sound rather than a fluttering muddied shit sound.

Speaking of which, what is your 'perfect' vision of BM? From your perspective, does the new LP embody that vision more so than the first?

I believe the new album embodies our vision musically and lyrically way better than our previous recordings. As far as my vision of black metal goes if you listen to the new album that should sum it up.

And speaking of the first LP, 'Triumph in Fire' was much revered in the underground and beyond - did you feel any pressure (personal or otherwise) when writing/recording 'Oculus Infernum', as far as trying to outdo yourselves?

No pressure at all and didn’t feel that we had to outdo ourselves. When it came to writing the album we basically only wanted to compose an album that would be unlike our past recordings. We also certainly didn’t want to record another “Triumph of Fire” even though it got praised reviews. We just intended to make an album that would surpass the last one in our eyes and knew that with having two new members which both bring their own characteristics into the fold that this album would be much different than our past ones. It was during the mix down in the studio that we knew this album was going to crush all of our past efforts.

Would you agree that KOA play a particularly *American* form of BM? That is to say, a very *gnarly* strain of BM, wholly removed from most European idioms - thus, a matter of establishing your own ground vs. treading the Scandinavians'?

Yeah I would agree but I don’t think others would but fuck them anyway. We are constantly being compared to Scandinavian bands and our European counterparts but I don’t hear this in our music. This band has since the beginning been about doing things our way and not trying to copy another. Why even play an instrument when your goal is not to achieve in it and be able to write original music? Why form a band with those same questions applied? Too many bands try too hard to be like their inspirations and in the end contribute nothing but another clone band. This band has never and will never aspire to be like another band. Copying a bands style or trying to be an exact clone is the path of sheep. Weak people copy others and we are beyond that.

What about that old catchphrase 'USBM': a valid movement, or more so an incidental one (due to massive geography)? Regardless, where do you see KOA's place within American underground extreme metal?

I don’t know nor do I care where we stand in the American scene or any other for that matter. We aren’t here to win a popularity contest. Our only goal is to stay true to ourselves musically and create music that we are connected to. As for the “USBM” term, it’s a ridiculous catchphrase and one that has more negative connotations then it does positive. As a scene amongst bands dare I say it is more valid than those from across the pond? Well I do dare to say this because right now I think the majority of the best black metal is being released by American bands. This is because the bands here play a more brutal style, are more aggressive and stick closely to the roots of what black metal has always been about. Although I can’t deny that there is indeed killer black metal coming out of many countries.

Bearing in mind KOA come from Florida - and, specifically, the home of Malevolent Creation - has the old Florida DM scene made any mark on the band? At times, I hear a trace of it in your riffing, and the overall battery of the band's attack...

Extreme metal since 1983 has had inspirations on me so death metal is one form that has as well. Yet when it comes to the band and our style I would say it has nothing to do with our vision or writing. There perhaps maybe traces of it heard by some but if so it’s not intended to be that way. Many associate our style with death metal I suppose because of the brutality that we bring to the table with our style and the fact we come from Florida. I can’t see any other relations to this band and death metal other than that.

KOA have released records on a variety of labels, unflaggingly supporting the underground in the process. However, you posted recently on your website that KOA only wish to work with Arctic in the future - why so? Have you 'outgrown' the underground, perhaps, or just wish to work with more organized people?

We have always supported the underground, still do and always will. That statement on the site stemmed at the time from our total disgust about how certain labels were lying and beating around the bush instead of being upfront about the stuff that was to be released. But as of now we continue to work with other labels just from this point on we will work with only more organized labels. In fact we are currently in talks with a label about licensing “Oculus Infernum” on LP and are talking with a few more about releasing older unreleased material in South America and Europe.

From what I understand, the third KOA LP is already in the works - what can we expect, in comparison to the first two?

It’s hard to say since we haven’t completed the writing yet. Ask me this again in a month after we have had a chance to demo it out and I’ll be able to answer this question.

Beyond that, what are KOA's future plans, recording- and touring-wise?

No immediate plans but we will be quite busy in 2004 so I’d just advise those interested check www.kultovazazel.com for updates.