Interview with NECROBEAST

Welcome to the FILTHY DOGS OF METAL Webzine.

Tell us a few things about NECROBEAST (Members, Starting Year etc).
Necrobeast started more than 20 years ago in Valdivia, Chile. The project was formed at the end of 2004 with the drummer Diego 'Abraxaroth' Ardiles (Inhumed), and we recorded the first demo, "El despertar de la Necrobestia", in 2005. El despertar is four songs, two in Spanish and two in English, in the strict vein of the late 90s black thrash that was expanding its influence to the South of the World around that time. Initially, the demo and distribution were a fully DIY project. Several copies were sent to different parts of the world, and overall, it had a good response from the scene. After a 20-year hiatus, I restarted Necrobeast, this time as a solo project. In 2025, I recorded the first full-length titled 'Iron Baphomet'. In November 2025, I released the first single, 'In Communion with Satan,' and in January 2026, the second single, 'Promethean Flame,' was released. The album release was on 25/05/2026. This the overall chronology. However, in many ways, Necrobeast never left. It was always present in the back of my mind. I just needed the pieces to fall in order. I could have recorded the album way earlier in the game, but it surely wouldn't have been as good as it is now. Looking back, I think that it took as long as it needed to. There were many aspects that I needed to improve from the first work. Many of my experiences have shaped the sound and lyrics of Necrobeast, even though I did not want to change the band's sound or profile. One of the main challenges was to adjust the new songwriting so that it does not depart from its original sound but actually improves it. After all, Necrobeast is a child of its time: A time when a brutal and more obscure iteration of Black/Thrash reigned supreme.

You have recently released your debut album ''Iron Baphomet''. What is the feedback from your audience as well as from the press?
The reception of the album has been great. Better than expected, to be honest. Both from the people and the majority of specialised outlets. Regarding the press, I have given podcast interviews, several interviews to print outlets, and have been played on several radio shows and metal podcasts around the world. Which, for me, has been quite impressive. I say the "majority" of the press because there have been a few who, although they appreciate the high production values and sound quality, believe I have not reinvented the wheel in terms of sound or aesthetics. Alas, there is a fixation on innovation for some metal outlets that I frankly do not get. Not only that, but sometimes they claim that "well, the sound and satanic imagery and lyrics are so done", and a quick search online tells you that neither the sound nor the lyrics are nowadays common. They haven't been for the last 15 years or so. True, metal will always be prone to occultism and dark themes, but new bands have moved away from the old satanic or blasphemy-based lyrics. The ones still doing it are typically bands that have done so for the past 20 to 30 years, like Necrobeast. Still, this does not seem to be a problem for the metalhead audience, who ultimately fell in love with Black, thrash, and Black/Thrash at some point in their lives, and they will always support the style. I have been lucky enough to find a lot of people who want the album in any of its formats, and it seems that has also translated to the labels, so all in all, I am quite happy with how everything turned out. The support has also been extended to the streaming format. The album has been viewed thousands of times on YouTube, and it also has more than 5k streams on Spotify. I do not take the streamings and viewings as something so important, but they do reflect something: the preference and reach of your music. And I can say that the album The Word of the Iron Baphomet stretches far around the world!

The cover artwork has a great atmosphere! Tell us a few things about it.
The album cover depicts the temple of the Iron Baphomet. In it, you can see the Iron Baphomet sitting on its throne alongside the two witnesses. The Temple is a representation of the album, where the Word of the Iron Baphomet is being played. Some of the album's central themes revolve around darkness and blood. Darkness serves as the catalyst in which the Word is conceived, and blood as the vehicle for reaching the entities beyond the mortal plane; hence the colour choice of red and black. On the steps to the Throne, you can see a magic square that sums '2505', a number that represents the day of release of the album, May 25th and the birth of the Iron Baphomet. The cover was designed by the artist Nina Ribic Vodlan. She is also the artist behind the covers of the two singles.

And what about the lyrics?
Iron Baphomet is about the myths and stories that, throughout time, have helped humanity to give voice to their deepest fears and concerns. In all cultures, we seem to believe that there is something else beyond the physical plane. That this beyond is populated by entities that we can approach and make deals with. For example, In Communion with Satan, Blood Gods, Emissary of Death, and Jakten are songs that deal with the Beyond and the different ways that we, humans, can reach it. Promethean Flame is about the ultimate knowledge, which is the knowledge of destroying the world and, by extension, ourselves. It plays with the myth that an ultraterrestrial being gave us that knowledge, the flame, which is in turn the flame of the explosion of the atomic bomb. These stories help us to make sense of the world and our intuitions. Necrobeast's symbol, the Iron Baphomet, is a dragon/ram being that helps me to symbolise these stories. I do not actually believe in such an entity, but I use it as a vehicle to embody all the ancient and modern narratives that aim at explaining the world beyond our senses. Sometimes these stories embody our critical perspective regarding reality. Emissary of Death is a very political song about religions, especially the Abrahamic ones, being death cults trying to take away our material and spiritual treasures in exchange for some postmortem reward. These concerns have always been part of the metal leitmotif, and Necrobeast joins that tradition also. I understand metal as a continuum in sound and message, an angry voice against the powers that be, where 'blasphemy', as a tool against authority is central.

Label or DIY and why?
This is a difficult question. The original edition of Necrobeast's demo 'El despertar de la Necrobestia' was fully DIY. There is magic and value in the work you put into the mission. To see it finished and circulating the world is a very powerful feeling. However, the reach and actual material opportunities to produce a high-quality work are fewer. The entry barriers are higher. Think of both contact and money. If you have both, then DIY is the way. Not everyone has it, though. Now, regarding labels. I guess it depends on what kind of label. By this, I mean whether it is a major label or an independent label. Major labels give you a lot of exposure and open doors that otherwise are unthinkable for DIY. Think of streaming audiences, bookers, festivals, and so on. However, the conditions are tough because either you give away the master or you sign a several-year exclusivity contract regarding the master and future releases, which limits the band's creative power significantly. Yes, you get money in advance, but usually that is a loan that you need to use to pay the studio and all the other expenses. Only after you pay your loan back do you start seeing profits, and that takes a while. Currently, both the reissue of El despertar and Iron Baphomet have been released by labels. The first one is by the Dutch label Brutal Insanity Records, and the second one is by Witches Brew (Germany) and Urolig Sjel (France). Witches Brew released the LP and CD versions, whilst Urolig Sjel released the tape version. All the named labels are independent. My experience with them has been nothing but positive. I own the masters; they are licensed to release a previously agreed number of units, a percentage of which belongs to Necrobeast. They have done a splendid work in terms of layout and overall design, and they count with a bigger network of other labels and client-based that I would have hoped to have. These labels are run by people who, like me, truly care for keeping the black flame of metal alive. So, regarding the question of an independent label, I would say it is the middle ground.

Is there any funny or weird story from the recordings or from your live shows that you would like to share with us?
Well, I remember back in the day, when I was recording the demo, there was an upright crucifix hanging on a wall far from the equipment. During the recording of 'The Awakening of the Necrobeast' song, all the equipment stopped working out of the blue, and the crucifix fell and broke. That was weird, but at least we thought 'ok, we are on the right track then!' hahah. Other than that, my experiences have been quite normal and devoid of any anecdote.

Do you prefer Vinyl, Tape, CD or Digital Format and why is that?
It depends on the purpose, I guess. If we talk about my preferred way of listening and buying, LPs have been my choice for years. There is a clear aesthetic component, and nowadays productions are getting more and more professional and carefully elaborated. However, I grew up in the boom of CDs, so the CD format will always have a special place in my heart. I will always try to have Necrobeast on CD, if possible. Digital sound, typically, sounds better than any other format. I know that I will get in trouble for saying this. Still, it is true. One can have a whole debate about CD just holding information whislt LP holds actual music in the grooves, and you might be right. I am not interested in that debate. Now, as a supporter of the underground, I will first try to buy tape. My first albums were on tape; I even have a personal cassette player at home. Still, no matter which format, I prefer listening to physical versions rather than streaming songs. For many years, streaming services have reshaped the way I listen to music, and I assume this is common for others too. I was more interested in 'songs' than in albums, and that didn't help my attention span either. Each song was programmed to secure maximum listening power in the first 20 seconds, so if it did not catch my attention, then I just skipped. Weird way to appreciate music. Ten years ago, I went back to listening to physical records at home. And I remembered what it was to appreciate albums, not songs. There is a value in the physical format, and that is something that I had in mind when writing Iron Baphomet. Iron Baphomet is meant to be listened to as a whole in one go, for maximum pleasure. From the point of view of selling and trading, LPs reign supreme. Tapes come in second by far, and CDs do not sell well at all. Currently, CDs are used to promote your work. Either by doing trades or giveaways to labels, outlets, friends, and promoters. I will always aim to release all Necrobeast's work in all formats; however, it significantly increases the difficulty of getting it released.

Your music style is Black/Thrash Metal. Which are your main influences (Favourite Artists / Bands etc.)
My influences can be easily spotted, I think. The Japanese and South American sounds are central to Necrobeast. Bands like Sabbat, Abigail, early Sepultura, Pentagram (Chile), Death Yell, Violator, and Sarcofago are embedded in the way I construct riffs. Also, the Nordic black metal scene, particularly early Darkthrone, Dissection, Immortal, and Nifelheim, has inspired me to mould the different melodies and more brutal aspects of the work. And closely to the actual sound of Necrobeast is the German sound of Desaster, Minotaur, early Kreator, early Sodom. I cannot pass this opportunity and name another main influence, such as the Italian warhammer Bulldozer. And, of course, the two pillars that have built my understanding of metal and songwriting: Slayer and Bathory.

Which things do you think a band should sacrifice in order to succeed? Have you ever sacrificed anything in your life for a better future for your band?
This is a great question. I think it will depend on your notion of 'success'. I guess if you want to become famous and make a lot of money, and play the 'Faster/Harder' stages of Wacken, for example, you need to dedicate your life as a musician with all that entails. However, I do not think that that is what success might be. I find it an excellent album that leaves you satisfied with your work's success, regardless of the impact the album may have after its release. So success can go from releasing a very good demo (what does it mean to be 'very good' though) to playing in an arena-stage filled with thousands of people, and everything in between. I guess no matter what your definition of success is, you do need to invest (not sacrifice) time. Pull all your energy into the creative process of songwriting, art, promotion, and everything that comes with releasing an album. Time is something none of us has much of. It is budgeted, and releasing an album might affect other aspects of your life, such as friends, family, and work. There is also a financial burden that releasing albums brings about. In my case, since I am a one-man band, everything costs money. And I am not a wealthy person by far. So when I need to pay 300 EUR for 25 t-shirts plus shipping, it does hit my pocket. Still, these expenses I do not see as a sacrifice but as an investment in something that I am passionate about. Metal has shaped my identity and given my life meaning in many ways. Necrobeast is my way of participating in this continuum of human history that I call Metal.

Describe your ideal live show as a performance band. Have you already experienced that?
I do not expect much. I am just a metalhead getting to make music. I want people moshing and headbanging, singing along, and, for once, the stage monitor to work well for the full show without losing the return after the first chords of the first song are played. I have had some close to that show with my other band, Morphetik. Morphetik is a Swedish Thrash Metal band, closer to what you expect from old-school 80s thrash. Songs are mosh-driven and have crossover elements, such as 'Fuck the System' by The Exploited. Before our hiatus, we were working on our third album, we played a lot of shows, and there I could see people headbanging and moshing. This was quite a feat, considering that our shows were mostly in Sweden and the Netherlands, and the Nordics and Dutch audiences are tough ones! I guess for Necrobeast, I would like something similar. I am a thrasher at heart, so I see Necrobeast's shows as mostly thrash metal shows where neck-breaking anthems are sung, fists are raised, and there's a lot of headbanging going on.

What do you think about the rise of AI in music production?
Not my cup of tea and keep it as a far away from possible, pleaseandthankyou. As with everything related to AI, we might as well acknowledge that 'prompting X' isn't 'doing X'. Sure, one can try to convince me of all its advantages, and for the most part, they will be right, but still, prompting AI to produce a result isn't the same as performing an action conducive to that result. This applies to music too, add AI productions if you want but acknowledge that this isn't music writing nor music as we understand it. Maybe we need to expand our conceptual categories to accommodate the new AI reality. Still, prompting isn't doing. It reminds me of the words of Henry Rollins regarding DJs: "You are just a record player player".

What attributes do you think that a new Black/Thrash Metal Band should have in order to gain identity and be unique?
I do not understand the obsession with being 'unique'. What does that mean? I have asked myself that a lot after reading reviews of friends' work and my own. There is a need to be unique or reinvent the wheel, why? Of course, you do not want to be a copy of something else. But here's the thing: unless you play covers or deliberately want to copy someone else, it is very difficult to sound exactly the same as some other artist! Having an identity is different from being unique. I do not know how to be unique in a world where many things already exist and where inspiration necessarily comes from other people's work. You are not in a vacuum, and no one will reinvent anything. Identity, on the other hand, comes with conviction. Bands should believe in what they are doing and stay consistent. It is easy to fold and look for change; the trick, I believe, is to retain your identity without being a copy of yourself. It is hard, but that is enough. There are countless cases of big bands that forged their identity in their first albums, and a few decades later, they, after never being able to surpass their original works, are trying to go back to their roots without realising that they are copying themselves, poorly, I might add. How to retain your identity throughout time? That is the challenge! Again, conviction and consistency.

Do you believe that Digital Platforms help the new Black/Thrash Metal Bands? Which, do you think, is the ideal way for a band to promote its work?
I guess it will depend on what 'help' means. Help as in reaching audiences that otherwise will be very difficult or slow to reach? absolutely. Help in getting money and gigs? Hardly. I am not saying it doesn't happen, but it is very difficult unless you know how to work the algorithm. Something that I have failed miserably to do so. I do think that the digital platforms democratize music, in the sense that they allow everyone to put their work 'out there'. You do not need to rely on labels or physical media to release an album, and that is great; it streamlines the process and allows bands with fewer resources to share their music with the world. Does Black/Thrash have a special claim to using (or not using) the platforms? I do not think so. I understand that some bands, out of principle, do not want to upload their songs, and I salute them. Still, you can find them on YouTube. Why one and not the other one? The plot thickens. Still, this is a great question because it does change the burden of work that a band has in light of promoting the work. Now, social media is crucial, among them, the use of digital platforms. It is a matter of numbers. There are so many high-quality releases every day that you risk drowning your work in a sea of new albums. How to stand out? This is something I still wonder. I have worked with promotional campaigns run by specialised services. This means money, and in many ways, it is money you never know will return. Because the algorithm might not pick it, the people might not be interested, you happen to overlap with an important release, etc. Yes, you invest the money, and sometimes you can see the return in the analytics of your posts, videos, or streams. What does that mean? Well, at least it is evidence that people are listening to you, and some of them like your music. If that is enough, then it is a good investment. But sometimes you might want something else. I do not know, maybe you want to sell merch or be booked to play at festivals. These numbers matter when you introduce yourself to bookers. They use these statistics to choose bands to support and also where to play (and the order too). The ideal way to promote is something that I am still looking for. At the moment, I have worked with these services, but almost all the reviews I have gotten come from my directly approaching outlets to ask whether they would like to review my work, and the same goes for interviews. Sometimes they listen to your album by chance, they like it, and want to enquire a bit more. A lot of chance is involved, but still, one should never stop knocking on doors. Most of them won't open, but you never know.

From your experience in the music industry, what would you tell to a new Black/Thrash Metal band to avoid or what to do?
Who am I to give advice, but here goes nothing: avoid bad-quality sound. There is no reason to sound bad anymore. There are many free tools and affordable freelance services that can help you mix and master your work. Bad sound on purpose is imitating the early records in the mid-80s and early 90s. Now, you can have it as a statement. And that is great! Just know that then it runs the risk of being seen as a moniker. What to do? Pay attention to what comes after recording the album. Promotion, art, merch, label, reviews, all of this work takes a lot of time and effort. So, a good after-recording plan is in order. Ask yourselves, should you have a social media presence? What outlets do you want to be reviewed on? What sort of merch will be the first one you release? If you are using digital platforms, which playlist should you be included in, etc.? Lots to think about.

Tell us a few things about the New Underground Metal Scene in Chile (Bands, Fanzines, Webzines, Metal Clubs etc.)
Chile is quite active in terms of the underground scene. Fun fact: according to metallum, Chile is on of the countries with more metal bands per capita in the world. Since the 80s, it has always leaned more toward the aggressive or brutal side of metal. Thrash and Death metal reign supreme, with an eruption of black metal now. I have not been in Chile for the last 13 years, so things might have changed a bit. However, very big metal fests are being organised mostly in Santiago and more underground ones throughout the country. I know of several in southern Chile, where death and black metal are the usual protagonists. Death metal bands one ought to check out include Unaussprechlichen Kulten, Melektavs, Magananimus, Wrathprayer, Oracculum, Godless, Diabolical Messiah, and Blames God. Thrash metal, I would say Orion, Neckbreaker, Massive Power, Mangled, Disaster, Betrayed, Dekapited, Nuclear, Ammit, Communion, Force of Darkness are worth spending time listening to. The zine and webzine ecosystem is also growing, extending to podcasts and interviews with large audiences, showing that there is a continuing growing pool of metalheads coming from the end of the world!  

What does Metal means to you? And give us 10 metal albums that run in your veins.
Metal is inextricably embedded in my life and identity. I started listening to metal back in 97' and there hasn't been a day without me listening to at least a few albums. I do not know who I would be without it. And most probably in my last day on this plane, I will listen to some albums before saying good bye. 10 metal albums? Harsh question! of course I will cheat and add some extra, still I want to keep it to ten artists. Nonetheless, it pains my heart to leave so many behind!

Slayer - Show No Mercy/Reign in Blood
Sabbat - Evoke/Envenom
Bathory - Blood, Fire, and Death
Judas Priest - Screaming for Vengeance/Painkiller
Immortal - Pure Holocaust/Battles in the North
Desaster - Stormbringer/A Touch of Medieval Darkness
Death Yell - Vengeance from Darkness
Atomic Aggressor - Bloody Ceremonial/Resurrection
Melektavs - Transcendence Through Ethereal Scourge
Dominvs Xul - The Primigeni Xul

Do you know anything about the Hellenic Metal Scene?
Yes, one of my favourite bands from the past 10 years or so is Dead Congregation. Amazing death metal! I have seen them quite a few times; they always blow my mind. From back in the day, Varathron, Rotting Christ, Macabre Omen, Acherontas, and Necromantia are on the list. What I like is that Greek black metal is so different from Nordic black metal. Here in Maastricht, where I live, very good friends have bands in the style of old-school Greek BM. Necromantic Worship and the Nameless Shrine, albeit Dutch, are two bands that carry the torch of the Hellenic Metal scene! They always recommend Greek bands to me, such as some aforementioned. On the melodic death metal side, one of my very good friends plays in Nightrage, a staple of MDM worldwide nowadays.

What are your future plans?
As we speak, I have finished recording the next Necrobeast EP. It is in the post-production stage, meaning I am now waiting for the art to be done for both the single and the EP, as well as the mixing and mastering of the songs. I hope it will be released in March next year. A few labels are interested, and now I am trying to arrange the format agreement. I am aiming at having it on LP, CD, and Tape. We will see how it goes. I have started writing the second full-length. At the moment, I have one song done, so I am now working on the arrangements and writing the lyrics. If all goes well, it will be out in 2028. Regarding the playing live aspect, it is something I would like to do with Necrobeast. No doubt about it. Still, it is not something that needs to happen now. Although some friends have approached me and expressed interest in playing as live session musicians, there is a lot of work to be done on finding places to play, booking logistics, rehearsing, etc. The live-playing aspect, moreover, for a band that is starting (and it is a one-man project), is something that I still need to figure out. Sadly, between the bands and work, there is little time left. I am convinced that when Necrobeast is ready, pieces will fall into place. In the meantime, I am creating music. With my other band, Morphetik, I just finished recording the guitars for our third full-length. So we are in full album writing mode. There might be some shows at the end of the year, so I am looking forward to what will come up from the talks with the organisers.

Thank you very much for your time & keep up the good work! The closure is yours.
First of all, I want to thank you for giving me the space and platform to speak about Necrobeast's music. I want to use this last question to invite everyone to listen to Iron Baphomet, in whatever format you want. Open a beer, raise your fist, headbang, and keep the Black Flame alive!

By Steve the Filthy Dog.

NECROBEAST CONTACT:

https://www.instagram.com/necrobeastofficial/

https://necrobeast.bandcamp.com/

https://open.spotify.com/artist/3G9vJTpUHpaztmcNd8wFuu