“THIS RECORD WAS BUILT LIKE AN ANCIENT TEMPLE OF DEVOTED WORSHIP: THROUGH SHEER PATIENCE, PERSEVERANCE, AND PROSELYTISM OF THE HIGHEST ORDER” – SADISTIK FORNICATOR (NECROMANIAC)

NECROMANIAC is the living dying embodiment of a band that does things its own way and unapologetically exhibits its heart upon its sleeve. From the supreme sinister conjurations themselves to the language used, the clothes adorned, the artwork, imagery, aesthetics and unbounded inebriated enthusiasm, it is abundantly clear that this is morbid metal created by metal maniacs for metal maniacs. Infernal debut full-length incarnation ‘Sciomancy, Malediction & Rites Abominable’ embodies an authentic, untethered spirit of malevolence that sets its fiendishly-dedicated creators apart from an oftentimes one-dimensional and apathetic scene. Die-hard cult leader Sadistik Fornicator offers insight into the possessed and obsessed state of mind that bestows life upon these morbid decompositions.

To what extent is your music an expression/exploration of your psyche/personality? How much of yourself do you invest into this unholy art form? Feels to me like we are getting all of you and maybe a little bit extra on top of that…
“Ave maniac! This is Sadistik Fornicator (Guitarmageddon) answering your interview. First, please accept my eternal gratitude for supporting our morbid coven and giving us a platform to promote our sinister art. Now, regarding your first question, yes, you’re absolutely right. Being the artists behind the music, lyrics, and aesthetics, NECROMANIAC is nothing but an extension of our personalities, as any form of meaningful art should be. To put your readers into our artistic perspective, it’s as simple as this: we will most likely never make a living out of this, but we sure as Hell fucking live for it.”

Your genuine devotion to infernal darkness permeates every facet of the truly demonic debut full-length ‘Sciomancy, Malediction & Rites Abominable’ – a statement of malignant intent if ever there was one and a record that has been greeted with fervour by metal maniacs everywhere. Now that the dust has settled a little on the advent of this foul creation, how satisfied are you with both the album itself and the response to it? As you intimated earlier, it’s not going to make you rich in a material sense, but I’m confident that this is exactly the record you always wanted to manifest since the very beginning when NECROMANIAC was first forged from fire and brimstone?
“Yes, that is correct, and the main reason why we took as long as we did to summon this magnum opus of ancient morbidity. I am extremely satisfied with the album, as the end result exceeded all of my preconceived expectations, and I most definitely consider it to be a milestone within the band’s history and development. For those who still haven’t listened to it, ‘Sciomancy, Malediction & Rites Abominable’ does exactly what it says on the tin. It is certainly one of the darkest, most evil, eerie, and demonic releases that you will hear this year. A truly sinister musical journey containing 9 forbidden rites that will leave their black mark upon your tormented soul and seduce you into succumbing to repeated listens that will unveil new hidden secrets every single time you come back to it and embrace the inherent darkness revealed within its deathlike malevolent aura. It took us well over a decade to write it, and that shows in the superb, strong quality of the material.
“As for the response, I wish physical sales were better, and certain lazy, clueless reviewers had done their homework by at least reading the basic band info included with the promo pack they received. Others could have also been more open-minded about the songs where A Corpse Without Soul guested on vocals, but those are my only complaints. Anyway, those who know, know, even if they’re few and far between. This isn’t a record for your average small-minded Metal fan who is just concerned with labelling and boxing up all music into confining and limiting subgenres, but for those who revel in the dark arts and seek the foulest incarnations of infernal ecstasy manifested upon some of the most impious artistic expressions ever committed to tape.”

Re: the thus-far modest physical sales, I believe this is a symptom of the disconnected Black Mirror world we live in today. I’m sure, like me, you belong to a generation and mindset where if you are drawn to an album, then you have to get your hands on a physical copy, and preferably the vinyl. Today, even though more people than ever have an opinion about underground Black/Death Metal, they are wired differently and seem content to stream music on YouTube, Spotify, Bandcamp, etc. (usually on their phones…), or to make do with the digital promos they were emailed (far too many getting those!). Everything has been inverted. Those reviewers you mention don’t even have the record, and never will, so how can they formulate an informed or accurate opinion on what you have conjured? The underground is dying a death right in front of our eyes, but for now, at least there are still some stubborn ‘dinosaurs’ doing things the old way to try to keep the flame alive…
“I think while physical sales have most definitely declined in general, to a certain extent due to a lot of different factors at play, there is no denying that plenty of bands out there still manage to sell a lot. I guess it’s just hard for newer artists to get noticed unless they’re part of whatever niche scene that happens to be trendy at that particular moment in time. The main problem is that there’s just way too much music getting released daily and a huge part of it is dreadfully uninspiring, so a lot of people aren’t actively checking out new bands as a result, as it almost feels like another boring chore and everyone’s attention span seems to be getting more and more limited these days. But also, I think the fact that we’re not one of those bands who are desperately trying to remain relevant by constantly being in the public eye probably doesn’t help our case either. Regardless, this is a conscious decision on our part, as I’m aware that having a strong presence on social media platforms posting a lot of unnecessary content would completely ruin the dark atmosphere that our music, lyrics and aesthetics convey. I prefer to maintain that aura of mystery rather than tainting it by being too visible and coming across as pathetically needy for cringeworthy attention. We’ve never been ones to play ball anyway, and even though I am conscious of the fact that we’d get more supporters if we whored ourselves online, I think ultimately it is more important for me to retain that cult underground band status than becoming too popular and attracting a lot of undesirables in the process or trying to be embraced by the dreaded tentacles of the mainstream music industry and losing our main core essence. For better or worse, artistic integrity has always been and will remain paramount to everything that we do as a band, as we intend to keep that intact until we cease to exist.”

Are you the architects of this obscure art, or do you serve a greater architect? When you reflect on how the stars aligned and led to the genesis of NECROMANIAC in the unlikely hellscape of the English capital – a seemingly random but uncanny convergence of the right people in the right place at the right time – would you say it was a happy accident/serendipity or do you believe it was providence? Were you guided by a hidden hand? Did this essence call you, or did you invite it in?
“That very same thought has indeed crossed my mind too previously, but considering how long it took to find the right people, I wouldn’t say for certain that we must have been conjured up by demonic intervention, as that would be far too pretentious. After all, it is not that unusual to find European musicians from different nationalities in an ancient metropolis like London. Also, the underground Metal milieu is quite small and everyone knows each other, so it was only a matter of time until our left-hand paths crossed and we eventually gathered together like a pack of hungry wolves to create something wild and unique which does not fit in at all with the rest of the UK scene, bar a small handful of obvious exceptions.”

Some of the qualities that set ‘Sciomancy, Malediction & Rites Abominable’ apart from the aforementioned mire of mediocrity are its immense musicality, memorability, headbangability and natural flow. The songcraft is mightily impressive and the spells themselves organic and inherently evil as NECROMANIAC successfully channels a morbid, ghoulish, deathly atmosphere, often utilising fiendish melodies as much as speed or aggression. Assuming again that there was no divine or demonic intervention/inspiration guiding the compositional process, how difficult was it to pull all the parts, ideas, individuals and elements together and conjure this record from abstraction into reality?
“Thanks for your kind words of high praise. It is deeply appreciated, and I’m glad to hear our art resonated so strongly within the darkest corners of your morbid psyche. I wouldn’t say it was difficult to put everything together, though. Although there’s no doubt that we worked extremely hard for many years to make sure this album is a huge statement that puts a big part of the current underground Black/Death Metal scene to shame for their profuse lack of artistic principles, originality, and authenticity… However, we never forced it, so we also had long periods of creative inactivity. If the inspiration isn’t there, it is always best to leave it until it comes back with full force again. Otherwise, you’re more likely to write generic, derivative, and mediocre material that won’t be impressive enough to have the desired impact on the listener. I have very high standards, so this record was built like an ancient temple of devoted worship: through sheer patience, perseverance, and proselytism of the highest order. My purpose is to withhold the very essence of our spirit within our music, with the set intention that it shall never be buried by the whispering sands of time. Even after we’re long gone from this mortal coil.”

Each curse is meticulously crafted and delivered, and the lyrics are as rich and commendable as the music, vividly recounting twisted tales of necromancy, witchcraft, sorcery and other dark deeds, euphoric graveside orations imploring the dead to rise from their tombs. The lyrics and music feel inseparable – was there much collaboration with C. Howler before or while he was writing them?
“No, he was given free rein; we just sent him the songs in instrumental form, and he wrote all the lyrics to go with the music on his own. He also came up with the album title and suggested the 17th-century engraving by Johann Wilhelm Baur that we used as the cover artwork. His input is invaluable and, in my humble opinion, his lyrical and vocal contributions constitute a huge part of the artistic expression manifested by the creative spiritual current otherwise collectively known as NECROMANIAC.”

NECROMANIAC has a strong identity and a very clear understanding of what you are and what you are not. Even though you draw on obvious influences, you have forged your own distinct sound and approach. Having succeeded where others have failed, what would you deem to be the essential prerequisites to make an authentically evil and adversarial record in 2025? If you were to critique the scene as a whole, what traits elevate the more worthy artists above the rest and where, in your opinion, are too many self-proclaimed Black/Death Metal bands going wrong?
“Like I said, we worked very hard for many years to find our sound and refine it, and we have only just got started. Unfortunately, many musicians have developed fast-food mentalities and just churn out releases that are put together very quickly with the sole aim of trying to stay relevant in the public eye and have an excuse to go on tour. If they took their time to work on their music, then perhaps they’d stand out from the endless sea of mediocrity out there. I think a huge part of the problem is the advent of social media and the constant search for instant gratification via likes and follows that everyone seems to be so fucking obsessed with. An Achilles heel that, in turn, makes for very uninspiring music in most instances. ‘Specially when bands start chasing trends or blatantly plagiarize the work of others. To me, this has zero artistic value, and as a direct result of that, I have no time or respect whatsoever for copycat acts. If you look back at the old Black/Death Metal bands of the ’80s and ’90s, they all sounded completely different from one another. This is the scene that we grew up with, and we’d like to see a continuation of the artistic transgression which was common during that golden era.
“I think another big problem with a lot of modern bands is the lack of actual RIFFS that are catchy and memorable, and I can only attribute this to newer generations of artists not having a schooled background in the development of traditional riff-based Metal. I think a lot of people were listening to wimpy emo or metalcore crap when they were teenagers and then one day they discovered ‘In The Nightside Eclipse’ on YouTube and decided to play Black Metal without knowing any of the bands that were pivotal to its gestation. Also, from my experience of meeting many musicians who play in other bands throughout the years, those who create the best and most unique art are usually influenced by other outsider music genres outside of Metal, too. For example, if you’re a chef and you only use a limited amount of ingredients to create your dishes, then you’re highly unlikely to come up with anything which hasn’t been done previously (and better) by other chefs, right? Well, I think the same rule applies in art, so the wider your musical palette, the more chances you have of creating something more unique.
“Another important factor is the lack of actual BANDS who bang their tunes together in a rehearsal studio over and over again until they perfect them. Most modern ‘bands’ are just home studio projects, and in many instances, the musicians behind them have never even played their songs together as a band before they recorded them in the studio along to the dreaded click track. Again, you can eat microwaved processed food, but it’s never going to be as tasty and nutritious as a meal cooked from scratch using fresh ingredients.”

Art – be it sonic, visual, written or performed – offers a retreat from the monotony or troubles of everyday life, both for those crafting artistic creations as well as those indulging in them. While the anthology of grim tales presented on ‘Sciomancy, Malediction & Rites Abominable’ could be construed as fantastical, fictitious and surreal inventions, one of the reasons why dark art resonates so deeply is that it often holds a mirror up to reality. Nothing in this world is more real than darkness and death. Would you interpret your music as escapism and entertainment or an exploration or celebration of themes that will impact upon us all and thus need to be acknowledged and approached head-on?
“I wouldn’t refer to the themes presented in the lyrics of our album as ‘fantastical, fictitious, and surreal inventions’. They were meticulously researched by our vocalist C. Howler throughout many years of study and practice of the forbidden arts. He is not only well-read and versed in those subjects, but he is also a published author, and works in one of the oldest, biggest and most legendary occult and esoteric sciences bookshops in Europe. Most topics presented in our debut full-length deal with historical and mythological figures, demons, spirits, myths, rites, and incantations explicitly related to the ancient traditions of sorcery and divination of the dead. These profane practices were the main conceptual sources of inspiration and can be found in many different cultures and their spiritual beliefs throughout the ages. As for ‘interpreting our music as [either] escapism and entertainment, or an exploration and celebration of themes that will impact us all and thus need to be acknowledged and approached head-on’, I’d say both interpretations are valid, as one doesn’t necessarily contradict the other.”

I believe ‘Sciomancy, Malediction & Rites Abominable’ might well be one of those enduring records that is destined in the fullness of time to claim cult status. Its impact could be more gradual than hyped-up, instant-gratification, but-no-substance overnight sensations that make no lasting impression, but ultimately its imprint and influence will be much greater as this record is surely going to be widely acknowledged and received as the gem it is. Could you live with that outcome?
“That is exactly the goal we set ourselves to achieve with this album during the writing and recording process, so yes, I’m confident we could live with that outcome if it ever materializes. But will the pillars of our temple stand strong as the years go by, and manage to withstand the many battles its future holds? Will NECROMANIAC be a name held in high regard and spoken of in many tongues by all the devoted disciples of the underground Metal milieu worldwide, or is it bound to be buried and forgotten? Only time shall tell, my friend, but we aim to be masters of our own destiny. However, even if our mission fails, I can guarantee you we will still be able to look back and feel proud that at least we gave it our best shot, stuck to our guns, ignored all the naysayers, and did things our way until the very end.”

It’s reassuring to hear that you are only getting started. What is happening in the NECROMANIAC camp as we speak? I know ‘Sciomancy, Malediction & Rites Abominable’ is only fresh off the grill and is not yet fully digested, but have you had time to even think about cooking up any new treats? Anything stirring on the gig or tour front? Is performing more live ceremonies going to be a priority moving forward?
“I have already started composing material for our second album and, so far, I have the music for one new song complete. The collective aim is to beat our debut; otherwise, there is no point in releasing a second album. As for live desecrations, we will be making debuts in Finland and the Netherlands this summer with Mortuary Drape from Italy and Tormentor from Hungary respectively as headliners. We will also desecrate your home country for the first time in January MMXXVI with label mates Abhorration from Norway and Callous Master from Ireland opening. A London date is also scheduled for both acts, with UK newcomers Chaos Chant opening.
“Okay, this is it for now. Thanks again for your support and interest in NECROMANIAC. May the arcane mysticism contained within the very essence of our black art mark your damned soul with the unmistakable stench of Death and darkness until the very end of times! No mercy, no forgiveness, no salvation, no return… MORBID METAL TO THE DEATH!”

Photos credit: Terry Palamara