Interview with ENTGEIST (Part 1 of 2)

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With “Welk,” the black metal band Entgeist delves deeply into the themes of transience, life, and death—combining atmospheric soundscapes with the coldness of classic black metal. In this interview, Sergej, Tim, and Randy discuss the making of the album, the personal emotions behind the German lyrics, and the current state of the metal scene.

Orkus: How did you come up with the band name Entgeist?
Sergej: When we started the band back then as teenagers, we spent a long time looking for the right name. We made lists of potential names and held votes, but nothing really convinced us. Out of the blue, our former drummer Michi suggested “Entgeist.” We liked it because it’s unique, but it also fits well with the metal genre. To this day, we still don’t know what inspired our drummer at the time to come up with that name. He himself says he derived it from the word “entgeistert,” but he can’t really remember that either.

O: The new album is titled “Welk.” What does the title mean to you?
Tim: To me, “Welk” means transience. Things that may once have been beautiful, but of which not much remains other than a distorted image, a faint memory. In fact, the title was decided on early on, even before the song “Verwelkt.” I had the idea to write lyrics that would explore this theme more directly. That idea first led to the album title, and only then to the song lyrics.
Sergej: I can only agree with Tim here. The reason I suggested the title back then was that, ultimately, nothing can escape withering—which makes the motif omnipresent. You can only delay withering—you can’t prevent it—and it’s precisely this deterministic element that makes the title interesting. We tried to illustrate this idea visually through the floral references on the cover.

O: Were the themes of life, death, and transience established from the beginning, or did they develop during the writing process?
Tim: I think the basic direction was clear from the very beginning. Even if you listen to our earlier releases, you’ll come across themes of life and death. Transience is a new addition. I think that has to do with me and my life. Everything that happens lyrically on “Welk” is connected to me in some way. These are things I encounter in my surroundings or processes taking place within me. Often, it’s only when I have the finished text in front of me and take the time to reread and reflect on it that I truly realize what exactly is on my mind at that moment.

O: Musically, you’ve always straddled the line between atmospheric and classical black metal. What fascinates you about this combination?
Sergej: Basically, black metal in all its facets forms a certain foundation for our music, although we also try not to limit ourselves to just this genre, but rather to venture into some wilder combinations. Classic black metal is important in this regard because it provides the coldness that can be heard and felt in parts of our music. In my opinion, no other metal genre can create this coldness in the same way. The atmospheric elements amplify this coldness in certain parts, while at the same time providing a harmony that serves as a contrast to it. That’s exactly what makes it so fascinating, which is why we enjoy combining these styles.

O: What are your thoughts on the metal or black metal scene in Germany? Is it in good shape, or is there room for improvement?
Randy: Unfortunately, many clubs in our region that served as a home for the scene have disappeared in recent years. Of course, this inevitably leads to a decline in the number of newcomers and an aging scene.
Tim: I see it much the same way as Randy. Maybe it’s because we’re getting older. I get the impression that, at least here in the region, there’s a lack of new talent. I can remember a time—when I was about 15 or 16—when there was some small show by some small local metal band every Saturday. At the same time, I also see that there are still people who invest an incredible amount in the scene. They organize concerts, network, provide venues, and always take a big financial risk in the process. I also see young people at the concerts time and again. Both of these things give me at least a little hope.