Album Review & Interview: Foltermord – Pestbringer
Band: Foltermord
Album: Pestbringer
Label: Independent
Release date: September 26th 2025
Country: Germany
Format reviewed: High quality digital recording
Album Review: Foltermord – Pestbringer by Ioana
As a genre, black metal is the kind that, at though it may not seem like it at first, has plenty of caprices so to say. And it only takes approaching one in the wrong way to turn a potential masterpiece into a mediocre record at best and a complete shit show at worst. Oftentimes it takes quite a long time in order to learn to navigate around them, and it is rather rare for a debut record to avoid such traps. Well, Foltermord more or less managed to do just that on their upcoming debut record Pestbringer. Although one could tell from a look at the album artwork alone that this is bound to be an effortful piece of music, one truly must pay close attention to every note being played in order to get the full experience.
Sound-wise the record is a blend of Finnish and German black metal influences blending together in what I can only describe as the supreme cocktail of hatred. To note, the album intro contains, along with the unnerving soundscape, an audio clip of Annelise Mitchell’s exorcism, where she claims to be possessed by Lucifer and Hitler, most notably. Nevertheless, an undoubtedly impactful way of starting the record, and an example of what an effective intro is supposed to do, which is send chills down the listener’s spine and generate a really uncomfortable feeling, that will only be further developed by the music.
Speaking now of the songs themselves, the word that best describes both their sound and mood is “ghoulish”. Part of the cause for this is the vocal performance, which threads a very fine line between being upfront and obvious to ghostly and faded. At times it feels like the wind itself is howling, with strange spirits lurking among it. It is powerful, yet expressing a terrifying lack of human presence, a force of nature, so to say. I am also a huge fan of the subtle alternations between extremely high screeches and lower screams that blend naturally into eachother, adding yet another layer of expressivity to an already expressive record. You can’t make out much of what is being sung, but intrinsically, you feel everything, and more importantly, you instinctively understand the music. This ties in with the lyrical content of the album, which is mainly centered around themes such as devil worship, death, and misanthropy, all joined together to bring about the end of times. More on that in the interview part of the article, however.
The most important component of the album remains, without a doubt, the guitar work. It is definitely the first element that stood out to me when listening to Pestbringer for the first time, and one of the main reasons I recommend this album. Heck, you could only listen to it for the guitars alone and you’d still have a blast. One of the songs that showcases this best is “Gotteslästerung”. The dynamics between the fast and mid paced riffs is truly harmonious and mesmerizing, and the diversity of techniques and riff styles showcased is truly a sight to behold. Another track that shines in that regard is “Galgenhymne”, my personal favourite out of the whole album. It is a very fluid, very balanced composition, that exudes both hatred and artistry in such a way that it leaves you in awe. Along with that, the lead guitar also has several instances to shine, but not in the “flashy solo” kind of way, more in the “melody that doesn’t leave your head for a week” way. Moreover, I feel like it is worth noting that Pestbringer makes great use of the bass, adding an additional layer of depth to the music and helping define all elements in the long run. I feel like, with the bass lacking, this album would have fallen flat in several regards.
It wouldn’t be a proper black metal album if it didn’t have top notch drumming. Just like in the case of the guitars, bass and vocals, the execution of the drums is excellent. The blast beats are tight and concise, the techniques involved are catchy and varied, and it emphasizes perfectly the existing musical dynamics. Something that I particularly love about them in particular is their full and rich sound that still carries that good old sharpness, without coming of as thin or flat in any regards. This also comes in credit to the tasteful production of the record.
All that being said, it is rather clear to me, and I hope you as well, that Foltermord’s Pestbringer is definitely a runner up for album of the year, and it also leaves us with the question of what the future will bring for the band. Thus I present my rating of 9.5/10, and introduce the next part of the article, the interview. It is one of my favourites that I’ve ever done, and it elaborates a lot on everything that was mentioned during the review. That being said, I will finish with the nonsense and let it speak for itself:
Interview Foltermord by Ioana
Greetings, and thank you very much for partaking in this interview! Now, for starters, please introduce yourself, your project, and a little bit about the Pestbringer album. Could you also offer a little bit of context to the meaning behind the band name you’ve chosen, and also the album title?
Hello, first of all, thanks for the interview. Like many others in the genre, I myself got a second name, an „artist name“. That’s because I want to separate that „person“ from me. That’s why I call myself „Salomon“.
Salomon comes from “Ars Goetia“. A king who trapped 72 demons and sealed them.
For me, my music will always be a bridge between occultism and Satan. So I chose that name. Frankly, I could talk for hours about that… But back on track.
Now, let’s talk about the name Foltermord. It’s quite simple, actually.
(First of all) Killing people isn’t a punishment for them.
So in my opinion it makes sense to torture them before (which means foltern in German). Let them scream for help, crawling on their knees, asking for the relief of death. I like to keep things simple.
So it’s with Pestbringer.
The same applies for Pestbringer. In my opinion there’s just one option to cleanse the world of humanity – and to express that, I chose “Pestbringer” as the title. It’s an expression of my unchained hate against the maggots who call themselves humanity.
As far as I am aware, Pestbringer is the debut release of your band, Foltermord, and quite the debut as well, and definitely sets Foltermord up for high expectations in the future. That being said, how did this project come into being, and what inspired you to start expressing yourself musically?
Well, talking about the future: Of course there will be something after Pestbringer.
I am constantly working on some new riffs and new material.
Now, let’s take a deep breath and talk about the beginnings: If I recall correctly, that journey started around 3 years ago. It was back then that the idea of making music first came to me. The vision was to bring hate back into Black Metal. I’ve seen so many people who clearly miss the point of Black Metal, trying to turn it into a sugar-coated pile of bullshit. And then there were more and more of them.
So there came a point when I said, ‚It’s time to bring the hate back… throw those people out‘. Because Black Metal is not for everyone. And if you’re offended, you’re the target.
Back then, I had been playing the guitar for about 6 years, I think.
But since I am an extreme perfectionist, I was never satisfied with the outcome, what I wrote.
I am endlessly grateful for the person who always pushed me through that. I stopped throwing away riffs and ideas and started collecting them to write songs.
And in 2024, I was at a Groza gig in Bavaria.This is when, I had a chat with PG, and he said, the demos are fucking awesome. And thus, the idea of Pestbringer was born. And in January this year, we recorded everything at “AD NAUSEAM SOUNDS”, PG’s studio. Now, 7 months later, I am here and couldn’t be more satisfied.
Speaking of inspiration and influence, the sound of Pestbringer bears similarities to a variety of other bands, most notably Sargeist, as you have stated. In this circumstance, how do you maintain the balance between your own ideas and outside influence? What happens when these two don’t match and end up clashing?
Well, that’s exactly the question I was hoping for… Foltermord is and will remain deeply tied to Finnish Black Metal. Bands like Sargeist, Satanic Warmaster, Behexen, and Horna are ones I truly worship and draw my inspiration from. But of course, there are a lot of other bands I listen to, just like everyone else.
Still, I always try to weave in my own influence and artistic identity. Finnish black metal is more of a compass guiding the road I’m traveling. So it’s very important to me that my own style of writing is very present in all of it. In the process of writing, I always try to listen to as much music as possible.
For me it’s totally fine when things clash.
But, for example, while listening to my record, you’ll notice that some songs contain clean passages. Now, that’s something you won’t find in Sargeist or most Finnish bands.
One of the clean passages contains a quote from Nietzsche. As you can see, I draw inspiration from a wide range of sources and weave them together. Though, the biggest inspiration for the clean passages came from Groza. Groza’s mastermind, P.G., who is also a friend of mine, was always closely involved in the recording process, but not in the writing. I did all the riffs myself. But of course he came up with ideas and changes. And the progress on how the clean stuff works is totally his fault (laughs).
So at that point, I’d say two major directions collide. But in the end, I forged my own style – and I’m very happy and proud of it. I always say: there is always something new to discover, you know… but always in a healthy way, by finding the right balance. And Foltermord will always stay rooted in Finnish black metal – (so there’s no need to worry).
Going in a bit of a different direction, all the song titles and lyrics are written in German, which along with being a great choice stylistically, also emphasizes a sort of link between Foltermord and other German bands, as there seems to be a tendency in this particular scene to perhaps avoid English lyrics. In what way is it different for you to compose in your native language compared to English? To what extent is that reflected in the actual music? Are there certain concepts you address that wouldn’t have the same weight if presented in English?
I wouldn’t say it’s about avoiding English lyrics – but since Foltermord is a very personal project, I wanted to stay close to what feels natural and authentic to me.
Writing in German gives me a deeper connection and captures the essence of the project itself. But also, as you said, German is my native language, so in a way, it’s a bit easier for me to express myself. I put a lot of work into my lyrics and it’s very important to me that I can say 100% what I feel and how to express it. The German language gives my that opportunity, providing a wide range of words to express emotions and thoughts with depth and precision.
I guess if I wrote in English, I wouldn’t be able to reach the same depth and weight that I want to convey. Furthermore, German isn’t a soft language and that’s why, in my opinion, it’s perfect for black metal lyrics.
Speaking of expression, Pestbringer is obviously the result of a very clear and detailed artistic vision. And like in the case of any artist, this vision usually entails certain specific elements. What are these base elements at the core of the artistic vision, and how do you go about expressing them not only lyrically but also instrumentally?
Of course there was a vision of how everything that had to be…more or less. I am always a fan of having a plan. Because without it, there is just too much chaos in the progress of writing and recording. Yet, I am always open-minded for surprises in the process of creating. Still, for some things there is a strict plan. Vocals with rhymes is one of those. I am a huge fan of that. I find that this supports the mood in the songs and helps keep things flowing smoothly. This is why I also love to work with clean parts and why they are very important to me, because there is so much you can do with them. Samples and such, for example, pushing the atmosphere to the next level.
A minute of silence before the storm hits again. Building up riffs – oh, I love that!
And of course, some catchy riffs and melodies on top, which are very typical for Finnish black metal and what I want in every one of my songs. And this is present throughout, even in the artwork – the wonderful artwork was done by Azoth Illustrations (SacredAzoth on Instagram). And in addition to the painted artwork, there is a picture of me, covered in blood – real blood of course. Just to clarify that satan is in every song.
Music is not the only medium of artistic expression that you partake in, as you are obviously a photographer doing concerts and band photoshoots as well. Despite literally coming from the same source and having those base elements tying them together, the contrast between these two endeavors still stands. How do music and photography interact with one another in your experience, and would you say that black metal has an inherent tie to photography due to its heavy emphasis on imagery?
I started as a photographer about 4 years ago. The vision was not just to capture simple pictures. I wanted to capture emotions, memories, and of course, moments.
Creating feelings when people look at them; sensations, like a shivering cold, something they’ve never experienced before, feelings unknown to them. And of course, some darkness and horror too.
And that’s a part of my music as well. When people listen to the record, they should feel darkness, hate, and the evil pulse of Satan and unmistakably the strong connection to the occult arts. By fully embracing the extreme art of black metal, every picture and piece of music became special for me.
Black metal is very emotional, and people connect to it on that emotional level.
On a similar note, your photography, your portraits in particular lean heavily on a specific, eeire, almost sinister mood, emphasized by the subject, and of course the dramatic lighting. What are the steps that you follow in order to ensure that the pictures you take capture the essence of the bands you work with, and what were the main visual influences behind your style? Are there any specific artists coming to mind in that regard?
Onielar from DNS once said to me, I am blessed with „the eye“. I don’t know if that’s true – that’s up to her. I’ve always been a down-to-earth person, so I would never say that about myself. But, I’m truly very grateful for such a compliment.
I have to admit, there is no real process or a plan behind how I shoot my pictures. I always go by intuition, by what I feel could look good.
When it comes to the visual influences, there is none. Which is a funny contrast to my music, because there are some influences – but my photos are just a raw representation of how I feel when I shoot, and how I want to work with the images.
There is no one I look at and think, „I want to take pictures like that person“. I am completely myself in my art and how I express it. No ideals. No influences.
I’ve been developing my style on my own for four years now. And the essence of it all is: I want to create a mood through contrast. I love working with light and shadows.
Going back to the music, the mood that comes to define it is this blend of anguish, torment perhaps and power, mainly transmitted through the very expansive sound and rhythm. Was this particular atmosphere a byproduct of your ideas, or was it something that you had in mind right from the start of the composing process?
The sound of the record is, first and foremost, a product of P.G.
I explained to him how I wanted the record to sound in the end.
Of course the expansive sound and rhythm were the product of a plan we were thinking about.
One component of that is, of course, the riffs and lead melodies. But in my opinion, the total inhuman vocals from “Kalt” are even more important for that. That’s why he’s on vocals. Because he’s a complete maniac behind the mic…
So the sound of “Pestbringer” wasn’t a byproduct. It was more than planned. We were thinking about every detail, every sound – bass sound, guitars and drums. The drums were recorded by THZ (the drummer from Groza), delivering hellish blasts.
So everything on the record is well planned.
Of course there are some byproducts. That’s the case every time. And that’s ok. Sometimes there will be some good ideas, sometimes some bad ones. As long as I follow the plan, the construction, and the fundamental things, I’m always open for some experiments and ideas…
Pestbringer aslo plays with this concept of misanthropy and inner suffering as a microcosm of generalized destruction and death, “Galgenhymne” being perhaps the clearest example of this. Personally speaking, to what extent would you say that art requires suffering, and is this album an expression of inner suffering mirrored as world-encompasing chaos?
That’s a lovely question.
First of all, I don’t give a fuck about the chaos all over the world. The “Pest” would solve so many problems…
Pestbringer isn’t a project about “inner suffering”. Sure, there are some lyrical parts that are personal, of course. But for the most part, the record – and „Galgenhymne“ as well – are products of hate against other people.
But suffering as one is, of course, an important part of that record.
The suffering from human bullshit. Suffering under the sign of the fucking church and religion. And so on….
For me, inner suffering refers to personal psychological struggles like depression, which aren’t a part of this record and never will be. Furthermore, this will always be a project that expresses hatred toward humanity and all the filth that comes with it.
Foltermord is also the kind of project that manages to incorporate both death and the occult, both simultaneously and separately. What is that which allows the two sides of the proverbial coin to coexist in your music, and to what extent is that shaped by your personal understanding of these topics?
Oh, this will be a long answer…
Satan is present everywhere on this record.
So is the connection to the occult arts. And for me, there’s just more than one link between those two.
It’s a bridge that cannot be broken in two.
It’s the darkness, the evil that forged the unbreakable wings of this record.
And at this point, it’s time to say: Hail Satan!
Like covering myself in blood.
Swallowing and spitting.
That’s so much more than just “an image”.
For me, it’s a ritual. Stepping into another world, leaving “being a human” behind.
Drifting away. My soul is in a different place when I am doing photos like the ones in the article or listening to my music.
I am standing 100% behind all these things. There is nothing more pathetic than posers.
On the other hand, there is death.
I think we as humans always associate death with occultism and evil things.
Death is what most of us fear.
We don’t know what’s next. And that’s where the church steps in.
Humanity is stupid. That’s nothing new.
So the easiest way is to believe in “something”.
So I am always working with what humanity fears most. And most of the time, that is death and what comes after – linked with occultism and Satan.
Nowadays specifically art seems to be more at odds with the world than ever before, exemplified by the rise of artificial intelligence. In your opinion, what can an artists, and the public do to combat this issue, and what does the future of art look like in your perspective?
In my opinion, AI has nothing to do with art.
People who use them are just lazy, lack talent and and taking shortcuts.
There are very talented people out there who are very good at drawing, writing, and stuff like that. All of them are people who create art. And it’s so sad to see when they don’t get a chance to express themselves because of AI.
As an artist myself, I always support the artists and bands I know – for example, by buying their merch or sharing my friend’s work so more people can see them.
I always say: Support your local scene. The Artists or bands you know.
AI cannot be stopped. It’s sad, but it’s true.
99% of humanity are just maggots. They will never do something against that.
And this is why it is crucial to support our local scene and real artists. This AI stuff, is something that that sadly cannot be stopped. But honestly – it’s no surprise in a world full of arseholes.
And that’s the end of the interview! Thank you again for your collaboration, and feel free to share some final thoughts.
Thanks so much for having me and giving me the opportunity to talk with you about all of this. I really appreciated the thoughtful questions – it was a pleasure and I had a lot of fun answering them.
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