BAXAXAXA
Tradition & Essence

Few Black Metal acts bridge past and present with as uncompromising a vision as BAXAXAXA. Formed in 1992 in Bavaria, the band made virtually no public releases until their dramatic re-emergence in 2017, driven by a revival of life in a project that seemed more a possession than mere music. Their anthology “Spells from The Crypt…”, released in late 2024, gathers early demos and EP material in a remastered vinyl edition, summarizing their underground legacy in one ritual offering. Their albums “Catacomb Cult” (2021) and “De Vermis Mysteriis” (2023) carry forward the same archaic fire, infused with atmospheric keyboards and raw, hypnotic Black Metal rooted more in Hellhammer and Bathory than modern trends.

BAXAXAXA’s approach has never wavered with the times. Their disdain for performative theatrics and commercialism, preferring mystery, presence, and musical conviction, is a testament to their conviction. Yet, equally important to their sound are their lyrical motifs and mythological references, which reach deep into occult tradition, medieval mysticism, and the enduring fascination with darkness as metaphor. As they prepare for a significant appearance at Invicta Requiem Mass this year, this interview aims to probe that enduring identity, juxtaposing the path they’ve trodden with the state of Black Metal today and examining what's next for the band.

1. BAXAXAXA was formed in 1992, then lay dormant until 2017 before resurfacing in earnest. How do you reflect on such an arc of absence and resurgence?

BAXAXAXA began in 1992 as an atmospheric black metal offshoot of Ungod—more a project than a “full band.” After the Hellfire demo, everything felt said at that moment, so it went to sleep. The spark returned when the organizer of Destroying Texas Fest invited Ungod to play in 2016 and then asked for an exclusive BAXAXAXA set in 2018, rehearsing for that show stirred new inspiration and songs. In that sense, BAXAXAXA is an idea that occasionally manifests—more than the sum of individuals.

2. You’ve described BAXAXAXA as an “idea that occasionally manifests.” Do you see the band as eternal in that sense, something that will always return when the spark comes?

Not a vow of eternity, more a vow against forcing it. If the spark returns, BAXAXAXA returns; if not, silence is truer than imitation. That’s why we call it an idea rather than a production line.
 
3. Does the compilation Spells from The Crypt… feel like preserving a legacy, reclaiming it, or both? What motivated its release beyond mere archival purpose?
 
Both. It preserves early materials in a focused form and also reclaims the arc by placing those recordings alongside our current identity. It’s a single “offering” that bridges the hiatus and the present—and, practically, it gets the old work into the hands of people who discovered us through the recent albums.
 
4. How do “Catacomb Cult” (2021) and “De Vermis Mysteriis” (2023) differ?
 
They’re cut from the same cloth: archaic, atmospheric, direct. We never plotted a stylistic turn; songs come naturally and we keep what feels like BAXAXAXA. If anything, De Vermis Mysteriis carries a stronger “mystic/atmospheric” balance.
 
5. You mentioned Lovecraft’s “De Vermis Mysteriis”. Are there other fictional or literary works you would consider equally significant for BAXAXAXA’s vision?
 
No fixed canon. Threads from European folklore and rites (e.g., Walpurgis Night) mingle with esoteric/fictional currents when they serve atmosphere. There is no specific focus except our connection to the occult. And that is meant literally. The occult in the sense of the “hidden,” that which lies beneath the surface and must be discovered.
 
6. Early ’90s values VS today’s scene?
 
Back then there was more mystery and less exposure; you learned about bands by letters, flyers and tape trading. Today social media has stripped away some of that mystique—but it also connects bands with listeners directly. We don’t romanticize or crusade either way; we simply keep our own flame burning.
 
7. If the early 1990s were about discovery and mystery, what do you think the “essence” of today’s underground is?
 
It's not that there's nothing left to discover today. But today, it's probably more important to avoid becoming part of a trend.
 
8. What’s been lost and what’s been gained?
 
Lost: opacity and the sense of discovery. Gained: access and reach. Commercialization made parts of the scene trend-driven, but we ignore the noise and keep our standard.
 
9. Is your archaic aesthetic nostalgia or critique of modern oversaturation?
 
Neither. It’s continuity. We don’t “act old-school”; that is simply how our music emerges.
 
10. Has your songwriting process shifted?
 
Not really. Inspiration leads; we follow. Riffs surface, we shape the skeleton and keep what feels true; nothing is forced, and nothing is “designed” to be modern or experimental.

 
11. Why keyboards in such raw soundscapes?
 
From the start we wanted a darker, more occult atmosphere than our other work, and keyboards were rare in Black Metal then. Used sparingly, they deepen the chill rather than soften the Metal.
 
12. The keyboards were unusual in early Black Metal. Do you feel they’re now misunderstood clichés, or still underused tools?
 
Do you really think they were that unusual? Listen to “Under the Sign of the Black Mark.” Keyboards are definitely used there, but hardly anyone noticed. Or “Altars of Madness”—keyboard passages are sprinkled throughout that album as well. It's true that fewer bands from the “second wave” used keyboards. But it wasn't completely uncommon either. Keyboards are neither misunderstood nor underused. They are one instrument among many. And if they suit your music, use them. There's no need to mystify them.
 
13. Preserving atmosphere in the studio today?
 
By resisting over-detailing and trend-chasing. We keep arrangements lean, let space breathe, and avoid piling on “new” elements just to be clever. Tradition and intuition are the guardrails.
 
14. You’ve said you avoid over-detailing in the studio. Can you recall a moment where “less” made a song much stronger?
 
Moments like muting a guitar line or a faint keys pad often restore space so the riff and the drums. But I can't name a specific moment. However, I feel that “Hellfire” is a song that explains it well. Few riffs, which are often repeated, and a tempo that hardly varies. That's what makes this song what it is, and more tempo changes or riffs would destroy it.
 
15. What role do occult themes play in shaping BAXAXAXA’s identity?
 
They’re integral, but we let the lyrics and artwork speak. We don’t dissect personal beliefs in public; the records, titles and visuals show how those currents flow through the band.
 
16. "De Vermis Mysteriis", your intent and interpretation?
 
Occult fiction and myth prime imagination and channel spirituality; they can be part of a personal path, not a one-size-fits-all system. For us, Lovecraft's fictional grimoire is a fitting vessel for atmosphere and symbolism.
 
17. Allegory vs direct invocation?
 
Both may exist, but we won’t define them for the listener. Meaning should be discovered, not spoon-fed.
 
18. Particular mythological traditions?
 
It’s a potent mix of dark folklore and ancient satanic rites.
 
19. Esoteric layers vs stark truths in your lyrics?
 
They’re written to reward attention. Some things are veiled by design; others are plainly stated.
 
20. You stress that your lyrics reward attention and are partly veiled. Is there a lyric or symbol you feel is most often misinterpreted by listeners?
 
As I said before: We avoid decoding our own work. Meaning should be discovered, not notarized by us; veiling is deliberate, and listeners are free to read. The records speak; we keep belief and interpretation private. But we never felt misinterpreted so far.

21. Your live expression, without “haunted house” theatrics.
 
We understand stage visuals, but concerts aren’t rituals in our view. A ritual is personal and purposeful; a show is art and entertainment. We focus on presence, darkness, smoke, and the music’s gravity.
 
22. You distance shows from rituals. Still, is there ever a blurred line for you between performance and genuine spiritual experience?
 
That's difficult to answer. We don't perform shows in the sense of a theater play, where we perform something that isn't real. On the other hand, we resist describing a metal concert as a “ritual.” We are honest on stage; we present our music the way we imagine it and try to convey to the audience some of the darkness we feel inside us. That's it. No more, no less.
 
23. What should an audience feel rather than see?
 
Weight, dread, and immersion, without distraction. If we perform well and the audience responds, that’s success.

24. Preparing for Invicta Requiem Mass this year?
 
We’ll represent the whole arc, early fire through the latest material, keeping the set austere and concentrated. The aim is to carry the album atmosphere to the stage without diluting it with gimmicks.
 
25. Is refusing to conform defiance, preservation, or something else?
 
Preservation through authenticity. We don’t police others; we simply won’t overload our music with outside influences that dissolve its essence.
 
26. Contemporary bands you feel honor the underground spirit?
 
We don’t track every new wave, but there are younger acts we appreciate. Our focus remains on our own path.
 
27. What’s next beyond recording and touring?
 
New material is in preparation; the fire determines the pace, but realistically we’re looking toward a 2026 release window. Alongside there are plans for a Latin American tour as well as European gig & festival participation.
 
28. You plan a 2026 release. Do you already envision it as a continuation of “De Vermis Mysteriis”, or will it mark a new chapter?
 
Of course we will start a new chapter. But without losing sight of what has brought us to where we are today. We will maintain our style. That's for sure.
 
29. You mentioned Latin American and European tours. Do you expect different audience energies in those regions, and how do you adapt your sets to them?
 
We expect the audience in Latin America to be significantly “livelier” than the audience in Europe. We always feel connected to our audience, so that won't make any difference. In Europe, however, the audience seems to absorb our music quietly. I think Latin Americans are more temperamental, and people come out of their shells more during the music. Strictly speaking, though, we've never stood in front of an audience that we felt didn't understand us and our music.

BAXAXAXA stands as one of Black Metal’s most enduring enigmas: a band that vanished into silence, only to return with unflinching commitment to the archaic, the occult, and the timeless. Their music is not just performance but possession, animated by riffs that summon the same primeval atmosphere as their forebears while carving a path into the future. Central to this are the lyrical motifs and mythological invocations that deepen their work beyond sound, anchoring their songs in an esoteric continuum that resists easy explanation.
 
As they prepare for Invicta Requiem Mass, their legacy and vision converge on a stage that honours ritual and severity. These questions seek to open the crypt, to allow BAXAXAXA to articulate how mythology, darkness, and musical conviction shape their journey, between past and present, obscurity and revelation, silence and resurgence.

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