A little bit of facts about this project, mainly for my own records:
(I)
It is a foggy sunday afternoon of late October (2021), with some friends. Looking at a bass guitar, from the 90's, still in good shape, owned by the householder. It needs a little maintainance, I can easily do in my homestudio, so I say I would take care of the instrument. In a while some stories related to that bass emerge along with an issue of a swedish newspaper and more stories about the reason that newspaper is now conserved at the house. A photo is taken of myself "reading" (I can not read svenska) the newspaper. One buddy says "It wold be a perfect cover for a black metal album". So be it, I say, and I would have used that bass in the album. May be I will include the picture (I beg your pardon in advance) in the booklet/sleve of the physical copies of the upcoming first LP "Kult of Kaos when I'll come to the physical edition, someday.
(II)
So I waited the right moment to compose something black metal in - unavodably - my way. On November 8, 2021 the snow came, and I sat in my studio in order to came up with a 20'+ suite the same day. After abput seven/eight hours the backbone (basic drums, both rhythm guitars, some synth) was done, structured as an overtoure plus five movements and a coda. In the next weeks I arranged it, adding some harmony/solo sections, more guitars layers here and there. In the beginning it sholud be an instrumental track, but later changed my mind and involved to friends in the vocals sections. So I filled the five movements with lyrics (with revisions by my two guests too) that emerged while I was reading the Rosenkreutz's "Chemichal Wedding". This ended to be the suite "Det Kemiska Brollopet" (track #1 of the LP). At that point I got carried away and in the end I composed other four songs (guess, tracks #2 to #5). Lyrics for these came from several topics as "propaganda", "green-washing", rather than simply fantastic themes based on the onyric HPL worlds.
(III)
Production ran in parallel with another RFS opcoming work (Burnt to the Ground by "Chestnut Revolution", out 202X) - very different stuff and flavour. Once more I understood that tracking (recording the actual instruments "signals") is a way more sensitive stage than mixing or mastering in order to get a reasonable thing, which does not sound just like a demo. And in the end I made it — I have an LP to publish, which still sounds a bit like a demo! But it’s Black Metal, so if it sounds sick and weird, you nailed it. Jokes aside, the final result is the product of endless inexperienced tweaks, layered beneath a gradually clearer rationale about what a mix should be, and it actually sounds the way it should.
(IV)
In 2024 I started sketching a sequel to Kult of Kaos. I began laying down ideas in no rush. Meanwhile, the new RFS took shape: a compact, genuine 25 m² bedroom producer studio. Travels, a new home, and parallel projects (STAR PRIME, Alex Kult) made the writing process the opposite of the first act — less hermit-like and focused. Still, I always had a pretty clear idea of what Kult of Kaos is, so I never really lost the thread of the musical concept. After two years of spontaneous, intermittent work and a more scholarly, informed exploration of the subject, the music — and most of the lyrics — finally emerged from the depths of whatever passes for universal wisdom, lol. We did lose a third of the band along the way, but now, June 2026, it’s time to track the vocals and mix the hell out of "As Above, So Below."