不朽 - 波兰Death / Black Metal乐队Neolith专访

Volcano Magazine
23 minutes ago
20 min read

今天采访到的是来自波兰的老牌乐队Neolith，组建于1991年的Neolith乐队是波兰最有资历的乐队之一，也是一支在波兰很有影响力的乐队，目前发行了六张全长专辑和一些其他的作品，都受到了波兰本土以及其他国家歌迷的关注和好评，早期他们演奏带有Doom元素的Death Metal风格，缓慢，沉重而不失Death Metal的残暴的Riff，疯狂的鼓点，后期他们转型为一支带有Black Metal元素风格的乐队，今年乐队发行了他们的最新作品“Inbir”，在新专辑发行之际杂志与Neolith乐队主唱Levi取得联系进行了一次专访！

（V: 代表笔者 L: 代表Levi）

Today we’re interviewing Neolith, a veteran band from Poland. Formed in 1991, Neolith is one of Poland’s most established bands and a highly influential act in the country. They have released six full-length albums and several other works to date, all of which have garnered attention and acclaim from fans both in Poland and abroad. In their early days, they played a style of death metal infused with doom elements—slow and heavy, yet retaining the brutal riffs and frenzied drumming characteristic of death metal. Later, they transitioned into a style incorporating black metal elements. This year, the band released their latest album, “Inbir,” and to mark the album’s release, our magazine reached out to Neolith’s vocalist, Levi, for an exclusive interview!

(V: Author; L: Levi)

采访对象：Levi（Neolith乐队歌手）

采访时间：2026.08.07

V: 嗨，Levi很高兴见到你，非常感谢你接受这次采访。我想这是你们乐队首次接受中国杂志的采访对吗？首先向所有中国乐迷问好。Neolith成立于1991年，是一支来自波兰的资深乐队。当初你们是如何组建这支乐队的？

Hi, Levi. It’s a pleasure to meet you, and thank you so much for agreeing to this interview. I believe this is your band’s first interview with a Chinese magazine, right? First, please say hello to all your Chinese fans. Neolith was formed in 1991 and is a long-standing, veteran band from Poland. How did you originally form the band?

L: 能接受采访是我的荣幸。是的，这是我首次接受中国杂志的采访，所以特别高兴在35年后，我们的音乐终于传到了你们这里。话虽如此，我相信贵国肯定也有一些铁杆乐迷，他们多年来一直知道Neolith这个名字——地下音乐圈就是这样运作的。Neolith乐队成立的契机其实很普通。我们只是一群金属狂热分子，不想仅仅止步于聆听Death Metal；我们渴望创造属于自己的声音，并将自己的愿景付诸现实。起初我们或许有些犹豫不决、笨拙生涩，但我认为随着时间的推移，我们不断进步。即便如此，我觉得我们从一开始就以极大的认真态度和雄心壮志投入演奏。在向世界发布任何作品之前，我们都会倾注心血，并注重每一个细节。

The pleasure is all mine. Yes, this is my first interview for a Chinese magazine, so I’m especially happy that, after 35 years, our music has reached you. That said, I’m sure there are die-hard fans in your country who have known the name Neolith for years - that’s just how the underground scene works. The reason Neolith formed was pretty standard. We were simply metal fanatics who wanted to go a step beyond just listening to death metal; we wanted to create our own sound and bring our own visions to life. We might have started out a bit tentatively and clumsily, but I think we improved as time went on. Even so, I feel like we approached playing with great seriousness and ambition right from the start. Before releasing anything to the world, we worked hard on it and paid close attention to detail.

V: 你现在是乐队中唯一的创始成员；Conrad于1995年加入，其余成员则是在2012年至2024年间加入的。创始成员为何离开乐队？新成员是如何加入乐队的，你对他们的工作满意吗？新成员为乐队带来了哪些新的创作思路？

You are now the only original member of the band; Conrad joined in 1995, and the rest of the members joined between 2012 and 2024. Why did the original members leave the band? How did the new members join the band, and are you satisfied with their work? What new creative approaches have the new members brought to the band?

L: 嗯，也不完全是那样。虽然我参与了乐队早期的排练，而且大家也一直催促我早点正式入队，但我直到1993年才真正成为Neolith的一员。那是乐队真正开始步入正轨、各项活动——无论从哪个层面来说——真正全面展开的时刻。Conrad早在1994年就为"Reborn"这首歌录制过一段吉他独奏，但他直到一年后才真正开始和我们一起排练。多年来，Neolith的成员来来去去，算下来足有近三十人；虽然我们的作品历程可以划分为不同的时期，但若要细说，篇幅未免太长了。所以，我们还是把重点放在目前的阵容上吧。Kriss以前在Midgard乐队担任吉他手兼主唱。在他正式加入Neolith之前，我们就已经相识多年了——事实上，他甚至曾在几场演出中临时顶替过我们当时的贝斯手Luke。还有Zi’aR，他是Overlord乐队的主唱兼吉他手；我和他从90年代中期就认识了。对我而言，他是显而易见的人选——事实证明，这个选择精准无比。Zi’aR几乎立刻就领悟了Neolith的风格精髓，并迅速融入了我们的集体之中。只要听听"Morte"这首歌，你就能明白我的意思了。最后是队里最年轻、也是最新加入的成员：Semuss。你知道，多年来我一直密切关注着地下音乐圈——尤其是波兰本土的场景——留意着各种新晋人才。我就是这样发掘了我们之前的鼓手Beast和Nar-Sil的。Semuss也是这样被我发现的——而且巧的是，他就住在我们排练场地附近。我打电话问他愿不愿意和我们一起玩音乐；结果他非常喜欢Neolith，自然也视此为一种荣幸，尽管当时他还不确定自己是否能胜任。他提出需要六个月的时间来磨练技术，直到能演奏得游刃有余。而他也确实说到做到。我们安排了三场演出，好让他能真正找准乐队的氛围和感觉。于是我们一致同意，是时候启动Inbir行动了——我们齐心协力，将一枚九英寸长的钉子钉进了那座十字架！

Well, not exactly. Although I took part in the band's initial rehearsals and the guys had been urging me to join the lineup a bit earlier, I didn't officially join Neolith until 1993. That was the moment the band really gained momentum and our activities - in every sense - truly kicked off. Conrad also recorded a solo for "Reborn" back in 1994, but he didn't actually start rehearsing with us until less than a year later. Almost thirty people have passed through Neolith over the years; while our body of work could be divided into specific eras, doing so would take up too much space. So, let’s focus on the current lineup. Kriss used to play guitar and sing for Midgard. We’d known each other for years before he joined Neolith permanently - in fact, he’d filled in for our then-bassist, Luke, at a few shows. Then there’s Zi’aR, the vocalist and guitarist for Overlord; I’ve known him since the mid-90s. For me, he was an obvious choice - and it turned out to be a bullseye. Zi’aR grasped the Neolith vibe almost immediately and hit the ground running within our collective. Just listen to a track like "Morte," for instance, and you’ll understand what I mean. And finally, the youngest member and the newest addition: Semuss. You know, I’ve been following the underground scene - especially in Poland - for years, keeping an eye out for emerging talent. That’s how I found our previous drummers, Beast and Nar-Sil. And that’s how I found Semuss - especially since it turned out he lives right in the area where we rehearse. I called him and asked if he’d like to play with us; it turned out he loved Neolith and—naturally - considered it an honor, though he wasn't sure he was up to the task just yet. He asked for six months to reach the level where he could play without feeling uncomfortable. And he kept his word. We played three shows so he could really get a feel for the vibe. Then we all agreed it was time to launch Operation "Inbir" - and together, we drove a nine-inch nail into that cross!

V: 你们是一支在歌曲创作方面经验丰富的乐队，创作了许多经典作品和歌曲。能否跟我们聊聊你们的歌曲创作过程？我相信你们的经验一定会激励许多年轻音乐人！！

You are a group of musicians with extensive experience in songwriting, and you’ve created many classic works and songs. Could you tell us a bit about your songwriting process? I’m sure your experience will inspire many young musicians!!

L: 我不认为这一定能激励到谁，因为每个人都在寻找最适合自己的方法。当然，理想的做法是在专属的排练空间里定期排练——而且排练得越频繁越好。这确实是我们长期以来的运作方式。然而，生活的现实——我们的本职工作、家庭以及居住地——最终迫使我们将工作的重心转移到了家庭录音室。所以现在，Conrad——以及越来越多的Zi’aR——负责创作乐段并尝试将它们拼接起来。乐队其他成员收到这些“骨架”后，便开始进行精心推敲，完善各自的演奏部分。当然，最终我们还是会在排练室里一起通练所有内容。你看，生活让我们分散在不同的地方——我们各自居住在不同的地点——但我们仍然能相当定期地聚在一起，尤其是在录音或演出之前。

I don’t think this would necessarily inspire anyone, as everyone looks for the solutions that work best for them. Of course, the ideal approach is to hold regular rehearsals in your own dedicated space - and as often as possible. That’s certainly how we operated for a long time. However, the realities of life - our day jobs, families, and where we live - eventually forced us to shift the focus of our work to our home studios. So now, Conrad - and increasingly Zi’aR - create riffs and try to piece them together. The rest of the band receives these skeletons and begins the painstaking process of working out their own parts. Naturally, we eventually run through everything together in the rehearsal room. You see, life has taken us to different places—we all live in different locations - but we still manage to meet up fairly regularly, especially before recording sessions or shows.

V: 你们每张专辑的音质都有非常明显的变化。当然，这与时代变迁密切相关，因为这些年来技术的进步使录音技术得到了显著提升。你们的所有专辑都是在哪家录音棚录制的？由哪位制作人负责制作？你们刚刚发行了一张新专辑——录制过程顺利吗？

There have been very noticeable changes in the sound quality of each of your albums. Of course, this has a lot to do with the changing times, as advancements over the years have led to significant improvements in recording technology. Which studio did you record all your albums at? Which producer worked on your albums? You’ve just released a new album—did the recording process go smoothly?

L: 我们的前两张专辑——就像我们所有的demo一样——都是在Sanok的Manek Studio录制的。一切都非常顺利，因为我们在那里感觉就像在自己家里一样。录音室离我们的住处只有几公里，所以氛围非常像一家人。我们与录音室老板和音响工程师都很熟。顺便提一下，我们是和Malta（Behemoth乐队目前的音响工程师）一起录制第一张专辑的，这也是他参与制作并以CD形式发行的第一个项目。第三张专辑的制作过程则是一场磨难。我们最初是在Brzozów的一家小录音室开始录制的。在完成了鼓和吉他的录音后，我们的鼓手Fil在一场车祸中不幸去世。雪上加霜的是，那家录音室经历了重组，最终彻底关闭了。我们的音响工程师也消失得无影无踪。但我下定决心，无论如何都要完成这张专辑，以纪念Fil。我们设法找回了鼓轨，并在Dębica的Skrew Factory Studio与Janusz Bryt一起完成了其余的工作。"Izi.Im. Kurnu-Ki"这张专辑——就像我们后来的那张专辑一样——是在Stodoła Studio（前身为Kola Studio）录制的，该录音室属于我们以前的键盘手Kola。Tomek "Zed" Zalewski 负责混音和母带制作，他的工作非常出色。与此同时，来自Heavy Gear Sound的Mariusz Konieczny负责了"I Am the Way"的混音和母带制作，他也做得非常棒。至于"Inbir"，我们第一次完全独立完成了录制——部分是在排练室，部分是在家庭录音室。随后，我们将所有素材送交给了Satanic Audio的Haldor Grunberg。他施展了魔法，让音乐听起来极具震撼力。我想，我对最终的成品从未像这次这样满意过。多年来，我们的录音流程在技术和执行层面确实发生了演变。进步和新技术迫使我们转向更现代的方法。我必须承认，这在许多方面都简化了我们的录音过程。当然，多年来我们对最终音色的追求从未改变——它必须强劲有力，且保持老派风格。我们避开任何带有“塑料感”或技术噱头的东西，因为在我看来，这些只会对我们有害。

Our first two albums were created - just like all our demo tapes - at Manek Studio in Sanok. Everything went great because we felt right at home there. The studio was just a few kilometers from where we lived, so there was a truly family-like atmosphere. We knew the owner and the sound engineers well. As an interesting side note, we recorded the first album with Malta - Behemoth’s current sound engineer - and it was the first project of his to be released on CD. The third album was an ordeal. We started recording at a small studio in Brzozów. After tracking the drums and guitars, our drummer, Fil, died in a car accident. To make matters worse, the studio underwent a reorganization and eventually shut down completely. Our sound engineer vanished without a trace. But I made it a point of honor to finish the album in Fil’s memory. Somehow, we managed to recover the drum tracks, and we finished the rest of the work at Skrew Factory Studio in Dębica with Janusz Bryt. “Izi.Im. Kurnu-Ki” was created - much like our subsequent album - at Stodoła Studio (formerly Kola Studio), which belonged to our former keyboardist, Kola. Tomek "Zed" Zalewski handled the mixing and mastering, and he did a fantastic job. Meanwhile, Mariusz Konieczny from Heavy Gear Sound mixed and mastered “I Am the Way”, and he also did excellent work. As for “Inbir”, we recorded it entirely on our own for the first time - partly in our rehearsal room and partly in home studios. Then we sent the whole thing to Haldor Grunberg at Satanic Audio. He worked his magic and made the material sound incredibly powerful. I don’t think I’ve ever been quite this happy with the final result. Our recording process has certainly evolved over the years, both technologically and logistically. Progress and new technologies essentially compelled us to switch to more modern methods. I have to admit, this made the recording process easier for us in many ways. Of course, our approach to the final sound hasn’t changed over the years - it has to be powerful and old-school. We steer clear of anything "plastic" or technical gimmicks, which, in my opinion, would only do us harm.

V: 你们从早期的Doom/Death Metal转型为现在的Black/Death Metal，为什么会改变风格呢？

Given your transition from early Doom/Death Metal to the current Black/Death Metal, why did you change your style?

L: 我认为这些变化是自然而然产生的，直接源于几个因素。首先是我们的技术能力——早期，我们演奏节奏较慢、结构较简单的曲目更为得心应手。另一个问题是频繁的阵容变动。正如你可能猜到的，早期阵容中的某些成员更倾向于氛围感更强的音乐风格，因此我们不得不寻求平衡。向更具攻击性的风格转变，恰好与Neolith首次大规模阵容调整同时发生。我们迎来了出色的鼓手Kriss Szantula，前Lux Occulta成员和一位名Jimmi的吉他手，乐队的节奏明显加快了。从那时起，乐队的发展真正起飞了。此外，Conrad在乐队内部承担了更多的作曲和音乐领导职责，在此过程中形成了自己极具辨识度的风格。我认为他的吉他即兴段落、营造的氛围，以及我的主唱风格，都是其他乐队无法复制的。

I think these changes came about naturally and stemmed directly from a few factors. The first was our technical ability - early on, it was easier for us to play slower, less complex tracks. Another issue was the frequent lineup changes. As you can probably guess, some members of the earlier lineup leaned towards a more atmospheric sound, so we had to strike a balance. The shift to a more aggressive style coincided with Neolith’s first major lineup overhaul. We brought in a fantastic drummer, Kriss Szantula (ex-Lux Occulta), and a guitarist named Jimmi, and we definitely ramped up the tempo. Things really took off from there. On top of that, Conrad took on more responsibility for songwriting and musical leadership within the band, developing his own highly distinctive style in the process. I don't think his riffs, the atmosphere, or my vocals could be mistaken for any other band.

V: 你们乐队的标志换了——其实我觉得现在的这个视觉效果更好。这两个标志是谁设计的？你们的专辑封面设计也很吸引人，尤其是新专辑的封面，真的非常漂亮。这张专辑的封面设计是谁做的？

Your band has changed its logo - actually, I think the current one is more visually appealing. Who designed these two logos for you? Your album artwork is also very visually appealing, especially the artwork for your new album, which is really beautiful. Who designed this album artwork for you?

L: 正如我之前提到的，我们在第一张和第二张专辑之间进行大规模阵容调整时，更换了标志。基本上，乐队里只剩下Conrad和我了。我们知道这些变化意义重大，因此标志也需要更新。此外，我们希望在与前贝斯手Spider分道扬镳后，避免与他——也就是最初设计标志的人——产生任何纠纷。我的好朋友Gregor——他既是画家又是纹身师——为我们设计了新标志。至于我们专辑封面的艺术设计，很高兴你注意到了。这对我们来说非常重要。毕竟，正如我多次提到的，Neolith中的所有元素都构成一个统一、紧密的整体。我们的音乐、歌词和封面设计——每一部分都至关重要。"Inbir"的画作出自我的好朋友、杰出的艺术家Artur Szolc之手。我们相识已久，Artur对Neolith的作品非常熟悉。我们曾花无数时间讨论各种话题，所以当我们的谈话转向Neolith的新专辑，我分享了对封面艺术的构想时，Artur表示他愿意接手。对我来说，这简直是正中靶心。我给了他充分的创作自由，因为我了解他的工作方式；他完全沉浸在专辑的氛围中，创作了一幅宏伟的画作——看到这幅画装饰在我们的专辑封面上，我感到非常自豪。

We changed the logo at the moment I mentioned earlier - during the major lineup overhaul between the first and second albums. Essentially, only Conrad and I remained in the band. We knew the changes would be significant, so the logo needed an update, too. Plus, we wanted to avoid any disputes with our former bassist, Spider - who had drawn the original logo - after we parted ways. A very good friend of mine, Gregor - who is both a painter and a tattoo artist - designed the new logo for us. As for the artwork on our releases, I’m glad you noticed. It’s something very important to us. After all, as I’ve mentioned many times, everything in Neolith forms a single, cohesive whole. Our music, lyrics, and artwork - it all matters. The painting for "Inbir" was created by a great buddy of mine, the fantastic artist Artur Szolc. We’ve known each other for a long time, and Artur is very familiar with Neolith’s work. We’ve spent countless hours discussing all sorts of topics, so when one of our conversations turned to the new Neolith album and I shared my vision for the artwork, Artur said he wanted to do it. And for me, that was a bullseye. I gave him creative freedom because I knew how he worked; he immersed himself in the atmosphere and created a magnificent painting - one I’m proud to see adorning our album.

V: 你们乐队曾与许多知名厂牌合作发行过专辑。你们是如何与这些厂牌取得联系并展开合作的？你们如何评价这些厂牌的工作？

Your band has released albums in collaboration with many well-known labels. How did you get in touch with these labels to collaborate with them? What do you think of the work these labels do?

L: 通常流程是固定的：录制完宣传单曲或整张专辑后，我们会将作品寄给十几个唱片公司，然后挑选我们认为最优的报价。有时只收到一份报价（哈哈），让我们别无选择；或者——就像现在这样——我直接给Deformeathing乐队的Wojtek打了个电话，五分钟内我们就基本把所有事情都搞定了。这些年来，我们的合作经历各不相同；有些厂牌我们相处得很融洽，而与另一些厂牌的合作则稍显棘手。但我们不是那种爱抱怨的乐队，所以即使遇到问题，我们也只是继续做自己的事。况且，对于像Neolith这样的乐队来说，我们自身的宣传推广同样至关重要。话虽如此，我希望这次能与Deformeathing Prod.长期合作，因为目前一切进展都很顺利。

It usually followed a standard pattern: after recording either a promo or the full album, we’d send it out to a dozen or so labels and pick the offer we thought was best. Sometimes only one offer would come in (haha), leaving us with no choice, or - like now - I simply called Wojtek from Deformeathing, and we basically sorted everything out in five minutes. Our collaborations have varied over the years; we got along great with some labels, while things were a bit tougher with others. But we aren’t the type of band to complain, so even when things went wrong, we just kept doing our thing. Besides, for a band like Neolith, our own promotional efforts are crucial, too. That said, I hope we’re with Deformeathing Prod. for the long haul this time, because things are going great so far.

V: 首先，恭喜你们乐队今年发行了新专辑。你们从早期的Doom/Death Metal风格演变为如今的Black/Death Metal风格——早期节奏缓慢的Death Metal已蜕变为一种更黑暗、更具氛围感且更残暴的Black/Death Metal，编曲既更复杂又更原始。你对自己的作品有何看法？新专辑与以往的作品有何不同？

First of all, congratulations on your band’s new album release this year. You’ve evolved from your early doom/death metal sound to your current black/death metal style—your early slow-paced death metal has transformed into a darker, more atmospheric, and more brutal form of black/death metal, with arrangements that are both more complex and more primal. What are your thoughts on your work? How does the new album differ from your previous ones?

L: 你知道，我觉得自己并不适合去评价自己的作品……正如我之前提到的，我们只是专注于做自己的事，创作出尽可能高水准的音乐——也就是我们自己也爱听的那种音乐。这听起来可能有点漫不经心，但对Neolith而言，首要任务是满足我们自己的创作渴望，让自己满意。如果别人也喜欢，那当然再好不过了。你看，我们现在的处境很自由，既没有必须按时交出新歌的合约束缚，也不靠巡演、卖专辑或周边商品来维持生计。所以，我们只在真正准备就绪时才录制新专辑，以确保品质达标。也许正因如此，在组建 35 年后，我们反而录制出了职业生涯中最棒的一张专辑？看看其他乐队吧——有多少成名已久的乐队还能推出水准媲美其 80 或 90 年代经典之作的新专辑？几乎没有。然而我们却依然怀着坚定的决心不断前行，且愈发强大。别误会——我们并不狂妄自大。但多年来，我们一直游走在主流聚光灯之外，这让我意识到Neolith的实力确实能与那些顶级名团并驾齐驱。当然，我尊重其他乐队，也清楚自己的定位，但每当听到"Inbir"这张专辑时，我都会感到自豪。回答你的问题，我认为这张专辑延续并拓展了我们在以往作品中确立的风格模式。不过，它的制作与发行方式却是我们前所未有的尝试。而且，我希望这不会是我们的收官之作。

You know, I don’t think it’s really my place to judge my own work... As I mentioned earlier, we just do our own thing and create music of the highest possible quality - music that we ourselves would want to listen to. It might sound a bit nonchalant, but for Neolith, the priority is satisfying our own desires and pleasing ourselves. If others like it too, that’s fantastic. You see, we’re in a position where we aren’t bound by contracts requiring us to deliver new music on a deadline; we don’t make a living from touring or selling albums and merch. So, we record new albums only when we’re truly ready, ensuring the quality is up to par. Maybe that’s why, after 35 years of playing, we’re recording the best album of our career? Look at other bands - how many famous ones are still putting out records that match the quality of their classics from the 80s or 90s? Practically none. Yet here we are, moving forward with relentless determination and growing stronger. Don’t get me wrong - we aren’t arrogant. But after years of staying on the fringes of the scene rather than chasing the limelight, I’ve come to realize that Neolith is truly on par with those famous, top-tier bands. Of course, I have respect for others and know where we stand, but I feel proud when I listen to “Inbir”. To answer your question, I think this album continues and expands upon the formula we established in our previous releases. However, it’s been crafted and released in a way we’ve never done before. And I hope it’s not our final word.

V: 作为一支历史悠久的乐队，你们曾参加过许多音乐节，这些经历给你们留下了深刻的印象。能否描述一下那些演出的现场氛围？2026年，你们将迎来哪些新的现场演出？

As a long-established band, you’ve performed at many music festivals, and they’ve left a deep impression on you. Could you describe the atmosphere at those shows? What new live performances await you in 2026?

L: 是啊，这些年来我们已经积累了不少演出，虽然其实本可以演得更多。我们对在Metalmania和Jalometalli音乐节上的演出记忆犹新，还有横跨芬兰的整个巡演、与Behemoth乐队一起穿越俄罗斯、白俄罗斯和乌克兰的巡演，以及在斯洛伐克和波兰的众多演出。话虽如此，我们最享受的还是俱乐部演出——与乐迷的联系更紧密，互动也更狂野。我们热爱现场演出，所以很高兴已经安排了一些宣传"Inbir"的演出。接下来日程上安排的是两个音乐节：Summer Dying Loud和Metal Kommando。我们迫不及待想带着新曲目重返舞台了！

Yeah, we’ve racked up quite a few shows over the years, though we certainly could have played even more. We have fond memories of performing at Metalmania and Jalometalli, as well as the entire tour across Finland, the run with Behemoth through Russia, Belarus, and Ukraine, and plenty of gigs in Slovakia and, of course, Poland. That said, we enjoy club shows the most—the connection with the fans is closer, and the interaction is wilder. We love playing live, so I’m really glad we have some shows lined up to promote “Inbir”. The next ones on the agenda are two festivals: Summer Dying Loud and Metal Kommando. We can’t wait to get back on stage with the new tracks!

V: 你们一直都是一支老派乐队。对于如今许多现代乐队，你们怎么看？

You’ve always been an old-school band. What are your thoughts on many of today’s modern bands?

L: 我确实会关注当前的音乐圈动态，不过通常我会刻意避开那些不吸引我的东西。一方面，我可能因此冒犯到那些为音乐倾注了大量心血的人——而我并不想那样。另一方面，说白了，我觉得那是在浪费我的时间。由于我至今仍是波兰最大极端金属杂志"Musick Magazine"的活跃撰稿人，自然会关注最新动态，这些年轻乐队也确实让我印象深刻；不过，真正让我印象深刻的乐队中，90%都是向Old School Death, Black或者Thrash metal致敬，或是从中汲取灵感的。话虽如此，年轻一代的技术造诣总体上确实令人惊叹。情感表达方面稍显不足，但或许随着时间和阅历的积累会逐渐改善——让我们拭目以待。

I do keep an eye on the current scene, though I generally prefer to steer clear of things that don't appeal to me. For one thing, I might offend someone who has put a lot of hard work into their music - and I wouldn't want that. On the other hand, quite simply, I feel like it’s a waste of my time. Since I’m still an active journalist writing for Poland’s biggest extreme metal magazine – “Musick Magazine” - I naturally stay up to date and am impressed by all these young bands; however, 90% of the ones that really make an impression on me are those paying homage to, or drawing inspiration from, old-school death, black, or thrash metal. That said, the technical proficiency of the younger generation is generally impressive. The emotional aspect is a bit lacking, but perhaps that will come with time and age - let's hope so.

V: 你们是一支经典且历史悠久的乐队，我将永远关注并支持你们。我也希望这次采访能帮助更多中国乐迷发现并支持你们的乐队。在采访即将结束之际，你们想对中国的乐迷说些什么吗？

You’re a classic, long-standing band, and I’ll always follow and support you. I also hope this interview will help more Chinese fans discover and support your band. As we’re wrapping up this interview, is there anything you’d like to say to your Chinese fans?

L: 非常感谢你抽出时间并准备了如此有趣的问题。实际上——尤其是如今——音乐是无国界的，所以我希望我们能通过"Inbir"触达中国的Death/Black Metal狂热乐迷。我听过你们国家的一些乐队，真心希望你们的音乐圈能随着时间推移蓬勃发展，当地乐队也能在国际舞台上取得成功。说实话，我真的很想有朝一日能在那里举办一场演出，和乐迷们聊聊天，再喝点当地的烈酒。支持我们，支持优秀的乐队，保持病态！！！再次感谢大家在中国对Neolith的支持！Fallen Nephilim. Inbir!

Thank you very much for taking the time and preparing such interesting questions. In reality—especially these days - music knows no boundaries, so I hope we can reach Chinese death/black metal fanatics with "Inbir." I’ve heard a few bands from your country, and I really hope your scene explodes over time and that local bands start achieving success on the international stage. Honestly, I’d love to play a show there someday, chat with the fans, and drink some of your local spirits. Support us, support good bands, and stay morbid!!! Thanks again for supporting the Neolith plague in China! Fallen Nephilim. Inbir!