克苏鲁的呼唤 - 美国Black Metal乐队Antithetic专访

Volcano Magazine
39 minutes ago
20 min read

今天采访到的是来自美国的Black Metal乐队Antithetic，组建于2023年的Antithetic乐队是一支比较年轻的乐队，2026年乐队才刚刚发布了作品，2026年的Demo“I”发行之后便受到广泛的关注，随后不久乐队便发行了第一张正式专辑“Kadath”，“Kadath”是一张Melodic Black Metal专辑，其根基在于冰冷的氛围、神秘的幻象和洛夫克拉夫特式的黑暗。受Dissection、Horna、Thulcandra、Stormruler和Stormkeep等乐队影响深刻，这张专辑融合了冰冷的Riff、疾速的鼓点、史诗般的旋律以及中世纪的黑暗气息。在新专辑发行之际乐队与杂志取得联系进行了一次专访！让我一起走进Antithetic的黑暗世界....

（V: 代表笔者 H: 代表Hauras）

Today we're interviewing the American black metal band Antithetic. Formed in 2023, Antithetic is a relatively young band; they only released their first album in 2026. Their demo "I" garnered significant attention after its release, and shortly thereafter, they released their debut album, "Kadath." "Kadath" is a melodic black metal album rooted in a cold atmosphere, mysterious visions, and Lovecraftian darkness. Deeply influenced by bands like Dissection, Horna, Thulcandra, Stormruler, and Stormkeep, the album blends icy riffs, rapid drumbeats, epic melodies, and a medieval dark ambiance. The band contacted the magazine for an exclusive interview coinciding with the album's release! Let's step into the dark world of Antithetic...

(V: Represents the author; H: Represents Hauras)

采访对象：Hauras（Antithetic乐队创始人）

采访时间：2026.07.09

V: Antithetic这个队名从构思到敲定经历了怎样的思考过程，名称承载着乐队怎样的精神内核？创始成员因何种契机结伴组成乐队的？

Could you walk us through the thought process behind naming the band Antithetic, and what spiritual core this name carries? How did the founding members meet and form the band?

H: Hauras和Surma在大学相识，我们很快就因为对极端金属的共同爱好而结缘。那时，Surma 已经深深沉浸于Black Metal之中，通过他，我更深入地了解了这种音乐的氛围、哲学和不妥协的精神。我们几乎立刻就心意相通。后来，Surma把我介绍给了Nøkken，尽管当时他还没有加入乐队。“Antithetic”这个名字的灵感来源于我阅读一位教授布置的作业。我被“antithetical”（反义的）这个词深深吸引，它的意思是直接对立或矛盾的。Surma建议我把它简化成“Antithetic”，我立刻觉得这个名字很贴切。Antithetic的精神核心在于矛盾、反抗和对主流的抵制。我们拒绝为了迎合潮流、行业期望或无休止的听众需求而塑造我们的音乐。相反，我们从内心最深处、最黑暗的角落进行创作，真诚是我们唯一的准则。我们的音乐是为那些厌倦了千篇一律的流行乐和迎合电台口味的金属乐的人而创作的。它是为那些寻求更冷峻、更私密、更真诚的音乐的人而创作的——这种音乐不追求迎合，也不妥协于自身的本质。

Hauras and Surma met in college, where we quickly connected over our shared interest in extreme metal. At that time, Surma was already deeply immersed in black metal, and through him, I discovered even more of the genre’s atmosphere, philosophy, and uncompromising spirit. We understood each other almost immediately. Surma later introduced me to Nøkken, although he was not yet part of the band at that stage. The name Antithetic came to me while I was reading material assigned by one of our professors. I became fascinated by the word “antithetical,” which means directly opposed or contradictory. Surma suggested shortening it to “Antithetic,” and the name immediately felt right. The spiritual core of Antithetic lies in contradiction, resistance, and opposition to the mainstream. We reject the idea of shaping our music around trends, industry expectations, or the endless demands of an audience. Instead, we create from the deepest and darkest parts of ourselves, with sincerity as our only true standard. Our music is for those who have grown tired of polished pop formulas and interchangeable metal designed for radio consumption. It is for people searching for something colder, more personal, and more honest - music that does not seek acceptance and does not compromise its identity.

V: 乐队从组建到发行第一份正式录音作品耗时多久？早期创作阶段分工模式、录音设备配置是怎样的？

How much time passed between the band’s formation and the release of your first official recorded work? What was your workflow division and recording gear setup during your early creative phase?

H: 我们在2024年组建了Antithetic乐队，首张正式录制的专辑《Kadath》于2026年发行，整个过程大约耗时两年。其中大部分时间都花在了寻找合适的音乐家和合作者上，以使这个项目得以完整呈现。我们就是这样找到了Nøkken，他当时已经在爵士乐团担任贝斯手。录音过程中，我们也与两位鼓手合作。Andrew Dewar为其中一首单曲录制了鼓，而Onidaiko则成为了主要的录音鼓手，参与了专辑其余五首曲目的录制。我们根据每位成员的优势分配了职责。我负责主音吉他、人声、合成器、录音以及大部分的制作工作。Surma负责节奏吉他，而Nøkken则负责贝斯部分的录制。两位鼓手则专注于打击乐编排的开发和录制。录音初期规模不大，但强度却非常高。我使用 PreSonus Studio 26c 音频接口和 Archetype: Nolly 插件创建的自定义预设，直接将吉他录制到笔记本电脑中。这些录音闲置了将近一年，期间我们一直在寻找合适的乐手，并着手制作专辑的其他部分。直到我们开始与Onidaiko合作，并在罗切斯特大学的 Gavett Hall 录音棚录制鼓组时，项目才终于有了进展。录音棚配备了 API 1608-II 调音台，我们在鼓组周围使用了可移动的隔音结构，以减少反射并改善麦克风之间的分离度。嗵鼓我们使用了 Sennheiser MD421 和 Audix D4 麦克风。一对设置为心形指向的 AKG C414 麦克风用作顶置麦克风。由于 Onidaiko 使用两个独立的底鼓进行录制，我们在每个底鼓上都放置了一支 AKG D112 麦克风。在军鼓上，我们使用了舒尔SM57和SM58两支麦克风，而镲片和踩镲则使用了纽曼KM184麦克风。早期笔记本电脑录音与后期专业录音棚录音之间的对比，反映了乐队自身的发展历程。最初只是在卧室里录制的一系列吉他音轨，经过坚持不懈、精诚合作以及大量的技术实验，最终发展成为一张完整的专辑。

We formed Antithetic in 2024, and our first officially recorded album, Kadath, was released in 2026, so the entire process took roughly two years. A large part of that time was spent finding the right musicians and collaborators to bring the project fully to life. That was how we found Nøkken, who was already performing as a bassist in jazz ensembles. We also worked with two drummers during the recording process. Andrew Dewar recorded the drums for one of the singles, while Onidaiko became the main session drummer and performed on the remaining five tracks of the album. Responsibilities were divided according to each member’s strengths. I handled the lead guitars, vocals, synthesizers, recording, and a significant part of the production process. Surma was responsible for rhythm guitar, while Nøkken recorded the bass parts. The drummers focused on developing and recording the percussion arrangements. The early stages of recording were modest but extremely intense. I recorded the guitars directly into my laptop using a PreSonus Studio 26c audio interface and a custom preset created with the Archetype: Nolly plugin. Those recordings remained unused for nearly a year while we continued to look for the right people and develop the rest of the album. The project finally gained momentum when we began working with Onidaiko and started recording the drums at Gavett Hall Studio at the University of Rochester. The studio was equipped with an API 1608-II mixing console, and we used movable acoustic isolation structures around the kit to reduce reflections and improve microphone separation. For the toms, we used Sennheiser MD421 and Audix D4 microphones. A pair of AKG C414s, set to cardioid, served as the overheads. Because Onidaiko records with two separate kick drums, we placed an AKG D112 on each one. On the snare, we used both a Shure SM57 and a Shure SM58, while Neumann KM184 microphones were placed on the ride cymbal and hi-hat. The contrast between the early laptop recordings and the later professional studio sessions reflects the evolution of the band itself. What began as a collection of guitar tracks recorded in a bedroom gradually became a full-scale album through persistence, collaboration, and a great deal of technical experimentation.

V: 专辑定名"Kadath"，是否取材洛夫克拉夫特《未知卡达斯寻梦记》的梦境神话体系？选择这一文学意象作为整张作品核心载体想传递出什么信息？

The album is titled Kadath. Is it inspired by the dream mythology system in H.P. Lovecraft’s TheDreamQuest of Unknown Kadath? What message do you intend to convey by adopting this literary imagery as the core motif of the full record?

H: 是的，这张专辑的灵感直接来源于H·P·洛夫克拉夫特的梦境神话，尤其是《梦寻秘境卡达斯》。我一直深深地被洛夫克拉夫特的作品和冥界意象所吸引——那种在已知世界表面之下潜藏着古老力量的感觉。这种迷恋自然而然地引导我们选择了“卡达斯”这个标题。同名曲目“V”概括了专辑的核心理念：一场梦游般的寻找未知卡达斯的旅程。这不仅仅是一次身体上的旅程，更是一次潜入潜意识深处，探寻某种古老、禁忌且难以完全理解的事物。对我们而言，洛夫克拉夫特式的意象与黑金属紧密相连。两者都让我们超越了传统的反基督教主题，探索更为广阔的领域：对未知、原始、冥界和黑暗的崇拜。这张专辑与其说是对特定宗教的反叛，不如说是对超越人类道德和理解的力量的对抗。我们希望通过"Kadath"，让听众感受到远古神祇的存在、世界的毁灭性和冷漠本质，以及人类的堕落和罪恶。这些神祇并非仁慈的化身。他们观察、审判，并最终对人类的堕落做出回应。这张专辑的核心在于，面对远比我们古老和强大的力量，人类是多么渺小。我们希望"Kadath"既像一场梦，又像一记警钟——带领听众踏上一段旅程，进入一个人类不再处于中心地位的世界。

Yes, the album was directly inspired by H. P. Lovecraft’s dream mythology, especially The Dream-Quest of Unknown Kadath. I have always been deeply drawn to Lovecraft’s work and to chthonic imagery - the sense of ancient forces beneath the surface of the known world. That fascination naturally led us to the title Kadath. The title track, “V,” encapsulates the album’s central idea: a somnambulistic search for the unknown Kadath. It is not simply a physical journey but a descent into the subconscious toward something ancient, forbidden, and impossible to fully comprehend. For us, Lovecraftian imagery and black metal are closely connected. Both allow us to move beyond conventional anti-Christian themes and explore something broader: the worship of the unknown, the primordial, the chthonic, and the dark. The album is less about rebellion against a specific religion and more about confronting forces beyond human morality and understanding. Through Kadath, we want listeners to hear the presence of ancient gods, the world's destructive and indifferent nature, and humanity's corruption and vices. The gods in this imagery are not benevolent figures. They observe, judge, and eventually respond to what humanity has become. At its core, the album is about the insignificance of human beings in the face of forces far older and greater than ourselves. We wanted Kadath to feel like both a dream and a warning - a journey into a world where humanity is no longer at the center of existence.

V: 整张专辑全部曲目仅以单字母N、I等极简代号标注，舍弃常规具象曲名，这种高度抽象的命名设计是在创作初期就确定，还是全部词曲完成后才敲定？这是一个很有创意的做法，这样做的原因是什么？

All tracks on this album are marked only with minimal singleletter codes such as N and I, abandoning traditional descriptive song titles. Was this highly abstract naming concept finalized at the early songwriting stage, or only after all lyrics and instrumentals were finished? This is an incredibly creative choice what motivated this decision?

H: 我们确实为歌曲起了正式的标题，但我们选择保留极简的字母设计，作为专辑最初概念的一部分。这个决定与我们如何呈现乐队整体形象紧密相关——从我们隐藏的身份和视觉形象到曲目列表的结构。我们不希望传统的歌曲标题在听众有机会真正进入音乐之前就解释太多。字母标题留出了更多解读空间，鼓励人们专注于乐器演奏、人声、氛围以及专辑的情感发展，而不是被过于描述性的标题所引导。对我们而言，每一首歌都像是一部完整故事中的一个章节。歌曲本身是独立的，但它们应该被视为一个连贯叙事的一部分。抽象的标题强化了整体性和神秘感，使"Kadath"听起来不像一系列独立的歌曲，而更像是一段完整的旅程。从这个意义上讲，极简主义是刻意为之。它并没有削弱歌曲的意义；而是邀请听众通过音乐本身去发现意义。

We do have official titles for the songs, but we chose to preserve the minimalist lettering as part of the album’s original concept. That decision became closely tied to how we present the band as a whole - from our concealed identities and visual imagery to the track list's structure. We did not want conventional song titles to explain too much before the listener had the chance to enter the music. The letters leave more room for interpretation and encourage people to focus on the instrumentation, vocals, atmosphere, and the album's emotional progression without being guided by an overly descriptive title. For us, each track functions like a chapter in a single continuous book. The songs are individual pieces, but they are meant to be experienced as parts of one uninterrupted narrative. The abstract titles strengthen the sense of unity and mystery, making Kadath feel less like a collection of separate songs and more like a single, complete journey. In that sense, the minimalism is intentional. It does not remove meaning from the tracks; it asks the listener to discover that meaning through the music itself.

V: 你们的作品受哪个乐队的影响最大，可以说说吗？你们对于黑金属的认知是什么？

Which band has exerted the greatest influence on your music? Could you elaborate on your personal understanding of black metal as a genre?

H: 我们的音乐深受众多乐队的影响，包括Moonlight Sorcery、Catamenia、Windir、Lamp of Murmuur、Thulcandra、Mgła、Ninkharsag、Satanic Warmaster和Horna。然而，Dissection 和Horna对我们的音乐风格影响最为深远。Dissection塑造了我们对旋律、侵略性、技术性和黑暗如何共存的理解，而 Horna 则向我们展现了原始、氛围和毫不妥协的表达的力量。对我而言，黑金属远不止是一种音乐流派。它已成为我生命的一部分，也是我理解音乐本身的基础。我呼吸着它，研究着它，并不断地从中寻找新的灵感。我认为Black Metal是反宇宙和混沌的化身——是对强加秩序、舒适和限制的否定。它开启了一条通往恐怖、不可理解和宏伟的道路。黑金属最强悍时，会让人感受到仿佛站在某种远古而又远超人类的存在面前。这正是它最吸引我的地方。Black Metal可以同时展现美与恐怖。它可以充满暴力、精神性、庄严，又饱含深刻的个人情感，却始终保持着神秘感。

Our music has been influenced by many bands, including Moonlight Sorcery, Catamenia, Windir, Lamp of Murmuur, Thulcandra, Mgła, Ninkharsag, Satanic Warmaster, and Horna. However, Dissection and Horna have had the deepest impact on our sound. Dissection shaped our understanding of how melody, aggression, technicality, and darkness can coexist, while Horna showed us the power of rawness, atmosphere, and uncompromising expression. For me, black metal is far more than a musical genre. It has become part of my life and the foundation of my understanding of music itself. I breathe it, study it, and continually seek new forms of inspiration within it. I see black metal as an embodiment of anti-cosmos and Chaos - a rejection of imposed order, comfort, and limitation. It opens a path toward the terrifying, the incomprehensible, and the magnificent. At its strongest, black metal evokes the feeling of standing before something ancient and immeasurably greater than humanity. That is what draws me to it most. Black metal can express beauty and horror at the same time. It can be violent, spiritual, majestic, and deeply personal without losing its sense of mystery.

V: "Kadath"黑白蚀刻版画风格封面，让我印象深刻，画面中巨浪、人形、残破船骸的视觉元素都十分美丽，这个封面是谁设计的？

Theblackandwhiteetchinstyle cover art for Kadath left a deep impression on me. Visual motifs including towering waves, humanoid figures and wrecked vessels are strikingly evocative. Who created this cover artwork?

H: 封面由俄罗斯艺术家Waldeger（原名 Thalmann）创作。我被他非凡的雕刻风格所吸引，尤其是他对纸莎草纹理的运用和极其精细的细节刻画。他的插图常常让人感觉像是取自中世纪手稿或古代神秘编年史。这种视觉语言正是我们想要为 Kadath 打造的。巨浪、残骸和扭曲的人形唤起了一种冥界、古老和深沉不祥之感。这幅作品与其说是现代专辑封面，不如说是一件来自另一个时代的文物。最令我印象深刻的是它所营造的氛围。它捕捉到了我们希望音乐传达的那种感觉：人类面对远超自身的力量，被毁灭、神秘和某种不可知的存在所包围。

The cover was created by the Russian artist Waldeger, formerly known as Thalmann. I was drawn to his work for its extraordinary engraving style, particularly his use of papyrus-like textures and extremely fine detail. His illustrations often look as though they were taken from a medieval manuscript or an ancient occult chronicle. That visual language was exactly what we wanted for Kadath. The towering waves, shipwrecks, and distorted humanoid figures evoke a sense of the chthonic, the ancient, and the deeply ominous. The artwork feels less like a modern album cover and more like an artifact from another age. What impressed me most was the atmosphere. It captures the same feeling we wanted the music to convey: humanity confronted by forces far greater than itself, surrounded by destruction, mystery, and the presence of something unknowable.

V: 你们的作品主题让人耳目一新，Antithetic的核心创作主题与思路是什么？你们认为自己最不同于其他黑金属乐队的地方是什么？

Your thematic concepts feel refreshing within the scene. What are the core creative themes and philosophies that drive Antithetic? In your opinion, what sets your music apart from other black metal acts?

H: Antithetic的核心创作主题涵盖古老、浩瀚、神秘和异教。我们力求超越传统黑金属中上帝与魔鬼的二元对立。我们不局限于熟悉的宗教冲突，而是探索更古老、更难以捉摸的力量，例如中世纪意象、异教传统、冥界神祇、被遗忘的仪式以及人类与未知世界的关系。我一直对中世纪、腾格里教和萨满教抱有浓厚的兴趣。这些主题比简单的反基督教象征主义更能展现广阔的精神和哲学图景。它们让我们得以探讨自然、死亡、古代信仰体系、宇宙混乱以及现代逻辑无法理解的力量等主题。在音乐上，我们通过旋律、氛围和叙事的融合，与其他许多黑金属乐队区别开来。我们不希望我们的歌曲仅仅成为攻击性或黑暗的表达。每首曲目都是一个更宏大世界的一部分，根植于其自身的历史、精神和神话背景。Antithetic的另一个重要特色是我们使用三种语言：英语、俄语和芬兰语。每种语言都承载着独特的情感分量和音乐节奏。英语提供了一种宽广而富有电影感的表达方式，俄语传递着沉重和严肃，而芬兰语则赋予了一种冷峻而古老的特质，与我们的音乐风格自然契合。最终，我们希望Antithetic不仅仅是一个乐队；我们希望它能成为一个完整的世界，一个由古代文化、异教精神、中世纪的黑暗以及对超越人类常识的探索所塑造的世界。

The main creative themes behind Antithetic encompass the ancient, the vast, the inexplicable, and the pagan. We aim to move beyond the conventional black metal dichotomy of God versus the Devil. Instead of confining ourselves to familiar religious conflicts, we explore older, less-defined forces, such as medieval imagery, pagan traditions, chthonic deities, forgotten rituals, and humanity’s relationship with the unknown. I have always had a deep interest in the Middle Ages, Tengrism, and shamanism. These subjects offer a much broader spiritual and philosophical landscape than simple anti-Christian symbolism does. They allow us to discuss themes such as nature, death, ancient belief systems, cosmic disorder, and forces that cannot be grasped by modern logic. Musically, we distinguish ourselves from many other black metal bands through our combination of melody, atmosphere, and narrative. We don’t want our songs to exist solely as expressions of aggression or darkness. Each track is part of a larger world, rooted in its own historical, spiritual, and mythological foundations. Another important feature of Antithetic is our use of three languages: English, Russian, and Finnish. Each language carries a unique emotional weight and musical rhythm. English offers a broad, cinematic form of expression, Russian conveys weight and severity, while Finnish lends a cold, archaic quality that fits naturally within our sound. Ultimately, we want Antithetic to be more than just a band; we want it to function as a complete world - one shaped by ancient cultures, pagan spirituality, medieval darkness, and the search for something beyond ordinary human understanding.

V: 你们的音乐非常有内涵，在创作音乐作品时，你们是否查阅了大量文本资料？你们是否受到一些文学作品的影响？你们最喜欢的文学作品是什么？

Your compositions carry profound depth. Do you consult extensive written materials during your songwriting process? Are you influenced by literary works overall, and which literary pieces resonate with you the most?

H: 我们的歌词主要源于个人创作经验和我们从文学中汲取的知识。我从小就沉浸在俄罗斯古典文学中，所以讲故事对我来说一直都很自然。我创作时不会刻意模仿某个作家，也不会强行把歌词套入学院派的框架。我专注于我想表达的内容、我想讲述的故事以及我想传递的情感。负责所有芬兰语副歌的Surma拥有丰富的历史和世界文学知识。我们都成长于充满学术氛围的家庭，所以阅读、历史和哲学探讨一直是我们生活的一部分。因此，对我们来说，创作歌曲几乎是一种本能，就像呼吸一样自然，是一种将积累的知识转化为充满情感和生命力的表达方式。H·P·洛夫克拉夫特对卡达斯乐队的发展尤为重要。成年后，我阅读了《克苏鲁的呼唤》、《梦寻秘境卡达斯》、《疯狂山脉》和《印斯茅斯疑云》。这些作品帮助我更好地理解了氛围、叙事张力以及如何运用意象来暗示远超字面描述的深层含义。洛夫克拉夫特的作品也加深了我对命运必然性以及古代神祇作为不可控力量而非传统宗教人物的思考。在这些故事中，人类并非征服未知，而是被迫直面自身的渺小。这种哲学与我们的音乐理念产生了强烈的共鸣。文学赋予我们语言和意象，让我们得以表达那些难以言喻的思想。它不仅帮助我们创作歌曲，更帮助我们构建完整的世界，让情感、历史、神话和个人经历和谐共存。

Our lyrics are shaped primarily by personal songwriting experience and the knowledge we have gained from literature. I grew up immersed in Russian classical literature, so storytelling has always felt natural to me. When I write, I do not try to imitate a particular author or force the lyrics into an academic structure. I focus on what I want to say, the story I want to tell, and the emotions I want to express. Surma, who writes all the Finnish choruses, has extensive knowledge of history and world literature. We both grew up in intellectually engaged families, so reading, history, and philosophical discussion were always part of our lives. As a result, songwriting feels almost instinctive to us—like another form of breathing and a way to transform accumulated knowledge into something emotional and alive. H. P. Lovecraft has been especially important to the development of Kadath. As an adult, I read The Call of Cthulhu, The Dream-Quest of Unknown Kadath, At the Mountains of Madness, and The Shadow over Innsmouth. These works helped me better understand atmosphere, narrative tension, and the use of imagery to suggest something far greater than what is directly described. Lovecraft’s writing also deepened my interest in the inevitability of fate and in the idea of ancient gods as uncontrollable forces rather than conventional religious figures. In these stories, humanity does not conquer the unknown; it is forced to confront its own insignificance in the face of it. That philosophy strongly resonates with our music. Literature gives us the language and imagery to express ideas that would otherwise be difficult to communicate. It helps us build not only individual songs but also entire worlds where emotion, history, myth, and personal experience can coexist.

V: 不少金属听众习惯单独单曲碎片化聆听，而非完整从头到尾走完整张"Kadath"的情绪流程，这种碎片化聆听模式，会不会消解你们原本设计的专辑完整叙事闭环？

Many metal fans tend to stream individual tracks in fragments rather than experiencing Kadatheinitsintendedfulllength sequential flow. Do you believe this fragmented listening experience dilutes the complete narrative arc you constructed for the album?

H: 我认为单独聆听每首曲目会削弱完整的叙事体验，因为"Kadath"的创作初衷是将其视为一部完整的作品，而非一系列互不关联的歌曲。它讲述了一个分为七个章节的故事，每一首曲目都为整体的氛围、情节发展和意义增添了色彩。同时，每个人都有自己独特的音乐聆听方式，我们对此表示尊重。有人可能先被某首歌深深吸引，之后才去探索专辑的其他部分。然而，体验"Kadath"最完整的方式仍然是按照预设的顺序从头到尾聆听。过渡、反复出现的主题和情感的发展都是为了创造一段连贯的旅程。单独聆听每首曲目就像阅读一本书的章节，却没有完整地了解整个故事。

I do think that listening to the tracks separately can weaken the full narrative experience, because Kadath was conceived as a complete work rather than a collection of unrelated songs. It is a story told in seven acts, with each track contributing to the atmosphere, progression, and meaning of the whole. At the same time, everyone has their own way of listening to music, and we respect that. A person may connect strongly with one particular song before later discovering the rest of the album. Still, the most complete way to experience Kadath is from beginning to end, in the intended order. The transitions, recurring themes, and emotional development were designed to create a continuous journey. Listening to only isolated tracks is like reading individual chapters from a book without following the entire story.

V: 你们下一步的计划是什么？以后的创作主题会是什么？会有实体专辑的发布吗？

What plans do you have for the band moving forward? What thematic directions will your future songwriting explore, and do you intend to release physical copies of your music down the line?

H: 我们已经发行了"Kadath"的实体专辑，可通过我们的Bandcamp页面购买。我们也已将磁带和CD寄送给Moribund Records、Zero Tolerance Productions和Throllzorn，目前正在筹备 T 恤和其他周边产品的宣传活动。我们的主要演出目标是计划于11月下旬进行东海岸巡演，演出地点包括波士顿、罗切斯特、费城、马里兰州和纽约。未来，我们也希望在欧洲演出，并最终将Antithetic带到我的故乡哈萨克斯坦。在我的祖国演出这些音乐对我来说意义非凡。我们已经开始讨论新专辑的构思，但目前透露具体方向还为时尚早。下一张专辑很可能会继续探索古代信仰体系、冥界力量、中世纪意象、异教以及人类与未知之间的关系，同时也会发展我们在"Kadath"中确立的音乐风格。不过，就目前而言，我们的首要任务是给予"Kadath"应有的关注。我们正专注于宣传这张专辑，发行实体版，销售周边产品，增加演出频率，并在本地和国际地下音乐圈提升 Kadath 的知名度。

We have already released physical editions of Kadath, which are available through our Bandcamp page. We have also sent cassettes and CDs to Moribund Records, Zero Tolerance Productions, and Throllzorn, and we are currently preparing a promotional campaign for our T-shirts and other merchandise. Our main live goal is an East Coast tour planned for late November, with shows in Boston, Rochester, Philadelphia, Maryland, and New York. In the future, we would also like to perform in Europe and eventually bring Antithetic to Kazakhstan, where I am originally from. It would be especially meaningful for me to present this music in my home country. We have already begun discussing ideas for a new album, although it is still too early to reveal its direction in detail. The next material will most likely continue exploring ancient belief systems, chthonic forces, medieval imagery, paganism, and the relationship between humanity and the unknown, while also developing the sound we established on Kadath. For now, however, our priority is to give Kadath the attention it deserves. We are focused on promoting the album, distributing the physical editions, selling merchandise, performing more frequently, and building greater recognition within the local and international underground scenes.

V: 我非常看好你们！期待你们下一步的发展！希望通过这次采访能给你们积累更多知名度与听众！最后你们有什么想对Black Metal乐迷说的话吗？

We hold high expectations for your work and look forward to your future evolution. We hopethis interview will expand your reach and introduce your music to more listeners. To wrap up, is there anything you would like to share with your black metal fanbase?

H: 非常感谢。我们真诚地希望能够触及中东、亚洲、欧洲以及北美和南美更多地区的听众。你们的支持对我们至关重要，我们非常荣幸能有机会接受这次采访，与大家分享更多关于Antithetic乐队的信息。我们衷心感谢每一位聆听、分享、观看演出、购买实体唱片或通过周边产品支持我们的人。每一种形式的支持都能帮助一支独立乐队继续创作和发展。最重要的是，我们鼓励大家支持当地的地下音乐圈。观看演出，直接从乐队购买音乐和周边产品，推广本地音乐人，并互相帮助创造机会。强大的本地音乐圈需要大家的共同努力才能建立起来，而这种支持往往是乐队生存和发展的基石。感谢每一位一直以来关注Antithetic的朋友们。这仅仅是个开始。

Thank you very much. We sincerely hope to reach more listeners across the Middle East, Asia, Europe, and North and South America. Your support is invaluable to us, and we are grateful for the opportunity to take part in this interview and share more about Antithetic. We deeply appreciate everyone who listens to our music, shares it, attends our shows, buys our physical releases, or supports us through merchandise. Every form of support helps an independent band continue creating and moving forward. Above all, we encourage people to support their local underground scenes. Attend shows, buy music and merchandise directly from bands, promote local artists, and help create opportunities for one another. A strong local scene is built through collective effort, and that support is often the foundation for a band’s survival and growth. Thank you to everyone who has followed Antithetic so far. This is only the beginning.