暗物质 - 突尼斯Black / Heavy / Groove Metal乐队Primordial Black专访

Volcano Magazine
7 hours ago
12 min read

突尼斯一个拥有古老文化的国家，不知道大家有没有关注过这个国家的金属场景，突尼斯的乐队并不是很多，通过网络调查这个国家拥有40多支风格迥异的乐队，今天就为大家推荐一支来自突尼斯的Black / Heavy / Groove Metal乐队Primordial Black，2022年由Yasser Mahammedi Bouzina和Walid Chaaben组建，2023年乐队发行了第一首单曲“The Worm That Gnaws at Night”，同时鼓手Ben Hadida Mohamed加入了乐队，2024年贝斯手Dalii Gharsellaouii加入乐队并且录制了EP专辑“Monas Hieroglyphica”，一张原始，邪恶并且非常具有现代感的作品，阴暗，扭曲的Riff给人留下了深刻印象并且乐队受到了Heavy / Groove Metal等风格影响，传统并且具有很深的现代感，在录制完成EP专辑之后鼓手Ben Hadida Mohamed和贝斯手Dalii Gharsellaouii退出乐队，2025年乐队发行了第一张正式专辑“Dark Matter Manifesto”，在新专辑发行之际乐队与杂志取得联系进行了一次专访！

（V: 代表笔者 Y: 代表Yasser Mahammedi Bouzina）

Tunisia is a country with an ancient culture. I don't know if you have paid attention to the metal scene in this country. There are not many bands in Tunisia. Through online research, this country has more than 40 bands with different styles. Today, I recommend a Black/Heavy/Groove Metal band Primordial Black from Tunisia. In 2022, it was formed by Yasser Mahammedi Bouzina and Walid Chaaben. In 2023, the band released their first single "The Worm That Gnaws at Night", and drummer Ben Hadida Mohamed joined the band. In 2024, bassist Dalii Gharsellaouii joined the band and recorded an EP album "Monas Hieroglypypii". Hica "is a primitive, evil, and very modern work, with a dark, twisted Riff that left a deep impression on people and the band received heavy/groove metal reviews Influenced by the style, traditional and deeply modern, drummer Ben Hadida Mohamed and bassist Dalii Gharsellaouii withdrew from the band after recording the EP album. In 2025, the band released their first official album "Dark Matter Manifesto". On the occasion of the release of the new album, the band contacted a magazine for an exclusive interview!

(V: Representing the author Y: Representing Yasser Mahammedi Bouzina)

采访对象：Yasser Mahammedi Bouzina（Primordial Black乐队吉他 / 歌手）

采访时间：2025.06.30

V: 你好，兄弟很高兴见到你，非常感谢你参加这次采访。我想这是你们乐队第一次接受中国杂志的采访。Primorial Black Band成立于2022年，是一支非常年轻的乐队，你们是如何组建的这支乐队？

Hello, brother. Nice to meet you and thank you very much for attending this interview. I think this is the first time your band has been interviewed by a Chinese magazine. Primordial Black Band was founded in 2022 and is a very young band. How did you form this band?

Y: 大家好，首先感谢你邀请我们。我们从未想过我们会被中国媒体注意到甚至采访。是的，乐队成立于2022年。当时，我感到迫切需要表达和引导一种深深的愤怒，一种我携带了很长时间的怨恨。音乐自然而然地成为了一种释放的方式。

Hello, first of all, thank you for having us. We never would have thought we’d be noticed or even interviewed by a Chinese media outlet. Yes, indeed, the band was formed in 2022. At the time, I felt an urgent need to express and channel a deep anger, a resentment I had carried for a long time. Music naturally became a form of release.

V: 你的乐队只有两名成员，你们都是创始成员吗？

Your band only has two members, are you all original members?

Y: 起初我们确实在稳定阵容方面遇到了一些困难。像许多刚开始的乐队一样，我们一路上失去了一些成员，又增加了一些成员。Walid和我之间的事情最终得到了解决。这也意味着我们必须加倍努力，以满足我们与品牌之间的生产截止日期。但现在，我们很自豪有Nikola Dušmanić（曾与我们一起担任专辑的音响工程师）加入我们的鼓手行列。

It’s true that we had some trouble stabilizing our lineup at first. Like many bands starting out, we lost some members and gained others along the way. Things eventually settled around Walid and me. That also meant we had to double our efforts to meet the production deadlines we had with our label. But now, we’re proud to have Nikola Dušmanić (who worked with us as a sound engineer on the album) joining us on drums.

V: 你的乐队只有两名成员，所以我想这对写歌很方便。你能介绍一下你的创作过程吗？

Your band only has two members, so I imagine it’s very convenient for songwriting. Can you introduce your creative process?

Y: 我们的创作过程实际上是结构和自发之间的平衡。由于我们在工作室外没有花太多时间在一起，所以每次录音都变得至关重要。在我们介入之前，我确保我们已经做好了充分的准备。通常，我会开始自己作曲。我构建了一个粗略的框架，一种骨架，其中包含一些安排、声乐线条，有时还有歌词的想法。但我很小心，不要对事情定义过多。重要的是要为Walid留出空间，让他将自己的观点、声音和精力带入赛道。一旦我们进入工作室，事情就会进展得很快。我们几乎以外科手术般的精确度检查每一个即兴重复段、每一层，但我们也为原始情感的表达留出了空间。控制和释放之间的紧张关系真正定义了我们的声音：雕刻的混乱，一种精确而发自内心的东西。老实说，每次我和Walid分享一个新想法，我都知道他会把它带到比我想象的更好的地方。

Our creative process is really a balance between structure and spontaneity. Since we don’t spend much time together outside the studio, each recording session becomes essential. I make sure we’re well prepared before we even step in. Typically, I begin composing on my own. I build a rough framework, a kind of skeleton with some ideas for arrangements, vocal lines, and sometimes lyrics. But I’m careful not to overdefine things. It’s important to leave space for Walid to bring his own perspective, his voice, and his energy into the track. Once we’re in the studio, things move fast. We go over every riff, every layer, with almost surgical precision, but we also leave room for raw emotion to come through. That tension between control and release really defines our sound: sculpted chaos, something precise yet deeply visceral. And honestly, every time I share a new idea with Walid, I know he’ll take it somewhere even better than what I imagined.

V: 你的专辑录音质量很好。你在哪个录音室录制了这张专辑？谁为你制作了这张专辑？

Your album has excellent recording quality. Which studio did you record the album in? Who produced the album for you?

Y: 谢谢你的意见；这真的让我们对如何呈现音乐有了更清晰的认识。听起来可能很奇怪，所有的吉他和贝斯实际上都是在我家录音室录制的。另一方面，我的歌声是在突尼斯郊区一家名为Make Music的专业工作室录制的。至于混音和母带制作，我们很幸运能与塞尔维亚Ezoterik Studio的老板Nikola Dušmanić合作。他是一位真正的Black Metal鉴赏家，他制作了大量乐队，他立刻理解了我们在专辑中想要的声音。我相信，以统一的愿景监督整个过程确实有助于使项目具有凝聚力和价值。

Thank you for that observation; it really reassures us in the vision we have for how we present our music. As strange as it might sound, all the guitars and bass were actually recorded at my home studio. My vocals, on the other hand, were recorded in a professional studio in the suburbs of Tunis called Make Music. As for mixing and mastering, we were fortunate to work with Nikola Dušmanić, owner of Ezoterik Studio in Serbia. He’s a true connoisseur of black metal, he’s produced an impressive number of bands and he immediately understood the sound we were aiming for on the album. I believe that overseeing the entire process with a unifying vision really helped make the project cohesive and worthwhile.

V: 你们乐队的Logo设计很独特。谁为你设计了这个Logo？你的专辑艺术品也设计得很漂亮。这些艺术品是谁创作的？

Your band's logo design is very unique. Who designed this logo for you? Your album artworks are also beautifully designed. Who created these artworks?

Y: 我负责与我们项目相关的所有视觉效果。这个Logo是我个人对蒙纳斯象形文字的重新诠释（这也是我们第一张EP的标题），背景是炼金术象形文字。在这张专辑中，我以塔罗牌的形式为我们的三首单曲中的每一首设计了艺术品，创造了一种三张牌的组合。主泪液代表了第一张牌：过去。播种不和代表现在，你的天鸟丁象征着未来。我们的第一首单曲融入了风格纹理，让人想起我们的首张EP；第二个反映了我们音乐的现状以及我们现在的能力；第三张展示了乐队的未来，为即将到来的事情打开了大门。对于专辑封面本身，我们选择了Gustave Doré的一幅名为"Minos Judges the Sinners"的艺术品。这幅作品本身就唤起了一种威严感并成为我们个人司汤达综合症的催化剂。

I’m responsible for all the visuals related to our project. The logo is my personal reinterpretation of the Monas Hieroglyphica (which is also the title of our first EP), set against a background of alchemical glyphs. For the album, I designed the artwork for each of our three singles in the form of tarot cards, creating a kind of three-card spread. Mater Lacrimarum represents the first card: the past. Sowing Discord stands for the present, and Din of Thy Celestial Birds symbolizes the future. Our first single incorporates stylistic textures reminiscent of our debut EP; the second reflects the present state of our music and what we’re capable of now; and the third offers a glimpse into the band’s future, a door opening onto what’s to come. For the album cover itself, we chose an artwork by Gustave Doré titled “Minos Judges the Sinners.” This image inherently evokes a sense of majesty and acts as a catalyst for our personal Stendhal syndrome.

V: 死亡、历史、文学和埃尔德里奇恐怖是你音乐的主题。你为什么选择这些主题？你想通过它们表达什么？你还创作了歌词；是谁写的，是什么启发了他们？

Death, history, literature, and eldritch horrors are themes in your music. Why did you choose these themes? What do you want to express through them? You also created the lyrics; who wrote them and what inspired them?

Y: 说实话，这些主题来自一种深层次的内在紧迫感，一种对抗情绪麻木、模糊恐惧和我们在当今世界看到的思维缓慢崩溃的需要。幻想和神秘的使用不仅仅是为了表演；它们是象征性的语言，帮助我们探索那些看不见、难以表达的东西。它们为复杂的情感赋予了形状和名称。死亡在我们的音乐中起着巨大的作用。它给人一种周期性、压倒性和转瞬即逝的感觉。这既是诅咒，也是启示。对我们来说，音乐就像一种仪式，一种转变的尝试。我们谈论的黑暗不仅是宇宙的或外部的；它也是非常个人化的，触及了冷漠、怀疑和迷失方向等感受。每首歌都是对这些挣扎的回应，是一种重获力量、向虚空发出呐喊的方式；提醒我们，即使在虚无的深处，人类的意志仍然可以燃烧得明亮。我们也受到了兰波“治疗眩晕”想法的启发，试图用语言表达那些稍纵即逝、难以捕捉的感觉和情绪。这是关于表达内心不稳定的时刻，那种令人眼花缭乱的内心不稳定感。

To be honest, these themes come from a deep, inner urgency, a need to push back against emotional numbness, vague fears, and the slow breakdown of the mind that we see in today’s world. The use of fantasy and the occult isn’t just for show; they serve as symbolic languages that help us explore what’s invisible and hard to express. They give shape and names to complex feelings. Death plays a huge role throughout our music. It feels cyclical, overwhelming, and fleeting at once. It’s both a curse and a revelation. For us, music is like a ritual, an attempt at transformation. The darkness we talk about isn’t only cosmic or external; it’s also deeply personal, touching on feelings like apathy, doubt, and losing one’s way. Each song is a response to these struggles, a way of reclaiming strength and sending out a cry into the void; reminding us that even in the depths of nothingness, the human will can still burn bright. We were also inspired by Rimbaud’s idea of “fixing vertigo,” trying to put into words those fleeting, hard-to-capture sensations and emotions. It’s about expressing moments of inner instability, that dizzying feeling of being unsteady inside.

V: 你与M&O Music合作，一个非常受人尊敬的法国品牌，发行了你的EP。你是怎么联系到他们的？你对他们的工作满意吗？

You collaborated with M&O Music, a very respected French label, to release your EP. How did you get in touch with them? Are you satisfied with their work?

Y: 2024年，我们有幸与M&O Music合作发行了我们的第一张EP“Monas Hieroglyphica”。合作进行得非常顺利，我们对他们围绕发布所做的宣传工作特别满意。对于我们的首张专辑《暗物质宣言》，我们与Darkside唱片公司联合制作了这张专辑，该唱片公司为我们提供了实现几个目标的资源，特别是在设备和进入外国工作室方面。我们还要感谢他们为ROTTING CHRIST的Sakis Tolis作为特邀歌手的参与提供了便利。我们的第二位特邀歌手马Maxime Taccardi是我的密友之一，也是我有着深厚艺术联系的人。

We were fortunate to work with M&O Music on the release of our first EP, Monas Hieroglyphica, in 2024. The collaboration went really well, and we are especially satisfied with the promotional work they did around the release. For our debut album, Dark Matter Manifesto, we co-produced it with Darkside Records, a label that provided us with the resources to achieve several of our goals, especially regarding equipment and access to foreign studios. We also want to thank them for facilitating the involvement of Sakis Tolis from ROTTING CHRIST as a guest vocalist. Maxime Taccardi, our second guest vocalist, is one of my close friends and someone I share a strong artistic connection with.

V: 恭喜你发行了第一张官方专辑“Dark Matter Manifesto”。你的作品深受Black Metal和Heavy Metal的影响，以冷酷、邪恶的即兴重复段和Heavy Metal的攻击性元素为特色，使你的作品独一无二。此外，Groove Metal元素使你的音乐更加现代。你对自己的工作有什么看法？

Congratulations on releasing your first official album Dark Matter Manifesto. Your work is deeply influenced by black metal and heavy metal, featuring cold, evil riffs and aggressive elements of heavy metal, making your work unique. Additionally, elements of groove metal make your music more modern. What is your opinion on your own work?

Y: 再次感谢你的赞美之词。我认为Monas Hieroglyphica（我们的第一张EP）奠定了我们声音语言的基础——黑暗的灵性、克制的暴力和戏剧性的紧张之间的平衡。这张专辑建立在这一愿景之上，加深了它的黑暗。Celtic Frost是一种根本性的影响，尤其是因为他们能够创造一种神圣的不安，一种几乎感觉像礼拜仪式的黑暗。像Mgła这样的乐队以他们愤怒的真诚以及他们如何使混乱深深地成为人类，激励着我们。但我们也受到了更微妙的影响：像Orm和Ulcerate乐队这样的乐队以其讲故事和眩晕感而闻名，像Deathspell Omega这样的项目以其哲学和反对金属的方法而闻名。在更具质感的层面上，电影配乐和作曲家如Krzysztof Penderecki和Lustmord展示了声音如何在不说一句话的情况下唤起神圣、遗弃或恐怖。我们更感兴趣的是引导一股力量，而不是听起来像其他人。每条轨迹都是咒语。我们的影响就在那里，巧妙地交织在一起，但总是为个人语言服务，我们希望这种张力是我们独有的。

Thank you again for the kind words. I think Monas Hieroglyphica (our first EP) laid the foundation of our sonic language — a balance between dark spirituality, restrained violence, and dramatic tension. The album builds on that vision, deepening its darkness. Celtic Frost is a fundamental influence, especially for their ability to create a sacred unease, a darkness that feels almost liturgical. Bands like Mgła inspire us with the raw sincerity of their rage and how they make chaos deeply human. But we’ve also been guided by more subtle influences: bands like Orm and Ulcerate for their storytelling and sense of vertigo, projects like Deathspell Omega for their philosophical and dissenting approach to metal. On a more textural level, film soundtracks and composers like Krzysztof Penderecki and Lustmord show how sound can evoke the sacred, abandonment, or terror without uttering a single word. We’re less interested in sounding like anyone else than in channeling a force. Each track is an incantation. Our influences are there, subtly woven in, but always in service of a personal language, a tension that is, we hope, uniquely ours.

V: 除了发行第一张官方专辑，你还计划了哪些其他工作？你能和我们分享一些信息吗？

What other work do you have planned besides releasing your first official album? Can you share some information with us?

Y: 我们已经在创作新歌了。新的仪式正在形成。我们正在探索更黑暗、更具实验性的领域。我们正在进一步推动声音暴行与精神、宇宙主题之间的对比，混乱与觉醒之间的紧张关系。但我认为最好不要透露太多，让惊喜顺其自然。

We are already in the process of composing new songs. New rituals are taking shape. We’re exploring even darker, more experimental territories. We’re pushing further the contrast between sonic brutality and spiritual, cosmic themes, a tension between chaos and awakening. But I think it’s better not to reveal too much and let the surprise take its course.

V: 虽然你们是一支非常年轻的乐队，但你们展现出了巨大的潜力。我将永远支持和追随你的乐队。你对你的中国粉丝和朋友有什么要说的吗？

Although you are a very young band, you show great promise. I will always support and follow your band. Do you have anything to say to your Chinese fans and friends?

Y: 正如我在本次采访开始时提到的，我们很自豪能够激发中国金属观众的兴趣并为我们的音乐迄今为止所取得的成就感到荣幸。我们非常感谢你的支持并希望进一步发展，有一天有机会拜访你。

As I mentioned at the beginning of this interview, we’re proud to have sparked the interest of the Chinese metal audience and honored that our music has reached so far. We thank you immensely for your support and hope to take things even further, and to have the chance to visit you someday.