生命、记忆 - 德国Melodic Black / Death Metal乐队Emergenz专访
- Volcano Magazine
- 5 minutes ago
- 21 min read
Emergenz 是一支来自德国的新生代旋律黑死金属乐队，成员分别来自 Norron、Azgalor 与 Heressiah 等地下团体。乐队首张专辑《Becoming None》以“身份消解、记忆崩解与存在虚空”为核心概念，在黑金属的冷冽与死亡金属的厚重之间构建出一种兼具旋律性与压迫感的声音景观，并由 Andy Classen 参与制作，使整体音墙更具工业化与现代极端金属的精密质感。Emergenz 的音乐不仅延续了德国地下金属的严谨传统，也试图在哲学层面探讨“自我是否真实存在”这一命题，在当代极端音乐语境中呈现出更内向、下沉且富有思辨性的表达方式。
（V: 代表笔者 E: 代表Emergenz乐队）
Emergenz is a new-generation melodic black/death metal band from Germany, featuring members from underground acts such as Norron, Azgalor, and Heressiah. Their debut album Becoming None revolves around themes of identity dissolution, collapsing memory, and existential void, creating a soundscape that balances the coldness of black metal with the heaviness of death metal. Produced by Andy Classen, the album carries a precise and modern extreme-metal sound with an industrial edge. Beyond continuing the disciplined tradition of German underground metal, Emergenz also explores philosophical questions surrounding the nature of self and existence, presenting a darker, introspective, and deeply reflective expression within contemporary extreme music.
(V: Author E: Emergenz)
采访对象：Emergenz（Emergenz乐队）
采访时间：2026.05.21
V: 嗨，朋友你好！请简单介绍一下 Emergenz 乐队。
Hi, brother! Please briefly introduce Emergenz to our readers.
E: Emergenz成立于2024年12月，由不同前乐队的成员重组而成。我们将自己的音乐定义为法兰克尼亚黑/死亡金属。这并非严格的流派定义，而是一个框架，旨在让听众了解我们的音乐根源以及可以期待的内容。随着"Becoming None"的发行，我们推出了首张全长专辑。这是一张以生命、记忆、自我怀疑与内心冲突为主题的概念专辑，通过主人公在秋日法兰克尼亚森林中徘徊的旅程徐徐展开，直至他最终接受自身的有限性并逐渐消逝。我们仍是一支小乐队，但很乐意与所有愿意聆听的人分享我们的思想、音乐以及这张专辑背后的世界。
Emergenz formed in December 2024 from fragments of different former bands. We define our music as Franconian Black/Death Metal. This is not meant as a strict genre definition, but rather as a scaffold to give some idea where we come from and what to expect. With becoming none we released our first full length album. It is a concept album about life, memories, self-doubt and inner conflict, unfolding through the journey of a protagonist wandering through a Franconian forest in autumn until he ultimately accepts his own finitude and fades away. We are still a small band, but we are happy to share our thoughts, our music and the world behind this album with everyone willing to listen.
V: 德国黑金属与旋律死亡金属一直有一种非常独特的气质：既保留了北欧黑金属的寒冷感，又比瑞典 Gothenburg 风格更强调厚重与戏剧性。你们如何理解“德国式旋律黑死”这个概念？
German black metal and melodic death metal have always had a very distinctive atmosphere: retaining the coldness of Nordic black metal while emphasizing heaviness and drama more than the Swedish Gothenburg style. How do you understand the concept of “German melodic black/death metal”?
E: “德国旋律黑/死亡金属”是一个有用的术语，尽管我并不将其视为严格的流派定义。在Emergenz和becoming none的语境下，它描述了一种特定的氛围和情感走向。其中既有源自黑金属的冷峻、粗犷与存在主义感，但同时更侧重于厚重感、戏剧性和旋律的流动。我们并不试图复制北欧黑金属或瑞典旋律死亡金属。我们虽以这些流派为根基，但最终的音乐形态是由我们的出身背景、乐队成员以及音乐背后的理念所塑造的。正因如此，我们将自己的音乐称为法兰克尼亚黑/死亡金属。对我们而言，德国旋律黑/死亡金属意味着冷峻、厚重、旋律与戏剧性，但其根基植根于我们自身的环境以及我们独特的故事叙述方式。这与其说是遵循某种固定风格，不如说是营造一种特定的氛围。就"Becoming None"而言，这种氛围与森林、无常、自我怀疑以及对“生命在个体消逝后仍将继续”这一事实的接受紧密相连。
German melodic black/death metal is a useful term, although I would not see it as a strict genre definition. In the context of Emergenz and becoming none it describes a certain atmosphere and emotional direction. There is the coldness, harshness and existential feeling that comes from black metal, but at the same time there is a stronger focus on weight, drama and melodic movement. We do not try to copy Nordic black metal or Swedish melodic death metal. We use these influences as a foundation, but the result is shaped by where we come from, by the people involved, and by the concept behind the music. That is why we call our music Franconian Black/Death Metal. German melodic black/death metal, for us, means coldness, heaviness, melody and drama, but rooted in our own surroundings and our own way of telling stories. It is less about following a fixed style and more about creating a certain feeling. In the case of becoming none, this feeling is tied to the forest, transience, self-doubt and the acceptance that life continues without the individual.
V: 你们成员来自多个不同乐队。Emergenz 的成立，是一次自然延续，还是一种“重新开始”？
The members come from several different bands. Was the formation of Emergenz a natural continuation, or more of a complete new beginning?
E: 这个问题可以从不同角度来探讨。一方面，音乐部分早在2021年就已经创作完成。从这个意义上说，它至少在音乐层面延续了我们之前乐队的风格。然而，专辑的概念、歌词、歌曲之间的交织方式以及整体编排，都是在2025年我们以Emergenz乐队身份重组后完成的。目前，我们正在筹备一张全新的概念专辑，届时我们将彻底颠覆这一创作流程。概念框架已然确立，我们想要探索的主题也已确定。音乐将承载这一概念所蕴含的情感及其各个维度。我们非常好奇这将引领我们走向何方。
One can approach this question from different angles. On the one hand the music was already composed since 2021. In that sense it would be a continuation of at least this aspect from one of the former bands. However, the concept, the lyrics, the way the songs intertwine and the overall composition of the album in general was done in 2025 after we came together as Emergenz. Right now, we are working on a new concept album where we will put this whole process upside down. The concept exists and the themes we want to work through are set. The music will carry the emotions of this concept and the different aspects therein. We are very curious where this will lead.
V: 德国地下金属一直以严谨、冷峻和制作标准高著称。你们是否觉得德国音乐文化中的“工业感”也影响了你们的声音？
German underground metal is often known for its precision, coldness, and high production standards. Do you think the “industrial feeling” within German music culture has also influenced your sound?
E: 要回答这个问题，我们可能缺乏局外人的视角。我们在创作音乐或歌词时并没有刻意去考虑德国式的工业风格。尽管我们能理解这种说法从何而来。多亏了鼓手的高超技艺和精准把控，我们才能以如此快的速度创作出质量上乘的音乐。
To answer this question, we probably lack the view from the outside. We did not think about German industrial feeling when writing our music or lyrics. Although we see where this might come from. The precision and skill of our drummer allows us to create music with these speeds at a quite high quality.
V: "Becoming None"这个标题非常耐人寻味。“成为虚无”对你们来说究竟意味着毁灭、解脱，还是一种新的存在状态？
The title Becoming None is highly intriguing. To you, does “becoming none” represent destruction, liberation, or a new state of existence?
E: 对我们而言，“归于无”并非纯粹的毁灭。当然，其中确实蕴含着某种消逝的意味。主人公逐渐淡出，迷失自我，最终接受了自身不可避免的终结。但标题背后的理念，并非纯粹消极意义上的虚无主义。它更多关乎通过接纳而获得的解脱。森林无需个体依然延续，生命无需自我依然延续。起初，这或许令人恐惧，因为我们常希望自己的存在能具有某种持久的重要性。但这种想法中也蕴含着某种慰藉。人不必非要与众不同，也不必非要留下永恒的印记。无常本就是存在的一部分。因此，“归于虚无”描绘了主人公停止抗拒这一真理的瞬间。他并未变得更伟大、更强大或不朽。他化为虚无，而在此过程中，他融入了周遭的循环。从这个意义上说，这既是毁灭，也是解放，同时是一种新的存在状态。这是个体的终结，却并非生命的终结。这与你在早前采访中描述的专辑概念相契合，尤其是那个通过森林映照出的生命，在没有个体作为的情况下依然延续下去的观点。
To us, becoming none is not pure destruction. Of course, there is an element of vanishing in it. The protagonist fades away, loses himself and finally accepts his own inevitable end. But the idea behind the title is not nihilistic in a purely negative sense. It is more about liberation through acceptance. The forest continues without the individual. Life continues without the ego. At first, this can feel terrifying, because we often want our existence to have some lasting importance. But there is also something comforting in this thought. One does not have to be special. One does not have to leave a permanent mark. Transience is simply part of existence. So becoming none describes the moment where the protagonist stops fighting against this truth. He does not become greater, stronger or immortal. He becomes none, and in doing so he becomes part of the cycle around him. In that sense it is destruction, liberation and a new state of existence at the same time. It is the end of the individual, but not the end of life. This matches the way you described the album concept in the earlier interview, especially the idea that life, reflected through the forest, simply continues without the actions of the individual.
V: 你们提到专辑涉及“身份、记忆与存在接受”等主题。你们认为人的“自我”究竟是真实存在的，还是只是记忆堆积出的幻觉？
You mentioned that the album deals with themes such as identity, memory, and acceptance of existence. Do you believe the human “self” truly exists, or is it merely an illusion built from memory?
E: 我不会说“自我”根本不存在。它的存在方式就像火焰一样。它就在那里，有形有相，可以被看见和感知，但并非一成不变。它时刻都在变化，取决于记忆、身体、时间、环境以及我们遇见的人。记忆是其中非常重要的一部分。我们根据自己记得的、忘记的以及选择赋予意义的事物，围绕自身编织出一个故事。从这个意义上说，“自我”并非藏身于我们体内某处的实体。它更像是一个过程，是诸多不同部分协同作用下涌现出的某种存在。这也与“Emergenz”这个名字相呼应。整体大于部分之和。一个人不仅是记忆，不仅是身体，不仅是思想，不仅是恐惧或欲望。但通过所有这些要素的相互作用，某种我们称之为“自我”的事物便显现出来。在走向“无我”的过程中，主人公逐渐不再需要将这个“自我”视为某种恒久不变的存在。他并非发现它毫无意义，而是发现它只是暂时的。或许这才是更重要的领悟。自我确实存在，但并非永恒，也无法脱离周遭世界而独立存在。它是真实的，却也是转瞬即逝的。就像森林里的足迹。它们曾存在过，但森林终将再次掩盖它们。
I would not say that the self does not exist at all. It exists in the way a flame exists. It is there, it has shape, it can be seen and felt, but it is not fixed. It is constantly changing, depending on memory, body, time, surroundings and the people we meet. Memory is a very important part of this. We build a story around ourselves from what we remember, what we forget and what we choose to give meaning to. In that sense, the self is not a solid object hidden somewhere inside us. It is more like a process. Something emerging from many different parts working together. This also connects to the name Emergenz. The whole becomes more than the sum of its parts. A person is not only memory, not only body, not only thought, not only fear or desire. But through the interaction of all these things, something appears that we call the self. In becoming none, the protagonist slowly loses the need to hold on to this self as something permanent. He does not discover that it was meaningless. He discovers that it was temporary. And maybe that is the more important thought. The self exists, but not forever and not independently from the world around it. It is real, but it is transient. Like footsteps in the forest. They were there, but the forest will cover them again.
V: 黑金属常讨论“虚无主义”，但很多时候它其实隐藏着强烈的精神追问。你们会把 Emergenz 的作品理解成一种哲学表达吗？
Black metal often discusses nihilism, but beneath it there are usually deeper spiritual questions. Would you describe Emergenz’s music as a philosophical expression?
E: 是的，我也是这么认为的。并非说我们要给出答案或传授某种特定的哲学，而是音乐本身是由哲学问题所塑造的。"Becoming none"探讨了有限性、记忆、自我、身份以及对存在的接纳。这些对我们而言不仅仅是歌词的主题，更是这张专辑的基石。黑金属音乐常常涉及虚无主义，但我认为仅靠虚无主义本身可能会显得相当空洞。对我们而言，更有趣的在于当意识到个体并非存在的中心之后，随之而来的东西。起初，这可能让人感到黑暗且具有破坏性。但其中亦可寻得安宁。世界仍在运转。森林依然存在。生命持续前行，无论我们是否做好了准备，也无论我们是否认为这公平。因此，我会将Emergenz描述为具有哲学性的，因为我们正是通过音乐在这些问题周围徘徊。我们并非试图创立某种教条，而是致力于营造一种让这些思绪得以舒展的氛围。其中的攻击性、旋律、冷峻与沉重，皆是这种表达的组成部分。归根结底，“归于虚无”并非宣称万物皆无意义，而是接受这样一个事实：我们仅以有限的形式、在有限的时间里存在。而这种局限性或许并未使存在变得毫无意义，或许恰恰正是它赋予了存在以分量。
Yes, I think so. Not in the sense that we want to give answers or teach a specific philosophy, but the music is shaped by philosophical questions. Becoming none deals with finitude, memory, ego, identity and the acceptance of existence. These are not only lyrical topics for us. They are the foundation of the album. Black metal often touches nihilism, but I think nihilism alone can become quite empty. For us, the more interesting point is what comes after the realization that the individual is not the center of existence. At first, this can feel dark and destructive. But there can also be peace in it. The world continues. The forest continues. Life continues without asking whether we are ready for that or whether we find it fair. So I would describe Emergenz as philosophical in the sense that we use music to circle around these questions. We are not trying to create a doctrine. We are trying to create an atmosphere where these thoughts can unfold. The aggression, the melodies, the coldness and the heaviness are all part of that expression. In the end, becoming none is not about saying that nothing matters. It is more about accepting that we matter only for a limited time, in a limited form. And maybe this limitation does not make existence meaningless. Maybe it is exactly what gives it weight.
V: 在今天这个信息过载、身份不断碎片化的时代，“Becoming None” 是否也是一种现代人的精神写照？
In today’s world of information overload and fragmented identities, do you think Becoming None also reflects the psychological condition of modern people?
E: 是的，我认为这种联系是成立的。"Becoming None"虽然并非直接针对现代社会而创作，但专辑背后的主题与这一背景非常契合。如今，许多人时刻被信息、观点、图像和期待所包围。与此同时，身份认同往往显得支离破碎，而非稳定。人们被要求定义自我、展现自我，并不断成为某种存在。从这个意义上说，"Becoming None"也可以被理解为一种反动。它并非要构建更强大的自我形象，而是要放下对固定且重要身份的执念。主人公在森林中徘徊，逐渐意识到自身存在的暂时性。起初这令人痛苦，但同时也带来解脱。我认为许多现代人都在承受着必须时刻保持可见、独特且有意义的压力。"Becoming None"正是对这种压力的质疑。也许，平静并非源于不断构建身份，而在于接受自我本是脆弱、短暂且属于更宏大整体的一部分。所以，尽管这张专辑以一种更超脱时间、更自然的隐喻为背景，它同样能映射出现代人的心理状态。专辑中的森林远离尘世喧嚣，它不关心地位、关注度或身份，它只是单纯地存在。这种直面现实的体验或许令人恐惧，却也深具抚慰之力。
Yes, I think this connection can be made. Becoming none was not written as a direct comment on modern society, but the themes behind the album fit quite well into this context. Many people today are constantly surrounded by information, opinions, images and expectations. At the same time, identity often feels more fragmented than stable. You are supposed to define yourself, present yourself and constantly become something. In that sense, becoming none can also be understood as a counter movement. It is not about building a stronger image of the self, but about letting go of the need to be something fixed and important. The protagonist wanders through the forest and is slowly confronted with the fact that his own existence is temporary. This is painful at first, but also freeing. I think many modern people struggle with the pressure to be visible, special and meaningful all the time. Becoming none questions this pressure. Maybe peace is not found in constantly constructing an identity, but in accepting that the self is fragile, temporary and part of something larger. So yes, although the album is set in a more timeless and natural metaphor, it can also reflect the psychological condition of modern people. The forest in the album stands apart from the noise of the world. It does not care about status, attention or identity. It simply exists. And this confrontation can be frightening, but also deeply calming.
V: 很多旋律黑死乐队会陷入“旋律太美、攻击性不足”的问题。你们如何避免音乐变得过于安全或流行化？
Many melodic black/death metal bands fall into the trap of becoming “too melodic” and losing aggression. How do you avoid sounding too safe or commercialized?
E: 目前，我们完全没有商业压力。Emergenz既不是、将来大概也不会成为任何成员的收入来源。制作这张专辑的资金全来自我们自己的私囊，因此我们无需向任何人妥协，只需听从我们自己的想法，或许再采纳制作人的一些中肯建议 ;)。聆听这张专辑时，你可以确信，你听到的正是我们想要呈现的一切。
Right now, we have zero commercial pressure to do anything. Emergenz is and will probably never be a source of income for any of the members. The money that went into the production came from our own private pockets, so there is no need to compromise with anyone but ourselves and maybe some good advice from our producer ;). When listening through the album you can be sure to listen to whatever we wanted to manifest.
V: 你们觉得真正优秀的旋律黑死 riff，最重要的核心是什么？
In your opinion, what is the most important element of a truly great melodic black/death metal riff?
E: 对我来说，最重要的元素是情感导向。一段出色的旋律性黑金属/死亡金属即兴段落，不应仅仅听起来沉重或技术性强。它需要引领听众走向某个方向。它应当承载着冷峻、张力、动感以及某种戏剧性的分量。旋律固然重要，但不应显得过于甜腻或花哨。它必须穿透那种沉重感，赋予即兴段落独特的个性。当这一切奏效时，乐段便不再仅仅是一串音符。它化作一种感受，理想情况下，在歌词尚未响起之前，它就已经讲述了故事的一部分。在"Becoming None"中，我最喜欢能体现这一点的部分是"Cycles"。在一段较为混乱的段落之后——吉他演奏极具节奏感，人声在鼓点伴奏下与吉他形成某种反差——张力最终释放为纯粹的旋律性嘶吼。与此同时，主奏吉他接过旋律，再次将人声与吉他融为一体，并将故事推向更远——远离衰败，朝向春日复苏的意象。这也契合我们对Emergenz的理解：不同部分之间的互动，创造出了超越各元素之和的宏大整体。
For me, the most important element is emotional direction. A great melodic black/death metal riff should not only sound heavy or technical. It needs to lead somewhere. It should carry coldness, tension, movement and a certain dramatic weight. The melody is important, but it should not feel too sweet or decorative. It has to cut through the heaviness and give the riff its character. When this works, the riff becomes more than just a sequence of notes. It becomes a feeling, and ideally it already tells part of the story before any lyrics begin. My favorite part where this can be heard on becoming none is in Cycles. After a more chaotic section, where the guitars play very rhythmically and the vocals move somewhat against the guitars alongside the drums, the tension is released into a pure melodic scream. At the same time, the lead guitar takes up the melody, unifying vocals and guitars again, and carries the story further, away from decay and towards the idea of returning life in spring. This also fits the way we understand Emergenz, where the interaction between the different parts creates something larger than the individual elements.
V: 你们在录音时，更倾向于保留 Lo-fi “真实粗粝感”，还是追求现代极端金属那种精准、巨大、清晰的声音墙？
During recording, do you prefer to preserve a lo-fi and raw atmosphere, or pursue the huge, precise, and clear sound wall of modern extreme metal production?
E: 我们确实更倾向于现代制作那种更干净、更精准的声音。在这样的速度下，制作必须具备一定的水准，才能如我们所愿地传达音乐。如果一切都变得过于浑浊，吉他段落、旋律以及鼓声中的细节很容易就会被淹没。不过，我也必须说，我们尽量避免做得过火。becoming none 的音乐不应听起来生硬或做作。这张专辑依然需要氛围感、分量感以及某种人性化的情感。对我们而言，清晰度并非氛围感的对立面。它实际上能增强氛围感，因为听众能够清晰地追踪歌曲中的结构、旋律线条以及变化。我认为"Athenaeum of Sin"的乐评对此描述得相当到位。他们写道，这张专辑拥有明亮且掌控得当的母带处理，更注重清晰度而非朦胧感，我认为这与我们的初衷非常接近。制作应当在密集的音墙中创造出空间感。它不应将音乐藏于迷雾之后，但也绝不该剥离其中的情感张力。简而言之，我们倾向于现代而清晰的制作，但前提是它必须服务于音乐本身。我们不会为了粗粝而追求粗粝，也不会为了完美而追求精准。我们的目标是让那份侵略性、那些旋律，以及"Becoming None"背后的故事，能被尽可能直接地感知。
We definitely lean more towards a cleaner and more precise sound of modern production. At these speeds, a certain quality in the production is needed to convey the music as intended. If everything becomes too muddy, the riffs, the melodies and the details in the drums can easily get lost. However, I must also say that we try not to overdo this. becoming none should not sound sterile or artificial. The album still needs atmosphere, weight and a certain human feeling. For us, clarity is not the opposite of atmosphere. It can actually help the atmosphere, because the listener can follow the structures, the melodic lines and the changes within the songs. I think the Athenaeum of Sin review described this quite well. They wrote about the album as having a bright and controlled master that favours articulation over haze, and I think this is close to what we wanted. The production should create space inside the density. It should not hide the music behind fog, but also not remove the emotional strain from it. So the short answer is that we prefer a modern and clear production, but only as long as it serves the music. We do not chase rawness for the sake of rawness, and we do not chase precision for the sake of sounding perfect. The goal is that the aggression, the melodies and the story behind becoming none can be felt as directly as possible.
V: 你们会先从旋律开始写歌，还是先从节奏、鼓或氛围概念出发？
Do your songs usually begin with melodies, or do they start from rhythms, drums, or atmospheric concepts?
E: 在"Becoming None"这张专辑中，其实风格各异。像"Overgrown"和"Gnarled"这样的歌曲开头节奏感很强；也有像"Stillness"和"Overgrown"这样以旋律和人声开场的歌曲。请记住这张专辑的创作过程。音乐本身早已存在。根据每首歌曲所营造的概念与氛围，我们的主唱将它们编排到了专辑中的相应位置。影响这一编排的其他因素还包括：每首歌曲的结尾方式、后续曲目的衔接、贯穿各曲目的故事脉络，以及主角如何随着歌曲的更迭在不同状态间转换。
In becoming none there is actually a mixed bag. We have songs like Overgrown and Gnarled that begin quite rhythmically. We have songs that begin with melodies and vocals like Stillness and Overgrown. Remember how this album was created. The music already existed. Depending on the concept and the atmosphere each song created, our vocalist assembled the songs into their respective position into the album. Aspects that also influenced this were how each songs ends, what comes after, what is the story bridging the songs, or how the protagonist transitions from one state to another from song to song.
V: 在你们看来，极端金属最不可被妥协的东西是什么？
In your view, what is the one thing extreme metal should never compromise?
E: 我无法对此给出过于笼统的回答，而且我绝不是什么“守门人”。只要音乐人热爱自己的事业，并创作出了他们发自内心认可的音乐、歌词和艺术作品，我认为就不应该有任何人为的标准来限制他们的音乐。话虽如此，有一点我是绝不妥协的。任何形式的极端主义，尤其是音乐中的法西斯主义和种族主义，都应当被点名批评并予以唾弃，因为它们本质上就是污秽之物。
I cannot answer this too broadly, and I am certainly not a gatekeeper of any kind. As long as musicians love what they do and create music, lyrics and art they can honestly stand behind, I do not think there should be any artificial criterion limiting their music. That being said, there is one thing I would not compromise on. Any kind of extremism, especially fascism and racism in music, should be called out and shunned for the dirt it is.
V: 很多人把黑金属视为一种反社会姿态，但也有人认为它是一种高度个人化的精神艺术。你们更认同哪一种？
Some people see black metal as an anti-social stance, while others view it as a deeply personal spiritual art form. Which perspective do you relate to more?
E: 我更认同第二种观点。我理解为什么黑金属会被视为反社会的，因为它往往拒绝安逸、简单的答案和光鲜的外表。但对我来说，这种拒绝并非重点。我更将黑金属视为一种极其个人化、有时甚至带有灵性色彩的艺术形式。这里的“灵性”未必指宗教意义上的，而是指它触及了那些难以用其他方式解释的事物。有限性、恐惧、孤独、自然、记忆、愤怒与接纳。对我而言，这些并非社会姿态，而是极具人性深度的命题。当然，这种音乐中也存在着距离感。它无需向所有人敞开大门。但这种距离感却能创造出一个空间，让人得以进行诚实的反思。就Emergenz以及“归于虚无”而言，重点不在于对抗社会。它更多是关于远离喧嚣，走进森林，直面当地位、自我与纷扰失去意义时所剩下的东西。因此，我不会将我们对黑金属的理解描述为反社会的。我更愿意将其描述为内省的。它是个人化的、存在主义的，并与我们试图营造的氛围紧密相连。
I relate much more to the second perspective. I understand why black metal can be seen as anti-social, because it often rejects comfort, easy answers and polished surfaces. But for me, this rejection is not the main point. I see black metal more as a deeply personal and sometimes spiritual form of art. Not necessarily spiritual in a religious sense, but in the sense that it deals with things that are hard to explain otherwise. Finitude, fear, solitude, nature, memory, anger and acceptance. These are not social poses for me. They are very human questions. Of course, there is also distance in this music. It does not need to invite everyone in. But this distance can create a space where honest reflection becomes possible. In the case of Emergenz and becoming none, the focus is not on being against society. It is more about stepping away from noise, entering the forest, and confronting what remains when status, ego and distraction lose their meaning. So I would not describe our understanding of black metal as anti-social. I would rather describe it as inward-facing. It is personal, existential and connected to the atmosphere we try to create.
V: 如果必须用一句话定义 Emergenz 的核心精神，你们会怎么说？
If you had to define the core spirit of Emergenz in one sentence, what would it be?
E: Emergenz的核心精神，尤其是在“归于虚无”的语境下，在于创作既能传递冷峻、厚重与情感，又能反思生命、记忆、自我怀疑与无常的旋律性黑金属/死亡金属。
The core spirit of Emergenz, especially in the context of becoming none, is to create melodic Black/Death Metal that carries coldness, heaviness and emotion while reflecting on life, memory, self-doubt and transience.
V: 最后，为了让更多中国地下金属乐迷了解你们，请向他们说几句话。
Finally, please say a few words to Chinese underground metal fans so more people can discover your music.
E: 感谢您抽出时间阅读这次访谈。我们仍是一支来自法兰克尼亚的小乐队，因此当世界各地的人们发现我们的音乐时，这对我们意义重大。如果您喜欢那种冷峻、旋律性强且厚重的黑/死亡金属并且乐于探索背后深厚的概念内涵，我们诚邀您完整聆听专辑"Becoming None"。请细读歌词，欣赏封面艺术，跟随音乐从第一首歌到最后一首歌，踏上一段穿越森林的旅程。最便捷的方式是通过我们的Bandcamp页面：
Thank you for taking the time to read this interview. We are still a small band from Franconia, so it means a lot when people from other parts of the world discover our music.
If you are into cold, melodic and heavy Black/Death Metal with a strong concept behind it, we invite you to listen to becoming none as a full album. Read the lyrics, look at the artwork and follow the journey through the forest from the first song to the last. This can easiest be done via our bandcamp page
We are grateful for everyone who gives underground music their time and attention. If our music reaches even a few people in the Chinese underground metal scene, this already means a lot to us. Feel free to reach out and share your thoughts. (band.emergenz@gmail.com)
Emergenz乐队主要作品：
Emergenz - Becoming None（2026）
Emergenz乐队官方Bandcamp网站：https://emergenz.bandcamp.com/album/becoming-none
Emergenz乐队官方Instagram网站：https://www.instagram.com/emergenzofficial/
Emergenz乐队官方YouTube网站：https://www.youtube.com/@EMERGENZofficial
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