苍老的死去 - 芬兰Doom Metal乐队Majestas Regia专访

来自芬兰的Majestas Regia由三位深耕芬兰金属界数十年的资深乐手组成，从2018年便开启创作，历经整整八年沉淀，直至2026年才正式以Majestas Regia之名亮相，并推出首张EP。乐队创作内核深深扎根于八九十年代地下金属磁带交换文化，创作思路以拆解、重构复古地下经典连复段为核心，将传统Doom基底，融合Black Metal围与慢速Death Metal，打磨出独属于自身的音色。

（V: 代表笔者 I: 代表Ilmari M: 代表Mika W: 代表Markus）

Hailing from Finland, Majestas Regia is composed of three veteran musicians who have been deeply involved in the Finnish metal scene for decades. They began writing music in 2018, and after a full eight years of refinement, they finally made their official debut under the name Majestas Regia in 2026, releasing their first EP. The band’s creative core is deeply rooted in the underground metal cassette-swapping culture of the ’80s and ’90s. Their approach centers on deconstructing and reconstructing classic retro underground riffs, blending a traditional doom metal foundation with elements of black metal and slow death metal to craft a sound uniquely their own.

(V: Author | I: Ilmari)

采访对象：Ilmari / Mika / Markus（Majestas Regia乐队全体成员）

采访时间：2026.07.27

V: 乐队名Majestas Regia带有拉丁语词根，这个名字是八年磨合早期就确定，还是筹备EP阶段才敲定？这个名称有什么含义吗？

The band name Majestas Regia derives from Latin roots. Was this name decided on in the early days of your 8 years of jamming together, or finalized only during the production phase of your debut EP? What meaning does this title hold for you?

I: 我们之所以选择这个名字，是因为其他我们考虑过的名字似乎已被使用。“Majestas regia”意为“皇家威仪”或“皇家宏伟”，该短语由拉丁语单词majestas（威仪、宏伟、尊严）和regia（皇家）组合而成。这一术语唤起了与国王或国家相关的至高无上的权力、尊严和宏伟，涵盖了其主权与辉煌。虽然我们目前还没有以“威严”为主题的作品，但姑且可以说，此刻森林就是我们的“王国”。

We chose that name because other names we thought were already in use. "Majestas regia" means "royal majesty" or "royal greatness," a phrase combining the Latin words majestas (majesty, greatness, dignity) and regia (royal). The term evokes the supreme power, dignity, and grandeur associated with a king or state, encompassing its sovereignty and splendor. We don’t have majestic themes so far, but let’s say at the moment the forest is our “kingdom”.

V: 你们三人从2018年就开始长期合奏创作，却时隔整整八年，直到2026年才以Majestas Regia的名义正式发行作品对外亮相。长达数年的沉淀期里，乐队一直在打磨编曲、音色还是整体创作思路？这些年的创作灵感主要来自哪里？

The three of you have been writing and jamming together since 2018, yet you did not officially debut and release music under the name Majestas Regia until 2026, an eight-year gap. During this long period of refinement, what exactly were you polishing—song structures, tonal textures, or your overall creative vision? Where did you draw the majority of your creative inspiration over these years?

I: 我们主要演奏翻唱歌曲。比如Bethlehem、Paradise Lost、Candlemass、Cathedral、Metallica、AC/DC、Iron Maiden、Slayer……你知道的：凡是我们能想到的曲目。2020年至2022年间我们曾有过一段“短暂”的休整期，这让我们进度放缓了一些；而且起初我们有4个人……但其中一人不得不离开……于是就剩下3个人了。不过目前我们已经准备好了新歌，所以Majestas Regia的下一张专辑应该不会再让大家等太久了！我们也希望能在2026年或2027年举办首场演出（希望能有新贝斯手加入）！

We were mostly playing cover songs. Such as Bethlehem, Paradise Lost, Candlemass, Cathedral, Metallica, AC/DC, Iron Maiden, Slayer… you know: everything we could imagine. We had a “little” break between 2020-2022, so that slowed us a bit, also first we were 4… but one of us had to go… So then there was 3. Right now we have new songs ready though, so it shouldn’t take another forever with a new Majestas Regia-release! We’d like to play debut gig in 2026/2027 as well (hopefully with a new bass player)!

V: 三位成员都拥有数十年芬兰地下极端金属履历，曾共同效力Slugathor、Azazel、Witchtiger等多支本地经典地下乐队。在早年的金属乐创作中你们积累到了什么样的经验？有什么建议给年轻的金属乐手？

All three members carry decades of experience within Finland’s underground extreme metal circuit, having previously performed in iconic local cult acts including Slugathor, Azazel and Witchtiger. What key lessons and creative experience did you gain from your early years making metal music? Do you have any advice for young up-and-coming metal musicians today?

I: 其实你提到的那些乐队，都是我的乐队，在音乐风格上与Majestas Regia没什么关系。不过，过去当然或多或少会影响我们。那些吉他手都比我年长，早在1980年代就已经迷上金属音乐了。在我看来，这简直太棒了。

Actually those names that you mention, are all my bands, and don’t have musically much to do with Majestas Regia. Anyway, of course the past influences us one way or another. The guitarist guys are older than me, and were already into metal-music in the 1980’s. That is only great in my opinion.

M: 在Defection乐队开始乐队生涯，随后在90年代加入Mindgrind乐队，2000年代则效力于TIMB3R乐队。他既担任过吉他手兼主唱，也担任过贝斯手兼主唱。早期的音乐风格大致属于鞭击金属。他还曾组建过一支翻唱Misfits乐队的乐队。对米卡影响最大的乐队是Metallica、Slayer和Dio。如今，他的音乐灵感还包括Candlemass、Kiss、Black Sabbath、Cathedral以及一些慢速Death Metal。音乐根源深深植根于80年代和90年代。歌曲中的即兴段落源自那个时代，并被重新改编为厄运金属风格。

started playing in bands in the late 80s in Defection, then in the 90s in Mindgrind and in the 2000s in TIMB3R. He has been both a guitarist-vocalist and a bassist-vocalist. Music used to be more or less Thrash Metal. He also had a cover band of Misfits. The biggest influences of all time for Mika are Metallica, Slayer and Dio. Today, musical inspirations also include Candlemass, Kiss, Black Sabbath, Cathedral and some slow death metal. Music roots are deep in the 1980s/90s. The riffs in the songs are from that time and were retooled into Doom metal.

I: 他的音乐之旅始于80年代末。他的音乐品味广泛，涵盖了从70年代的重摇滚到极端黑金属，其中还包括大量80年代的鞭击金属和90年代的死亡金属。令人印象深刻的乐队名单，不胜枚举：W.A.S.P.、Iron Maiden、Mercyful Fate/King Diamond、Metallica、Nocturnus、Abigor、Paradise Lost、The Gathering、早期的Amorphis以及更多乐队都曾给Markus带来启发。他还为最后一首歌"Sealed Inside"演奏了键盘部分。这首歌的曲词均由Markus创作。

started his musical journey in the late 80's. His music taste varies from 1970's heavy rock to extreme black metal and also lots of 80's thrash and 90's death metal there. Name dropping doesn't，stop: W.A.S.P., Iron Maiden, Mercyful Fate/King Diamond, Metallica, Nocturnus, Abigor, Paradise Lost, The Gathering, old Amorphis and tons of more inspired Markus. He also played the keyboard parts for the last song, Sealed Inside. Sealed Inside’s music and lyrics were written by Markus.

W: Ilmari里大约在1991年至1993年间开始接触Rock/Metal音乐。那时他（我）还只是个孩子。小时候，他最早接触的乐器是钢琴和竖琴。1995年接触了鼓，并于1997至1999年间加入了第一支金属乐队。他最喜欢的乐队同样种类繁多，但不妨列举几支：Iron Maiden、Beherit、Black Sabbath、Master’s Hammer、早期的Rotting Christ、Korrozia Metalla、Aria、Absu、Autopsy、早期的Sepultura、Cianide、Slayer。其实实在太多，无法一一列举……又是这样！他还活跃于Azazel、Wakboth、Satanic Torment、Hostis Humani Generis等乐队，并曾是Old School Death Metal乐队Slugathor的成员！

Ilmari started to get into rock/metal music around 1991-1993. He (me) was just a kid back then. Started first musical instruments piano and the harp as a kid as well. Found drums in 1995, and joined first metal bands in 1997-1999. Favourite bands are again quite various, but let’s name drop: Iron Maiden, Beherit, Black Sabbath, Master’s Hammer, old Rotting Christ, Korrozia Metalla, Aria, Absu, Autopsy, old Sepultura, Cianide, Slayer. Actually there are too many to mention… again! He also plays in Azazel, Wakboth, Satanic Torment, Hostis Humani Generis and used to play in old school death metal band, Slugathor!

V: 过去你们频繁参演Finnish Death Metal Maniacs、Metal Warning这类芬兰老牌地下金属现场，早年线下磁带交换、小型地下演出的交流氛围，如何持续影响你们当下的创作审美？如今芬兰还有像当年一样的地下音乐场景吗？

You used to be regular performers at longstanding Finnish underground events such as Finnish Death Metal Maniacs and Metal Warning. How has the oldschool underground ecosystem centered on tapetrading and small intimate live shows continued to shape your current songwriting aesthetics? Does Finland still possess the same kind of grassroots underground metal scene that existed back then?

I: 那么，这就是我的问题。我组织音乐会大概已有25年了。这一切发展得比较缓慢。我组织的首次活动应该是一场小型森林演出——我是说，2001年在芬兰埃斯波的一片森林深处，当时有4支黑金属乐队登台演出。2002年，我在这里组织了Skyforger、Obtest和Bestial Mockery的演出；2003年是Gospel of The Horns、Razor of Occam和In Aeternum；2004年有Watain、Kaamos、Mortem、Nominon等乐队；而从2006年开始，我才真正开始认真策划，邀请了Nifelheim、Toxic Holocaust、Abigail（日本）、 Root、Manilla Road等众多乐队。 “芬兰死亡金属狂热者”音乐节的构想源于我和朋友参加丹麦Kill-Town Death Fest时，不知怎的我们萌生了“仅由芬兰死亡金属乐队演出”的想法。我们在这件事上运气奇佳，因为恰逢2015年，KTDF正计划停办，他们反而愿意协助推广“芬兰死亡金属狂热者”音乐节。当时许多KTDF的常客自然都想来芬兰，为Archgoat、Skepticism、Demilich、Purtenance、Necropsy、Rippikoulu、Stench of Decay、Krypts以及更多乐队助阵。那是一场为期三天的金属盛宴……！“芬兰死亡金属狂热者”音乐节共举办了六届。最后一届于2025年举行，由来自波兰的Imperator乐队为这场狂欢画上句号。今年，“芬兰重金属狂热者”活动正式启动，其初衷是打造一场融合重Heavy Metal, Speed Metal, Thrash和Doom等音乐风格的传统金属盛宴。其实关于“磁带交换”的时代，你应该去问问Markus或Mika，说实话，那时候我还太小，没怎么参与过。但当然，这种现象在20世纪80年代和90年代确实存在。也许我在90年代也稍微交换过一点音乐，但更多是本地范围内的，国外的笔友也只有寥寥数人。

So, this is my question. I have been arraging concerts more or less for 25 years. Things developed slowly. First ever event I organized must have been a little forest gig, I mean, in the middle of forest of Espoo, Finland in 2001 with 4 black metal bands playing. 2002 I’ve organized Skyforger, Obtest and Bestial Mockery here, 2003 Gospel of The Horns, Razor of Occam and In Aeternum, 2004 Watain, Kaamos, Mortem, Nominon and more, and maybe more seriously 2006 forwards cult bands like Nifelheim, Toxic Holocaust, Abigail (Jap), Root, Manilla Road, and many many more. The Finnish Death Metal Maniacs fest idea came when me and my friend visited Kill-Town Death Fest in Denmark, and somehow we got the idea of ONLY Finnish Death Metal bands playing. We had strange luck with this, as just for 2015 KTDF had been makind a deathnote, and they were ready to PROMOTE Finnish Death Metal Maniacs. Many regular visitors of KTDF then of course wanted to come to Finland for Archgoat, Skepticism, Demilich, Purtenance, Necropsy, Rippikoulu, Stench of Decay, Krypts and tons of more. It was a 3-days feast…! Finnish Death Metal Maniacs made 6 editions. Last edition was in 2025 with Imperator from Poland finishing the madness. This year Finnish Heavy Metal Maniacs started, and the idea was to make more trad metal feast with these musical styles: Heavy Metal, Speed Metal, Thrash and Doom. Actually you should ask Markus or Mika about the “tape-trading”-times, to be 100% honest, I was a bit too young for that thing. But of course it DID exist in the 1980’s and 1990’s. Maybe I also traded music just a little bit in the 1990’s, but it was more local and only a few pan-pals abroad.

V: 官方资料标注乐队创作完全根植80、90年代地下金属磁带交换文化。这种老式、纯粹、无数字化流量干扰的地下氛围，具体体现在你们如今的编曲逻辑、录制审美里哪些细节？

Your official promotional materials state your musical foundation is rooted in the underground tapetrading culture of the 1980s and 1990s. What specific details within your songwriting logic and recording aesthetics reflect that raw, oldschool underground environment that existed before digital streaming and online algorithms?

I: 这可真是个棘手的问题。说到底Mika和Markus只是创作他们觉得“对”的音乐，而我们特别想确保的一点就是绝不做模仿者！过去，乐队都有自己的独特风格和原创性。这也是我们通过Majestas Regia的音乐所追求的。也许你甚至无法把我们归入某个特定流派，而我们正为此感到欣喜！"Forest Consolation"的结尾部分受到了贝多芬"Moonlight Sonata"的启发。要知道，我们其实也有一些古典音乐的根基……

That is hell of a hard question. Basically Mika and Markus just write music they feel is RIGHT, and one thing we want to be sure about is not to be copy-cats! Back in the day bands had persona and originality. This is something we are aiming with Majestas Regia’s music. Maybe you can’t even put us to some one box, and we love it! The end of Forest Consolation was inspired by Beethoven’s Moonlight Sonata. We have even some classical roots, you know…

V: 乐队创作核心是“重构经典老式地下Riff”，对比现代精致制式化金属编曲，你们刻意保留了哪些磁带时代粗粝、原始的地下质感？

A core part of your creative process is reworking classic vintage underground riffs. Compared with the polished, formulaic songwriting of modern metal, what rough, unrefined raw textures from the tape trading era do you intentionally preserve in your music?

I: 我们录音的音质更多地取决于所使用的设备。虽然这不是一个真正意义上的专业录音棚，但我们拥有所需的一切。我们现场同时演奏了鼓和两把吉他，没有叠录或后期修正。之后只是在上面叠加了贝斯、更多的吉他、独奏和人声。除了前奏之外，几乎所有内容都是在同一天——1月25日（2026年）——录制的。整个过程大概持续了8到10个小时，但这真是高效的团队合作！你提到了“复古”这个词……你说得对！这是形容Majestas Regia再合适不过的词了。比起当今流行的音乐风格，我们更喜欢90年代初期甚至80年代的那种音色。当然，一切都要听听看。我们并不是指那种“洞穴噪音”般的音效，但没错……Majestas Regia确实是一支“复古”乐队。

The sound quality of our recording was more depended on the equipment we were recording with. This was not a real professional studio, but we had everything we needed. We played the drums and two guitars the same time live, no over-dubs or corrections. Then just added the bass, more guitar, solos and vocals on top of that. Pretty much everything except the intro were recorded in one single day, 25th of January (2026). Probably this lasted something like 8-10 hours, but it was effective team-work! You mentioned the word vintage.. you are right! It is a very fitting word to describe Majestas Regia. We like it more early 1990’s or even 1980’s sounding than what is available today. Of course everything must be heard. We don’t mean some cave- noise sound, but yeah… Majesta Regia is certainly a “vintage” band.

V: Majestas Regia的音乐作品很有辨识度，在两把吉他分层编配、双主唱人声演绎、Ilmari的鼓组律动设计上，你们具体使用了哪些演奏、录制手法塑造这种独属于乐队的氛围感？

Majestas Regia boasts a highly distinct sonic identity. What specific playing and recording techniques do you implement in your dual guitar layering, dual vocal delivery, and Ilmari’s drum arrangements to craft your signature atmospheric sound?

I: 这是现场录制的。用了两支SM57，两支马兰士电容麦克风，还有那支架在底鼓上的麦克风或者说，那其实是其中一支电容麦克风？

It is made LIVE. A couple of SM57s, a couple of Marantz condensers, and then that one mic on the kick drum—or was it actually one of those condensers?

M: 通过在同一间录音室中同步录制节奏吉他和鼓（现场录制），我们获得了自然的节奏感，而非机械般精准的节拍器音轨。吉他声被左右声道分轨处理，营造出宽广、充满整个空间的音效，突出了各个乐段和和声。老派鞭击金属和重型即兴段落被放慢速度，重新编排为延音悠长、压抑感十足的和弦。由于没有贝斯手，吉他手们在录制完吉他独奏和人声后，又补录了贝斯声部。通过启用三位不同风格的歌手，我们实现了从低沉压抑的背景咆哮到末日般的悲怆与绝望的动态变化。在副歌部分及强调段落中，人声采用了多层叠加处理。末日金属对鼓手的表现要求极高的克制力。歌曲演奏风格直截了当却极具重量感，为底鼓和军鼓留出了呼吸的空间。在缓慢的节奏中，镲片的回响与窒息感成为营造恰当氛围的关键。录音旨在呈现传统的模拟质感。我们刻意避免现代过度制作，以确保声音保留其有机质感，以及受80、90年代磁带交换文化启发的粗粝感与真实氛围。

By recording rhythm guitars and drums simultaneously in the same room (live) we achieve a natural tempo instead of a mechanically precise click track. Guitars were panned left and right, creating a wide, room-filling sound that emphasizes individual riffs and harmonies. Old school thrash and heavy riffs were slowed down and arranged into long-sustaining oppressive chords. As there was no bassist, the guitarists tracked the bass afterwards, as well as the guitar solos and vocals. Using three different vocalists we allowed dynamic variation from low oppressive background growling to doom misery and despair. Vocals were layered in the choruses and during emphatic parts. Doom metal demands restraint from the drummer. The songs are played straightforward but with extreme heaviness, giving the hits and snare room to breathe. In a slow tempo, the ringing and choking of the cymbals become essential in creating the right atmosphere. The recording aimed for a traditional analog feeling. Modern overproduction was avoided to ensure the sound retains its organic, 80s/90s tape-trading inspired grittiness and authentic vibe.

V: EP融合Black Sabbath、Candlemass传统厄运，叠加老式黑金属与慢速死亡金属元素，在创作单首歌曲时，你们如何平衡三种风格的比重，避免曲风割裂？

Your EP blends foundational traditional doom influences of Black Sabbath and Candlemass alongside oldschool black metal and slow death metal elements. When composing individual tracks, how do you balance these three distinct stylistic threads to prevent disjointed, jarring shifts within your songs?

I: 这对我们来说是再自然不过的了，因为我们受到了这些不同的影响。我们不是一支传统Doom Metal乐队，也不是一支Death/Doom Metal乐队，我们是Majestas Regia！这才叫个性！

It is natural to us, because we have these different influences. We are not a trad.doom band, we are not a death/doom band, we are Majestas Regia! That’s called personality!

V: EP封面设计简约，很贴合歌曲氛围，是谁设计了专辑封面？

The minimalist artwork of your EP cover perfectly matches the mood of your music. Who was responsible for designing this cover art?

I: 这位摄影师名叫Pasi Nurminen，他以“Northern Realm”为名在某网站上发布了自己的作品。那里有许多美丽的北极光照片、森林照片以及其他自然风光照片。你可以点击下面的链接查看（去网站看看吧！）。帕西是我90年代的老朋友，他也喜欢金属音乐。

https://northernrealm.myportfolio.com

Photographer’s name is Pasi Nurminen, and he has added his works under Northern Realm-name at a website. There are a lot of beautiful aurora borealis-pics, forest and other nature pics there. You can have a look at the link below (check the site!). Pasi is old friend from the 1990’s and also into metal-music.

https://northernrealm.myportfolio.com

V: 哪些乐队影响到了你们的歌曲创作？在日常生活中你们会聆听哪些乐队的歌曲？

Which bands have shaped and influenced your songwriting process? What artists do you regularly listen to in your daily lives?

I: 对于创作了我们已发行歌曲大部分的米卡来说，这些乐队非Metallica、Dio、Black Sabbath和Slayer莫属。米卡还喜欢Black Metal，Death Metal以及其他Doom Metal。Markus也是如此，但相比Mika，他的音乐品味可能更偏向地下风格。比如，就是Markus提议翻唱Bethehem的"The 11th Commandment"，我敢肯定这首歌是一颗被遗忘的瑰宝。他还向我们推荐了早期Anathema、The Gathering等乐队的作品。不过，出于种种原因，我们也很常即兴演奏像Metallica或AC/DC这样家喻户晓的曲目。原因就是……大家都知道这些歌嘛……哈哈

For Mika, who wrote most of our released songs this had to be Metallica, Dio, Black Sabbath and Slayer. Mika is also into black metal, death metal, and other doom metal. The same goes for Markus, but maybe the taste is a bit more underground compared to Mika. Markus for example came up with the idea of playing Bethehem’s “The 11^th Commandment” as a cover, and I’m quite sure that it is quite a forgotten jewel. He also suggested us old Anathema, The Gathering and stuff like that. Anyway for many reasons it is also very typical to us to jam something very very well known like Metallica or AC/DC. The reason is…Everybody knows those songs.. haha

V: 后续创作里，你们会继续加固传统厄运金属+黑金属+慢速死亡死亡金属融合风格，还是会尝试更多全新音色、曲风探索？

Looking ahead to future material, will you continue to double down on your signature fusion of traditional doom metal, old black metal and slow death metal, or do you plan to experiment with brand new tones and stylistic directions?

I: 是的，不过还有一些小调整。目前我们正在寻找一名贝斯手。位于芬兰赫尔辛基地区且自备贝斯吉他的贝斯手，请发邮件至：majestasregia@gmail.com

Yes, but also some small changes. Now we are looking for a BASS-PLAYER. Bass-players in Helsinki-area of Finland with own bass-guitars, write to:majestasregia@gmail.com 

V: 2026年正式出道、发布首张同名EP之后，乐队是否已经开启全新曲目创作，是否计划回归线下，参演芬兰本地地下金属音乐节、举办专场演出？

After officially debuting and releasing your selftitled debut EP in 2026, have you already begun writing new music? Do you have plans to return to the live circuit, playing sets at Finland’s underground metal festivals or hosting standalone headline shows?

I: 我们创作了一些新歌，其中一首或许兼具传统厄运金属、“迷幻金属”和泥浆金属的风格。我们还有一段极具“黑色安息日”风格的重型吉他即兴段落。我们没有长远的未来规划，喜欢不断前行。让我们拭目以待这会将我们带向何方。或许我们会抵达“黑暗之心”，而“女王陛下”将从地狱烈焰中崛起。我们的音乐层次相当丰富，所以录音时可能同时会有3到4把吉他，但这要视情况而定。如果是现场演出……当然就不同了，那时我们得把歌曲改编成双吉他加贝斯，或者仅用两把吉他（加上主唱和鼓）。走着瞧吧！

We have made some new songs, and one of them has maybe a little bit both trad. doom, “stoner” and sludge-wibe to it. We also have one heavy Black Sabbath-riff. We don’t have long time future plans, we like to keep moving. Let’s see where this shall take us. Perhaps we shall reach the heart of darkness, and Her Majesty will rise from the flames of hell.Our music has quite many layers, so perhaps at the same time there can be up to 3-4 guitars on a recording, but it depends. This would be different, if we’d play live… of course, so then we have to arrange our songs for 2 guitars and bass, or just for two guitars, (+vocals and drums). We’ll see! 

V: 你们的歌曲让我印象深刻，我会持续关注Majestas Regia！希望通过杂志能让世界各地的听众感受到你们歌曲的魅力。在采访的最后，你们有什么想对读者说的话吗？

Your music left a deep impression on me, and I will continue following Majestas Regia closely. Through this magazine feature, we hope to introduce your sound to listeners all across the globe. To wrap up this interview, is there anything you would like to share with our publication’s readers?

I: 谢谢！感谢你们对Majestas Regia进行的首次专访，也感谢你们的赞美之词。目前正值暑假，但2026年8月我们将重新开始排练，希望不久后能成为一支四人乐队（只要能找到贝斯手的话）。

Xièxie! Thank you for the FIRST ever Majestas Regia interview, and thank you for your flattering words. At the moment it’s summer holiday but in August 2026 we will go again rehearsing and hopefully we will be a four-piece soon (as long as will find the bass-player).

Majestas Regia乐队主要作品：

Majestas Regia - Demo MMXXVI（2026）

Majestas Regia乐队官方Bandcamp网站：https://majestasregia.bandcamp.com/album/majestas-regia-majestas-regia

Majestas Regia乐队官方Facebook网站：https://www.facebook.com/majestasregiadoom

Majestas Regia乐队官方YouTube网站：https://www.youtube.com/@MajestasRegia