3 days ago25 min read

苏美尔神话中的恶魔 - 意大利Brutal Death Metal乐队Devangelic专访

今天采访到的是来自意大利的Brutal Death Metal乐队Devangelic，成立于2012年的Devangelic乐队，今年也是他们成立12周年，作为一支意大利老牌乐队，他们的每一张专辑都深受很多国家的歌迷喜欢，同时也受到了很多乐评人的高度好评，最初乐队的创始人Mario参与的乐队Coprophiliac在美国巡演，前贝斯手David和Mario想组建一支受到Disgorge，Condemned这类乐队影响的乐队，于是Devangelic乐队诞生了，组建不久之后乐队在2014年发行的“Resurrection Denied”这张专辑的确展现出他们深受Disgorge和Condemned乐队的影响，随后乐队在2017 - 2023年发行了三张正式专辑，每一张专辑都深受Brutal Death Metal歌迷们的欢迎，复杂的编曲，令人兴奋的旋律，充满了力量，歌手的演唱也是非常精彩的部分，鼓手精准和快速的打击，给所有人留下了很深的印象，在新专辑“Xul”发行之际，乐队的创始人Mario与杂志取得联系进行了一次专访！

（V: 代表笔者 M: 代表Mario）

采访对象：Mario（Devangelic乐队吉他手）

采访时间：2024.11.21

V: 嗨兄弟很高兴见到你，非常感谢你参加这次采访，我想这是你们第一次接受中国杂志的采访，首先向你们在中国的粉丝们问好，Devangelic是一支经典的意大利老牌乐队，你们是在2012年成立的，是谁建议成立这个乐队的？

Hello brother nice to meet you and thank you very much for participating in this interview, I think this is the first time you guys have been interviewed by a Chinese magazine, first of all say hello to your fans in China, Devangelic is a classic Italian veteran band, you guys were formed in 2012, who was the one who suggested to form this band?

M: 你好！非常感谢你邀请我参加这次采访并让我在中国不断发展的音乐场景中介绍我的乐队Devangelic！在2012年9月当我们从美国巡演回来时，我们和我们的前贝斯手David一起组建了一支新的Brutal Death Metal乐队。我们想创造一些残酷的东西，这在当时对罗马城来说有点不寻常。在我们城市里Hour Of Penance已经存在了几年，但在风格上他们已经更加精致了，我们想创造一些真正残酷的东西，受到Disgorge、Condemned的影响，至少我们的前两张专辑（Resurrection Denied和Phlegethon）充分反映了这种愿望。经过长时间的搜索，我们的前贝斯手David提出了这个名字Devangelic，我必须说我一听到声音就喜欢它，它太完美了；它既残酷又富有哲理，与乐队的概念（过去和现在）非常吻合。我喜欢单音节的乐队名称，因为它们简单易记。谈到真正的含义，可以说这个名字来自两个词“天使”和“毁灭”的结合。也许人们不知道“毁灭”这个词的真正含义，哈哈！无论如何我认为专辑一张接一张，在歌曲创作上的进步越来越成熟，直到"Xul"，我们认为这是我们最好的专辑。

Hi there! Thank you so much for having me for this interview and for let me introduce my band Devangelic in the growing Chinese scene! The idea of forming a new brutal death metal band came together with our former bassist David, when we were touring the USA with our other old brutal/grind project Coprophiliac. When we came back from the tour, around September 2012 we started writing the first 2 songs which then became our first promo released in November of the same year. We wanted to create something brutal, a bit unusual at the time for the city of Rome. In our city Hour Of Penance had already existed for several years, but stylistically they were already more refined, we wanted to create something truly brutal with Disgorge, Condemned influences and let's say that at least our first 2 albums (Resurrection Denied and Phlegethon) fully reflect that desire. After a long search our former bassist, David, proposed the name Devangelic and I must say that I loved it as soon I’ve heard the sound, is simply perfect; is brutal and philosophical at the same time and goes very well with the concept of the band (past and present). I love single band names as they are simple and easier to remember. Talking about the real meaning I can say that the name comes from the union of two terms “Angelic” and “Devastation”. Probably people didn’t know about the real meaning of the word Devangelic ahah! Anyway I think that album after album the progression on the songwriting has definitely been more and more mature up to Xul, which we think is our best album.

V: 吉他手Mario和主唱Paolo是乐队目前唯一的第一代成员，其他两位成员已经被替换，第一代成员为什么退出乐队？新成员是如何加入乐队的，你们对新成员的表现满意吗？

Guitarist Mario and singer Paolo are the only first generation members of the band now, the other two members have been replaced, why did the first generation members quit the band? How did the new members join the band and are you happy with what the new members are doing?

M: 可以说Alessandro（前鼓手）和David（前贝斯手）的决定并不简单，但他们的选择主要是出于个人和工作的原因，因此是完全值得赞赏的选择。无论如何两人都为Devangelic今天的成就做出了贡献，因此我们将永远感谢他们多年来在乐队中表现出的承诺和专业精神。贝斯手Alessio首先是我们的老朋友；他在我们2016年参加印尼Hellprint Day Festival的现场演出中为我们提供了帮助，随后于2019年正式加入乐队。当Alessandro（前鼓手）于2015年离开乐队时，经过一些试镜，我们选择了Marco（实际鼓手）因为我们觉得他非常适合接替鼓手的空缺位置，9年后他仍然在乐队中。

Let's say that the decision was not simple for both Alessandro (former drummer) and David (former bassist), but they were choices linked mainly for personal and work reasons, therefore totally appreciable choices. In any case, both contributed to making Devangelic what they are today, so we will always be grateful to them for the commitment and professionalism they have shown over the years of permanence in the band. Alessio, the actual bass player, is a long time friend first; he helped us live during our live appearence at Indonesian Hellprint Day Festival in 2016, then joined officially the band in 2019. When Alessandro (former drummer) left the band in 2015, after some auditions we choose Marco (the actual drummer) because we felt he was perfect to replace the vacant place behind the drums and after 9 years he's still in the band.

V: 你们乐队的每个成员都是创Death Metal的资深音乐家，能分享一下你们的创作经验吗？我相信你们的创作经验会激励更多的年轻音乐家。

Each member of your band is an experienced musician in creating death metal, can you share a little bit about your creative experience。

M: 谢谢您的赞誉！是的，我们乐队的每一位成员都有着独特的经历和影响，这些经历和影响塑造了我们的声音和Death Metal的演奏方式。作为一个集体我们花了多年时间磨练我们的技艺--现场表演、在录音室里实验、从各种金属次流派甚至金属以外的元素中汲取灵感。对我们来说创造力往往源于突破界限，同时保持Death Metal所特有的原始、内敛的能量。我们的一些成员从当地的地下场景起步，在小场地演出与观众的联系是直接而强烈的。其他成员则拥有不同音乐风格的背景，这有助于我们在作品中融入不同的节奏和质感。我们的歌曲创作过程是一个相互协作的过程--有时从一个粗犷的旋律、激烈的鼓点，甚至是一个抒情概念开始，然后演变成更宏大的东西。我们一直在学习，无论是尝试新的设备，与其他艺术家合作，还是从音乐史中寻找灵感。我们希望年轻的音乐家们能明白，创造力的茁壮成长离不开坚持、实验和拥抱自己声音的意愿。不要害怕挑战自己、犯错，不断探索自己对音乐的热情。

I'm sure your creative experience will inspire more young musicians. Thank you for your kind words! Yes each member of our band brings a unique set of experiences and influences to the table, which has shaped our sound and approach to death metal. Collectively, we've spent years honing our craft—performing live, experimenting in the studio, and drawing inspiration from a wide range of metal subgenres and even elements outside of metal. For us, creativity often stems from pushing boundaries while staying true to the raw, visceral energy that defines death metal. Some of our members started out in local underground scenes, playing in small venues where the connection with the audience was immediate and electrifying. Others have backgrounds in different styles of music, which has helped us incorporate diverse rhythms and textures into our work. Our songwriting process is a collaborative effort—sometimes it starts with a crushing riff, an intense drum pattern, or even a lyrical concept that evolves into something larger. We’re always learning, whether it’s through experimenting with new gear, collaborating with other artists, or diving into music history for inspiration. What we’d love for young musicians to take away is that creativity thrives on persistence, experimentation, and a willingness to embrace your own voice. Don’t be afraid to push yourself, make mistakes, and keep exploring your passion for music.

V: 们乐队的每张专辑在录制效果上都很出色，你们是在哪个录音棚录制专辑的？哪位制作人制作了你们的专辑？

Each of your band's albums has been exceptional in terms of recording results, what studio did you record the albums in? Which producer produced your albums?

M: Xul的制作无疑是我们所有唱片中最好的。至于鼓声部分的录制，我们委托给了我们都认识的Davide Billia工作室。Davide不仅是我们的朋友，还是一位出色的音乐家，他的能力不仅体现在鼓手方面。找他录制鼓声的想法当然会对我们的声音和整个创作过程产生影响。他就如何安排鼓的某些部分给了我们很多很好的建议，为乐队的节奏动态带来了新的视角并凭借他在录音室的经验，就人声和声以及乐队的整体声音提出了新的想法。在Mk2工作室与他一起工作非常有用和有趣。在最后的制作、混音和母带处理方面，我们再次回到了Stefano Morabito / 16th Cellar Studio。Stefano是我们的保证，我们在以前的专辑中合作过很多次，但在Xul的专辑中，我认为他超越了自己。在进入他的工作室之前，我们进行了一次初步会面，我们一起聆听了前期制作并就最终制作的方向交换了意见和建议。这个过程非常自然，也很有建设性。

Xul's production is undoubtedly the best in our entire discography. As regards the recording of the drum parts, we entrusted ourselves to Davide Billia's studio, who we all know. Davide, in addition to being a friend, is an excellent musician considering his ability not only as a drummer. The idea of turning to him for drum recordings certainly came to have an evolution of our sound and the overall creative process. He gave us many great suggestions on how to arrange some drum parts, brought a new perspective on the band's rhythmic dynamics, and contributed fresh ideas regarding vocal harmonies and the overall sound of the band thanks to his experience in the recording studio. It was very useful and interesting to work with him at Mk2 Studio. For the final production, mixing and mastering we returned once again to Stefano Morabito / 16th Cellar Studio. Well Stefano is a guarantee, we worked together many times on our previous albums, but with Xul I think he surpassed himself. We had a preliminary meeting before entering his studio, we listened to the pre-productions together and exchanged ideas and suggestions on which path we wanted to take for the final production. The process was very natural and constructive.

V: 苏美尔神话、死亡、恶魔学是你们乐队音乐的一些主题，你们为什么选择这些主题？你们想通过这些主题听到什么？你们还创作了歌词部分，是谁写的歌词？

Sumerian mythology, Death, Demonology are some of the themes of your band's music, why did you choose them? What do you want to hear through these themes? You also write the lyrics, who writes the lyrics and what inspires them?

M: 从我上学起，苏美尔和美索不达米亚神话就对我产生了重大影响。我拥有几本关于古代文明的魔法和恶魔学的书，苏美尔人一直吸引着我的好奇心，因为对我来说，苏美尔人一直是一个神秘的文明，充满魅力，同时也非常险恶，尤其是在魔法、葬礼仪式、驱魔、恶魔学方面。我认为这是一个自然的进步。此外混合古代历史元素，将这些主题融入专辑中，可以是一种探索古代文化并与之建立联系的方式，也可以是一种表达对过去的敬畏和崇敬之情的方式或者仅仅是一种创作残酷、史诗般的、令人回味的音乐的方式。每张专辑都有自己的主题和概念。对于XUL而言，主要概念基于人类的二元性；与内心恶魔的持续斗争，被理解为邪恶往往战胜善良。事实上，考虑到影响一些欧洲国家的许多悲惨事件，这一概念似乎比以往任何时候都更加现代。在查找一些有趣的读物时，我发现“Xul”这个名字原本是苏美尔语中用来表示“邪恶”的词，于是我开始考虑在新专辑的概念中使用这个名字/主题。我在官方新闻稿中写道：“这张专辑的主要概念基本上是一个自省的旅程，在这个旅程中，人类自从出现在地球上，就被迫面对自己内心的恶魔；邪恶被视为”黑暗"和人类二元性的代表，人类试图驱除自己的负面情绪。但是历史告诉我们在与人类弱点的斗争中，负面情绪几乎总是占上风。你可以从这张专辑的歌声中听出这种“二元性”的一部分，所有歌曲都有两种唱法，就像善与恶的对话。

Sumerian and Mesopotamian mythology has had a significant impact on me since I was in school. I own several books on magic and demonology of ancient civilizations and the Sumerians have always attracted my curiosity because for me it has always been a mysterious civilization, full of charm and also very sinister, especially with regards to magic, funeral rites, exorcisms, demonology so after the After the release of Phlegethon I felt like I wanted to change direction and find our musical and lyrical identity using this very beautiful and brutal concept. I think it was a natural progression. Furthermore, mixing elements of ancient history, incorporating those themes into an album, can be a way to explore and connect with ancient cultures, express a sense of awe and reverence for the past, or simply to create brutal, epic, evocative music. I write most of the lyrics and every album have his own topic and concept. For XUL the main concept is based on the duality of the human being; this continuous struggle with one's internal demons understood as evil that very often prevails over good. Actually this concept seems to be more modern than ever considering so many sad events that are affecting some European countries. Looking around for some interesting readings I’ve discovered that the name"Xul” was originally a Sumerian word used to denote the "Evil" and I’ve started to think about to use this name/topic on the new album's concept. How I wrote on the official press release the main concept is basically an introspective journey in which the human being, since his appearance on Earth, is forced to face his own inner demons; evil seen as a representation of the "darkness" and the duality of man, who tries to exorcise his own negative emotions. But, as history teaches us, the negative almost always prevails in a battle against human weakness. You can listen in part of this “duality” mainly on the vocals of the album, there are 2 kinds of vocal patters on all the songs, like a conversation between good and evil.

V: 你们乐队的Logo设计得非常漂亮，是谁为你们设计的Logo，你们的专辑封面也设计得非常漂亮，尤其是2023年的新专辑艺术品非常漂亮，是谁为你们设计的专辑封面？

Your band's logo is very beautifully designed, who designed the logo for you, and your album artwork is also very beautifully designed, especially the new 2023 album artwork is very nice, who designed the album artwork for you?

M: 很明显每种音乐类型都有一个关于Logo、封面等的标准。显然我们在做出选择之前无法控制所有的乐队。我们立刻就想要一个Zig的Logo，因为我认为它很好地代表了Devangelic的风格。至于我们专辑的封面，如你所见前两张专辑我们与日本艺术家Toshiro Egawa设计了“Resurrection Denied”和美国艺术家Ken Sarafin设计了“Phlegethon”，在“Xul”的艺术创作方面，我们再次与伟大的新西兰艺术家Nick Keller合作，就像我们在上一张专辑“Ersetu”中所做的那样。他完美地捕捉到了我们想要的概念并将我们的想法变成了一幅杰出的艺术作品。你可以看到巨大的恶魔抱着一个人形，这表明人类无法克服自己的弱点，他们内心的恶魔将永远战胜他们。为了完成这幅作品，我们一起想办法，通过电子邮件交流了很多，还互相发送了一些描述古代恶魔的视频，这个过程很酷，因为专辑的主题不是那么容易复制的。主要的巨型恶魔灵感来自美索不达米亚神话中的神灵Humbaba。Humbaba是引起地震的神灵，长着龙的牙齿，内脏做成的面孔令人生厌。非常残忍！

Clearly there is a standard in every musical genre as regards logos, artwork and so on. Obviously we can't control all the bands before making a choice. We immediately wanted a Zig logo because I think it represents the Devangelic style well. As for the covers of our albums as you can see so far for the first 2 albums we have worked with the Japanese artist Toshiro Egawa (for Resurrection Denied) and US artist Ken Sarafin (for Phlegethon). For Xul artwork we've worked once again with the great New Zealand artist Nick Keller as we did with our previous album Ersetu. He captured perfectly the concept we wanted and brought our ideas to life in an outstanding piece of artwork. You can see the giant demon holding a human figure, indicating that human beings can't overcome their weaknesses; their inner demons will always prevail over them. For this artwork we worked together to put out ideas, talking a lot via email, sending some videos to each other where some ancient demons were described, and this process was cool because the topic of the album was not so easy to replicate. The main giant demon is inspired by a Mesopotamian mythological divinity named Humbaba, the one who causes earthquakes and is represented with dragon's teeth and a repulsive face made of entrails. VERY BRUTAL!

V: 你与Stillborn Sounds、Comatose Music、Willowtip Records等唱片公司合作发行过专辑，这些都是很棒的唱片公司，你是如何与这些唱片公司取得联系并进行合作的？你对他们的工作满意吗？

You've released albums with labels like Stillborn Sounds, Comatose Music, Willowtip Records - all great labels, how did you get in touch with these labels to collaborate? Were you happy with their work?

M: 你提到的所有厂牌都很有吸引力，我们对单曲的表现非常满意。说到更多细节，我可以说当我们在2012年发布第一张Promo时，我们只寄了很少几张Demo，因为对我们感兴趣的厂牌屈指可数。其中包括Comatose Music和Willowtip。我们之所以一开始就选择Comatose Music，原因很简单Comatose Music的老板Steve首先回应了我们的请求。我们与他建立了良好的合作关系，因此我们选择继续与他合作发行第二张专辑“Phlegethon”这绝非偶然。两张专辑的推广和处理都非常出色，但要知道第三张专辑通常是乐队的转折点，是高中生专辑，因此从推广的角度来看，必须有更大的推动力，而我们在Willowtip找到了这一点。我们向Steve解释了我们的动机，他本人也鼓励我们继续我们的决定并祝愿我们一切顺利。他是一个杰出的人，也是一位优秀的音乐家，因此尽管我们选择了不同的道路，但我们仍将继续支持他，建立牢固的信任关系是不可避免的。Wllowtip Records是发行影响我们专辑（如Defeated Sanity、Ulcerate、Wormed和Putridity）的发源地，事实上我们非常高兴和自豪能成为这个令人难以置信且不断壮大的唱片公司的一员。印尼唱片公司Stillborn Sounds在“Resurrection Deniel”发行几个月后联系了我，询问我们是否愿意发行限量100张限量版磁带。我们与他们和Comatose Music达成了很好的协议，就这样。印刷质量很好；他们还负责了所有的排版工作。我们的乐迷和收藏者应该会为这一发行感到高兴，这将成为他们收藏Devangelic的又一小玩意儿。磁带版至今仍在使用，特别是用于旧式和黑色金属音乐。我不太喜欢收藏磁带，但自己的CD也有磁带版本这很有趣。他还为我们印制了EP专辑“Deprecating The Scriptures”。这张EP最初是Devangelic和另一支乐队的Spilt，但第二支乐队拒绝制作Spilt，因此唱片公司 Stillborn Sounds决定印制一张Devangelic独家EP，其中包括2012年的Promo曲目和一两首新歌。当时（2015 年 8 月/9 月）我们的鼓手Alex离开了乐队，所以我们还没准备好录制新歌，因为我们需要先找到新鼓手，所以我们决定放两首现场曲目，以免耽误唱片公司的最后期限；就是这样。尽管如此“Deprecating The Scriptures”还是很快售罄。我知道人们想听EP中的新歌，因此我们决定录制这张新的Promo；首先是与新鼓手Marco一起发行新歌，其次是尝试家庭录音（为即将发行的专辑做测试）最后是用全新的曲目让乐迷们开心。

All the label you mentonied are sick and we are very happy of the single treatments. Going more into details I can say that when we released our first promo in 2012, we sent very few demos around as the labels that interested us were counted on the fingertips. These include Comatose Music and Willowtip. The reason we opted for Comatose Music at the begging, is simply, Steve (owner of the comatose) answered our request first. An excellent collaborative relationship was established with him and it is no coincidence that we chose to continue with him also for the second album Phlegethon. The promotion was excellent and the treatment excellent for both releases but you know, the third album is usually a turning point for a band, it is the high school album, so also from a promotional point of view it is important to have a greater boost and we found this in Willowtip. We explained the motivation to Steve who himself encouraged us to continue on our decision by wishing us all the best. He is an exceptional person and an excellent musician so it is inevitable to have a strong relationship of trust although we have chosen a different path, we will continue to support him anyway. Wllowtip Records is and was home of some of our most influential albums like Defeated Sanity, Ulcerate, Wormed, Putridity and actually we are very happy and proud to be part of this incredible and growing roster. Indonesian label Stillborn Sounds contacted me, some months later the release of Resurrection Deniel, asking if we wanted to release a Tape version of the CD limited to 100 copies. We got a good deal with them and Comatose Music and that’s it. The quality of the printing is good; they also took care of all the layout. Our fans and collectors should be happy about this release, another little goodie in their own Devangelic collection. Tape version is still used today expecially for Old School and Black Metal stuff. I’m not so much into Tape collection but is funny to have also a tape version of your own cd. He printed for us also our EP "Deprecating The Scriptures". The EP was conceived initially as a split CD between Devangelic and another band; the second band denied to make the split so the label Stillborn Sounds, decide to print an exclusive Devangelic EP with the promo 2012 tracks and 1 or 2 new songs. At the time (August/September 2015) our drummer Alex left the band so we weren’t ready to record new songs because we needed to find first a new drummer so we decided to put 2 live tracks to not delay the label deadline; that’s it. Despite all “Deprecating The Scriptures” went sold out very fast. I know that the people wanted to listen something new with that EP so for this reason we decided to record this new Promo; first to release something new with Marco (the new drummer), second to try an home recording (testing this for the upcoming album) and yes to make happy our fans with a completely new track.

V: 首先祝贺你们的新专辑“Xul”于2023年发行。吉他上的每一个细节都彰显了他们的传统以及Malevolent Creation、Vital Remains和Sinister等乐队在他们那个时代所创造的Death Metal。绝对是大师级的作品！在上述乐队的影响下，Devangelic找到了制作自己独特声音的方法，同时又不失许多人对他们的期待。鼓声虽然有时听起来有些机械，但却相当流畅。制作相当厚实，低音的制作和混音也相当出色。歌手的歌声听起来像是Cannibal Corpse、Immolation 等乐队的混合体。你对自己的作品有什么看法吗？

First of all, congratulations on the release of your new album ‘Xul’ in 2023. Every detail on the guitars highlights their heritage and the death metal that bands like Malevolent Creation, Vital Remains and Sinister created in their time. Absolutely masterful! With influences from the aforementioned bands, Devangelic have found a way to craft their own unique sound without losing the edge that many have come to expect from this y'all. The drums, while sounding a bit mechanical at times, are quite smooth. The production is quite thick and the bass is produced and mixed quite well. The singer's vocals sound like a mix of bands like Cannibal Corpse, Immolation, and others. Do you have any thoughts on your work?

我个人认为，从作曲的角度来看，我们在一张又一张的专辑中取得了很大的进步。再次聆听 “Resurrection Denied”并将其与新专辑“Xul”进行比较，在我看来两者之间的差异和质量是显而易见的。我们并不想因此而否认我们的过去，但我们都觉得有必要在精神上和音乐上不断发展，找到新的创作灵感并在录音室和现场演奏歌曲时获得更多乐趣。我相信我们永远不会停止音乐上的成长或学习新的东西，因此我们还有很长的路要走，但我认为第四张专辑为我们继续沿着这条创作路线前进奠定了良好的基础。与前三张专辑相比，Xul的歌曲创作无疑是最成熟的，我们对最终产品的质量非常满意。最初只有一段插曲是由Massimiliano Cirelli专门创作的，然后我在其中加入了采样和氛围部分，使其更加丰富，后来听了完整的预制品后，我觉得还缺少一些东西，于是我选择加入“Famine”，其中我使用了一些采样，我偏离了创作的方向，创作了一段特别的器乐曲，当然是晦涩难懂的，我们肯定也会在现场使用，我认为这只是我们下一场音乐会的开场白。插入两段短小的器乐插曲，给整张专辑一些喘息的空间，这个想法也得到了我们唱片公司的赞赏。“Xul”无疑是我们最好、最成熟的专辑，比之前的专辑更上一层楼。我在2020年3月左右开始创作歌曲初稿，当时我们的上一张专辑“Ersetu”尚未发行。我非常清楚新专辑的目标和方向。音乐、歌词和各种编曲之间的写作过程大约持续了几年，一切都进行得非常顺利和自然。写一首歌取决于多个因素，你可以有很多想法，几天就能写好一首歌，也可以花几个月的时间写好一首歌。Xul的创作过程是完全自然的，我发现尝试新的作曲方案非常有趣，还可以使用大气采样和各种民族乐器采样来丰富歌曲。作为Devangelic的主要作曲家，我告诉你，我一直都很清楚地聆听尼罗河的音乐，是的，《Xul》明显受到了Nile的影响，但我认为其中也有很多Devangelic的风格，毕竟这是我的作曲方式与过去相比，我确实简化了作品中的许多东西；我试图创作的不是连续旋律的歌曲，而是有自己特色的歌曲，我认为初衷是非常成功的。我对自己创作的东西总是很挑剔，尤其是在听我们发行的作品时，但这次我可以告诉你，无论是歌曲还是制作，我都不会做任何改变。

Personally I think that album after album we have improved a lot from a compositional point of view. Listening to "Resurrection Denied" again and comparing it with the new "Xul", the difference and quality is evident, there is a comparison in my opinion. With this we don't want to deny our past, but we all felt the need to evolve mentally and musically also to find new compositional stimuli and also have more fun playing the songs both in the studio and live. I believe that we never stop growing musically or learning new things, so there is still a long way to go, but with this fourth release I think there are excellent foundations for continuing along this compositional line. Xul's songwriting is definitely the most mature compared to the previous 3 albums and we are really satisfied with the quality of the final product. Initially there was only one musical interlude, a piece specially written by Massimiliano Cirelli to which I then added samples and atmospheric parts to enrich it, then listening to the complete pre-productions I felt that something was still missing so I opted to add "Famine" in which I used several samples, I deviated in composing a particular instrumental piece, certainly obscure that we will certainly also use live, I think just as a real intro to our next concerts. The idea of inserting 2 short instrumental interludes to give the entire album some breathing space was a choice that was also appreciated by our label. Xul is surely our best and most mature release of our discography, a great step up from the previous releases. I started to compose the first drafts of the songs around March 2020 when our previous album Ersetu was not released yet. I had very clear what I wanted with the new album and where to go. The writing process lasted about a couple of years between music, lyrics and various arrangements, everything went very smoothly and natural. To write a song depends on several factors, you can have ideas all together that allow you to have a song written in a few days or it can even last a few months to have a song ready. The Xul’s writing process was completely natural, I found it very fun to experiment with new compositional solutions also using atmospheric samples and using various samples of ethnic instruments to enrich the songs. Being the main composer in Devangelic I tell you that I have always listened to Nile clearly, yes there are evident influences in Xul, but I think there is also a lot of Devangelic style, after all it is my way of composing. I have certainly simplified many things in the pieces compared to the past; I tried to create not songs with a successions of riffs, but songs with their own identity and I think the initial intention was very successful. I'm always very critical of what I write and especially when I listen to our releases, but this time I can tell you that I wouldn't change anything either on the songs or on the production.

V: 你参加过很多音乐节，哪些音乐节给你留下了深刻印象，你能描述一下音乐节的氛围吗？2024年你还会受邀参加哪些音乐节，2025年有什么新的演出计划吗？如果有一天中国主办方邀请你来中国为中国歌迷演出，你是否愿意为我们演出？

You've been to a lot of festivals, what festivals have impressed you and can you describe the atmosphere, what other festivals have you been invited to in 2024, and are there any new shows planned for 2025? Would you be willing to perform regularly for us if one day Chinese organisers invite you to come to China to perform for Chinese fans?

M: 对我来说每一场演出都是独一无二的，我们在过去的演出中留下了美好的回忆。我们过去几乎所有的演出和巡演都是在意大利以外的地方，这看起来很奇怪，也很荒唐，但这是事实，哈哈。到目前为止最让我们兴奋的经历是长途跋涉到印尼万隆为Dying Fetus助演Hellprint Day。在成千上万人面前的巨大舞台上演出简直太疯狂了，我们还在德国的PartySan Open Air演出过，那里也很疯狂，是欧洲主要的极限音乐节之一。关于巡演我们的巡演次数不多，但我记得我们在2014年与Antropofagus和Bloodtruth一起进行的第一次欧洲巡演，那次巡演非常有趣，因为我们都是参加同一次巡演的朋友。2024年我们的演出不多，因为我们更换了演出经纪公司，我们正在与他们合作，争取在2025年举办一场更激烈的演出。我们今年最好的演出可能是罗马尼亚的Bucharest Deathfest。那是我们Devangelic第一次在罗马尼亚演出，从整个组织到乐队都非常棒。艾尔俱乐部是我在欧洲演出过的最好的地方，我对那场音乐会记忆犹新。事实上我们已经确定了2025年在欧洲的演出计划，将在未来几个月内公布！我们很想去亚洲巡演，去中国演出，我看到那里的音乐氛围越来越好，这非常棒。对于一支地下乐队来说，由于距离遥远、各国之间的联系不便，要计划和安排整个巡演并不容易，但我们希望将来能在中国演出，我们完全支持！

Every show is unique for me and we had great memories from all we did in the past. Almost all of our past shows and tours were outside Italy, it seems strange and absurd but it is true haha, in Italy we played very few and limited events, but good ones. The most exciting experience till now for us is the long trip to Indonesia to play the Hellprint Day in Bandung supporting Dying Fetus. It was insane to playing that huge stage in front of thousands people. We've played also in Germany at PartySan Open Air and there also was insane, one of major extreme festival in Europe. About the tour, we had few of them but I remember our first European tour back in 2014 with Antropofagus and Bloodtruth, it was extremely funny also because we were all friends on the same tour. In 2024 we had few shows, not much just because we changed booking agency and we are working with them for a more intense 2025. Probably the best show we had this year it was Bucharest Deathfest in Romania. It was our first time for Devangelic playing in that Country and it was simply amazing, from the whole organization to the bands. Al the club has been the best place which I’ve played in Europe, I have great memories of the concert. Actually we have some confirmations for 2025 in Europe, will announce them in next months! We would love to tour Asia and play in China, I see a growing scene out there and this is very cool. Is not easy for an underground band to plan and fix a whole tour for the distances, connections between the various Countries but hopefully we’ll be able to play in China in future, we are totally in for that!

V: 2024年即将过去，今年你们乐队有什么新的工作要进行吗？2025年有没有什么新的计划，有没有发行新专辑的计划，能向大家透露一些信心吗？

As 2024 draws to a close, what new work is on the horizon for your band in this year and is there anything new planned for 2025, are there any plans to release a new album, can you reveal some confidence to the crowd?

M: 我们的计划肯定是继续在网上推广新专辑“Xul”，另外我们实际上有两张专辑要推广，我们有不同的情况要处理。2023年至2024年期间，我们在南美、意大利和欧洲的一些很酷的音乐节上进行了演出，反响非常好。现在我们正在与我们的演出经纪公司（K2 Music Management）合作，为明年的演出安排一个完整的日程表。我们已经有了一些有趣的提议并确认了2025年的计划。目前我们还在努力创作新曲调，但希望在集中精力制作新专辑之前，继续进行现场演出和推广活动。

The plan is definitely to continue the online promotion of the new album Xul, also having practically two albums to promote we have different situations in the works. We had gigs in South America, Italy and some cool festivals in Europe between 2023 and 2024 and the reaction been very good, now we are working with our booking agency (K2 Music Management) to bring a full schedule for the next year. We already have some interesting proposals and confirmations for 2025. At the moment we are also working at the new tunes but want to keep playing live ad keep the promotion before to focuse the energies on a new album.

V: 你们是一支非常经典、优秀的乐队，我是你们的忠实粉丝，事实上我从2012年的Demo时期就开始关注你们的乐队，现在仍然是你们的忠实粉丝，我会一直支持和关注你们的乐队，也希望有更多的中国乐迷关注和支持你们的乐队，希望不久的将来能在中国见到你们，让我们好好聊聊。最后你有什么想对中国粉丝说的吗？

You guys are a very classic, excellent band, I am a big fan of yours, in fact, I have been following your band since the demo period in 2012, and I am still a big fan of yours, I will always support and pay attention to your band, and I hope that more Chinese fans will pay attention to and support your band, and I hope that I will see you in the near future in China, and we will be able to meet you there! I hope to see you in China in the near future so we can have a good chat. Do you have anything you want to say to your Chinese fans at the end?

M: 非常感谢你接受我的采访，我真的很感激！对于所有的中国歌迷和朋友，请继续关注和支持我们的乐队，通过Willowtip Records购买我们的最新专辑“Xul”！希望在不久的将来，我们能在亚洲和你们的国家进行巡演。敬请期待！

Thank you so much for your words and for having me for this interview, I really appreciate!

For all the Chinese fans and friends keep following and supporting the band buying our newest record "Xul” through Willowtip Records! Hopefully we'll be able to tour Asia and your Country in the near future. Stay brutal!