Interview by Trevor Proctor in conversation with nāḥāš .
Aparthiva Raktadhara first came to our attention in 2018 with the exceptional Agyat Ishvar EP which was released on 7" vinyl and digital formats by Iron Bonehead Productions, with a cassette edition released by Darkness Attack Records in July the following year.
This was Aparthiva Raktadhara's debut release which was so impressive it was placed at number four in my Top 25 EP listing for that year.
The band's debut album, 'Adyapeeth Maranasamhita' (আদ্যাপীঠ মরণসংহিতা) has just been released by Iron Bonehead Productions and nāḥāš and I had many conversations about an interview for quite a long time so it's an honour for us both to finally reveal this exclusive interview with a band at the heart of the Kalikshetra underground.
I would also like to take this opportunity to thank nāḥāš for giving me this opportunity and also for all his help with this over the past few months.
Hi it’s great for us to finally catch up as we’ve been talking about this interview for a very long time now and also, most importantly, thank you for agreeing to conduct this interview with me, it’s an honour and very much appreciated by myself. For those reading who may not have heard much about Aparthiva Raktadhara could you please give us a little information about the band regarding its formation etc.?
nāḥāš: Hails! Aparthiva Raktadhara was founded in 2017, even though the conceptualization process started as early as in 2015 in my mind. In summer of 2017, I contacted Takshak (whom I knew personally and was aware of his penchant for violent riffing) and asked him to take on the guitar duties of the band. He was intrigued by the concept and musical direction involved and agreed to join forces with me. So we went ahead and recruited V. Hydra (a common ally) to handle the drums.
With the line up finally being complete, the band began writing the music and rehearsing them rigorously. Later that year, Agyat Ishvar was finally recorded by ourselves and we immediately thought of getting in touch with Iron Bonehead Productions. They are, after all, one of the best underground labels, up and running for more than two decades, with an intimidating roster. Once I contacted IBP, PK wrote back to me expressing his readiness to support the band and the release and that's how Agyat Ishvar came into being.
Your debut release was the fantastic Agyat Ishvar EP which was released in July 2018, a very impressive debut that I gave 10/10 when I reviewed it as well as placing it at number four in my Top 25 EP listing for that year – how happy was the band with the final recording, were you pleased with the reception it received and how impressed were you with the final product as released by Iron Bonehead Productions?
nāḥāš: Yes, we were thoroughly pleased with the final masters and we thought we were able to bring forth the wickedness of 'Kolkata sound' without sounding identical to any other bands of the Inner Order. Be it the songwriting or overall tonality, we believed Agyat Ishvar held on to its own.
Regarding the responses, we were surprised mostly as we didn't know what to expect from the widespread listeners considering we didn't quite fit into the styles that are popular these days such as dissonant, swampy or even the cavernous ones. Our approach was innately isolated and idiosyncratic in my opinion. However it was fascinating how the EP was received by maniacs even though the overall response was extremely polarizing (which, in my opinion is ideal for any extreme metal release).
Yes, of course, I do remember your review as well as the year-end list. And I must say it seemed greatly rewarding for new entrants like us and of course it was a massive compliment in itself to be featured alongside some of our favorite bands whom we personally look up to as fans. Thank you once again.
In my opinion Kalikshetra (Kolkata) has firmly established itself as the most important area for extreme underground music of recent years – in my opinion no area has ever had such an important role to play in the underground and it’s creation of underground music – do you agree with this?
nāḥāš: Much gratitude, Trevor! It indeed is a massive compliment in itself but it would be inappropriate of me to say that. But yes, in present time it would be extremely difficult for anyone to outrightly deny the strong presence of Asian bands in the metal underground. Be it South Asian hordes of Kolkata and our brethren in Sri Lanka or South East Asian desecrators of Siam, Malaysia, Philippines or Singapore and of course very elusive (and formidable) Japanese/Korean scene.
So yes, I would put it as a collective (and calculative) emergence of Asian subterranean warzones as a whole which is being rightfully recognised and it is absolutely gratifying for us, in Kolkata, to be able to contribute more deliration to this unholy upsurge.
Tetragrammacide, Jyotiṣavedāṅga, Kapala and Brahmastrika are just a few of many bands originating from the city - what do you feel has led to the city having such a productive output and are there many links and ties between the bands?
nāḥāš: I would postulate it as a total dissidence against the general Kolkata (and Indian) metal scene which is nothing but a hideous cesspool with all sorts of degeneration imaginable. All these bands, you did mention, have therefore denounced the general South Asian underground and chosen to create their dark spells under the banner of Kolkata Inner Order which can be reckoned as an inevitable resistance against all inferiority and impurities peddled by the our festering scene and it's verminous fans.
Your debut album, Adyapeeth Maranasamhita (আদ্যাপীঠ মরণসংহিতা) has just been released by Iron Bonehead Productions, how does it feel to finally have the LP released and how satisfied is the band with the appearance, quality etc. of the various formats as released by Iron Bonehead?
nāḥāš: We are absolutely contented by the way PK had planned Adyapeeth Maranasamhita.
His eye for every detail and aspects of this release are truly impeccable, be it the various musical formats or merchandises. The quality that has been delivered here is truly incredible. We cannot thank him enough for giving our debut record it's due treatment that we had always hoped for.
There was a period of around four years since the release of your debut EP and Adyapeeth Maranasamhita. Obviously the global pandemic contributed in part to this lengthy period but were there any additional factors that led to this four year wait?
nāḥāš: Yes Trevor, Covid19 situations wreaked havoc in here and you can possibly imagine the severity a pandemic like this can precipitate in a densely populated country like ours.
For the band, it surely had contributed a myriad of obstructions to our schedule and impeded the overall progress.
Beside the Covid related hindrances, another major contribution for this delay came from the vinyl plant with their absurd wait-list. But I strongly believe that perseverance is a trait one must possess in this particular sphere of obscure arts and craftsmanship. It's been very difficult to say the least but the experience of it had taught us to be more astute and resourceful to deal with situations similar.
Since your debut EP I’ve been very excited about your next release - how content are you as a band with the finished results and what lyrical themes are explored on the album, and could you tell us about the writing process – does each band member contribute equally when it comes to writing tracks?
nāḥāš: Adyapeeth Maranasamhita was an outcome of countless hours of solitary contemplation and inward thinking.
Like Agyat Ishvar, it's also expressed itself in tongues of apophatic mysticism. The album artwork, if looked at conscientiously, can be understood as a homage to the emblem of the Theosophical Society but in a further reformative manner, under the spiritual tenets of Kalikshetra Raktachakra.
The lyricism that can be explored on this record is a repercussion of pure theological and philosophical syncretism.
Generally, the Aparthiva Raktadhara song writing process would commence with the formation of the key concept and a frail skeleton of lyrics that I would write and send it to Takshak (with the necessary commentaries that he needs to understand) and upon absorbing the spirit and intent thoroughly, and if needed, having a discussion with me on the nuances of the deliverances involved, Takshak would begin crafting the guitar and bass structures and send me, so I could present my assessment, and if needed, suggest if any changes are required.
When we both are contented with the guitars compositions, we would take it to our practice space with V. Hydra joining us to finalize upon the drum-lines.
Once that as well is achieved, I would record the instrumental demo version of the song and begin to meditate upon it until words start appearing effortlessly to me so I could proceed with the lyrics and vocal compositions. Once vocals are all written, we start rehearsing the songs and while we rehearse them, we sometimes add a thing or two or deduct to fine-tune the compositions to our liking.
I was wondering if you could share the meaning of the album’s title 'Adyapeeth Maranasamhita' with us and perhaps shed some lights on some of the song titles?
nāḥāš: Yes. Adyapeeth Maranasamhita is an 'Anthology of Hymns' (Samhita) reverently transmitted as the perpetual decree of 'Death' (Marana) reverberating itself from the spacetimeless 'Pedestal' (Peeth) of the 'Primal One' (Adya).
The opening track, 'Noumenal Wings Of Uncreation Hover Over The Excrement Of Shunyata", for example, mysticises on the ontological relationship between the states - 'Shunya' (emptiness) and 'Purna' (fullness), whereas the closing track "Nada Of Creation Collapses On Primal Bindu" emphasizes on attaining a state of mind (desired by all Kalikshetra Raktachakra adepts) in which thoughts would cease to exist hence all of these phenomena or simply put, this Samsara involuntarily dissolves itself into the tranquil waters of Meon.
The sound on Adyapeeth Maranasamhita benefits from enhanced production when compared to Agyat Ishvar – you have managed to create a clearer and cleaner sound without losing any of the band’s raw and destructive potency. Do you agree with this and what contributed to this enhanced sound?
nāḥāš: Agyat Ishvar was a demo hence the sound was kept as untamed as possible. I am heavily influenced by demos like Divuus De Mortuus (Necrovore), On the Eve of War (Dolmen), Faces of Death (Terminal Death), Damnation Pride (Obscurity) or the Nuclear Death demos so you can say those influences might have pulled the strings from the back of my mind in developing the sound that can be explored on the Agyat Ishvar 7" EP.
On the other hand, Adyapeeth Maranasamhita, being our debut album, demanded a sharper and more pummeling soundscape but without losing any of traces of intimidation, hostility and the oppressive nature that a death metal record should inherit. Our style, which is heavily speed-induced needed a proper treatment with the mixing and mastering as it's unbelievably challenging to maintain the both of these - velocity and a general clarity. So a great deal of attention had to be paid in both our recording and mixing/mastering sessions but the outcome was highly successful in our opinion.
This is you second Aparthiva Raktadhara release by Iron Bonehead Productions, will this relationship continue with future Aparthiva Raktadhara releases and have you started writing any new material?
nāḥāš: Definitely yes. Iron Bonehead Productions is the perfect label for us. No questions about it!
Yes, we have already started contemplating on many ideas, slowly but steadily. Meditations and solitary hours are needed for us to have an access of a glimpse of what is incoming and then only we can answer the Call.
Which three bands do you feel have influenced Aparthiva Raktadhara the most, and do all the members have similar tastes in music?
nāḥāš: I would say early Morbid Angel along with Blasphemy and Angelcorpse. I also believe that Necrovore and Possessed had a strong influences on us as well. Of course there are more bands (and albums). We are more influenced by great albums, in general, than bands.
Yes, musically we are definitely compatible and that's why we were able to continue as an unit. But then, there are enough subtle differences in musical preferences which often work in our favor and allow us to have more than one dimensional perspective.
If you were able to share a stage with any three bands, past or present, which bands would you select and why?
nāḥāš: 1. Morbid Angel
(Be it with Browning or Sandoval, Morbid Angel to us, is always synonymous with Death Metal)
(Will there ever be an act that is more demented, intimidating and provocative than Sadistik Exekution?)
3. Revenge
(Revenge is always supreme!)
As I stated at the start of this interview Kolkata is at present the most important area for underground music - what up-coming Kolkata bands would you recommend us to follow?
nāḥāš: I am certain you are already familiar with these names such as Banish, Nirriti, Dushkriti, Vadhakarmadhikarin, Dakini and Naramedha.
And if you are asking me about any upcoming band from Kolkata, I recently had the privilege to listen to the demo of Kolkata black metal horde - অভ্যন্তর (Obhyantar) and I found it to be extremely primitive, bleak and hallucinatory. Surely another punishing horde from the depths of Kolkata hell to watch out for in 2022.
Are there any plans in place for Aparthiva Raktadhara to perform live and if so how will the anonymity of members will be preserved?
nāḥāš: Live performance is always secondary for us. Writing and recording is and will always be the first priority. We have performed live once and we would agree to play live again if we can trust the promoter enough.
Kolkata bands all seem to have a degree of secrecy when it comes to membership etc., what is the reason for this and is censorship prevalent in your country?
nāḥāš: None of us here are mightier than the arts. Therefore our arts must be acknowledged as our true identities.
The censorship is ever-growing in India. Our economy is at the very edge of a collapse and the political/religious temperament is perfectly volatile as well. A feasible backdrop for this terroristic audio-visual outlaw movement is at our disposal!
Kolkata bands also have strong ties to the label War Vellum in recent years, a label I feel is currently very important to our underground, can you tell me much about this relationship, how it began and in what ways can you see this relationship continuing?
nāḥāš: War Vellum certainly is one of the best labels/distros dealing with bestial music, operating at this moment. And yes, there has been a strong camaraderie brewing between War Vellum and Kolkata Inner Order since the label was started in 2020. DNE was exposed to Kolkata (Inner Order) circle during Tsalal's 10"split with Tetragrammacide (Released via Iron Bonehead Productions) and immediately was intrigued by the bands and overall savage tonality of this scene. A connoisseur of relentless violence that DNE is, established an immediate contacts with the bands, made them generous offers and in a quick succession, released a string of tape releases that already have made a severe impact in the underground and I predict (and hope) this alliance is not to end anytime soon.
What were your favourite releases from 2021 and which up-coming releases are you looking forward to this year?
nāḥāš: Antediluvian maintained their reputation as an invincible death metal force with 'The Divine Punishment'. Archgoat's 'Worship the Eternal Darkness', Tsalal's 'Incarnation of Evil', Baxaxaxa 'Catacomb Cult' sounded sublime to my ears, as well and even though Nyogthaeblisz's 'Abrahamic Godhead Besieged by Adversarial Usurpation' was released in 2019/2020, I probably have listened to it more number of times than any albums that were released last year and for a reason.
I'm looking forward to new Perdition Temple, SS-18 and Abhomine and of course Kolkata BM releases that are to come out in 2022.
Black/Death Metal has enjoyed a massive resurgence in recent years, do you feel this is a good thing for the sub-genre and do you feel it will have the same audience in 5 years’ time?
nāḥāš: I thoroughly enjoyed the Y2K DM resurgence that had spawn forth such ruthless acts such as Kaamos, Dead Congregation, Karnarium, Necrovation, Teitanblood, Diocletian, Necros Christos, Warfire, Tribulation, Maveth, Repugnant or Degial. However the situations slowly turned timid as time passed by. 99% of the death metal bands that were born in last few years hardly possessed any bona fide diabolical aura about themselves nor do they sound as harsh as they should. Beside the likes of Beyond/Omegavortex, Abyssous, Nexul, Irkallian Oracle or Musmahhu, I fail to remember too many genuine death metal bands that can generate an instant awe and command respect.
If you ask me, in today's scenario I would predict a decrease in fanbase (in numbers) of all genuinely uncompromising black and death metal bands in coming five years of time but this, in turn, might lead to ensure a drastic increment in the overall quality and restore the general atmosphere and prolificacy of the underground.
With this rise in popularity in extreme music attempted censorship has been prevalent throughout the underground in recent years – what are your thoughts on censorship and those who try to dictate what we can and can’t listen to?
nāḥāš: Let me put it this way. Man inherited his uncontrolled desire to control all of his surroundings and this desire slowly turned into a lunacy and in turn, would engulf him one day. All his efforts, which is nothing but a house of cards, will go astray. In the passage ways of time, his footprints will be blurred and eternally forgotten.
Censorship is futile. Truth, no matter how despicable, loathsome, detestable or grotesque it may seem, must be acknowledged, confronted and not concealed, suppressed, denied, as it is an integral part of the sole reality that we live in and that itself makes it irreplaceable ontologically.
nāḥāš, you have my eternal appreciation and support for taking the time to answer my questions; it’s great to get some in-depth information about Aparthiva Raktadhara. Could you please give us some closing comments?
nāḥāš: Trevor, it's been a real pleasure! Let me thank you once again for your interest in Aparthiva Raktadhara and our debut album - Adyapeeth Maranasamhita.
Darkest regards to The Lair of Filth community and the readers!
I would like to end with interview with the motto professed in Adyapeeth Maranasamhita LP and it says:
|| সত্য সর্ব ধৰ্মাতিত এবং তাহা সর্বদা অনির্বচনীয় ও পারমার্থিকরূপে শূন্য ||
There is no Religion higher than The Truth which is NOT.
ॐ मणि पद्मे हुम्
Jaya Kalikshetra!
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