NocturN, from Romania, has been part of the black metal scene for over two decades, with the members constantly refining their sound. On February 14, 2025, they performed at Quantic Club alongside Taake and Vokodlok, making it the perfect occasion to catch up with Dead Architect and fire some questions at him.
NocturN
© Oana Stoian [nairafee, on Instagram]
Dead Architect: Hello! It’s my pleasure to chat with you as well. Things have been going great! We have released our new album last year and we were able to promote it properly since then.
Glad to hear that! Before delving into your recent achievements, let’s take a step back and reflect. NocturN has been active for over two decades. Looking back, how do you see your journey from the early days of “The Embrace of Death” to where you stand now?
Dead Architect: It’s been quite a journey, and when I look back at it, there’s a sense of pride in how far we’ve come. “The Embrace of Death” was our first step into the world, full of passion and raw energy, but we were still figuring things out—finding our sound, learning how to navigate the industry, and building a fanbase.
Over the years, we’ve definitely evolved. Our sound has matured, and we’ve gotten more confident with our music and message. The challenges we’ve faced only helped shape us and made us stronger.
Indeed, the aforementioned demo, the first one, was a raw introduction to NocturN’s sound. What do you recall from those early recording sessions?
Dead Architect: I think it is the well-known story where you are able to get your hands on a guitar and with your home computer you are trying to shape your ideas into your first songs. The same was for us too. Even before having a computer, we would record our ideas on tapes.
We didn’t have access to the best music software and hardware but it was a good starting point.
“Death Scent”, released in 2006, marked your first full-length album. What was the vision behind it, and how do you feel it shaped NocturN’s identity?
Dead Architect: At that point it was a mix of musical genres but in a way that became something that we continued to do from that point on. We like to combine black metal elements with heavy rhythms. In terms of lyrics, it was the beginning of our story of the Architect. It really shaped what we would do later on.
The 2009 split “Hell Has No Gate, Yet Men Will Dig to Enter” has a very curious title. What was the inspiration behind this piece of work?
Dead Architect: Yes, the title it’s definitely one that stands out. The inspiration behind “Hell Has No Gate, Yet Men Will Dig to Enter” came from a place of reflection on the darker side of human nature and the idea that, often, we bring destruction upon ourselves without any external force needing to intervene.
How did the collaboration come about?
Dead Architect: I can’t remember exactly but I think Ciprian (ex-Kandaon, Church of Cthulhu) or Șerban (Man Among Stars, Sigismund) contacted us and proposed to do a release with four bands – NocturN/Man Among Stars/Kandaon/Sigismund. Each band would compose one song for this material.
It felt like the perfect fit for a split project, as it encapsulated the bleak and existential feeling the bands wanted to convey.
In 2010, you released the “Impending Damnation” EP. What stage of NocturN’s evolution does this EP represent?
Dead Architect: This EP it’s the first release on which we used acoustic drums and it was recorded in our rehearsal room. It sounded raw; it was poorly mixed but it was a new chapter for us.
It was also the time when we began to feel more comfortable in our own skin as a band, taking more risks and exploring new directions. We were able to move forward with our ideas and we got the chance to improve some of the recording elements used in the past.
“Act I: Thrones of Deception” from 2018 came after a long period of silence. What led to this return, and how did the album reflect that period of dormancy?
Dead Architect: We were ready to release the album earlier than 2018 but we had a long period of time with band members changes. Also, we had issues when we tried to record the album for the first time. So, all these added time to our dormancy. But in the end, we met the right people and the right studio and “Act I: Thrones of Deceptions” was recorded. I would say the album came out pretty raw and cold and in a way it reflects that period of time…
Considering how “Act I: Thrones of Deception” captured that raw and cold period, it’s intriguing to see what “Act II: The Conjuring” brings to the table. What does this album represent for NocturN?
Dead Architect: “Act II: The Conjuring” represents a significant step forward for NocturN and it brings together all the elements we’ve been exploring over the years—dark, atmospheric passages, intricate melodies, and heavy, punishing moments—while also incorporating new influences and ideas. It’s the sound of a band that’s confident, fully aware of its identity, and ready to push boundaries further.
Was there a particular concept or overarching theme that ties the album together?
Dead Architect: Yes, the story of the Architect that tries to invoke Malphas, the Prince of Hell. It is a story that we started on the previous album “Act I: Thrones of Deception” which depicts the first attempts of the Architect. These attempts are doomed to fail because of his lack of knowledge. In “Act II: The Conjuring”, the Architect succeeds and brings Malphas in his dimension. What Malphas doesn’t know is that the Architect has greater plans than to release him. The story will continue on our next album for which we already have some new ideas.
The song “The Conjuring” has a unique structure compared to the rest. What inspired its composition?
Dead Architect: Yes, the structure plays with the dynamic contrast between quiet, eerie moments and intense, explosive sections. The idea was to make the listeners feel like they were part of the process—gradually drawn in by the atmospheric, haunting intro, only to be hit by the more aggressive, forceful parts of the song as the “conjuring” reaches its peak.
The song is actually the first we wrote for the album and it presents the first dialogue between the Architect and Malphas. The dialogue is taking place in the Architect’s dream and it briefly presents what is about to happen on the whole album.
The composition was inspired by the idea of capturing the essence of an ancient, ritualistic process—something that builds slowly, almost hypnotically, before unleashing a sudden surge of energy.
Now that we were dissecting your discography, I must turn to other matters: some bands keep a strict rehearsal routine, while others prefer to let ideas develop naturally. How does NocturN function in this regard?
Dead Architect: That’s a great question! For NocturN, we fall somewhere in the middle of those two approaches. We definitely value the importance of rehearsals and structure, but we also understand the value of allowing ideas to develop organically. It’s a bit of a balancing act.
We do have regular rehearsals, especially when we’re working on new material or preparing for live shows. It’s crucial for tightening up our performances and ensuring that everything flows smoothly. But beyond that, we don’t always have a strict routine. Often, when we’re writing new music, it’s about feeling inspired in the moment. One of us might bring a riff, a melody, or even just an idea, and we’ll start building from there, experimenting with how it fits into the bigger picture.
Sometimes, we’ll go through periods of heavy collaboration, where everyone’s contributing ideas and pushing the sound in different directions. Other times, we’ll let ideas develop a bit more individually before coming together to refine them as a group. We try to stay open and fluid with our creative process, allowing the music to grow naturally.
Of course, there are times when we’ll hit a wall and need to step back. We trust that the best ideas will come when the time is right, and we don’t want to force anything.
After diving into NocturN’s creative process, let’s focus on something equally significant: the live experience. You’re back in Bucharest, performing at Quantic Club. What does it mean for you to return here?
Dead Architect: It’s great to be back. We love it here. Quantic Club is a great venue—intimate, yet with that electric atmosphere where everyone is right there with you. It’s not just about the performance; it’s about sharing that moment with the people who have supported us for so long.
Bucharest has always been one of those cities where we feel a strong connection with the audience—there’s such an intense energy when we play here. The crowd is passionate and engaged, and it really brings out the best in us as performers.
How do you feel about sharing the stage with Taake?
Dead Architect: It feels good to be part of this event. I saw Taake long back in Timișoara and felt nice to see them again. Sharing the stage with Taake is an incredible honor! They’re a legendary band in the black metal scene. Their energy and commitment to their craft are undeniable, and it’s inspiring to see how they’ve maintained their unique sound over the years.
Performing alongside them gives us an opportunity to connect with their fans, as well as our own, in a setting where two different styles of black metal can truly shine. There’s always something special about sharing the stage with bands that you admire because it’s a chance to learn from each other and see how different approaches to the genre can come together in a live setting.
Do you see any artistic parallels between NocturN and Taake in terms of themes or musical approach?
Dead Architect: Taake has that classic Norwegian sound and composition style while we like to combine different styles and elements to express our ideas. We have a theatrical way to express our music when it comes to stage props and clothes whereas for Taake, they like to be more straightforward.
While there are differences in our respective sounds and approaches, the underlying drive to explore the darker, more complex sides of life through music is something we share.
How do you feel about the Romanian black metal scene today compared to when you started?
Dead Architect: The Romanian black metal scene has definitely evolved a lot since we first started. Back in the early days, the scene was more underground. It felt like a hidden gem, and there was this sense of discovery when you found a new band or album. You really had to dig deep to find new music, but the passion was undeniable, and the fans were incredibly dedicated.
Today, the scene has expanded, and there’s a lot more visibility for Romanian black metal both locally and internationally. The internet and social media have made it easier for bands to reach wider audiences, which has been a double-edged sword. On one hand, there’s more exposure, which is great for the bands and the scene as a whole, but on the other hand, it’s become more saturated. The challenge is standing out and staying true to what makes Romanian black metal unique while also evolving with the times.
One of the things that has remained consistent, though, is the strong sense of community. There’s still that raw energy in the Romanian scene, and the fans are as passionate as ever. The newer bands coming up have brought fresh ideas, blending traditional black metal with new influences, which keeps the scene vibrant and exciting. It’s great to see younger bands pushing boundaries while also respecting the roots of the genre.
With “Act II: The Conjuring” now released, apart from some more gigs, one of them in Serbia in a few days, what else is on the horizon for NocturN?
Dead Architect: With “Act II: The Conjuring” now out, we’re really focused on continuing to spread the word, performing live, and sharing the album with as many fans as possible. We love playing live and connecting with our audience, and these shows allow us to bring the new material to life in a way that’s always exciting.
Every performance is an opportunity to give something special to the fans, and we’re really looking forward to seeing the reactions to the new songs.
We are working on a new tour for Autumn and we have already some ideas for the next songs that we would like to work on.
Do you see the band continuing in the same musical direction, or are there ideas brewing for something different in the future?
Dead Architect: Overall, I think we will follow the same path but with each album we want to be different by adding new elements.
Any collaborations in mind, either with other musicians or within different artistic fields?
Dead Architect: Personally, I would like to work with Vicotnik from Dødheimsgard. His ideas are amazing.
If you could go back and give advice to yourselves when starting the band, what would it be?
Dead Architect: Good question! I would say what I actually did so far: “Never give up”! Besides that, I think I would encourage myself to practice more and study more about music, guitar playing and so on.
The final words are yours.
Dead Architect: Thank you so much for taking the time for this interview. It’s been amazing to share our story and experiences with our fans, and we’re incredibly grateful for the support we’ve received. Stay tuned for what’s to come and see you at our next conjuring.
