Mithraic Magazine

Exhumation is a death metal force from Indonesia that has steadily risen through the global underground with a sound rooted in old-school brutality and a spirit of unrelenting intensity. Formed in 2008, the band has become one of Southeast Asia’s most respected metal acts, delivering ferocious riffs, guttural vocals, and a raw energy that pays homage to the genre’s early icons while forging its own path by releasing stomping release after stomping release. With a legacy built on passion and perseverance, Exhumation continues to embody the fierce heart of Indonesian metal.

Their latest offering, Master’s Personae (2024), captures both the essence of old-school death metal while also tapping into some of that energy that made Watain’s Lawless Darkness so memorable 15 years ago. It truly is a highlight of last year, and if you’re a fan of fast, frantic, and fuuuuuuuuuucking excellent extreme metal you need to check it out if you’ve not already.

I’ll admit, my education on Southeast Asia’s thriving metal scene is fairly limited, so to help me erase some of my own ignorance I’ve reached out to one of Indonesia’s most toe-tappingly catchy and headbangingly thumping death metal acts going to get some facts straight from the source.

Today I’m speaking with Ghoul about their project Exhumation: how it all began, what metal in Indonesia looks like, and what the future holds for one of the most authentic metal acts going.

Exhumation Interview (with Ghoul, by D – August 2025)

(Shoutout to Vlad from Necrowretch for this stellar recommendation.)

I usually like to start with, in your own words, what is Exhumation and how did this project all begin?

Exhumation is a vessel of Death’s metal darkness from the far east Indonesia. I formed this band I was around 17 years old. You know, just some innocents kids around the block with no real understanding of the hidden danger and ecstasy of the underground we were stepping into. No clue for everything but a burning passion to be part of something greater and deeper than the world we lived in as restless youth. Back then, it felt like heavy metal and hard rockers was the only thing that truly mattered in our lives. While most people our age were out chasing parties, I think we were locked into something else. We just played our music and stayed true to what we believed in. 

And 18 years later, here we are still standing proud, loud, and also somehow becoming one of the forces that helped shape everything that came after. It’s wild to think how far things have come from where we started. It was a leap into the unknown onto a path of no return. 

Part of what I find so enjoyable about Exhumation is I can’t quite nail down exactly who your influences are, as it’s a beautiful blend of speed, death, and black metal all wrapped into one package. In the beginning, who would you say influenced you most, and how have these influences changed over time?

Much obliged, it truly means the world. Well, it’s always a great feeling knowing that people could not put a label on Exhumation. You know, there’s something satisfying about being hard to define, like we don’t fit neatly into anyone’s expectations. That sense of mystery, just like the beauty of music in my perspective, one of the greatest mysteries in the world.

Well, I think you should know that my vocalist “Bones” and I have always had a quite different ways of approaching Exhumation, like totally different preferences and perspectives from the very beginning. But I believe those differences between us that have kept Exhumation solid all these years. You know, like a ying and yang, we challenge each other, but we also complete the great picture of Exhumation in our own way.

And to answer your main question. I could not really speak on behalf of Bones, because he always into his own vision and set of influences. But as for me, I have always been drawn to the early American Death metal. Bands like Necrovore, Possessed, and Morbid Angel have really shaped how I see and feel Exhumation. I fancy extreme and evil bands that actually could make the common man feel uncomfortable and even fear.

How does the composition and recording sessions work for yourselves? Is there a main songwriter, or is it more of a group collaboration? Also, how did you guys record 2024’s Master’s Personae? I love the sound of it, it captures an authenticity that is missing in a lot of modern extreme metal. I see the bass was recorded in Detroit, but what about everything else?

To be morbidly honest, it’s always been a different method every time, we don’t really have a fixed method. But if there’s one thing I could say for sure, it’s that the theme and lyrics always come first. That’s what drives everything between us. The music has always been secondary in a way, we know that’s important, but the message and the horror, that’s where it all begins. 

However, in the past, from our debut album “Hymn to Your God” to the sophomore “Opus Death” and then the third opus “Eleventh Formulae“, I think we have pretty much stuck to a very primitive way of making records. It always started with me coming up with some raw guitar riffs, then everyone else would jump in and follow the vibe. We just trusted the chaos and threw ourselves into it with hope that something greater would rise out of the void. 

As for “Master’s Personae”, I think we really tried to step into a completely different comfort zone, something totally new for me at least. I took advantage of my so-called privilege as a children of technology. Since we’re now living in entirely different cities, and even countries, we had no choice but to adapt. So, we embraced the situation and did most of the pre-production from our own homes. I know, it was a big shift from how we used to do things, but we had to make peace with technology and let it become part of the process. Furthermore, having Sebek join Exhumation as a new additional force has been such a blessing. The man is a rare gem and a excellent songwriter. “Master’s Personae” and the whole Eastern Death metal darkness essence is a product of tireless effort between the main foundation of Exhumation and him. And I must also give reverence to J Magus from Vile Apparition. Without his presence, this fourth offering would lack the blazing spirit it now holds. The guitar solo he conjured is not merely played, it’s summoned, just like magic. Put simply, working together with them has been a blast. It’s been a mix of good times all around.

And well, after we finished the pre-production in Jakarta Indonesia, we moved on to record most of the instruments in our hometown Yogyakarta Indonesia at Watchtower Studio. That’s where we tracked the rhythm guitars, drums, and vocals. The guitar solos were recorded in Melbourne by our brother J Magus from Vile Apparition, and the bass parts were laid down in Detroit USA by Sebek. As for the guest musicians, Shyaithan from Mighty Impiety recorded his vocals in Singapore, and Sindre from Obliteration/Nekromantheon did his part in Drammen Norway. We also had two instrumental tracks recorded in Brussels Belgium by S. Iblis of Possession and Bones from Dread Sovereign/ZOM. After we wrapped up recording, we mixed the whole album at Watchtower Studio with our longtime ally Bable Sagala. Once the mix is done, we sent it over to the U.S. to be mastered by none other than Jack Control at Enormous Door (Darkthrone, Aura Noir, Poison Idea, etc). His work truly gave the final weight we were looking for.

I know, it was definitely an unbelievable experience. We ended up making a record across six different countries. I still don’t know exactly how we pulled it off. It just kind of happened naturally, really. But on the brightside, what it really showed me is that music truly has no language barriers or boundaries. No matter where we were or what time zone we were in, we all connected through the same vision, that Visions from the Darkside, you know.

Following on from that, what equipment do you guys use to make your sounds? And is there any equipment you would like to add moving forward? (As in, what brands do you use for guitar/amp/drums etc)

Nothing too fancy, just some standard gear for extreme people. For the “Master’s Personae” sessions, I rotated between Greco Les Paul, Fender Stratocaster, and Charvel San Dimas for the guitar tracks. Amp-wise, we used a mix of Peavey VTM 120, 6505, and Orange TH100 with Peavey and Orange cab. When it came to the solos, we switched things with Ibanez and ran it through Engl Fireball 100. The bass setup featured a Lakland plugged into a Marshall MB450H. For drums, we went full classic, all concert toms on a Pearl kit.

Exhumation has been around a minute, having formed in 2008, what would you say has been the biggest change you’ve seen for metal, both in Indonesia and more globally during this time?

That’s a great question. I guess being a band that’s been around for over 17 years really gives us a privilege to witness how things have changed in the metal scene globally, either here or there, particularly in how people support extreme music and the way some bands promote their music.

We have seen the whole landscape shift, a new paradigm I would say. We all know that people were all about physical formats back in the day. Now with the rise of digital streaming platforms, it’s a whole new game. Many people use DSPs as a way to discover new stuff, probably like a filter before deciding whether to buy the physical format and really support the band or not. But at the same time, there are also people who stick with streaming purely out of convenience, which is fair as well.

Also, the way metal bands promote their music has definitely changed over time too, don’t you think? I remember we used to do a lot of trades, until now for sure, just like the primitive way our predecessors did. You know, it was all about that personal connection and underground spirit. But, I think a whole different vibe these days. Bands just drop their stuff on social media, hoping it catches on some attention from prominent figures. I know, it’s pragmatic way more accessible, but at the same for me, it doesn’t always have that same sense of forbidden brotherhood like we did in the past, do in the present. And I still remember when Exhumation was looking for a label, we sent out physical promos, real copies of our music, because we believed the presentation mattered. Now, a lot of bands just email an EPK with streaming links or files, correct?

Well, it’s truly just a matter of choice though. We don’t really care in all these new trends or shifts happening in the underground metal scene. To be morbidly honest, we are just beyond grateful that Exhumation have been around long enough to witness the changes and still keep going strong, Stronger than Evil that kind of mentality. We have seen both sides of it. We came up doing things the old school way and now we are navigating the new landscape too. And that is probably something not everyone gets to experience, right? So, I would say it’s a kind of privilege, we adapted and triumphed through all the ups and downs. Alas, everything moves faster now!

You guys were on a European tour recently. How was the experience? Which country did you enjoy most? And was there any country you were surprised by how big the reaction was to your music? Out of all your songs, which song would you say gets the best reaction when you start playing it live?

Before I go any further, I have give full credit to the people who truly made this first European tour happen. Massive respect and heartfelt thanks to Maia, Leslie, Hoolie, Jeremie, Romain and Simon from Possession, the Irish Metallers of Death in Vircolac, and legendary Drowned. And of corpse, most importantly our brother D Miasma and Sebek. Then again, without the support of A Thousand Lost Civilizations, this whole thing would have stayed as something we only talked about late at night and wondering if it would ever be real. Well, all the gratitude in the world to them.

About the experience, that was our very first descent into the Old Continent, and it couldn’t have gone better. Everyone we met was super welcoming, the weed is top notch, the beer is dangerously good, the weather treated us way better than we expected, and the scenery just breathtaking beyond words. I enjoyed every single place we visited, and I think it’s impossible for me to rank them. I don’t want to discriminate one of them. Each city, each country had its own pulse that spoke to me in different ways. They all carried their own kind of resonance, some greatest memories, faces, smells, sounds, and I fortunately still carry those with me. Liestal, Zurich, Liège, Paris, Brussels, the moshpits in those cities were wild. We seriously didn’t expect that. It really caught me off guard in the best way possible. Well, it wasn’t just those cities actually, that same crazy support showed up throughout the whole tour, in Germany as well. I couldn’t even remember which song got the biggest reaction because I was too busy being possessed riding the chaos. But, I do remember a few people came up before the shows and personally asked me to play specific songs from our second to the fourth album, that was super humbling.

I think it was our label, Pulverised Records, has done and still does a solid work getting our records out there through the Occidents. All of our gratitudes to them, countless people in the mainland Europe already have some kind of familiarity with Exhumation. It’s not like that Exhumation a total mystery or anything. I can really feel that connection growing each time we play or put something out.

I’ve seen in some of your images these esoteric looking masks. Could you tell me a bit more about them? Is there any deeper, or archaic meaning for these masks? Do they have any special importance?

The masks are more than mere adornments for us, they are sacred vessels of our intent, particularly for the latest effort Master’s Personae. Say that they embody the “Tiwikrama” or our transformation. The final manifestation of Bones and Ghoul through Exhumation. It’s both a physical and spiritual transformation, where Exhumation ceases to exist not only just being an metallers of Death but also as an ideology; Death, darkness, destruction, or any force we choose to unleash on this material world. We actually made three masks, one is for our brother Sebek, not merely as a gift, but as a sigil of forbidden brotherhood. Also, it is a seal of welcome, a mark that binds him to our close circle, that could be granting him passage to unleash his own Tiwikrama. There is no ego but a pact whispered in the shadow in the iron will of Exhumation.

Showing my ignorance here, but how is it for hosting extreme metal gigs in Indonesia, or South East Asia in general? I know Indonesia’s extreme metal scene is very healthy and has been for years. However, in Europe, in some countries here we can face complications trying to put on shows that aren’t considered wholesome enough by the local authorities (i.e. being too black metal,) so I am always curious what it’s like in other parts of the world. Is there much interference from the people, police, or government in regards to hosting extreme metal shows?

Actually, we have been dealing with the same kind of challenges when it comes to putting on extreme metal shows here. I have been deep in this scene since around 2010, starting out with a group of close friends under the name “Horrible Night” and I decided to take things a bit further with more likeminded friends and started a more established independent promoter called “Dangerous Congregation”. We did Sewercide, Faceless Burial, Anatomia, and Doldrey. We are not going to slow down.

However, it’s probably even tougher here compared to Europe, mainly because we don’t really have a solid infrastructure for the underground shows. Some cities don’t even have a reliable venue that can properly host touring bands, which is somehow makes things a bit challenging. Well, it’s kind of ironic though, I have seen the local scene has actually become more active and supportive over the past eight to ten years. Meaning, ticket sales, merchandise, and records are doing quite well. But you know, the backbone for live shows just hasn’t kept the pace. Another big challenge we deal with is our currency, the Rupiah, it’s been free fall I would say. This makes it even trickier when we try to host more international bands, the visa submission for instance. Everything costs more, and on top of that, the whole artist visa process is truly a nightmare. All of these makes organizing shows feel like a endless battle. About that dealing with the authorities and event regulations, I know why people might think hosting an underground show, particularly for black metal bands, in one of the biggest Moslem majority countries would be extra intense. To be morbidly honest, they are not wrong but there is always a way forward because at the end of the day, we just have that iron will to keep things moving no matter what.

Leading on from that, as I’ve not yet been to Indonesia, but knowing you have been to Europe. I am curious to know, in your opinion, is there anything you observed as different about the metal culture in South East Asia and Europe?

To my knowledge, I would not say so, there is not much of a real difference between the metal culture in Indonesia and Europe. At the end of the day, everyone is the same before the force of heavy metal. The level of dedication is about the same. I could not really compare it. Different world, different battles, but the same fire burns in both, you know?

But perhaps, if you ever come here, you would be surprised bt the kind of dedication and struggle we put in just to keep the metal scene thriving. I am talking about some people who pour everything into it, even when the system is dead and the current society is fucked up. This is the real grind from real metalheads, surviving and thriving amid the chaos.

We’re big fans of esoteric and obscure literature here at Mithraic Magazine. With that in mind, are there any obscure, esoteric, occult, or just interesting literature you would recommend your fans to read?

Aghora At the Left Hand of God by Robert Svoboda, Flowers from Hell by Nikolas Schreck, and The Book of the Law by Aleister Crowley to name a few.

Similarly, excluding anything covered in the question above, what does Exhumation recommend we check out or start paying attention to? (This can be movies, books, festivals, events, whatever – but avoid music, as music is covered in the next question)

Probably Indonesian movie: Satan’s Slave (Pengabdi Setan) 1980, Bayi Ajaib 1982, and Mystics in Bali (Leak) 1981.

I always like to hear the bands other artists respect or appreciate, especially the more unknown bands. However, I feel Indonesia may be a place where most of our readers may not know too well. So I wanted to ask, first, who would you say are the biggest or best known metal projects from Indonesia? Then, who are some of the more underground bands from either Indonesia (or Southeast Asia in general) you enjoy and believe deserve more recognition for their contribution to the art?

To be morbidly honest, I’m not even sure which Indonesian metal bands I should mention when it comes to the “big” ones. The whole idea of what makes a band “big” feels kinda blurry to me. And I guess we might have different takes or definitions on “big” band. However, if I had to name one that’s pretty well known around here, probably Siksa Kubur.

As for the underground, I have some important names that you should definitely check out: Headkrusher, Nokturnal, Masakre, Incinerated, Deathroned, Haul, Kaspyx, Sovereign of Conquest, and Nansarunai. Each of them brings something unique to the table.

Last one from me today, what does the rest of 2025 look like for Exhumation? What’s still left in the plans for this year?

There will be two split releases coming out this year, which we are so excited about. The first one is a live split 7-inch with our brothers in Masakre, and it will be released through Grieve Records (Indonesia), Lycanthropic Chants (Germany), and Tanaka Shoten (Japan).

The other one is a full split album with one of our favorite American metal of Death forces from the Bay Area, Funeral Chant. This will be released via Carbonized Records (USA).

As for live shows, we will probably be doing a few local gigs here and there, you know just to keep the fire burning. We have also been invited to return to Southeast Asian tour, but we shall see. The big plan is to return to Europe next year, the plot is thicken, there will be European tour part two next year, so hopefully we will see some of you out there again.

And finally before we go, is there anything you’d like to add or say before we finish today?

If Death metal darkness speak to your soul, find Exhumation’s records through Pulverised Records (www.pulverised.net)

HTBLOF,
D

Even in a healthy and thriving Indonesian extreme metal scene, Exhumation stands apart both as stalwarts of their local scene, and as relentless standard-bearers for uncompromising death metal abroad. Their unwavering commitment to sonic brutality, technical precision, and dark atmosphere has earned them a reputation that transcends borders. 

In a landscape rich with talent, Exhumation continues to shine as one of the region’s most formidable and enduring acts, a band that commands respect not just locally, but across the global underground.

If you’ve not already, you need to stop what you’re doing and check out some Exhumation. You are not going to regret it. Their latest release, Master’s Personae, came out in 2024 via Pulverised Records, and is crushingly good.

Remember, if you like it (and can afford it) – buy it!

Links:
Pulverised Records
Bandcamp
Facebook
Instagram

Booking:
Official Contact: hailexhumation@ymail.com
European booking: thousandlostcivilizations@gmail.com
North American booking: exhumationusa@gmail.com