Mithraic Magazine

Martre – Hvor Lys Ej Når

I know i’ve gone on about the almost visceral catharsis of black and extreme music before but this is something on a whole other level. This record scratches at some emotions that are probably best left locked up but there’s a release that comes from this. It’s a fucking assault along the way but its definitely worth it, trust me!

From the shadows of Denmark, emerge Martre and the brutal full-length album, “Hvor Lys Ej Når” (Where No Light Reaches). This is an immersive and near unbearable descent into realms of dread. A meticulous exploration into the darker side of psychology that leaves the listener with the distinct and unwelcome sensation of raw emotion. threatening to drown the listener in a churning maelstrom of blackened fury and relentless horror. From the opening notes, the sound rips through the silence, It’s almost overwhelming but there is a familiarity or a comfort to it. There’s a chilling resonance that seems to scratch and echo across your bones, Martre meticulously crafts an experience that is both devastating in its intensity and undeniably, morbidly compelling.

While the sheer weight of “Hvor Lys Ej Når” often feels all-encompassing, and as mentioned, overwhelming, a more considered exploration reveals a remarkable level of intelligent and high-caliber songwriting and playing lurking beneath the surface. Underneath the dense layers of distortion and the relentless onslaught  lies a keen and sophisticated understanding of dynamics and atmospheric construction. Moments of near silence, brief respites from the terror, serve not as true relief but as pregnant pauses, not quite enough time to catch your breath, amplifying the tension and the anticipation of further auditory torment. Even as individual tracks fade, there’s absolutely no sense of genuine relief offered. Instead, there is this lingering residue, the faint echoes of past violence. And it only adds a more profound and ominous layer to the entire record. A constant, unsettling reminder of the profound darkness and ancient evils explored within the music.

A search on Martre’s Bandcamp page notes an exploration of the darker facets of humanity, and this thematic preoccupation bleeds into every second of “Hvor Lys Ej Når.” There’s a palpable and suffocating sense of dread, an almost cosmic unease that resonates with the unsettling and sanity-fraying narratives by H.P. Lovecraft. The album conjures a similar feeling of standing face-to-face with ancient, incomprehensible horrors, entities that lurk just beyond the veil of our understanding, their influence gnawing insidiously at the edges of human sanity and leaving behind a residue of profound existential terror.

Musically, Martre firmly operates within the established framework of traditional black metal, yet they inject a potent and undeniably visceral grindcore element directly into their work. This perfect fusion creates a truly relentless and physically impactful attack, amplifying the overarching feeling of unease, torment, and utter despair that permeates the entire listening experience. We open with something that isn’t quite a traditional depressive black metal, this is something different, it’s like a depressed black metal. It’s the intoxicated stare at the bottle of bleach or the razor blade. We’re set up for a mental barrage of questioning logic, emotion and decisions that can’t easily be made. But almost subconsciously aware of what lays ahead . Despite the aggressive yet varied unsettling lyrical subjects – hinted at by the evocative Danish and English track titles – “Evige Nat” (Eternal Night), “En Rædselsdåd” (A Horrific Act), Eight Pairs Of Hearts, etc, a consistent and oppressive thread of nightmarish imagery and an almost unbearable feeling relentlessly weaves its way through the entirety of the album. Like a recurring nightmare that haunts the subconscious, the same core ideas and deeply unsettling emotions resurface track after track. Each iteration leaving behind a fresh and agonizing scar on the listener’s psyche. Whether we can decipher the lyrics or even think of them as words, we can undoubtedly feel the emotion behind them which drives home that familiarity to this darkened world. 
I couldn’t simply listen to this, i had to know more and know where it came from. (A while ago now) i got a chat with Michael, the artist and writer behind Martre, and took a deeper look at this album.

Hvor Lys Ej Når possesses an undeniably overwhelming and intense density. Can you discuss the intentions behind and approach to crafting such an all-encompassing sound? Was this level of intensity a foundational goal for the album, or did it evolve organically during its creation?

The intensity on “Hvor Lys Ej Når” was both a deliberate pursuit and something that evolved naturally through the process. 

It all emerged from experimentation; most often beginning with just a tiny idea – or the most basic guitar riff, one could possibly imagine.I never enter the process with a rigid blueprint; I allow chaos and intuition to play their roles. Layers would build upon layers, often beyond reason, and I would let the material speak back to me.

So while the “goal” ultimately was to create something immersive and uncompromising, the  intensity of the final result evolved organically; so to sum it all up, I’m definitely a big fan of controlled chaos. I prefer to just let the creativity flow at first – and then I’ll do my best to make it less bizarre and unhinged after that.

Beneath the album’s initial torrent of sound, there’s a remarkable sophistication in songwriting and atmospheric construction. How do you navigate the balance between raw power and these more nuanced dynamics, particularly in moments where tension is amplified rather than released? 

That balance is not something I’m constantly negotiating. Raw power on its own can become flat or numbing,  if it isn’t contrasted with something more fragile or uncertain. For me, tension is most effective when it’s prolonged, when release is withheld or denied. That’s where atmosphere and subtlety comes in. It’s not just about layering noise or aggression, but about sculpting space within that density; spaces where discomfort, beauty, or ambiguity can surface.

A track might begin with an idea of sonic collapse or disintegration, but it’s through the structure, from the pacing, layered textures, and the subtle hints of melody, that the emotional weight really takes form.  In that sense, the nuance isn’t a contrast to the power – it IS the power. 

The visual identity for Hvor Lys Ej Når is fantastic. That cover art just works so well, and considering the album’s title, “Where Light Does Not Reach,” (is that an accurate translation) and the themes around the tracks, it really adds to the darkness and that overwhelming element of the music. Where did that piece of art come from? And how do your choices in artwork and visual aesthetics serve to deepen the listener’s journey into the album’s core concepts and atmosphere? Not just with HLEN but previous work too? 

I’m really glad to hear that most people seem to like the cover art, and yes, “Hvor Lys Ej Når” does translate to “Where Light Does Not Reach”

The cover art is actually made of a couple of heavily manipulated childhood photographs of my little brother and I; photoshopped together, before playing around with it in various photo apps. I used numerous filters to get the look of a classic painting, and I guess 90% of the work was done on my phone, using pixlr and sketchbook.

The idea was to suggest some kind of form and mood, without revealing too much; a visual mirror of the desperation, sadness and fear, that the songs on the album represent.

Visuals have always been an extension of the sonic world I try to create in Martre, and I love the process of finding or creating the right pieces of artwork, for my different musical outlets.

But even in earlier releases, I’ve tried to ensure the artwork doesn’t just represent the music, but actually amplifies the experience; it should draw the listener toward a specific emotional place before even pressing play. 

In my opinion great art intrigues the listener, and it should always, be able to give them a hint of what’s to expect.

Hvor Lys Ej Når hits some of the darkest parts of human history. What made you want to explore these emotions and themes and also these specific cases? Is there a common theme through all of the tracks or is it almost a case by case affair? 

Each track does deal with a different case event; cases that I just couldn’t get out of my head after knowing about them – but the drive and intention behind the album, was never just to shock, or to dwell in darkness for its own sake 

it was about trying to confront the parts of history, and times where despicable human deeds, surpassed what we thought was possible to put upon strangers, and even loved ones. The album looks at moments where the empathy of single individuals collapsed, and even where systems failed..

Most of the cases are well known across the World, and generations – but one of them does in fact hit a bit closer to home, literally speaking; “Evige Nat” is about a case from my hometown, where a priest murdered his own wife, to avoid hurting his own ego, if getting a second divorce. The couple lived about 500 meters away from me and my family, and the priest, only a few years older than me, actually went to the same school as I; they had children together, at a similar ago to mine, so that was a tough one to process.

So while it may seem like just another simple case-by-case exploration, of mainstream sensationalism and true crime, it’s essentially unified in its  “emotional core.”

The emotional depth of Hvor Lys Ej Når feels very distinct, it almost forces the listener to gaze directly into profound despair. Could you elaborate on the specific emotional ideas you wanted to explore with this album, and what drives you to express such raw and often uncomfortable feelings through your music?

The album’s title comes from the final line of the closing track, “Under Bølgen”: “Hvor lys ej når,” which translates to “Where light don’t reach.” It speaks to the idea that the killers and their horrific deeds, as portrayed throughout the album, exist in a state of profound darkness; psychological, moral, and emotional. They are beyond reach, beyond saving, lost in a place untouched by light, where no empathy or reason can penetrate.

That’s why the emotional core of “Hvor Lys Ej Når” is rooted in feelings that most people instinctively turn away from; grief, obsession, madness, and moral collapse.

When learning about these cases, most of us try to make some kind of sense of it, and perhaps even try to find some kind of reason and logic, to why such things happen; the most tragic, and frightening of it all, is that some times, it’s just not there. 

I wasn’t trying to ownership of these tragedies, as it’s naturally a very sensitive subject. I don’t know what’s wrong with us as humans, but most of us are naturally drawn to what scares and disgust us; I’m no different, than most people – but as an introvert, it doesn’t come naturally to me, to begin discussing matters and tragedies like this out in the open, not even with family and friends. When subjects end up taking too much space in my head, I need to take control of it somehow – and that’s just where the music comes in, as my natural outlet. 

Once my thoughts or worries are channeled into music, I feel sort of a relief, and can begin to focus on more present matters.

The album seamlessly integrates elements of traditional black metal with the ferocity of grindcore creating a truly relentless attack. What inspired this fusion, and how do you feel this combination enhances this feelings of unease, torment, and despair present throughout the record? Do you draw influences from these genres at all or did that come naturally? Where do your musical influences come from? 

The fusion wasn’t premeditated in a stylistic sense, and I don’t really approach genres as boxes to check; my music comes naturally, and I don’t really think that much, in regards of what the final result should be. If I feel it strays to far from what I currently think Martre should sound like, I’ll simply records it as another one of my projects

I’ve absorbed a lot of music over the years, and while black metal is what I listens to most, I’m just a big fan of metal in general; it might not shine through in my music, but I listen to everything from classic Alice Cooper, Iron Maiden, Metallica, Slayer and Mayhem – to Napalm Death, Nails, Cattle Decapitation, Defacement, Dragged Into Sunlight and even the occasional sunday-livingroom-party, dancing to Electric Callboy with my youngest daughter

What draws me in to any kind of music, no matter what kind of genre it might be, is whether it feels honest and moves me in some way; it needs to carry some emotional weight, and it should definitely make me think, feel empowered, sad or even happy – or I’ll loose interest in an instant.

Even without an understanding of the lyrics, the emotional weight of Hvor Lys Ej Når is palpable. Can you share insights into your lyrical approach and how you ensure such a visceral emotional connection? What is your process for crafting words that convey such intense imagery and dread? 

Dread doesn’t always speak in complete sentences. Sometimes it’s the repetition of a word, the way it’s gasped or broken off, that communicates more than narrative ever could.

The lyrics are an essential part of the emotional architecture of “Hvor Lys Ej Når”, but they’re never just a descriptive narrative, but written to become a natural part of the atmosphere. 

Even if the listener doesn’t understand the language, I still want the words to carry a weight, in how they’re delivered – and sometimes they work almost like another layer of instrumentation. 

I write instinctively, often starting from a single image or phrase that carries a specific weight or tension, and then I begin to shape the language from that place. 

Writing lyrics for this, I took a lot of time to learn about to learn about the specific cases, but the lyrics are in its essense, the mirror of my  initial feelings and thoughts, when getting in contact with these tragedies.

The closing track, “Under Bølgen” (Under the Wave), offers a compelling shift in the album’s overall tone, providing a different, equally unsettling kind of dread. Was this tonal evolution in the final track a deliberate narrative choice, and how do you view its role in the album’s complete journey and lasting impression?

While the shift in “Under Bølgen” wasn’t deliberate, its placement as the album closer definitely was; throughout the album, there’s a kind of violent urgency, and the song confront despair in its most immediate form – but with “Under Bølgen” the descent becomes more internalized. 

It’s less about screaming into the void, and much more about being swallowed by it. The imagery of being under the wave speaks to that, and is naturally related to the topic of the song, being about the tragic case, of the Swedish journalist Kim Wall, loosing her life in a homemade submarine, by the hands of the danish madman inventor Peter Madsen.

The album focus on the horrible triangle of violence, despair and sorrow throughout, and while “Under Bølgen” doesn’t stray from the rest of the album, in terms of the subject, this songs kind of dread isn’t loud or chaotic; it’s the quiet aftermath, and as an album closer, it reframes the violence of the rest of the album, it leaves the listener with the echo of something unresolved and, in my opinion, a chance and time for some kind of afterthought.

Hvor Lys Ej Når is an undeniably demanding and emotionally draining  experience for the listener, yet it also has a profound and lingering effect.  What do you ultimately hope listeners take away from this intense journey,  and what kind of lasting impact do you aim for your music to have?

I don’t expect people to feel comfort,  from listening to my music, that was never the intention. But I do hope listeners come away, with a sense that they’ve at least felt something, even if it’s unsettling or difficult to name; with that being said, I’m always a bit surprised when someone describe my sound as “nightmarish”, but of cause, I guess that’s just what happens, as those songs have stayed with me for so long, and I’ve heard and seen them develop, and ultimately take their final form.

And lastly, i ask everyone, What’s grabbing your attention at the moment? Music, movies, books, etc. Is there anything you think deserves more recognition?

I’d wish I would be able to share a lot of interesting works with you, but I’ve got little time to dig into books and movies; at least for the time being. Music is another thing though, and a lot easier to incorporate in my busy life, being a husband, father of three girls, and working a full time job as well.

I do try to keep myself updated though, about what’s going on in “the metal scene”, and the latest releases from artists like Frelser, Woe Bather, Hexerei, Blood Abscission, EYES and Velvet Cross have already gotten plenty of rotation at home; in addition that I’ve stil got Blood Incantation’s “Absolute Elsewhere” masterpiece on constant replay – and  I’m also really enjoying the new Deafheaven AND Behemoth albums, so that’s me living on the edge, I guess 

On a larger scale, I’d wish people would take a deep dive into the pond of Danish metal; we got so many excellent bands and projects, all eager to set the World ablaze – so I’ll advice people to do a filtered search on Bandcamp, and they’ll most likely find a new favourite.

First of all i want to apologise to Michael for taking so long to get this up and running and then also thank him for taking the time to go through my questions and give such great answers. Thank you! For everyone else though, go and find Martre and listen to the music. I mean really listen to it. There’s something equally terrifying and magical there and i strongly believe that everyone should live in that space, at least for a while anyway.

-Z

https://martre.bandcamp.com/album/hvor-lys-ej-n-r
http://facebook.com/martre666martre