STEEGMOORD is an instrumental metal project that channels raw emotion through heavy riffs and atmospheric textures. With no vocals, it speaks volumes—telling powerful stories through sound alone.
1.
STEEGMOORD has such a powerful and emotive instrumental sound. What initially
inspired you to tell your story without lyrics?
What does instrumental music allow you to express that words can’t?
I’ve always loved creating music—which makes sense, being a musician. At one
point in my life, I had a collection of songs, riffs, and fragments that didn’t
quite fit with the bands I was in at the time. But something inside me refused
to let those ideas go to waste. That’s when I decided to create something of my
own. That was my first real inspiration.
Over time,
it became more than just a creative outlet—it turned into a way to express my
emotions. Each song captured the state of mind I was in when I wrote it. If I
felt like writing something slow and melancholic, I could. If I wanted to go
fast and aggressive, I had the freedom to do that too. No one was there to
correct or steer my writing process.
As for how
those emotions end up in the music—I’m not entirely sure. Maybe my mind is more
messed up than I realize. But somehow, it all comes through in the sound.
2. Your
music blends thrash, progressive, and stoner metal influences. How did you
arrive at this particular fusion of genres? Was it a conscious choice or a
natural evolution?
I grew up
on punk and thrash metal, and those roots still run deep. These days, I find
myself drawn more and more to progressive metal, and that shift naturally
influences my writing process. Whenever I start creating, it instinctively
begins somewhere in that space—raw energy blended with complexity. Eventually,
I made the conscious decision to continue exploring and evolving within those
genres. It just felt right.
3. The
album features intense titles like “Cutting Ties,” “Death in the Alleyway,” and
“Positive Nihilism.” How do these themes inform the music, and how do you
convey such vivid emotions without vocals?
I’m not entirely sure where some of my titles come from. Death In The Alleyway
was one of those songs I just couldn’t name for the longest time. The title
ended up being a loose English translation of Steegmoord. I think titles often
come to me in the moment—sometimes as a way of letting something go, other
times as a reflection of a mindset. Maybe it’s that feeling that everything is
pointless, and all you can do is make the best of it.
One of my favorites from my first full-length album is a track called
Poputchik. It’s based on a Russian saying that describes meeting someone for
the first time, instantly connecting as if you’ve been close friends
forever—only to part ways and never see each other again. It’s a rare feeling,
but one I sometimes experience at festivals. I try to cherish those fleeting
moments whenever they happen.
4.
You’ve cited artists like Mastodon, Opeth, In Flames, and Rabea Massaad. What
have you taken from their work, and how have you made it your own in
STEEGMOORD?
I draw
inspiration from the diversity in Mastodon’s music—their ability to shift
seamlessly between moods and textures. I’m also deeply influenced by the
dynamic contrasts in Opeth’s sound, where heavy riffs meet slow, atmospheric
passages. I love the catchy, melodic hooks that bands like In Flames weave into
their songs. And like Rabea Massaad, I aim to create instrumental tracks that
can stand entirely on their own—songs that don’t rely on vocals to tell a story
or evoke emotion.
5. As
the sole creator behind STEEGMOORD, how do you balance the technical aspects of
recording, mixing, and mastering with the emotional side of composing?
The rough
structure and core of my music usually start in a program called Guitar Pro. At
that stage, most of the “extras” still live in my head. It’s only when I open
my DAW and start recording real guitar tracks that the song really begins to
take shape. That’s where the ideas evolve and the sound starts to breathe.
I’ve
learned to separate my creative phases: I dedicate specific days to writing and
recording, and other days strictly to editing and technical work. I never mix
the two. Writing and editing don’t belong on the same day—they require
completely different mindsets.
6.
‘Ballad of Bullets’ and ‘Many Shapes of Anger’ are incredibly evocative tracks.
Can you walk us through the creative process behind one of these songs—from
first idea to final mix?
Ah, Many
Shapes of Anger. That phrase stuck with me the moment I heard it. It just
wouldn’t leave my head. So I decided to write a song around it. I wanted it to
be fast. Direct. Unapologetic.
When the
second part of the song hits, I aimed for contrast—something more open, with
lots of ringing notes and a heavy, grounded bass. I envisioned a solo that
breathes into that slower, more powerful riff, giving it space and weight. And
for the ending, I brought the speed back, mirroring the intensity of the
beginning.
7. You
mentioned that every note and beat carries a piece of who you are. Looking back
on the album, is there a particular track that feels most personal to you? Why?
That might be Man Made Mountain. To be honest, it was originally written by our
other guitar player and briefly rehearsed with my first band, way back in 2014.
But it never made it past the early rehearsal stages—especially not with
vocals. At the time, we just couldn’t find a vocal line that truly elevated the
song.
Man Made
Mountain goes all the way back to the beginning. I think it was actually the
first track I rewrote when I started Steegmoord. This version has been
redefined and re-recorded. It still holds the essence of the demo I released in
2021, but now it carries the sound and weight of the new record.
It’s my
personal favorite. I don’t usually listen to my own songs much—but this one is
the exception.
8.
What’s the story behind the album’s artwork by Diyaco Paymazd? How does it tie
into the themes or mood of the music?
I like to use artwork from emerging or relatively unknown designers. That’s how
I came across Diyaco Paymazd—through a website offering premade artworks. Why
premade? Simply because I don’t have the skills to clearly explain what I
envision visually to match my music. When I saw this particular piece, it
immediately caught my eye. After a few days of thinking it over, I decided to
go with it. It just felt right.
9.
Instrumental music often leaves space for interpretation. Have you heard any
interesting or surprising interpretations of your tracks from listeners so far?
I don’t really get surprising interpretations from listeners, but I do think
it’s cool that some of my friends and colleagues use Steegmoord as background
music at work. Since it’s instrumental, it helps them focus—it creates a
certain atmosphere without being distracting.
One review
really stuck with me. It ended with the line: “Without words influencing the
mind, I can only go on what chords are struck within me.” I loved that. It
perfectly captured what I aim for with my music.
10.
Finally, where do you see STEEGMOORD going next? Are there plans for live
performances, collaborations, or expanding the sound in future releases?
Steegmoord
is definitely going places. There are plans to take it live, but I’m still
looking for the right musicians to make that happen. I’ve been toying with the
idea of performing live ever since I started writing this album.
As for
collaborations—I'm not interested in adding vocals to Steegmoord. That’s a firm
no. I’ve always envisioned it as a three-man band: guitar, bass, and drums.
There might be some use of samples to fill things out, but I want to keep the
sound as authentic and raw as possible.
Steegmoord_Official (@steegmoord_official) • Instagram photos and videos
Post a Comment