In this interview, Bloodmoon Rite’s creator explores a timeless metal vision, the Prophecy of the Ninth Seal, solitary creation, and how music, lore, and atmosphere unite into one evolving universe.
1. Bloodmoon
Rite is a one-man project. What pushed you to channel over 15 years of
experience into this particular vision, and why did now feel like the right
moment?
Over the years I played classic rock, blues, instrumental music, modern rock —
and every time I eventually reached the same point: I wanted the music to exist
inside a larger universe.
But you
can’t simply “attach” an imaginary world to a garage band. It only works when
three elements truly align: the music, the lore, and the aesthetics.
The first
spark that later became the prototype for Bloodmoon Rite appeared about a year
ago. I heard an interview with a vinyl store owner who said there are two
albums that always sell out instantly, no matter how many copies they get: Born
to Die by Lana Del Rey and AM by Arctic Monkeys.
I went back
to those albums and realized they feel timeless — they could exist in the 60s,
the 2010s, or now. That made me ask myself: if I tried to create something
timeless, what would it sound like? I made a few demos and then returned to
other work. About six months later, the concept of the lore came to me and
suddenly I realized that everything connected. That was the moment I understood
exactly what Bloodmoon Rite should be.
2. The
Prophecy of the Ninth Seal is central to the project. How did this conceptual
universe take shape, and was the story written before the music or alongside
it? First, the
idea of an ancient forgotten Order came to me, and I thought that the Order
should have its own artifacts. I began working on the artifacts, and then
realized: the Order had been dormant for a thousand years, so what force could
awaken it? I created a kind of scroll that explains the pillars of the
Bloodmoon Rite universe, which I called 13 Songs of Creation. It worked well as
something that defines and describes the universe’s aesthetics, but it was not
the engine that sets the world in motion. Then the idea of a Prophecy came
to me as the key element of the universe. The story began to affect the music,
and the music began to shape the story. If you pay close attention, you can
even find the titles of future Bloodmoon Rite releases hidden there for the
next couple of years. I was able to weave the music into the Prophecy because I
am creating both in parallel.
3. As a
multi-instrumentalist, how do you approach songwriting differently compared to
working within a full band dynamic?
That’s a
good question. I have a lot of experience writing and performing in bands, and
yes, there are some differences.
The first
one, at least for me, is efficiency. When I work alone, everything happens
faster. As the composer, I already know how each element should sound, and how
it will be played and recorded.
Another
important point is that when you are the only composer in a project, you don’t
have to prove anything to other members. That gives you the freedom to focus
entirely on the composition, and it helps every element serve the song instead
of someone’s ego.
Being a
multi-instrumentalist and a singer has both advantages and limitations. The
magic of a band often comes from the combination of different personalities.
For example, I can compose and record bass lines or drum parts, but I still
perform them as myself. Another musician would play the same part differently,
and that difference can add something I might never think of. That is where the
real chemistry of a band comes from.On the other hand, this same chemistry can
also create tension.
Which
approach is better? I am not sure. Probably the best approach is simply the one
that works.
4. Uzbekistan
isn’t commonly associated with traditional heavy metal. How has your cultural
and geographical background influenced Bloodmoon Rite, if at all?
Oh yes,
Uzbekistan is definitely not a “metal country.” There is a strong influence of
traditional Oriental music here, and it is very beautiful and interesting as a
subject for musical exploration.
I grew up
on classic rock and heavy metal. Since childhood I have been listening to Black
Sabbath, Led Zeppelin, Pink Floyd, The Rolling Stones, Judas Priest, Ozzy
Osbourne and many others. Later I discovered Pantera, Testament, Candlemass, At
the Gates, as well as classical music. All of this shapes me as a composer.
At the same
time, Oriental music influences me too. I use many harmonies and scales from
that tradition in my songs. You may not fully hear it in the first single, but
in future releases this influence will become more noticeable.
One good
thing about the Bloodmoon Rite concept is that it does not depend on a strong
local metal scene to exist and grow. The concept can live and develop on its
own.
5. Your
sound draws from Dio-era Black Sabbath and Candlemass without leaning into
modern metal clichés. What defines “traditional metal reimagined for the 21st
century” in your eyes?
This is a
great topic for discussion. Notice how different the classic metal bands are.
You simply can’t mistake Black Sabbath for Pentagram, and Overkill are a
completely different beast from Testament. That happens because in old-school
metal, the content always comes before the attributes. First comes what you
want to say, and only after that comes how you choose to say it.
Modern
metal, in many cases, has become attribute-driven: low tunings, specific
production templates, predictable song structures. Sometimes, when you listen
to a metal playlist on Spotify, it is hard to tell where one band ends and
another begins. Of course, there are exceptions, and of course there are great
modern bands — I’m talking about tendencies, not specific artists.
For me,
“traditional metal reimagined for the 21st century” means trying to take the
best of both worlds: authenticity from the old-school bands and a massive,
powerful sound from modern production. I usually play in standard tuning and
rarely use extreme vocals, because I like melodic vocals when they work almost
like another instrument.
A good
example of this approach, I think, is the American band Khemmis and their
album, Deceiver.
6. The
debut single “Omen” introduces listeners to this universe. Why was this track
chosen as the first seal to be opened? It creates the sense that something
fatalistically vast, almost like in an H. P. Lovecraft's novel is about to
happen. The Omen is what foreshadows the main storyline: it is the
first contact with the universe. The narrative is structured so that first
comes the Omen, then the Initiation, and only after that everything else begins
to move.
7. The
Prophecy unfolds in parts. Can you give insight into how future releases will
expand the narrative and musical scope?
Future
releases will include not only music, but also artifacts, scrolls, manuscripts,
and many other elements that will influence the narrative.
In musical
terms, Bloodmoon Rite is versatile. The next single carries some 70s hard rock
influences. One of the upcoming singles will be a ballad. On the first LP,
which is currently in progress, the sound will become heavier and the
atmosphere darker and more sinister, almost like Satan’s grand ball in Mikhail
Bulgakov’s The Master and Margarita.
Each
release either explains or expands a different aspect of the lore, which keeps
both the story and the music alive. If you want more details, you can explore
the lore. If you want examples, stories, or tragedies, you can listen to the
songs.
8. Visuals
and atmosphere seem crucial to Bloodmoon Rite. How important is imagery in
conveying the weight of the Prophecy?
Very
important. But it is equally important to remember that Bloodmoon Rite is,
first and foremost, a musical project. The lore sets the atmosphere, but the
music shapes the listener’s perception.
To be
honest, we all live inside our own heads. Every person sees the world through
the lens of their mind, and that is why symbols matter especially in music.
There is
also a practical challenge connected with the visual and atmospheric side of
Bloodmoon Rite. I cannot simply go on stage in a T-shirt and jeans. A Bloodmoon
Rite show requires stage decoration, choirs and additional musicians, proper
lighting and visual effects. I just hope that one day I will be able to deliver
a performance of a quality comparable to Ghost.
9. When
the Ninth Seal is finally revealed, what do you hope listeners feel or
understand about the Bloodmoon Rite universe as a whole?
When the
Ninth Seal is revealed, it means that the listeners and I have traveled a long
road together — from the Omen, through rituals, grimoires, and ancient
manuscripts to the end of a chapter, though not the end of the project.
Some will
realize that the Bloodmoon Rite universe is not as imaginary as it may have
seemed at first. Some will see that certain demons have a very human nature and
that some people can be far worse than demons.
The world
today is certainly not the best place, and some listeners may find refuge in
the rituals and artifacts, becoming part of the universe. Others will simply
listen to the music, and I hope they will enjoy it.
Bloodmoon Rite (@bloodmoonrite) • Photos et vidéos Instagram
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