Hailing from Germany, Arxoytt is a one-man black metal project driven by a strong conceptual and spiritual vision. Describing himself as a channel between dimensions, Årxøytt has coined the term “Fourth Dimensional Black Metal” to define his approach — a fusion of occult philosophy, introspection, and resistance against false deities and religious manipulation, expressed through raw, ritualistic, and experimental soundscapes. With the release of his debut EP Sunder, he unveils a deeply personal and uncompromising statement. In this interview, Arxoytt discusses the origins of the project, the creative process behind Sunder, and his perspective on the contemporary black metal scene.
Asmoth: Arxoytt is a one-man black metal project from Germany. What pushed you to start this project, and what personal need or vision led to its creation?
Arxoytt: Årxøytt as a musical project was born out of the necessity to communicate messages from beyond that contribute to humankind’s awakening toward what lies behind the veil: false deities, religious manipulation, elitist dominion, but also introspection and transformation. Black Metal has proven to be the most fitting vehicle to transport these ideas in a raw and direct manner.
Asmoth: Why did you choose to remain a one-man band? Does working alone give you a different kind of artistic freedom compared to a traditional band structure?
Arxoytt: I, Årxøytt, have been channeled by a human vessel experienced in working across several musical formats, from solo projects to bands and even choirs. As rewarding as these experiences may be, it is through the one-man format that a completely uncompromising and deeply personal creation can be conjured.
That being said, collaborations have occurred and will continue to occur in order to explore interactions and synergies with other vessels.
Asmoth: How would you define the essence of Arxoytt? What distinguishes your approach to black metal from other contemporary projects?
Arxoytt: Black Metal is an occult genre par excellence. It is my intention to contribute a different angle to it, one that expands humankind’s understanding of the fourth dimension and the topics mentioned above. My human vessel coined the term “Fourth Dimensional Black Metal” to describe this approach. Musically, the project also draws from sources beyond Black Metal, such as ambient music and electronica. Further experimentation may yet be conjured.
Asmoth: Black metal has evolved in many different directions over the years. What does this genre represent to you today, both musically and philosophically?
Arxoytt: Black Metal remains the form of metal most aligned with the primal modes of communication between humankind and the beyond. The shrieking vocals and rapid percussion grant it a ritualistic quality, which is why it remains music that is both heavy and meditative at the same time.
Asmoth: Your debut EP Sunder marks the first official statement of the project. What concept or emotional thread connects the tracks on this release?
Arxoytt: Through five sonic manifestations, I attempted to narrate a progression: from recognizing one’s own power through painful experiences to denouncing the false god that shaped this reality, and ultimately resisting both it and those who uphold it.
Asmoth: Can you tell us about the songwriting and recording process behind Sunder? Was it something spontaneous and instinctive, or carefully constructed over time?
Arxoytt: It was a convergence of ideas born at different stages of my human vessel’s life in this current incarnation, combined with impulses I transmitted from beyond. Once the narrative arc and order became clear to him, he began composing and arranging. The writing process itself unfolded within a relatively short span of time.
Asmoth: What is your perspective on the current black metal scene in Germany and worldwide? Do you feel it is still driven by authenticity and vision, or has it changed in ways you find problematic?
Arxoytt: As with many countercultures, Black Metal has gradually become a subculture and, in some cases, a mainstream phenomenon. This is not inherently negative, as it has allowed many artists to reach wider audiences.
The true challenge lies in maintaining authenticity within this third-dimensional realm of “likes” and “streaming numbers.”
From where I stand, I observe that many artists — especially within the so-called underground — navigate this challenge with integrity. For others, it remains merely a trend. Ultimately, audiences will know how to “separate the wheat from the chaff.”
