German black metal band Hieron was officially formed in 2023, born from longtime friendships and a shared desire to create a black metal album that matched their own high standards. With their debut full-length From the Temple to the Grave, the band delivers a dark and atmospheric journey shaped by theatrical influences, intense songwriting, and a strong DIY spirit. In this interview, M. (vocals) discusses the band’s origins, the concept behind the album, their influences, and the vision driving Hieron forward.
Asmoth: Hieron is a relatively new project, formed in 2023 — what brought the band together, and what was the initial vision behind its creation?
M.: We got together in our rehearsal room in 2022 just to play music and officially formed Hieron in 2023. We’ve known each other for decades and had already played in other bands together in the past. There wasn’t really a grand vision other than the idea of making a black metal record that lives up to our own standards of what a good and engaging album should sound like.
Asmoth: How would you define Hieron’s musical identity and atmosphere within the black metal genre?
M.: I don’t think it’s up to us to define our own identity. That’s something that develops over time through musical output as well as playing shows. Any further categorization within the black metal genre feels unnecessarily exhausting. Everyone can decide for themselves which box to put us in.
Asmoth: How has the German black metal scene influenced your sound and artistic direction?
M.: Honestly, not at all. None of us has any particular connection to a specifically German black metal scene, and I wouldn’t even know what a distinct “German black metal sound” is supposed to be.
Asmoth: What bands, albums, or other influences played a key role in shaping From the Temple to the Grave?
M.: Personally, I’ve always had a soft spot for theatrical elements in extreme music, so I can’t really get around the sound and aesthetics of Swedish bands like Dissection, Dawn, Unanimated, Lord Belial, Vinterland, and Watain. That said, the band’s influences as a whole are much broader, ranging from punk, death metal, grindcore, and powerviolence to indie and even more progressive, jazz-influenced material. We’re also all into film, which definitely feeds into the overall atmosphere of the album, something you can clearly notice when listening to it.
Asmoth: Did the material for your debut album come together quickly, or had it been developing even before the band was officially formed?
M.: The material actually came together quite quickly. At the time, we were just three people and it was towards the end of the pandemic, so we had plenty of time to write and rehearse. But once everything was recorded, mixed, mastered, and we got in touch with Vendetta Records, it still took another four years before the album was finally released.
Asmoth: What is the concept or meaning behind the title From the Temple to the Grave?
M.: The concept is pretty straightforward. It follows a protagonist on a journey from faith to madness — from the temple to the grave. I tried to create vivid imagery while dealing with themes like belief, doubt, the illusion of salvation, and the resulting sense of hopelessness. Since I also handled the artwork myself, I could really go all in on the visual side as well. It’s not entirely free of clichés, but that’s exactly what I love about metal.
Asmoth: How did you approach the songwriting and recording process for this album?
M.: As mentioned, the album was initially written by the three of us. Our guitarist would bring in fragments, melodies, and riffs, and we’d gradually shape them into full songs together with the drums. I don’t play an instrument myself, but I know what I want to hear and where, so I contribute ideas in my own way — sometimes through rather unconventional means.
Once the music was finished, I worked on the lyrical concept and wrote the lyrics, then we fine-tuned everything in the rehearsal space. We recorded everything ourselves in a DIY setup, piece by piece in the rehearsal room. Most of the second guitar parts were written during the recording process and tracked right away. This was also the point where the band ultimately became a four-piece. Mixing and mastering were handled by a friend of the band, Julius Weise, who did an excellent job in close collaboration with us.
Asmoth: What kind of experience or emotions do you want listeners to take away from your music?
M.: First and foremost, we wanted to create a brutal but also engaging and entertaining black metal record — something with moments that stick. It should make you want to come back to it again and again, not just for the music but also for the atmosphere, the sound, and the artwork. At the same time, it always mattered to us that the material works live — and it does.
