Last Cathedral Records is an independent project dedicated to bringing together underground doom metal bands through a series of digital compilations, while also supporting a charitable cause. Behind the project is Michael Heß, who combines his passion for discovering new bands with a desire to give something back through music. With four compilations already released — The Silent Remains, The Ancient Vigil, The Final Witness and The Veiled Saint — and a fifth one, The Last Farewell, scheduled for October 30, 2026, Last Cathedral Records continues to build bridges between underground bands and listeners.
In this interview, Michael Heß talks about the origins of the project, the process behind selecting bands and songs, the collaborations with artists and graphic designer Nicole Dau, and the charitable purpose that remains at the heart of Last Cathedral Records.
Asmoth: Let’s start at the very beginning. What was the idea that first led you to create a compilation for Last Cathedral Records? What did you want this project to achieve?
Michael Heß: Hi Asmoth, thank you for the invitation. It was actually a very natural process. I’ve had a doom metal playlist on Spotify for years, and I regularly update it and look for new bands to add. At some point, I thought I could do a little more for the bands. That’s how I got the idea to put compilations together. Back in the early days of Tales of Mike, I already had the idea of making CDs myself and donating the money to an organization that supports people who have experienced abuse. With Last Cathedral Records, I finally had the chance to put that idea into practice.
For the charitable side of the project, I chose Nina & Nico e.V. They are based in Gummersbach, very close to where I live, and have been supporting people who have experienced abuse for more than 30 years. I contacted them personally and explained my project to them. I think it’s good that organizations like this exist. For me, it’s also nice that it’s not just about making a donation, but also about having personal contact.
For me, it is about supporting the bands while also helping people who need it.
Asmoth: The four compilations have different titles — The Silent Remains, The Ancient Vigil, The Final Witness and The Veiled Saint. Is there a particular concept or meaning behind these titles, and do they reflect the atmosphere you wanted each compilation to have?
Michael Heß: For each compilation, I choose a picture that gives me a certain feeling. From there, I try to build the compilation around it. I listen to the songs and see how they work together with the atmosphere of the artwork. The title also comes from the artwork and is connected to the feeling it gives me.
For me, it was important that every compilation had its own identity and atmosphere. That’s why I gave each one its own title.
Asmoth: When you begin working on a new compilation, how do you decide which bands should be part of it? What are you looking for in a band or a particular song before sending them an invitation?
Michael Heß: I usually already have some bands in mind that are or have been on my doom metal playlist. At the same time, I’m always looking for new bands. For each compilation, I make a list of bands that I want to contact.
I also contact the bands about a specific song. Usually, I already have a song in mind that I think fits the best. I’m looking for different sides of doom metal, so there is enough variety while keeping the overall atmosphere of the compilation.
Asmoth: How do you approach the bands you want to involve? Do you personally contact each artist, and what kind of response do you usually get when you propose the idea of appearing on one of your compilations?
Michael Heß: I contact the bands directly via email. I briefly introduce the project and explain what the particular compilation is about. I also ask them directly if they would like to be part of it with a specific song. If a band is signed to a label, sometimes they also put me in touch with the label so I can get their approval.
The reactions have been very positive so far, especially about the charitable purpose of the project.
Of course, not every band replies. Sometimes the email has ended up in the spam folder and the bands got back to me later. That’s not a problem. They can simply be part of one of the next compilations.
Asmoth: Once the bands have agreed to participate, how does the process work behind the scenes? How do you coordinate communication, music submissions, deadlines and all the different elements coming from so many different artists?
Michael Heß: In the email the bands receive, all the important information is included, and they then send me their songs. Sometimes labels also send me the song directly.
I collect everything and make sure that I have all the songs and information I need for the compilation.
During the making of the compilation, I frequently update them about the release, via email and via Instagram and Facebook. It is important to me that the bands have all the important information about the release in which they are represented.
It is a collaboration between the bands and me, and so far it has worked very well. I usually plan ahead, so the fifth compilation is already complete, and some bands have already agreed to be part of future compilations.
Asmoth: A compilation can feature many different bands, but it still needs to feel like a coherent release. How do you choose the tracks and organize the running order so that the compilation works as a complete listening experience?
Michael Heß: I have some bands in mind for each compilation, and I contact them. Since I really like having variety on the compilation, I ask the bands for a song that I think fits the mood of the compilation best.
Once I have all the songs, I work on the running order. That usually takes me some time. I listen to the songs again and again and try different orders until it works for me. Sometimes I change the order again if I feel that two songs don’t work well one after the other.
Asmoth: How involved are you in the final musical and technical preparation of the compilation? For example, do you work on the mastering, sequencing or other aspects to make sure all the different recordings work together?
Michael Heß: I receive the songs already in the format I need for Bandcamp. I don’t do the mastering or any technical work on the individual songs myself.
There are naturally sound differences between the different doom metal styles, so I keep that in mind when putting the running order together. I try to make the transitions between the songs as smooth as possible.
Asmoth: The artwork is also an important part of the identity of these releases. How do you approach the visual side of a compilation, and how do you make the artwork fit the atmosphere of the music?
Michael Heß: I work with the graphic designer Nicole Dau for the artwork. She has already created several designs for Tales of Mike and she also takes great photographs.
I choose one of her photographs for each compilation based on the feeling it gives me. Nicole then creates the artwork from it. When putting the compilation together, I keep the picture in mind and try to make sure the music works well with it, even though the compilation can include different styles of doom metal.
I’m very happy with this uncomplicated collaboration. For me, the artworks fit the compilations and their atmosphere perfectly.
Asmoth: Once everything is ready, how do you bring the compilation to the public? What is your approach to the release itself, particularly regarding Bandcamp, digital platforms and physical distribution?
Michael Heß: The compilation is released on Bandcamp and YouTube on the release day. At first, I only wanted to release it on Bandcamp, but some of the bands asked me if it would also be available on YouTube. So I decided to upload it there as well, hoping that the bands can reach even more people.
I also make the compilations available on Spotify, where possible.
For now, the releases are only digital, but I don’t want to rule out physical releases in the future.
Asmoth: After the release, how do you promote the compilation and the participating bands? Do you see promotion mainly as a way of presenting the release, or also as a way of helping listeners discover bands they may not have encountered before?
Michael Heß: For me, promotion is not just about getting attention for the compilation. I want people to listen to it and discover bands they may not know yet. This also gives the participating bands more attention. At the same time, I want to use the promotion to spread the word about the charitable purpose and where the money goes.
Asmoth: The Silent Remains, The Ancient Vigil, The Final Witness and The Veiled Saint each bring together different groups from the underground. Looking back at these four releases, what have you learned from producing them, and has your approach changed from one compilation to the next?
Michael Heß: With each compilation, I have made small changes, mainly to include more information about the bands and to mention the labels involved. These may be small details, but they are important to me.
My overall approach has stayed the same. I originally planned to release four compilations per year, but this year there will be five. The fifth compilation, The Last Farewell, will be released on October 30, 2026, and will be the last release for this year. Last Cathedral Records will continue in 2027.
The most important thing for me is still the collaboration between the bands and making sure that the different songs work together as one compilation.
12. Asmoth: Finally, now that four compilations are available to listeners, what would you consider the real success of such a project? Is it the number of people who listen to the compilation, or is it seeing listeners go further and discover, support and follow the individual bands involved?
Michael Heß: For me, it is a combination of both. Of course, I’m happy when a lot of people listen to the compilations, but that was also the idea behind it: to do more than just make a Spotify playlist.
People often tell me that they discovered a band through one of the compilations. I didn’t expect that when I started, and it’s nice to hear that the compilations have helped people discover new music.
I enjoy discovering bands, contacting them, putting the songs together and seeing the compilation come together. Together with the charitable purpose and the work with Nina & Nico, it just feels right to me.
Those who know the story behind my music project, Tales of Mike, know that I have experienced physical and psychological abuse myself, including in the context of the church. My own story and the charitable purpose of the project are closely connected.
Finally, I’d like to thank you, Asmoth, for the invitation and for giving me the opportunity to talk about Last Cathedral Records.