Hi there! U KRONAKH started as a solo thing. Has involving more people changed how you write, or is it still mostly in your head until the final moment?
Hi. Nothing has changed in the writing and recording process since the beginning. Everything is written by one person. When the music and lyrics are ready, the vocalist and drummer join the recording process, bringing their own input and refining certain parts, since I’m neither a vocalist nor a drummer.
What was the thing you had to do differently on Archaic Dance of Winds compared to the last two?
The most significant differences between Archaic Dance and the previous two albums are the overall sound, which has become cleaner and more massive, and a completely different vocal approach. There are also more diverse instrumental interludes in this one.
Wormwood’s vocals changed the game on this one. What made him the right fit?
I think this question is best answered by Wormwood himself, so here’s his quote:
“When I first listened to the material, I realized the vocals couldn’t be linear—or in other words, monotonous. The music and mood of the tracks change, and that needs to be reflected in the vocals. That’s why you can hear growls, harsh vocals, and high parts on the album.
Plus, I really value clear articulation in vocals. I don’t want vocals to just sit in the background as a texture—I want them to be a distinct and important layer that captures the listener’s attention. So I made sure the words were clearly audible and understandable.
And judging by the feedback we’ve received—it worked.”
Was there a song on this record where you thought: “Yep, this is the core of the album”?
Probably the first track, “Chorna Hora” (“Black Mountain”). But on this album, all the tracks are equally important and on the same level.
With such sprawling, atmospheric songs, how do you know when a track’s actually done?
That’s an interesting question, because I don’t fully understand how it works myself. A track just keeps being refined and written until, at some point, you realize you don’t want to add or change anything anymore.
How much of your sound comes from gear choices—guitars, amps, plugins—or are you more focused on performance and feel?
During writing and recording, what matters most to me is performance and feeling. But during mixing and mastering, other things become important, and that’s where Roman “Morvudd” Sapozhnikov does a great job—big thanks to him for that.
Outside metal, who are some artists or sounds that sneak into your subconscious when you’re writing?
In fact, while writing, there’s nothing playing in my subconscious—not even thoughts. I also don’t listen to any music at all during those periods.
Are you more into raw takes or tight edits? Where do you draw the line between vibe and precision?
I prefer precise takes without editing, even if there are minor mistakes.
Regarding vibe, somewhere in the middle. The vibe is crucial for the creation, and precision is essential for execution. If the question is about the final product, then it’s all based on feel and how it sounds—so there’s no definitive answer.
Do lyrics come after the music, or do you build riffs around words and themes?
Some of the lyrics came before the music, some after, and certain parts during the process. Also, after the music was finished, the lyrics were edited to better fit the material they’d accompany.
Nature and mysticism are a big part of your vibe—how do you keep that from drifting into cliché?
Maybe it doesn’t always succeed, because thematically this kind of stuff is written about a lot. But this is the foundation and core of the creative process—what truly inspires me. So I honestly don’t care if it’s seen as cliché or who writes what—their music is their business.
At the same time, the lyrics here are only partially about that.
When you’re deep in writing mode, what makes something feel right for U KRONAKH?
Hard to say. Probably anything that doesn’t interfere or distract from the process—and even better if it helps maintain the right atmosphere.
Are you trying to push U KRONAKH into new territory next, or lock in what you’ve built so far?
At the very least, to preserve what has already been created and live up to the personal standard I’ve set—whatever that may be. What comes next, we’ll see.
Do you feel connected to the Ukrainian black/death metal scene, or is U KRONAKH its own beast? Thank you for your time!
There’s definitely an influence from the Ukrainian black metal scene, as well as various foreign ones—there’s no way around that. But I don’t feel a strong connection to any of them. In my opinion, music is its own entity. Once it’s released, it lives independently, and it shouldn’t be tied to individuals, regions, scenes, or schools.
Thanks for the interesting questions.
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