Kaeck are back. The Dutch black metal war machine has forged a brand-new album, and the band are once again ready to deliver a few hard-hitting blows to the scene. Their sound is as uncompromising as ever—raw, furious, and steeped in darkness. With sharpened riffs, relentless drums, and a vision that continues to evolve while staying true to their roots, Kaeck prove that they are far from finished.
It’s the perfect time to sit down with Jan (J.K.), Ruud (R.N.), and the Oovenmeester (O) for a conversation—to dive into the creation of the new record, the fire that still drives them, and the chaos they are prepared to unleash.
First of all, congratulations on the new album and the fantastic artwork. Let’s start right away with the question of how this idea came about and who executed it.
O: Thank you very much indeed, I guess this idea was a logical followup on the previous work. Jan gave the start signal, he is undoubtedly the engine behind things. Without boasting: the artwork I think is something special indeed. It’s probably one of the most beautiful designs I’ve seen in metal sofar. It portrays the terrible deity Kaeck in his armor, descending from his horse and subjugating mankind. What more do you want?!
J.K The cover artwork, a handmade woodcut style work of art was crafted by Dylan Humphries. A good mate of the band, this contact started with Sammath years ago, the upcoming Sammath 7 inch and new album also have art made by Humphries. He has perfectly understood Oovenmeesters vision of Kaecks arrival on earth and transformed this into art. Untill now he has only done art for death metal band Vitriol. Check that album out. Suffer & Become.
Humphries guitars are something every metal guitarist should see. Daemoness Guitars
In 2015 there was suddenly Stormkult, almost out of nowhere, put together in seven weeks. Looking back more than 10 years later, how do you reflect on that album?
O: I still love it. The artwork is great, the sound is great. It also has a lot of personal meaning to me as we made it during a particularly nasty period in my life. Stormkult helped me not give a fuck.
J.k: Stormkult was a great start, the songwriting style I havnt changed it all. The production however just isnt my thing looking back. The tracks are still great though.
The vinyl and tape versions came out a little later via Heathen Tribes — how did that collaboration come about at the time?
J.K: They contacted me after they heard the demo and said they wanted to make something special of it. It turned out into the best cassette ive ever seen. The lyrics, poster wrapped around the cassette. You have to see it. The Heathen crew are a great bunch, they even send my kids gifts. I always like to get cassette releases done. Mostly last years they are done by longtime Dutch label Zwaertgevegt.
In 2021 came the long-awaited follow-up, Het Zwarte Dictaat, again an explosive album. What was the reception like back then?
O: Feedback in general was positive, an 8/ 10 wasn’t unusual. It gives you a rush and the power to move on to the next project!
RN: We tried to make it as harsh as it was possible, at the time. It was recorded in coronatime, which gave us the opportunity to take more time for the recordings. On the other hand we had some internal struggles, leading to a line-up change after which Jan and I partially rerecorded drums an keys. I think people heard that in the songs, the sound became more violent and the album was received as good as we hoped. Maybe even better.
Jk: the reviews of the 2nd album were amazing, i needed to make that one to be able to write Gruwelijk Onthaal. This new album is huge compared to the previous efforts. This is the way it should be as a band, moving forward and growing. Stagnation or repeating yourself is death.
Now you return in 2025, this time no longer as a trio but with a new drummer, Frostbite. To what extent did this influence the writing process?
RN: I took a step back during the recordings because of changes in my personal situation and chose not to do the drums on this one. Frostbite was asked to join in, and he immediately took up the sticks. His style is way more haunting and dead-beating than mine, and it fits the arrangements on Gruwelijk Onthaal perfectly.
J.k: During recordings the only task Frostbite had was to play it all as dead as possible. No feeling, just pounding hatred.
Were there any musical or production choices on Gruwelijk Onthaal that you would not have made on earlier albums?
O. Speaking for the lyrics, the subjects are still evil, dark, magical occult rites and such. The story continues so to say. With each album I try to elaborate on the story of Kaeck an his dark and evil ways.
J.k: Production wise this album is huge. It sounds exactly how i wanted it to sound. Longtime producers ive worked with, mixed by Marco Hartgens and mastering by the master Peter Neuber. These guys had the job of making this sound huge. It cant be commercial because that sound woukd destroy the atmosphere. Due to the old school recording set up, example, the guitars are recorded old school, 2 mics in front of the cabinet. No reamp. So it sounds a bit rough. But still. Huge and loud. In any car stereo or on small soeakersspeakers it just sounds perfect. They did the utmost best and I kept pushing them. How they put with my endless emails and calls is beyond me. If someone kept bothering me like that id tell them to fuck off and then fuck off some more.
What does the writing process for Kaeck look like these days? Do you work together a lot in the same space, or is it more remote?
O: The writing was still remote beforehand but we also rehearse for live performances nowadays. In this we come together for practice and booze with our live line-up.
J.K: The writing way is unchanged. I write all the music after I get the lyrics and concept from Oovenmeester. Somehow that really inspires me to get at it and Kaeck riffs flow. After adding the key lines we record the drums and bass.
Were there specific historical, literary, or political themes that you explored for this release?
O: No politics or particular historical events. It’s magic and sectarian violence released upon humanity. I came up with the concept but was inspired by writers like Lovecraft and Robert E. Howard and all kinds of movies involving cults like Hereditary and Wickerman.
How do you view the current Dutch Black Metal scene? In your opinion, what makes a band timeless in a genre where new names emerge so quickly?
RN: As a scene of old versus new, where the new kids on the block tend to be a bit less angry, and more vegan orientated than the grumpy old ones like us. I personally don’t feel connected to the new scene. Too school for cool
J.K: I have been around in the scene since the early 90s. It has changed a lot. These days a lot of normal people are in bands, im glad that ive never been in a band with normal people. This music is for fanatics only. No weekend tourists. After 35 years in this ive seen 2 generations come and go. And also some that remain, in general the scene is big. Poplular bands make popular music. But this music is and should always be about making dark and loud music not for the masses.
In your opinion, what makes a band timeless in a genre where new names emerge so quickly?
O. Don’t be afraid to look at others to find out what sounds and feels good for your music but always stay improving and innovating as well.
J.K: having your own sound.
Finally, I’ll give the floor to you.
O. I hope to see you obliterated at one of our live shows soon!
J.K: support your local record dealer! Thanks for the talk.
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