At the time of this interview, we are on the eve of the release of your second release Mors Gregis, the successor to the Metastasis Dei tape. How was the reception to that release?
MVG: To be honest, it went far beyond anything I expected. As you might know, I started Bok during a period when I felt creatively stuck. By deliberately keeping things simple and allowing myself to just go with my flow, I managed to break through that block. It gave me back a sense of creative freedom, and surprisingly quickly, I started actually finishing tracks. If you look at my history, I’ve only finished a handful of releases over the past 25 years, while having hard drives full of ideas, half-finished demos, and other unborn experiments.
Bok, in a way, helped me overcome my personal nemesis: the inability to finish things. Once I had those four tracks, I decided to just self-release them. Just to put them out there in the overcrowded world of black metal. But, back to the actual question, to my surprise, it was picked up quickly, the tapes sold out in a few days, and the feedback was very positive. Apparently, my sometimes slightly unconventional take on black metal resonated well with some of the more obscure listeners out there.
How does Mors Gregis differ in atmosphere and theme from Metastasis Dei?
MVG: The main, anti-christian theme is the same, but underneath that, it’s quite different. Where Metastasis Dei dealt with the cancer-like spread of their arrogance, abuse, and perversions, Mors Gregis is more about the many forms of death in their lives. In some tracks it’s a bit more conceptual than in others, but their suffering and demise is the absolute red line. Let’s say the new album is a bit less about theory and more about action, if you know what I mean.
I think that difference might also be audible. Mors Gregis is a bit more aggressive and sometimes leans more into thrash and heavy metal. Not too much, but definitely more than Metastasis Dei. Also, the electronics, like synths and sampled drum parts are more prominent on Mors Gregis, which creates different atmospheres, sometimes even within the same track. Like I said, Bok has no rules haha.
The Metastasis Dei tape was released in an edition of 13 copies, a very limited run. A unique point was that each tape was handmade and one of a kind. Was this your original idea behind the project — exclusivity?
MVG: No, not at all. You know, making the tapes was just an idea that popped into my head. I never had the illusion that people would actually buy them. I just felt the tracks deserved some kind of physical presence alongside the online release. Besides that, it was simply a fun thing to do. From finding second-hand cassettes, dubbing them, to cutting and pasting the covers, it was all very satisfying. But also time-consuming, which is why I stopped after 13 copies.
For a moment, I even considered not offering any of them online, because I really saw the 13 tapes as one complete piece. I still miss them sometimes ;-). The new album will also be released on cassette and they will all have a unique, handmade cover again. This time I will release 50 copies. That was quite some more work!
In terms of musical influences, Bok cannot be put into a single box. Do you think it’s important to occasionally draw from different sources, or do those influences come to you naturally?
MVG: That comes naturally. The moment I start mixing genres deliberately, just for the sake of it, it turns into a complete mess. But let’s be honest: Bok is black metal. Sure, because I listen to it, you might occasionally hear traces of post-punk, noise, or gothic rock, but in my humble opinion, it’s not that prominent. I’m actually surprised by how often those influences were mentioned in relation to the demo. I’m genuinely curious to hear what influences you’ll pick up in Mors Gregis!
What does your writing process look like? Do you start with riffs, lyrics, or a concept?
MVG: It can start with basically anything. Sometimes I just mess around with samples I’ve recorded somewhere. Like the intro of Quatertemper Raid, for example. If it starts to make sense and begins to grow, I’ll build from there. On Mors Gregis however, most tracks are, quite conventionally, based on guitar riffs. Just riffs played over a metronome.
When those bare, stripped-down arrangements felt right, finishing the tracks came naturally. Concepts and lyrics usually reveal themselves during the process of working on the music. I do collect most of the ideas that pop up to see if and where I can use it.
Were there any specific instruments, effects, or recording techniques you used for this release that you hadn’t applied before?
MVG: I don’t have a lot of gear or instruments available, so it’s mostly down to technique. This time, I made a real effort to record the guitars with much less distortion, just using the amp gain, without a single effects pedal. It definitely made things more challenging, since I usually rely on a thick layer of distortion to mask my limitations.
I also paid more attention to balance during recording, especially making sure that everything had its own place in the spectrum right from the start. I think that helped make the final result a bit clearer, and definitely easier to mix.
How important is symbolism to Bok, both musically and visually?
MVG: Hmm, that’s a tough one. Depends a bit on what symbolism means to you. I do think visuals are important, like the tape covers, for example. And desecrating symbols and religious items also helps to reinforce the music and messages. But in itself, it’s not symbolic, and neither are the lyrics. Most of it is quite literal, without any hidden meanings or ulterior messages.
Are there literary, historical, or philosophical sources that inspire you?
MVG: I draw a lot of ideas from the bible. I usually just search online for references to certain topics and start reading from there. Sometimes it’s truly unbelievable and incomprehensible what’s written. In those cases, I keep digging deeper and deeper. The internet can lead you to some very dark, strange, and obscure places and sources of information. Beyond that, I’m especially fascinated by how the organized filth twists and turns those old scriptures to mislead their followers. Since you’re Dutch, just listen to a few sermons from the reformed churches on YouTube. It’s insane. It angers me, it amazes me, and at the same time, it fuels the fire I need to create.
Is Bok purely a studio project, or is there an intention to perform live?
MVG: I sometimes think about playing it live, but whenever that idea starts to take shape and I begin considering how to actually make it happen, it quickly fades. I just don’t have the time or resources to pull it off
What would an ideal live performance of Bok look like, should it ever happen?
MVG: Oh wow, let me close my eyes and picture this. Dark, a lot of projected visuals, small venue and a high stage. And an audience that is capable of keeping their mouths shut and hands in their pockets for an hour or so. It shall be my sermon. One way traffic. And wine. A lot.
How does Bok relate to the rest of the scene — deliberately isolated or more connected?
MVG: Isolated, if you want to call it like that. I’ve got nothing against most of the scene, but I have zero interest in being part of any group. That said, it doesn’t mean we can’t grab a beer at the next gig we’ll probably both end up at anyway 😉
Bok:
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