Siberian atmospheric black metal outfit Grima have recently unveiled their latest release, Nightside, on February 28, 2025, via Napalm Records. Known for their raw yet melodic sound, the band continues to blend symphonic elements with intense black metal, now incorporating death metal-style growls. Produced by Vladimir Lehtinen, the album takes listeners on a Siberian folklore journey with dark, nature-inspired themes. Metal Insider caught up with co-founders Vilhelm and Morbius to discuss their latest offering.
What was the recording process experience like for the new album Nightside?
M: Many of the songs on this album were conceived at night. To fully immerse ourselves in the atmosphere we sought, we ventured deep into dense forests, traveled through the mountains of the Ergaki nature reserve, and rafted along the Mana River, which flows into the Yenisei. The surrounding nature is a constant source of inspiration for us.
We began working on the album in early summer 2023, right after our second European tour. The tour left us with incredible impressions from the shows, and we were eager to dive into the recording process. It was crucial for us to create an album that would highlight our strongest sides. This time, we approached song structures differently—each track tells a story and draws the listener into the beauty of the dark Siberian forests.
Before entering the studio, we always prepare detailed demos that capture the essence of the album’s sound and contain the primary arrangements of the songs. We work closely with our sound engineer, Vladimir Lehtinen, who understands our vision perfectly and helps us achieve the best results. We record in a fully analog studio and use a variety of different equipment. Our sound is entirely organic, built from the ground up by us. We don’t rely on trendy digital presets that dominate the modern audio industry.
V: We recorded Nightside in our studio in Krasnoyarsk, just like all our previous albums. We handle the recording process entirely ourselves, using analog equipment and preferring an old-school approach. When it comes to mixing, Vladimir always faces the challenge of fitting all our instruments into the mix while ensuring that the sound differs from our previous releases. It’s not just about the accordion or keyboards—we have a huge number of audio tracks, especially on Nightside. Only a true professional like Vladimir can handle such a complex task without losing the album’s essence.
Nightside marks your Napalm Records debut, what has the experience been like signing with the label, and how has it influenced the creative process?
M: By the time Napalm Records reached out to us in early 2024, we had already completed work on the album. I believe this happened due to our relentless efforts: we’ve been releasing new albums every two years and touring consistently for a long time. Over the past few years,we’ve played nearly a hundred shows across Europe. This dedication made the band more visible to labels, concert organizers, and festival promoters.
We’ve always wanted to sign with a major label. It’s crucial for us to have a strong distribution network for our albums and merchandise, which Napalm’s support now makes possible. We discussed many details and secured a solid deal. Not every label is willing to work with us while also defending our artistic vision, but Napalm is there for us and we’re honored to be part of their roster. Now, we have an incredible team working on the album’s promotion. We’re in contact daily, putting in a huge amount of work. We truly appreciate their approach to our band.
How would you compare the new album to 2022’s Frostbitten?
M: Frostbitten is a cold and heavy album. We recorded it in winter, when it felt like the studio itself was freezing. Every recording session is deeply influenced by the environment in which it takes place, and Frostbitten carries that harsh, biting atmosphere, with an intense rhythm section and raw sound.
With Nightside, we decided to experiment with drum patterns that are uncommon in the genre, which allowed us to introduce a fresh dynamic to our songs. There’s now more space for the guitars, keys and accordion to shine. The new album is also more diverse. The first three tracks combine elements of death, doom, and black metal. The next part of the album speeds up and brings out a colder, more classic Grima sound. And the finale features an unexpected track that was a real experiment for us. We finished it in the studio, and until the very end, none of us knew exactly how it would turn out.
Have any books, films, or artworks influenced the themes of Nightside?
M: Horror culture has a huge impact on us. Horror films and dark-themed art inspire many musicians, and we are no exception. We are big fans of horror movie composers like John Carpenter and Fabio Frizzi, who create incredible soundscapes filled with dread and tension. Films like The Thing, City of the Living Dead, Hellraiser, and Phantasm are great examples of movies with effective soundtracks.
Visual aesthetics have always been important to us. We draw inspiration from film imagery—old movies have fascinating set designs, and some of our stage and video concepts borrow elements from theater and cinema.
Can you talk more about the songs “Skull Gatherers” and “Where We Are Lost?”
M: Where We Are Lost contains some interesting rhythmic ideas. Bands like Meshuggah and Leprous influenced us while we were writing the drum parts. We needed to avoid using straightforward kick drums in the intro riff, and in the end, we were really satisfied with the result.
V: Skull Gatherers was inspired by doom metal, particularly the latest release from Paradise Lost. We wanted to create a track built around a slow, immersive groove while keeping a mournful, almost funeral-like tone. It’s a mix of heavy energy and lingering melancholy.
Grima began as a studio project but has since evolved into an active touring band. How has performing live changed your approach to music?
M: In 2014, the two of us started Grima as a personal studio project to express our vision of black metal. At that time, we were already working seriously on music with our first band, Ultar. While Ultar was growing, we decided to create Grima as a way to develop independently as musicians. Initially, we focused solely on studio work. After the release of our third album, we realized we needed to take Grima to the stage and become a full-fledged live band. Everything worked out perfectly, as we brought in musicians from Ultar, who are now an essential part of our live and studio lineup.
Playing live taught us a lot. Touring helped us see our music from a different perspective, allowing us to reinterpret songs we had written at different points in time, without ever intending for them to be played live. It turned out that many tracks worked incredibly well in a live setting. Now, we pay much more attention to writing songs that will translate powerfully in a live performance.
This year marks the tenth anniversary of your debut album, Devotion to Lord. How have you guys evolved since the beginning, and do you have any plans to commemorate the record?
M: To celebrate the band’s anniversary, we embarked on a major tour across Russia, playing 21 great shows. A decade is a significant milestone—we’ve evolved from a studio project into a full-fledged live band and have released six albums. Now, as we step into our second decade, we’re on a new label with a brand-new album. This is a huge leap forward for us, but there’s still so much work ahead, and we’re ready for it.
Is there anything else you’d like to say or add about the new album?
M: Nightside is dark yet beautiful. It embodies the atmosphere of the night forest and the horrors lurking within its shadows. This new record captures the most expressive and defining aspects of Grima. We took everything we’ve learned from our past releases and used it to refine oursound even further. Once again, we’ve managed to create a strong and self-sufficient album that represents our vision of the genre and our passion for heavy music.
Grima Nightside is available to order via this location.
Feature Image Photo Credit: Mikhail Yuyukin, Viktor Shkarov, Marat Zaborovskiy
