Music is vast and knows no limits. Of course, that happens with metal. Everyday the listener can come across something new and interesting. This time we have the case of Samogost, an artist from Poland, who chooses to express himself through experimental/depressive black metal under the moniker Nolove. Some days before the release of the “Nobody Can Save You” album, Myth of Rock reach out Samogost, who was kind enough to answer all our questions.
by Dimitris Zacharopoulos
Present Nolove to our readers. When was the band formed and under which circumstances?
Nolove is a one-man project playing experimental/depressive black metal founded in Piła, Poland, between July and August 2023. The idea for its creation wasn’t planned at all—in fact, it came about completely by chance. One day, out of sheer boredom, I decided to record a track as a joke, which was later released under the title “Szron.” At that time, I had no intention of creating anything bigger—there were no plans, no goals, or ambitions to turn it into a musical project. It was more of an experiment, a way to kill time. However, when I shared this first track with a few friends, their reactions were surprisingly positive. I was taken aback by how well it was received, and the words of encouragement made me reconsider whether it was worth pursuing something further. It was this positive feedback that motivated me to continue working on music and develop Nolove into a full-fledged project. So, what started as a mere coincidence, or really out of boredom, has now become a significant part of my artistic expression.
When is your new album going to be released? Give us all the necessary info about this new album!
My new, but at the same time fourth album this year, and in fact this is the fifth album, “Nobody Can Save You”, will be released on December 6, 2024, but before that will appear a SPLIT “Alone / Forgive me” on streaming services with the Częstochowa-based band Nawia. The new album is the first full-length with changed percussion, which is more lively, but you will hear it already on November 1 on the split “Alone / Forgive Me”. After this album I will experiment more, but at this point it’s “Intro” and “Outro” that are more ambient. After this album I will be more open to all kinds of collaborations, from recording guitars to merch, but it depends on the reaction to this album, mainly on listening from streaming services.
Nolove’s sound is incredibly unique, blending raw depressive black metal with experimental elements (for example post-rock elements). How did you come to develop this particular sonic identity, and what influences shaped it?
It seems to me that this musical identity came about accidentally, but I’ll just share my story with music as a listener: I grew up on rap music, and my first encounter with rock/metal came when I was 12 years old (mostly alternative/nu-metal classics: Slipknot, Linkin Park, and bands like The Offspring, Green Day and Three Days Grace). However, it only became a “primary genre” for me when I turned 16. That’s when I got into black and death metal, mainly Behemoth, Batushka (I mean both Batushkas, you know what I’m talking about), Hate and Dom Zły. Besides that, I also listen to hardstyle, scenecore and related genres.
Depressive black metal often draws from deeply personal and emotional experiences. How do you balance exploring such dark, raw themes while maintaining a creative and musical focus?
For me, it’s quite simple – I often romanticize various aspects of life in my lyrics. I draw inspiration from many sources, but anime like Mirai Nikki and Boku Dake ga Inai Machi have a significant influence on me. They deal with difficult emotions, dramatic fates of the characters and complex human relationships. When I want to create, I often intentionally put myself into a state of melancholy, like a kind of “depressive phase”. It’s during these moments that I usually create my songs – ones that reflect the hardest, darkest moments from my still short life (for those who don’t know – I’m only 18 years old). In a way, I try to romanticize them, adding depth to them, even though they were painful for me. In theory, I could be even more open about personal topics in my music, sharing more of my inner experiences and thoughts. However, there’s something in my mind that holds me back. It’s like a mental block that doesn’t allow me to cross that line and fully reveal my soul in my songs.
The genre itself can be seen as cathartic for both artists and listeners. How does creating music within this space affect your own emotional or mental state? Is it more of a release or an introspective process for you?
For me, creating music, especially in the experimental/depressive black metal genre, is both a process of release and deep introspection. My past, particularly the experiences of being bullied as a child, had a huge impact on who I am and how I approach making music. When I compose and play, I feel like I can release the emotions I couldn’t express in any other way—anger, sadness, pain. It’s like shedding a weight I’ve carried for years. At the same time, creating music in this style requires me to dive deep into myself, into the darkest corners of my mind. Sometimes it’s hard, because it brings me back to moments that were painful for me. But at the same time, it helps me better understand myself. Every sound, every riff is an expression of what I’ve been through and what I feel, which makes the process extremely personal and cathartic. So yes, for me, it’s a form of catharsis—both a release and introspection.
Experimental elements often push the boundaries of traditional black metal. What inspired you to incorporate more avant-garde or non-traditional aspects into your music, and how do they complement the depressive themes?
The experimental elements in my music come from a need to express something beyond what can be achieved through traditional black metal. My experiences and emotions are too complex and chaotic to be captured by just one sound. Experimenting with sound allows me to express these emotions in a more layered, unconventional way. Traditional black metal conveys anger and pain, but in my music, I also try to portray a sense of confusion, isolation and inner chaos, which are harder to capture in more conventional structures. Avant-garde elements—unusual sounds, tempo shifts, unexpected harmonies—reflect how chaotic and unpredictable emotions can be. Depression isn’t linear; it’s a constant struggle with oneself, with thoughts that overwhelm you. These unconventional elements help me convey that unpredictability, that inner battle. I think the experimental nature of my music enhances the depressive themes by showing how diverse and complicated these emotions can be—how something that might sound chaotic at first can hold a deeper meaning when you listen more closely.
Your lyrics often delve into topics of nihilism, despair and existentialism. Can you walk us through your lyrical process? How do these themes connect with the soundscape you create?
The process of writing my lyrics is deeply connected to what I’m feeling at the moment and the emotions I want to express through my music. Themes of nihilism, despair and existentialism come naturally because these are issues I often reflect on—both personally and when observing the world. I usually start with certain overwhelming thoughts, and then I translate them into lyrics, trying to find words that capture that sense of meaninglessness or inner chaos. My lyrics have to align with the soundscape I create. The experimental, often chaotic structures in my music reflect inner turmoil and the unpredictability of emotions. Meanwhile, the depressive riffs and dark harmonies amplify the lyrical themes, creating an atmosphere of being overwhelmed and lost. The sound and the words complement each other—neither could fully convey the depth of these emotions on its own. Writing lyrics is also a form of introspection for me, a way of trying to understand my place in a world that often feels meaningless. It’s not just a literary process, but also a way of finding meaning in the chaos—just like experimenting with music helps me express complex emotions, writing lyrics helps me better understand them and give them some structure.
The underground scene has always been a pivotal part of black metal’s history. How important is the DIY ethos for Nolove, and how do you see your place within the broader black metal community?
The underground scene has always been a key part of black metal history, and the DIY ethos is incredibly important to me. Nolove is a project born out of passion and determination to create music that reflects my inner struggles and emotions. I believe this approach allows me complete artistic freedom and the ability to express myself without compromise. By building my music from the ground up, I feel I have an authentic connection with my listeners, which ultimately strengthens our message. I see my place in the broader black metal community as significant, but also as something that deserves greater attention. I believe that Nolove has something unique to offer that sets us apart from other projects. My lyrics and experimental approach to music bring freshness to a scene that is often dominated by conventional patterns. That’s why it seems to me that I should be recognized higher in my country, because what I create deserves acknowledgment and appreciation in a wider context.
Your music has a deeply immersive atmosphere and the production feels raw yet intentional. How do you approach the recording process, and what challenges do you face in capturing the intensity of your sound?
I approach the recording process with a sense of indifference, except for the moment when I’m recording vocals, which always requires more focus from me. In fact, it takes me about 40-50 minutes to record a single track, including creating the cover art and doing the mix and mastering. Generally, I don’t pay much attention to details, which allows me to create music quickly and efficiently. I want the raw production of my tracks to reflect my current attitude toward life – in a way, it shows that nothing really matters to me anymore. It’s a form of expressing indifference and the calm that accompanies me during the creative process. What truly interests me is the emotion and message, rather than the technical details of the production.
Experimental black metal often faces the risk of alienating purists within the genre. How has the reception been to your more avant-garde approach, both from fans and within the black metal scene?
Honestly, I can count on one hand the number of times I’ve faced hate. Usually, I receive positive feedback, with people sharing what they like, and if they don’t like something, they simply express it and that’s it. For me, it’s completely indifferent—everyone has the right to listen to what they want and express their opinions. I believe that the diversity of opinions is a natural part of music and art in general. As for my position in the black metal scene, I have to admit that I can’t fully answer that question because I don’t have a broad understanding of what others think in that community. I’m not up to date with the opinions of critics or fans of the genre, so it’s hard for me to gauge how my work is perceived. I focus on creating music that feels authentic and true to me, and the rest doesn’t matter much.
Visual aesthetics play a key role in black metal culture. How do you conceptualize Nolove’s image, artwork and overall presentation, especially in relation to the themes of isolation and despair?
When it comes to my image, I really don’t care at all. My style is heavily inspired by grunge and combined with my appearance (I’m bald) it creates a rather brutal and raw aesthetics. As for album covers lean more towards post-black metal and the USBM underground, reflecting my fascination with dark and unconventional themes.
Looking ahead, what are Nolove’s aspirations for future releases? Do you see your sound evolving even further into new experimental territories or do you plan to revisit some of your roots in depressive black metal?
Regarding my releases. I’m planning to put out about four or even more albums next year. However, when it comes to the sound, I’m being cautious. I’m not sure how everything will come together just yet. We’ll see how it turns out in practice. I don’t want to maky any promises because a lot can change while working on the music.
Your message to our readers!
Thank you for taking the time to read the interview. I encourage you to check out my music, and I hope you will find something you enjoy. I’d also like to invite you to preorder my upcoming split “Alone / Forgive me” and album “Nobody Can Save You” on Bandcamp. Your support means a lot to me. Take care, and I look forward to connecting with you!
