Welcome to our in-depth conversation with Mortis Witch, delving into their latest sonic venture, “I (Man’s Imperative End Lies Beneath Mandibles of Doom).” A record that promises to explore the deepest and most oppressive facets of Doom Metal, while maintaining the band’s distinctive artistic identity. Today, we take a closer look at the creative processes and inspirations behind this uncompromising release.
Let’s begin by tracing the origins of Mortis Witch. How did the project come to life, what brought you together as musicians, and what was the original vision that gave birth to this entity?
Daiya Gobblin‘: “I met Skinrender years ago at a comic book store and noticed he was wearing a Macabre shirt. I’m always keeping an eye out for band shirts in the wild and we started chatting about music. Eventually we started meeting up at shows and eventually he invited me to come jam with some friends of his who were looking to start a Doom project. That fell apart shortly after but we really enjoyed what we were working on and decided to continue on as a two-piece.“
Skinrender: “We started in 2024 after the rest of the band bailed and Daiya Gobblin’ and I just decided to keep going. There wasn’t some grand vision at first, just a lot of experimenting and trying not to do anything that felt too obvious or easy. The dynamic works because we take the unseriousness of the band very seriously, which somehow keeps it fun and focused.“
Your sound embodies a compelling and immersive atmosphere within the doom metal spectrum. How would you personally define Mortis Witch’s musical identity, and in what ways has it evolved from your earliest compositions up to this latest release?
Daiya Gobblin’: “I don’t know that I could put any one label on what Mortis Witch is. We started off wanting to write Doom songs which then morphed into the cacophony of Doom, Sludge, Drone, and Noise that you hear on “I (Man’s Imperative End Lies Beneath Mandibles of Doom).” Our initial goal was to write some songs and then add lyrics later. As we talked more about it, we decided that we’d go the route of using samples instead of vocals to tell a story about the insectile takeover of the planet.“
Skinrender: “Right now, it’s dirty, slow, and full of bugs, but that won’t always be the case. We don’t stick to one genre or formula; every song is just whatever feels right at the time. We went back and forth on vocals, but the day we decided to lean fully into samples, it all clicked. I like that nothing we do is going to sound exactly the same, and that keeps it fun.“
Every band draws from a unique set of influences. Which artists or musical traditions have been most influential in shaping your approach to Doom Metal? Are there also non-musical sources of inspiration that significantly impact your creative process?
Daiya Gobblin‘: “My biggest influences on guitar and tone would have to be Eyehategod, Black Flag, Black Sabbath, Crowbar, and Electric Wizard. While they’re not necessarily an inspiration musically, I also get a lot of influence from Killwhitneydead and their use of movie samples in their songs. Since I’ve listened to Metal since a young age, loud, abrasive sounds aren’t new to me but several years ago I met my friend Garg who introduced me to the world of Harsh Noise as a compositional style. We used a lot of noise on “I…” and Garg’s project Takeshita even supplied some guest noise on ‘A Trail of Carnage Left in the Chariot’s Wake.’“
Skinrender: “Sabbath, Melvins, Boris, and Electric Wizard have been huge for this project. I’m also obsessed with horror films and samples, so bands like Mortician naturally left a big mark, not just for the samples but for the tiny bit of vocals we slipped in. Samples are part of our DNA now, I don’t see us ever dropping them. Honestly, I just consume a ton of music and film and make what I’d want to hear without overthinking it too much.“
The title “I (Man’s Imperative End Lies Beneath Mandibles of Doom)” immediately strikes the listener for its depth and evocative nature. Could you guide us through the conceptual genesis of the album and what this title represents within the overall artistic vision of Mortis Witch?
Skinrender: “It was always going to be about bugs, but the concept really locked in after we watched this insane documentary and said, “Okay, that’s the album.” From there, we built the entire story using only samples from the film. I’ve always loved long, ridiculous titles… They’re funny, but they also feel as important as the music. Every word in that title was chosen to both make sense and sound cool, and I think we nailed it.“
Thematic depth has always been a cornerstone of compelling Doom records. Which key themes and narratives have you explored on this album, and how are these concepts reflected within your songwriting and sonic structures?
Skinrender: “Humans are destroying the planet and don’t deserve it, bugs are superior. The narrative is that we don’t own this Earth, and while we treat it like garbage, insects will outlast us. The slow, crushing riffs feel like an inevitable crawl toward apocalypse, while the samples literally tell that story. We set out to make a badass album about bugs, but it ended up cutting a lot deeper than we expected.“
We’d love to get a glimpse into your creative process. How do the initial musical or lyrical ideas take form and evolve into the complete and cohesive compositions featured on the album?
Skinrender: “We usually start with a few riffs and a folder full of samples and just let things collide until they feel right. Most of the music was done before we added samples, but we had so many that they ended up dictating parts of the songs, we had to shift things around to make it all fit. Honestly, we just keep messing with a track until it sounds good enough. This album was a unique experience, and we’ll see where that takes us next.“
Being a self-released record, you had full artistic autonomy in terms of production. What approach did you follow to achieve the particular sonic atmosphere that defines this release?
Daiya Gobblin‘: “I am a big fan of thick, heavy guitar tones and knew right away that this album would have a lot of low-end heft to it. Both guitars use different varieties of fuzz pedals pushed into Orange and Marshall amps. When I’ve done recording in the past I would always just record the raw sound into a DAW, adjust some levels, and stop there. For the release of “I…” we wanted to do something more so we started playing with some recording software to shape our tone. It’s been a learning process that we’ll continue to evolve as we record more.“
Skinrender: “We handled all the production ourselves and kept it centered on slow, heavy riffs. The goal was for the album to feel different, dirty and oppressive but not overproduced and I think we pulled that off.“
Are there specific tracks on the album that hold a particular significance for you, either on a personal level or in terms of representing the core essence of Mortis Witch?
Daiya Gobblin’: “The first song we wrote and recorded was ‘What Lurks in Darkness Will Consume the Light/The Silent Architects of Decay’ so I have a certain fondness for it, as we learned a lot about writing and recording for this one. I also really love ‘A Trail of Carnage Left in the Chariot’s Wake.’ The main riff is one of my favorite things I’ve written, and I’m a big fan of the journey the song takes – the riff interplay to start, moving into the noise section, and then the drone riff at the end along with Skinrender’s lead and a brief return of the noise. Definitely the track I’m most proud of.“
Skinrender: “‘What Lurks…’ is special because it was the first track we wrote and set the tone for everything else. “No Chaos” has some of my favorite riffs on the whole record. Honestly, every track was a challenge in its own way since we’d never done anything quite like this before. I think the album as a whole captures who Mortis Witch was at that moment, though who knows what’s next.“
Turning to your live activity, are there any upcoming concerts or tours planned in support of the album? How do you approach translating such Heavy and Atmospheric compositions into the live environment?
Skinrender: “No shows or tours yet. Being a two-piece with layers of samples and bug noises, figuring out how to make all that work live without it looking like performance art is a challenge. We’re not against playing live, but for now, we’re more focused on writing and recording the heaviest, weirdest stuff we can.“
From your perspective, how do you view the Doom and Heavy Metal scene? Where do you see Mortis Witch positioning itself within today’s musical landscape?
Daiya Gobblin’: “At this point, I don’t think the scene has ever been stronger! How wild is that? As a kid and developing metal head I was at the mercy of whatever the record store had when I went in and hoped it would be good when I bought it. Meanwhile today we all have the entire history of Heavy Metal available at our finger tips and with a couple of taps we can play anything we want whenever we want. Obviously there are cons that come with the pros, as album sales aren’t really viable at this point but as far as the scene itself, the ability to easily discover new and old music alike, and being able to easily connect with others from around the world who share the same passion as you, it’s an amazing time to be a Metal fan! I see Mortis Witch carving out a space where people that love heavy riffs, loud noise, and b-movies can set up camp!“
To conclude, what message would you like to share with your listeners, both long-time supporters and those who are discovering Mortis Witch for the first time through this new release?
Daiya Gobblin’: “I appreciate anyone who gives our first creation time! We worked really hard to put “I…” together and we are really happy with how it’s turned out. We have a long list of plans for what comes next, much of what will feel expected and some of which will not. We hope you enjoy the ride, because we sure are!“
Thank you for unveiling the depths of your creative world and offering us this insight into the artistic journey behind “I (Man’s Imperative End Lies Beneath Mandibles of Doom).” We look forward to following your future artistic endeavors and seeing how Mortis Witch continues to evolve.
Purcase the new album on Bancamp: https://mortiswitch.bandcamp.com/album/i-mans-imperative-end-lies-beneath-mandibles-of-doom
Stream the full album via the YouTube player below: