Emerging from the Netherlands in 2024, Mismorium has quickly established themselves in the Heavy/Doom Metal scene with their debut full-length “Midgard’s Falling,” released digitally on October 10th, 2025. Characterized by crushing riffs, haunting melodies, and epic compositional scope, the album reflects a band unafraid to dive deep into dark atmospheres while maintaining strong melodic hooks. Their live energy, captured in the recently unveiled video for “Into the Great Unknown” recorded at Kloosterhaar 2025, confirms Mismorium as a band to watch in the coming years. We sat down with the band to explore the origins of Mismorium, the creative process behind “Midgard’s Falling,” and their vision for the future of Heavy/Doom Metal.
Can you introduce Mismorium to our readers? Who are the members, and what are your roles in the band?
Mismorium is a five-piece Heavy Metal band from the eastern part of the Netherlands. The lineup consists of Egbert Berenst on vocals, Bert Gerrits on rhythm guitar, Leon Timmerhuis on bass, Thijs Hillebrand on drums, and myself, Job de Kluizenaar, on lead guitar. I handle most of the songwriting and composition for the band, shaping the musical foundation from which everyone adds their own touch. Our sound blends classic 80s-inspired heavy and doom metal with a modern twist. We take influence from bands like Candlemass, Trouble, and Opeth — and for me personally, Children of Bodom has
always been a huge source of inspiration. It’s that mix of heaviness, melody, and atmosphere that truly defines Mismorium’s identity.
How did the band come together in 2024? Any interesting stories from your early rehearsals or first shows?
Actually, Mismorium didn’t start in 2024 — the band goes back to 2022. It all began with a chance encounter between me and an old acquaintance, Marco de Boer, who was then working on a doom metal project. He asked if I’d be interested in joining, and things quickly took shape from there. Once the direction and sound became clear, we started looking for a fitting vocalist and found one in Egbert. After posting an ad for a drummer and bassist, the lineup was soon complete, and about half a year later we were already playing our first show. Along the way, we went through a few small changes on drums without much success — until Leon asked his nephew, Thijs Hillebrand, to give it a try. He was only fourteen at the time, but after just one rehearsal it was clear he was incredibly talented. He learned all the songs in no time and fit right in, bringing a fresh energy and precision that really lifted the whole band.
How would you define your sound for someone hearing Mismorium for the first time?
Mismorium’s sound blends 80s-inspired heavy and doom metal with a modern twist. We aim for a raw, live-sounding mix — heavy, aggressive and biting guitar tones paired with tight and powerful drum sounds. In this modern, polished era, everything often feels overproduced and lacks character, so we intentionally went the opposite way. It’s melodic and honest, built on emotion and strong riffs rather than perfection.
Which bands, albums, or other art forms have shaped your music the most?
Our main influences come from bands like Candlemass, Trouble, and Opeth, with albums such as Nightfall, The Skull, and Blackwater Park leaving a lasting mark on our sound. For me personally, Children of Bodom’s Follow the Reaper has been a huge influence — especially the aggressive sound and raw capture of that album, which perfectly balances melody and intensity. Beyond music, we also draw inspiration from mythological and spiritual themes. Some songs even carry priest-like elements to create a dark, almost church-like atmosphere — something sacred and haunting at the same time.
Can you share the main concepts or lyrical themes behind your debut full-length?
Midgard’s Falling explores the journey through despair, loss, and ultimately rebirth. Each song reflects a different stage of that descent — from the pain and entrapment in Web of Sorrow and The Dark Force, to the introspection of Sad Embrace and the collapse described in the title track Midgard’s Falling. The later part of the album turns toward reflection and
perseverance, with songs like I’ll Leave No Dream Behind and Through Trials and Triumph representing resilience and the will to rise again. It’s an album about confronting darkness, both around us and within ourselves, and finding strength in the ruins.
Who contributes to songwriting and how does a track usually come together?
Usually, I pick up my guitar with a rough idea of how a new song should feel and start jamming. Most of the time I already have a drum pattern in mind that fits the riff, and I start working from there — recording a demo with guitars and programmed drums to capture the basic structure. Once the idea takes shape, I share it with the band and we start refining it together during rehearsals — that’s when everyone adds their own flavor and the track really comes to life. After that, Egbert writes the lyrics and vocal lines, shaping the final identity of the song. In some cases, we do it the other way around — starting from a vocal line and building the music around it.
Where and how was “Midgard’s Falling” recorded? Any memorable moments or challenges during the sessions?
Most of the guitars, bass, and synth parts were recorded at my home studio — a small space, but one that allowed us to stay fully in control of our sound. The vocals and the larger-scale recording work were done at Studio 1 in Geesteren with Rene Kroon, who also handled the final mix. The album was recorded almost entirely throughout 2024 and was originally meant to be released that same year. Unfortunately, Rene faced some personal setbacks which delayed the mixing and mastering process quite a bit, so we decided to postpone the release to 2025. Looking back, that delay actually brought new perspective. During the waiting period we re-evaluated several songs, and some of them ended up being adjusted or partially rewritten — making the final result even stronger than we first envisioned.
Do you have a favorite track on the album? What makes it special for you?
Oh Masters of Darkness is my absolute favorite. I think it’s the best-structured song on the album and it really captures all the previously mentioned influences in one powerful package. With its double climax and strong groove, it brings everything together — melody, heaviness, and atmosphere — making it, all in all, a great representation of what
Mismorium stands for.
Your recent live video for “Into the Great Unknown” shows intense stage presence — how does your live energy translate compared to the studio recordings?
Our live sound comes very close to the studio versions — that’s something we take pride in. We aim to capture the same intensity and precision on stage as we do in the recordings, without relying on backing tracks or clicks. Everything you hear is played live, though we do use a few samples for some of the synth parts since we don’t have a keyboardist at the moment. It keeps the live set faithful to the album while still feelingorganic and powerful.
Do your lyrics follow a specific narrative or are they more open to interpretation?
Egbert writes all the lyrics, and while they don’t follow one continuous storyline, there’s definitely a common thread running through them — themes of decay, inner conflict, and redemption. We like to keep the lyrics open to interpretation so listeners can find their own meaning in them. Some might see them as personal, others as more symbolic, and that’s exactly what makes them powerful.
Who designed the album artwork, and how does it reflect the music?
The artwork for Midgard’s Falling was hand-painted by artist Johan Prenger. We later photographed the painting to use it as the final cover. Unlike many modern metal releases that rely on heavily edited Photoshop or AI-generated designs, we wanted something more organic and artistic. The texture of real paint gives the image a sense of depth and emotion that perfectly reflects the atmosphere of the album — dark, dramatic, and human. I also think it connects really well to the raw character of our music. Fun fact — the original painting now hangs proudly on the wall of our rehearsal space.
Are there broader themes, messages, or ideas that Mismorium wants to communicate through your work?
At its core, Mismorium’s message is about human struggle and resilience. Our music reflects the darker sides of existence — loss, decay, and the collapse of values — but also the strength that can emerge from it. We don’t try to preach or deliver a fixed message; instead, we want listeners to interpret it in their own way and find personal meaning in the chaos. It’s about facing the inevitable darkness in life and turning it into something powerful.
What has been the biggest challenge in bringing “Midgard’s Falling” to life? And what’s the most rewarding aspect so far?
The biggest challenge was definitely the long process of bringing Midgard’s Falling to completion. There were moments when we honestly thought it would never be finished, especially since we couldn’t contribute much ourselves during the physical mixing and mastering stages. We even made several announcements that the CD was about to be released, but to no avail — and at some point, we had to disappoint fans who had been waiting for it. The waiting was tough, and it sometimes felt like things were slipping out of our hands. Still, we wanted to keep full control and do things our own way rather than rush the release. In the end, that patience paid off. Hearing the final result and realizing that it truly represents who we are as a band has been incredibly rewarding. It’s our sound, our vision — and the positive reactions so far make every setback along the way feel worth it.
What can fans expect next from Mismorium — more live shows, new recordings, or collaborations?
Right now, our main focus is on promoting Midgard’s Falling and bringing it to as many stages as possible. We’re planning more live shows, including trips abroad — especially to Central and Eastern Europe, where our style of music seems to resonate really well. Because of the long waiting period before the album’s release, we’ve also written several new songs that might form the basis for a small EP somewhere around late 2026 or 2027. As for collaborations, we’re open to them if something interesting comes along, but for now, it’s all about delivering this album live with the power and intensity it deserves.
Finally, what would you like to say to listeners discovering Mismorium for the first time?
To everyone discovering Mismorium for the first time — thank you for giving our music a chance. We put our hearts into Midgard’s Falling, and we hope you can feel the emotion, power, and honesty behind it. If you enjoy what you hear, come see us live — that’s where the songs truly come alive. We’re grateful for every message, every listener, and every bit of support we receive. And most of all, interpret the music in your own way and make it yours.
With “Midgard’s Falling,” Mismorium demonstrates a command of Heavy/Doom Metal that’s both mature and ambitious, particularly for a band formed just last year. From the evocative storytelling of their lyrics to the crushing weight of their riffs, Mismorium’s debut sets a high bar for newcomers in the genre. Whether experienced through the album or their captivating live performances, Mismorium is a band that promises to leave a lasting mark on the modern Heavy and Doom Metal scene.
Purchase “Midgard’s Falling” on Bandcamp: https://mismorium.bandcamp.com/album/midgards-falling