UK extreme metal collective Outergods unleashed their latest sonic onslaught, Dethroned & Devoured, on June 13, 2025, via Apocalyptic Witchcraft. Fusing blackened death metal with industrial textures, the band’s second full-length delivers a record as suffocating as it is exhilarating—a punishing descent into chaos, madness, and the decaying edge of reality.
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“Dethroned & Devoured” leans heavily into themes of chaos, madness, and decay. What drew you to explore these particular concepts, and how do they reflect your worldview or artistic vision?
It’s a combination of our interests in gaming, books, and film, and how we all feel about the world at the moment, as things have gotten consistently worse and unpredictable over the last 10 or so years. So, like with our debut album, we are inspired by the world we’re living in and then add layers of dark fantasy and cosmic horror. Some of the big inspirations for “Dethroned…” are the lore of FromSoftware games, specifically Dark Souls, Bloodborne, and Elden Ring, so that is woven into the album, too.
You’ve blended blackened death metal with industrial textures on this album. What was the creative process like in balancing raw aggression with synthetic, machine-driven elements?
It wasn’t really a conscious decision, but more so a case of writing the style of music that I (Nathe) enjoy writing and that comes naturally. I also really enjoy experimenting with electronic elements, which I do in my solo project, Lost Outrider, so I bring a lot of what I learn there into Outergods. I’ve always been a big fan of the “wall of noise” moments in music, like what you hear a lot in the music Devin Townsend creates, so I try to incorporate that here and there, too. I usually have the sounds in mind when I create parts of a song, so I’ll spend a long time trying out different ideas until it clicks into place.
Nathe handled both the writing and production — how did that level of control shape the final sound of the record? Was it more liberating or more pressure?
I was able to write as much as possible and then focus on the songs which stood out the most, without any sort of time limit, which is always good. There wasn’t any pressure, either, as I was confident in what we were creating. It did get a bit overwhelming at times, though, as we all have full-time jobs. Balancing our personal lives with work and staying creative can be a bit tricky at times. For the lead guitar parts, I’d send over a song to Dan, say where I think a guitar solo would fit, and he’d always come back with something that fit perfectly. The same can be said about Patrick’s vocals. He wrote all the lyrics and vocal patterns. It was great knowing I could send the song to him and know that whatever comes back will sound amazing.
The album features some notable guest collaborators like Chad Kapper and Rune Stigart. How did those collaborations come about, and what did they bring to the sonic identity of the record?
I had worked with Chad Kapper on a song a while back, under the name Fate/Gods//Viruses, and we wanted to collaborate on something again, so when this song was written, I knew his vocals would be perfect. Rune and I had also spoken about working on some music together, too. However, with the increased workload Rune had following the Mnemic reunion, that took a back seat. What came about instead was a collaboration on the song “Phantasm”. I feel both Chad and Rune were perfect for the songs they are on, and it is always great to collaborate with your friends.
Tracks like “Sprawling Chaos” and “A Mausoleum At The Edge Of Time” evoke massive, almost cinematic atmospheres. Was there a visual or narrative concept behind the album as a whole?
The underlying theme across the entire album is an oppressive, suffocating, dark fantasy world. Dark fantasy and cosmic horror are something we are all fans of, so it came naturally when creating this album.
Extreme metal often walks a fine line between musical discipline and unrestrained chaos. Where do Outergods place themselves on that spectrum, and how intentional is the disorder in your sound?
I think, like I said a bit earlier, the chaotic elements come naturally when writing the music for Outergods. So I guess the chaos and disorder are intentional, as it makes sense for what we create.
If “Cosmic Abomination” were a monster in a horror film, what would it look like, and what would its catchphrase be before devouring its victims?
If you look at “One Reborn” in Bloodborne and the lore behind it, you will see the inspiration behind that song!
Who in the band is most likely to survive a real-life apocalypse—and who would accidentally summon one while trying to tune a guitar?
I think Bret would be the most likely to survive, as he is pretty chill, so I can imagine him setting up a really good shelter. I think Pat would summon Yog-Sothoth with his vocals. Maybe he has already?
Dethroned & Devoured dropped June 13, 2025, via Apocalyptic Witchcraft. If Cosmic Abomination is any indication, the record is a brutal, atmospheric, and unrelenting experience—not for the faint of heart.
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Categories: Interviews, Music, Outergods
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