Ahead of the release of their brand new studio album Nightside, we sat down with Vilhelm and Morbius of the Siberian atmospheric black metal outfit Grima. Known for their mysterious nature, adventurous musicianship, distinct appearance and a keen connection to the wonders of nature and allegiance to the legends and spirits of the Siberian forests, Grima are undoubtedly one of the most compelling acts in modern black metal today.
Grima’s latest album, Nightside, their first release for Napalm Records, finds the band once again transporting listeners into a multi-sensory world of deep thematics, sharp imagery, and a striking balance between high-intensity metal performance and moments of melodicism and blissful ambiance. What’s more? On Nightside, Grima has cracked the code by combining frantic tremolo-picking guitar riffs, unrelenting blast beats and visceral screamed vocals with traditional Russian folk instrumentation that creates a sound entirely their own.
While existing as primarily a studio-only project for several years, Grima finally made their on-stage, live debut in 2022, bringing their ritualistic live shows to devoted audiences, with plans to make their long-awaited first-ever appearance in North America in the not-so-distant future. Armed with a new album, record label, and a can’t-miss live show, Grima are destined to bring their icy, snow-covered black metal to the masses in ways never seen before in 2025.
In our conversation with Grima, we discuss the band’s new album Nightside, the influence of their remote environment in Siberia, the transition from a studio project to a full-fledged live band, the importance of experimentation and so much more.
Nightside by Grima drops February 28th via Napalm Records!
Discussing your latest single, “Flight of the Silver Storm,” do you feel that the theme you explore—of those who have lost their fear of nature’s dangers— is more relevant than ever, considering the increasing number of natural disasters, climate change, and humanity’s overall neglect, ignorance, and exploitation of nature in modern times?
Vilhelm: The relentless pace of modern life in sprawling gray cities is exhausting. Many people seek an escape from the monotony. Our music opens a gateway to a sonic realm that transports them into another reality, creating a mystical connection with our musical universe. We have nothing to do with activism or green anarchism. While we are concerned with the global state of the world, we simply write music about the themes that resonate with us.
Morbius: Humanity has always been prone not only to self-destruction but also to the destruction of everything around it. Right now, the world is undergoing drastic changes.
How has your environment in Siberia influenced your creative process,particularly on Nightside? Do you find it beneficial to immerse yourselves in nature when writing music? Are there any rituals you practice to capture the essence of the magic and spirit of the forests?
Vilhelm: We travel often—hiking in the mountains, rafting down rivers. These experiences are deeply spiritual for us. The vivid images we encounter in the shifting landscapes imprint themselves onto our music. Over time, they evolve and gain details, becoming part of the mythology of the ancient pantheon of Siberian wilderness.
Morbius: Beyond the city limits, we are surrounded by breathtaking landscapes. We love going on hikes to seek out new and profound emotions that fuel our creativity. When we are alone in nature, there is a sense of magic that we channel into our music. The rain, the storms, and the rustling leaves all whisper their melodies to us. Our creative process is built around sensations, perception, and our artistic vision.
How does Nightside differ thematically or musically from your previous releases?
Vilhelm: This album was written in a style somewhat different for us. It is more riff-driven, featuring guitar solos inspired by classic metal bands. We wanted to structure the arrangements around groovier drum patterns rather than sticking to conventional genre formulas, where cyclic tremolo riffs sit atop relentless blast beats. The album’s sound was also shaped differently—we used a lot of analog equipment, some of which we’ve updated since Frostbitten. This allowed us to achieve a more detailed and nuanced recording. You’ll hear a variety of vocal timbres, guest appearances, and some unconventional sonic choices. The result is an incredibly dark record.
Morbius: Working in the studio always comes with experimentation. We never lock ourselves into past creative decisions. Several tracks on this album blend elements of death, doom, and black metal, which sets Nightside apart from our previous releases. Each album is an opportunity for us to explore something new. The second half of Nightside is faster and colder—perhaps a more classic Grima sound.While composing, we decided to incorporate unusual drum patterns for the genre, which gave the songs a fresh feel. This created more space for the guitars and bayan.
Were there any personal experiences that influenced the lyrics of Nightside? Is there a particular track that resonates with you the most deeply?
Vilhelm: Every lyric I write is based on fictional events—it’s a creative tool that enhances the essence of our music. I never write lyrics in isolation from the composition itself. The notes guide me to the right words.
The music videos for Nightside’s singles have been visually stunning. What was the experience like filming them? Does it feel rewarding to visually document the beauty of the remote region you come from?
Vilhelm: We shoot our videos near our hometown of Krasnoyarsk. Nature has been a part of our lives since childhood. We want to showcase the mystical essence of this land—the very spirit that defines our band.
Morbius: The landscapes around us are breathtaking—just as striking as those of the Nordic countries. We’re proud to share our artistic vision and the music inspired by Siberia’s nature. Of the three videos we filmed for this album, the winter shoot was the most challenging. “Flight of the Silver Storm” was filmed within the city limits, with drone footage capturing the Manskaya Petlya—a winding section of the Mana River that snakes around rocky mountains, home to bears and other wildlife. It’s a stunning place, visible from an observation deck, but we needed aerial shots to truly capture its grandeur.
We also filmed along the Yenisei River, braving temperatures below -20°C on all shooting days. The first day of filming was December 29, 2023, and we had to plan far in advance. Carrying equipment through deep snow was difficult in such extreme cold.
The “Skull Gatherers” video was shot in September and October, with four separate filming days at different locations. Finding the right spots took time—we even searched for a swamp where we could play while submerged up to our waists in water. That was risky since the ground could easily start pulling us under. It was also our first fully daylight video, which brought its own challenges. Natural lighting is unpredictable—clouds would shift, shadows would move between takes, ruining continuity. To counter this, we used black fabric stretched over frames to control sunlight. It was a demanding process, but it allowed us to maintain a consistent visual tone.
On Skull Gatherers, you incorporate the Russian bayan, which you’ve used in previous songs as well. How important is it to include traditional folk instrumentation in your music? Did you experiment with any other unique instruments on Nightside? Do you see yourselves exploring more symphonic, choral, or electronic elements in the future?
Vilhelm: While we enjoy the sound of bayan, we do not treat it the same way bands usually treat it in metal music. Usually, bayan and similar instruments are used to evoke this folk-ish feel you’re talking about. I think that we treat it a bit differently, like an organ. We enjoy crafting medieval- inspired soundscapes in our auxiliary arrangements for classic black metal compositions, but this doesn’t necessarily mean we focus on traditional folk instruments. Instead, we experiment with synthesizing sounds on keyboards, creating long, immersive sonic landscapes.
Morbius: The bayan has an incredibly sorrowful tone. It can evoke dread with its deep lower notes and bring listeners to tears with its high ones. The bayan has become an expressive tool that makes our music more recognizable. I think it’s not the defining feature of Grima, but it adds a unique voice to our compositions. Sad melodies played on the bayan have a particularly haunting quality. As for further sound exploration, there’s some movement in that direction. We already incorporate choral arrangements and clean vocals into our music, and the new album features several unexpected creative decisions.
Mystery has always been a core element of Grima. Is this intentional? As the band grows in popularity, do you worry it will be harder to maintain a level of anonymity?
Vilhelm: A dedicated listener can find our real names if they look hard enough. In today’s world, anonymity is difficult to maintain. We simply try to preserve our artistic image within the world we’ve created.
Morbius: We separate our artistic personas from our real identities. Our characters can exist independently of whether listeners know our faces or not.
Until 2022, Grima was strictly a studio project before you finally made your live debut. What was that process like? Has playing live influenced how you write music, especially for Nightside?
Morbius: The band’s evolution was gradual—we grew from a studio project into a full-fledged live act. Thanks to our dedicated fanbase, we were able to go on major tours right away. With five albums behind us, we can now look back and feel proud of what we’ve accomplished.
Vilhelm: After Rotten Garden, we felt the band was truly gaining momentum. Playing live was a natural progression—we wanted to bring this music to the stage. Fortunately, we already had the right musicians. Vlad and Serpentum had worked with us in the studio, and we had played together in Ultar, so everything came together smoothly. We still compose all our music as a duo, and our creative process remains unchanged.
Nightside is your first release with Napalm Records. What made them the right partner for Grima, and what are your hopes for this album on a global scale?
Vilhelm: Every label seeks fresh talent, and we see potential in working together. This partnership opens new opportunities for us, and we have big plans. Time will tell how it all unfolds.
Grima has only performed in Europe so far, but many fans in the U.S. are eager to see you live. Can they expect a North American tour soon?
Vilhelm: We would love to bring our show to the U.S. It’s only a matter of time—we know we have fans there, and we will definitely come. Maybe after the new album, we’ll receive good offers. Who knows? TPC
Watch the music video for "Beyond the Dark Horizon" below and pre-order Nightside here
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