It hasn’t been long since their debut, but DEUS SABAOTH have already moved forward with Distortion of Lies. I spoke with them about how the album took shape and what’s changed – both musically and in the ideas behind it.
Hi! DEUS SABAOTH appeared only a few years ago, yet you already have a second full-length ready. Did Distortion of Lies grow out of ideas that were still left from Cycle of Death, or did this album begin from a completely fresh point?
Hi!
I would say it continues evolving the same ideas, but in a new chapter. The listener encounters familiar themes from a different perspective. The material for this album was written after we had finished working on Cycle of Death, so it was a fresh start, but with a shared foundation.
In the description of the album you speak about the “fragile architectures” people build to protect themselves from reality. Where did that idea first come from?
The first and most common source of these protective lies people tend to adopt is, of course, religion. Living in a predominantly Christian environment, this is inevitably present in almost every aspect of life, and it gives a lot to reflect on.
The title Distortion of Lies suggests that deception is rarely obvious – that lies often hide behind something comforting. Is the album more about manipulation coming from institutions, or about the lies people slowly start believing themselves?
It’s about both. While the church and similar institutions do their job of making their followers believe whatever they promote, people willingly consume these false promises or create their own systems of belief to cope with pain, disappointment, and loss.
Alyona, you handle composition, lyrics, bass and piano. When a song starts taking shape, what usually comes first – a musical mood, a melody, or a lyrical idea?
There’s absolutely no pattern. For instance, “Worship” began with the lyrics, and I composed the music to match them both rhythmically and atmospherically. “Distortion of Lies” started with guitar lines, and everything else came later, while “Last Gleam” originated from the violin motif you hear at the beginning.
So, when it comes to that ongoing debate about “proper songwriting” — whether music or lyrics should come first — I’d say it doesn’t matter. A song will take its shape regardless of where it starts, as long as there’s something genuine behind it.
Anton Vorozhtsov handled the guitar parts as a session musician. When working with someone outside the core lineup, how much room do they get to shape their own interpretation of the material?
It depends on the instrument. For example, the violin parts are usually performed with minimal changes. But when it comes to guitars, Anton has more freedom. He does an amazing job adding subtle details that enrich the sound without altering the core idea.
Although he mostly follows the tabs I provide, the way he performs them is up to him, since he has a strong sense of balance and a deep understanding of the music we create.
Looking back now, what changed the most in the way you approached songwriting compared with the debut album?
This time, there’s clearly more focus on guitar work than before, and much less on the symphonic elements. We also paid more attention to the rhythm section. But overall, the core songwriting process hasn’t changed much.
Black metal has always had a strange relationship with spirituality. Even while criticizing belief systems, do you see Distortion of Lies as a record that still deals with spiritual questions?
Yes, in a way. It explores how spirituality is used and manipulated, and how it mutates in response to dissatisfaction and inner conflict. It challenges beliefs and questions the meaning of existence.
“Last Gleam” feels like it hangs somewhere between despair and clarity. What kind of moment or idea gave birth to that track?
You described it quite well. It came from the realization that there are things that cannot be changed, no matter how hard you try. No external help will make them better. It’s a burden you carry alone — and the closer you get to the end, the clearer it becomes.
The closing piece, “Wooden Box”, is an interesting title. Without revealing too much, what place does that track hold in the overall flow of the album?
It represents a moment of complete exposure — when the final layer of protection falls away, and you are left alone, facing your deepest fears and the absolute hopelessness that remains.
This track was written at a time when I personally confronted an inescapable sense of finality and inevitability — a realization that stays with you and cannot be undone.
Being a Ukrainian band in the current moment inevitably shapes how artists see the world. Has your environment influenced the mood or perspective behind this record?
That’s a very valid question. There is definitely an indirect influence.
First of all, my views have changed significantly — becoming more cynical and nihilistic. A certain degree of tolerance has disappeared from my value system, replaced by a sense of fatalism. And I believe this shift is reflected in the music — particularly in the atmosphere of hopelessness that runs through the album.
The album description ends with the idea that after the longest night there will be a dawn. Is that meant as genuine hope, or more as a quiet acceptance of reality?
The latter. No matter how long someone deceives themselves, the moment of facing reality inevitably comes — and it can be devastating.
DEUS SABAOTH works with a small core and several session musicians. Do you see the project eventually turning into a fixed full lineup, or does the project format suit the music better?
At the moment, I find this format very comfortable. The three of us are on the same page in terms of musical direction, which makes collaboration easy. I’d like to preserve that atmosphere within the band.
Also, the current session musicians are great to work with, so I don’t see any need to change anything for now.
When someone listens to the album from beginning to end, what do you hope stays with them after the final track fades? Thank you for your time!
To remain half-blind and protected, or to face brutal reality — it’s a choice. Make it consciously. That tension is what the record revolves around.
Thank you!
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