Interview with death metal band from France - TOWERING.
Answered Thom (guitars, vocals) and Arboria (bass), thank you!
Recenze/review - TOWERING - The Oblation of Man (2026):
Ave TOWERING! Greetings from the French catacombs! I hope everything’s going well over there. It should be you’ve just released the second fantastic full-length album of your career this year. I have to admit, it literally pinned me to the wall. It’s dark, energetic, and cuts like a sharp knife. It’s very clear that you’ve done a great job and brought a lot of talent to the table. How do you view the new album in relation to your debut? Where did you want to take things, and in what ways do you think the recordings differ?
Thom: We see “The Oblation of Man” as a continuation, but also a clear evolution of what we started with our first album. “Obscuring Manifestation” was more direct, more brutal in a frontal way. This new record goes deeper into atmosphere, structure, and intensity in a different sense something more ritualistic and immersive. We didn’t want to repeat ourselves. The goal was to push our identity further, refine our writing, and explore darker and more complex territories. It’s less immediate, but more layered and demanding.
“The Oblation of Man” contains all the attributes of good death and black metal. For me personally, it’s an album I love coming back to. How did it come about? How does TOWERING compose new material? I’m interested in the actual process of creating a new song.
Thom: The process was long and very detail-oriented. We didn’t rush anything. Every riff, every structure, every atmosphere was reworked multiple times. We’re quite demanding with ourselves, so we kept refining until everything felt right.
Arboria: When I joined during the composition phase, I brought new ideas that led us to revisit the material again. That added another layer of depth. We worked collectively, focusing on coherence and intensity, making sure each song had its own identity while fitting the whole.
I’ve been listening to death/black metal since its beginnings, and you know what still fascinates me about it? The sound yes, that raw, gritty sound. You sound like a “mix” of albums by ULCERATE, SVART CROWN, and WATAIN. How did you manage to achieve such an amazing sound on the new album? Who handled the mixing and mastering? Did you have a lot of input into the final sound?
Arboria: The mixing and mastering were handled by Eloi Nicod. We had already been working together on another project (DAWOHL). I already knew his work and his approach, so it felt natural to involve him.
Thom: We wanted a sound that was cold, organic, and atmospheric, but still precise. Eloi immediately understood what we were aiming for. His first mix was already very convincing. Then we spent a lot of time refining everything together. We were highly involved in the process, down to the smallest details.
What are the themes of your lyrics? Where do you get your inspiration? Are there any movies you can watch over and over again? How did the lyrics come about, and who wrote them? Do you read books? Which one influenced you the most?
Arboria: The album revolves around devotion, ritual, transcendence, and the idea of offering oneself rejecting and deconstructing human nature to reach another state. It’s a shift from the more destructive and fatalistic vision of the first album.
Thom: Inspiration comes from philosophical, spiritual, and sometimes abstract sources. It’s more about atmospheres and concepts than direct storytelling. We’re influenced by ideas related to mysticism, existentialism, and inner transformation rather than specific movies or books.
How did you actually end up playing death black metal? You can tell from your music that you’re also fans of true death metal! When did you start playing, and what bands have you been in? What was your first concert like? Who was your role model, and who did you admire in your early days?
Thom: Death and black metal have always been central to us. Like many, we started with extreme music early on and naturally evolved within these styles. We’ve all been involved in different projects before, but TOWERING is where everything converges.
Arboria: The influence of both old-school and more modern bands shaped our approach. It’s not about copying, but about channeling that intensity and pushing it further.
The topic of concerts is also related to the previous question. How are things going for TOWERING in that regard? Do you enjoy playing, and do you play often? Do you prefer festivals or smaller clubs? And are you willing to travel far, for example? Are you interested in a longer tour?
Thom: Playing live is essential for us. It’s where the music takes its full dimension. We enjoy both small venues and festivals they offer very different but equally powerful experiences.
We’re currently working on playing as many shows as possible to support the album, and we’re definitely open to touring more extensively, including longer runs.
You’re from Paris and play extreme black death metal. Our readers would definitely be interested in how the metal scene works where you are. To tell you the truth, lately I’ve been hearing nothing but great bands from your area. Does that mean the scene is really strong there right now? What about concerts how many people show up?
Thom: The scene is very active and inspiring. Even if we’re not all based in Paris anymore, we still have strong ties there. There are many great bands emerging across France.
Attendance varies depending on the event, but there is a real and dedicated audience for extreme music.
Your music shows that you’re influenced by both the American and Australian death/black metal scenes, as well as older European bands. What about you as fans? Do you prefer the original death/black metal of the ’90s, or do you also draw inspiration from new albums? If so, I’d be curious to know which bands have had the biggest influence on TOWERING.
Arboria: Definitely both ! Of course, the ‘90s scene is fundamental in Europe. There are some shinning jewels in American and Australian scene. This said, we are not particularly stuck to a specific one.
The scene which has been growing in interest for me these recent years is the Icelandic one, with bands such ZHRINE, SINMARA, MISÞYRMING.
Thom: It’s this balance between roots and evolution that defines our sound. We don’t limit ourselves to one era.
When I started my website ten years ago, my vision was to try to support bands that I felt weren’t getting enough attention. To let the world know about them. I think I’m doing a pretty good job of it, at least judging by the feedback. How do you approach promotion? Do you leave it to the label, or do you send CDs out for reviews yourselves? For example, I buy albums that I really enjoy. How about you? Are you also fans who like to support your peers? Do you go to concerts? Do you party?
Arboria: As for the promotion, Thom and the label are definitely doing the bigger part. I used to be a compulsive CDs buyer before. Now, I am more selective, as I can't push the walls.
I'm not doing a lot of gigs now, but when one interests me, I don't mind crossing a few countries if needed to attend the show or the fest.
We are big fans of Brutal Assault with Thom. Czech Republic has some incredible bands which should deserve more recognition such as : GODLESS TRUTH, !T.O.O.H.!, CULT OF FIRE, OBSCURE SPHYNX (in some other style), and last but not least LYKATHEA AFLAME.
On the one hand, every band today has plenty of ways to get their name out there, but on the other hand, there are so many bands that fans get lost in the crowd. A lot of people just download MP3s from the internet and, instead of going to a concert, prefer to spew venom on Facebook. How does modern technology affect you as TOWERING? What do you think about downloading music, Google metalists, streaming music, etc.?
Thom: It’s a double-edged sword. It gives visibility, but also creates oversaturation. Streaming helps reaching people, but it can’t replace the experience of physical formats or live shows.
It’s a toouseful, but it shouldn’t define everything.
What does death/black metal mean to you? Is it a lifestyle, a hobby, a way to relax? How would you define it? Feel free to get into some philosophical musings.
Arboria: It’s more than music. It’s a way to channel something deeper—intensity, introspection, transcendence.
Thom: There’s almost a ritualistic dimension to it. It’s an exploration of extremes, both musically and conceptually. It captures and reveals the darkness in us, the visceral expression of our deepest feelings. Even though I enjoy many other genres of Metal and music in general, I find that only darker Death and Black Metal can provide such emotions.
The inevitable question to wrap things up. What does TOWERING have planned for the coming months? What can we, the fans, look forward to? If you have a message for fans, labels, or promoters, this is the place for it…
Thom: We’re focusing on promoting “The Oblation of Man” through live performances in 2026 and beyond. More announcements will come soon.
Thank you again for your support and this interview. To everyone reading—stay devoted, and we hope to see you on the road!
Thank you very much for the interview. I’m heading to work in a minute. I’ll walk past the cemetery. It’s clear what’s going to be playing on my player - “The Oblation of Man.” And really loud. I wish the album the best sales possible and hope it reaches as many listeners as possible. All the best to you in your personal lives too! Death/black metal forever!
Many thanks to you and to the readers, you are the reason we keep playing fast and loud! The scene cannot die thanks to devout fans and supporters. See you very soon!
Recenze/review - TOWERING - The Oblation of Man (2026):
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