Medellín, Colombia has long stood as one of South America’s most ferocious strongholds of extreme metal. From the raw intensity of the Ultrametal movement to the global recognition earned by bands like Witchtrap and Masacre, the region has carved its name into underground history.
Emerging from that lineage, Graveyard Winds carry the torch forward with their debut full-length, Those, Who Come with the Mist — a record steeped in classic death metal authority, doom-laden atmosphere, and cosmic horror mysticism. Balancing precision aggression with existential dread, the album refines the slow-rolling foundation laid on Assault to the Coffin and expands into darker, more expansive territory.
We sat down with Graveyard Winds to discuss production, literary inspirations, the Medellín scene, Awakening Records, and what lies ahead.
1. Those, Who Come with the Mist feels like a refined leap forward from Assault to the Coffin’s slow-rolling death metal approach. How did working with Juan Carlos Henao “Chengo” at Área51 Studios shape the cavernous vocals and abyssal riffing this time around?
After Assault to the Coffin, we focused in the studio on making some changes, mainly in the sound arrangements for the guitars and drums. Juan Carlos has been the sound engineer for both recordings, and he was very willing to collaborate on the technical side so that the compositions could acquire the exact nuance we were looking for.
2. The title track opens with ominous winds and a tolling bell — an unmistakable nod to classic heavy metal horror atmospheres. What inspired that intro, and how important was it in establishing the album’s cosmic and doom-laden tone from the outset?
To compose both the intro and the music, I drew inspiration from the human confrontation with a terrifying universe after death—where souls are trapped in a desolate landscape, surrounded by echoes of ancient madness, facing the reality of incomprehensible horrors before which they can only succumb to despair and delirium.
I also wanted to have a slow song in our repertoire, different from the rest, and the other band members wanted it to be the opening track. It sounds different from what the audience is usually accustomed to hearing in Death Metal, where it typically grinds at full speed from start to finish. We wanted to present a cold atmosphere right at the start of the album.
3. Tracks like “Funerary Nymphs” and “Escape of 1692” bring a sharp, precision-driven aggression while still carrying serious weight. How did you approach balancing traditional death metal structures with doom heaviness and giving each song its own tempo and identity?
For all the songs on this album, we had to analyze the speeds, riffs, and song structures very carefully. We wanted each track to possess its own essence—in terms of speed, harmonies, rhythmic structure, and lyrics—to offer the person who bought the album a distinct listening experience from one song to the next.
4. “The Heavens Were Cursing My Destiny” closes the album in a truly malevolent way. What made it the right choice to end the record, and how did Sergio Muñoz’s guest solo on “Spectrum” fit into the album’s overall guitar vision?
The choice of the closing track, as well as the opener, was the result of a consensus among all the members; we selected and arranged the tracks to create a contrast in both speed and intent.
Sergio Muñoz was the guitarist on Assault to the Coffin, our first EP in 2022. “Spectrum” was one of the first songs recorded for this new album, and Sergio was there for that. When he decided to leave the band, we reviewed most of his contributions and recorded new lead guitar lines. However, the solo you mentioned really seemed to fit the song’s style perfectly, so we decided to keep it. We are still very good friends with Sergio, so there was no issue there (live, we perform that guitar line as faithfully as possible to the original recording).
5. Lyrically, the album draws heavily from horror literature and existential poetry. What specific texts, ideas, or themes helped shape the mist-shrouded dread found in songs like “Faded Eternities” and “Hyperboreal Cavernosities”?
This pair of songs is based on literary elements from Clark Ashton Smith, specifically texts like “In the Vaults of Memory” and the Hyperborean Cycle—stories set on prehistoric continents and in mythical astral places.
The song “Faded Eternities,” the main concept revolves around an abstract, distant planet inhabited by spiritual entities once worshipped by a multitude of civilizations. As time passed, the mortal beings of that world went extinct and the surrounding suns died out, leaving those spirits without the power they drew from their worshippers. They are now ancient, weary spirits, existing in a state of ruin long after their glory has faded.
The song “Hyperboreal Cavernosities” depicts the journey of souls seeking redemption on a prehistoric northern continent defined by an encroaching cold. These souls fall prey to mocking subterranean beings—demigods—who lead them astray with traps and riddles, similar to Dante Alighieri’s journey through Hell and Purgatory.
Evolution, Labels & Scene
6. From Promo MMXXI through Assault to the Coffin and now your debut full-length, how do you feel Graveyard Winds’ sound has solidified into the “dark, classic death metal” identity you’re now known for?
We feel satisfied with the sound achieved in each production. Every new recording is an opportunity to refine details in the guitar, drum, and bass tones. The results have always been positive; the band has taken the time to record, delete, and re-record until we are completely satisfied with the outcome.
7. Carlos has mentioned moving beyond early ’80s heavy metal contrasts to fully embrace classic death metal. What defined the “slowly rolling” nature of Assault to the Coffin, and how does Those, Who Come with the Mist push that foundation further?
The influence of our first guitarist, Sergio Muñoz, carried significant weight in the composition and atmosphere of the Assault To The Coffin EP. When we began composing the new songs for Those, Who Come With the Mist with Sebas Valencia, they took on a different atmosphere, though the band has always aimed for a classic Metal sound.
8. You’ve joined fellow Colombian acts like Defamatory on Awakening Records. What drew Graveyard Winds to a Chinese underground label, and what made Awakening the right partner at this stage of the band’s journey?
During the process of finding a record label for our album, the band spoke with many labels, and although conversations took place, the label that showed the most interest in our material was Awakening Recs. From the moment we got in touch with Li, there was great energy and a lot of support from the label. They have excellent distribution across several continents, which is a huge advantage for spreading our sound and allowing many more people to access our music.
9. Medellín has a legendary extreme metal lineage, from the Ultrametal movement through bands like Masacre and Witchtrap. What does that legacy mean to you personally, and how has modern recording technology changed the landscape compared to the scene’s early days?
Masacre, Witchtrap, and a host of other national bands have paved the way for Colombian metal to be recognized worldwide, which has been incredibly positive and beneficial for our scene.
In the 80s and 90s, access to recording studios was extremely limited, and the conditions—unless you were a millionaire musician in our country—were precarious for Underground Metal. Today, bands, no matter how small, can easily access studios or produce their own high-quality home recordings. There is simply no excuse today not to get a recording done.
Live Activity & The Road Ahead
10. What are the live and touring plans around Those, Who Come with the Mist, and how does the Colombian scene currently support bands looking to reach audiences outside South America?
Public support for bands releasing music internationally is very good. In Graveyard Winds’ case, the recording funds have come directly from the sales of our releases—people are genuinely interested in listening to and collecting CDs.
We are currently working with a local promoter who runs the “Hammer Metal Fest.” Our next scheduled date is March 28th in Pereira, alongside Witchtrap and some local bands. The goal is to perform the songs live and distribute copies of the album at these events.
11. What is the biggest challenge facing Colombian death metal bands right now — whether it’s gear, distribution, logistics, or visas — and how are you navigating those obstacles?
One challenge that no one mentions is the musicians’ commitment to band activities; many bands see their projects delayed because of this detail.
In years past, the struggle was accessing good gear and instruments; nowadays, I think it is access to good record labels and distribution. The visa issue is very complicated due to the purchasing power of the average Colombian. An associated obstacle is the inability to tour for long periods, since the daily economic struggle and the local economy simply don’t allow us to dedicate ourselves entirely to music as a career. In our band, we are all professionals with demanding day jobs, which makes touring a significant challenge.
12. With album number three already being discussed, how do you see Graveyard Winds evolving next? Will the doom and cosmic horror elements continue to expand?
Actually, the band currently has the 2022 EP and the 2025 full-length Those, Who Come with the Mist. The plan is to compose songs within the broad musical spectrum we’ve already established—incorporating elements of doom, heavy metal, thrash, and classic death—without abandoning the essence of our chosen path, in order to gather material for a future upcoming album (our second full-length).
Thanks to the sales of this new record, the costs for the next recording are already covered. Now, what follows is the long road of composition. We are in no rush; this will take some time to accomplish.
Influences & Final Shots
13. Beyond the classic Sabbath and Metallica atmosphere references, which death metal or doom bands most strongly influenced the album’s funeral tone and poetic approach?
Bands like Candlemass, Decomposed (UK), Dismember, Asphyx, Paradise Lost, Rotting Christ, Bolt Thrower… And many others.
14. “Escape of 1692” stands out lyrically and visually. Does it draw from specific historical events or literary sources, and how do real-world horrors feed into your existential themes?
The lyrics for that song are based on H.P. Lovecraft’s The Dreams in the Witch House—specifically the witch who possesses advanced mathematical knowledge allowing her to travel through time and across dimensions. However, the song focuses on an aspect only vaguely mentioned in the original book: her escape from the Salem witch trials of 1692. It is a story centered on witchcraft.
Fear of the unknown is a factor that generates true horror in humans, as does our helplessness in the face of the fatality of existence—the tension between solace and disquiet. That is the source of inspiration for the band’s lyrics.
15. Final one for fun: if you could summon the graveyard winds for a dream split EP, which defunct death metal band would you choose — and why?
Decomposed (UK), Lugubrious (Spain), and Ceremonium (USA). These are bands that have significantly influenced the essence of Graveyard Winds.
Closing Words
Jai, thank you very much for allowing us to share details about our band and our album with your audience. It is a pleasure to present our music and to reach audiences that don’t know us yet.
Big cheers and greetings from Medellín, Colombia.
GRAVEYARD WINDS is:
Mauricio Arcila “Klisgor” – Vocals
Sebas Valencia – Lead Guitars
Carlos Zea Díaz – Rhythm Guitars, Bass
Josh Kano – Drums
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