Crannk.com Exclusive
With the upcoming release of God of the Tribes, extreme metal entity Kratornas returns from the abyss with a devastating new record that leans into ritualism, atmosphere, and unapologetic chaos. For over two decades, Kratornas has operated as a one-man war machine, who has consistently rejected conformity, trends, and convention.
With a new 7” vinyl single “Ravaged by Hurakaan” (released May 20) and a cassette remix which dropped May 30 — all leading to the full-length God of the Tribes, set for release August 20, 2025 via Grathila Records — Kratornas invites listeners to a darker, stranger, and far more instinctual side of extremity.
We sat down for a deep, no-holds-barred written interview with Zachariah himself, exploring the themes, sound, gear, and spirit behind the new material. Brutally honest and unfiltered, this is Kratornas.
1. “God of the Tribes” marks a major turning point for Kratornas. What was the catalyst for this shift in sound and direction?
The catalyst was to “challenge myself” with this one. I did a lot of new things here (at least for me) like a 7-string guitar. I’ve used an 8 before on “Human Livestock”, but I didn’t bother with the F there, so a 7 string is like a sweet spot. Then I used a “6-string fretless bass”. That wasn’t the plan. I wanted a 4-string, but couldn’t find one at the time, and I needed fretless right then (to learn it). So I went with what I had. It’s not really “shifting” to something else. It’s still the same Kratornas.
2. You’ve mentioned that the album “wrote itself.” Can you expand on what that process looked like — how instinct played a role in the songwriting?
There was nothing in the way during the process. I remember buying a left-handed guitar just to write “riffs” for this. About half of the album came from that guitar. I’m right-handed, so I later transcribed everything to “main” L/R guitars. Then I threw in chimes, jaw harps, all that and didn’t overthink it. The ideas just kept coming, and I followed where it led. I had plans to push it to a 70-minute album, but time ran out.
3. Thematically, the record leans into apocalyptic and ritualistic elements. What inspired these concepts, and how do they connect with the album’s sound?
The concept isn’t new. Demo ’99 had it already. That’s when I switched to bare-bones kind of metal with “post apocalyptic themes” though I didn’t know back then it was being called “Black/Grind.” It happens because we were PLAGUED BY VAMPIRES during that time so the drive (and inspiration) is strong to do something to get away from it. Same situation with GOTT now, it was recorded without compression and no metronome. Making it sound “organic” and moving in your head – provided you’re wearing headphones (while crossing train tracks).
4. “Ravaged by Hurakaan” serves as track #3 on the new album and will be released as a vinyl-exclusive single. Why did you choose this song to preview the record?
“Hurakaan” was put out first because it’s the most accessible song off the album. It sounds like “early Kratornas” but still gives a clear idea of the direction this album is heading. It’s not really vinyl-exclusive now, since we’ve already uploaded MP3s of the track online, but this “drum and bass” still remain on the record. Unless someone uses a USB “turntable” to convert them, it’s still not the same as the master wavs, or the direct sound coming from the vinyl itself. So Side B still has exclusivity, if someone’s able to add this 7″ vinyl to their “collection”.
5. The 7” vinyl features a unique “Drum and Bass” instrumental version on the B-side. What was the intent behind this stripped-down remix?
No, it wasn’t “unique” and there was no intent, haha! It’s lazy filler, just done by turning off the guitars. Side B was originally supposed to be called “Aftermath of Hurakaan”. This is the Que Diablo Remix, a track I did while messing around during an active break. This “song” will be printed on cassette, along with other past tracks, but exclusively mixed for this tape. “Drum and Bass” on Side B ended up there because I ran out of time finishing the remix, and had to proceed with mixing God of the Tribes.
6. You’ve worked with Dan Swanö for mastering — a legendary name in extreme metal. How did that collaboration come about, and what did he bring to the final sound?
I went with Dan because he’s one of the few people who actually understand the importance of dynamics in music. I wanted someone who could master this album without draining the life out of it. It’s still my mix, and it came back as I intended it, just cleaned up and finalized now. There were a lot of mixing mistakes on my part, but I learned from that. The album isn’t loud, and that’s intentional. If I wanted this to be loud, I’d “master” it myself.
7. From the Philippines to Canada, Kratornas has endured decades of change. How has relocating affected your creativity and access to the underground scene?
Not Canada. I just prefer Western countries. It’s all deliberate here and every day is the same as yesterday. To most, especially if you’re an extroverted party animal, this is so boring you might want to slit your wrists and do wrist curls just to entertain yourself! But to those who are conscious enough to use this kind of “freedom”, this is rich. How I make my priorities now is fully up to me. I can’t do that in the Philippines because not one day is the same. There’s no routine. Every day is a mess. Big adjustments when I moved in 2010. Kratornas, or any “underground”, was the least of my concerns at that point. I don’t like relocating but I really wanted to get out there. It’s a sinking ship, and it’s not my fight.
8. The new material is described as a departure from “superfast brutality” toward something more atmospheric. How do you maintain extremity while embracing slower, ritualistic pacing?
I haven’t. I mean, if there’s only one thing I had in mind, it was to keep this album “really busy” without the blasts. I don’t know if I’ve managed to keep it ominous without falling into something “drone-like” (a lethargic genre that I hate), so I’m keeping the ritualistic chants short and randomly placed throughout the songs. I don’t consider “Post-GOTT” as a departure as I have set some “plans” on making “autopilot albums” in between. These albums will be like Devoured by Damnation / Age of Wounds, the so-called “blasting/brutal albums”. It will be like “old Kratornas” at the same time while I am making SLOW intricate/irritating albums like God of the Tribes. I like making both.
9. The artwork for “God of the Tribes” is striking and layered. Can you tell us about the concept behind the visual side of the release?
This artwork reflects what’s happening today. I know most people, at first glance, will just see tits and ass. Even call it “misogynistic”. There’s more to it but, yes, “violence” was the intention. I’ve explained the artwork more in the CD booklet, but I’ll drop a few hints here:
- UAP Drones: that timestamps the first writing to 2024, when those things started showing up everywhere.
- Kris Blade: that means the art was done by an Indonesian artist, where the blade originates.
There’s more hidden throughout the background, all of it deliberate. I got lucky, this Indonesian artist followed my instructions to the letter without flinching and I really like how this turned out. I’m proud of it!
10. With the vinyl and cassette both being physical-only releases, what’s your stance on digital platforms and how fans consume music today?
There are heaps of choices now so that is up to the person how he wants to handle his music but since this question is for me, here’s my take: I don’t have a digital subscription. I have Prime and a separate Shudder but that’s it. I download and got terra-terra bytes of hard drives of music, thousands of pdfs, and some important YouTube tutorials where I can watch offline. Surprisingly no porn, I don’t know why! Maybe because these drives cost like $400 each and dumping porn there is like an insult to the drive itself! My CD “collection” ranks first. Tapes are second. Vinyl is third and only for albums I like. That said, I haven’t bought any tapes since 1998. The ones I have now came from those glorious times. Integrated amps, graphic EQ and big floor speakers, that’s how I consume music.
11. As a one-man project since 1995, Kratornas has thrived in solitude. Do you ever consider collaboration, or is isolation crucial to your sound and message?
I’ve been alone since 1995 because I didn’t have a choice. There was no one around back in the ’90s. I found a drummer in 2016, and still using the idea up to this album. But now I’m in a position where I can actually make a decision. If I want a drummer, that’s just an email away and I like this one because he preferred money over being “credited.” I can use a dummy name or no credits at all. That’s the first thing I ask whenever I’m negotiating with a sessionist. Isolation isn’t a requirement. Sessionists can speed up the workflow, especially if they’re proactive. I’m not against the idea. I’m kind of a “busy person” these days, so any assistance I can get I’ll take it.
12. This new era feels like a rebirth in many ways. Where do you see Kratornas heading after “God of the Tribes”?
Well, dear readers… there’s no rebirth because Kratornas is longtime dead alright? It ends last 2010 and it’s not coming back. You missed all the fun (if there is). I may be still here but I’m no longer here, here. I don’t pack orders now. I still do emails but it’s not public. That email on booklets/etc was replied by “someone else” – it must be known! As a “one man band” I know where I stand and I know when to stop. Already did the last part. Now is no obligation. Only doing this koz I STILL LOVE IT and playing an instrument keeps oiling the neurons (haha) but can disappear anytime. Maybe as a grumpy oldman somewhere tropical, barebacking chics left and right. Shits too short to do things you don’t like!
13. For longtime fans and new listeners alike — what should they expect when pressing play on this album for the first time?
Expect a drumroll, I mean literally from the first track. It starts accessible. Other than that, expect a sudden turn into a mess. No, really. It could be polarizing, and that’s good. That was the intention while making this album. Anyone expecting sterile, scooped tones in safe, structured templates should be aware that kind of familiarity won’t be happening here.
14. Any final words or shoutouts you’d like to share with the fans, supporters, or anyone who’s stood by Kratornas over the years?
I don’t know if anyone really stood by, since I proudly burned all the bridges back in 2010. All of them. I kept a few honest ones, but since 2016, it’s been a whole new set of people I’ve been talking to. I’m walking alone in unknown territories now. Many thanks Jai for the interview.
Final Note:
The “Ravaged by Hurakaan” 7” vinyl and cassette remix are out May 2025 — and the full album God of the Tribes arrives August 20 via Grathila Records.
▶ Album teaser:
🛑 No digital releases. Physical only. Total underground. Total war.
