Master's Hammer Interview (Franta Å torm)

Master's Hammer is a Czech band that formed in 1987 and became the most well-known band in the Black Metal scene from that time onward. Their first album, "Ritual" was released in 1991, but the band began to gain wider recognition with "Jilemnický Okultista" (1992), the album that introduced me to them. Without needing to have any prior knowledge of their sound, they were already considered the most important band in their country at the time. The band has always been immersed in many other experimental styles, and they consistently held long concerts for album releases, a pattern that continued with their second comeback in the 2000s. Now, with this same approach, the band returns with a new album, "Maldorör Disco" released through Darkness Shall Rise Productions.

Para leer la entrevista en español: Entrevista a Masters Hammer

Metallerium: Welcome to the Metallerium website, and thank you for taking the time for this interview. How are you and the band? How are you feeling now that Maldorör Disco is about to be released?

Master's Hammer: Hello, thank you for having me. We feel relaxed and curious about how the new material will be received, and we’re looking forward to our small band’s release party, where we’ll discuss further plans. Such plans include everything, not just the new work, though we love it.  

Metallerium: In a world where countless albums, singles and bands appear every week, what inspires Master’s Hammer to continue creating full-length records rather than just singles or EPs?

Master's Hammer: Singles are fine for the digital world, but we’re a bit old-fashioned, and I enjoy the large, printed covers for my paintings and designs. Traditional media are fun to own and play from time to time; I love being offline while painting, with my turntable spinning along. A digital release is like a message written in the sand on a seashore – which can be an advantage for some projects, I must admit.  

Metallerium: When did you begin writing the songs for Maldorör Disco, and how did you decide the time was right for a new album?

Master's Hammer: We started the Maldorör Disco project in summer 2023 with Kamil Princ. I should give a bit of background: Kamil is the editor-in-chief of Smrtisyn magazine for decadent art. I tried to design a logo for it, but he found my idea illegible, saying it looked more like a logo for an obscure band. I replied, “Then let’s found that band.” Another performer, OndÅ™ej “Sultán” Kůla, was there too and played several shows with us. The idea was to perform at vernissages of decadent art, the first being my exhibition Maldorör Disco in Kutná Hora in summer 2023. We were desperate to release a vinyl but couldn’t find the budget for a new, unknown band, and suddenly the idea came to us to label it as Master’s Hammer (with proper sound production, of course). That’s more or less it. The last songs were composed in summer 2025, so overall it spans about two years, with many gaps due to other projects.  

Metallerium: Are the tracks on Maldorör Disco entirely new compositions, or did you revisit older ideas, demos or riffs from past sessions?

Master's Hammer: All new. The oldest song was composed in 2023.  

Metallerium: How has your songwriting and composing process changed over the years, especially now in an age of smartphones, constant connectivity, and endless audio distractions? Also, considering that you’ve been in the band since the beginning, Franta?

Master's Hammer: I often say, and I’m not the only one, that if we’d had even a hundredth of today’s technology back in the early ’90s, we could have created utter madness. Nowadays, I miss a dark, smelly rehearsal room with parties and an old tape recorder you could hit “record” on whenever a crazy idea struck. Now I can produce a song while writing this on my tiny, super-fast laptop on a train to Prague—and it’s no fun at all. Still, I enjoy my recording sessions in my countryside studio, and my bandmates joined me for the mixing sessions; we played badminton and sailed on the lake as well. The mood is essential for creation.  

Metallerium: How would you describe the sound, mood and atmosphere of Maldorör Disco for long-time followers and for those discovering Master’s Hammer for the first time?

Master's Hammer: Personally, the sound is still too traditional for me—I prefer a more experimental approach, but it’s hard to persuade the others. I’d describe it as “zombie karaoke”. I’m not a long-time follower of this band myself, so I can’t judge. My taste in sound (if I ever had any) changes over time, and now I’m fascinated by analogue synthesisers.  

Metallerium: How did you choose the album title Maldorör Disco and the cover artwork? What were you trying to express visually and conceptually?

Master's Hammer: Interestingly, the title and artwork weren’t my choices. Les Chants de Maldoror by Comte de Lautréamont is a piece of poetry loved by Kamil; I’m not a great fan of it, but as a band name, it’s quite all right. The cover design was chosen by Denny (DSR); he liked it at first sight, although it was painted some time before the songs were even composed and belongs to a different series. It depicts a dancing creature with a pectinatella-like head in the background and hands animating it, which fits some of the songs perfectly. The vinyl colours harmonise beautifully; we give the cover design as much attention as the music. I’m very pleased with the result.  

Metallerium: Since your music has always defied simple labels, what is the strangest or most surprising genre tag or description you’ve seen applied to Master’s Hammer?

Master's Hammer: Honestly, I’ve no idea—I’m not an analyst. I’ve made it; take it or leave it. But on a more personal note, I wish to create music no one has ever heard before. That’s probably the aim of most musicians, a rather standard attitude, but I feel I must emphasise it again, as I often fail to achieve it.  

Metallerium: Have you ever read a review or comment where someone listed a band as your influence, even though you don’t consider them one? How did that feel?

Master's Hammer: Of course. Influences are many, both intentional and unintentional—that’s natural; we all listen to other music, and it becomes part of us. I don’t read many reviews, maybe a few on social media, but those who truly enjoy the music and lyrics usually don’t write reviews at all. I’m aware, though, that I’ve borrowed a few ideas in some songs; all composers do so occasionally.  

Metallerium: With the internet now accessible worldwide, instead of old fanzines we have websites where any fan can review albums, and sometimes musicians take it too personally, forgetting it’s just one opinion among thousands. Do you read reviews of your albums? Have you ever felt angry or disappointed by any?

Master's Hammer: We play decadent music, so we’re supposed to love negative ones. People commenting on something, or someone are usually revealing more about themselves, unintentionally. It could be funny, but I find my fun elsewhere. I only take seriously the opinions of my children – they’re very sharp critics and never forgive their father’s mistakes.  

Metallerium: How have you adapted to modern technology – from home recording setups and digital production to social media and now the rise of AI tools in music creation and visual art?

Master's Hammer: I keep my studio fully up to date with the latest versions of DAWs, plug-ins and design software – that’s part of my professional life. But AI still feels fake these days – plagiarism software I don’t need. Visual art, for me, is my hand holding a brush or pencil, canvas and paper, and lots of beautifully smelling colours in my light-filled studio.  

Metallerium: You’ve already released some singles and videos ahead of the album launch. Can you tell us about the process of making your latest videos and how you balanced technology with artistic expression?

Master's Hammer: I’d describe the latest two videos as “Viennese Expressionism”, as the creators came from Vienna. We had a great deal of fun shooting them, as you can see.  

Metallerium: Do you believe the abundance of albums being released today makes it harder for listeners to focus on complete works? How does that affect your approach as a band that values albums as a whole?

Master's Hammer: Albums are like collections of short stories for those who want to experience them as a whole. Each song builds on the previous one, with a clear beginning, development, climax and conclusion. Albums are little gifts – beautifully wrapped. You can give them to someone as a present, scratch them, burn them, or keep them on your bookshelf as a treasure.  

Metallerium: What keeps you motivated as a band after decades of music? Is it a spiritual drive, artistic vocation, or something else?

Master's Hammer: The image that comes to mind is of a submersible wild river – dormant most of the time but fierce and loud when it surfaces. Music is just one part of my creativity; the visual side is equally important.  

Metallerium: How do you define success today for Master’s Hammer – selling albums, creating lasting art, touring worldwide, or something more personal?

Master's Hammer: Success is when people understand what we do. Selling and touring aren’t everything, but it’s nice to get some energy back – it’s going well so far. Personally, I was thrilled when fans in Mexico sang along to our Czech lyrics – not just the choruses but the verses too! That feeling can only be experienced on stage – nowhere else.  

Metallerium: Do you feel there’s still unexplored ground for your sound, and for the black or experimental metal genre overall? How do you stay true to your identity while still evolving?

Master's Hammer: The unexplored space is music itself – that’s right. I work with samples and analogue synths almost every morning, a kind of generative music. I’m developing something in that direction – don’t worry, it won’t be labelled MH. Do you need to stay true to a specific genre? Then just create one on your own. Simple as that.  

Metallerium: Your guitar riffs and melodies have always been – let’s say haunting, because I can’t find a better word. How do you ensure your musical ideas “stick” with listeners, both musicians and casual fans?

Master's Hammer: Thank you, but I can’t play guitar very well and don’t read music notes. Honestly, my music can live even without guitars; some songs feature very little guitar for the sake of vocals and synths. I build my riffs primarily for my bandmates, believing that if they like them, most probably the fans will too.  

Metallerium: How have you managed to preserve the identity and consistency of Master’s Hammer despite lineup changes and the passage of time?

Master's Hammer: Identity is built on what you create now, not on “tradition”, whereas “consistency” would kill creative surprise. All the wonderful musicians who have taken part in this band have brought unforgettable ideas and sounds in their time, making our history more varied and often unexpected. They all have their own side projects and are quite successful, which makes working with Master’s Hammer more relaxed, open-minded and playful – but not frivolous; I mean “play” in the sense of creative joy.  

Metallerium: Finally, can you share a message for your fans in Latin America and for the readers of Metallerium?

Master's Hammer: I’d love to see you again!