Within the Mexican underground, there are bands that have carved out their own path without following trends or seeking anyone’s approval. ChaosWolf is one of them. From Veracruz, they have developed a vision that goes beyond traditional Black Metal, exploring concepts such as heterodoxy, philosophy, lycanthropy, psychosis, and philosophical pessimism; elements that have defined the band’s identity since 2007.
Their latest full-length album, Omnisuicida (2025), is a work where musical intensity coexists with profound conceptual depth, further establishing ChaosWolf as one of the most compelling acts in contemporary Mexican Black Metal.
In this interview, we spoke with ChaosWolf about the band’s evolution, their understanding of Black Metal, the creative process behind their music, and their plans for the future.
It’s been nearly twenty years since ChaosWolf was formed. How would you describe the band’s evolution, and what elements remain essential to your identity?
Aciago Weltschmerz de Patmos: “I was recently thinking that ChaosWolf has always insisted on black, sardonic humor. It’s everywhere, in songs like ‘The End of BM Paradise’, ‘Orgasmortem’, ‘Irreverencia’, ‘El Execrable Banquete de Esperpento’, ‘La sonrisa de los abortados’, ‘La existencia ya es un fracaso’, and ‘La fiesta de Abulia y Anhedonia’. If there’s one thing that defines the essence of ChaosWolf, it’s that strange paradox of being a serious project whose seriousness lies in not taking anything not Black Metal, not life, not even ourselves, too seriously.
Senectus: At the same time, the band’s evolution can be heard both musically and lyrically, as well as in the production, the themes, and even the logo nowadays. Still, the depressive and traditional style that defines ChaosWolf’s Black Metal has always remained at the core, far removed from the more commercial sounds that dominate much of the genre today.
‘Omnisuicida’ carries a strong philosophical weight. What were you trying to express with this album, and what does it mean to you today?
Aciago Weltschmerz de Patmos: Every album I make is a farewell. An unsuccessful one. A failed goodbye.
Your lyrics deal with subjects that aren’t very common within Black Metal. Where does the inspiration come from, and how much of your personal experiences end up in your compositions?
Aciago Weltschmerz de Patmos: Pretty much everything. The second demo was inspired by the time I was locked up in what people in Mexico call anexos, addiction rehabilitation centers, desperate inventions from the Third World’s underworld, born out of the lack of a proper healthcare system, where kidnapping is basically normalized. Of course, I didn’t end up there for no reason. I was underage and already carried irreversible psychological damage.
Part of that experience led me to study psychoanalysis in depth, which became a central influence on our first two albums, ‘The Fall of the Idols’ (2013) and ‘Templo de Palabras Muertas’ (2015). What I liked about psychoanalysis is that it only brings bad news.
With ‘Heterodoxia’ (2019), my inspiration was more like: “Why does everyone keep going back to Tolkien? Screw that, I’ll build my own universe, my own lore, and make it a concept album”. I drew inspiration from my favorite video game sagas as well as writers like de Sade and Bataille.
Finally, ‘Omnisuicida’ (2025). A shift in alienation changed the way I wrote songs, pushing them toward a more punk-oriented structure because I had to sing and play guitar at the same time. The lyrics became sharper, revolving around two ideas that are central to philosophical pessimism: antinatalism and suicide.
Ever since the pandemic, I’ve had the feeling that we all died, we just haven’t been informed yet. I honestly don’t understand why people keep reproducing in a world like this. And I can already hear some fool saying, ‘Well then, go kill yourself.’ My answer is: “After you, my dear. And Elon Musk too, while we’re at it”.
How does a ChaosWolf song usually come together? Does it begin with a riff, a philosophical concept, or does every song have its own process?
Senectus: Most of the time, Aciago comes up with the core ideas. Sometimes they start from a guitar riff, other times from a concept that needs music capable of expressing it. From there, the songs are developed by adding complementary guitar parts and arrangements. Nowadays I also handle the drum writing. Every now and then I’ve contributed a song of my own, always staying faithful to the artistic direction that ChaosWolf has built over the years.
After so many years in the underground scene, how do you see the current state of Mexican Black Metal? What do you think is needed for it to keep growing?
Aciago Weltschmerz de Patmos: There are passionate, committed people. That’s what makes a scene possible. But honestly, I’m probably the worst person you could ask about improving anything. I only make things worse. If everything depended on me, nothing would exist.
Senectus: I personally think that besides commitment, consistency is essential. At the same time, genres like Black Metal aren’t really meant for exponential growth beyond what has already happened with the bands that have entered the mainstream. Black Metal has always been exclusionary, even toward itself, and I believe that’s precisely part of its value.
Are you currently working on new material, or taking a break after ‘Omnisuicida’? What can fans expect next from ChaosWolf?
Senectus: ChaosWolf has never been an especially active band in that sense. We don’t release albums one after another like we’re flipping burgers. Usually, when the time feels right and an idea appears, that’s when we get to work. There are already a few sparks pointing toward what could become the next record after ‘Omnisuicida’.
For now, rather than taking a break, we want to let this latest album breathe and mature among the few, but genuine, followers of ChaosWolf.
If I can hint at anything, it’s that in the future we may put our finger on many of the genre’s open wounds, and on those who reproduce simply for the sake of reproducing (and I’m not talking only about bands). Musically, we may also experiment a bit… assuming Aciago doesn’t get there first.
Regarding live performances, do you have any concerts or tours planned for the coming months?
Senectus: I’d love to say there’s interest from promoters, festivals, or record labels to include ChaosWolf in their schedules, but things work differently these days. Whether a band, new or old, gets to play live depends on many factors that aren’t always under our control, so we don’t have any confirmed dates.
That said, we’re certainly open to performing live, provided the conditions are at least decent. Not because we believe we’re above any other band, but we’re not below them either.
Aciago Weltschmerz de Patmos: I feel exactly the same. If you’re planning to invite us to play without offering any financial support, you’d be doing everyone a favor by not contacting us in the first place.
Finally, what message would you like to share with those who have supported ChaosWolf throughout the years, and with people who are just discovering your music?
Senectus: To those who are just discovering our music, I’d encourage you to explore our different albums, reflect on a different kind of message, and avoid falling into the idea that Black Metal can only sound, or be made, in one particular way.
To the few who have stayed with us throughout the years, thank you. Thank you for your support, for valuing what we do, for making our work part of your collections, and for identifying with ChaosWolf in one way or another.
Aciago Weltschmerz de Patmos: Anyone who says they make music only for themselves is lying. While I couldn’t care less about the opinion of the majority, because, by definition, the majority is made up of idiots, I’m genuinely happy whenever someone connects with the sound and/or the concept of ChaosWolf. Thank you to everyone who has supported us.
