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It’s fair to say that revered guitarist Blasphemer – born Rune Eriksen – has an extremely impressive musical resume, having contributed to a wide array of metal-related bands over the years, from black thrash masters Aura Noir, to Bathory-inspired epic metal act Twilight of the Gods, and the David Vincent-fronted blackened death metal band Vltimas. However, he is undoubtedly best recognised for his significant contribution to black metal legends Mayhem during the 1990s and 2000s, and indeed, it is that very period of creativity that provides the stream of inspiration that RUÏM proudly draws from.

Created at the beginning of this decade, during the uncertain and frustrating years of lockdown, RUÏM explicitly delves into Blasphemer’s musical past, the band even described as having been “inspired by the rediscovery of a long lost tape of old, unused Mayhem-era riffs from 98/99.” The lineage from works like Wolf’s Lairs Abyss is obvious – in fact, the band even perform songs from that nightmarish classic – the music shaped by the guitarist’s distinctively angular and visceral songwriting, the resulting ferocity blended with slower paced and more atmospheric leanings.

An obvious point of departure, however, is the conceptual foundation for the band; namely the beliefs and rituals of the Brazilian spiritual/religious tradition, Umbanda, which, for the uninitiated, is a blend of African beliefs, South American practice, and, perhaps most curiously, Catholicism. Certainly his most personal project to date, RUÏM sees the Norwegian handling guitar, bass, vocals – interestingly, a mix of English, Portuguese and Norwegian) and songwriting – his recorded output accompanied by the talents of French drummer César Vesvre (a member of black metal act Shaarimoth, among others).

The first result of this collaboration was the 2023 debut album Black Royal Spiritism – I – O Sino da Igreja, and 2025 has seen the band’s very first live shows, the next of which takes place at Fortress Festival this weekend. We caught up with Blasphemer for this online interview and will continue the conversation at a live talk at the festival, which curiously (and scarily) will take place some 21 years to the month of our very first interview together...

Cult Never Dies: RUÏM is still a relatively new band, and some readers may not have yet checked out your masterful 2023 debut album. For those unfamiliar, how would you describe the band and its goals?

Blasphemer: “It’s an extension of what I started doing in Mayhem, really. It has the arpeggios and the chord progressions that I was/am known for in my earlier days in that band, just taken to 11. And, obviously, I am a few years older now, so whatever has been inhaled, snorted, or poured down my throat over these years has made me and my approach somewhat distinctive, and, well, very much me. Hopefully that includes something unique.”

You mention Mayhem, and RUÏM is of course audibly connected to your work in that band, arguably more so than any of your other projects. How do you see your work in RUÏM as differing from your work with Mayhem?

“Musically, more personal, I’d say. The thing is, when you practically do everything yourself, the focus gets more private and intensified. I see RUÏM as a spiritual movement, an extension of my beliefs and practices, so clearly that would motivate the songwriting as well. It surely is a driving factor behind everything. In Mayhem, the approach was more like reflecting a unit somehow, although I did all the music, and whoever was singing wrote the lyrics. It was all about the fusion, not the individual aim or sole focus that comes with it. Although I feel we did a lot of great stuff with Mayhem back in the days, RUÏM is for me the ‘2.0’ of my more extreme works. Again, I’d use the word ‘intensified’.”

Despite it not being the most accessible album, reviews for Black Royal Spiritism - I​.​ O Sino da Igreja have been very positive. Is that encouraging?

“Sure, it’s always nice to get good reviews, depending on the source, naturally. Though I suspect it’s more important for the label, in order to push the record, than for me personally. I don’t really pay too much attention to reviews anyways – I mean, if I am thoroughly happy with the outcome of my record, then there’s no one who can tell me otherwise, if you get my point. Then it would be subjective, and unless the individual providing a critical review is far more advanced than I am on all things related to what I am trying to convey, then, okay. But usually it’s the opposite, without trying to sound too pompous [laughs].”