SOTHORIS - Domus Omnium Mortuorum CD

Released October 3, 2025.

Third album from Poland's Sothoris. Vicious Death Black Metal supremacy. When the Death and Black mixture is made up well, it's currently the most authentic way of how to create some worthy music. It takes experience, courage and soul (sold to the Devil). Recommended!



ABOUT THE ALBUM - LYRICAL THEME This album uses a certain artistic game. We go back in time to the 19th century, using various literary motifs or elements of culture and history from there, to refer to them and tell about us, both as a society and the life of a person, each one individually TODAY. The starting point for this idea, the inspiration is the monument of Karl Robert Lachmann, the only son of a German, aristocratic family, who died in the Franco-Prussian War (1870-1871), vandalized by cemetery robbers, located in the mausoleum in Jałowiec. His slightly modified image is on the cover. (The song Pro Memoria also refers to his story and other young people killed in the war, which also vividly refers to what is happening in the world today) Based on what is on the cover, such a sketchy, very loosely outlined "plot" was created. It comes down primarily to what is in Wieczornica and the sound of slamming doors (gates) at the end of the album after Pietno. Generally: at night, a group of cemetery hyenas smash coffins, and the spirits of the dead suddenly start to get out of them, but not to punish them, but to show the tragedy of their lives and the world in which they existed. All the pieces after Wieczornica are de facto the voices of these spirits and our "today's" commentaries on the visions or stories they presented before these thieves. So we as performers are a bit narrators, a bit actors, we interject a bit with our own words of commentary. Due to the fact that the cemetery is old, from the 19th century - hence the references to e.g. Faust, the Great Improvisation from the third part of Dziady, the motif of national messianism. The idea to even attempt such a concept came from the reflection that the reality in which we live is beginning to resemble the old one, both on the level of society and the common blacksmith. That is why we decided that it would be an interesting game and very inspiring. Generally, despite everything, it is quite delicate, not intrusive, because we wanted it not to be a historical reconstruction group or a thematic album, but invariably a voice that reaches the ear of today's people, with whom they could identify - on this album, expressed through the mouths of a bygone era. The whole album is connected by the closing of the gate (sound), symbolically referring to the earlier opening of the coffins, but also to the end of that "séance" with the spirits, as well as the closing of the doors of their house, which is a reference to the title of the album "House of all the dead". This is the symbolic name of the cemetery on this album, where the action takes place, the cemetery that in our story is the home of all the souls who, tormented, forgotten, want to break out to the living, to pass on their suffering to them, thereby finding peace.