Unhallowed Deliverance’s Arthur Haltrich & Philipp Thielen: “Technical, Brutal, and Unapologetically Us”

In this interview for The Progspace, writer Bas sits down with Philipp Thielen (drummer) and Arthur Haltrich (vocalist) of Düsseldorf-based technical death metal outfit Unhallowed Deliverance. Known for their bombastically heavy and blisteringly fast music, the band has been making waves with their intricate guitar riffs and jaw-droppingly technical basslines. Following the release of their debut single ‘Velvet Skin’ in 2023, they unveiled their first full-length album, “Of Spectres and Strife”, on May 10th, 2024. With lyrics exploring themes of the human condition, social criticism, politics, and philosophy, Unhallowed Deliverance masterfully combines visceral intensity with thought-provoking depth. Join us as Philipp and Arthur discuss the band’s origins, their creative process, and the striking ideas behind their music.

Welcome Arthur and Philipp, thanks for taking the time to talk to The Progspace! Tell me, how did you come together? How did it all start? 

Arthur:

It’s a bit of a story. We technically formed in 2017 as a school band. I was in advanced math class with our guitarist at the time and our current bassist [Markus Brouwers]. We were in the middle of nowhere where we grew up.

We thought it’d be funny to perform a Death Metal song at a school concert – a grade-wide event. Back then, it was more of a joke. I was the one really into metal; the others listened but weren’t as extreme.

We played three songs: two Gojira tracks and one Behemoth song (slightly censored – like avoiding the word “Satan”). This caused a stir at our Christian private school. Parents complained to the administration, asking how such music could be allowed. They even threatened to escalate it to the church.

We had meetings with the administration, which, as rebellious 17-year-olds, only strengthened our resolve. Though it started as a joke, it stuck. We tried writing our own music, but it was raw and experimental. For most of us, it was our first real step into metal, and it evolved from there.

Arthur Haltrich – vocals

Philipp:

There was a long pause afterward. The project was on hold indefinitely as members left. But in March 2020, our guitarist Szymon [Skiba] and I joined the band.

We met at a Decapitated concert – Beyond Creation and Lorna Shore were also on the bill. Outside, we realized we had a lineup: two guitarists, a vocalist, and a drummer.

The guys mentioned reviving their old band, and that’s how Unhallowed Deliverance came back. We started practicing, covering Gojira and Dying Fetus songs. By late 2020, Szymon began writing original music. That’s when ideas for our debut single, ‘Velvet Skin’, began.

Most songs on our debut album “Of Spectres and Strife” were written between early 2021 and late 2023, so there’s some variety in the sound.

You can definitely hear a shift from the single to the album. 

Philipp:

Yeah, the differences are noticeable. At the time, we needed something to release so we could book shows. By early 2023, our second guitarist, Dominik [Klimat], joined after meeting us at a late-2022 show.

And now you’re ready to roll. How would you describe your style or direction? 

Arthur:

It’s a colorful mix of the metal we enjoy. Death Metal is the foundation, but each member’s preferences add unique touches. It’s a blend of Brutal Death Metal, Technical Death Metal, Deathcore, and Slam.

If I had to pick one, I’d say Technical Death Metal, especially with the newer songs. Earlier tracks leaned more into Slam.

Philipp:

That said, we’re not forcing ourselves into one genre – we just make music we like.

Philipp Thielen – drums

I’d call it Technical Death Metal, but not quite in the style of The Faceless. It reminds me of progressive Deathcore bands like Fit for an Autopsy or Enterprise Earth. 

Philipp:

Yeah, that’s a fair take.

What’s your writing process like? Who leads the creative side? 

Philipp:

So far, Szymon has been the primary songwriter. He drafts the structure, basslines, and drumlines. Then I rewrite the drum parts to make them playable by a human.

Our bassist Markus amps up his sections – he finds simple parts boring. As a band, we decide on changes like repeats, cuts, or additions. Arthur handles lyrics after the instrumentals are ready.

For ‘Hope Drowning’, we flipped the process.

Arthur:

That song started with a concept and lyrics. I wrote the story and imagined how it might flow musically. We built the instrumentals around the text. This approach helps with storytelling, which is central to many of our songs.

Philipp:

For ‘Hope Drowning’, we printed Arthur’s lyrics on a big sheet, planned the instrumentals for each section, and Szymon crafted it into an 8-minute track.

Moving forward, we’ll use both methods – starting with music or lyrics – to keep things dynamic.

What does technical “flex” mean to you? 

Philipp:

We aim for balance. While technicality enhances the music, overusing it can ruin the impact. We don’t want to bombard listeners with nonstop technicality. It’s all about using it where it fits.

Arthur:

Our goal is engaging, enjoyable songs. When we play live, we imagine the audience having a great time. Technicality is just a tool to elevate that.

Philipp:

Markus, our bassist, stands out. His skill is insane, but we rein him in to maintain balance. For example, in ‘They Will Eat Us Raw’, we added a bass solo over a straightforward breakdown. It turned out great, but we only include such techniques if they truly enhance the song.

Arthur:

Ultimately, we make music we love. If others enjoy it, that’s a bonus.

Philipp:

Szymon’s growth has also been incredible. He started with thrash and only got into death metal in 2019. His rhythm work is stellar, and his lead guitar skills have skyrocketed.

Your first single, ‘Velvet Skin’, has a striking intro with spoken German lines. What’s the story behind that? 

Arthur:

The lyrics were already written, addressing misogyny and patriarchal structures. We wanted an intro to set the tone, so we created an anonymous Google form asking women to share experiences of harassment.

Philipp:

We received deeply shocking responses!

Arthur:

Though I’ve never faced these issues personally, seeing how pervasive they are was eye-opening. We asked female friends to record these experiences, which became the intro. It gives a voice to something many endure but rarely express.

This year, you released your debut full-length “Of Spectres and Strife”. What’s it about? 

Arthur:

The album’s theme developed gradually, becoming an indictment of our modern society. It reflects on how humans – despite being social animals – are constantly in conflict: with others, ourselves, and even our fragile bodies.

At the start of ‘Treatise on the Lowest Form of Man’, there’s a spoken intro. Where’s that from? 

Arthur:

That’s Kenneth Copeland, a U.S. televangelist who amassed a fortune through donations.

The sample is from an interview where he justifies using a private jet, saying he couldn’t fly “in a tube with a bunch of demons” in commercial flights. When pressed, he claimed it wasn’t about people but the systems that corrupt them.

We found it ironic and thought it fit well.

What’s next for you? 

Arthur:

We’re working on something for next year – likely an EP or single.

Philipp:

We’re also gearing up for our first international gig at Xapada Fest in Portugal and hope to play more shows this summer.

Arthur:

The goal is to keep meeting awesome metalheads and spreading our music, but we’re in no rush!

Thank you for the insightful talk; wishing you best of success!