INTERVIEW: EL MUERTO (NL)

Today, HAILSWEBZINE.NET‘s Leja Siv Harju had an informative chat via email with Ricardo Botello, the frontman and singular creative force behind one-man Dutch Black Metal outfit EL MUERTO.

While this is Botello’s first solo project, he has also been a key member of Mexico’s SEKHMET and Australia’s CONSCIOUS COMMA.

I am currently working on a review of his debut album, Lost and Amsterdamned, which might have been his final creative venture had it not proven itself to be his saving grace; Botello had nearly resigned himself to an early end due to existential hardship.

But something kept him going.

His work “here” was not yet finished; he refused to allow his inner fire to be extinguished.

And the results?

See and hear for yourself below!

Thanks again to Ricardo!

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Above: Album artwork for Lost and Amsterdamned. Click artwork to enlarge – the details are neat! Also, click HERE to listen to two of the album’s tracks – and below is a music video!

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HAILSWEBZINE: Where in the Netherlands, approximately, are you located these days, and where would that be relative to Amsterdam?

RICARDO BOTELLO: I’m based in Amersfoort, central Netherlands about a 30-40 minute train ride southeast of Amsterdam. It’s close enough for easy access to the city, but peaceful and quiet enough for me.

HW: You’ve moved around a bit! How did you find yourself in the Netherlands? Where do you originally hail from, and how long have you been in NL?

RB: I originally come from Mexico, though my journey has taken me through different countries and musical chapters. The Netherlands became home for the past 12 years.

I’ve always wanted to live in the Netherlands. I have Dutch family, and every memory tied to the country has been positive. I appreciate the Dutch way of living, the culture, the structure, the people, the clarity, and the straightforwardness.

HW: How did the landscape and setting of this tiny but mighty country persuade your music? What is it like there, for those of us who’ve never been there?

RB: The Netherlands is practical, efficient, and well-organized. Things tend to work as they should: public transport, administration, everyday life. People are direct, and there’s a strong emphasis on balance: work when you work, disconnect when you’re done. It’s a small, easy-to-navigate country with a surprisingly diverse culture. The long winters and grey skies give me a sense of calm; there’s no pressure to be loud or extraordinary. You can just be yourself. And it is one of the most progressive cultures I have ever experienced.

HW: Who (or maybe, what!) are some of your less-expected creative influences?

EM: Outside of the obvious Black/Death Metal giants, I draw a lot from my love of mythology, fantasy and horror. I really like history and RPG games.

HW: You’ve worked with Mexico’s SEKHMET and Australia’s CONSCIOUS COMMA – What sets EL MUERTO apart from your previous work with these outfits?

RB: EL MUERTO is pure self-expression. It’s darker, more introspective, and not concerned with fitting into a predetermined style. It is a way for me to express myself freely.

It’s also the first time I allowed myself to explore personal themes without compromise. There’s no filter just raw emotion, melancholy, fury, and reflection, all combined with the technical experience I’ve gathered along the way.

HW: Are you involved with other music projects outside of EL MUERTO as well these days?

RB: Not at the moment.

HW: What is your creative process like? How do you get yourself in the head space to create new tunes, especially when you’re grappling with such heavy emotion?

RB: I treat songwriting as a ritual, almost meditative. Late-night sessions, dim lighting, minimal distractions. And other times I just have some ideas in my head. I try to make some riffs or write certain verses.

HW: Tell us a bit about the new release, Lost and Amsterdamned. There are 6 brutal tracks. I wouldn’t exactly classify the album as a “concept album” myself, but all reflect themes of mortal anguish and suffering in their own ways.

I read that this album was born from a very difficult time for you. I am really sorry to hear that, but if it’s worth my saying so – and I hope this doesn’t sound trite – but your suffering bore some pretty sweet fruit, so to speak! Some of the best art comes from profound personal darkness… You are more than welcome to discuss what frame of mind you were in at the time if you feel comfortable doing so… but either way:

Do you have a favorite among the tracks?

RB: Lost and Amsterdamned was born from a very dark, transitional period in my life. It wasn’t planned as a concept album, but the emotional thread is unmistakable: isolation, loss, regret, and the desire to end it all.

If I had to pick a favourite track, it’d be “A Song for Rán.” It captures the emotional duality of the album: rage and vulnerability, despair and resilience. It was also the hardest one to write; you can hear the inner conflict in every passage. I really connect with the desperation in the song, and the link to Rán, the Norse sea-goddess of drowned souls, resonates with the theme.

HW: Lost and Amsterdamned was mixed in Sweden (Tomas Skogsberg, Sunlight Studios) and mastered in London (Stefan Brown, Abbey Road Studios). You also had session musicians record on the album (Zigor Munoz handling most of the bass except for Tommaso Tani’s work on “Ghosts of Torment”, and Robin Stone on drums). The artwork was created by Francisco Torres Beltrán (Tobelart). How did you choose the other hands involved with the making of the album?

RB: Honestly, it started as a solo project. But one thing led to another, and the right people crossed my path at the right moments. I knew only one thing from the very beginning: I wanted Francisco Torres Beltrán involved. His art has always resonated with me, and visually he understands the darkness and atmosphere I’m trying to convey.From there, the team grew organically:

Zigor Muñoz: An incredibly talented musician and now a close friend, Zigor instinctively understands my musical language. He recorded all of the bass for the album and is now a full-time member of El Muerto.

Tomas Skogsberg (Sunlight Studios): I grew up obsessed with that classic Swedish death-metal sound. Tomas knows how to take raw emotion and make it hit hard without losing grit or authenticity.

Stefan Brown (Abbey Road): He brings clarity and depth. I wanted the final master to feel powerful and alive, not just a wall of noise and Stefan nailed that balance.

Robin Stone: One of the most versatile drummers I’ve worked with precise, heavy, and relentless. He brought the energy the album demanded. In the end, it became a true collaboration not by design, but simply because it naturally unfolded that way.

HW: The closing track on Lost and Amsterdamned, “Wolves of Den Haag”, is about Dutch statesman Johan De Witt and his most brutal fate…

A quick historical summary for those reading this interview:

De Witt was a key figure in the Dutch Golden Age, a politician from a patrician family and a mathematician. His life spans from 1625 until 1672 when he was assassinated in a most vicious way.

The Dutch Republic was at the height of its international power at this time, fueling a cultural and scientific renaissance which influenced all of Europe. De Witt rose to the position of Grand Pensionary (akin to the role of a prime minister) of Holland at the age of 25 in the year 1650, making him one of the most powerful men in the country.

He represented Holland internationally in trade negotiations, among other responsibilities.

There were several factors, including his resistance to monarchical rule, which ultimately cost him his life… his brother Cornelis was also a target, the two being imprisoned and finally brutalized to death.

It’s obvious why his assassination makes a great metal topic, given what he ultimately experienced and what was done with his remains. But why did this particular incident in Dutch history appeal to you creatively?

RB: De Witt’s story is a perfect representation of humanity’s darkest contradictions. He was a brilliant mind mathematician, diplomat, statesman yet was torn apart by the very society he helped elevate.What drew me in was the symbolism:

intelligence crushed by fanaticism
order collapsing into chaos
a nation devouring its own hero

The brutality isn’t just physical, it’s philosophical. It mirrors how personal demons can destroy the parts of ourselves we rely on the most. That parallel made it an irresistible subject for a Black Metal narrative.

HW: Do you have plans to tour to promote the album, and if so, who will be recruited to the stage with you?

RB: For this first iteration, I know I definitely want my good friend Zigor on stage with me. As for the other musicians, we’ll see what becomes possible as plans come together. But I do miss being on stage.

HW: What do you enjoy doing in your downtime? Maybe things that help refuel you, or “feed” you, energetically-speaking?

RB: I like nature, woodworking, RPG games and anything horror related.

HW: Anything else you’d like to tell the readers before we close the interview?

RB: Thank you for giving me space to talk about my music. Lost and Amsterdamned isn’t just an album, it’s a snapshot of survival. If it resonates with anyone who’s walked through their own shadows, then it’s done its job.

And be sure to check the music video of the Witch, I put a lot of effort into it.

The full album is releasing on November 21.