Everything Rots: Inside Cabal’s Bleak, Brutal, and Weirdly Fun World
Everything Rots: Inside Cabal’s Bleak, Brutal, and Weirdly Fun World
Everything Rots: Inside Cabal’s Bleak, Brutal, and Weirdly Fun WorldTouring the U.S. with Siamese, staring down burnout, stuffing his mouth full of worms for album art, and launching two side projects that sound like the apocalypse set to a beat — Andreas Bjulver of Cabal has been busy in all the best and worst ways. Fresh off a run of shows that pushed him to the edge and a new record that stares straight into the collapse of… well, everything, Andreas talks about catharsis, chaos, and creating music that hits as hard as the world feels. From the unhinged photo shoot behind Everything Rots to the carefree brutality of his new project Bleak, and even a techno‑infused Terminator‑themed collective, he’s an artist who thrives on extremes — and somehow makes them sound fun. This interview took place in The Parish Room at the House of Blues Anaheim just right before their set…
You’re out with Siamese right now. How’s the tour been so far? Any standout shows?
It’s been good. I think Orlando has been the best show so far — the energy was wild and the turnout was great. Honestly, it’s just really fun being out with Siamese. They’re very good friends back home, so it’s been awesome hanging out with close friends in the “land of freedom,” eating junk food, and playing for a bunch of nice people.
You’re right across the street from Disneyland. Have you seen Mickey Mouse yet?
I actually haven’t. We didn’t manage to go to Disneyland — we didn’t have the time today. It was a long drive. Maybe next time.
Your latest album is Everything Rots. What’s the story behind that title?
It comes from feeling like we’re on the brink of the Western world’s collapse. Everything seems to be falling apart globally, and I was going through some personal stuff that felt the same way. The album became a kind of catharsis — getting those feelings out of my head and onto paper.
And the cover art — the worms. Tell me about that photoshoot.
That’s my face. My mouth full of worms, wearing a mask so I couldn’t see anything. It looks really cool, but it was a horrible day. And it was my idea, so I felt like I had to be the one to do it.
You recently toured with Caliban on the Back to Hell Tour. How was that experience?
It was sick. The first time I saw Caliban was in 2005 when I was 14 — they played my hometown. I bought a bunch of their records. So getting to tour with them was amazing. I even sang on the live record they released. It was a full‑circle moment. The German shows were especially insane; probably the best German shows we’ve ever played.
Let’s talk about your solo project, Bleak. Why create something outside of Cabal?
Cabal is my lifeblood, but it’s also a career, and that comes with pressure. When we write, we have to think about everything. I missed making music just for the sake of it — writing something because it felt fun or cool. That’s what Bleak is. All the songs were written in less than eight hours. It’s me and Chris from Cabal writing together, just having fun with no pressure.
For Cabal fans who haven’t heard it, what can they expect from Bleak?
It’s a little bit dumber — in a good way. More simplistic. A mix of hardcore memes and nu‑metal. Short songs, cut to the bone. Just me and Chris having fun.
The first song is called “Burned Out.” What inspired it?
I was feeling severe burnout at the end of 2024. We played around 110 shows, most of them in the last half of the year. I love touring, but it’s hard on the mind and body. The song was me dealing with that.
You’re also part of a project called John Cxnnor. What’s that about?
Yeah — I do vocals for John Cxnnor. The guys describe it as post‑apocalyptic doom‑rave inspired by the Terminator universe. Two of my friends from the Danish band LLNN write all the industrial electronic music and soundscapes. Different vocalists contribute songs. Some tracks are somber with clean vocals; mine are more aggressive, leaning into techno with an extreme edge. All the lyrics are based on the Terminator universe.
You also did “Legacy of Misery” with Lifesick. How did that come together?
Lifesick are some of my oldest friends — we all went to high school together. They asked if I wanted to do a song, and of course I said yes. They’re one of my favorite Danish bands. The mix of hardcore and metal they do hits a soft spot for me because we grew up on the same stuff. We’ve played a ton of shows together back home.
And “Walls of Jericho” with The 500 — what’s the story there?
That was a few years back. We were on the same label. They reached out to our manager, Mirza from Siamese, sent over the song, and it was really sick. So I said yes. No big story — just cool music.
Have you performed either of those collabs live?
Yeah. I did “Legacy of Misery” at Lifesick’s release party, and I performed the song with The 500 at a festival in the UK. It felt like the right moment.
Is there new Cabal music on the way?
We’re writing new music. I don’t know exactly when it’ll come out, but we’re always actively writing. Hopefully not too far in the future.
Any message for Cabal fans reading this?
Thank you for listening to our music. I really appreciate you. You let me live my dream, so thank you.
In Conclusion
As our conversation winds down, it’s clear that Andreas is an artist who thrives on pushing boundaries—whether that means stuffing his own mouth full of worms for an album cover, pouring burnout into a new creative outlet, or lending his voice to a post‑apocalyptic techno nightmare inspired by Terminator. Cabal may be his lifeblood, but every project he touches carries that same intensity, honesty, and willingness to dive headfirst into the uncomfortable. With a massive year of touring and new music already taking shape across multiple worlds, it feels like everything around him might be rotting—but creatively, Andreas has never seemed more alive.
(Interview by Ken Morton – Photo by Jack Lue)
