Fresh off a surge of momentum and armed with one of the most uncompromising sounds in modern death metal, Castrator continues to carve out their place in the underground with sheer intensity and conviction. Following the release of their latest album, "Coronation Of The Grotesque", just last year, the band has only sharpened their edge. At the core of that sonic assault is bassist Robin Mazen, whose experience runs deep—spanning not only her work in Castrator but also stints with acts like Derkéta, Gruesome, Demonomacy, Impure, Slag-9, Precipice, Thrash Attack, and Acrimonium. Coupled with years spent on the road working merch, her perspective offers a rare, full-spectrum view of the scene, making this conversation as much about passion and perseverance as it is about brutality and sound.

Tomek

For people just discovering Castrator, how would you sum up the band—preferably without getting us banned anywhere?

I'd describe us as five metalheads who love OSDM and love playing OSDM—coming for your balls… and non-balls.

You and I go back a bit—be honest, did you always see yourself here, or were there some "what am I doing?" moments along the way?

When I think back, I went to college, had a regular job, and played locally. I always wanted to play, but back then, I never saw the big picture. I just thought it was fun to jam and play live. I never really had a "what am I doing?" moment—I just love music, and I love to play.

You've not only been a musician but also worked merch on numerous tours—how has seeing the scene from both sides shaped your perspective?

When I first started touring, there were no other merch girls. It was just my friend and me. There also weren't many women attending shows—maybe a handful, usually with their boyfriends. That's definitely changed. As for playing versus working merch, I just do my job, or I just play. I don't see it as that different. I enjoy both.

What originally pulled you into playing bass—and when did you realize, "yeah, this is it"?

Like most kids, I started with piano. Then I always wanted to play guitar. I played guitar in high school, and I was actually still playing guitar when I first joined Derketa. During that time, I really didn't like using a pick, so someone suggested I try bass. I thought, "Hmm?" and bought a $50 bass at my local music store. That was it. I still have it.

Your bass actually cuts through (which is rare in death metal)—was that always the goal or a happy accident?

A bit of both, but mostly a happy accident. I always say I'm a frequency—no one notices the bass unless it's not there. Live, you need that bottom end, and I try to keep the sound clear and separate from the kick drums.

When writing, are you the glue holding things down or the secret agent sneaking in extra flavor?

With Derketa, Sharon writes most of it. She'll bounce ideas around—she's even called me her muse—but she has a vision. With Gruesome, it's "original covers," and the guys handle the writing. I'm more the business person there. With Castrator, it's Carolina and me. Writing riffs on bass is like building the skeleton of the song, and we just bounce ideas back and forth. We've tried other approaches, but it works best when it's just the two of us.

How does songwriting usually work in Castrator—organized chaos or just pure chaos?

As I said, it's Carolina and me, and I don't think there's much chaos. I'll send tabs and videos, she'll send stuff back. Sometimes we end up with dozens of riffs, though—putting those together is probably the chaotic part.

There's a killer balance between brutality and groove—how do you avoid going full caveman 100% of the time?

I do love some caveman riffs, but we like to keep it old school. We also pull a lot of influence from thrash, which helps keep us from going 100% caveman.

Who are some of your biggest influences—and who would surprise people the most?

When writing, you mostly write what you like, so the influences come through naturally. If I like how a riff feels to play, it's good. The drums can change that for better or worse. As for bands, it's the usual OSDM suspects.

Any non-metal influences that would make diehard fans raise an eyebrow?

I listen to everything. I don't know if it's always an influence, but you might hear some Metallica sneak in, which most people already know. I also love Slayer, Van Halen, The Guess Who, and oldies, but I don't think that really shows up in the music.

Castrator has a very clear identity—did that come naturally, or did it take some trial and error?

When we first started, we didn't use our names or photos. We wanted people to hear the music, not see us. We'd had issues in the past, and people hear the name Castrator and suddenly assume we're a feminist band. Not that there's anything wrong with that—but overall, we're just a death metal band. We play OSDM and write about history, world issues, and religious atrocities. I don't think there were questionable riffs, but the band has definitely matured. I wouldn't mind re-recording some older songs.

The "all-female band" label still pops up—meaningful, annoying, or just background noise?

All of the above. That's why we didn't show our faces or names in the beginning. It's not just men—women do it too. People can't help it. No other genre does this. In country, pop, or rap, you're just an artist. The metal scene is saturated with women in bands—why is it still treated like a separate category? We should all just be musicians.

What's been your experience navigating the death metal scene—welcoming or more "prove yourself first"?

I never felt like I had to prove myself. Maybe you had to prove what vinyl you owned or what shirt you were wearing. But mostly everyone was just enjoying themselves, living in the moment, and finding kindred spirits. It's a lifestyle, not really a hobby. I had a blast—and I still am.

What's your mindset before hitting the stage—locked in, hyped up, or trying not to trip over cables?

I'm usually at the merch booth thinking, "I need to get out of here." Lately I've been more excited, though. Once I'm on stage, it's normal—some jokes with the bandmates, hit the intro, then go time… and try not to fall off the stage.

Any live moment that really sticks out—for the right or wrong reasons?

Most shows have the right reasons, and what fun is talking about that? For the weird ones: in Chicago, I was focused on someone in the front row eating fries. I couldn't tell if she was bored or what. Another show, a girl had maps open on her phone the entire time—like she was planning an escape route. With Gruesome, the first show of a summer tour in Europe, hot as hell, no AC—Matt passed out on stage, still strumming as he went down.

Looking ahead, what can fans expect next—and how hard are you planning to hit them?

With Derketa, hopefully a new record this year or next—I keep pushing for it. Gruesome is touring Europe, heading to South America, and hopefully more shows. Castrator has some fests coming up, plans to tour this year and next, and we've already started working on the next record.

Quick Ones

Favorite bass player of all time?

The usual: Cliff, Steve, Geezer, Geddy.

One album you could survive on forever?

Anything Metallica, Van Halen, Slayer… and Consuming Impulse.

Fingers or a pick?

Fingers.

Pre-show ritual?

I'm usually at the merch table, so it's very PG.

Dream tour?

Metallica and Slayer.

Most underrated death metal band right now?

Castrator, haha.

Go-to non-metal artist?

Van Halen, The Guess Who, oldies radio.

Worst gear fail?

Not too many, knock on wood - In Colorado, my tuning peg broke, and the string just fell off the bass. Luckily, it was the last song. Another time, a transformer died at a fest. Mostly normal stuff.

If you weren't playing music?

My "real" job is in pharmacy, so probably that.

Pineapple on pizza?

No pineapple. I'd have to leave the band—or get rid of them (laughs).