Plague Of Angels is a rising metal band known for their dark and intense music. They were recently at the center of controversy after their planned concert at York Minster caused a huge debate. Some church members believe the band’s connections to extreme metal make them unsuitable for a sacred place. Others argue that music should bring people together, not divide them.
Despite the backlash, York Minster officials support the event, saying it will be respectful and promote a mix of metal and classical music. In this exclusive interview, the band’s guitarist Mark Mynett speaks out about the controversy, their connection to Cradle of Filth, and what fans can expect from their new music.
Q1: Your upcoming performance at York Minster sparked some controversy. When the venue was announced, some members of the church community objected, citing your band’s past associations with extreme metal and anti-religious imagery. Now that some time has passed since the initial backlash, have there been any new developments regarding the controversy? Has the reaction from the church community changed in any way — either positively or negatively?
Mark Mynett: There have been several developments since the controversy first emerged, with the event proving to be highly divisive. People appear to be either greatly in favor of, or greatly against a metal band playing a consecrated cathedral. Perhaps worth noting here is that, although Metallica have played a few Unesco world heritage sites, this is the world’s first time a metal band has played a grade I listed building and scheduled monument. Whereas Plague of Angels are playing Huddersfield Town Hall with the ‘Organic Metal: Two World’s Collide’ event the day after York Minster on 26th April, there obviously haven’t been any complaints about this. But, back to the divisive nature of the gig, the Dean of York Minster, the Right Reverend Dominic Barrington, has strongly defended the event and has done so on BBC Radio. We’ve also received strong support from some surprising quarters. Liz Dodd, an ex-journalist who is now a nun (a sister of St. Joseph of Peace in Nottingham), has written a very supportive article, as has a Baptist lay minister called Charlotte Naylor Davies, and Metal Methodist Church in Sheffield, a church that embraces metal music, whose youth group is a metal band has also shown us a great deal support. Similarly, I’ve had a lot of emails from people expressing their enthusiasm, and a lot of churches and cathedrals around the UK have now been in touch, asking about the possibility of them hosting a Plague of Angels/Organic Metal performance.
Conversely, following the story being published in The Guardian, The Telegraph, The Yorkshire Post, etc., it made its way to a British news channel called GB News, which devoted eight or nine minutes of airtime to heavily criticizing the event and voicing its support of the protests, arguing that a metal band playing in a consecrated cathedral is simply wrong and that the event should be canceled. Likewise, there have been quite a few Christian websites that have published articles critical of the York Minster’s decision, and there have been a lot of negative reactions on various forums, for example, The Telegraph, and I’ve personally received numerous emails from people strongly objecting to what we are doing.
In terms of how the church community’s reaction has evolved, it seems that both sides are still very much entrenched in their positions, with no one really changing their minds. The debate continues to be very defensive on both ends.
Q2: Behind the scenes, was there any internal discussion about canceling or altering the performance due to the criticism? Did the backlash affect how you planned the setlist or the overall approach to the concert?
Mark: Yes, after first becoming aware of the controversy that had erupted, there was a moment when York Minster considered canceling the event. Considering the backlash, it came down to whether the Dean of York Minster would continue to support the event, and thankfully, he did. But the controversy surrounding the event certainly hasn’t impacted how we have planned the setlist or the overall approach to the concert.
Q3: Were you expecting this level of criticism? How do you feel about the way it has unfolded?
Mark: We anticipated some level of criticism, but didn’t expect it to go as far as someone obviously doing some internet trawling and digging up the whole Cradle of Filth association, which, to be honest, all feels somewhat tenuous. After all, Anabelle and Richard Shaw were only session musicians for Cradle of Filth, and the T-shirt in question was first released before Anabelle was even born. She just turned 30!
The way this has unfolded has been fascinating, though, and it has sparked wider conversations about the future of UK churches. Churches are a significant part of UK heritage, and many of them are in serious decline, with 3,500 churches closing since 2013 and another 800 on the heritage “at risk” register. My belief is that these churches should continue with their current commitments, which after all typically revolve around just a few hours on a Sunday, but also become community hubs—places where people, especially those in deprived areas, can access food banks, warm spaces, and cultural events like this. Interestingly, Michael Palin, a well-known actor, comedian, writer, and television presenter shares this sentiment. He’s vice president of the National Churches Trust and advocates for churches also being used for cultural purposes, like music and the arts.
It’s frustrating that the controversy missed the point of the event. As well as focusing on an innovative fusion between metal music and the pipe organ – hopefully valuing and protecting an important part of our cultural heritage – it’s about bringing people together, across different generations and communities. Our last concert had people aged 8 to 88, and, after seeing how well the two genres worked together, saw pipe organ enthusiasts developing a taste for metal music, which they hadn’t previously experienced in the live domain, and saw metalheads attending subsequent pipe organ recitals. Part of the project is about creating an engaging and powerful cultural bridge between the arts.
Q4: The concert, ‘Organic Metal – Two Worlds Collide,’ aims to blend metal with classical organ music. Could you share more about how this idea came to life and what fans can expect from the performance?
Mark: The idea for ‘Organic Metal – Two Worlds Collide’ came about from my collaboration with pipe organist David Pipe, who is a phenomenal musician. He initially recorded some pipe organ parts for a black metal album I was producing, and when we heard how well this worked, we started discussing putting on a live event that would bring a metal band and a pipe organ together. Many people might think that metal and pipe organs wouldn’t work together, but they actually do, incredibly so. Harmonically distorted electric guitars and pipe organs both generate something called resultant tones, so the instruments complement each other perfectly.
The pipe organ is an incredible instrument, powerful and versatile, and it has such a massive sonic and physical presence…it’s an instrument the size of a house! I remember the first time my dad took me to a pipe organ concert at Liverpool Cathedral when I was eight. It blew me away—the volume and impact of the sound were staggering. When you combine that with the aggression and power of a metal band, it’s really something special, especially given how it is a visual spectacle. York Minster has an incredible pipe organ, which was recently refurbished at the cost of £2 million, and it sounds absolutely mind-blowing. Just walking into York Minster, which is widely regarded as the second-greatest cathedral in the UK, is overwhelming. We believe the event will be truly extraordinary, and we can’t wait for people to experience it.
Q5: With the concert being sold out so quickly (800 tickets in just an hour), do you think this shows a demand for more crossover events like this? Would you consider doing similar performances in the future?
Mark: Yes, I absolutely think the rapid way the show sold-out demonstrates a strong demand for crossover events like this. The way the tickets flew off the shelf, 1400 tickets sold in just a few days, speaks volumes about the interest in innovative fusions of music, especially in metal. This isn’t just a regular gig; it’s an event that brings together diverse communities and art forms.
We are planning more Plague of Angels performances for ‘Organic Metal – Two Worlds Collide,’ and already working on a date at Bristol’s St. Mary Redcliffe, a church with a stunning pipe organ that Hans Zimmer recorded for the Interstellar soundtrack. We’re excited about the potential for this project to continue to grow and bring people together in new, exciting ways.
Q6: Let’s talk about your new single, ‘Lazarene.’ What was the inspiration behind the song, and what does it represent for you?
Mark: ‘Lazarene’ was based around a song that Richard Shaw had initially written for Cradle of Filth before he left the band. We reworked the verse and chorus to make it sound more like a Plague of Angels track, and we’re really happy with how it turned out. The song is a blend of different musical styles, from extensive orchestration and harmonized twin guitar melodies to layered choral vocals, and aggressive death metal vocals (it’s our first single with Anabelle’s stunning death metal vocals included, which are juxtaposed right next to soaring operatic style vocal in the song).
The song revolves around the concept of reverence for resilience. In today’s world, I guess for a multitude of different potential reasons, it seems like younger generations have far less resilience than previous generations. We used the story of Lazarus rising from the dead after three days as a metaphor for resilience. In the music industry and in life, resilience is essential—it builds emotional strength, self-confidence, stronger relationships, and overall well-being. It’s an important theme for us.
Q7: Who did you collaborate with, and what was the recording experience like?
Mark: The recording process was superb, as we got to blend different elements and explore new musical territory. When I came to mix and master the song, it was a real challenge in retaining clarity for the orchestration and the vocal stacks amidst the wall of guitars and bass, but I am really pleased with how I solved these issues and very happy with the final production. The whole experience was very rewarding, and we’re really proud of how it turned out.
Q8: How does “Lazarene” compare to your previous works? Should fans expect a shift in your musical style moving forward?
Mark: ‘Lazarene’ represents a departure from our previous singles, ‘Beyond Salvation’ and ‘What Lies Beneath.’ It’s a more dynamic track, combining a range of textures and styles that we haven’t explored as much in the past. Fans can expect a shift in musical direction, as we continue to experiment and push boundaries. We’re definitely opening up new avenues and exploring different sounds moving forward.
Q9: After “Organic Metal – Two Worlds Collide,” what’s next for Plague of Angels? Are there any upcoming releases or tour plans you’d like to share with your fans?
Mark: While we’re heavily involved with the ‘Organic Metal – Two Worlds Collide’ project, we’re also planning to release a full album and go on tour without the pipe organ element. We’re excited about the creative freedom this offers, and it’s great to be able to release versions of our songs both with and without the pipe organ, as it presents completely different dynamics. We’re also targeting a performance at the Royal Albert Hall in London, either later this year or next. There’s a lot to look forward to!
Q10: Lastly, do you have a message for your fans and those who have been following this controversy?
Mark: We can’t wait for you to hear ‘Lazarene,’; we’re incredibly excited about this release. We look forward to seeing you at our live events—please do come and say hi! For those who couldn’t get a ticket for York Minster, we’ll be playing Huddersfield Town Hall the next day, Saturday, April 26, and tickets are available here.
Thank you all for your continued support, and we’re thrilled to keep creating and sharing music with you.
