Luci Ferrum connects with us to discuss her fiery new single "Funny Guy" and the emotional depths of her upcoming EP Post Mortem Invictus
- STAFF
- Nov 17, 2025
- 10 min read
By: Staff
“Funny Guy” is a bold, unrelenting masterpiece that pushes boundaries and explores raw, haunting truths.
Luci Ferrum's latest track, "Funny Guy," arrives like a storm on the horizon, dark, relentless, and impossibly magnetic. A harrowing yet beautiful exploration of raw emotion, it’s a blend of jagged industrial rhythms, haunting vocals, and an undeniable tension that pulls you in from the very first beat. As the single builds its haunting momentum, it effortlessly bridges a soundscape both brutal and intimate, blending the cold, mechanical with the warmth of human vulnerability.
We spoke with the artist behind the track, a master of self-destruction and resilience, whose work is a deep dive into transformation and existential conflict. From the initial punch of "Funny Guy" to its unsettling, yet captivating delivery, Luci’s music reflects a mind unafraid to confront the uncomfortable and make it art. In our conversation, she opens up about the themes that drive her, including the struggles of love, identity, and the idea of breaking free from the chains of past trauma. Through her intense dedication to every note, every nuance, and every take, Luci reveals a process fueled by obsession and precision, with the goal of creating something profoundly real.
But it’s not just the music that stands out; it’s the message. As we delve deeper into her upcoming EP, Post Mortem Invictus, Luci talks about the weight of generational curses, the search for transcendence through suffering, and the unexpected transformations that come with surviving the darkest of moments. Every word, every sound, is deliberate, a reflection of her journey from pain to power.
Dive into our full conversation with Luci Ferrum and discover the depths of a sound that pushes boundaries and challenges the very idea of what it means to break free.
Keep scrolling to get into it with Luci Ferrum.
Here’s how it went:
Begin Interview:
Hello Luci Ferrum, we’re thrilled to have you here for this interview! We've had an amazing time exploring your music and diving into your creative journey. Now, we’re even more intrigued to get a deeper look into both your brand and your personal and professional inspirations.
Q. We absolutely loved “Funny Guy”! Your edginess and musical production techniques set the perfect mood. It was exhilarating, but it was when your vocals hit that we were truly excited. Your presence and delivery are amazing. Can you share with us what the song is really about, and how it fits into the broader vision of your upcoming EP Post Mortem Invictus? And the title, “Funny Guy”, it’s so striking. Why did you choose that name, and is there a deeper, perhaps ironic, significance behind it that we should be looking for?
A. Thank you for your kind words. I put a lot of myself into this song, and it makes me very happy that it resonates with you. The abstract Funny Guy I talk about is the kind of person who seems charming and funny to the outside world but turns out to be narcissistic or toxic. This duality is quite common, and the most damaging thing to them is when their bullsh*t is exposed publicly. In the chorus, I refer precisely to that: “...you look so f*cking funny cause you look so f*cking blue. Look at Funny Guy, I think he’s gonna die.” And yes, it is full of irony, because… who’s laughing now? Inspired by true events.
Q. In describing "Funny Guy," you mention patience and waiting for the enemy's corpse to float by. We’ve never heard this before, and it really hits hard. How does this Buddhist-like imagery relate to your personal journey or mindset while creating the song?
A. The most difficult trait to develop for me personally was always patience. Patience just wasn’t part of my native software. So I had to work hard on it—grow it, water it, give it vitamins. This is an acquired trait for me, and I had to learn it the hard way. This phrase about the cadaver of your enemy floating by the river is commonly misattributed to Confucius or Sun Tzu; there are also claims it’s an Indian proverb. Nobody knows for sure. But I really resonate with it—to be able to sit on the riverbank patiently and one day see my enemy float by. It’s also about karma. Sooner or later, it will do its deeds. I find it comforting to believe there is a concept of cosmic vengeance that keeps the balance in check.
Q. You mentioned in the EP description that it explores themes of self-destruction and resilience. What role does the act of creation play in your process of transforming pain and hardship into something meaningful?
A. It is EVERYTHING. You know, in old times there was a practice of bleeding a person to supposedly let the “bad” blood out. Being able to transform pain and hurt in a way that not only heals you but maybe, just maybe, helps heal the soul of another human being... it’s everything. The act of creating music feels precisely like bleeding out with the purpose of feeling better. Music and art are not only craftsmanship, which the industry often forgets—they are also channels of communication with other people. We are not unique in our experiences or pain, which is why, for me, it’s of utmost importance to connect with others who might feel my music and get better afterwards.
Q. The track features jagged rhythms and industrial grit, what was your inspiration behind blending these harsh, digital elements with warmer, analog textures?
A. It’s one of the perks of being musically uneducated. I don’t have much remorse about doing something experimental because nobody told me, “Hey! You can’t do that!” So creatively speaking, I’m guided exclusively by my own taste and feeling. And again, through all my work and spiritual beliefs, everything is dual. This is a very recurring theme for me. We all have this light side and the dark side—and an unimaginable number of shades of gray in between. So, in music, I love to mix opposites. You’ll fully taste that in Post Mortem Invictus.
Q. There’s a powerful concept in Post Mortem Invictus of becoming a "Cycle Breaker" for our ancestors. What does that idea of breaking generational curses mean to you, and how does it manifest in your music?
A. Repeating the same actions and expecting a different result is the definition of insanity. We keep repeating patterns, both in thinking and behavior, that were hardwired into us during childhood and adolescence. I have a difficult relationship with my parents. I know they did the best they could with the tools they had, but nonetheless, I had to be broken apart one too many times to rebuild myself. Even the relationship with my parents had to be broken and rebuilt. I’m a mother myself, and a few years back I decided I must be better. I need to break free from ideas, patterns, and thoughts if I want my son to be happier than I was. That’s what Cycle Breaker is about—breaking generational beliefs and patterns. Even singing is a rebellion for me. My mother was told by her mother that she couldn’t sing, and she told me the same—“stop being so loud.” It took me years to overcome that fear and limitation. I started late in music; I was 31 when I first opened Ableton because I felt I would explode if I didn’t dare to create music.
Q. You’re known for obsessively perfecting your music, even doing over 100 takes to get every nuance right. What is it about the details that draws you in so intensely, and how does this process help you express your emotional truth?
A. This, again, has roots in my upbringing. I push myself to the limit to get things right. I don’t consider myself talented, but what I lack in talent, I overcompensate with blood and sweat—and I take pride in that (most of the time). In my music, I want my lyrics and ideas to be as clear as possible. Now I feel I’ve reached a point with my latest productions where I can effectively communicate exactly what I want, in the way I want it. It’s liberating to put yourself out there, knowing you’ve done your absolute best. And then you leave it at that—no second-guessing. Just let your art out into the wild.
Q. This EP seems to grapple with a kind of existential conflict. When you write about self-mutilation, mental or physical, how do you balance that dark imagery with the moments of transcendence you also explore?
A. Existential crisis is how we roll. We’re all just pupils of life—nobody has it all figured out. When we grow up, we think adults have all the answers, but they don’t. Transcendence happens when you can leave pain, hurt, and self-destructive tendencies behind—when you process and integrate them. There’s this concept of “shadow work,” where you start by accepting your own darkness and flaws. It’s also about forgiveness—of yourself and others—for mistakes and pain. You can’t evolve or create something new without destroying or releasing your past. You need to process all that darkness and build something new. For me, I do that through music. The EP is quite eclectic and speaks about different subjects that unite under the flag of existential conflict. All five songs explore different ideas in distinct ways, but together they make sense—like chapters in a book. In a way, Post Mortem Invictus is about being reborn—processing experiences, growing, and leaving behind sad chapters.
Q. There’s an undeniable sense of irony in your music, especially in the track "Funny Guy." Is this always your go-to style when crafting your music, or does it shift depending on the piece?
A. What would we be without a sense of humor? Sometimes humor is the only thing that drags us through the “valley of the shadow of death” to see another day. Often, my lyrics mean the opposite of what they seem to say. Funny enough, my subconscious throws curveballs at me most of the time. Writing lyrics is almost like automatic writing—it can take days to decipher what I actually meant. And that’s exciting, because it sparks thought. Not everything is as it seems.
Q. As an artist who writes, composes, and produces every track, do you ever find yourself surprised by how a song evolves throughout the process? Have you ever had a moment where a track completely transformed into something you weren’t expecting?
A. Yes, absolutely. Sometimes I start with lyrics and build the music around them, but most of the time I begin with a sound that captures my attention and feels right. From there, only God knows where it will go. Sometimes I already have all the music, then start writing lyrics—and they just don’t fit. I can spend hours or days rewriting until the entire idea transforms into something completely different from where I started.
Q. Do you find that your most vulnerable experiences often translate into your strongest songs?
A. Yes, you could say so. As I mentioned, my subconscious mind is quite creative when it comes to lyrics. Sometimes I process feelings and experiences that were buried for so long I wouldn’t even think of them initially. My best songs are my most authentic ones emotionally, and some of them come effortlessly—because everything aligns: the melody, the lyrics, the tempo. From my last EP EXGF, which was entirely fueled by rage, the best songs—God Forgives and Good Filth—were both written, recorded, and produced in less than 24 hours each.
Q. Outside of music, who or what has had the biggest influence on your personal growth or artistic perspective?
A. I learn more from people than from books, and I’m lucky to have met quite a few mentors—musically and personally—throughout my life. In every chapter, I’ve found people who helped me grow. At this stage, I learn a lot from my partner, his name is Boly Lingopoff; he’s very calm and patient and has even helped me manage my ADD. He’s also a talented professional musician (a drummer), and I continue to grow as an artist by his side. Also I would love to mention people who had a great influence on my work and whom I am proud to call friends: Noromakina, Parallel Visions, Lio Fuzz, Owldisco, Ariel Sanchez (he was my first producer), Machina Dei, Dj Paradigm Lost along many others.
Q. Beyond the opportunity to connect with your fans, what would you say is your number one goal for this release? Whether personal, professional, or something else entirely, what did you hope to achieve with this release as your main priority?
A. I think it’s time to get out there in a dead-serious manner. And hopefully get rich and famous. (I’m joking.) I have no illusions about the realities indie artists face today. My main goal is to connect with new listeners and share my music and story. The point is simply to get out there into the wild.
Q. Now that your fans have had a chance to learn more about your project, we want to dive into something that’s just as important—your name. For those meeting you for the first time, is Luci Ferrum your given name or a stage name?
A. Luci Ferrum is a stage name and a wordplay. It obviously alludes to Lucifer—in the sense of embracing my dark side, which fuels this entire project—but it also refers to iron: Luci Iron, representing the character I’ve had to forge throughout my life.
Q. We can't thank you enough for sharing these intimate details! So, what's next? Can you give us the inside scoop on your upcoming projects and what fans should be excited about? We’d love for the readers to hear the news directly from you!
A. There’s quite a lot in the works, actually. I really need to make a music video—it’s getting ridiculous not having one at this point. Currently, I’ve sent four new songs for mixing and mastering to my dear friend Modvle from Colombia and am also waiting on a hard techno remix of Funny Guy. I believe I’ll be performing at the next edition of Destrucción Masiva, the oldest running rock and metal festival in the Dominican Republic. Hopefully, 2026 will bring some interesting gigs. We also have Dark Emergency, our project for creating and promoting dark music events in the Dominican Republic and Colombia. We’re planning two small events before the end of 2025 in Santo Domingo and working our way back to Bogotá for something special in 2026. For 2026, we’re also planning the second edition of the Dark Circus dark music festival in the Dominican Republic. The first one, held in July, made history. We’re putting a lot of energy into growing the dark community here and are thrilled to see it flourish. We’re building a platform for emerging dark artists to help them connect with more people. So yes, there’s quite a lot in the works. Wish me luck!
Luci Ferrum, thank you so much, we appreciate you taking the time to talk to us!
End Interview
We’re happy to have shared Luci Ferrum’s exciting journey with you and uncovered such inspiring insights about their creative process.
