INGOTT and Sto černých let: When Metal Meets the Legacy of Karel Kryl

There are bands on the Czech rock and metal scene that follow their own path regardless of trends and market expectations. Ingott undoubtedly belongs among them. The group led by Jiří "Jura" Šperl has long built its identity on authenticity, strong melodies, and an honest approach to music. Thanks to this, they have earned respect not only among fans of heavier music, but also among listeners who value substance, emotion, and storytelling above all else.

Recently, the band has attracted significant attention with the album A Hundred Black Years, which offers an unconventional take on the work of the legendary Karel Kryl. However, this is not a typical tribute album, nor an attempt to simply dress familiar songs in a louder outfit. Ingott approached the material with respect for both the original songs and their author while imprinting it with their own musical identity. The result is a project that resonates with both fans of the band and admirers of Karel Kryl across generations.

We spoke with Jiří "Jura" Šperl about how the album came to life, the reactions it has received, why some ideas continue to resonate decades later, and how someone with experience in Citron, Limetall, and several other projects views music, freedom, and the workings of a band today.

In the following interview, you will learn more not only about the album A Hundred Black Years and the story behind it, but also about the experiences that shaped one of the most distinctive personalities on the Czech rock and metal scene.

Jura, you've been part of legendary line-ups such as Citron and Limetall. What is the most important thing you brought from those huge stages into your work with Ingott today?

That answer could be an interview in itself. But if I had to highlight one thing, it would be the principle that a band should have its own "face" and be recognizable among thousands of others. And if musicians in any band take things seriously, they have to accept a certain level of professionalism.

Looking back at your time with Citron, how did Radim Pařízek influence you as a bandleader and producer? Was there anything specific about his approach that you still carry with you today?

Pařez's credo was that democracy has no place in a rock band. I have to admit he was right. Rock musicians are strong personalities with different, often complicated temperaments. They cling to their own truths, tend to be stubborn, and often have self-centered opinions. Exceptions prove the rule. The difficult role of a bandleader is to find common ground or convince others to do what's best for the band. The last resort is replacing a musician. Pařez mastered that perfectly, as I experienced firsthand.

Is working on a project like A Hundred Black Years in some ways more liberating than creating music within established brands like those you've been part of?

Freedom is incredibly important for an artist, but it doesn't always work that way. Calculation, pandering, and adapting to market demand often win. That means nothing to me. With A Hundred Black Years, there's no need to bend your back. Kryl's work is genius because it combines brilliant poetry with perfect melodies. Ingott simply grafted rock and metal arrangements onto it. Citron and later Limetall had their own recognizable characteristics, and it was desirable to create within that framework. Great, because that's exactly the kind of music I love. I wouldn't play in bands where I didn't feel creative freedom.

This year marks ten years since the release of Charon. What did that period give you as a guitarist and as a person?

Jura the guitarist has acquired more vintage Marshalls, a few new guitars, recorded three albums with Limetall, five with Ingott, written around eighty lyrics, and destroyed three stage costumes. I've kept listening to my favorite bands, never changed my musical tastes, and always returned to my roots. Since I love honest sound, trends have continued to pass me by over the last decade. Jura the person has remained the same. Human stupidity still surprises me, but as time moves faster and becomes more precious, I'm no longer the passionate debater I once was. I try not to dwell on things I dislike but can't change. That's why I only follow politics marginally. But emotions still run high when it comes to sports. DODO Doležal says I'm still the same wild man.

Do you see a direct connection between your songwriting back then and the way you approached the arrangements on A Hundred Black Years?

I approached it the same way I always have. A Hundred Black Years is simply another studio album by Ingott and isn't all that different from our previous records.

What does the name Karel Kryl personally mean to you, and when did the idea of transforming his work into metal first emerge?

For me, Karel Kryl is more than a name, he's more than a memory preserved through songs and poems.nI admired him mainly for his humanity. He suffered from an excess of empathy and would have saved the whole world if he could. He hated injustice, loved freedom and wisdom, and was an excellent speaker. Those qualities didn't fit well with the times he lived in.

He had an outstanding general knowledge, including rock music. Sometime around 1993, we talked about whether his songs could work with hard rock arrangements, but the conversation went nowhere. Then he unexpectedly passed away, and there was nothing left to prove. But I kept enjoying playing his songs, and after many years, that forgotten challenge started calling to me again. We had just finished the album Three Crosses, so we had time to record some demos and it worked.

You knew Karel Kryl personally. When you were arranging his songs in the studio, was there ever a moment when you could almost hear his voice telling you to do something differently?

Not really, but I would love to know what he would have thought of the final result. What did happen was that Karel's brother Jan unexpectedly came to one of our concerts, walked into the dressing room, and told us he liked it, appreciated what we had done, and believed Karel would have liked it too. That was tremendous praise.

Did any particular memory or phrase of his come back to you during recording?

Every album is unique in some way. But A Hundred Black Years will always be marked by the sadness of losing our bassist Alda Venglář unexpectedly. He recorded his parts but sadly didn't live to see the album launch.

You worked with archives and had the family's blessing. Did you feel creative pressure or responsibility toward Kryl's fans, who tend to be very protective of his legacy?

The final form of the album was determined by our licensing agreement with Marlen Krylová, who owns the rights. We corresponded throughout the recording process, but we only received her approval at the last moment so we could press the CDs in time for Christmas. She later sent us a touching email saying she had consulted everything with the family and wished us good luck. 

Our own fans didn't limit us at all - they were patient and eager to hear the album. Hardcore Kryl fans surprised us with their warm reception. Some of them would normally never listen to heavy metal, and now they come to our concerts. One fan amused us by saying it was his first-ever metal gathering. The CD is selling very well, and there's strong interest from promoters too, so the experiment exceeded all expectations.

How did you choose the songs for the album? Did you focus on the biggest hits, or did you want to highlight tracks that never received much attention in their original form?

We weren't chasing hits or trying to create a greatest hits album. I carefully went through Kryl's entire body of work and selected twenty-five songs that suited rock arrangements. From those, we chose fourteen tracks to create the most interesting album possible—a mix of famous songs and lesser-known gems. That was the whole point.

You're known for your guitar style. How did your approach to solos and rhythm parts change when working with harmonies originally written for acoustic guitar?

The harmonies, melodies, keys, and tempos all remained exactly as Kryl wrote them. We only changed the arrangements, and Ingott recorded them. No instrument or solo dominates. At the same time, we didn't want to create a revival act. It's a metal band playing these songs, so there had to be something extra. For example, Guns and Cannons is a real assault, while Salome became a hard rock ballad. The Little Swimmer turned into a mid-tempo radio-friendly song, while Song of the Unknown Soldier and Psalm 71 became fast and uncompromising guitar tracks. White Mountain has a swinging rhythm, and My Love! is driven by a marching snare drum. Peter's Denial features only keyboards—played brilliantly by Borek Nedorost—and three-part harmonies. The icing on the cake is Cancer, where we left Kryl's original whistling and playing in the introduction.

Karel Kryl placed enormous importance on lyrics and message. How did you find the balance between avoiding overwhelming the songs with rock sound while preserving the urgency of the originals?

Rock music is urgent and emotional, just like Kryl's delivery. There was never any risk of conflict there. The real challenge was keeping the musicians' egos in check during recording, and I think we managed that.

Which song was the hardest to rearrange into a rock version? Was there any track you decided to leave untouched?

Everything we recorded as demos worked beautifully. We were more disappointed that only fourteen songs fit on the CD.

Imagine Karel Kryl sitting in the control room while you recorded A Hundred Black Years. Which song would make him nod in approval, and which one would earn a sarcastic comment?

I honestly have no idea.

Which song from your album best reflects today's social atmosphere?

His lyrics are timeless and often feel visionary. Kryl wasn't focused solely on politics, even though many people see him that way. Yes, he could be sarcastic and ironic, but he was also romantic and deeply sensitive. His gift was his ability to describe human nature so accurately. That's where I see the immortality and lasting relevance of his work.

How do audiences react when you switch from your original songs to Kryl's material during concerts? Does the energy change?

Our setlists depend on the type of event. At our solo concerts, we split the show into two parts, with the Kryl songs in the first half. With a bit of exaggeration, you could call it a metal recital. The atmosphere becomes electrifying and almost hypnotic. People listen carefully or sing along. You can literally see memories returning as they recall the lyrics. Watching those spontaneous reactions from the stage is amazing. The second half is dedicated to our own material - pure metal. Altogether, the show lasts two and a half hours. At festivals, we play the biggest hits from A Hundred Black Years, and the response is explosive - even for a slower song like Salome.

Has working on A Hundred Black Years influenced Ingott's own songwriting?

If we hadn't recorded A Hundred Black Years, we would already have released another regular Ingott album. We have plenty of material for future releases, but we don't owe anyone anything, so we create freely—whatever we feel like making.

Has this experience changed you musically enough to affect future material? Are you already working on something new?

We have new songs ready, and under different circumstances, we'd already be recording demos. But things turned out differently. We didn't expect such a reaction to A Hundred Black Years. There's now demand for a continuation of the Kryl tribute. We're planning to record an EP with four more songs and release everything together on vinyl at the end of the year.

Are you planning a full tour for this project, or will you focus mainly on festivals and special events?

We're doing a mix of both. Right now, we're preparing for a special concert in Křižanovice near Slavkov, where some interesting things will happen. After their sets, the musicians from Ingott and Fany will join forces and perform songs from our days in Limetall and Citron. There will also be an extra creative bonus—guitar virtuoso Honza Kirk Běhunek from Seven will join us, and his band will close the evening. It's happening on Saturday, June 27, and we can't wait.

Fans keep asking whether they'll ever hear acoustic versions of these songs. Have you considered an unplugged tour?

I already play Kryl songs acoustically at almost every informal gathering, so if someone wants to hear them that way, they can buy a keg, chill it, and give me a call. But an unplugged Ingott is definitely a possibility. We're considering a small tour of intimate venues and pubs—a cozy atmosphere during long winter evenings, with stories about Kryl, hot grog, and someone special by your side. Doesn't that sound tempting?

A Hundred Black Years is not just a musical tribute to Karel Kryl, but proof that his work continues to resonate with listeners decades after it was created. Ingott approached his legacy with respect and sensitivity while successfully infusing the songs with their own rock and metal energy. As Jiří "Jura" Šperl explains, the goal was never to change the essence of Kryl's work, but rather to offer a new perspective on his timeless lyrics and melodies. 

This project demonstrates that quality music and powerful lyrics still have a place today and can connect with listeners across generations.