Interview Fabbro di Chiavi

In this exclusive interview, discover the fascinating journey of Fabbro di Chiavi—from aerospace engineer to guitarist and composer. Exploring influences, the impact of Italian culture, and the shift from classical to electric guitar, delve into the unique musical identity shaped by international and Italian artists. Join us as Fabbro di Chiavi shares insights into the fusion of creativity, methodical execution, and the exciting journey ahead.

1. Can you share with us your journey from being an aerospace engineer to becoming a guitarist and composer? How did your passion for music develop alongside your career in aerospace engineering?
I began classical guitar studies at 8, and the guitar accompanied me throughout. The shared passion for facing challenges and mastering complexity, evident in both my music and aerospace career, has been a significant motivator.

2. Growing up in Montebelluna, Italy, how did the local culture and environment influence your musical tastes and aspirations as a guitarist and composer?
The local environment had a significant impact. While many peers embraced metal, my musical growth leaned towards classical, hard rock, and progressive rock. Playing in a progressive rock band exposed me to diverse influences like Genesis, Yes, and Camel, setting me apart from the prevailing musical scene at that time.

3. You started with classical guitar studies and later transitioned to the electric guitar. What prompted this shift, and how did it shape your musical style?
While I always enjoyed the honesty of classical guitar, the allure of the electric guitar, with its amplification and expansive possibilities, was irresistible. The transition shaped my musical style by introducing a broader sonic universe and the expressive potential of amplified soun.

4. Your sources of inspiration include international artists like Steve Vai, Al Di Meola, and Symphony X, as well as Italian artists like Banco del Mutuo Soccorso and New Trolls. How have these influences contributed to your unique musical identity?
I've drawn something unique from each—how to treat melodies, create a symphonic landscape, and navigate changing tempos. These artists' distinctive approaches have significantly shaped my musical identity; but do not forget the classical music composers;)

5. From rock music to progressive and metal, you've played in tribute bands covering a diverse range of artists. How has this variety of genres and experiences influenced your approach to composition in your solo project?
Playing in tribute bands, akin to classical guitar repertoire, was a constant learning process. Each new challenge, whether a new technique or harmonization approach, enriched my musical vocabulary. Learning covers by ear, without internet support, honed my ear training over decades—an invaluable tool I still use in composition today.

6. During the pandemic, you organized your recorded material and launched the symphonic metal solo project, Fabbro di Chiavi. What prompted this decision, and how did the unique challenges of the pandemic shape your creative process?
In 2019, I designed my home studio, in collaboration with Masacustic—an Italian expert in acoustic isolation and treatment (you can explore the walk-through here). This preparation proved vital during the pandemic, providing an organized space for music creation despite restrictions. The pandemic pushed the boundaries for online collaborations, turning challenges into a positive experience. Working with a diverse range of talents, even remotely, became an invaluable source of learning. Explore more about the studio setup at Masacustic.

7. Your first single, "Light and Heavy," was released in March 2022. Can you tell us about the inspiration behind this track and the significance of its title?
"Light and Heavy" served as the "hello world" statement, a challenge set by a friend, Leonardo the space pianist. In just three months, it encapsulated the DNA of Fabbro di Chiavi—blending electric guitar fireworks with acoustic/classical guitar and orchestral landscapes. The track beautifully juxtaposes and synergies these two musical worlds

8. « Embracing the Unknown »seems to serve as a powerful overture reflecting Stoic philosophy's core principle of accepting life's uncertainties. How did Fabbro di Chiavi translate this philosophical concept into the musical realm, and what aspects of the composition mirror the challenges of our ever-changing existence?"
"Embracing the Unknown Overture" serves as a dense composition encapsulating themes from both EP Part I and the upcoming Part II. In this four-minute piece, Fabbro di Chiavi weaves a musical narrative that mirrors the stoic philosophy's theme of steering being aware of the unpredictability of life. The melody and recurring themes act as a guiding thread for the listener in the ever-changing challenges mirroring life.

9. « Journey to Apatheia » is described as an adagio of tranquility, translating the Stoic principle of Apatheia into a soul-stirring composition. How did Fabbro di Chiavi convey the struggle for tranquility within the face of external chaos through the melodies and structure of this piece?"
The composition 'Journey to Apatheia' reflects the Stoic principle of Apatheia, conveying the struggle for tranquility amid external chaos through melodies and structure. Embracing life's unknowns with acceptance, adaptability, and inner strength forms the basis of Apatheia. The melody contends with the rhythmic section, symbolizing the journey to find serenity in a tumultuous world.

10. « Emotion Ruler » explores the intricate psychology of a chess player, with powerful riffs dominated by odd metrics. How does this composition metaphorically represent the individual's struggle in society, and how did Fabbro di Chiavi use musical elements to capture the mind games and resilience echoed in Stoicism?
Emotion Ruler delves into the psyche of a chess player, employing powerful riffs with odd metrics. Metaphorically representing an individual's struggle in society, the composition aligns with the Stoic principle of controlling what is within one's power. Fabbro di Chiavi utilizes musical elements to capture the mind games and resilience inherent in Stoicism. The piece reflects the dichotomy of control, emphasizing the importance of managing emotions in the face of external factors, symbolized by the dynamic interplay of powerful sections within the tune.

11. In your solo project, you aim to develop the interaction between guitar and orchestra in a progressive cinematic context. How do you approach this integration, and what challenges and rewards have you encountered in this experimental process?
Integrating the orchestra into the progressive cinematic context of my solo project is a powerful endeavor. The orchestra extends the musical landscape, creating profound moments in the music. This interaction enhances the guitar, serving as a color palette booster, allowing for heightened drama or joy. However, a significant challenge lies in maintaining a clear separation between the band and the orchestra during composition. Keeping frequencies distinct is crucial for a balanced mix, ensuring each instrument's clarity amidst the orchestral richness.
12. As someone engaged in earth observation and solar system exploration missions, how does your scientific background influence your creative process in music, particularly in the symphonic metal genre?
After the initial creative spark, my scientific background significantly aids in structuring the process to achieve the final result. The workflow and organization of composition draw heavily from the engineering world, shaping my approach in dealing with the huge number of orchestra sections.

13. What role does technology play in your music-making process? Are there specific tools or software that you find indispensable in your composition and recording work?
Technology is integral to my home studio, offering a vast array of possibilities. While I've explored various solutions, the analog chain of recording remains crucial for minimizing delays. Additionally, I still rely on the traditional method of using “digital” pencil and paper for music notation, aligning with my specific needs

14. How do you balance your career in aerospace engineering with your passion for music, and do you find any synergies between the two fields?
Balancing my aerospace engineering career with my music passion involves meticulous time management and prioritization. Surprisingly, there are synergies between the two fields — the precision and structured approach from engineering often seep into my musical process, fostering a unique blend of creativity and methodical execution.

15. Looking ahead, what are your long-term goals and aspirations as a guitarist, composer, and aerospace engineer? Do you see these two aspects of your life converging in any way in the future?
My long-term goals include pushing the boundaries of my music, and 'Intangible Part I' has set the stage for the exciting 'Part II.' I'm eager to dive into the next chapter, refining and enhancing the unique elements of my compositions. The blend of being an aerospace engineer and guitarist already involves mastering complexity daily, and who knows, maybe in the future, these two worlds will intertwine even more seamlessly. It's an exciting journey ahead!

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Interview Poppy Roscoe

Get ready to explore the Sonoran Wastelands, rats, lyzards, and the mesmerizing fusion of music and visuals that define Poppy Roscoe's reborn identity. Let's dive into the creative universe crafted by Izzy Fortune and the talented members of Poppy Roscoe.

1. Congratulations on the reformation of Poppy Roscoe! What sparked the decision to come together again, and how has the band evolved since its earlier days?
The band originally formed between myself (Izzy Fortune) and my older brother (Aydin Golabi), but after the two of us went on separate life paths, I remained playing music around the Nashville and Memphis scenes, while he went off to Boston to pursue his day-career.
The goal was to always reform the band with the original drummer (Jake Smith) and guitarists (Adam Pena), but after five years of waiting, I decided to reform the band myself for this new project. Now we’re the same band with the same vision, sans one founding member.

2. The Sonoran Wastelands provides a unique backdrop for Poppy Roscoe's reimagined journey. How does the environment influence your creative process, both musically and visually?
All of the core members of the band grew up, (or spent a large amount of time), in the Sonoran Desert, specifically in Arizona. In the same way anyone’s upbringing will influence their outlook on life and creative process, so too did the arid wastes of Arizona give a unified theme for the band to coalesce around this project. The title “Desert Rats” didn’t come from nowhere, anyways.
In fact, my original idea for this concept album was a children’s story about a group of rats from the desert who form a band and take a tour across America, meeting new rats and experiencing new cultures, only to return home better for the experience. In essence it’s the same goal every adventurous kid with big dreams shares: to move as far away from where they grew up as possible.

3. Poppy Roscoe is known for creating a multimedia musical-video experience. How do you balance the storytelling elements in your music with the visual components, and what themes can fans expect in your upcoming releases?
I’ll be the first to admit: I’m by no means a master songwriter and am a mediocre animator/director at best. I consider “Sea Fortune and the Desert Rats” to be a creative proof-of-concept for future projects. I can’t do it alone, no one can. But slowly and methodically we’re gaining more members on the production team and more steam for bigger and bolder projects.
I might not have the cinematic touch, but Mr. Dane Delaney at Eye of Newt Productions has shown interest in the next projects.
I might not have the best musical ear, but we nabbed Mr. Michael Fong with Hella6s Productions for the next albums. It’s all about building the dream team, and I sincerely believe we’ve got a decent jump out of the gates with Sea Fortune and the Desert Rats.

4. The concept of creating a cult following is intriguing. How do you cultivate and engage with your dedicated fan base, and what role do they play in shaping the Poppy Roscoe experience?
Well… maybe cult is a strong word.
Most every band wants people to like their music— no one really gets up onstage hoping people will hate the work they’ve poured so much effort into practicing and creating. There’s a distinction, I think, in bands who are seeking attention and those that are seeking validation; I mean to say that not every band necessarily wants to be famous.
From the perspective of the fan, there’s a huge difference in saying “wow, I really liked this band” and “I go to every concert and read lore on everything this band has ever done”. While the latter may be in the minority, it’s that kind of dedication to the band’s vision that inspires me personally to write more.
I bake all sorts of lore and references into Poppy Roscoe specifically for the super-fan that’s pausing at every frame of the movie to look at the background. Recently, Jake Smith has reminded me that we do want other people to listen to us as well, and I’ve been trying to cater to that as well.

5. The mention of rats and soon lyzards adds an enigmatic touch to Poppy Roscoe's narrative. Can you share a bit more about these elements and how they contribute to the band's unique identity and storytelling?
You know, I’ve been asked why all the rats and the lizards and the Animalia fixation, and honestly it’s just a narrative device I use to give anchor to my stories.
I am not a lizard man from space, there is no secret moon-base, what illuminati?

6. Izzy Fortune and Jacob Smith serve as the captain and drummer of Poppy Roscoe, respectively. How does this dynamic duo collaborate in steering the creative ship, and what strengths does each member bring to the table?
Jake Smith is, without a doubt, the best drummer I’ve ever played with. Bar none. Jake Smith is also, without a doubt, the only person I’d trust with both my life and half our band. He’s my best friend at the end of the day, and one hell of a music partner. He’s been with the band since the beginning, and honestly it’s difficult to imagine the group without him.
I don’t touch the percussive world without Jake’s help since he’s such a master of the craft. I just write and animate poorly.

7. The Sonoran Wastelands are known for their arid and challenging conditions. How does the environment reflect in the sound and mood of Poppy Roscoe's music, and how do you use these challenges to your advantage in the creative process?
It’s challenge to work in the Sonoran not because of the weather, but because of the culture. Phoenix is a great city to live (or was depending on who you ask), but it’s not exactly a vibrant cultural hotbed of new ideas and music. It’s a great place to die but not a great place to live, if that makes sense.
Our sound is then influenced not by the dry environment, but the longing to escape to greener pastures. The album starts with such a high energy desire to break free from the shackles of the desert and shed the burdens that life is crushing you. A Summer day in Arizona would show you that.
The poetic twist made clear in the last songs of the album, where a slow calm that envelops the desert at night is somehow soothing all those worries, and that upon the return trip home you’re enlightened to the fact that you’ve grown enough to see those fears and desires are yours, and the desert simply always was.
It might sound flowery, but that’s the creative schmoo that the desert inspires in us.

8. Art-rock is a diverse genre. How do you define the distinctive sound of Poppy Roscoe within the realm of art-rock, and what artists or influences have shaped your musical style?
When you ask the average person what kind of music they listen to, you’ll likely get the boiler-plate “I listen to a little bit of everything” response. That is at the heart of Poppy Roscoe’s musical mission. I want to be a band that plays a little bit of everything, exploring the depths and shallows of music from world-beat to surf-rock.
I think that’s why I’m so attracted to the art-rock genre, because it’s a step away from descending into some wild avant-garde madness, but rooted enough in fundamentals to still touch on classic popular music sensibilities. I take it almost as a blank check to explore all avenues without getting too wild or snotty about it, but loose enough to not have to worry about all that hyper-genre-specific labeling.

9. The intersection of music and storytelling is a core aspect of Poppy Roscoe. Can you take us through the creative process of crafting a narrative within your music and translating it into a visual experience?
It’s always chaos in the beginning— crazy ideas bouncing everywhere in grand blurry strokes of fleeting thoughts. Personally, I write down whatever nonsense idea I have onto one or two loose-leaf sheets over the course of several months. Then in one or two days, organise everything into smaller manageable pieces.
From there, the music and the story writes itself. You start with an idea or a theme and let it roll, and usually it rolls somewhere. The first drafts are always messy and maybe even disappointing, but by chipping at it with a sculptor’s knife it it’ll usually turn out alright. When a piece of art is rushed by concerns outside of the original inspiration itself, it usually shows in the final result, which is a deathblow for a band like ours.

10. Your dedication to storytelling is evident. How do you approach lyricism to ensure it complements the broader narrative, and what themes or stories inspire your songwriting?
Inspiration comes from living in whatever form that may take, which is reflected in the varied songs Poppy Roscoe writes. As much as lyrics and visual art can tell a story, it takes on new dimensions when they’re combined together.
It’s important for me, at least, to understand the full picture of what I want to create or say in broad strokes and ideas before the writing even starts. The real work is getting into the minute details of each song and each scene to match and sync with each other in a meaningful way. “Sea Fortune and the Desert Rats” tells a story visually and lyrically, though I’ve felt that it paces so quickly it’s difficult to glean all the information I’m throwing out constantly. I wanted it to be fast-paced, but it’s an issue I’m working on in future works.

11. Los Angeles is a city known for its diverse music scene. How has the city's cultural melting pot influenced the evolution of Poppy Roscoe's sound, and what aspects of the local scene do you draw inspiration from?
The band has made it a habit to go to as many local shows as we can, whenever we can. Los Angeles is one of those cities that’s so huge it’s difficult to take in the scope of it all even for native residents. Sure Hollywood might be here, but it’s easy to forget this is the Port of Long Beach— there’s TONS of manufacturing and culture that gets traded through here on an hourly basis. It’s hard if not impossible not to be influenced by such a crazy awesome setting.

12. The reimagining of Poppy Roscoe involves bringing back the idea that music can tell a complex, meaningful story. How do you see this narrative-driven approach contributing to the overall impact and longevity of the band in today's music landscape?
The musical world today has plenty of room for walks of all life, it’s one of the boons of the industry. On the plus side, everyone has access to making music with a computer and free software, meaning everyone has a voice to contribute to the zeitgeist of humanity. On the negative side, everyone has access to making music with a computer and free software, meaning everyone has a voice regardless wheather or not they have anything interesting to say.
The band’s spirit and identity takes shape in the form of the almighty Concept Album. It’s something of a lost art; gone are the days of The Wall and Tommy, where albums may unfold like a storybook or an operatic piece of art. With good reason, mainstream music is meant to be digestible and easy to hear in small sound bites, rather than a whole ordeal of a meal that has to be paid attention to and something you have to chew on. The lasting works, however, aren’t the centerfold magazines or the dollar-store memes. A story can live forever so long as there are people and mediums to share it, and that’s where Poppy Roscoe will make our mark.

13. As a band that places importance on both audio and visual elements, how do you approach the production of your music videos, and what role do they play in enhancing the storytelling within your songs?
Gone are the days when the masses would buy a full LP recording and critically listen to it start to finish, (save for a few small isolated pockets of audiophiles and musicians). The reason has been beaten to death, but it draws to the shortened attention span audiences have that has been created by the entertainment industry as a whole. In comparison to a 90 minute action movie, it can be pretty tedious and boring for the common layperson to sit down and listen to only music. I understand it, I have similar tendencies when it comes to the media I consume.
I saw music videos as the last bastion of refuge for music, and after creating Sea Fortune and the Desert Rats I’m convinced the combination of music and video in a conceptual way is a medium I want to habituate in primarily.

14. The imagery of rats and lyzards suggests a vivid and unconventional visual aspect to your narrative. How do these elements translate into your live performances, and what can audiences expect from a Poppy Roscoe show?
Currently we have one projector, whatever the venue has, and a dream. I’ve already plotted a full production and show for the album, but it runs long and there’s no budget or public desire for it as of yet, so it’s on the back burner until we can get some more steam behind our projects.
Otherwise, It’s just me bouncing around stage while Jake makes wild faces and Adam’s trying to focus.

15. In a world filled with various music genres, how do you see Poppy Roscoe carving its niche and standing out?
That’s a really good question that we really don’t have a satisfying answer. The way to stand out is to be unique, but unique doesn’t always sell, and carving a niche is all well and good until you realise The Simpsons already did it in the 90s.
I’d be tempted to take the cop-out answer and say we’re not concerned with standing out from the crowd or chasing fame; we’ll follow the path we choose, where that leads. We’ll stand out by making a secret cave of dedicated followers under the beaches of Malibu, plotting our takeover into the over world.

16. Looking ahead, what's on the horizon for Poppy Roscoe? Are there specific goals or directions you envision for the band's musical evolution and growth in the coming years?
There’s an EP in the works that’s set to release early 2024 and a remake/remaster project that’s on hold until my older brother comes back, but the big goal has always been a space-opera. I know it sounds tacky, but it’s been a bug in my mind for some eight years now.
“Lyzards: A Space Epic” currently has thirty-five all-original, multi-genre songs written and demoed, with over half of them nearing completion for final recording. While the music is mostly written and played by Poppy Roscoe, the idea is to create a small community of local artists appearing as features on certain songs, wherein guest bands are brought in to perform songs to varying degrees. (I.e.: Poppy Roscoe wrote a metal song, then will merge for that song with a local metal band to help perform/ write the song on the album). This collaboration would take place with the idea that because each song can vary so vastly, writing and cooperating with experts in their respective genres would serve the song and therefore the work as a whole.
The writing itself is presented as a combination Grand-Semiseria Opera with Kabuki elements, with no directly spoken dialogue spread across five nohs (acts). The story has several characters and plot lines, all of which are delivered visually and through song lyrics. The story has been in development since 2019, where it was placed on hiatus due to the COVID-91 pandemic. Since then, other smaller projects have been undertaken by the band and Toadwarts (outlined in later sections). Poppy Roscoe is recouping and trying to build a dedicated fan-base before work on Lyzards re-commences. Projected release-date is scheduled for summer of 2025.
And before we hit the ground running on Lyzards, however, our studio is planning one more intermediary project to cut our teeth: a bonafide rock-opera. We believe that after one more serious project, we’ll be ready to tackle the monstrous Lyzards. We’ve partnered with a local metal group to make the music and story.
The project is currently roughly thirty minutes of heavy-metal opus exploring the cycles of life and death, (currently in pre-production).
When the project was first started in 2019, there was no existing network to start with and nowhere to begin work. The outlook was bleak— we had no animation support, no recording studio, no money or reputation to lean on, not even a performing band. Starting from the ground-up: I rebuilt the band, opened a small private recording studio, learned to animate, and (earlier this year) completed a project of which I’m extremely proud of. All of the music writing/recording, filming, editing, and even animation were done in house. The result: “Poppy Roscoe in: Sea Fortune and the Desert Rats”

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Embrace the Unknown: Fabbro di Chiavi unleashes ‘Intangible Part I’

Embrace the Unknown: Fabbro di Chiavi unleashes ‘Intangible Part I’ - Where Progressive Metal Fuses with Timeless Stoic Wisdom

Embrace the fusion of progressive metal and Stoic philosophy with Fabbro di Chiavi's latest EP, "Intangible Part I." Breaking new ground in musical territories, this symphonic exploration weaves through intricate layers, mirroring the complexities of today's world and the timeless simplicity of foundational principles. "Embracing the Unknown" serves as a powerful overture, inviting listeners on a journey through life's uncertainties. The adagio "Journey to Apatheia" captures the struggle for tranquility amid chaos, while "Emotion Ruler" delves into the mind games of a chess player, metaphorically reflecting societal struggles.

Marco Pellizzari, known as Fabbro di Chiavi, is the creative force behind this project. A guitarist, composer, and aerospace engineer, Pellizzari draws inspiration from international and Italian artists. His symphonic metal solo project boldly combines electric and acoustic guitar virtuosity, promising a unique sonic experience. As the release unfolds, Fabbro di Chiavi invites music enthusiasts worldwide to delve into the rich thematic tapestry of each track, setting the stage for the upcoming "Intangible Part II" in 2024. Explore the intricate interplay between guitar and orchestra, beautifully orchestrated within the context of film music, and join the musical odyssey set to captivate audiences in November 2023.

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Jane N’ The Jungle Ignites a Musical Revolution with "Cut Me Open"

In the vibrant tapestry of modern rock, Phoenix-based powerhouse Jane N’ The Jungle unveils their latest anthem, “Cut Me Open.” This electric journey into self-discovery shatters expectations, featuring roaring guitars, thunderous drums, and the commanding vocals of Jordan White.

“Cut Me Open” crashes into the listener's consciousness with the force of electric guitars and a pulsating rhythm section. The midtempo beat acts as a heartbeat, syncing with the pulse of the listener on a sonic expedition. At its core, the song carries a potent message encapsulated by White's declaration: "Cut me open, feel brand new. I wanna be good, good for you." These lyrics become a mantra, a call for renewal, shedding old skin to emerge as something extraordinary.

Beyond a mere rock song, "Cut Me Open" is an atmospheric experience. Jane N’ The Jungle creates an immersive soundscape, transcending the boundaries of conventional rock. Jordan White's vocals, influenced by alternative rock, metal, and punk, inject a raw, unapologetic energy into the track.

"Cut Me Open" is a declaration of rebirth, inviting listeners to undergo their metamorphosis. Jane N’ The Jungle emerges as a formidable force, their unquenchable thirst for communication and take-no-prisoners attitude positioning them as modern rock's best-kept secret. This anthem of rebirth beckons the audience to cut through limitations and embrace raw authenticity, solidifying Jane N’ The Jungle's status as a rising sensation in the modern rock scene.

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Will Sims Unleashes Raw Emotion with "You Have a Voice, Use It" Album - 2023

Baltimore-based alternative rock artist Will Sims delivers a powerful musical narrative on his latest album, "You Have a Voice, Use It," released in 2023. With roots tracing back to the '90s alternative rock movement, Sims intricately explores the complexities of modern romantic and social relationships through a lens of emotional intensity.

The eight-track LP opens with the energetic "Lose Control," an alternative anthem marked by lively riffs, crunchy guitar tones, and a sensational solo. "Move It or Lose It" follows suit, blending a grooving guitar riff with gritty vocals, creating a swaggering rock vibe tinged with bluesy elements. "To Remind You" builds tension with a brooding verse, leading to an epic chorus characterized by pounding drums, punchy guitars, and soaring vocals.

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Noteworthy tracks like "Fears" showcase Sims' tender side, featuring soft vocals over acoustic guitar strums and laid-back drums that build to euphoric crescendos. The album concludes with "Where Are You Now?"—an enchanting composition with airy guitar plucks, pulsing bass lines, and a moody atmosphere that culminates in a powerful alternative rock chorus.

"You Have a Voice, Use It" cements Will Sims as an artist unafraid to channel his raw emotions and frustrations with the world into a compelling sonic journey. The album stands as a testament to Sims' ability to craft memorable melodies, intricate instrumentals, and emotionally charged lyrics that resonate deeply with listeners.

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SIR-VERE Celebrates One-Year Anniversary of 'Lovescope Album' Re-Issue

Milton Keynes groove innovators, SIR-VERE, mark the one-year anniversary of their 'Lovescope Album' re-issue on January 26th, 2024. Known for their unique fusion of punk, rock, and electronic elements, the band has maintained an uncompromising artistic stance. Craig Hammond, the vocalist, reflects on their journey, stating, "We stick to our guns; you could almost call it stubbornness."

The album showcases the band's evolution, with the recent addition of singer Ian McEwan adding a new dimension to their vocal profile. Described as a 'beauty and the beast' approach, McEwan's angelic voice complements Hammond's punky angst, creating a captivating contrast. This dynamic shift is mirrored in their inclination towards more live performances, emphasizing a departure from programmed beats to a more hands-on, raw sound.

2023 saw the release of 'Misophonia,' 'Lovescope,' and the current single 'Peer Pressure,' gaining traction globally through radio and positive reviews. The Lovescope re-issue introduces a limited edition gatefold vinyl format, including an exclusive bonus track, 'Carousel.'

As the band continues to navigate the changing music landscape, they are set to release 'The Crazies' single EP, out now, followed by the 'Legion' single EP on January 12th, 2024. SIR-VERE plans to promote the 'Lovescope Album' throughout 2024 and re-release their catalog on the Ingrooves//Virgin Music Group platform. With their eyes on the future and feet firmly on the dancefloor, SIR-VERE's anniversary celebration is a testament to their enduring commitment to groundbreaking sound. Cheers to one year of RDM, Rock tronic Dance Music!

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Interview Avalon Stone

In this interview, Avalon Stone reflects on the overwhelming positive response to her debut single, the impact of seasoned musicians on her journey, the emotional connection with her audience, and the upcoming album "Chained." She shares insights into her creative process, the blend of influences shaping her music, and the transformative power of her art. Avalon Stone envisions a future where her evolving sound connects on a profound level and contributes to meaningful causes.

1. Cashbox Canada praised your debut single, "Forget You," for its soaring vocals and described you as a new female Canadian rock artist to watch. How does it feel to receive such positive feedback on your first release?
The attention we’ve gotten from the worldwide media is incredibly humbling and exhilarating. It started first in Canada with huge publications like Cashbox Canada and Canadian Beats. Then a few weeks later we sent out press releases globally and got an even bigger response. We weren’t expecting any of it, we hoped maybe a few blogs or press outlets would respond, especially since it’s my debut single and I’m an independent artist. Knowing that 'Forget You' is making an impact is a huge boost. It's a validation of my work, my collaborations and a fantastic motivator to keep pushing my boundaries and share my art.

2. Bob Egan of Blue Rodeo commended your professionalism and the quality of your music. How did it feel to have such a seasoned musician appreciate your work, and what impact has it had on your musical journey?
Receiving praise from Bob Egan, a musician I've always admired, was surreal. It's reinforced the importance of professionalism in my journey and inspired me to maintain high standards in my music. The other thing about Bob is he took the time to get to know me as a person and a musician and has given me some great advice over the years.

3. The Record highlighted your dynamism on stage, mentioning that you have a voice beyond your years. How do you channel that energy and connect with your audience during live performances?
On stage, I immerse myself in the music, letting the energy flow through me. It's about creating a shared experience, where the audience and I are on an emotional journey together. I am most comfortable on stage, I feel like I can really be myself there, and that feels very empowering.

4. Your fans seem genuinely moved by your music, as evidenced by the fan email praising your talent and live performance. How does the emotional connection with your audience influence your creative process?
That emotional connection is a powerful creative force. People share their stories with me and it’s like I can feel what they’re feeling. It drives me to write music that's not just personal but resonates deeply with others, creating a bond through shared experiences and feelings.

5. Your debut single, "Forget You," is described as grunge-infused alt-rock magic. Can you share the inspiration behind the song and how your musical influences, from Alice In Chains to The Cranberries, shaped its creation?
"'Forget You' was inspired by personal experiences and my love for the grunge era. Bands like Alice In Chains and The Cranberries influenced its creation, infusing it with that iconic '90s vibe but with a modern edge. I also love new bands like Bad Omens and Dead Poets Society and I can see those influences shaping my newer music as well. It’s like classic grunge rock for a new generation.

6. The bio mentions your lyrical approach, delving into the dark recesses of the mind for understanding and connection. How do you balance vulnerability and strength in your songwriting?
I strive to be honest and raw in my lyrics while conveying a sense of resilience. It's about being open about my struggles but also showing that there's power in overcoming them. What I’ve always found is that writing about some of the hardest things in my life is very healing. Once I get up on stage and the audience is singing along to some of my most vulnerable moments, it’s like I suddenly feel understood and it takes the power out of the pain. And I get that same feeling coming right back at me from the audience. That moment right there where my art can help other people feel less alone is why I became a musician.

7. You've performed on over 300 stages, ranging from intimate bars to colossal festival stages. How has your stage experience shaped your identity as an artist, and what's the most memorable performance for you so far?
It’s hard to pick just one, but opening for Big Wreck was surreal. The rush of playing in front of thousands, feeling that connection – it was a moment that really stayed with me. It was a defining moment that showed me the power of live music.

8. Having shared the stage with iconic acts like Big Wreck, Sass Jordan, and Kim Mitchell, what lessons have you learned from these experiences, and how do they influence your approach to music?
Playing with legends has taught me the value of authenticity and hard work. Their dedication to their craft has influenced my approach to music, pushing me to strive for excellence. It also inspires me to play the long game, not just look for a viral moment but to build a career that will last a lifetime. I want to be up on stages playing 40 or 50 years from now.

9. You're currently in the studio working on your debut album, "Chained," with producer Kevin Dietz. How has the collaboration been, and what can we expect from the album in terms of sound and themes?
Working with Kevin Dietz and really incredible songwriters like Rob Wells ( Ariana Grande, Selena Gomez, Justin Bieber), Taylor Leith, Joe Jacobs and more on 'Chained' has been an incredible journey. Thematically, "Chained" delves into a journey of self-discovery, resilience, and emotional liberation. The album explores the complex tapestry of human emotions, from the depths of heartache and longing to the heights of empowerment and self-realisation. Each track tells a story, reflecting personal experiences and insights into relationships, growth, and the internal struggles that accompany life's pivotal moments.
The title "Chained" itself is symbolic, representing the various things that bind us – whether they be past relationships, self-doubt, or societal expectations. Through her music, will break free from these chains, encouraging others to confront their own barriers and embrace their true selves. In essence, "Chained" promises to be a deeply personal yet universally relatable album, resonating with anyone who has ever felt confined by their circumstances or their own inhibitions, and who seeks the courage to break free.

10. With a diverse range of influences, from Pretty Reckless to Black Sabbath, how do you navigate blending different genres to create a cohesive musical identity for Avalon Stone?
Blending genres is about finding the right balance and creating something that feels authentic to me. It's a fusion of my influences, each bringing a unique element to my sound. I’m always listening to new music and old music that I’ve never heard before and hearing inspirational sounds and styles.

11. Your story reflects the healing power of music. How has music played a role in your personal journey, and what message do you hope your music conveys to listeners?
Music has been my solace and my way of understanding the world. I hope it offers comfort and inspiration to others, just as it has to me throughout my life.

12. As a lead vocalist and guitarist, how do you approach balancing the emotive power of your vocals with the raw energy of your guitar playing?
Balancing vocals and guitar is about harmony – making sure each complements the other. It's a dance between the emotive power of the lyrics and the raw energy of the guitar. I am a pretty new guitar player, I learned to play during the pandemic. Vocals come first on stage because there are some really challenging parts that need focus. The guitar I’m adding is there to amp up the big parts of the songs and compliment what the band is playing.

13. The band's lineup includes Caleb Bourgeois, Donovan McKinley, and Tyler Shea. How does the collaborative dynamic between band members contribute to the unique sound of Avalon Stone?
The dynamic with Caleb, Donovan, and Tyler is crucial. It’s so great to have a band that not only wants to collaborate all the time, we also like hanging out and socialising. I turned 20 this year and we all went out as a band and had a killer time. On stage and in the studio I’m inspired by their awesome talents and the energy they bring to the music. I feel really lucky that I was able to find great people to work with.

14. Avalon Stone is set to unveil the debut album “Chained” in 2024. Can you give us a sneak peek into what themes and stories the album will explore?
'Chained' will explore themes of growth, self-discovery, and the complexities of human emotions. The first taste will come in January with “Harder”, a song about growing up and depression. The whole album is deeply personal. The last few years have been a real roller coaster for a lot of people I care about. And I get the sense that that’s pretty universal. I’m hoping the music in Chained can help many people to relate and heal.

15. Your journey began on stage at the age of 10. How has your musical style evolved since then, and what advice would you give to aspiring young musicians?
I’ve grown from a very young blues-influenced singer to a more rounded alt-rock artist. My advice to young musicians: always stay true to yourself and embrace every opportunity to grow. Listen to mentors and musicians and figure out what you resonate with. Stay true to your art, embrace every experience, and don't be afraid to experiment. Your unique voice and style is your greatest asset.

16. Avalon Stone invites listeners on a transformative journey. What emotions or experiences do you hope your audience takes away from your music, and what do you envision for the future of Avalon Stone?
I see Avalon Stone continuing to evolve, reaching new heights and connecting with listeners on a deeper level. I hope to create music that not only entertains but resonates emotionally and inspires. I also want to use my platform to make a difference through Music for Mental Health and other endeavours.

AVALON STONE | alt-rock musician (avalonstonemusic.com)

Avalon Stone Music - YouTube

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Interview Vargriket

Exclusive Interview with Vargriket from Morroco: Unveiling the Depths of "Echoes of the Abyss"

1. Congratulations on the release of your debut EP, "Echoes of the Abyss." Can you share the inspiration behind the title and what it represents for Vargriket?
First of all It's an honor to be featured on a platform that supports and amplifies the voices of artists within the metal community since 2002
The name "Echoes of the Abyss" could evoke a sense of deep, reverberating sounds resonating from a vast and mysterious void.

2. The tracklist includes a Darkthrone cover, "The Hordes Of Nebulah." How does this particular track fit into the thematic and sonic landscape of the EP?
Honestly it was a choice of aksel and it’s serves as a profound homage to one of the iconic bands that significantly influenced his musical journey. By selecting a track from Darkthrone's "Panzerfaust" album, we pays tribute to a specific era  in black metal music and work that left a lasting imprint on us.

3. "Echoes of the Abyss" is described as a journey into the heart of black metal, transcending genre boundaries. How did you approach the creative process to achieve this sonic exploration?
The synchronicity in our ideas and shared visions forms the foundation of our creative collaboration. United by mutual inspirations, we embark on a sonic exploration that transcends individual boundaries

4. Morocco might not be the first place that comes to mind when thinking about black metal. How does the local culture or environment influence Vargriket's music?
Being a black metal enthusiast since 2001 has been a guiding force in my journey as a musician, enabling me to channel the pure essence of this genre. Despite the geographical distance from where black metal originated, our commitment to authenticity remains unwavering. Our inspiration transcends regional boundaries, steering clear of ties to Moroccan culture or North African mythologies. Instead, we delve into the universal language of black metal, forging a connection with the genre's global roots.In the lyrical realm, our thematic focus on death, occultism, and darkness !
Zack, the mastermind behind our musical compositions, breathes life into our collective ideas. His intricate arrangements become the sonic manifestation of our shared vision

5. Being a black metal band from Morocco, do you find that your geographical location adds a unique flavor or perspective to your music that sets you apart from other black metal acts?
Our artistic philosophy is anchored in a commitment to the pure essence of black metal, unbound by the geographic constraints of our location in Morocco. Rather than leveraging cultural associations or the name of our homeland for attention, our focus is on crafting authentic and compelling music. We believe in letting our compositions speak for themselves, resonating with the universal language of black metal that transcends borders.

The decision not to incorporate Moroccan cultural elements into our music is a deliberate choice, affirming our dedication to the integrity of the genre. Instead of relying on regional identifiers, we strive to make Morocco a notable presence on the black metal map by virtue of the quality and authenticity of our sound. Our aim is to contribute meaningfully to the global black metal scene, offering a unique perspective that enriches the genre without relying on cultural stereotypes.

6. Black metal often has a strong visual element. How do you envision the live performances of the tracks from "Echoes of the Abyss," and what kind of atmosphere do you aim to create on stage?
As the embodiment of black metal in our country, we understand the responsibility that comes with it. Our vision goes beyond playing music; it's about creating an immersive, unforgettable experience. From the atmospheric intensity of our sound to the visual elements that accompany our performance, every aspect is carefully curated to reflect the essence of black metal while pushing the boundaries of what's been done in Morocco.

7. Looking ahead, what's next for Vargriket? Are there any upcoming projects or developments that fans can anticipate?
In the upcoming year of 2024, we're poised to unveil a multitude of captivating experiences and surprises for our audience. To stay abreast of all the exciting developments, exclusive updates, and behind-the-scenes glimpses, be sure to follow our Instagram and Facebook pages. These platforms will be the hub for breaking news, announcements, and a closer look at the creative journey we're embarking upon

(75) Vargriket - YouTube

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Echoes of the abyss | Vargriket (bandcamp.com)

𝔙𝔞𝔯𝔤𝔯𝔦𝔨𝔢𝔱 (@vargriket) • Instagram photos and videos

 

Interview Reign Maker

Reign Maker, the Melbourne-based band, discusses their latest single 'Sirens,' weaving climate activism into their emotionally charged music. The band shares insights on inspiration, challenges, and future projects.

1. Tell us about the inspiration behind your latest single, "Sirens." How did the idea for the song and its message come about?

Often, when I sit down to write, I don't have a clear idea of what the song will be about. I let the music take the lead—allowing its rhythm and melody to guide my thoughts and words. 'Sirens' was born from this process; I began without a specific concept in mind. To me, songs seem to possess a life force of their own. Once I start writting, it feels like they unfold and shape themselves. My role is just to find the right words and melody that resonate, bringing the song to life in a way that feels true to its essence.

2. "Sirens" is described as a call to arms for the climate crisis. Could you share more about how this topic became the focus of the song, and why it's important to you as a band?

The climate crisis is a recurring theme that weaves through many aspects of life. As I observe the world around me, I naturally translate the stories and experiences I gather into song. During my teenage years, I dedicated significant time to an environmental lobby group,aiming to raise awareness and inspire action regarding the climate crisis. It was during this time that I crossed paths with Josh, our bass player, while actively campaigning for this cause. To this day, Josh remains dedicated to the same environmental cause, reflecting it sprofound impact on both of us.

My current role as a wildlife carer involves nurturing sick, injured, and orphaned native wildlife. While I strive to contribute to the environment, there are moments when I grapple with a sense of guilt for not doing more—a sentiment shared by many. It's easy to lose sight of the broader perspective and feel trapped in survival mode. The lyrics of 'Sirens' were born as a personal wake-up call, serving as a reminder not only for myself but also for those who resonate with similar feelings about the urgency of our situation.
3. The music video for "Sirens" features children as central figures. What's the symbolism behind this choice, and what message are you hoping to convey through their portrayal?

In our video clip, the children are depicted as animal hybrids, symbolizing humanity's deep-rooted connection to the earth. Our intention was to showcase a post-apocalyptic scenario where these children initially grapple with a sense of loss and disconnection, struggling to survive in isolation. However, as the story unfolds, they eventually find each other, forming acommunity that collaborates to build a joyful and harmonious world.

The underlying message we aimed to convey is the enduring hope for humanity to unite and strive towards a safer climate future. We wanted to emphasize the idea that, with concerted effort, we can work together to make it a reality. The vibrant and colourful smoke, along with the Holi powder used in the video, were chosen to symbolize the celebration of these animal children living in harmony with one another and their environment.

The focus on children in our music video stems from the understanding that future generations will bear the most significant impact of the climate crisis. It's our way of highlighting the urgency and importance of taking action for their future.

4. How did the pandemic and the lockdowns in Melbourne influence the creation of "Sirens"? Were there specific experiences or moments that played a role in the song's development?

I crafted the lyrics for 'Sirens' one night at the height of the pandemic's lockdowns. Residing

near a hospital, I noticed a surge in sirens blaring from passing emergency vehicles. The

streets, usually bustling, were eerily quiet during the lockdowns, magnifying the piercing

sounds of these passing sirens in the empty streets.

The ambulances reminded me of alarms heard during various crises, like those in wildfires,

floods, or even the cyclone siren I once encountered in far north Queensland. Contemplating

the world amidst the pandemic's confinement and the oddly silent streets, I couldn't help

but imagine a future where similar emergencies became recurring events.

The growing frequency of natural disasters feels like constant warnings, signalling our

insufficient efforts in securing a climate-safe future. Climate scientists have long cautioned

us about these perils, and yet, the statistics only seem to worsen. There's an unsettling

reality that not enough has been done to prevent an unsafe climate future, placing our

children at the forefront of its potential impact.
5. "Sirens" touches on the potential for future pandemics related to climate change. Can you elaborate on this connection and why it's an essential aspect of the song's message?

Amidst the pandemic, discussions on humanity's readiness to tackle such crises were

abundant. I was particularly struck by the information highlighting potetial future

pandemics. It led me to ponder the warnings issued by climate scientists regarding the

emergence of ancient pathogens trapped in polar ice caps, now gradually being released due

to melting. Numerous experts have forecasted that an unstable climate future might

escalate the likelihood of more frequent pandemics.
6. Your music is often described as emotionally charged and thought-provoking. How do you balance the emotional depth of your music with delivering a strong message about climate change?

When I sing, I find myself naturally channelling my emotions into the performance. During

vocal editing, I ften prioritize the delivery that carries more emotion, even if it means

choosing it over technically better takes. As for the balance in the message, I typically follow

what feels right in the moment rather than aiming for a specific equilibrium.

I tend to write lyrics that are open to interpretation, leaving them deliberately ambiguous.

The beauty of language is its infinite layers of unravelling and understanding. I'm constantly

amazed by the diverse ways in which people interpret my lyrics. It's incredibly rewarding to

witness individuals discovering their own meanings within my words. Ultimately, I'm

genuinely thrilled if my writing resonates with anyone, irrespective of the reason or personal

interpretation.

7. "Sirens" is a blend of hope and despair, emphasizing shared responsibility for the planet's future. What role do you see yourselves playing in inspiring action and change through your music?

I see my role as a songwriter as bearing witness to the world and capturing the stories of our

time through song. Sharing these stories is how we connect, feel less alone, and begin the

healing process. When I write songs, I weave lyrics in the hope that they'll resonate with

others who share similar sentiments. Singing becomes a cathartic release for me, a way to

channel my vast emotions. My wish is that somewhere out there, someone will sing along

and find that same sense of release—this is precisely what my favourite songs do for me.

I'm uncertain as to whether my songs will inspire action or solely offer solace by making

people feel less alone.
8. Could you tell us about the challenges and complexities of uniting music with activism? How does Reign Maker navigate these challenges in your creative process?

Perhaps the most challenging aspect lies in creating music that intertwines with activism.

There's a real potential to alienate potential fans who might appreciate our music but not

necessarily align with our message. So far, we haven't faced any backlash from individuals

who don't share our views, but I can foresee it as an inevitable possibility.
9. Can you describe your unique sound and how it reflects the themes and messages in your music?

Heavier music serves as an incredible platform for addressing social issues. There's

something incredibly cathartic about using music as an outlet for the things that affect me

deeply. I find rock music to be an excellent conduit for expressing topics that evoke

justifiable rage in people. At times, the state of the world can make me feel utterly helpless,

and writing songs becomes my small attempt to make a difference. For me, staying silent can sometimes feel like I’ve inadvertently aligned with the side of the oppressor. It sometimes takes me time to summon the courage, but I strive to speak out about the things I believe need to change.
10. Melbourne, Australia, has a vibrant music scene. How has the city's culture and environment influenced Reign Maker's music and activism?

Melbourne is an incredible city, and one of the reasons I chose to move here is its vibrant

cultural diversity. It's a melting pot where various cultures blend harmoniously. Expressing

oneself is encouraged, and the beauty of this city lies in the opportunity to immerse oneself

in different cultures through the diverse people one encounters. Embracing the chance to

learn about others imparts invaluable lessons about ourselves. While I'm not entirely sure

how this cultural richness has directly influenced our music or our activism, I can confidently

say there's no other city I'd rather be making music in.

11. Your bio mentions that you aim to ignite awareness and lend a resonant voice to global challenges. What are some other global challenges you're passionate about and may explore in your music in the future?

Our unreleased song catalogue delves into numerous pressing global challenges, addressing

issues such as wealth disparity, women's rights, mental health, and domestic violence,

among other things. Our debut song, 'Blood Reign,' stands as a statement against armed

conflict. It was inspired by witnessing footage of innocent civilians fleeing from a bomb,

igniting a deep sense of frustration, anger, and sorrow towards the senseless wars prevailing

across the globe. The unnecessary loss of innocent lives and the destruction of homes and

cities that people have built and call home deeply dishearten and horrify me.

I fail to comprehend how an evolved society continues to resort to violence under the guise

of problem-solving when all armed conflict does is perpetuate problems rather than solve

them. Despite our advanced technology and understanding, armed conflict remains a

regressive cycle, contributing to ongoing issues instead of offering genuine resolution.

Humanity should have progressed beyond this point.

I'm troubled by the continuous production of weapons and the destruction, diverting

resources from critical issues like climate change. The tragedies of war perpetuate

immediate loss of lives and worsen the long-term threat to life by exacerbating the climate

crisis.
12. How do you envision the role of art, and music in particular, in addressing the pressing issues of our time, such as climate change and social justice?

Art has always stood at the forefront of change. As long as musicians have a pltfgorm and an

audience, songs will continue to be written to inspire and herald change. Good art possesses

the ability to evoke emotions. I write because I feel deeply and need to express those

emotions through music. If I feel something, there's a good chance many others will too. Art

is subjective, so others' opinions don't necessarily define it. If you can write in a way that

resonates with others, then I believe you're doing something right.
13. Who are some of your musical influences, and how have they shaped your sound and message as a band?

My personal influences are diverse and constantly changing, making them difficult to pin

down as they can vary from day to day. As a young child, I taught myself to sing by mimicking

a wide range of music from the '90s and early 2000s. I had no formal training; I simply loved

singing, which started as soon as I could talk. I'd copy and sing along with artists like The

Cranberries, Portishead, A Perfect Circle, The Smashing Pumpkins, Pink Floyd, Sinead

O'Connor, Tool, and Rage Against the Machine among others. Their music deeply influenced

my sound and style. I continue to evolve and learn, drawing inspiration from numerous

artists throughout my life. Some of my current favorites include Kalandra, In This Moment,

Sleeping at Last, Kiki Rockwell, Lacuna Coil, Emma Ruth Rundle, Florence and the Machine,

Bjork, Chelsea Wolfe, and the list goes on.
14. Can you share any upcoming projects or goals for Reign Maker, and how they align with your mission of combining music and activism?

We have an album in the making, every song I’ve wri]en with Reign Maker has a meaning

and relates to a current issue in our world somehow. It wasn't my initial plan to infuse so

many songs with this intent, but it just happened naturally. I struggle to stay silent in various

situations, and using my voice is my small way to make a difference. Unsure if I actively

chose this mission or if it found me, but I'm fully commi]ed to embracing it and seeing

where it takes me.
15. What's the most memorable or impactful response you've received from a fan regarding your music and message?

Once, a fan approached me after our performance of ‘Blood Reign’ and shared a powerful

moment. She confided that the song had moved her so deeply that she went to the

bathroom and cried after hearing it. As we got to know each other, I discovered she was

from Palestine, and the song had a profound impact on her. I explained that the day I wrote

the lyrics for 'Blood Reign' I was heavy with sadness. I had watched a friend's post, that

showed images of innocent Palestinians fleeing from a bomb. Overwhelmed with sadness

and anger at the injustice, I approached Luke to help me craft a song that echoed the sounds

of explosions in the background.

Despite its release coinciding with the start of the war in Ukraine, 'Blood Reign' drew

inspiration not just from one conflict but from the ongoing global turmoil. I remain attentive

to conflicts worldwide—Yemen, DRC, Iran, Ukraine, Palestine—the list extends. The

perpetuation of these atrocities exhausts me, and I sense this shared exhaustion within

many others.
16. If you could collaborate with any artist, dead or alive, who would it be and why?

I love to collaborate, so it's challenging for me to pick just one person. Lately, I've been

diving into Kiki Rockwell's work, finding her lyricism, theatrics, and genre-blending style

incredibly intriguing. I see potential for a fascinating collaboration with her.

Then there's Bjork, someone I hadn't explored much until recently. Strangely enough, people

have compared my singing to hers. Initially, I didn't hear the similarities, but now I sense a

bit of that primal essence in both our styles. Any collaboration with her would be mindblowing,no matter the form it takes.

Another artist I admire is Ryan O'Neal from Sleeping at Last. His songcraft and lyrics leave me

in awe. As a lyricist myself, I'm particularly drawn to meaningful lyrics, and all of these artists

craft exceptional ones. The chance to collaborate with any of them would be beyond

amazing. There are so many more I could think of, but I'll leave it there for now.

(61) Reign Maker - YouTube

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Interview Jord

Welcome to an insightful interview with Jörgen of Jord, delving into the transformative journey of their latest album "Tundra." Explore the impact of new band members, thematic inspirations, genre fusion, and the evolving narrative that defines Jord's atmospheric black metal sound.

1. "Tundra" marks Jord's third album, featuring a new band setting. How has the addition of Sebastian Svedlund on guitar and Stefan Jansson on drums influenced the dynamic of the band, and what unique elements do they bring to the table? 

It gives the sound a whole new dimension. They are both excellent at their instruments and bring a new groove to the songs. A necessary step to take for the band to be able to grow. 

2. Jord's music is deeply rooted in the inspiration drawn from northern nature, folklore, mysticism, and the human connection to the earth. Can you elaborate on how these themes manifest in the sound and atmosphere of "Tundra"? 

All these things comes to life on the album. I pick up all these elements on my long walks in the forest and I shape the ideas of how I want the next album to sound. When you listen to the album with headphones and notice the details that passes by in the background and how the guitars rises like trees it’s all there. I’m very happy how it turned out. 

3. The album genre is described as atmospheric Black Metal with Blackgaze and Post Rock influences. How do these diverse genres blend in "Tundra," and what challenges or opportunities does this fusion present in conveying the band's artistic vision? 

That’s the hard part, to blend these genres without making it sound forced or confusing. And I think we did well on this album. It feels natural. And it helps telling the stories mixing the genres like this. It tells a lot about my own taste in music as well. 

4. "Tundra" promises to be an unforgettable listening experience. Can you share the overarching themes or narrative that listeners can expect from the album, and how does it contribute to the evolution of Jord's discography? 

It tells a story about coming home. About finding your way back to where you belong. And the previous albums have led up to this one. The first one, “Sol”, tells the struggles of finding your true self, the discovery of Mother Nature and your relation to that. “Måne” is about leaving everything to discover something different. To see if you belong somewhere else. And “Tundra” brings you home. 

5. The album was recorded with Sebastian Svedlund, Stefan Jansson, and founding member Jörgen Ström. How does the collaborative songwriting process unfold within the band, and how has it evolved over the course of creating "Tundra"? 

I (Jörgen) write all the music and lyrics and I think it will continue like that. It’s how I decided to do this from the beginning and it feels right. The songwriting will change a bit now when I know more about Seb and Jansson what they are capable of. That’s gonna be interesting. 

6. Black Metal often explores intense emotions and atmospheres. How do you approach translating these emotional landscapes into your music, and what role does atmosphere play in Jord's songwriting? 

Atmosphere is everything in the music. I want every song to feel like you’re floating in space or in the sea. I experiment a lot with pedals and plugins for the guitar to make it float. And soundscape synthesizers and other atmospheric instruments. I will probably do even more of that in the future. 

7. Sweden has a rich history in the Black Metal genre. How does the band perceive its place within the Swedish Black Metal scene, and what influences, if any, have you drawn from your national musical heritage? 

Yea Swedish black metal have a huge impact on me for sure. Marduk and Dissection most of all. I hope Jord finds a place in this community and can have a natural part of it. Maybe as a bridge between genres. 

8. Jord has a distinct focus on the connection between man and the earth. How do you see this theme evolving in your music, and how important is it for the band to convey a message or reflection on our relationship with nature through your sound? 

It’s a direct reflection of my own journey. I hope it shines through somewhere but it’s not necessary. My journey goes deeper and deeper into the natural setting where I belong. And the music plays the soundtrack. I will end my days in a wood cabin deep into the forest. And the music will follow. 

9. "Tundra" features elements of Blackgaze. How do you balance the harshness of Black Metal with the more atmospheric and emotive qualities of Shoegaze, and what does this dynamic bring to the overall listening experience? 

Blackgaze brings even more atmosphere and soundscapes to the music. For me that part comes first usually, then I add more black metal to it. And I played black metal in the early nineties as it has always been a natural part of my writing. 

10. As a band, how do you see Jord's sound progressing in the future? Are there specific directions or experimental elements you'd like to explore in your upcoming releases? 

I really look forward to the next one. I’m already shaping it in my head. It’s gonna be more detailed for sure, that much I know. We will see where it goes. 

11. Sweden's landscapes and climate often influence the music of bands rooted in the region. How does the environment shape your creative process, and do you find that it contributes to the unique character of Jord's music? 

It contributes more than anything really. When I sit still in the forest and listen to all the sounds carefully it sounds like an orchestra. That will be more clear in the future I hope. I want to channel those sounds even more on the next album. 

12. For fans who might be new to Jord, how would you describe the essence of the band's music and the experience you aim to create for your listeners, especially in the context of "Tundra"? 

I want people to take in the details and soundscapes of the forest. And feel empowered and spiritually filled up when listening. The essence is in the details. 

Thank you for the interview and share our music if you like it! 

Cheers! 

Jörgen/Jord 

jordband | Instagram, Facebook | Linktree

Interview Siouxsie Suicide

Siouxsie Suicide's 2023 comeback involves intimate gigs, technical preparations, and live remixing. Their diverse sound, influenced by punk, industrial, and pop culture, navigates a DIY ethos with 21st-century technology. Explore their unique journey and upcoming projects!

1. Siouxsie Suicide is making a comeback in 2023! Can you share some insights into what the band has been up to lately, especially after spending Halloween in Scarbados?

2023 was about getting back on stage and playing some small, intimate gigs to get the live groove back. As an electronics based band there is a huge amount of preparation for each gig to ensure things go smoothly on stage and a lot of technical run throughs. As opposed to a lot of our peers who use a fixed backing track for every show, SIOUXSIE do a lot of rebuilding and reworking between shows to keep things different, and remix stuff live. This year saw us being offered gigs with longer set lengths, so there was also a lot of working out how to fit some different material into the live show and how to make those songs work in the new live format. Plus working out all the visuals and triggering of video live has been really interesting and added a lot to the live environment.

2. The latest digital single, "Cheaper Than Suicide," was released in December 2022. How has the response been, and what can fans expect from the upcoming audio due for mixing and release in 2023?

Confused! Cheaper Than Suicide was originally planned to be released under the moniker SS22 as it is quite a lot more electronic sounding than the previous SIOUXSIE stuff that people had heard. Which is why it was put out just on its own. It was a bit of a placeholder to let people know that something was brewing......which led to “Rock N Roll Radio” released in September 23 and sounding completely different. This EP was recorded over Halloween 22 and really captures the current SIOUXSIE live sound. The rest of those sessions are sketched in to be released at some point in 2025.

3. Siouxsie Suicide's sound is described as an evil concoction of Punk Rock, Industrial Electronics, Pop Culture, and Urban Decay. How do these elements come together to create your unique musical identity?

SIOUXSIE is definitely unique. Which has often been a drawback – too punk for the goths, too electronic for the metalheads, etc. And you need to be in on the joke. Everything is DIY, and rough is fine, which gives that punk rock edge to everything. Hence the “High octane, low standards” tagline. And in the early days everything was cut and pasted or sampled to get that 90s industrial vibe, and we still use some sampled guitars along with all the little Easter Egg samples to make people think they have heard this before...

4. Could you tell us about the creative process behind your music, especially in fusing the DIY spirit of '77 with 21st-century technology?

SIOUXSIE tracks generally begin in one of two ways – a simple 3 chord guitar part, or a programmed drum loop. If we start with a guitar idea the first thing to do is sample it. Then play with some drum grooves. So we have that very punk rock basic building block of a riff or line that is played as a starting sketch, but then you get to play with the speed etc later on. On the “Rock N Roll EP”, that was the first time we recorded with full tracks! So we recorded the electronic stuff first, then laid a one take bassline over it, then a one take guitar, then a one take vocal. There is no editing afterwards – one shot and you're done!

5. The band's lineup seems to have a rotating cast for live performances. How does this dynamic influence your stage presence and the overall energy during shows?

Yes, the live setup has never been stable. There is always an energy there, but it is different depending on the lineup. The vibe and sound changes a lot. When we were a full 4 piece we had more of a gothic rock / metal type of vibe. As a 3 piece we were a bit more spiky punk. When we do stuff just as a duo it is a lot more rock n roll, and the solo shows are a lot more industrial.

6. "Any Questions?" has been described as a pretty angry-sounding demo. What themes or influences drive your songwriting, and how do you navigate the balance between aggression and catchiness?

SIOUXSIE was born in a small town with high unemployment and drug use. A lot of the lyrical themes stem from this. Death, suicide, hopelessness, drug use etc and the anger that that builds towards the machine. We definitely become more angry with the live versions where people focus in on the vocals, when writing the focus is always on the music first.

7. The use of guitars, synthesizers, samplers, and fx racks is a distinctive aspect of Siouxsie Suicide's sound. How do you ensure each song maintains its own identity within this diverse sonic palette?

Most of our songs are written using different gear. We dont have a fixed system of writing and don't use templates like a lot of electronic producers. We just start from scratch with a drum sound or guitar line, etc and then begin every song like it is its own seperate piece. We use a lot of physical machines for synths and FX as opposed to using sofware or plugins.

8. Siouxsie Suicide is known for wearing sunglasses after dark, drinking too much sambuca, and playing 3 chord punk songs on 5 string guitars. How do these aspects contribute to the band's image and live performances?

We always wear sunglasses on stage. Always. We still love sambucca, but the “Rock N Roll” sessions were mainly fuelled by rum! Live, we like a beer or two to oil the machine and currently favour 5 string guitars. Wearing black is out and combat gear is in, as are cowboy hats and shirts.

9. "Just Another Junkie" and "Machines" showcase different facets of your sound. Can you delve into the diversity within your music and how it keeps your audience engaged?

We have both kinds of music! “Too Much TV” reviews basically said we had the angry metal guitar songs, the sexy industrial club music, and some dark goth rock stuff in between. I think we also have the pure party rock n roll songs and the full on electro soundscapes. Hopefully no one quite knows what to expect, and the songs all morph and twist over time anyway. We don't play stuff the same way all the time, it's all an evolution.

10. The band's media links include Facebook, Bandcamp, and YouTube. How important is digital presence for Siouxsie Suicide, and how do you connect with your audience through these platforms?

Yes, we use bandcamp and Soundcloud for people to be able to hear the studio stuff. We have a couple of songs on Spotify purely as placeholders and have no plans to add anything else on there. Spotify sucks. Youtube is probably the most useful place because video isn't something that everyone else is doing.

11. Reviews have mentioned influences ranging from Ministry to Atari Teenage Riot. How have these influences shaped your music, and are there other artists that have played a significant role?

We are often compared to early Ministry. I think the first industrial music I got into was Lard, so there you go. I would say the biggest influence on SIOUXSIE was actually the band I was in previously – Fuzzgun Sniper. I learned a lot from them about the power of a short pop punk song and SIOUXSIE definitely wouldn't have turned out this way without them as a precursor.

12. Siouxsie Suicide's cover of Judas Priest's "Breaking The Law" received attention. How do you approach covering songs, and what's the band's take on injecting your unique sound into these renditions?

The very first SIOUXSIE gig was a local festival with all the local bands on, and there was a gimmick where each band would play at least one cover version. I don't think I ever even considered any other song but “Breaking the Law”. The intention was to leave it recognisable but subverted. That song has one of the most iconic guitar riffs, but we just left that part out! Since then there have been numerous covers in the pipeline, most of which never see the light of day, but the ones that make it to the live set have to mean something to the band and have some sort of core piece that can be ripped out and kept whilst the rest is discarded and rebuilt in a way that would hopefully upset the original artist.

13. The band has been associated with terms like "dark and sexy." How intentional is the incorporation of these elements into your music, and what message or vibe do you aim to convey?

There is certainly no intention to project sexy! But yes the word “dark” does get used a lot to describe SIOUXSIEs sound. Lyrically the subject matter tends to be that way, but the music is just what comes along. Vibe wise, as long as it has a groove or a hook it's in.

14. Reflecting on past performances and reviews, are there any standout moments or challenges that have significantly impacted the band's journey?

The biggest impact on SIOUXSIEhas always come from technology. Either because we now have it, or because we don't! We gave up on live shows for a long time because we couldn't achieve the sound and therefore the performance we wanted in a live environment. As the technology evolves and becomes cheaper then you can solve all those issues, which has allowed us to go back out and play shows knowing it will work the way we want it to. For example this year we have been able to use all kinds of vocal fx, live projections and video feeds which was not possible in the “Too Much TV” era. Gigwise I think being offered the very first festival gig before the band even existed and being asked to open this years Goth City Festival were really key moments in building momentum.

15. "Too Much TV E.P." received positive reviews. Can you share the themes behind this release and how it fits into the broader narrative of Siouxsie Suicide's discography?

“Too Much TV?” was the original demo I put out to showcase what I was doing in my bedroom studio and try and find some other interested parties. I really wanted to make a live band that could go out and play but was in a very small town with a small pool of people. The 3 tracks on there all deal with similar themes of small town frustration / desperation, the numbness of the daily grind working for “the machine” and the methods of escaping that. Lyrically that is a theme that has persisted throughout everything SIOUXSIE has done and is still represented on “Rock N Roll Radio”.

16. Looking ahead, what are Siouxsie Suicide's goals for the future, and can fans anticipate any upcoming projects or performances?

The goal for 2024 is pretty straightforward – to play at least one show! There will be a new website and new merchandise coming in January. We have some really good stuff recorded at the festivals we did this year ( Goth City and Gothic Gathering) and there will hopefully be a limited live EP release at some point, probably only for sale at gigs. Also we will be looking at new people for the live lineup and expanding on the visuals and projections we brought in this year. The next studio recorded EP will be “2 Much TV?” in 2025

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