Interview Erik Hansen

Explore the journey behind 'Seasons of the Wind' with Erik Hansen as he shares insights into his solo project's inspiration, creative process, and future plans.

1. Congratulations on your debut EP "Seasons of the Wind! What inspired you to embark on this solo project?
Thanks so much! This whole solo project came about initially from me writing acoustic versions of some of the songs thinking that maybe I would try to make an acoustic rock album. As the songs progressed I started to realize that the songs needed to be made into more of full band rock sound. With that I knew I could do some different layering and in the end wanted to just make a bunch of rock songs like I want to be hearing from other artists.
2. Can you walk us through the creative process behind the lead single “Send Me a Sign”? What themes or experiences influenced its creation?
I don’t always come in with an intention for writing music in a certain way but with this track I wanted to write a faster uptempo punk-rockish song. I don’t think it took too long for the music to come together. I know the lead guitar lines were done in a way to pay homage to one of my favorite guitar players Michael Schenker. The lyrics came about as I was thinking about some of the people you deal with on a daily basis that are very aggravating. Trying to capture that moment where you just want to throw your hands in the air and ask a rhetorical question of why am I having to put up with this.
3. How does “Seasons of the Wind” reflect your musical journey and influences, both past and present?
When I started my first band Fallen Angels we were doing metal in the style of Megadeth and Metallica. The style morphed into Slayer and Sepultura over time then into bay area thrash bands like Forbidden. I was always trying to add melody to the music but as you go you start to figure patterns or tempos that you like for various things. When Fallen Angels disbanded, I started playing with some of the members from that band in a project called Sygnal which was my attempt at playing more 70’s hard rock/80’s heavy metal. During this project is when I started writing music on the side for my solo project, at first it was mainly acoustic oriented but changed into a hard rock side different from what I was going before. The challenge of learning to write vocal melodies for my own vocal range against the music steered it towards what writing style I’m in today.
4. You mentioned being influenced by bands like Nirvana, The Offspring, AC/DC, Deep Purple, and Metallica. How do these diverse influences come together in your solo work?
At my core I just love 60s/70s/80s/90s rock/metal, I like music that’s guitar oriented. Through my youth I went through different periods listening and discovering music from different eras. I got exposed to 60’s groups from my parents at a young age, then got into the 90s era stuff for a while then I started listening to a lot of 70’s rock and that morphed into listening to the 80’s stuff. So it was evolution of myself putting myself through rock school haha, I found stuff I liked and would just try and find other artists that were associated with them.

5. The EP covers themes such as space exploration, mortality, and perseverance. Could you delve into how these themes are explored throughout the tracks?
I like to philosophize on lots of subjects, ideas or why we do things. The Road is basically about doing your own thing in life and being ok with not following the crowd. It was inspired by the Robert Frost poem The Road Not Taken. I see so many people unhappy with the choices they’ve or are making, too many are letting other people live life for them but I view that as such a personal journey that we are all on. Horizon was written while I was on a vacation, I was sitting on deck looking at the sunset while playing my acoustic guitar and was thinking about the endless possibilities our futures can be if we choose to step outside our comfort zones. Traveler came about as more of an escapism song. I have friends and family constantly talking about all the problems in the world and everyone is so caught up with things outside of their control. Sometimes I just want to get away from it all for a while, plus it also taps into my mindset of an expansive future. Forever Dream was about mortality, a family member of mine had been diagnosed with cancer and in their actions and words were blindsided with facing their mortality. They made it through fine but I know other people haven’t and it’s never easy to say goodbye to someone. There’s all kinds of feelings wrapped up in it.
6. What was it like collaborating with Pamela Moore and Chris Gohde on the production of “Seasons of the Wind”?
Pam is a great person, we get along very well. She has good ideas so most of the songs I would bring in completed and she would make suggestions to the vocal melodies or the cadence of the words. She wasn’t able to be in the studio as we recorded so I would bring her what we did get done and she might make suggestions on where to tighten up the vocal doubling in spots. Overall it was very easy and I really enjoy collaborating with her. Chris I’ve known for a while from previous one off cover band shows where we played Scorpions covers and other things. He’s always been a solid, hard hitting drummer with a good pocket for the drum beat. He hits the drums like I imagine Cozy Powell did. We jammed in his basement about 6 times over a period of 3 months to work on the parts, we could’ve probably worked the songs over more but we both have busy schedules and I was trying to have some deadlines in play so that we wouldn’t aimlessly work on things here and there.
7. Your father, John Hansen, contributed pedal steel guitar on certain tracks. How did that familial connection enhance the music-making experience for you?
Well to be honest, my dad wasn’t too happy with his performances that day. His thumb was acting up so he didn’t have the control he wanted on his picking hand. Robbie and I just tried to keep the mood fun and light so that we wouldn’t get too much frustration boiling. The coolest part for me was the solo we did for Forever Dream, we put some cheap overdrive pedal in the loop and had him play the guitar solo. It ended up sounding very Blackmoreish and I couldn’t be happier with how that turned out.
8. How do you balance the rock elements with folk and poetic influences on this EP?
As a listener of albums, I like to hear a changing of moods, sounds and tempos. So I wanted to take the listener on a journey of musical expressions. At this point in my guitar playing and songwriting I just want to continue to explore all the elements of sounds that I find myself gravitating towards.

9. “Send Me a Sign”t; has been described as a rage anthem. What message or emotion do you hope listeners take away from this Track?
To not get sucked down to someone else's negative emotions and thought process. Just keep moving forward and let it flow past you like water on a duck's back.
10. As a solo artist now, how does your approach to songwriting and performing differ from your experiences with Fallen Angels?
Currently I just approach playing the guitar differently. My style has evolved over time, unconsciously to me, just by playing and listening to different types of music. I still want to keep that fire and intensity of my early days but also let whatever maturity flow at this current time. I still write the same as I always have, I never come into a session with the intent to write something in a certain way. I just let the music flow off the fretboard and see if something starts to grab me.
11. Can you share any memorable moments or challenges you faced while working on “Seasons of the Wind”?
I had a great time being in the studio with Chris recording the drums, we recorded at an awesome place called Temple of the Trees. It’s a fantastic sounding room and we got a great drum tone out of it. We played the songs live with no click track, I sang and played a guide guitar and Chris pounded on the drums. The most challenging part of the recording process was doubling any of the vocal parts, I had never practiced that or done it before so it took a little bit to figure out what I needed to hear in my headphones and physically remember how I sung that part so that I could match it up.
12. What are your thoughts on the current rock music scene, and how do you see your music fitting into It?
I try and pay attention to what’s going on but I just don’t see tons of rock music in the vein that I think rock music is. The term rock is so broad that things that I believe are more pop oriented are being thrown into the label. Everyone gets inspiration from someone else so I feel like there’s a gap in the type of rock that I want to play and promote. Hopefully there’s other bands out there that I’m not aware of that I could meet up with and play shows. In the end I’ll just keep doing what resonates with me and let the music do the talking.
13. Are there any specific tracks on the EP that hold special meaning to you, and if so, why?
Forever Dream is the one that holds that special meaning to me, I never have recorded with my dad in a context like that so it was fun to be able to collaborate on something like that. Not many musicians get to do stuff with their family members, so I’m grateful for the opportunity.

14. Looking ahead, what can fans expect from Erik Hansen in terms of future projects or live Performances?
I’m currently working on trying to get a show setup here in the Seattle area and to start playing live on a semi regular basis. I’m also working on new material and have tentative plans to start recording this next winter.

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Interview Akroasis

Discover the Greek-inspired journey of Akroasis with Marcel Knupp as he unveils the band's mythological essence, musical evolution, and resilient spirit in this exclusive interview.

1. Your band name, Akroasis, has a deep meaning rooted in Greek interpretation, signifying both "the hearing" and "the heard." How does this concept influence your approach to music creation and performance?

One of my favourite bands is Obscura. They released an album called “Akróasis”. I knew the meaning, which I think fits the music perfectly. As artists, we try to convey something with our work. But what resonates with each individual can be very different and is characterised by their individual experience and therefore their attitude towards what they hear.

We liked the term so much that we wanted to use it as the band name. As Obscura had also borrowed its own name from an album by another metal band (Gorguts), we felt it was legitimate to do the same. The step to lyrics about Greek mythology was not far away.

2. Your debut album, "Ilion," explores episodes from the events surrounding the Trojan War and the homecoming of Odysseus. What inspired you to delve into Greek mythology for this album, and how did you weave these narratives into your music?

The overarching theme of Greek mythology was a result of the band's name. I started the lyrics with an episode from Homer's Iliad and soon realised that the story of Achilles and Odysseus was so rich that you could have made several concept albums out of it. I then selected a few episodes from the prehistory of the Trojan War and the Odyssey and wrote the lyrics bit by bit. Of course, I tried to choose the content according to the mood of the songs. We organised then the track list for "Ilion" chronologically according to content to have a concept album at the end.

3. Your upcoming album 'Hubris' was released  on March 28, 2024. Can you give us a glimpse into what listeners can expect from this new record in terms of themes, musical direction, and any notable changes or evolutions from your previous work on 'Ilion'?

"Hubris" has become a thematic concept album. All of the songs are based on a story in which pride and disregard for divine laws has led to punishment by the gods. The stories of Oedipus, Antigone, Tantalus, Daedalus, Icarus, Prometheus, Niobe, Narcissus and King Minos are included.

After the recordings for "Ilion", our singer Robin Hermanek left us. Fortunately, we didn't have to wait too long before we were able to recruit Mike Brügger for this task. We had known him for a long time and the collaboration was excellent right from the start. Mike develops his vocal lines himself and I then write the lyrics to his phrasing. It's a bit time-consuming, but it works very well. The vocal parts are even more organically integrated into the songs as a result. Mike uses his voice in many different ways, but clean singing is not one of them. This and the songwriting and production make the songs seem harsher, but they also get to the point more quickly. The Akroasis-typical melodies can still be found in the guitars. Musically, a lot has changed.

4. With 'Hubris' on the horizon, how do you envision this album fitting into Akroasis's musical journey and contributing to the band's artistic legacy? What are your hopes and expectations for the reception of this new release by your fans and the broader metal community?

For us, "Hubris" is a clear further development. The first reactions to the album and at concerts were pretty enthusiastic. There were also a few people who missed the melodic vocals, but most people like the path we've taken. I hope that we can introduce Hubris to a wider public and are of course very grateful for the opportunity to present the album here.

5. Could you walk us through your songwriting process? How do you collaborate as a band to craft your sound, particularly considering the diverse elements of Thrash, Death, and Power Metal present in your music?

So far, Christof Schafer (lead guitars), Gerhard Baeriswyl (drums) and I have been providing the basics for the songs in the band. These are then arranged by everyone together in the rehearsal room. As soon as Mike has suitable vocal lines, I write the lyrics. But we are very open to other approaches to songwriting. Musically, of course, the preferences of the individual band members are incorporated.

Thrash and melodic death metal form a common denominator, but there is also black metal, progressive metal, tech death, techno thrash and much more. Hänsù has the broadest range. He also likes to listen to music that can't be categorised as metal.

6. Your album artwork, depicting scenes from Greek mythology, is captivating. How important is visual storytelling to your music, and what role does it play in enhancing the overall thematic experience of your album?

It is very important to us to present an album as a complete work of art. This also includes suitable artwork. We were lucky enough to find the Spanish artwork artist Mayte CG. She has already designed the iconic cover and the entire artwork for "Ilion" in exchange with us. We were also blown away by the idea for the cover with the fourteen arrows from the story of Niobe. We are very happy that we can once again make LPs and CDs that represent the music in a great way.

7. Marcel Knupp, you're a Latin teacher in real life, and your passion for Greek mythology is evident in your music. How does your academic background influence your lyrical themes and songwriting?

It definitely influenced the subject matter we wanted to deal with. I've always had a soft spot for mythology and Greek mythology in particular. Of course, I have already been confronted with many topics through my studies and my teaching work, but writing the lyrics definitely led me to delve deeper into the subject matter.

8. Collaboration seems to be at the heart of Akroasis, from your band formation to your recording process. How do you navigate creative differences and ensure that each band member's voice is heard in the final product?

This is actually not always easy. We all have our ideas and a certain perfectionism. However, the most important thing is that everyone can contribute as they wish. Fortunately, we know each other and our preferences very well. Of course, creative differences still have to be worked out and if you don't like something, it's also important to communicate that. In the end, we always find a solution that everyone can fully support.

9. The COVID-19 pandemic disrupted many plans, including your first planned gig. How did this challenge impact your band's trajectory, and how did you adapt to continue creating and sharing your music during such uncertain times?

We have had to overcome many uncertainties and crises since the band was founded. Our credo was to always fight and keep going. Even though our first concert was cancelled due to Covid 19, we were able to use the health crisis positively for the band. We prepared our first album during the summer of 2020 and could enter the Little Creek studios well prepared.

10. What's next for Akroasis? Are there any upcoming projects or collaborations on the horizon that you can share with your fans?

 We are now in the the middle of the process of promoting our album. The CDs are here, I hope the vinyl will come next week as well. We hope that this will draw the attention of some more listeners to us. This is followed by one or another concert. I hope there will be more in the coming weeks. Our second video for the song "Seven Times" could also help. It will be released soon. We also started the songwriting process for the next album. We definitely won't get bored.

11. Lastly, what message or emotion do you hope listeners take away from your music, especially those who may be experiencing it for the first time?

We hope that the listeners will feel the energy and the dedication we put into the songs and that they will enjoy our music. We love to play live and hope we will get more opportunities to present the songs and exchange the energy with the public.

We are very grateful to the people who support the less well-known bands on their way. Thank you very much for giving us the opportunity of this interview!

https://akroasis.ch/

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Interview Post Death Soundtrack

Meet Post Death Soundtrack: creators of 'Veil Lifter,' a cathartic journey blending grunge, metal, and existential themes. Prepare for raw energy and introspective depths.

1. Congratulations on the upcoming release of Veil Lifter! How does it feel to have this album ready for your fans?
It feels incredible. The album took almost 3 years to reach the finish line, so it's understandably cathartic to have it reach the public and see that people are digging it.
2. Veil Lifter marks a departure from your previous sound. What inspired this shift towards a more organic, live sound?
Although we listen to a wide range of music and have in the past showcased influences ranging from Skinny Puppy to Massive Attack, most of what we listen to tends to be a mixture of the 90's grunge and metal movements as well as modern doom and sludge metal like Windhand, YOB and Russian Circles. So naturally, mixing the heavy Nirvana and Alice in Chains influence with this sound made perfect sense.
3. Can you tell us more about the thematic inspirations behind Veil Lifter, particularly the concept of "lifting the veil of ignorance"?
This is an Eastern concept of removing the illusion of seperation and seeing the world as it is - or, perceiving the oneness in all things. Lyrically, I define the 'Veil Lifter' as a central character who has overcome this himself, risen above fear, and has the power to awaken others.
4. Steve, you mentioned that this album was written during challenging times. How did these personal struggles influence the music and lyrics?
They helped me write in a totally uncensored way, and it was very clear this was going to be quite a dark album. I've been through cancer, divorce, addiction, depression, betrayal, you name it. Most of the lyrics are cloaked in metaphor, but they're all painted from real life.

5. The album features a diverse range of influences, from Alice in Chains to contemporary heavy music artists. How did you balance these influences while maintaining your unique sound?
I just wrote a ton of riffs and saved them on my phone. Although my initial inspirations were artists like Nirvana, Stone Temple Pilots, Alice in Chains and Tool, I also have developed a unique guitar style that fits my personality. The guitar work was the basis where everything else was built from. I've developed my own vocal style, too, that just feels right. Jon added fuzzed out bass that reminds me of Kris Novaselic's excellent playing on 'In Utero', an album that heavily inspired this album. Mashing together the grunge influences with hardcore punk, punk rock, sludge and doom metal is the perfect mix for me. You end up coming out with something original.
6. "Lowdown Animal" has been described as a visceral track. What was the inspiration behind this song, both musically and lyrically?
It's a song about abandonment and vicious determination at the same time. I think of hyenas with this song (it could have been called "Hyena Song"!) because they are feared and often seen as unwelcome outsiders. I have felt that way often, so this is certainly outsider music for the counter-culture, or anyone who has faced abandonment, bullying, etc. It's also about regaining personal power though, because, you know, hyenas are very crafty and they will even surround lions while laughing.
7. Steve, you dedicated Veil Lifter to your father. How did his memory influence the album's creation?
I am very stubborn in the sense that I like to write in an abstract way lyrically, which comes from my heavy Kurt Cobain influence. So, there are no direct references to my father on the album. However, when we were in the middle of recording 'Immovable', it all felt very epic, and Jon had these snowy mountains on his tv screen at the time. We mentioned that this was the best thing we've ever done to date. Something about my Dad now having moved on from this world and inhabiting the wider Universe, the song felt like a prayer of sorts. When I wrote 'Assume all bodies. Pervade all pathways. Die to the false world. Leave through the back door.' I was thinking of my Dad as a being who was now all-pervasive, and how spirit is undefeatable. Death can't even reach it.
8. What was it like working with Casey Lewis on this record, and how did his contributions impact the overall sound?
It's always fun working with Casey Lewis, and we have become good friends over the years. The more we get to know each other, the more we relate and enjoy each other's company. I've known him to some degree since playing in punk metal bands like Inner Surge in 2002 onwards. Working with him this time around was incredible. When Jon and I initially recorded these songs, we had placeholder drums from a post-metal drum pack. This was initially how we were going to do things, but it became apparent we needed more heaviness and life. Casey brought that 10-fold. His drumming is a huge factor in this album. And his studio, Echo Base, is second to none. The mixing and mastering he did on 'Veil Lifter' gave everything serious punch and fullness. He brought it to life, and this is by far the best sounding record I've been a part of.

9. Can you share any insights into the making of the music video for "Burrowing Down the Spine"? What themes or messages does it convey?
I have been simply using an AI program to bring some of the lyrical themes to life. I know AI is controversial right now, but, to be clear, we used an original artist for our front and back covers. The AI visualizers are simply to present cool, weird videos. 'Burrowing Down the Spine' is just a phrase I liked, but it has some inspiration from the concept of kundalini awakening, but you're just digging down instead. The lyricism covers everything from being draped in illusion and dishonesty to embracing the Void. I also tend to put something similar to an Empress character in some of the videos because I recently experience a bad break up haha.
10. "Icy Underground" is the lead single from Veil Lifter. What do you hope listeners take away from this track?
The track is a bit apocalyptic, lyrically going through our human predicament on Earth. But the chorus kind of calls us to find our own solace, or healing waters, and it restores some faith that there is peace to be found within.
11. With the vinyl release on the horizon, how do you think the analog format complements the raw energy of Veil Lifter?
I own around 2,000 records, so I'm a vinyl geek. This in particular is an album that needs to be heard on vinyl, mainly because the musicianship is heavy, punchy and there's ample bass.
12. As a band, what do you hope audiences experience or feel when they listen to the album in its entirety?
I hope they feel stood up for and inspired. I hope they get the same feeling I got when I first heard 'Dirt' or 'In Utero'.

13. Looking ahead, what are your plans and aspirations for Post Death Soundtrack following the release of Veil Lifter?
More albums and collaborations with Casey Lewis. I have over 500 song ideas saved in Dropbox and I'm ready to sort through them and write the next album!

IT WILL COME OUT OF NOWHERE | Post Death Soundtrack

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Interview Boneripper

Boneripper unleashes 'World Ablaze,' a culmination of intense themes and metallic hardcore energy. Dive into the band's evolution and ambitions in this insightful interview.

1. Can you tell us about the origins of Boneripper and how the band came together, especially considering the diverse backgrounds of its members from bands like Manu Armata, 13Steps, and Bladecrusher?

After the guitar player left Manu Armata we were faced with the option to continue with Manu Armata and a new guitar player or take things in a slightly different direction. We choose the latter. We asked two new guitar players to join the band, one of whom is the brother of the drummer and singer and was the guitar player for 13Steps. Our bass player was already playing drums in Bladecrusher and since Boneripper is kind of an extension from Manu Armata there were already members there haha. Because we now had 2 new guitar players instead of 1 guitar player for Manu Armata and a new name we had the option to gravitate more to some other heavy influence instead of sticking to the Manu Armata Hardcore, which we love btw but after 15 years some fresh influence can be inspiring.

2. Your upcoming album, "World Ablaze," is described as your most brutal work yet. How did you approach the songwriting and recording process differently this time around compared to your debut EP, "Vengeance & Forgiveness"?

To be honest we did not really do anything different compared to our first record. We took a bit more time to go a bit deeper into the songs and they naturally progressed into more brutality. The first record was done in a relatively short time and when we started working on World Ablaze’ we we’re playing together as a band for a bit longer which naturally evolves your style and playing.

3. The themes of "World Ablaze" seem particularly intense, focusing on societal issues like war, climate change, and discrimination. What inspired you to delve into these themes for this album?

The inspiration comes from everyday life and just living in the world we live in, observing everything that is going on and wondering why things are going the way they go and what will come off all of this.

4. Could you walk us through the creative process behind the album's cover art, done by Toha Mashudi, and how it ties into the album's themes and message?

We basically gave Toha Mashudi a.k.a. Ahot74 the freedom to create his vision and this turned out great..

It is a representation of the title and theme of the record, depicting a world that is burning. It simply represents what is going on in the world right now and foresees a doom scenario in which we don’t stop and keep up the global destruction through war, climate change, fake news, discrimination, religious extremists, hatred towards each other etc. this is how the world could end up, burning and in ruins.

5. With so many years of collective experience in the music scene, how do you think Boneripper distinguishes itself from your previous projects, and what elements do you feel define the band's sound?

Like I said Manu Armata has been playing purely hardcore for 15 years, this is something that is deeply embedded in its members. The main guitar player/ songwriter is a bit more metal oriented. Combining these two togethers ended up giving a nice mix between hardcore and metal, fusing Boneripper more into a metallic Hardcore band. I think that defines Boneripper pretty well, Metallic Hardcore.

6. The music video for "Fear of Death," the first single from "World Ablaze," presents avisually intense experience. Can you share the concept behind the video and its connection to the song's message?

The music video does not necessarily tie in directly with the song's message, apart from putting the main message ‘Fear of Death’ straight in your face haha. All we wanted to do is bring our live intensity to the screen. That's why we choose this format.

7. What can fans expect from the rest of the tracks on "World Ablaze"? Are there any particular songs that hold special significance to the band?

That's a hard question haha, all the songs on the record have special meaning to us. I think what people can expect is a bit of diversity between songs. Going from groove to fast and even a blast beat here and there. The record is set-up to listen to as a whole (like an experience) From the intro to the last song you can hear themes (and samples) returning. Not just a bunch of songs bundled together on a record.

8. As a band rooted in the hardcore scene, how do you approach live performances, and what kind of energy do you aim to bring to the stage?

Haha, that's pretty straight forward. If you come to a Boneripper show you can expect a high energy and tight show with a bit of entertainment haha. We approach shows as we always do, play the best we can with maximum effort and energy.

9. "Lone Wolf" was your first single released in 2023. How do you feel the band has evolved musically and thematically since then, leading up to the release of "World Ablaze"?

Like I said I think we naturally evolved as a band does when playing together longer. Creating a more band defining sound. But I don’t think we took things in a whole new direction musically and thematically since our last record. The songs on ‘Vengeance & Forgiveness’ talk about the same worldly and personal problems as ‘World Ablaze’ does.

10. In the current landscape of heavy music, what do you believe sets Boneripper apart from other bands, and what do you hope listeners take away from your music?

What I hope listeners will take away from our music is enjoyment in listening haha. Maybe if they dive a bit deeper into the lyrical content they pick up something to think about from some songs and feel a bit more motivated in everyday life from others. As what sets Boneripper apart from other bands you tell me hahaha.

11. Looking ahead, what are your plans following the release of "World Ablaze," and are there any goals or aspirations you have set for Boneripper in the near future?

Our main goal is playing more awesome shows and having a good time doing so. Meet new people and continue to make music together. That's pretty much it haha

BONERIPPER - Pre-order World Ablaze - New album out May 24th (boneripperhc.com)

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Interview Fretting Obscurity

Delve into the profound with Fretting Obscurity as we explore 'Das Unglückliche Bewußtsein' and its fusion of pre-Socratic philosophy with funeral doom and death metal.

1. Your new album, »Das Unglückliche Bewußtsein«, explores themes inspired by pre-Socratic and classical German philosophy. What drew you to these philosophical concepts for this album?

To answer your question, I'd like to give an example. One ancient Greek historian (probably Herodotus or Hesiod, I can't remember) explained his compatriots' interest in sea voyages saying, "We want to see how people in other countries live, what they do, what they say, what their customs are. And also we want to ask them: why don't you visit our country to find out the same about us?" This question asked by the ancient Greek to neighboring nations illustrates a sincere, honest curiosity. This trait is intrinsic to pre-Socratic philosophy. It's a testimony of the primary movements of the human mind along the infinite path of knowledge. I could go on about this, but to save time, I'll say this. Like Faust, I find no place for myself in the pursuit of knowledge. Faust is a figure from classical European philosophy, so German philosophy is a logical object of my interest. And although I don’t know where the path of knowledge leads, I do know where it begins - with the pre-Socratics. With Parmenides and Heraclitus.

2. How do you translate philosophical ideas into your music, particularly within the realms of funeral doom and death metal?

I don't think I "embody" philosophical ideas in music. Music is emotions + a sense of beauty. Philosophical pondering gives me a feeling of despair. I don't know why I'm here and why I have to die. I don't know why I should achieve any goals if no achievement will be eternal and will end the same for me as for all people - whether they have achieved something or not - with death. What is the point of suffering? For what reason? Actually, I know the answer and it depresses me. I understand everything and can explain everything rationally. And so I don't see anything really good in anything that surrounds me. Only beauty is left as a value. Beauty alone does not require reasons, justifications, excuses. Music is one of the manifestations of beauty. And its emotional coloring and genre affiliation are the result of my experiences. I would like to write light, joyful, and life-affirming music. But it seems it was not meant to be.

3. Could you walk us through your creative process when composing and recording this album? Were there any specific challenges or breakthroughs you encountered along the way?

On the new album, I used some ideas that didn’t make it onto the first album. Before the band originated, I accumulated many drafts, so the second album is a direct continuation of the first one. I wrote the music for it in 2021 and began recording. In February 2022, when the album was half recorded, Russia started a war against my country, and for a long time, I was not up to music. This became the main challenge and still is. I am glad that I managed to see the release of my album.

4. The album features poetic influences from classic European authors. How do you integrate literary elements into your songwriting, and how do they contribute to the overall atmosphere of the music?

For me, writing lyrics is the most unpleasant part of creativity. I believe that music does not need words. But it often requires a human presence - which is provided by vocals. So when choosing lyrics, I simply use texts that don't seem stupid to me. I don't want to write my own lyrics - it would be blatant vanity. Two thousand years ago, Ecclesiastes asserted that it's impossible to be original because everything you think and say has already been thought and spoken by countless people who died before you were born.

5. Your music is described as a blend of flowing, melodic funeral doom with elements of doom-death, black, and post-metal. How do you navigate between these different subgenres while maintaining a cohesive sound?

I don't think it requires special skills or indicates any of my virtues as a composer. It's a pretty common genre mix. Probably, they just naturally suit each other.

6. What emotions or themes do you hope listeners take away from “Das Unglückliche Bewußtsein”?

I don't have high hopes for the audience and don't strive to get something across to anyone. This album is from me, about me, and for me. So why am I publishing it? Just because I can. Also, I'm hoping for a miracle.

7. How does the Ukrainian metal scene influence your music and artistic vision?

To say that Ukrainian music influenced me would be an exaggeration, but I do love and respect the Ukrainian doom bands Te Deum, Autumnia, and the black metal band Nokturnal Mortum. In general, Ukraine has a strong black metal scene. But I stopped being a fan of black metal at the age of 20, so I rarely listen to Ukrainian metal music.

8. Can you share any memorable moments or experiences from the recording process of this album?

Some parts were recorded during the air raid warning in Kyiv when missiles launched from Russia were flying towards my city and dozens of other Ukrainian cities (which, by the way, is still happening). A positive experience during the creation of the album was working with sound engineer Volodymyr Trofimov. I'm glad I connected with him.

9. Your artwork choices for the album draw from various visual sources, including Johannes Moreelse and John Martin. How do these visual elements connect with the music, and what significance do they hold for you?

Johannes Moreelse painted a picture of Heraclitus, which became the album cover. If I were an artist, I wouldn’t have portrayed Heraclitus in tears. Heraclitus is often called "The Weeping Philosopher," but in my opinion, this is somewhat one-sided interpretation of the figure of this thinker. He didn't like people because people are usually stupid. His philosophy was firm and filled with sardonic bitterness. But it was not tearful. However, I liked the picture because Heraclitus is depicted as an old man. And an old man crying is a bare and unadorned expression of the truth of human existence. This is how I see this truth: it does not bring consolation; it brings despair. However, I'll repeat, it would be better if the artist had depicted Heraclitus without tears. In despair, but without tears. As for John Martin’s paintings, I used them because he illustrated Milton's Paradise Lost. I liked the mood of these works and their connection with literature. These connections are another stroke that enhances the feeling of beauty in what I do.

10. What's next for Fretting Obscurity? Do you have any upcoming projects or plans for future releases?

The drafts and ideas recorded in my youth are over. If there will be a third album, it will be written from scratch in every sense. Also, I feel that I have matured enough to perform live. That interests me. But since I'm preparing to join the army, this perspective seems quite hazy to me. To die for something, not from something - it's also beautiful. Perhaps, it's the most beautiful thing I'll ever manage to do. We'll see.

Thanks for the non-banal questions. This is my fourth interview and your questions were the most interesting.

https://www.bitume-prods.fr

https://bitumeprods.bandcamp.com

Interview Axamenta

Join us as we delve into AxamentA's journey with their upcoming EP 'Spires' after 16 years, blending progressive metal and cinematic elements.

1. Congratulations on the upcoming release of your EP "Spires" after 16 years! How does it feel to finally share new music with your fans?
Very exciting! We hope most of them remember us and are as eager for this material as we are to finally present it to our listeners. It’s been hard to reach out to those fans after such a long time, when we called it quits in 2008 youtube and facebook already existed, but we weren’t on it ... So we effectively had to start from 0 followers and try to rekindle the vibe with all those people who once bought our album or watched our shows.
2. "Spires" has been described as a blend of progressive metal and cinematic elements. What inspired this unique fusion of genres?
Well, we have always loved the atmosphere of movie scores. The imagery and mood it conveys to the listener is unique and difficult to capture with other music genres. As we wanted to tell a story with this EP, we decided early on that we would infuse the music with cinematic elements.
3. Could you tell us about the creative process behind "Spires"? How did you approach crafting such an epic and immersive listening experience?
It started as a joke during the pandemic “Hey what if we would release another song, wouldn’t that be funny” ... I know ... our humor leaves a bit to be desired. For some reason, I started writing a story and immediately gravitated back to the “Ever-Arch-I-Tech-Ture” concept story from back in 2006, it’s a standalone story but it exists in the EAITT universe.
Then came the idea, since the story was quite big for a single track, to turn the track into a 15-minute epic, with 5 chapters that could stand on their own, but would form a coherent musical experience. I started working on it, and around 6 weeks later, I had a 17 minute track ready that I showed the rest of the band. Then we started with the most difficult task, turning the concept story in lyrics and vocal lines, especially the clean parts took months to come up with as we don’t really have any experience in that. After more tweaking the next months and adding the vocalparts the 17 minute track morphed into a 23 minute behemoth.
4. Ian, as the lead songwriter, you've worked on trailer music for Hollywood blockbusters. How has this experience influenced AxamentA's sound and approach to music?
Well it has influenced the writing process immensely. Writing for trailers gave me a unique skillset that I wanted to combine with modern progressive metal. It also taught me how to approach writing music differently. In production and trailer music, you are expected to have a full track ready and mixed in between 2-5 days. Sometimes with customwork the deadlines are even tighter, so I had to seriously adjust the way I was working. Gone are the days of waiting for inspiration, I can now sit at my desk with my cup of coffee and pilot a new track in a few hours.

5. "Synopsis," the first single from "Spires," is set to release on May 10th. What can listeners expect from this teaser of the EP?
“Synopsis” as the name says it, is a condensed version of Spires. In 2024, as a band, you have to play the algorithm game, and that means releasing a single, so Spotify knows who you are as a band. As we only have one 23-minute track, and 7 acts with no clear beginning and ending, we needed to “Frankenstein” a single. We have a few main themes running through the track, of which we chose one and build a song around it. We now also have 1 track which can be used in Spotify playlists, or for radio. I don’t think they are eager to use 23-minute tracks :-)
6. The single "Synopsis" offers a glimpse into the larger narrative of the EP. Can you share any insights into the overarching themes or story behind "Spires"?
“Spires” touches on the story of our 2006 concept album “Ever-Arch-I-Tech-Ture”. It's set in late 19^th century London and tells the story of Father Harold O’Callahan, a priest who is consumed by shame and guilt over the loss of his younger brother from when they were just children. In an attempt to counter this burden, Harold joins the clergy and lives on in a church near the Westminster Bridge. Now he faces a new challenge when horrid events start to happen in his church. The EP deals with themes of loss, faith, guilt, repentance and death.
7. "Spires" clocks in at just over 23 minutes long. What challenges did you face in condensing such a rich musical journey into a concise EP format?
Well it was quite the task. As mentioned before, especially the lyrics and clean vocals proved to be giant time pits. We continuously had to revise the story to make it all fit. Also, we changed a lot of music details and lyrics so they fit as perfectly as possible and enhance each other. Probably something most bands do, but for us it was a foreign concept.
8. AxamentA is known for pushing the boundaries of modern metal and challenging conventional norms. How does "Spires" continue this tradition of innovation?
We already planted a seed with our previous album for the direction we wanted to evolve in, with songs like “The Omniscient” and “Ashes to Flesh”. Add a couple of extra years to that, and gaining tons of experience in writing trailer music, we ended up quite a few leaps from where we left “Ever-Arch-I-Tech-Ture”. The orchestration has become much more “organic”, and is even purely made out of atmosphere and sound effects at times. We also have a loooot of easter eggs spread throughout the EP.

9. Your previous album from 2006 received acclaim, along with performances at Graspop Metal Meeting. How has the band evolved since then, both musically and personally?
Well it’s a long time ago, I assume everyone will evolve in a timespan of almost 20 years. When we quit AxamentA we were still kids, now we have 13 kids ourselves between all of us. The technology has also changed dramatically since then. We try to sit together once every month, but all the rest is done online. It seems to work for us.
10. Beyond metal, the band members' musical interests are diverse. How do these varied influences shape AxamentA’s sound and contribute to its uniqueness?
For this EP, I wrote all the music, so what you’re hearing is my current take on metal and more importantly what music I’d like to listen myself. In the future there will be a lot more collaboration as our other guitarist Sven has picked up the guitar again and wrote some killer tunes already, which we’re going to flesh out in the coming months.
11. AxamentA has returned with renewed vigor after a hiatus. What factors contributed to the decision to reignite the band's creative spark?
I believe the pandemic sparked a whole lot of reunions. During the pandemic Heavy.BE a Belgian youtube channel/Facebook group did a top 100 best Belgian metal songs of all time. We were caught by surprise that people still remembered us 14 years later and we were voted to place 50. Due to the pandemic we all had this bottled up energy that needed to go somewhere, and this sparked the idea of restarting the band.
12. As you gear up for the release of "Spires," what are your hopes and expectations for how listeners will receive the EP?
Well for one, I hope they’ll like it, and I really hope we don’t come off as a boomerband that wants to revisit their glory days, I believe we are releasing an EP that clearly sounds like it was written and recorded for a 2024 audience. It’s by far our best work to date.

13. Finally, what lies ahead for AxamentA? Are there any future projects or collaborations on
the horizon that fans can look forward to?
We have some very cool ideas in the pipeline. If everything works out as planned, fans should hopefully not have to wait long for new material.
14. Ian, you've had diverse experiences in your musical journey, including playing in Algeria with the band Suhrim back in 2004. Considering this unique experience, would you love to return to Algeria with AxamentA, and if so, what makes performing there special to you?
Playing in Algeria ranks in my personal top 3 of coolest experiences ever, the crowd was absolutely insane. And we were treated like rockstars while Suhrim was just a cool underground band from Belgium for which I replaced the guitarplayer as he was afraid of flying (if I remember correctly). I would be delighted to come back, however AxamentA is currently a studioproject and we have no plans to do live gigs … but never say never :-)

Axamenta – Progressive. Cinematic. Darkness. 

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Interview Heartrage

Constantin Ranis, founder of Venues and now the solo force behind HeartRage, shares his musical journey, inspirations, and the evolution of his sound.

1. Can you tell us about your journey as a musician, from your beginnings in Greece to relocating to Germany and forming Venues?

In 2004, I left Greece and came to Germany. It took a while to make a home out of this new country. A couple of years later, I started a band with no big expectations, just to make music and allow myself to be creative,this band was Break Down A Venue, everything was new and we had to figure out things ourselves , never thought about anything never planed anything , we were just doing things.
2. What inspired the transition from the hardcore style embraced by Venues to the more modern metal sound?

I grew up with a classic metal and hard rock background, and those elements started to become more and more obvious in my songwriting. However, at the same time, the whole core scene was going on, and it also influenced my songwriting. Before I knew it, those two worlds became one, and this style of songwriting became what defined my style.
3. "No Roses For A Life Lost" was a breakout hit for Venues. Can you share the inspiration behind this song?

And this was how 'No Roses for a Life Lost' became a song. It was the first time that I actually wrote a song that I was happy with - a full song that actually got lyrics and vocals and made it onto a record.
4. How did the tensions within Venues influence your decision to embark on a solo career?

One thing led to another, and the band changed its name to Venues and started gaining some success. Then the record deal came along, with a lot of shows, and everything was cool until it wasn't anymore. There was a point where I was the only founding member left, and my vision wasn't the same as the vision of the other members at that point. I was also trying to figure out how to balance my private life and band life, but when the band grows and still doesn't pay the bills, you need to have priorities in your life and make the necessary sacrifices. However, you can't sacrifice everything for the band. At this point, I am now enjoying the process of making music again. With all that experience, I do it on my terms and with no pressure. The change from being an artist in a band with a label to a DIY solo artist is a big one, but it's an opportunity to learn new things, develop new skills, and do things your way. You can be sure that what comes out of it is 100% what you had in mind, 100% your heart and soul, and your vision. You do it for yourself first.

5. Your solo project, HeartRage, seems to blend traditional metal with contemporary elements. What drove you to pursue this fusion of sounds?

Like I mentioned before, I come from an old-school metal background, but I also discovered the new sound. Even if I love old-school metal, I haven't lived in that era. However, I was there when modern metal started to happen, and it was my vision to blend those two worlds into one. This is what makes my style special: not quite old school, but also not 100% modern, just the best of both worlds.
6. "Cravings" was your final contribution to Venues before departing. What emotions or experiences did you channel into this track?

Cravings’ was the last song for my old band. At this time, I was heavily influenced by Nevermore and Jeff Loomis, and I just couldn't help it; I had to write a song in that direction.
7. What can fans expect from HeartRage that differs from your work with Venues?

HeartRage is picking up where Venues left off, with my style of songwriting but with no limitations.
8. Your first single as HeartRage, 'Dystopic Future,' explores themes of societal downfall and manipulation. What inspired this narrative?

Dystopic Future" is like a prediction about the outcome of the modern world. The lyrics on the chorus, in particular, describe the message best: "We've been moving back and forth for so long, fed on the lies of modern times." We think we make progress and that we evolve, but in reality, history repeats itself over and over again. However, the canvas may vary.
9. "Save Yourself," your latest single, touches on the theme of self-empowerment. Can you delve into the message behind this song?

The new single, 'Save Yourself,' is all about realizing that you and only you are responsible for how your life is. Your life is the sum of the choices you make... or don't make.

10. How do you approach the songwriting and production process as a solo artist compared to working within a band?

The songwriting has changed compared to when I was in the band because now I don't have to consider other members. My style remains the same, but I don't limit myself anymore. As for production and the final product, previously, I only cared enough to make a good demo because the final product would come in the studio while working with the producer. Now, I am also the producer and mix engineer. After I have my demos done, I work further on the song. When I feel it's done, I schedule a recording day to record the final tracks. Then, I have a studio day to mix the song. Even after that, the job is not done; I also take care of the release and promotion of the single.
11. Are there any upcoming projects or collaborations that you're particularly excited about?

With HeartRage being essentially a solo project, I can choose the artists I collaborate with depending on the song. So far, I've made two songs with the same vocalist, Tasos Lazaris, who has an amazing voice. However, for the next song, I'm planning to work with different artists because the vibe of the track demands a different approach.And this is how I'm planning on making music. The collaborations will vary depending on the style of the track. It will be a very interesting journey, and I'm looking forward to it.
12. You mentioned the possibility of evolving HeartRage into a full band in the future. What prompted this idea, and how do you envision it unfolding?

HeartRage might evolve into a full band in the future, but this is not a priority. For now, I just want to establish the name and release as much music as possible. If, at some point, there is a fan base and people ask for live performances, of course, the solo project will turn into a band.

13. As an artist, what message or feeling do you hope listeners take away from your music?

My message to those who listen: Be focused, be honest, be strong, and be kind, and you will figure things out.
14. Finally, where can fans connect with you and stay updated on your latest releases and performances?

You can connect with me via my social media. Search for Constantin Ranis HeartRage, and you will find me. Also, check out my YouTube channel where I post all kinds of music-related videos, and of course, find my music on streaming platforms.

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Constantin Ranis HeartRage (@constantinranis) • Photos et vidéos Instagram

HeartRage - Dystopic Future (youtube.com)

Interview ECR.LINF

Introducing ECR.LINF: Delve into the depths of their debut album "Belluaires" as we explore philosophy, sonic landscapes, and the evolution of French metal.

1. Congratulations on the release of your debut album, "Belluaires"! How does it feel to finally share this project with the world after your journey of formation and creation?

Krys : It's really exciting because we've received great feedback. All of our exchanges have been very enriching for us, as people find their own connection in our album. Some English-speaking people have understood our sincerity, which is a significant reward for us.

Dorian : We're extremely proud of our debut album, Belluaires. We spent countless nights crafting this incredible piece of work, pouring our hearts and souls into every aspect of its creation. Witnessing the album come to life and receiving positive feedback from our fans has been incredibly fulfilling. We couldn't be happier with the final result

2.Your band name, ECR.LINF, seems to be derived from Voltaire's famous maxim "Écrasons l'infâme" (Crush the infamous). Can you elaborate on how this philosophy influences your music and lyrical themes?

Krys : All around us lies philosophy, providing the perfect backdrop to introduce our interpretation of various philosophical trends. Voltaire, a renowned writer and philosopher, stood against dogmatic religious and political power, drawing parallels to our modern era. Creating a space for free expression is quite challenging, as societal norms and personal influences often dictate our surroundings. Philosophy serves as a temple, a realm for fostering discussion. Similarly, we craft our music to provide a distinct space for exploring our emotions and visions, facilitating exchanges with others against dogmatic ideologies.

3. "Belluaires" is described as a fusion of Post Black Metal, Hardcore, and dissonant Noise atmospheres. How did you approach blending these diverse elements, and what were some of the challenges you faced during the creative process?

Dorian : Our band's sound is a sincere and spontaneous tapestry, where each track stands as a distinct entity. Rooted in black metal, our music transcends genre boundaries, embodying unique essence in every composition. This celebration of sincerity ensures each track leaves a singular mark, resonating with fans from all backgrounds, even beyond the black metal scene.

4. The album artwork for "Belluaires" is striking and evocative. Could you tell us about the concept behind the artwork and how it reflects the themes explored in the music?

Dorian : Certainly the ability to infuse philosophical depth into our music. Beyond just creating aggressive black metal tunes, we delve into existential themes, questioning the nature of existence, the purpose of life, and the complexities of human emotions.

Our music serves as a medium for exploring the depths of the human psyche and challenging societal norms or dogmas, inviting listeners to contemplate their place in the universe.

This philosophical dimension adds a profound richness to our music, making it more than just a sonic experience but a journey of introspection and enlightenment.

5. Your lineup includes members from various notable bands such as Svart Crown, No Return, and Igorrr. How does each member's diverse background contribute to the unique sound of ECR.LINF?

Dorian : With Krys, we started working on demos and the initial lyrics. Then Jiu, our bassist friend, had been wanting to join a black metal band for several years. After listening to what we were working on, he wanted to be part of it. We were also looking for a drummer who could play what we were composing.

Krys, with his former band, had shared a stage with Svart Crown, whose drummer is Rémi Serafino, who also played in Hyrgal and now plays in Igorrr. We made him listen to our demos and he accepted with pleasure.

And finally, Jean, whom we found a bit like Krys and me, by chance at a Seth concert, a month before entering the studio. It turns out he didn't want to play music anymore except maybe in a black metal band, and that's exactly what we had to offer him!

6. With tracks like "Le Désespoir Du Prophète" and "Tribunal De L'âme," there seems to be a strong thematic undercurrent running through the album. What are some of the central themes or messages you aimed to convey with "Belluaires"?

Krys : The human being and consciousness come first; we immerse ourselves in our own anguish and suffering. By describing our vision and capturing our feelings about the world, we address the sadness that overshadows our modernity, where humanity seems eclipsed and faith in humanity abandoned in favor of alternative beliefs. It is often easier for many to believe lies than to face the world with an open heart and mind, especially when it comes to resisting misguided leadership.

Dorian : These two tracks are quite representative of the overall album, both in diversity and in power. Furthermore, the themes addressed in these two tracks encompass those mentioned in the other titles.

7. Special guest Adrian Iordan lends his accordion skills to "La Danse Des Crânes." What led to the decision to incorporate accordion into your sound, and how does it enhance the overall atmosphere of the track?

Dorian : The music and the lyrics were the triggers for choosing the accordion because we wanted to make a reference to the collective unconscious associated with France, and a nod to a band we listened to when we were younger, Pigalle and its singer François. We wanted to create a backroom of a tavern or pub with an accordion. The music should both evoke images and tell a story. I had met Adrian, the accordionist, at several of his shows. Not necessarily a metal aficionado, he was nonetheless very enthusiastic about our call for this guest appearance on the album.

8. "Belluaires" was recorded, mixed, and mastered at Lower Tones Place Studio. How did working with Edgard Chevallier contribute to shaping the sonic landscape of the album, and what was the collaborative process like?

Dorian : Working with Edgard Chevallier at Lower Tones Place Studio was truly transformative for us. Edgard brought a wealth of experience and a unique perspective to the table, which greatly influenced the sonic landscape of 'Belluaires'. His expertise in capturing our vision and translating it into sound was invaluable. The collaborative process was incredibly enriching; we worked closely with Edgard to ensure that every element of the album reflected our artistic vision while benefiting from his technical proficiency and creative input. Together, we were able to achieve a sonic depth and clarity that exceeded our expectations.

9. Your debut album is described as pushing the boundaries of musical expression. How important is experimentation and innovation to ECR.LINF, and how do you balance pushing the limits while maintaining the essence of your sound?

Krys : "We have our own standards; if a track doesn't feel right, we take time to reflect, or perhaps even decide to scrap it altogether. Our objective is to play music that resonates with us personally, aligning with what we ourselves would like to listen to.

 

Dorian : Our goal is to evolve and innovate while staying true to the emotive and atmospheric qualities that define ECR.LINF. It's a delicate dance between exploration and preservation, but one that allows us to continually evolve as artists while staying rooted in our musical roots.

10. As a band rooted in France, how do you perceive the current state of the metal scene in your country, and how do you see ECR.LINF contributing to its evolution?

Krys : The French metal scene has garnered considerable attention, gaining recognition worldwide. Ecr. Linf is a newcomer with its debut album, offering its unique vision of black metal. Our sole aim is to keep making music and remain true to our listeners. If the day comes when we have nothing interesting to offer, I believe that's when we'll consider ending the band.

11. In the process of creating "Belluaires," were there any particular moments or experiences that stand out as particularly memorable or influential in shaping the direction of the album?

Krys : We invest a lot of time in discussions about the lyrical concept, often over dinners and while listening to music. Throughout, we strive to maintain an open-minded approach.

Dorian : During the creation of 'Belluaires,' there were several poignant moments that deeply influenced the direction of the album. One of the most significant aspects was reflecting on the memories of our lost friends and bandmates from the past.

Moreover, our collective past experiences, both musically and personally, played a profound role in shaping the album's thematic and sonic landscape.

In essence, 'Belluaires' is a testament to the profound impact of our past experiences, the enduring memory of our lost friends, and the meaningful connections we've forged along the way.

12. What lies ahead for ECR.LINF following the release of "Belluaires"? Do you have any future projects or plans you can share with us?

Krys : At the moment, everything feels fantastic for us. We've had various opportunities to discuss our music, and we're currently working on our stage presence. However, it's not happening tomorrow; we want to take our time with it

Dorian : As a band, we're looking forward to an eventful year ahead. Our focus remains on promoting our debut album through live performances and expanding our presence in the music industry. We're also dedicated to maintaining a healthy balance between our musical endeavors and personal lives.

For me, this involves cherishing moments with my family and loved ones, ensuring fulfillment both on and off stage. We're ready to embrace the opportunities and challenges that come our way in 2024.

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