Ophiolatry's
re-recorded track "Abyss of Alienation" delves into the courage of
indigenous tribes facing invaders. In this interview, the band shares insights
on their music, visuals, and future plans.
1-The
re-recording of "Abyss of Alienation" from your 2008 album,
Transmutation, carries a powerful narrative about the impact of invaders on an
indigenous tribe practicing Ophiolatry. Can you elaborate on the inspiration
behind this track and the message you aim to convey through its lyrics?
The
inspiration behind this song is the courage that the indigenous peoples had in
putting themselves in front, without lowering their heads that they were
willing to die first before accepting orders from the invaders who cowardly
came only to wreak havoc and loot the indigenous peoples.
The message
we want to convey is the spirit of our ancestors runs through our veins and is
more alive than ever.
2- The
song's video is described as visually impactful, highlighting the plight of
indigenous peoples. How did you approach the visual representation of such a
profound and heavy subject matter?
It is an
idea that we have been thinking about for a long time and apart from that
Ophiolatry has indigenous cultural roots which facilitated the visual
presentation.
3-The
term "Ophiolatry" refers to the worship or attribution of divine
nature to snakes. How did you come up with the band name, and what significance
does it hold for you as musicians?
To explain
the origin of this name, I will have to tell you a story:
“In my
childhood I went through a traumatic experience, I was a witness to the rape of
my sister when we lived near Amazonas, the act did not end due to the
intervention of a neighbor and the rapist was chased by the residents of the
fishing colony where he ended up being caught and There on the banks of the
River Machado he was beheaded and quartered, days later his remains were found
miles away regurgitated next to a skin abandoned by an enormous serpent.
Everyone in the band had empathy for my story and felt the meaning of the snake
to me, an animal that brought the necessary revenge to all the fears in the
world. That's how the name Ophiolatry was born.
4-Your
music is often described as having hypnotic riffs, brutal vocals, and
crushing rhythms reminiscent of bands like Hate Eternal, Nile, and Steve
Tucker-era Morbid Angel. How do these influences shape your sound, and how do
you strive to make it uniquely Ophiolatry?
Everything
is an influence for us, especially the aforementioned bands, which greatly
influenced our formation as a musician. Since the formation of Ophiolatry, each
musician contributed their own style and that, over time, made Ophiolatry a
unique sound.
5-You
mention the Amazon and a warlike indigenous tribe in the narrative of
"Abyss of Alienation." How does the cultural and geographical context
influence your music and lyrics as a band from Brazil?
As for
geography, it is something that has been going on for many years, our drummer
had spent his childhood in the Amazon where many things happened. In the
cultural part, the indigenous peoples are very strong, there are even tribes
that have not yet known any civilization. The lyrics of the music were created
in 2008 in the form of rejection of the manipulations of religions and the
narrative of the video was created especially for the video.
6-Having
shared the stage with you in Belgium in 2004 with my band Litham, I have a
personal connection to your live performance. How has your approach to live
shows evolved over the years, and what can fans expect from an Ophiolatry live
experience?
It was an
incredible experience to have been able to share the stage in Belgium
in 2004, Ophiolatry has fond memories of that time.
After a
long break Ophiolatry is coming back with a new lineup, we can't wait to
present the evolution of Ophiolatry to the public.
7-The
narrative of the song touches on the indoctrination of Christian religions
leading to alienation and subservience. How does your music address or reflect
on societal and religious themes, and what role does it play in your artistic
expression?
From the
beginning Ophiolatry positioned itself against all political manipulations and
religions. It is a topic that covers a lot in Brazil where many innocent people
lost their lives due to the atrocities committed by religion.
We make
clear that the blood shed by our ancestors was not in vain.
8-The
re-recorded version of "Abyss of Alienation" features hypnotic riffs,
brutal vocals, and crushing rhythms. How did you approach the process of
re-recording, and what elements did you aim to enhance or bring out differently
in this rendition?
We decided
to re-record it for the presentation of the new members. Where it demonstrates
a new era of Ophiolatry.
We're also
slowing down tempo a bit to appreciate Abyss of Alienation crushing riffs much
more.
9- The
serpent spirits of warriors reincarnated in a multitude of new warriors seeking
revenge is a compelling theme in your narrative. How does this concept tie into
your broader musical and philosophical approach as a band?
All the
roots come together. From the philosophical and musical training of Ophiolatry
the concept is very clear of leaving an impactful message.
10- With
the current state of the world, how do you see your music contributing to or
commenting on the societal and political challenges we face today?
In this
modern world that we live in, the same story repeats itself. Human beings seem
to have never learned anything from the past. And as artists for us it is like
a duty to face and transmit our feelings in the form of art.
11-Being
a death metal band, the genre often explores dark and intense themes. How do
you balance the heaviness of your music with the emotional and artistic
aspects, ensuring a cohesive and engaging listening experience?
We put all
our emotions and energy into the art we make and we let it flow naturally.
12-
Looking ahead, what can fans anticipate from Ophiolatry in terms offuture
releases, collaborations, or any other exciting projects on the horizon?
We have
many releases and surprises that we are planning for this year. One of the
highlights is the launch of the new studio album.
Gradually
we will be releasing more information about the projects and launches for this
year.
Summoner's
Circle's upcoming album, "Cult," challenges religious institutions
with a blackened sound and orchestration. In an interview, Gog discusses the
album's themes, creative process, and anticipation from fans.
1. The
new video for "Irreverence of the Cross" is quite captivating. Could
you tell us about the concept behind the video and how it connects to the
themes explored in your upcoming album, “Cult"?
[Gog]
Thanks. The concept is essentially about the forced indoctrination of religion
and the violence and manipulation of religious institutions. The floating bible
pages represent the lies the institution drowns you in. You witness a forced
baptism with the subject overpowered by the religious authority against her
will. These themes are prevalent throughout the entire album.
2. With
"Cult," you've taken a departure from your traditional cosmic horror
themes. What inspired this shift towards a scathing indictment of religious
institutions, and what message do you hope to convey through the album?
[Gog] There
were a couple of contributing factors to this.
Throughout
history religious institutions have manipulated and controlled through fear and
have gotten away with murder, rape and torture all in the name of peace and
love, going against the very values they claim to stand for. Still, to this
day, they are not made to answer for their atrocities.
Secondly,
is the erosion of the separation of church and state here in the U.S. The
chokehold that religion, especially the religious right, is having on policy is
tightening. It’s extremely disconcerting and goes against the core values that
the founders of our country believed in. The overturn of Roe v Wade in June of
2022 and the legislated and discrimination and marginalization of the LGTBQ
community are just a couple of examples that, I feel, are just the tip of the
iceberg.
Lastly,
even though we’ve mostly focused on cosmic horror themes in the past, we’ve
still seen a good deal of pushback and criticism from religious types over the
years. Couple this with the above and this album is kind of a, “Well, then
let’s give them what they want then. They want something to protest? Here it
is. You think we’re blasphemous? Well, try this on for size. Want to know what
we think? Here it is. Enjoy.”
Cult is
absolutely an indictment of religious institutions. It is meant to show our
anger and outrage. It’s meant to show that change needs to happen. We hope the
message of this album resonates with victims and those hurt and/or marginalized
by religious ideology and institutions and shows that they are not alone.
3. "Irreverence
of the Cross" has been praised for its melodic elements and the way it
builds up. Can you share some insights into the creative process behind this
particular track and how it represents the overall sound of the upcoming album?
[Gog]
Irreverence was the first track written for the album and, essentially, set the
ball in motion for us moving forward. The writing process for this song started
fairly organically, and came to be when I was experimenting with some basic
chord forms that ended up becoming the verse and chorus. The bluesy clean part
and subsequent build up was quite intentional. I wanted it to crescendo into
something melodic and epic that had a memorable, harmonized solo in there
somewhere. Azra, our second guitarist at the time, wrote the catchy harmonized
lead line and the build that followed seemed to write itself. It was a very fun
song to write and the scale of the build and it’s energy was definitely key in
what we wanted to do moving forward with the rest of the album. We wanted this
album to be bigger and more grand in tone and vibe with more orchestration and
a bit more blackened overall.
4. The
album is set for a worldwide release on May 24, 2024. What can fans expect from
"Cult" in terms of musical evolution and thematic exploration
compared to your previous work?
[Gog] We
aim to grow as a band with every release, and I feel this is the strongest and
most complete album we’ve put together. Musically, fans can expect more of a
blackened sound with more orchestration and choirs adding to the ambiance and
giving the tracks a more immersive sound. The theme with Cult is intentionally
more in your face. From the production side, I think this is the best sounding
album we’ve made.
5. The
band has faced criticism and vitriol from religious factions in recent years.
How has this influenced your creative process and the direction you've taken
with “Cult"?
[Gog] See
question 2, lol. All band members wrote with purpose on this record and I think
that purpose is evidenced by the emotion in the created soundscape we’ve put
together.
6. Zach
Moonshine from Metal Devastation Radio expressed enthusiasm for
"Irreverence of the Cross," particularly highlighting a melodic part
at the 2:00 minute mark. How does it feel to receive such positive feedback,
and did you anticipate this kind of response when creating the track?
[Gog] I
like to sneak a little blues into my blackened - something that is more about
playing with feel. With the track opening up very in your face with blasting,
bringing it down to something with a melodic and heartfelt vibe seemed very
fitting and definitely in touch with the song’s subject matter. We were hopeful
that the song would resonate this way with with listeners, and it always feels
great when someone vibes with what you’re putting out there. The fact that it’s
Zach is like icing on the cake.
7. The
album is available for pre-order through the Black Lion shop. How does it feel
to see the anticipation and support from your fanbase leading up to the release
of “Cult"?
[Gog] It
couldn’t feel better. Our last album, Chaos Vector, was a Covid release and we
really only got the opportunity to tour for it during the end of 2022 through
2023. So it feels like “Cult” has been a long time coming. I think we’re are
just as excited as our fanbase, if not more so, to see the album available for
pre-order.
8. The
immersive world crafted by Summoner's Circle seems integral to your artistic
expression. How important is the visual aspect, such as music videos, in
conveying the complete experience of your music to the audience?
[Gog] As a
theatrical metal band, visuals are extremely important to the audience
experience. We put a huge emphasis on it and are always aware of how visuals
will tie into a video or live performance. We aim to make the total experience
memorable and always try and up our game in that regard.
9. As a
band, how do you navigate the balance between maintaining your artistic
integrity and responding to external criticisms, especially when addressing
sensitive topics like religion?
[Gog] As an
artist, criticism is just part of the game. Not everyone is going to like or
appreciate what you do, so I think your integrity as an artist is part of what
keeps you moving forward. We’re from the bible belt, have seen protests and
even been banned from one of our local venues because they deem us too
controversial.In the end, that’s their
choice. It’s sort of a badge of honor - better to be hated than ignored. At
least people are paying attention. We certainly hope people pay attention to
the message behind “Cult."
10. With
"Cult" being described as an album destined to leave an indelible
mark on the metal landscape, what do you hope listeners take away from this
musical journey, both in terms of the music itself and the messages embedded
within the lyrics?
[Gog] First
of all, a description like that is quite flattering and we’re grateful to
receive such a compliment. I hope they enjoy it. I hope they feel it. I hope
listeners can lose themselves in the soundscape we’ve created and feel the
emotion we put into this. I hope they see the growth the band has made over the
years and I hope the songs are songs that they’ll want to listen to over and
over again.
Join us
as we delve into the inspiration, Southern influences, and creative process
behind 'All Fired Up' with Michael Matney. Explore his musical journey,
collaboration with Stevie Salas, and what's next for MATNEY!
1.
Congratulations on the upcoming release of "All Fired Up"! Can you
tell us more about the inspiration behind the single and what listeners can
expect from it?
The genesis
of the song was during Covid lockdown. The song is all about getting out, a
night on the town the official description is..” All fired up is a night out on
the town, feeling cocky and running on all cylinders. The hypnotic, relentless
pulsating drive is definitely going to take you someplace." I originally
did a version during the lockdown with some guys online. There was a drummer
from Italy Ottavio Liguria and a bass player from Canada John Burkitt and a
guitar player from Russia living in China Konstantine Yakimovich. But when
Stevie Salas my producer got a hold of it it became a whole different song,
together we rewrote it and he rearranged it.
2. The southern rock influence is quite evident in your music. How did the rich
history and culture of the South, particularly your own experiences, shape the
sound of "All Fired Up"?
Okay cool
question your gonna make me think a minute. I guess A I grew up listening to
Skynyrd. My fist concert was Marshall Tucker. I guess, B I can’t deny myself.
I’m a country boy born and raised, I live in a farm in a log cabin in a rural
community in the Appalachians. It comes out in my lyrics and my playing style.
All that being said Stevie Salas is a genius in the studio and he had a
concept, idea of what he wanted me to sound like. We were after that Southern
sound. So when someone says it reminds them of ZZ Top or something then I’m all
good with that.
3. The video for "All Fired Up" was released on January 26th. Could
you share some insights into the creative process behind the video and how it
complements the message of the song?
I give
credit to several people for that. I went to work with Tom Flynn in NYC for
that video. Tom was recommended to me by Kevin Gutierrez who runs Assembly Line
Studios where the album was recorded. Kevin has also produced several videos
and originally had a great concept and was going to do the video to All Fired
Up but we were having trouble booking the ‘little person’, long story. Anyway,
he recommended Tom and I flew to New York to work with him. As per my producer
Stevie Salas the video was meant to introduce me and feature me as a as a
character. If you notice the guys in the band are dressed a little different
and are kinda in the background. All planned above my pay grade so to speak.
4. Michael Matney, your journey seems to have been shaped by farm life, faith,
and overcoming personal struggles. How have these elements influenced the
lyrics and overall theme of "All Fired Up"?
First
thanks for giving me a chance to talk about my faith. As a Christian I
constantly struggle it. That being said a lot of my lyrics reflect that
struggle. There’s definitely that dude that likes to howl at the moon and
that’s All Fired Up. Later when the album is released you’ll find other songs
that touch on that subject matter. Mostly with a feather. I’m not a guy to beat
somebody over the head with it, Yea I was pretty wild in my younger days. Heck
I got thrown outa David Alan Coe’s band!
5. Music and faith played a significant role in bringing you back to the
straight and narrow. How do you hope your music, particularly this single, can
resonate with others facing similar battles?
Again not
gonna beat anybody over the head with my views. It’s just that I’ve listened to
all the ideas and theories and for me the Bible is simply the best explanation
as to why I’m here and my purpose. For years I thought I had to be perfect,
live right etc.. Well once I/you come to realize it’s not what I/you do, but
what’s already done for me/you it makes things different. Takes off some of the
pressure we put in ourselves. That pressure leads to all sorts of nonsense. I
made myself and the man upstairs a promise though, the bigger I get the more
people are gonna know I’m a Christian. I’m not backing down from that.
6. Working with Stevie Salas, a multi-platinum producer known for his work with
artists like Justin Timberlake and Mick Jagger, must have been an incredible
experience. Can you share some highlights from the collaboration and how it
influenced the final sound of the single?
Working
with Stevie. Well Ive always been a fan of Stevie’s work. Most people are and
don’t realize it. Stevie has worked with so many artist. I’m super proud to be
one of them now.
I remember reading an article about Taylor Hawkins talking about Stevie
discovering him and working him hard on his first tour with Sass Jorden. He
said Stevie would stand in the side of the stage and yell at him. Then he went
on to say how Stevie brought out the best of him and how much he loved him for
it. That’s how it is working with Stevie. I was staying in the apartment over
the studio and would read his book at night and then go down and work with him
the next morning. It was intimidating. He grilled me on the vocals and staying
in charecter. I’m super glad he did. Much respect for the guy.
7. Stevie Salas co-wrote the single and provided lead guitar. How did this
collaboration come about, and what did he bring to the creative process?
All fired
up is the only track on the album Stevie didn’t put the lead on although Stevie
did play all over the track. That main solo was Stevie decided to keep from
those original sessions with Konstantine Yackimovich.
A couple of years ago now I reached out to Stevie online and a mutual friend
also reached out to him on my behalf. He agreed to produce the album for me. I
flew to Austin to Kevin Gutierrez’s Assembly Line Studios and we began
recording in January of ‘23. I had hoped beyond hope that he might play a track
on the album. Stevie got deeply involved with helping my rewriting and
rearranging the songs and before I knew it and to my delight he played on all
the tracks.
8. Your earlier act, White Boy and The Average Rat Band, has gained a cult
following in the post-punk scene. How does your musical journey with that band
compare to the sound and direction of MATNEY?
Intentional
different directions. WBATARB as I’ve come to call it appealed to a more umm I
do t know if I would say sophisticated but an audience that was looking for
something different, more raw, eclectic. Whereas Matney is designed to
have a broader appeal.
9. You have a history as the guitarist for David Alan Coe. How did that
experience contribute to your growth as a musician and influence the music you
create with MATNEY?
My
experience with David Allan Coe was short lived. That was in my wilder days. As
a matter of fact how wild do you have to be to get thrown out of David Alan
Coe’s band.
I was living back home in my dads trailer park when my buddy Kriss Famous
called and ask if I’d like to come play with David. Kriss was David’s band
leader and I had played in Kriss’s band a few years earlier. I was excited for
the opportunity till zeros said we were opening for Waylon that Thursday. I ran
out an bought all the David Alan Coe albums I could find. He had 27 at the
time. So when Thursday came I seen David in the arena out by his elf and I
walked up and introduced myself and ask him what songs we were gonna do. He
said you’ll know them when I start them and turned and walked away. I really do
appreciate him giving me the opportunity and honestly again zi was a mess back
then and I don’t blame him for not keeping me around.
10. Fans of Southern Rock may be familiar with your name, and your earlier work
is highly sought after by collectors. How does it feel to have such a lasting
impact on the music scene, both in post-punk and Southern Rock?
Oh man, I
don’t know about all that. I’m just an old guy that’s all. I’ve had some great
friends but I’m still just a star struck wannabe.
11. Your last album received critical acclaim, with one review calling it
"(possibly the last) entry in the Greatest Post-Punk Albums Nobody’s Ever
Heard." How do you approach creating music that stands out and resonates
with audiences in unique ways?
Stevie
said,”chicks gotta be able to dance to it and guys gotta be able to rock out on
the guitar”. Nobody ever told me that when I was 18 with that first album.
There’s no denying the influence a good producer has in your music.
12. The ROCKPIT described your last album as something every fan of post-punk
and proto-metal would want. How do you navigate blending genres to create a
sound that appeals to a diverse audience?
Good
question. Again though I think it goes back to your producer. I mean I’m not a
prolific writer and when I first started working with Stevie he went through my
whole catalog and found stuff he thought might work for us. It was apparent
that sometimes I’m all over the map.
13. Having performed in legendary clubs across the States with White Boy and
The Average Rat Band, do you have any standout memories or favorite venues from
those experiences?
Yes, The
Whisky A-Go-Go. That for a musician like me is like driving the ultimate sports
car or flying a jet. Not even to mention the history that’s there. It’s just
the state of the art sound and the motorized video cameras and just the whole
vibe. There’s maybe one other place. I went to Sweden once with ZED HEAD outa
Canada and that was a blast. Fans over there are different and that’s all I’ll
say about that.
14. With "All Fired Up" set to release under Roulette Records, how
has the partnership with the label impacted the production and promotion of the
single?
Those guys
are great! Shout out to Vivanne for all her hard work and to Marc Carey for
having us onboard. Very supportive, very patient. Did I say very patient? I’ve
drove them crazy but they have really went the extra mile for us. Also with
their ties to Cargo we’re working with Stevie’s people. Remember he sold a
couple of million I’d be happy with well ….a bunch.
15. Looking ahead, what can fans expect from MATNEY in terms of future
releases, and do you have any upcoming tour plans or exciting projects in the
pipeline?
Yes we do
but I’m leaving you with this tease, come find us and follow us on our socials
for further details…..
In this interview, delve into the
captivating world of Realma, a half-Serbian, half-Chinese artist, as she
unveils her unique audiovisual universe, Realmaverse.
1. The title of your latest single,
"Down the Railway Spine," is intriguing. The term 'railway spine' has
historical significance related to early forms of PTSD. Can you share the
inspiration behind the title and its connection to the song's theme of trauma
and PTSD? How does this historical context influence the narrative of your
ongoing journey confronting mental health symptoms, and why did you choose it
as the title?
I wrote this song battling trauma and PTSD
myself, after a police mishandling in 2020 during the start of the lockdown. I
just felt a bit more at ease while researching about the condition I was going
through, including its history. As such, the title of the song stems from the
nineteenth-century term 'railway spine', when doctors encountered unexplainable
symptoms experienced by passengers involved in railroad accidents - unaware it
was an early form of PTSD. While some dismissed it as hysteria, other doctors
claimed its cause was a physical whiplash from the impact of trains crashing.
It took a whole cycle of terms like soldier’s heart, irritable heart, shell
shock, battle fatigue, combat stress reaction, anxiety reaction and more,
before doctors finally reached the diagnosis in 1980 - known today as
“post-traumatic stress disorder”. Despite all other terms I've encountered, the
feeling of going down this 'railway spine' was something that really resonated
with me, since dealing with PTSD felt like going down a giant roller coaster of
mental health symptoms - often opposing and clashing - ranging from depression
to anxiety and emotional numbness to irritable panic attacks. And so 'Down the
Railway Spine' stuck as the song title, since it best represented my own
ongoing journey with the condition.
2. The song features a unique blend of
synth-pop and game-style orchestral soundtrack music. How did you arrive at
this distinctive sound, and what role does it play in conveying the emotions
tied to your personal struggle with PTSD?
Yes, as you've highlighted, the original,
cinematic version of the song features a unique combination of action-packed
orchestration, experimental pop vocals and synth runs. This unique blend and
its resulting intense sonic experience are really a musical expression of those
emotionally opposing symptoms I've felt dealing with PTSD. Or in other words,
the distinctive sound of the track is really just a musical translation of my
journey confronting trauma. So, it's no surprise then those different moments
of the track recall filmic boss battles. We've taken this idea a step further
in our 3D animated music video, where the protagonist encounters three
different monsters. But perhaps, an even darker musical translation than the
original is the gritty live session version of the release, filled with stormy
guitar riffs and solos and a few screams in the vocal. As you'll see in the
video, the track has been transformed into a hardcore/gothic-rock power anthem,
featuring notable Serbian female performers such as Aleksandra Stamenković (the
frontwoman & guitarist of the speed/thrash metal band, Jenner), Marija
Uzunovska (bassist of Nevreme & Noćni putnici), as well as Monika
Pajazitović (pop/r’n’b artist, better known as La Monnique) and Tanja Marković
(rap artist and DJ, better known as Cookbeat).
3. The 7/8 rhythm in the song adds an
experimental edge. What motivated the choice of this rhythm, and how does it
contribute to the overall narrative of the track?
I actually wrote the basic outline and
lyrics of the song at my piano, almost in a single breath, following an episode
of a panic attack. I started playing the song's basic chord progression in the
standard 4/4, however, it really wasn't describing that almost shaking, panicky
and breathless sensation I wanted to emphasize. Since I love playing around
with irregular time signatures in my instrumental compositions, I then switched
gears and wanted to see how that would work with a vocal track. So, after further
experimentation, the 7/8 time signature seemed to really offer that exact
sentiment I was looking for in the song - its pulsations were just perfect for
the kind of neurotic narrative of combating trauma. Plus, 7/8 rhythms are often
used in Balkan, which is a nice little nod to my cultural heritage.
4. Your lyrics and music describe dark
moments of internal struggle with PTSD. How do you balance expressing
vulnerability with maintaining a heroic undertone in the song?
So, 'Down the Railway Spine' definitely
delves deep into some of my innermost dystopian moments. The lyrics and the
music both describe those dark times when I'd been fighting a whirlpool of
emotions in episodes of mental deterioration. Yet, as you mention, there is
also a heroic undertone to the track, something undefeated, where I address
those pieces of us that remain courageous and continue to defy even the eyes of
the worst downward spirals. I think that this contrast between the dark and
heroic parts stems from the chords themselves. Rather than playing
straightforward A minor progressions throughout the track, the darkest bits
delve into the Phrygian mode, which brings a lot of tension and calamity
through its lowered 2nd degree, in this case the unexpected Bb in those
'whoa-oh' sections. Conversely, the brighter choruses in natural A
minor/Aeolian mode offer a slight brightness in the 7ths, which contain a bit
of an illusion towards C major. Though, perhaps the ending is the most
interesting in this respect. Instead of the song ending on a more positive
chorus, it ends with a coda of that darker 'whoa-oh' section. Ironically, I
think the heroic undertone is displayed here the most, because it's like -
whatever you throw at me next - even if it's more dark thoughts and dystopia -
I don't care, I'm ready to take it and fight against it.
5. The 3D animated music video is a
collaboration with animator Mihajlo Dragaš. How did the visual concept evolve,
and what story are you trying to convey through the interstellar racer and the
contrasting planets?
As someone who has synesthesia, for every
song, I usually have some sort of a visual image in my head that comes alive
while I compose. For 'Down the Railway Spine', since the beginning, whenever I
played the basic chord progression, I saw this contrasting blue/red neon color
palette in my head and the characters of a brother and sister surrounded by
different monsters. The same as for our other animations, I'd then write a
short concept document with a mood board and some story suggestions, which I
would send to Mihajlo as an outline of my preliminary inspirations and how I
envision the track. From there, he would reference the material and dream up
his own interpretation of the song, coming up with really innovative ways to
make it all alive through his own visual style, all in much better ways than
I'd think are possible. I think he adds magic not only to the brilliant
character designs, but also to the song narrative itself, elevating it with
visuals that have a true emotional impact, as evident in the music video
itself. As for the story we're trying to convey here, I believe it would be
really too simplistic to say it's only about an interstellar racer fighting
against three celestial monsters to save his younger sibling. Just like the
track itself, in a way, it's about finding your inner hero and finding strength
to stand up and fight against the impossible. And maybe even inspiring others
to do so. Along these lines, there's this really beautiful scene near the end
about sacrifice, which I think is the most poignant scene in the animation. It
really touched me and I hope it will touch the audience as well.
6. The animation pays homage to films
like Tron and Blade Runner. How did these classics influence the visual
identity of your music video, and what challenges did you face in bringing your
vision to life?
I've asked my animator, Mihajlo, to answer
this question, since he is the main architect of the music video's visual
identity:
“Both Tron and Bladerunner were
groundbreaking in terms of visual effects and they both had a strong visual
identity that shaped the sci-fi image not only in film, but also in video games
and comics. The always present neon glow and endless, often empty landscapes
were a must-have in order to pay homage to these classics. One of the
challenges I faced was creating a feeling of large spaces that surround the
main character, dwarfing him and emphasizing the scale of his struggle to save
his sister. So, it was not only a technical thing to achieve all this in a 3D
software, but to also create an emotional impact for the viewer. Also, our main
character travels through three different planets: one with large mountains,
one with endless oceans, and one with fire and lava. All of them required a lot
of attention to detail and variety of textures and effects, and finally unique
monsters that try to stop him. It was a challenging video to create, but I
think the final result holds all of these elements together, balancing the
visual excitement with the emotional story.”
Finally, I’ll add that there is a bit of a
visual Easter Egg with labyrinth/maze motives we added, alluding to the myth of
Ariadne, Theseus and Minotaur (Ariadna is my real name).
7. The live session video transforms
"Down the Railway Spine" into a hardcore/gothic-rock anthem. What
inspired this reimagining, and how did the collaboration with notable Serbian
female performers come about?
So, first of all, I love re-interpreting my
own songs. If you look at my catalog, a lot of my songs have alternate versions
that are quite different than the original. For example, the live version for
'A Hint of Pink' was shot at the UNESCO site, Felix Romuliana, which brought
about the idea for me to arrange it in the site-specific manner, with the
string quartet and davul drum sounding like ancient instruments. For 'Down the
Railway Spine', I could sense that it would work really well in the
hardcore/gothic style, since the Phrygian ostinatos in the 'whoa-oh' section
sound like they could be great guitar riffs. At the time though, I didn't
really know any musicians that play in this genre, as my previous songs were
softer and the live sessions were more in the indie style.
However, I was selected to be a mentor in
this project called 'Rock Camp for Girls' by the wonderful Femix organization,
which works to help empower and affirm female artists in Serbia. While I was
the mentor for music production for young girls aged 11-14, I had an amazing
opportunity to meet other incredible mentors, who were notable female
performers in bass, guitar, etc. I approached them about this live session and
was over the moon with how they interpreted the song. Aleksandra Stamenković
(the frontwoman & guitarist of the speed/thrash metal band, Jenner), for
example, infused the song with these flaming guitar riffs and solos that gave
the song even more edge, as well as intensifying the Balkan flavor of certain
sections through her creative use of Phrygian musical motifs. Meanwhile, the
low-end bass runs by Marija Uzunovska (bassist of Nevreme & Noćni putnici)
helped glue and solidify all the instruments together. I also have to thank the
backing vocals, Monika Pajazitović (pop/r’n’b artist, better known as La
Monnique) and Tanja Marković (rap artist and DJ, better known as Cookbeat), who
did a wonderful job on harmonies and vocal chops. It was really an honour to
work together with all these amazing female performers and I'm glad that this
version in particular will come out on 8th March, the Internation Women's Day -
girl power! Ha ha.
8. Your music has been described as
sitting between the witchy edges of Kate Bush and the ethereal faun form of
artists like Goldfrapp. How do these comparisons resonate with your musical
identity, and who are your primary musical influences?
Interestingly, because my music has quite
divergent themes with a considerable array of distinct musical genres, I felt
like there needed to be an element that was going to fuse all the works and
audiovisual realms together. Since each song is set in a different 'realm', I
ended up creating this punny witchy figure to unite my works - 'Realma'. As you
mention, I was inspired by the alter egos of David Bowie and St Vincent, as
well as the ethereal faun forms of artists like Goldfrapp, Kate Bush, Mitski and
Bjork, so that ‘Realma’ ended up being this omnipresent witchy persona with the
power to peek into these different storyworlds of my songs. Not unlike a
sorceress gazing towards different dimensions reflected in her crystals.
However, it's really hard to pinpoint any primary musical influences, since I
often get told that my music sounds nothing like what is out there. Rather,
there are more song-specific influences... For example, the instrumental of my
film-noir single 'Wandering' is inspired by classic film scores by Bernard
Herrmann, as well as more pop-y noir tracks by Portishead and Hooverphonics.
Meanwhile, my third single 'Ashgrey Butterfly' is closer to Disney musical
numbers in its dense orchestration and the coming-of-age vibe. On the other
hand, my newest single 'Down the Railway Spine' is set in an action style more
akin to video game soundtracks like League of Legends, though much more
experimental with the unusual 7/8 rhythm pulsating throughout. However, while I
can't really say there are general primary influences across all my songs, I
will say the Gorillaz really helped me embrace the idea of utilizing animation
and music video characters to start crafting my own audiovisual universe.
9. Your artistic approach is described
as not conforming to the rules of traditional contemporary music. Can you
elaborate on how you navigate this non-conformity and what it means for your
creative process?
I would say more than anything, it's just
who I am. I am simply eclectic, experimental, nomadic and eccentric in my
artistic approach, because it's also a part of my identity. First of all, I
grew up in two distinct cultural environments – China and Serbia, where I
soaked in various folkloric/ethnic influences. At the same time, my parents
always loved listening to popular music, jazz, country, rock and many more
genres at home. My mum is also an avid theatre lover, so she took me to all
sorts of concerts, theatre, opera and ballet shows. And growing up, I took
classes in everything from classical painting, stone carving, scuba diving,
martial arts, dance, circus, etc. - you name it! Later, I studied film &
drama at uni in the UK, where I took further workshops in physical theatre,
mime, musical theatre, Laban, Checkov and similar. So, naturally, I have my
family upbringing to thank for, in terms of this instinctive appreciation of
all arts and music genres. In a way, it would be very hard if this didn't translate
in my creative output as well - I simply don't see myself ever writing typical
music. It's probably due to this strong experimental and multi-genre edge I
mentioned I carry as an artist and person. Nonetheless, I do think there are
certain elements that I consider very classical in my approach to writing
songs/compositions, so it's almost like my music sits on this weird,
paradoxical border between neo-classicism and nonconformity. All in all, this
unique approach definitely makes my music niche and not for everyone. But if
you're a lost soul like me, who enjoys daydreaming through the journey
different artworks can bring, I'm certain you'll find something in my music or
music videos/live sessions to like.
10. Your animated music videos have been
featured in international film festivals. How does the visual component
complement your music, and what role does it play in enhancing the overall
experience for your audience?
I would say the visual component is very
integral to my music. There is an underlying thread in my artistic process,
which is the synesthesia I've mentioned. I can’t ever only listen to music. I
experience it alongside colours, shapes, smell, and various other physical
sensations, which always end up as main driving forces that push me to write
and produce my works. For example, when I started playing the F minor chord
progression of my first single, ‘A Hint of Pink’, it sounded like this
drenching, subtle pink color and I was surrounded by this foggy and cold
sensation, seeing a white wolf staring at its own reflection. For my theatrical
follow-up ‘Wandering’, the basic melody I had in F# minor sounded like red and
in combination with the dissonant noir-jazz chords, I felt smoke around me,
seeing a femme-fatale-like lady in red, smoking and contemplating about
revenge. If you’ve seen the animated music videos, you’ll definitely recognise
these scenes. Likewise for my newest song 'Down the Railway Spine', I've
already mentioned how whenever I played the A minor progressions, I've had this
colour palette of neon red & blue surrounding the main characters in my
head. In fact, my songs are so intertwined with their storyworlds, that I
really can't hear them without seeing these images first. That's why I'm so
grateful that I started collaborating with the wonderful artist and animator
that Mihajlo Dragaš is, because he not only manages to understand the different
sensibilities of each song, but also manages to build upon them and elevate
them further through his own visual style and narration. Overall, I really
recommend people to watch these animations, because the music and the visuals
both complement one another and provide unique layers for analysis and questions
to ponder upon.
11. Your performances have received
positive reviews at festivals like Femix and BeFem. How do you approach live
performances, and what do you aim to convey to your audience through your stage
presence?
I really want my live performances to be
immersive audiovisual experiences that surround the audience and draws them
deeper into the different stories and meanings that my songs bring. Though it's
tough, because to push that idea to the maximum certainly entails financial
backing that is outside of the scopes I can personally provide at the moment.
For example, my ideal show would involve a live orchestra too, but one can
always dream, right? For now, I really enjoy writing arrangements for smaller
ensembles and thinking of ways to bring innovative things for performers to do
even in these more compact performances. As of now, we're performing with the
animations, which the audience really seems to like. There are also scant
opportunities to perform as of yet and that's why I try to make every performance
count and give it my all. Hopefully with time, we'll slowly reach a larger
audience and more frequent performances. But you have to start somewhere,
right?
12. Your music has entered the Top 3
semifinals in the MArte Live European art & music competition. How do you
perceive recognition and awards in the music industry, and what impact do they
have on your artistic journey?
I think it's amazing and I'm really glad
the jury of MArte Live recognized the artistic flare in my music and our music
videos. I'm truly grateful for that. However, while it's nice to be recognized,
it's not the reason why I create. I mean, of course, all artists dream of prestigious
awards, but I'm more focused on the capacity to make music that allows me to
question, explore and critique different social phenomena, circumstances, etc.
Because of how much music personally helped me make a spiritual and psychological
recovery, even through my darkest times and the loss of my identity, I believe
it has the potential to be an empowering & transformative force in anyone’s
life. This is what I aspire to and want my musical output to reflect - not a
desire for recognition, but a desire to help someone, to be a social or
spiritual vehicle in someone's life. I think that's the most important thing,
because awards, after all, much like streams and views, are external things and
validations that just come and go. Music is something that stays with us at the
end of the day, it lies within us.
13. You're building a multi-genre
audiovisual universe called Realmaverse. Can you share your vision for this
project and how you plan to extend it into different mediums like comics,
tabletop RPG, and video games?
Yeah, so I’m currently working on the
exciting possibilities of expanding each realm of my audiovisual universe into
a powerful franchise and brand – that is, I see a true potential in expanding
these animated stories into larger comic and table top/video game mediums. Not
unlike Marvel or Disney, just more experimental and alternative, I guess, ha
ha. I love worldbuilding, so I really enjoy it. At the moment, it's more of a
research/writing phase. For example, I'm currently learning different
worldbuilding and writing methods and I enrolled in a video game design course.
I'll also launch a webstore at some point, which I’m really excited about. I’m
currently collaborating with some amazing graphic designers to create artistic
merch, not unlike the creative packaging used by BTS in their inventive lyric
booklets and DPR in their album packaging. So yeah, lots of stuff happening,
stay tuned!
14. As an artist with a diverse
background, combining Serbian and Chinese influences, how does your cultural
heritage contribute to the unique blend of themes and styles in your music?
So yeah, I'm half-Serbian and half-Chinese.
I grew up in both countries and was lucky enough to have an amazing family that
allowed me to cultivate my artistic skills and passions from early on. From
music, oil painting and classical drawing to acting and dance classes, I was
able to really delve into arts and creativity in both places. Though it's not
something that comes up directly, certain cultural elements do pop up here and
there in my creative output - like the 7/8 rhythm in 'Down the Railway Spine' or
the ethnical/nomadic influences heard in the vocals of 'A Hint of Pink'. It's
very, very subtle and I definitely don't try to force these elements of my
cultural heritage, but I welcome them whenever they arise instinctively, often
in unusual ways. And though seemingly elusive, they are an important part of my
art and an integral part of who I am both as an artist and a person. I'm super
grateful for that.
"DBF Driven By Fire" founder discusses the project's origins,
emphasizing the transformative power of energy in music. Exploring the debut
song "Dreamhunter," the artist delves into collaboration,
songwriting, and the upcoming release, offering insights into the emotional and
motivational impact on listeners' lives.
1. Can
you share the inspiration behind founding "DBF Driven By Fire" and
the vision behind the energy-driven metal music you create?
"DBF
Driven By Fire" is a result of various lucky coincidences. The project
came about as part of a fantastic gift from my brother, which brought me into
contact with the producer of Azure Audio, gaving me the drive to get musically
active again after a long break, without committing to where the journey will
go concretely. During the songwriting and great synergetic production the idea
of making my music outside myself alive and make them audible for other people
evokes. The name "DBF Driven By Fire" is based on an understanding of
energy of various kinds that can be transformed, so that it can be give or can
be released, depending of the needs. Just as fire etc. can be used as a source
of energy, music can also be used by many people to provide drive and
motivation for their life. If (some) people can get this in general out of my
music, I'd be very happy about it.
2. What
motivated you to choose the name "Dreamhunter" for your debut song,
and how does it align with the band's overall theme?
"Dreamhunter"
wasn't the first song written, but with its drive and lyrics it was a fitting
opening. The name and lyrics of the song were created along the lines of the
music during the period of songwriting, in which the music took shape, along
with the song name and the idea of DBF Driven By Fire. Dreamhunter formulates
the idea of using music to awake burning emotions for goals, challenges, etc.
3. Tell
us about the collaborative process with Azure Audio and producer Jan Listing in
bringing "Dreamhunter" to life. How did these collaborations
contribute to the song's energy?
The
collaboration with the producer Jan Listing was a beneficial key experience for
me, as I got the opportunity for the first time to combine my musical ideas
from metal songs or a metal band. I worked with a producer who understood my
music, so that through his understanding and skill a great music production was
created for me as a synergetic result, what made the song greater then I was
expecting.
4. How
do you define the concept of "Fire" as a source of energy in your
music, and how do you aim to transfer that energy to your listeners?
As I said,
it is based on the transfer of energy. In the very simple way of listening to
music, this can arise between the listener and the music, in one direction or
another. The next song "Rage & Fury" picks up on this and turns
it around in comparison to “Dreamhunter”, because it's about getting rid of
what causes rage and fury.
5. Can
you take us through the songwriting and production journey of
"Dreamhunter"? What were the key elements you focused on during the
creative process?
I think
I've already said some things. I can add that my new Jackson guitar somehow
gave me a different guitar tuning in the course of down tuning and the preamp
Neural DSP Quadcore used supports me well with the composition and the first
takes. My Songwriting starts mostly with the guitars (riffs, melodic and
rhythmic elements) followed by the vocals and the lyrics. Based on this demos
it goes in production with my ideas about the other instruments and sounds to
complete the song. During the production ideas were mixed up.
6. The
lyrics of "Dreamhunter" convey a sense of passion and determination.
How do you hope listeners will connect with and interpret the message within
the song?
After all,
the bond always comes about through the music and the individual pleasure of
it. There is always a personal element to the interpretation of a song, but the
title of the song gives a rough direction. Spotify, as an example, has the
synced lyrics, so you can follow along the song.
7. What role does diversity in musical styles
play in your music, especially considering the heavy guitars and rhythmic
foundation mentioned in your press release?
For
example, when New Metal came along or whenever well-known bands make a change
of style or a style variation, questions arise about the limits of a band, a
style etc. related to the listenership. But life in general and for me
personally, music is not static. Combining different elements of metal music
was therefore an open approach for me as a basis for my music.
8.
Looking ahead, you mentioned a new song to be released on 01/03/24. Can you
provide a sneak peek or share any insights into what listeners can expect from
this upcoming release?
In addition
i can say, that you already listen to a preview like a teaser on my instagram
channel.
9. How do you envision the impact of
"Dreamhunter" on listeners, particularly in terms of its suitability
for activities like workouts, everyday life, and pursuing personal goals, as
mentioned in your press release?
Not an easy
question, because my music comes from my ideas and the process, without knowing
the exact concrete goal at the beginning. I think, as with the upcoming song,
the inner or loud singing along of the chorus is an essential element for the
transfer in the required direction. Having it in your ear and remembering the
meaning of the song awakens motivation and drive.
Wuji, the Vancouver-based alternative rock band, is making
waves with their latest release, "Transcendence." The quartet,
comprised of Andrew Kashak (vocals/guitar), Jeremy Krenbrink (bass/vocals),
Michael Broddy (drums), and Tyler Dallas (guitar/backing vocals), formed in
2019 after a house party sparked a musical collaboration. Drawing inspiration
from legends like Nirvana, Tame Impala, and Pink Floyd, Wuji has crafted a
sound that pays homage to '90s alternative, psychedelic rock, shoegaze, and
grunge.
The album, recorded at Little Red Sounds and Flash
Recording, carries a thematic undercurrent of duality, exploring the interplay
between light and darkness in life's experiences. "Transcendence,"
the lead track, delves into the narrative of a reluctant messiah figure, while
"Fish Tank" tackles the complexities of sexual repression and abusive
relationships through jangly punk surf rock. The band's ethos, rooted in
Taoism, is evident in their pursuit of balance and spirituality.
Noteworthy achievements include performances at Fox Cabaret
and the Tune It Down Turn It Up festival, along with a stellar review from
Simon Le Bon's Sirius XM station, Whooosh! Wuji's dedication to authenticity
shines through in the recording process, where raw, single takes dominate the
vocals and drum sections. As they gear up for a series of hometown shows and
prepare to release another EP, Wuji stands as a torchbearer, infusing their
life experiences with the sounds that shaped their musical journey. In the
words of the band, "Transcendence was us infusing our life experiences
with the sound we grew up listening to. Hopefully, we can hold a torch in
tribute to our biggest idols growing up."
Dive
into the adrenaline-fueled world of Cultt of She with their latest release
'Life on Hard Mode,' a sonic journey tackling life's challenges.
1. Life
on Hard Mode" is set to release on February 21st. Can you tell us about
the inspiration behind the song and its connection to the challenges of life?
The
inspiration for many of our songs originates with a feeling. The main groove of
this song heard in the very beginning, is thick and fun. It moves you. We loved
it and wanted to see where it took us! At the time we must have been having a
conversation about some struggles and once one person vents, it kind of starts
a vent-fest with us. We’re a very tight group of friends and we all discuss our
hardships no matter what they are. Someone, maybe Joe or Mike got the idea to
create this song based around the idea of struggling with life in general.
Most of us
in the group have grown up playing quite a few video games. We bonded over that
early on in our lives before even forming as a band. The reference to “Hard
Mode” is a nod to how players can select a difficulty setting to play a game
like Doom, Halo, etc.
2. Life on Hard Mode' merges the world of hard rock with the grit of life's
challenges. How did the concept come about, and what message are you hoping to
convey through it?
We wanted
to make a song that had a relatively fun, simple groove that just made you feel
like you were cruising a highway at night or floating along the ocean. It’s
like the relief you get when you exhale from holding in a deep breath. Music
for us is therapeutic, cathartic, and most of all fun. So the song has some
great grooves to grab you and pull you in just before the madness in the bridge
for you to head-bang and scream along with us. We want people to feel relief
after hearing this song.
3. Can you share more about how the band approaches songwriting and the
collaborative process within Cultt of She?
It’s very
much a collaborative effort. We have so many riffs, its insane! The best riffs
always stand out. When that happens, usually the song will just write itself.
That was very much the case with Life on Hard Mode. There have been moments
where Anthony will play a silly little riff on the guitar thinking nothing of
it, Joe goes “wait, what was that?” and then we’ll just jam on it for a while.
Then that sound elicits a feeling which will inspire the lyrics.
We’ve been
playing together for so long we speak each other’s language and kind of know
where things will go. There have been times where Joe or Jess has a bunch of
lyrics and Mike shows up with a riff and they fit together like a hand in
glove. It’s kind of wild!
4. Drummer Joe Gregory mentioned that the song is about tackling today's
challenges head-on, akin to playing life on 'Hard Mode.' How do you think this
theme resonates with your audience, and what kind of impact do you hope it has
on them?
Everyone
has challenges they face. Some obviously, are way more serious than others. It
can sometimes feel like life is designed to be impossible. Our life paths can
be so diverse and scary, but the one beautiful thing about music is it unifies
all walks of life. We want people to know, whatever you're dealing with,
whatever your struggle, it’s going to be alright. If you’re hurting, come rock
out with us, come feel good and forget about whatever is bothering you just for
a bit. We want you to feel uplifted by the end of the song.
5 . Cultt of She is known for electrifying live shows. How do you translate the
energy of your performances into your studio recordings, especially with your
latest single?
We actually
joke around a lot and try to practice, practice, practice, to capture the
energy of a live performance. It is tough. Ask any musician who’s been on a
stage then going into a studio. Playing in front of a live audience who is just
feeling your music is an absolutely incredible feeling. So when we record we
try to amp each other up as much as we can to get even a fraction of that.
6. Can you give us a glimpse into the narrative of 'Life on Hard Mode' and how
it reflects the band's overall musical style?
Musically,
the song is definitely a bit of an alternative-metal song, like early/mid
2000’s. The bridge has a bit more of a frantic yet classical approach. Mike is
practically an undiagnosed bi-polar when it comes to this sort of thing. A song
could be a wide open space one second, then screaming blast beats a second
later. In this song, it was purposely meant to symbolize this ridiculous notion
that we are all supposed to crawl through life and “suck it up”, when on the
inside we ALL secretly just want to go full on goblin-mode. Walter White style.
The band’s musical style is typically pretty diverse. But this song zeroes in
on the mayhemic side of us.
7. Tell us about the challenges you faced during the production of 'Life on
Hard Mode' and how you overcame them. Any memorable moments from the recording
process?
Mike, being
a lunatic, voluntarily records and engineers the majority of the band's
releases. It pays off (literally and metaphorically) to do our own production.
For better or worse, he is a bit of a perfectionist, but he hopes that with
every mix, he is improving. He must have mixed and re-mixed this song close to
50 times (not joking). During the mixing process, Mike actually made an
executive decision to delete the whole bridge section we had, and recorded the
whole classical/death-metal bridge. What a nut job.
8. As a band hailing from New Jersey, how do you think your local music scene
has influenced your sound and approach to music?
We are in a
unique situation here. The Asbury Park area (where we hail from) has no metal
scene these days, compared to say, 10 years ago (dating ourselves a bit).
9. Cultt of She has a reputation for a relentless work ethic. How does the band
stay motivated and focused, especially when facing the inevitable challenges
that come with the music industry?
We rely a
lot on each other. We keep things open, honest, and we always remember to keep
things fun. While we’d love to be career musicians and do this full-time, it
isn’t our primary job. So it needs to stay fun fist and foremost.
The music
industry is in such a strange place. You have to pay to play in a lot of
respects. If we had the funds we could probably place on the charts. Honestly
though, when we see that data from Spotify, Amazon, Apple Music, that shows us
people listen to our music all around the world, that is a huge motivator.
10. For those who haven't heard your music yet, how would you describe the
sound and style of Cultt of She? Are there any specific influences that have
shaped your musical identity?
It’s been
said that we heavily straddle the line of vicious punk rock and heavy metal
music. We love to sit in a groove and drive the song forward. We love heavy
metal chugging goodness with screaming vocals. We have soaring choruses we have
face-melting solos and punishing drums. That’s us.
The bands
who shape our sound are the likes of Periphery, Gojira, Shinedown, Ghost, and
My Chemical Romance
11. The upcoming video release is highly anticipated. Can you share some
details about the visual elements of the video and how they complement the
song's message?
We went a
little toned down with this visualizer. It’s a simple relaxing ride through a
video reminiscent of guitar hero or reock band. The space is filled with pretty
colors and pleasing patterns. It’s a way to lock in, meditate, and enjoy the
song.
“Life On
Hard Mode”, tells listeners to never lose faith and press forward. Don’t rush,
don’t worry, you will get where you’re going. Enjoy the ride.
12. With the prevalence of social and streaming platforms, how has technology
impacted the way Cultt of She connects with its audience and promotes its
music?
It’s
incredible when we see people in Australia, Japan, Sweden, Italy, Africa, you
name it, streaming our music. The advent of streaming technology and ya know
that little thing called THE INTERNET continues to amaze us! What an amazing
time to be alive.
Admittedly
we aren’t the best at social media. We aim to be better. If you reach out to us
we will respond. We love speaking with our fans.
14. "For fans who want to stay updated on Cultt of She's journey, where
can they follow you on social and streaming platforms? And is there anything
else you'd like to share with your audience?
We’re on
all major streaming platforms. You can find us anywhere. If you’re looking on
social media platforms just look for the name, @CulttofShe. We appreciate you
all giving us your ears, your attention, and your time. If you enjoy our music
please tell us. If you want us to come play in your town, let us know. We will
try our best to get there. Thank you all
Embark
on the genesis of 'Realm of the Absurd' as Geezzup and M.A.L.I.C.E. craft a
haunting black metal masterpiece. Explore themes, collaborations, and the
immersive sonic abyss in this interview.
1.Can
you tell us about the genesis of "Realm of the Absurd" and how the
collaboration between Geezzup and M.A.L.I.C.E. came to fruition?
The bare bones of the release began festering some 20 long years ago in the
back of the mind of our multi-instrumentalist Geezzup, who has been refining
his craft for years and slowly whittling it down to his cuts of choice. After a
few attempts at finding a voice to speak from the void he found the right
conduit in the form of M.A.L.I.C.E, a fellow misfit from a different Isle who
put the finishing layer to complete the journey into the arcane. 2. The album is described as a haunting journey into the abyss, blending
instrumental prowess with powerful vocals.How did the concept for this black
metal masterpiece evolve during the collaborative process?
It definitely became more blackened as time went on. Some of the original
tracks had more of a swedish death metal sound, whereas the finished version
has an undoubted influence from it, but is very much black metal overall. 3. In the band, Geezzup is responsible for all instrumental aspects, while
M.A.L.I.C.E. handles the vocals.How does this division of roles contribute to
the unique sound and atmosphere of the album?
We play to our strengths. Both of us play and sing in a variety of styles, but
felt this combination
allowed us to utilise our skills best to put forward what we wanted to show. 4. You mentioned meeting online while looking for musicians. How did this
virtual connection impact the creative process,and what challenges and
advantages did it present compared to traditional in-person collaborations?
It doesn't restrict you to one place, to one area, at one time. This really is
the chief advantage of working this way.
The main downside I would say is the amount of files you have to send back and
forth to express ideas and show differences in the mixing process. 5. The band draws inspiration from 90s Black Metal and early 2000s. Can you
elaborate on specific artists or albums that have significantly influenced your
sound?
There's more than a hint of Old Man's Child and Dissection to our sound. Parts
may put the listener in mind of Naglfar, too.
6. "Realm of the Absurd" is described as an immersive experience
that blurs the boundaries between reality and the arcane.Can you share some
insights into the thematic elements or inspiration behind the album as a whole?
Misanthropy, perversity, the need to hold mankind by a single neck and to
throttle the life from it,
a cold melancholic rage that eats from within, a hatred of life, its occupants
and its incessant gnawing through reality, tuning into the black oil that burns
inside and allowing it to illuminate the path 7. Each song in the album is said to be a portal to a realm where darkness
reigns supreme.
Can you briefly describe what some of the songs are about or the themes they
explore?
I prefer the idea of the listener deriving their own meaning from it, guided by
the song titles and the sonic assault, forming their own individual
relationship with it. The sound is tuned to a certain part of the psyche, and
it will speak with who it wishes to speak to 8. Considering the immersive nature of your music, how do you envision the
listener's experience when diving into the sonic abyss of "Realm of the
Absurd"?
It's a release of six parts, each giving their own unique sensation and pull at
the imagination.
Some will likely give feelings of triumph, of destruction, of darkness, of
morbid beauty and ultimately, despair. Best consumed alone at night. 9. What led you to choose the title "Realm of the Absurd" for the
album, and how does it encapsulate the essence of your music?
It sums up the overall concept, the mantra from its members, and its message to
the nevervoid 10. Are there any particular tracks on the album that hold special
significance for the band or that you would recommend as a starting point for
listeners unfamiliar with your work?
The First track on the album have been writen 20 years ago by Geezzup. It was
made when Black Metal was at his peak and it clearly show the sound and
atmosphere of that time. A state of mind that can't be done these days.
11. The description mentions the album as a blackened symphony. Can you
delve into the musical elements and arrangements that contribute to creating
this symphonic quality in your sound?
It's a Blackened symphony of guitars actually. Beside the first track, no
pianos, synth, bass or any arrangements are add. We got 4 to 10 guitar layers
on each track to create the atmosphere and the symphonic sound 12. As musicians hailing from Canada and the UK, do you feel that your
geographic locations influence your musical style or themes in any way?
Yes, it's cold and miserable in both countries and their inhabitants make us
want to be isolationist misanthropes. Only people who don't live there think
it's a good place to be. Majority got no soul and do only what they are told. 13. Considering the blend of blisteringly cold and furious yet melodic and
catchy elements in your music, how do you strike a balance between these
contrasting elements to create a cohesive sonic experience?
That's the magic of an ADHD brain. It all appear clear at night in my head and
I go to the working station making the magic happen. 80% of the riffs come from
my head first without playing them. I find the note after. 14. How has the response been to "Realm of the Absurd" so far, and
have there been any reactions or feedback from fans that stood out to you?
The feedback is inctredible. For a 2 man army project with no budget at all, we
are more than satisfied with the results. Our Split album with In Seance on the
French Label Hate Life Production is the top of our achievement and we are
proud to be working with the Black Metal community 15. Looking ahead, do you have any plans for future projects or
collaborations, and what can fans expect from Geezzup and M.A.L.I.C.E. in the
coming months?
For Misanthropic Therapy, Geezzup started the writing process for a next
release but there is no deadline. M.A.L.I.C.E. have several projects going on
in differents style and Geezzup got an EP coming for his Metalcore/Melodeath
band called The Sheep Destroyer Crew later this year. Stay tuned!
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