Parham
Gharavaisi's latest single, "Fatal Wings," delves into the realm of
Armored Core VI: Fires of Rubicon, showcasing his mastery as a solo musician
and producer. With a musical journey spanning eight full-length albums across
various genres like instrumental post-rock, hard rock, and melodic metal,
Parham's signature sound blends electric guitar, electric bass, and classical
guitar with the magic of computer software.
Recorded in
his home studio with minimal professional equipment, "Fatal Wings"
embodies Parham's ethos of creating music untainted by mainstream influences.
As a hardcore gamer, Parham draws inspiration from the gaming world, paving the
way for future tributes to video games through his music.
The song's
production solely through computer software highlights Parham's innovative
approach, delivering a captivating experience for listeners. In Parham's own
words, "I am but an agent of consequence," a testament to his
commitment to artistic integrity and creative exploration. "Fatal
Wings" invites audiences into a sonic adventure inspired by the immersive
landscapes of Armored Core VI, promising a musical journey like no other.
Discover
the artistic journey behind Aptøsrs' debut album 'Elders' in this exclusive
interview, exploring inspirations, collaborations, and the unique blend of
genres that define their captivating sound.
1. Congratulations on the release of your debut album "Elders." Can
you tell us about the inspiration behind the album and the meaning behind its
title? This new Aptøsrs
project is all about embracing being an instrumental artist with eclectic
influences. I don't like specifically revealing the meaning behind an album or
song title, just because I'm far more interested in about hearing what other
people think they mean. Some music critics have told me they think 'Elders'
refers to the distant past, kind of represented by the apatosaurus dinosaur, or
the timeless influence of orchestral music. Friends have said they think
'Elders' refers to ghosts, or ancestors, or, essentially, ideas
themselves. I love hearing all of these different interpretations. It's what
making art is all about. It's very gratifying.
2. "Elders" is described as a blend of synthwave with cinematic
orchestrations, lead bass guitar, piano, and glitchy drums. How did you come up
with this unique fusion of genres, and what challenges did you face in bringing
it to life? Although it's fun to imagine fusing those things together, making it work
means listening to your gut. Because, essentially, there's an infinite
combination of sounds that could work for a song. I tend to be more of a
“feel” composer/songwriter. If combining or contrasting tones gives me a
feeling of excitement, I tend to double-down on that idea and let it lead the
way.
3. Your album was mixed by Adam Noble, known for his work with bands like Biffy
Clyro and Nothing But Thieves. How did the collaboration with Adam Noble come
about, and what impact did his expertise have on the final sound of
"Elders"? I'm forever indebted to Adam Noble for coming on board and wanting to mix
this album. For any brand new music project or band, for that debut record,
it's all about establishing a sound. When I was thinking about “who would be
the perfect person to mix this album” I immediately thought of Adam. I am a
huge, lifelong Biffy Clyro fan, and the albums Adam mixed are my favorite
sounding Biffy records. They sound huge and full of attack while also feeling,
when they need to, incredibly raw, intimate, and delicate. When we chatted
about the Aptøsrs album, and its eclectic range of influences, Adam just “got”
it. But the most important thing to me was that Adam have creative freedom. I
was excited about the ideas he'd come up. And I could not be more grateful for
what he brought to this record. There is no “Aptøsrs sound” without Adam
Noble's work.
4. As a composer, songwriter, and producer, you have an impressive background
in creating soundtracks for various projects. How does the creative process
differ when working on instrumental music for Aptøsrs compared to scoring for
films or documentaries? The similarity is that I always approach a scoring/soundtrack gig with no
preconceived notion as to what the music is going to be. The difference is that
I really try and tap into the emotionality of what I'm seeing on the screen.
That is always my guiding light. I believe that film music should be felt
much more than be heard. It should never stamp all over what the actors or the
cinematography is doing. Film music, when it's doing its job correctly, should
heighten the emotion of what is happening. Which is often like a secret the
audience is being let in on: music can amplify what a character is silently
processing in their mind.
Another good rule of scoring is that silence is your friend. Composers should
also fight for when they think there should be no music.
For Aptøsrs songs, I'm kind of scoring imagery and a story playing out in my
head. But, more often than not, improvising completely changes the direction of
where I thought the song was going. So it's a dance. A constant push and pull.
A shared chaos.
5. The tracklist for "Elders" includes intriguing titles like
"Rust Mountain" and "Narcolepticon." Can you share some
insights into the thematic elements or stories behind these individual tracks?
Oftentimes my brain hears or comes up with a made-up word. “Narcolepticon”
was one of those moments, and it conjured up images of, of course, a
narcoleptic, but also technology. The “-icon” at the end of the word felt like
a nod to something like the world of Transformers. That combination was
a great starting place to write that song and made it travel to a lot of
different places. It's pretty common for me to come up with a song name first,
and then write the song afterwards.
6. Your experience as a singer-songwriter includes collaborations with artists
like Anneke van Giersbergen and Love Amongst Ruin. How have these diverse
collaborations influenced your approach to creating instrumental music for
Aptøsrs? I learn a lot from any collaboration I've done. Anneke is a dear friend,
and her ability to infuse the right kind of storytelling in her vocal
performances always blows me away. Back when we did our duet, “The Same Place”
(for my 2014 Cellarscape album The Act of Letting Go), it was a really
creative time. Because we'd also just finished collaborating on making Anneke's
first book, The Road to Drive, which I designed and edited. It
chronicled all the music projects she was making, and touring, up to and
including the recording of her Drive album. I really admire Anneke's
ability to jump around different genres.
For the Love Amongst Ruin song “Detonation Days”, my contribution was this
spoken word, almost performance-poetry vocal part, which is something I have
never done before. It was a collaboration with the producer/mixer of the song,
Nadeem Daya, and was a ton of fun to do.
7. "Aptøsrs" is pronounced like the dinosaur,
"Apatosaurus." What led to the choice of this name, and does it hold
any significance in relation to the music or themes explored in the album? I loved this concept of not just a dinosaur, but specifically a baby
apatosaurus being the logo for Aptøsrs. Because of the contradictions. This is
an ancient, prehistoric creature. But it's also a newborn. It's young. When it
grows up, it will be this gigantic, intimidating beast. But, despite its size,
it's not a hunter. It's a vegetarian! All of that was going on in my head.
Which, in turn, informed embracing musical “opposites” with the songswriting.
8. The Bandcamp Edition of "Elders" comes with an exclusive digital
booklet. Can you elaborate on the content of this booklet and how it enhances
the listener's experience of the album? It's really just about me honoring the halcyon days of liner notes. I still
pore over the production notes of every album I buy. It enhances my
understanding of how the record was made. I love that Bandcamp encourages
artists to offer digital booklets to their audience. The Elders one has
artwork, photography, full production info, and biographies of everyone
involved with the making of the album.
9. The press release mentions that Aptøsrs' sound seamlessly navigates between
downtempo, breakbeat, and rock. How do you maintain this versatility while
ensuring a cohesive and engaging listening experience for the audience? That's a really hard question to answer! But I think it helps that I prefer
to track/record and arrange while having monitor headphones on. That put me
right inside the vibes and tones and attacks being created. You can hear all
the tiny details and artefacts. Oftentimes they trigger a feeling that
redirects the song into a completely different direction.
10. Your collaborations extend to working with Kenyan vocalist Silas Miami,
South African artist Lana Crowster, and British cellist Tom Wraith. How do
cultural influences and diverse musical backgrounds contribute to the sonic
landscape of Aptøsrs?
It's all influential. Absolutely. I learnt so much from each of those
collaborations. One thing that they all shared is that all of those artists
create and perform with a strong focus on figuring out the right emotionality
behind their performance. When that happens, it always elevates the song to an
entirely new place. For me, doing the Aptøsrs project is all about being open
to any creative influence. Because you never know how it's going to impact the
writing of a song until you try it.
11. Can you share any memorable or challenging moments during the production of
"Elders"? Were there any unexpected turns in the creative process
that shaped the final outcome of the album? I like being creative under pressure. And so I gave myself approximately
two months to write and record the album. I did a bunch of tidying up and
detailed rearranging after that period of time, but it was great to give myself
a firm deadline.
I really got into the concept of figuring out how certain instruments would
come and go as the album progressed. So I made a kind of “track map.” That
created a varied selection of instruments that I wanted to, for all intents and
purposes, be my “lead vocalists” for certain hooks and melodies.
12. The album cover for "Elders" is visually striking. Can you
provide insights into the artistic choices made for the cover and how it
reflects the essence of the music within? Placing a prehistoric animal from the distant past in the context of neon,
synthwave-esque, technology-forward graphics was yet another contradiction I
fell in love with immediately. The cover art came together very quickly.
13. With Aptøsrs, you've ventured into the instrumental realm. How do you
envision the audience connecting with your music without the presence of
lyrical narratives, and what emotions or messages do you aim to convey through
your instrumental compositions?
It's always a complete unknown, with regards to how or if the audience will
connect to any song or album. But I feel confident that, despite not having
lyrics, there is an engaging, and ever-shifting series of different emotional
states that the album traverses. If listeners connect with this album on an
emotional level, then I've done my job. What the songs ultimately mean to them,
is wonderfully unknowable.
14. "Encore, Vredefort" is the final track on the album. Is there a
specific reason for its placement, and does it hold any particular significance
in concluding the musical journey of "Elders"? If you look up the location and significance of Vredefort, you'll
definitely get some clues about the themes I wanted this song-story to have. It
was always going to be the conclusion of Elders. If “Rust Mountain” is
the overture, welcoming you into the world of the album, “Encore, Vredefort” is
the grand finale. If I've done my job right, listeners will feel like both
songs have a relationship to one another. And, in that respect, after travelling
through all 8 tracks, there should be a sense that this last song is exactly
how this album should conclude. The song is, in more ways that one, about
“endings.”
15. Now that "Elders" is out on all worldwide music platforms, what's
next for Aptøsrs? Are there any upcoming projects, collaborations, or
performances that fans can look forward to? I'm already working on ideas for the second Aptøsrs album, which I'm really
excited about. Beyond that, later this year, I'm composing the score for a
horror-thriller called Kilter. When I'm not writing music, I write
books. I've got two titles coming out for Abrams Books: The X-Files: The
Official Archives Volume II – Extraterrestrial Activity and the Syndicate,
and Marvel Studios: The Art of Ryan Meinerding. So it's a creatively
eclectic and busy year. And that's exactly how I like it.
Agremorta's
EP "Anomalia" delves into dystopian themes intertwined with personal
struggles. The collaborative effort merges modern and classic metal elements,
promising a unique and challenging musical landscape ahead.
1. Can
you tell us about the inspiration behind the concept of "Anomalia"
and how it ties into the themes explored in the EP?
Nikola: I originally shared with Chris
my vision for the EP to comment on the dystopian direction that society seems
ever-destined for and the personal/emotional struggles that result from this. I
also ended my original proposition with the caveat that I’d like to incorporate
an uplifting feeling of managing to work through all of that.
Chris: I really latched onto that
idea of trying to find hope in the midst of tragedy and crisis. With my own
country in a state of political unrest, an ongoing war in Eastern Europe and
then ANOTHER one starting in West Asia, I felt moved to also incorporate an
examination of the mental hurdles we overcome to justify violence toward one
another with both sides of a conflict believing in their own right to do so.
Ultimately, where can hope be found in times such as these?
I also saw
an opportunity to process and memorialize some of the conclusions I’ve come to
in my own life over the past ~10 years or so that tend to lead me down paths to
deeper peace and connection with myself, my loved ones, and my neighbors. I
allowed the main character of the EP to be confronted with exaggerated versions
of similar conflicts and crossroads from my own life, especially where I’d made
choices I’d now reflect on as having been well-intentioned but ultimately
self-interested or self-destructive. Hopefully that’s relatable and I’m not the
only one, right? Haha.
The story
that I tried to shove all these themes and concepts into was based on a dream I
had many years ago that stuck with me. Most of my favorite songs I’ve written
came from vivid dreams and twisting them into metaphors or allegories for
milestones or learning throughout my life… a musical, fairy-tale driven journal
of sorts. I had already used the first half of the dream in a song called “The
Great Reset” in a previous band/project called ‘Gentlemen’, but was waiting for
the right song or songs to explore the rest of the dream. When I first heard
Nikola’s cinematic and atmospheric metal sensibilities in the demos he sent, I
knew it was the perfect backdrop for this!
2.
"Obsidian Reveries" serves as the instrumental opening to the EP. How
did you approach creating this track to set the tone for the narrative?
Nikola: I was trying to find an opening
that would work well with both the trailing track "Ploratus Umbra"
and its ideas, as well as the beginning of the main character's awakening in
the context of the story. In terms of timeline, the song was written as the
final piece of the puzzle within the framework of the album. Its instrumental
elements feature retrospective sounds that simultaneously highlight the
dystopian robotic structure of society in the time capsule that is being
presented in the music, but also maintain the organic elements of their
ancestors: humans. We are portraying both the robotic evolution of the species
and the organic side of earlier human values through the track.
Chris: I was primarily interested in
creating an effect that is at once both foreign and familiar. You can tell the
synthesized voice present is speaking, but the voice’s distortion and inhuman
quality keeps us from being able to understand. The ominous discomfort that
creates and the marriage between human and synthetic sounds seemed to me to be
a good telegraphing of what to expect in the tracks to come. There was also an
opportunity to create a bridge between the “prequel” I mentioned earlier and
the EP by reincorporating a character from that part of the story - the
machines that were utilized to reboot humanity.
3.
"Ploratus Umbra" delves into themes of conformity versus
individualism. What message or emotion were you aiming to convey through this
song?
Nikola: The imagination of the
instrumental part of the track is that there is a tension building up in all
elements of the song, including the intro, verses, pre-choruses, and the chorus
to have one big release that would be an answer to all the leading tension that
has been built up before that, both through the punchy guitar arrangements, the
ominous and attention-dragging synths and sound design and syncopated grooves.
The outro and interlude are the culminations of the track which accentuate the
most emotionally intense narrative messages to the listener.
Chris: One of the primary messages or
emotions I was trying to induce throughout Ploratus was that of being pulled in
two directions. The vocal stylings shift from extreme ends of a spectrum often
and intertwine throughout the track, and the main character is lyrically
introduced to the conflict of having their expectations betrayed and the
“righteous anger” they experience as a result. I aimed to set the stage for the
story and cast the main character as an emerging hero (in their own mind)
without passing narrative judgment on them, at least yet! In the context of the
entire EP story, however, we can revisit this track later and see the
beginnings of someone letting their feelings, personal ideals, and narrow
viewpoint (they’ve lost part of their memory, after all!) begin to justify
their violent acts that will ensue.
4.
"Adrocitas" is described as the narrative climax of the story. How
did the collaboration with Louis Snyder of Riparian come about, and what impact
did his guest guitar solo have on the track?
Nikola: I had been interested in
having another artist’s voice expressed in the solo section of Adrocitas for
some time. Chris had worked with Louis on another metal project (Gentlemen)
in the past, and, when he learned about Agremorta in its
beginnings he had actually offered to add something to the table if needed. As
mentioned earlier, the ‘prequel’ song to the story of Anomalia was
part of the Gentlemen release. So, when we were newly in need
of a replacement guitarist for that part of the song Louis was at the top of
the list, both ability-wise and thematically. It just made sense and it clicked
in the end! Instrumentally, the track is full with riffs that represent the
fight of the main character with his opposition, as well as the sound design
which accentuates this even further.
Chris: Narratively, the solo section
was supposed to express the unraveling of the main character's mind. We needed
an expression of an assault on the ego and the fiery crumbling of pride and
delusion. Louis’ pacing, speed, death-metal stylings, and dissonant choices
really fit the emotion and delivered the chaos mirrored in the heart and
consciousness of our character. I also loved that it incorporated a fresh
change and additional genre-nod to a song and EP that we hoped would be
characterized, in part, by that kind of boundary crossing.
5.
"Vertex Membrana" seems to explore inner conflict and ethical
dilemmas. Can you elaborate on the creative process behind this song's
composition and lyrics?
Nikola: The instrumental is thought out to
be very straight forward, with punching rhythms and riffs that don’t hold so
much ‘burden’ in their harmony. Rather, they are more up-in-front without as
much layering in the sound design and arrangement as the other tracks of the
album. The purpose of all this is to accentuate the emotional state of the
character who is ultimately freed up from the chains of guilt of knowing the
real truth but, at the same time, to show and represent the heavy consequences
of their choice to unveil the registry of names.
Chris: You hit the nail on the head
with “inner conflict” in regards to how the lyrics came out for this track.
While the other tracks on the EP have moments of introspection they are also
broken up by parts ‘said out loud,” the voices of characters beyond our main
one, descriptions of the environment, etc. Lyrically speaking, Vertex is almost
entirely representing a stream of consciousness in the midst of, as you said,
an ethical dilemma. Part of the challenge was to simultaneously progress the
story by incorporating the characters' internal reaction to events unfolding
around them, but I think the lyrics for this song came rather naturally…
perhaps due to the fact that, like the vast majority of us, I am no stranger to
racing/changing thoughts in the midst of a crisis!
When I was
an older teenager I read a book in which the main question posed throughout was
something along the lines of, “Who are you when nobody's looking?” I couldn’t
remember the content if you asked me and I wouldn’t therefore recommend it, but
that one concept of attempting to strive for integrity even when you’ve nothing
to gain from it has never left me. Personally, trying to always live in
congruence with your forward facing values and beliefs can be hard when the
heat is on. It’s something I fail at on a regular basis but I never stopped
really believing it was a worthwhile pursuit. There is nuance to it I’m sure -
times when it could be a harmful mindset in certain circumstances - but I think
that it’s served me decently well through life’s challenges. I think that,
alongside the other more self-serving options considered in the lyrics, this
concept of the value of integrity and self-sacrifice really bled into the
lyrical content of this song.
6. As an
international music project, how did the collaborative nature of Agremorta
influence the sound and direction of "Anomalia"?
Nikola: We have plenty of overlapping
musical influences and we also deviate pretty wide with others. We were
actually reflecting on this just a few days ago - about how I produced a lot of
darker, more alternative and melancholic sounds which Chris would then overlap
with something bright and catchy, maybe playful and quirky. I remember one
particular melody line that we cut because it was just too glam-metal and
sarcastic sounding, haha. It was the right choice, but suffice to say we feel
we found a way to combine a wide-spectrum of influences into our sound in a way
that ultimately - even unexpectedly - worked for us both and that we both came
to enjoy.
Chris: I found it personally cathartic and
rewarding to work together with someone across an ocean and some degree of
cultural divide on something so personal and impassioned - especially as it
honestly was so positive and enjoyable overall. There were naturally fears from
both sides, initially, of working with a stranger - let alone one from so far
away - but it quickly dissolved as we got to work. While the world seemed to
get angrier and angrier around us and wars broke out, we were connecting and
creating and compromising to make something we’ve come to be very proud of. A
positive shade of globalization, for sure!
7. What
challenges did you face while working on the EP, and how did you overcome them
as a team?
Nikola: Working with Chris was such a
delight, and going through the workflow we had was an incredible life
experience! It probably goes without saying that the time difference made
things tricky at times. Late nights for both of us, waiting hours for a response
to tiny questions, and realizing daylight savings time is not universally
timed, haha. Then there’s just the physical distance of course: expressing
musical ideas through voice memos and a hundred little sound clips rather than
getting to sit in a room together and jam it out. It was A LOT of back and
forth rather than simultaneous or spontaneous creation.
Chris: There were a fair share of zoom
meetings and well-timed, synchronous a-ha moments about a musical idea, but
most of the time it was a bit of a waiting game for both of us to hear the
other’s thoughts. Thankfully, we both kept at it. I really feel Nikola and I
respected the project and each other's time with transparency and reliable work
ethic throughout the whole process.
Another
challenge was that Nikola had completed most of the instrumental and
composition work prior to us even meeting. Therefore, there was this initial
stage of me kind of trying to make sure I was pleasing him and serving his
original vision for the project. I felt at first that it was ‘his baby,’ as
they say. Graciously, Nikola did not take that attitude at all. From the get-go
he had a collaborative spirit and encouraged me to put my own spin on the
songs. It wasn’t just lip-service either, he really compromised in a lot of
areas and took some risks with my vision for things at times. Because of that
generous attitude with what was originally his own project, I think we really
ended up with a unique sound that features both of our artistic voices in an
equal measure.
8. How
do you see the EP fitting into the current landscape of metal music,
considering its blend of modern and classic elements?
Nikola: My inspiration in regards to the
production, arrangement and composition is mostly driven from the most modern
metal stuff, but also other modern genres for song arrangement and composition.
However, I’m definitely a big fan of the music of the 2000s and 1990s and the
way they were approaching composition. This music is very nostalgic to me and I
like it as much as the other stuff. This is the main reason I was open minded
for any kind of influence and approach vocally, which Chris brought to the table.
There were compromises on both sides, but the end result is something we are
very proud of!
Chris: I’m glad to hear you put it
like that - a blend of modern and classic. Early in the process I had hoped
we’d find a way to incorporate elements that just about any genre of metal fan
could enjoy. In terms of metal music I have a lot of early 2000s and 2010
influences alongside of the more modern and prog-sounding stuff I’ve grown to
love over the past 15 years or so. I am hoping we continue to carve out a sort
of unique space in the current landscape where we are utilizing modern
production methods and sensibilities and yet incorporating some feeling of
nostalgia from a more primal and less processed era of metal music. It’d be
great to be considered both accessible, yet challenging. Groovy and catchy, but
still surprising. I’ve been using the term “prog lite” to describe my hopes for
our sound lately, and I think that kind of sums it up. Maybe that will put us
in a confusing place in the metal landscape, but I think it’s right where I
want to be and I can hope there are some like-minded music lovers out there who
could appreciate it!
9. Can
you share any memorable moments or experiences from the recording or production
of "Anomalia"?
Nikola: From my side, the writing of
the instrumental was an ongoing process that took 3 complete years to get down.
There were many changes and adjustments throughout the process.
After all
that work it is truly cathartic to see this music out there finally and that
people could connect to it as much as me and Chris do; not just connect to the
cool sounds and moments captured in the music, but also to the message and
story that we are getting out there to the world. For me, it documents a lot of
intense emotional moments in my life journey through the elements of my
personal development and growth: moments of extreme sadness, fighting through
conflicts, and dealing with negative thoughts - but also the process of
resolving all of this.
Chris: I’m particularly grateful that we
were able to get the thing done within the year at all, haha. There were times
where the entire production team just fell ill all at once or one by one. There
was the time Alex’s computer gave up its life in service to the track Ploratus
Umbra. I went to the hospital for a few days at some juncture. Just a lot of
viruses and rebelling bodies over the course of 8 months. I actually had just
broken a rib at a show a week or two before connecting with Nikola for the
first time, haha. So, at first, there was this question of how I would heal and
if it would affect my ability to perform when it came time to go into the
studio.
For me, I
think that the first time I watched through the final lyric video for our first
single Adrocitas will be a cherished memory. I remember
getting to the verge of happy tears hearing and seeing how everything had come
together and really captured what I’d envisioned for the vocals, lyrics, and
emotional delivery of the story.
10.
Looking ahead, what are your plans or aspirations for Agremorta following the
release of this debut EP?
Nikola: I’m happy to say we’ve
already started talking about this. We’ve got plans for a refinement of the
sound and, since we’re starting more from scratch, we’re looking forward to the
experience of building the songs more responsively around our emerging ideas.
Chris: We’ve both learned a lot
through the cycle of creating, producing, and releasing this EP. I think we are
equally eager to take all of the reactions, our reflections, and the experience
gained and feed it back into our next project. We want to retain what has set
us apart from our contemporaries, but I think we’ve got a lot of room to grow
and a lot more experimentation to do!
Explore
Alex Wellkers' musical journey from acoustic beginnings to eclectic blends in
'Fly Away'. Discover insights on instruments, lyrics, and aspirations in this
exclusive interview.
1. Can
you tell us about your musical journey and how you got started with the Alex
Wellkers project?
Had some
songs I wrote in the past back in 2013 and 2014. Performed some of them for
myself with my acoustic. I thought, ok, if recorded well, those songs would not
sound too bad. In 2014, I went on a liveaboard for a week and had a lot of time
to think and decided, I should try to do something with these songs. When I was
back, I recorded the first EP. There is only one vocal and one acoustic guitar
track on the songs of this EP. At this time, I mainly listened to the music by
the brothers that grew up in Burnage, Manchester. So I wanted the artist family
name to sound British. Actually, I have to admit, a better choice would have
been possible. 2. What inspired you to transition from playing the accordion to exploring
various instruments before settling on Blues music and the electric guitar?
I started
playing the accordion at age 6. That was pretty young and it was just very
common to listen to traditional folk music then. I later switched to keyboard,
the first guitar I played was a classical Spanish guitar with Nylon strings. At
an event of my godmother, I met a guy who played an electric guitar. I was very
fascinated, still very young. He later gave me a small Fender amplifier and I
bought my first electric guitar. That was when I started to take electric
guitar lessons where I was taught the Blues scale. Yes, Alpine folk music is
maybe not my favorite musical genre but I am thankful that I had the
possibility to start to play an instrument this early. 3. How would you describe your musical style and the evolution of your sound
from your early EPs to your latest album, "Fly Away"?
With pre, I
found out that it can work. The songs I recorded, at that time, did not sound
too bad. But I wanted to add some instruments and, meanwhile, the whole
evolution about drum machines that started around 2006, developed well. I
recorded see and you can hear that the recording quality got better over the
years. With for, I had an EP that sounded remarkably better than the second EP
but I knew well that there was still room for improvement. From time to time, I
still listen to songs like andrina or the card. They are not bad but, nowadays,
I would record these songs differently and better. Also, for financial reasons,
I used virtual drum and string instruments. I started experimenting with real
string and drum takes long time ago already. But it did not work. I could not
find a good workflow such that the result was in a quality that satisfied me.
Sometimes, this is still difficult. But I found a way to replace the virtual
string instruments and, at least in my opinion, it paid off. The strings are real
in most songs on famous then, the first album. Not in all of them. I still had
the feeling that something is not complete about the recordings. So I also
replaced the programmed drums with real ones in the songs of the new album. And
yes, it makes a huge difference.
4. What
motivated you to incorporate classical instrumentation such as violas and
violins into your rock music on the "Fly Away" album?
I always try to see myself in a critical way. What can I improve? Not only
using different languages in some songs can make an album less boring. As an
artist, you have numerous options to make your music interesting and I just try
those as good as I can. That also involves using different instruments. Bands
like Portishead and The Verve did that in the 90s already.
5. Could
you share the creative process behind your songwriting, particularly for tracks
like "You Want Us" and "Amy" on the new album?
Those songs were written in front of the piano. I take some lyrics I wrote
before, play some chords and try to find 2 or 3 parts that sound well. I write
the chords down and record a pilot track on my smart phone. Later, I replay
those parts and record them. Then, these are arranged the way I think they
sound nice. Once the speed is fixed, I start to record some drums and have
those replaced by a real session drummer. However, for the songs on fly away,
this is not completely true. Originally, only the cymbals were replaced. The
plan was to keep the kick, snare and toms from the drum machine. But in the
mixing process, I thought that something was missing. So, the kick, snare and
toms were finally replaced, too. Once the drums are recorded, I record the bass
guitars and the electric guitars. Earlier, I also recorded the acoustic guitars
myself. But I am not good in ignoring that every time I record acoustic
guitars, all my neighbours can hear my play. So I compose or program the
acoustic guitars and have them replaced by a session musician at a later stage.
I try to add many instruments such that the recording is dense enough and does
not sound thin anymore. Finally, on top of it all, the vocals are recorded.
In the case
of you want us, I programmed the acoustic guitar and asked the session musician
to play the part similar to the acoustic version of Creep by Radiohead. Strings
were programmed by me and played by Julia Stein. 6. Your upcoming album features a blend of languages, including French and
Swiss-German. How do these linguistic influences shape your music?
Since my youth, I listen to a lot of Rap music in Swiss-German. They also
taught us French at school because it's one of the 4 national languages here.
Here, we know the grammar of that language quite well but, unfortunately, I
rarely use it so I forgot most words. It's nice to switch languages for a
couple of songs on an album. It makes the album a bit more diverse. 7. "Fly Away" includes a Hip-Hop/Crossover song in multiple
languages. What inspired this multilingual approach, and what message do you
hope listeners take away from it?
This song belongs to the adventurous side of the album. Everyone should try out
new things now and then. I took the original drum track from the Drum Stem Club
of Emily Dolan Davies. Her take served as some kind of template for the song,
rhythmic wise. I recorded a guitar riff and composed this chorus that goes like
“do not fall”. Then I composed minimal lyrics that I could rap in Swiss-German
and French and the result was this song. I hope that some non French and non
Swiss-German speakers like it as well. The arrangement is definitely non
standard. Maybe it can encourage people to switch languages more in songs? 8. As an independent artist, what challenges have you faced in launching
your own label and releasing music on your terms?
To produce
such an album, one has to invest a lot of effort. The greatest challenge, if
you want to call it so, is when you release the work and realise that no one
will listen to it anyway. Might be because the music is bad, because you simply
do not reach people or radios don't play it. You will not find out why but you
know well that it is so. A reasonable conclusion would be to stop making music.
But, on the other hand, from time to time, a few positive feedbacks come in.
9. Could you share some insights into your collaboration process with
session musicians and producers on the album?
I am the
only producer involved. So far, I did not meet any of the session musicians
involved in person. Once the arrangement of the song, the song structure and
mostly, the recordings of the bass guitars and electric guitars stand, I
program instrument by instrument and have these recorded by remote session
musicians. If the quality of the delivered takes is sufficient, I take the
parts that I think suit the song and leave the others out. Sometimes,
especially when working with a pianist, the only guideline is the drums, the
pilot lead vocals, the lyrics and the chords. Some play very virtuosically.
This works for some songs, for some it doesn't. Often, I leave out parts but in
the end, it's me who decides what to take and how. 10. What role does emotion play in your songwriting, especially in crafting
dramatic and epic tracks like "Making Progress"?
This song
is a remake and I think it was the first song that got programmed strings
replaced by real ones. Emotion always plays a role and, to be honest, when I
listen to the final master of such a song, I nearly cry. I got pretty far,
music quality wise, and there was some progress during the last years in this
regard. At least from my point of view. There is so much work involved here and
if people don't like this kind of music, I know well that I tried my best.
However, I also always hear things I would do differently nowadays and I also
hear things that I would not take anymore nowadays. That's all normal. But in
the end, whether or not I like my music is not of matter too much. The question
is: Do people like that music?
11. How do you approach blending different genres like Pop, Rock, and
Hip-Hop within a single album while maintaining a cohesive sound?
It's a journey. Let me take you on that journey and we will visit different
places. Songwriting is always important. But if you're critical and record it
nicely, you can make nearly everything sound. Listen to Die Antwoord. She has a
very soft voice, they have a very special musical style. But it rocks and it
rocks a lot. Why should I restrict to a certain musical genre? In my opinion,
that would be boring.
12. Your
lyrics often explore deep themes. What themes or messages do you aim to convey
through your music, particularly on "Fly Away"?
I don't take meanings of songs too seriously to be honest. A lot of people take
themselves too seriously. To my mind, it's better to see things more easily.
People can interpret songs they want to interpret them, that's all fine.
13. With the current music landscape being so diverse, how do you see your
music fitting into or standing out from the industry trends?
From my perspective, fly away is special. I do not know similar music or a
similar music artist. In this sense, it's something new. The quality is ok and
there are some good songs on it, I believe. I did what I could to produce nice
music that I like. I don't think it hits any trend but having dreams is
important. Maybe some people will like it, let's see. 14. Looking ahead, what are your future plans and aspirations for your music
career and the Alex Wellkers project?
Chances are high that there will be no music career. If people will listen to
the music, that would be a miracle. But hope is always involved when you make
music. Nobody wants to make music that is not heard. I can say I tried it.
I am about to finish the follower of fly away. There is some nice songs on it,
too. It will take a while to complete this one. This will be a bit more
dramatic than fly away is.
Rising Alma reflects on their debut LP "Awake," emphasizing
authenticity, musical growth, and connecting with listeners. Expect
contrast and evolution in their upcoming album.
1. Congratulations
on the success of your debut LP "Awake" and the positive reception
from both fans and critics! How has this experience impacted your approach to
creating music for your upcoming album?
Thank you so much! The success of Awake has reinforced our belief in staying
true to ourselves and our musical style as that was one of our goals with
Awake, to show who we really are. This experience impacted us to keep pushing
our boundaries. We want to continue with our current approach, as we've learned
some lessons along the way that will be reflected in the improvements made for
our next album.
2. Your
music has been described as a blend of raw energy, introspective lyrics, and
powerful melodies. Can you share some insights into your songwriting process
and how you bring these elements together?
Our songs mostly start with guitar riffs that get us going. Then Alise comes in
with the lyrics and vocal melodies.
We usually don’t write the whole song in one session. Instead, we put a lot of
thought into every part of our music. Also we’ve just always understood each
other musically, you know? All these pieces just click when we bring them
together—it's where we shine the brightest.
3. As a
band, you've emphasized the importance of connecting with your audience. How do
you ensure that your music resonates with listeners on a personal level?
We focus on creating songs that we genuinely enjoy and that speak to us
personally. I guess a lot of people share similar life experiences and that’s
why our listeners can identify with our music. It's simple: we love music, and
we love making it. That’s what it’s all about!
5. Your
music videos have garnered attention for their artistic vision and
storytelling. How do you approach visual storytelling as an extension of your
music?
There are songs that we write and can easily visualize, like The Cage. We
remember already having the idea in our minds about a person that is trapped in
a dream that feels like reality and we think we captured that in our video. We
want to extend our thanks to the talented people who brought our videos to life
– it's been a pleasure working with them!
6. Rising
Alma has set ambitious goals for the upcoming year, including releasing a new
album and expanding your fan base. Can you give us a glimpse into what we can
expect from your next album? Absolutely, we're
working hard on our new songs meanwhile experimenting with our sound for the
next album. One thing is we can say is that the album will have a lot of
contrast and bring you to another chapter of our book! We surely will be
releasing a single prior to the album to give our listeners a taste of it.
7. "Being
a self-sustaining band involves various aspects beyond just creating music,
such as marketing, booking gigs, and managing finances. How do you balance
these responsibilities while staying true to your artistic vision?
As an artist creating music, it's not just about the creative process; there's
also the necessity of managing this tasks you name to ensure our music reaches
its audience. However, for us, these tasks aren't a bad thing; rather, they're
steps needed to get donefor achieving
our goals. The only downside it’s just that it takes a lot of time as well..
8. Can
you tell us more about your collaboration with Red Lion Music as your booking
agency and how it has contributed to your growth as a band?
We've been booking gigs ourselves so far, but we're hoping for more chances to
play! We're always ready to rock the stage.
9. Your
debut EP "Ongoing Hope" showcased your initial sound and style. How
do you feel your music has evolved since then, especially with the release of
"Awake"?
Since releasing our EP Ongoing Hope, we've seen significant growth as
songwriters and in expressing our musical vision and we hope our listeners can
also see it. Ongoing Hope marked the beginning of our journey, while Awake
served as a statement on the direction we aim to take as a band. Our evolution
has been continuous; we have never stopped working on refining our sound.
10. What
advice would you give to emerging musicians who are just starting their journey
in the music industry?
Our advice to aspiring musicians is simple: give it yourbest and maintain a positive attitude towards
your work. Focus on crafting something that you really believe in before
sharing it with others. And always remember, while everyone will have their
opinions, stay true to your vision and stand firm.
11. The
music industry is constantly evolving, especially with the rise of digital
platforms and streaming services. How do you navigate these changes as a band,
and what opportunities do you see for independent artists in today's music
landscape?
Indeed, the music industry's evolution, driven by digital platforms and
streaming services, has made it easier for our music to reach listeners
worldwide. However, this accessibility has somewhat diminished the experience
of listening to an album in its entirety, as was the norm in the past. Despite
this shift, we remain committed to the concept of an album as the band's
treasure. We still offer physical CDs, bridging the gap between traditional and
digital formats. Additionally, we ensure our music is readily available on all
streaming platforms, making it easily accessible to our audience.
12. Looking
ahead, what are some long-term goals or aspirations that Rising Alma hopes to
achieve in the next few years?
In the coming years, Rising Alma aims to expand their horizons by performing
live in more places and connecting with audiences worldwide. We are a live
band, and for us, that experience is always something truly special.
While we set our goals, the journey is never straightforward. We'll continue
opening new doors to see what the future holds for us. We look forward to
connecting with more people through our music. We are excited for what future
holds for us!
Explore
the captivating journey of Danny and Ornimental, from electrifying performances
with the Miami-Dade Film Orchestra to chart-topping hits and navigating the
evolving music industry landscape.
1. Can
you tell us about your experience performing with the Miami-Dade Film Orchestra
and the Emmy-winning "Video Game Concert"? How did this collaboration
come about?
Danny - It
was nothing less than an incredible experience. I’m still invited to play with
the Orchestra, but those first couple of shows were electric! It all happened
in a series of events. No luck, no coincidence…it was meant to be. I was
invited to play for a jazz trio for a Christmas event and it so happened that
the Film Orchestra was supporting us that night. I was asked to play a “quick
solo” for the show and I would get the green light to when to perform. Once I
did it, I thought it was alright. But it so happened that the way I played was
good enough for the conductor to ask me to play guitar for some songs they
needed a guitarist for. It all happened so fast, but it still happened. I’m
happy to have performed and still get to play with them for the VGC
events.
2. Your
adaptation of the "Halo Theme" gained a lot of attention for
showcasing your guitar skills. What was the inspiration behind choosing this
particular piece, and how did you approach adding your own flair to it?
Danny - I
play the way I play and Albert (Head conductor) encouraged me to “add my flair”
to the theme song. Halo is known around the world and the theme song is just as
iconic as the game itself. Everyone knows the theme song, even if you’re not a
gamer. It’s one of the greatest themes ever made, so I wanted to perform it the
way it makes me feel when I hear it. Of course, Since I’m performing it, it’s
important that my “guitar voice” cuts through. Steve Vai plays the rock version
of the piece, but I wanted to blend the best of both worlds. I wanted to
acknowledge his iconic licks, but also implement my licks to help showcase what
my voice could do for the Halo theme. I used to pretend to play infront of an
audience when I was in middle school with the licks I came up with in my head,
and then it finally happened for real. A huge goal in life was finally
reached.
3. "Encage,"
your first single, has been a massive hit with over a quarter-million views on
YouTube. What was the creative process like for that song, and what message
were you trying to convey through its lyrics and music?
Danny - I
remember seeing the numbers going up and up and up. I thought to myself “Oh
wow, This song is really resonating with people!”. We actually had a show where
the power went out during our set and we were jamming to the song. All you
heard were the people singing the lyrics while we still kept playing with no
sound at all! That’s when I realized what kind of song we had. When we were
making this song, It was actually for a different band called “Wrongful Death”.
The singer at the time humored it but didn’t like it because it wasn’t as
extreme as he wanted the music to be. It was too mainstream essentially, so it
got shelved. When Ornimental started, I pulled the song out again and started
to really complete it. I knew we had something there, it just needed the love
for the song as it was. If it’s “too mainstream” then let’s go there. As for
the lyrics, It’s about putting negative influences away in a place they can’t
get out of. That one thing that’s toxic and won’t go away, so you have to put
it in a cage. You take control, not the toxic influences controlling you.
4. Congratulations
on the success of your sophomore record, "Red White and Wrath." How
has the reception been so far, and what can fans expect from this album in
terms of themes and musical evolution?
Danny - RWW
is an album that will always be the album that shows the bands transition out
of the “throwback” vibe people were starting to label us as. I remember sort of
freaking out one day and just saying “Well I don’t want to be known as an
artist that lives in the past, screw that!”. So I had a sit down with the guys
at the time and told them that we need to think forward as far as songwriting
goes. When we finished the album, We were very proud of it and I’m still proud
of it. To me, Seeing how critics still are about the record, You either
completely love the album or you don’t like it at all. There’s no middle,
there’s no grey area, it’s as simple as that. Thankfully, The positive feedback
is much louder than the negative. It’s definitely more raw in the mix, it’s
very experimental, it’s not conventional, it’s not trying to convince a label
to sign the band. So many bands mold their whole world so they get singed to a
label, and we’re here like “Ornimental will stay Ornimental and the right
people will get us where we want to go. We’re not going to sacrifice our
creativity for a quick buck and clout”.
5. Ornimental
has shared the stage with some major acts in the hard rock and metal scene. Can
you share any memorable experiences or lessons learned from touring with such
renowned artists?
Danny -
It’s one thing to listen to some of your hero’s, but it’s a whole new animal
when you actually see them face to face. I’m never one to get star struck, but
I’ll never forget the butterflies I got meeting Alexi from Children of Bodom.
He was such a nice guy and I had a great time talking with him about amps, and
studio gear when recording a record. I’ll never forget when some guy came up to
us and said “Oh my god, Two guitar gods talking amongst each other?! Can I get
your guys autograph?!”
I was like
“Wait, You mean me with Alexi?! No way, That’s insane. I’m just a nerd who
loves music!”. From the couple of tours we did in the past with
bands or solo tours, we learned that when you treat people with love, they will
love you back. Don’t forget who you are or where you come from!
6. Your
music has received positive reviews from various sources. How do you navigate
the balance between staying true to your artistic vision and catering to
audience expectations or industry trends?
Tony - We
focus exclusively on making music that we believe in. If we don't love what we
do, we can't expect anyone else to. We never go out of our way to cater to
anyone but ourselves.
Danny
(response to Tony) - I agree, It’s about writing what comes from our heart, not
to write to satisfy a guy with a cigar with his legs up on the desk. If there
is anyone Ornimental will write for, it’s our Ornimental family. Our true fans
that love our music and listen to the music we create together.
7. What
challenges have you faced as a band, especially in the competitive music
industry, and how have you overcome them?
Danny -
After Covid, The band was forced to stop. Everything we had planned was no
longer possible and certain members at the time wouldn’t adjust to the
necessary actions we needed to take. Prior to the recent pandemic, We had 100’s
of labels, and A&R reps in LA tell us “No” for whatever reason they had at
the time. We realized that we had something that was unique in a great way, but
we also had work to do in other things. It was inevitable that Ornimental was
evolving into something new, and it was going to leave anyone behind that
refused to follow. Dimebag (Guitarist of Pantera) once said “You better role
with it, or get rolled over!”. Though we have to rebuild, we still have all
those connections that will help us get to the inevitable success I’ve so
believed in for us!
8. How
do you approach songwriting as a band? Do you have a specific process or
collaborative method that you find most effective?
Danny -
It’s pretty much been the same since the band started. I usually bring in some
sort of concept of a song or some riff ideas, and then we all come together and
see what new directions those ideas go to. 2 brains are better than one really,
so usually it always turns out great. Something that has been more recent is
one of the guys will have a basic song structure already done and I’ll hear the
rest of the song in my head as if it’s already completed. Point is, Someone
usually brings what I like to call “the skeleton” of the song and we all come
together and make it the best version it can be.
9. As
legends in the Miami music scene, what advice would you give to aspiring
musicians who are trying to make a name for themselves?
Danny - As
far as moving on from the “local musician” status, My biggest piece of advice
is get yourself out there consistently, and adjust to the times. I know, Rock
and Metal artist romanticize the previous eras of the genre and do things the
way their hero’s did it, but the fact it those things don’t work anymore. You
need to see how the industry changes and adjust to those changes as far as
marketing to your audience. I’m not saying you need to “sell out” to make a
quick buck, but I am saying that all artist need to stop living in the past and
see how things work now. Write music that expresses you and connects with the
world. However, What must change is your approach to grow as a brand and a
business!
10. Looking
ahead, what are your future plans and goals for Ornimental? Any upcoming
projects or collaborations that fans can look forward to?
Band -
We’re happy to announce that we are indeed working on new music for the next
record. We’re not gonna say much, but we will say that we’re doing new things
that we haven’t done in the past. In the mean time, We have a new music video
for “All American Fury” that you guys can check out, and our first featured
song “Pretend” with Iriser, and Anexia. Our new music will start focusing on
the serious rise of people battling mental health. All of us have been affected
in one way or another. We’re excited to help all those that want to spread the
awareness by creating music with real stories, experiences, and continued
wounds that need to be mended. Ornimental is excited to go into a direction
we’ve never gone before, and start a new era that will only evolve from there.
One thing will never change though, Our music is made for our followers, our
family, our community. We will always keep you in mind.
Discover
the evolution of DUSK's sound as we delve into their upcoming album
'Industrie.' From Industrial remixes to unique genre fusions, explore their
musical journey and aspirations.
1. Can
you tell us about the concept behind your upcoming album "Industrie"
and how it differs from your previous releases?
This new
release is more “Industrial oriented” than our usual Blackened Atmospheric
overtones, also on this album we lowered the BPM to half speed.
2. What
inspired you to incorporate groove-paced riffs into the aggressive and
apocalyptic soundscapes of "Industrie"?
Well, we
wanted to make this record a vast heavier but still very dark and modern and
inversely to other Industrial Black Metal projects out there.
3.
Could you walk us through the creative process of composing the six
conceptually linked chapters of the album?
On this
album every single track was created differently and each track is diferet from
the other.
4. How
did you approach the revisioning of Mayhem's "Freezing Moon" to fit
within the thematic framework of "Industrie"?
For
starters MAYHEM was one of the first Black Metal band who incorporate
Industrial on their music, so for us it seemed appropriate and risky to make a
Industrial Remix of that Iconic Track of the black metal scene.
5. DUSK
is known for combining industrial and atmospheric black metal elements. What
draws you to this unique fusion of genres?
I was a
producer in electronica since I was very young and also a Black metal and
Industrial metal fan, so it came very naturally, aside from that fact we also
we wanted to produce a unique sound in a unusual genre.
6. How
has your sound evolved since the formation of DUSK in 2016, and what can
listeners expect from "Industrie" in terms of musical progression?
Well, we
started in a very fast chaotic raw blackened industrial in our first EP, then
we started examining and pursuing a more unique sound even mixing it with noise
and power electronics.
7. What
role does each band member play in shaping DUSK's distinctive sound,
particularly in terms of programming synthesizers, vocals, guitar, and bass?
Well, I try
to harvest the music as much as possible, produce compose most of it before we
incorporate the rest of the instruments.
8. What
are some of the challenges and rewards of being a Costa Rican band in the
global metal scene?
I would say
the only reward is that is unusual for most people, but the reality is that
Latin American Metal scene is very retrograde in metal taste, compared to
Europe and USA, and our style is very modern and very dark completely opposite
to a power metal music for example. Social networks make it easier to spread
the music but the genre itself is meant to be underground.
9. You've
previously shared the stage with Samael during their Latin American Tour in
2019. How did that experience influence your approach to live performances and
musical collaborations?
It was very
interesting to us, specially since SAMAEL is one of the most successful
Industrial Black Metal bands out there, and that was our Live Debut, so we were
very honored.
10. Can
you elaborate on the electronic influences present in your music and how they
contribute to the overall atmosphere of your compositions?
Our
electronic influences are very broad. From old school Industrial metal to new
modern Darkstep witch house and also the extreme areas of electronica like
Power electronics and Noise.
11. How
do you balance the relentless, uncaring pounding blast beats with the slow,
powerful doom patterns in your songs to create a cohesive sonic experience?
For us
music has to make sense send the listener into a chaotic trance without making
it tiresome, irritating or boring, balance is very imperative in the Industrial
Black Metal composition in our perspective.
12. Looking
ahead, what are your aspirations and goals for DUSK, both artistically and in
terms of reaching new audiences with your music?
Our goal
has always been to influence the scene instead of been influenced by it.
Welcome to our interview with Reverted, celebrating their new single "No
Sympathy" and upcoming album "Beyond The Labyrinth." Dive into
their creative process, inspirations, and the journey ahead.
1.
Congratulations on the release of your new single "No Sympathy"! Can
you tell us more about the inspiration behind the song and its themes of
isolation and madness?
Song focus on inner frustration and rage when one is at the end of betrayal and
toxic encounters we face on our daily lives while we unknowingly trade and
abuse the feelings of those around us for a little taste at the top or better
outcome.
Theme of the song brings to light these undeniable faulty traits we all posses,
which some of willingly use more than some. 2. How does "No Sympathy" reflect the overall sound and direction
of your upcoming album "Beyond The Labyrinth”?
No sympathy captures the mood the album in its perfect essence. Moody,
suffocating, gritty and real. Reflecting on our core values and inner
desperation and the struggle to resolve demons and addictions we succumb on
this journey spiked with temptations. And the lack of sympathy we express. We
all have faults, and some of them are all the way to the core. 3. The music video for "No Sympathy" has a haunting and cinematic
quality. Could you share some insights into the creative process behind the
video and working with director Adam Leader?
Working with Adam Leader was truly an inspiring experience. His unwavering
attention to details and the vision to bring the story so the audiences
understand and feel part of the story throughout was fascinating to watch.
Relying on minimal surroundings in a confined space using only his vision and
technique was absolutely masterful.
We look forward to working with Adam again on our epic release of ‘belljar’.
Beyond the labyrinth’s third release. 4. "Beyond The Labyrinth" seems to mark a shift towards a darker
style for Reverted. What motivated this change, and what can fans expect from
the album in terms of themes and musical exploration?
Biggest shift will be down to maturity as musicians and people. Seeds we
planted with first couple of records became fully ripe for the pickings when we
started the writing process for Beyond the labyrinth. A more progressive and
dynamic outcome we feel is what reverted settles best. Expect more of the same 5. How was the experience of working with producer Pedro Caparros on
"Beyond The Labyrinth," and how did his contributions shape the
album's sound?
Pedro Caparros has been a long friend of the band since the early days. We
worked together on “Stripping the Worms” which started as a two song acoustic
play around and ended being a full album, all due to the pleasure and comfort
we felt with Pedro. Right then we knew Pedro Caparros will be producing our
next record. His contribution is invaluable in this album. He helped shape the
feel and mood of the album. His knowledge in music and understanding is
unmatched, and the true hero of this record. We drove him absolutely crazy at
times but he never lost vision of the big picture. A true professional.
6. Your previous albums, "Sputter the Worms" and "Stripping
the Worms," showcased different aspects of Reverted's musical range. How
does "Beyond The Labyrinth" build upon or depart from these earlier
works?
In the first record songs had a more punk metal approach displaying our earlier
rebellious teenage years, while Beyond the labyrinth has more darker,
progressive even sentimental vibe with more intricate musical layers that
expresses bands maturity in all its wonder. 7. Can you discuss the significance of the album title "Beyond The
Labyrinth" and how it ties into the overall concept of the album?
Beyond the Labyrinth captures the perfect theme of the album. Dealing with
addiction, paranoia and self destructive tendencies. If lucky, some of us
overcome it all and find salvation and peace Beyond the Labyrinth. 8. What challenges did you face while creating "Beyond The
Labyrinth," and how did you overcome them as a band?
Biggest challenge was maintaining the theme of the album we set out to achieve.
With pandemic dropping right after we started the writing process. With so much
time in our hands we gained in other areas. 9. Reverted has toured extensively and garnered a strong following over the
years. How has your journey as a band influenced the sound and themes explored
in your music?
We’ve always written songs that satisfies our thirst for music and our personal
enjoyment. Audience relating to our songs and relating to our music makes it
that little bit special. 10. The press release mentions a blend of soft and loud impulses on the
album. How do you approach dynamics and contrast in your songwriting and
arrangements?
The core of “Beyond the Labyrinth” is story line, and the music that supports
and elevates that. Album is dynamically organic and very experientially
immersive which are further heighten by the moments of sweet tender parts as
well as more spitting outburst expressed throughout the album.
11. How do you see Reverted's evolution from your early EPs to "Beyond
The Labyrinth," both musically and personally as artists?
Different things fulled us then compare to now. That has had the biggest impact
on our approach to writing. Little more complexity and maturity musically and
personally for all of us has brought us here and now. In early days we drank
whisky and beer now we drink wine Lol. 12. Could you share some details about your upcoming tour plans or any live
performances in support of the new album?
We’ve got few more videos to finalise for the record but we hope to get back on
stage around August/September. We’re excited to play some of the new material
to the crowd. And some old classic tunes like “Tolerance” 13. As a band, what message or emotion do you hope listeners take away from
"No Sympathy" and "Beyond The Labyrinth" as a whole?
Essentially we want our fans to take what they want from the album. In the end,
if it makes you happy and brightens up your day or helps you understand or
relate to something thats is positive in your life, then we’ve achieved
something truly inspirational. Or you just wanna listen to the record for the
sake of all mighty Rock & Metal, thats also awesome. 14. What are some of the influences or inspirations that have shaped
Reverted's sound and style over the years?
Influences were are lot more obvious on our earlier days, and everyone in the
band is inspired by different style of music. Metallica, Tool, Soundgarden,
Monster Magnet from vocal side. Here and now we have finally moulded all those
influence into our very own representation and thats what “Beyond the
Labyrinth” is essentially all about. Us doing us! 15. Finally, looking ahead, what are your aspirations for the future of
Reverted, and what can fans anticipate beyond "Beyond The Labyrinth"?
We hope to create a follow up album of course in the next two years but for now
we’ve got a whole bunch awesome songs we look forward to sharing with all of
you
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