Interview Wurgilnõ

Discover the evolution of Wurgilnõ from Mergelland, its themes rooted in Southern Netherlands history, and the band's journey, insights, and aspirations in this interview.

1. Can you tell us about the origins of Wurgilnõ and how it evolved from your previous project, Mergelland?

In 2020, when the world went into lockdown, I was feeling quite fed up and decided to start a new Black Metal project, which became Mergelland. At that time, I was also involved in Corpusculum and Inverted Pentagram. I released one demo and an EP with Mergelland. In 2022, I began a Doom/Sludge project called The Curse of Yig, and when I had a bunch of riffs left over that leaned more towards Black Metal, I decided to start something new, which became Wurgilnõ. I could have continued with Mergelland, but starting something fresh felt better. Interestingly, the new album features a track that was originally written for Mergelland back in 2020.

2. Your debut album "De Doden Rusten Niet in Vrede" received favorable reviews. What inspired the themes explored in this album?

For "De Doden..", I didn't spend much time researching the stories back then; they were mostly small tales that I wrote myself. For the new album, I spent several months selecting stories, legends, and myths from my own region and made a selection from there. I love history, and our province certainly doesn't lack in that department. A history that began in prehistoric times and has continued through the first inhabitants of the Netherlands, through occupations by the Romans, Normans, Spaniards, French, and into our time. Our small piece of the Netherlands has experienced enough and tasted enough blood to write several more albums about.

3. "Krijtland," your upcoming album, is set to be released soon. How does it continue the narrative or themes established in your previous work?

As I mentioned, there's plenty of material in our history that I could just delve into, although for this album, I did do a bit more research and searching for stories. Some stories I used directly for inspiration for the lyrics, while for others, I added a bit of creative fiction. Besides the music, writing the lyrics should also remain a challenge for me.

4. Your music often delves into the legends and myths of the Southern Netherlands and Flanders. What draws you to these historical and cultural elements?

History has been a passion of mine since my early childhood; it's important to me for trying to understand certain aspects of life. Culture, in any form, is also significant. When I'm on vacation, I'm always deeply interested in the local culture—what are the cultural differences? Where did certain things originate? These kinds of things greatly interest me. So, it's not surprising that I find the cultural heritage of my homeland important. Limburg, both the Dutch and Belgian parts, has an incredibly rich history and cultural heritage. Because we only became part of the Kingdom of the Netherlands in 1867, we have developed differently here, and our own language is a good example of that. Even after all this time, many Limburgers feel no connection to the Netherlands and feel more drawn to our Belgian brothers and sisters.

5. The transition from Merg & Been label to Fetzner Death Records for your debut album's release was significant. How has this impacted your journey as a band?

Merg & Been is my own label where I mainly release my own music; it's easier for me that way. One issue that seemed to arise was that many other labels thought I was under contract with a label, Merg & Been. FDR was actually the first serious offer I received, and it felt right from the start. Alexander is a wonderful person to work with, and he's open to pretty much anything. Since we entered into this collaboration, I've been able to help him in various ways to grow his label.

6. Collaboration seems to be a significant aspect of your music, with releases on different labels and collaborations on EPs. How do these collaborations influence your creative process?

I enjoy collaborating; it helps me stay creatively engaged and expand my network. I receive occasional offers for releases and collaborations, and while I can't accept everything, there's often something beautiful that comes out of it. Soon, there will be a re-release of "De Doden rusten niet in Vrede + Angst" on a Colombian label. This is because the postage costs have become so high, and this way, I can ensure that South American fans can also get my albums. It was a really cool project to do, and it was a collaboration with Wesley Pluim, who has contacts in South America. This way, you're constantly meeting new people and forming new friendships.

7. Could you share some insights into your songwriting and composing process? How do you approach creating music for Wurgilnõ?

Typically, it starts with a story that I then write lyrics for, while in the meantime, I'm already working on writing riffs. I begin by searching for riffs and bridges that fit the story, then I write a second guitar part and determine tempos. All of this happens at my home, where I have my "studio," allowing me to work on my music at any free moment. When I feel that a song is ready, I let it sit for a while or I make an initial mix to listen to in the car or living room. Often, after a few weeks, I make adjustments and potentially re-record guitar melodies. It's a lengthy process, but it brings me immense satisfaction.

8. "Angst," your EP released in 2023, explores different sonic territories. How do you navigate experimentation while staying true to the band's core sound?

I've heard that from several people, and it was also mentioned in a few reviews. They found it somewhat more progressive than the album and slightly more accessible. For the Angst EP, I did take a bit more time, four months to be exact, and this allowed me to capture more details as I envisioned them in my head. There was indeed more room to experiment, but the foundation remained the same. On the new album, you'll hear this approach further developed, both in the songwriting and the production.

9. Your singles often have evocative titles like "Kraaien op het Galgenveld" and "Tot Eenzaamheid Verbannen." How important is storytelling within your music, beyond just the lyrics?

  Perhaps telling a story is one of the most important aspects of music. People often seek elements within music with which they can identify themselves, finding inspiration or even solace. I find it more important to tell a compelling story than to write about how incredibly evil I am and how I worship the devil.

10. What are some of the challenges you've faced as a band, and how have you overcome them?

Since Wurgilnõ is a one-man band, there are times when ideas run dry and absolutely no music comes out. During these periods of writer’s block, it's particularly tough for me because there are no bandmates to rely on. It feels like hitting a wall that I can't get over. But usually, after a few weeks or months, something or someone breaks through that wall, and then I can continue. Last December and January, I was in such a situation, and it felt really awful. Additionally, I handle everything myself—artwork, merchandise, sales, interviews, and so on. This naturally takes up a lot of time.

11. Looking ahead, what are your aspirations and goals for Wurgilnõ in the coming years?

In the coming months, I'll mainly be focused on the release of the new album "Krijtland." Additionally, I'm working on a project called Vergankelijk with the vocalist from the Belgian band Nether, which leans more towards Doom with Black Metal and Sludge influences. We still have a lot of work ahead as we've laid out concepts for three albums that are interconnected, exploring the transience of the mind, body, and soul. Then, in August, a new Wurgilnō track titled "Blokbreker" will be released. I anticipate a new album next year. There are plans to take Wurgilnõ live, but so far, they're just plans.

https://wurgilno.nl/ 

Interview SoundScars

In this interview, we explore SoundScars' debut album "Legacies," discussing the project's diverse themes, creative collaborations, and the unique blend of musical influences that shape their sound.

1. Can you delve into the concept of "SoundScars" and how it reflects in your music?

In my opinion, music is the manifestation of the most pure and deep feelings of the musician... In good od bad ways... And the music also has the power to change the listeners, modifying their way of life sometimes. When you bring your truth to your music, you have a great chance of having a deeper impact on those who listen. That´s what I´m trying to do.

2. "Legacies" seems to be a central theme in your debut album. Could you elaborate on what inspired you to explore this concept?

Today the world is quite weird. Actually humanity is... War everywhere... Climatic problems, pandemic, denialism... All of this made me think: what will we leave for the next generations? What will be our legacies? In this scenario, Ashes to Ashes and Sunrise are directly related to the Amazonian destruction and pandemic legacies, respectively... But what are the other legacies that influence our lives everyday? As a consequence, I threw myself into ancient civilizations, and into the mind of serial killer and schizophrenia patient, also focusing in the genetic inheritage.

3. How did the collaboration with various vocalists shape the sound and feel of "Legacies"?

Since the first moment, I decided that SoundScars would be a project with no  fixed formation due to I´m interested in find the voice that best matches the proposal of each song. And this crazy journey was delicious! I was very Lucky because I found five incredible singers that became friends. I´m very satisfied with the final result, I think we managed to get the best out of each of them. The sweat voices of Gabby and Lorena contrast with the powerful and strong voices of Leandro, Anna and Vinicius, resulting in a very diverse álbum, exactly as I wanted.

4. Can you walk us through the process of creating the eight songs on the album and how each one contributes to the overall narrative?

Excellent question. At first moment, the people probably will think in each song individually; each song is telling a completely isolated story. But if you listen to the whole album, song after song, in our proposed order, the ambiences and timbres will catch you, taking you to an ethereal place. It makes you think about not even the legacies described, but also many other possibilities, exactly as I wanted. Legacies is very homogeneous album in relation to how it sounds... The mix is amazing...

5. As the guitarist, composer, and creator of SoundScars, how do you balance your vision with the input of collaborators like Celo Oliveira and the invited musicians?

Another excellent question. Each guest that I invited brought something to our sound. Each singer interpreted my melodies and lyrics in their own way. Sometimes small modifications were made... In all times, to make the songs even better. My friend Wallace Oliveira created two fuckin crazy solos for Delicious Addiction and Regression No Regret songs. These solo took the songs to another dimension... And what can I say about Celo Oliveira? He is my brother, a real genius. He played all other instruments, helped me in the arrangements... And He was perfect in the mixing and mastering processes. For sure, without Celo this work this work would not become what it became. Thank you so much guys!

6. Your influences range from classic heavy metal to Brazilian popular music. How do you blend these diverse elements into a cohesive sound?

Yes, I have different references in almost all music styles. And I didn't want an album that sounded as just another traditional metal album... I wanted to surprise people with every compass. Of course, many bands in symphonic, prog or power metal among other styles, mix elements from classical or folk music. I always love this kind of thing! I tried to put my fingerprint, bringing something new especially from brazilian music. Absolutely all incorporated elements can be heard. There is some songs with almost 60 tracks including orchestra,  percussion, etc. I hope you enjoy.

7. In "Legacies," you touch upon a wide array of themes, from genetic inheritance to the impact of ancient civilizations. How do these themes resonate with you personally?

I´m PhD in cell biology, believe or not! I have a job as biology researcher in a huge research center here in Brazil. Genetics is basically my daily life. But I really curious and I like to study different things like more about old civilizations, would be the gods astronauts? I thought that it is a theme that poorly appears in metal songs. I tried to develop different subjects not to write more of the same... Sunrise was wrote in critical moment of pandemic, when almost everyone loss our hope. I think I must write something to never forget what we are passing through. On the other hand, Legendary Tales is a tribute to brazilian fairy tales that my grandmother usually read for me when I was a child. Yes, all songs are a kind of scars, marking my life in different ways.

8. Could you share any memorable moments or challenges you encountered during the recording process of "Legacies"?

As an independent artist, there are too many challenges everyday. I think one of the main challenges was dividing myself between my job as a biology researcher and recording the album. It was a week sessions during 10 months! It was hard but it was an opportunity to learn many things about the process with my friend, the legend Celo Oliveira. Guys, this man is out of the world! There are many memorable moments, but I will highlight one, during Legendary Tales recording. We needed a percussion to compose the ambience during the original people dance, and nothing was fitting well. During a holliday in Atacama desert, I found in a souvenir store, my perfect solution! A typical rattle of that Chile area! Of course I bought two or three with different timbres, and the result you can check it out in the song.

9. As a musician with a diverse range of influences, how do you see the role of SoundScars within the broader music landscape?

It´s so crazy, man! It is kind of a dream that is becoming true. I´m showing “my scars”, and many people are liking! SoundScars is showing a little bit more about the brazilian music and culture, and how we can mix it with heavy metal. I hope to spread good things, talking about new topics, always bringing innovations such as different combinations, instruments whatever.

10. Looking ahead, what can fans expect from SoundScars in terms of future projects or endeavors?

I think fans can expect more surprises. Definitely, I´m not bound by any rules nor segment. The next album is being composed right now. It will be a heavy metal album, for sure, always. But once again, I will bring some subjects and elements that make difference from many other tradicional heavy metal albums released every year.

11. Lastly, how do you hope listeners will connect with and interpret the themes presented in "Legacies"?

Following the concept SoundScars: I hope people after listening will no longer be the same; it makes sense for the people, creating a soul scar (another good name for a band!). If musicians listen and like it, I also hope that Legacies become a musical scars of this guy, influencing his compositions somehow as my scars named Iron Maiden, Blind Guardian, Nightwish among many others did with me.

soundscarsproject | Instagram | Linktree

 

Interview Delirium's Dawn

In this interview, Delirium's Dawn discusses their evolving lineup, latest single "Disintegrate," and the diverse influences shaping their sound. They also share insights on managing their career independently and their plans for future projects.

1. Your band has undergone several lineup changes over the years. How has this affected your sound and songwriting process?

Absolutely! Each of our drummers had their own style, and I mean that in a positive way. We hang out, check out other bands, go to live concerts, and exchange ideas. This naturally shapes the band's sound.

At the same time, with each lineup change, fresh wind has blown in, and we've explored new styles. Initially, we were very thrash-heavy. With the switch from Tobias to Max K., we ventured into Melodic Death Metal. Then Max T. came along, and we explored the realms of Djent. With Manu, we've landed in Melodic Metalcore. This is where we currently feel very comfortable and want to write awesome songs!

2. Your latest single, "Disintegrate," explores the theme of artificial intelligence and its potential impact on humanity. What inspired you to delve into this subject matter?

In our lyrics, we have always addressed contemporary issues, which is again the case with "Disintegrate." AI is a double-edged sword; on one hand, it can solve many of today's problems. On the other hand, entire professions are at extreme risk. In the music business alone, there are already several ways to use AI to write lyrics, create riffs, design cover artworks, and even compose entire songs based on keywords. So, it was only logical for us to tackle this topic, and I believe we've executed it extremely well.

3. Delirium's Dawn has been described as a blend of various metal genres such as Heavy, Thrash, Death, and Progressive. How do you manage to incorporate these diverse influences into your music while maintaining a cohesive sound?

I think the first albums by In Flames were very influential for us. In Flames had already managed to blend very melodic folklore with metal using the Gothenburg sound. Additionally, there are four individuals in this band, each has its favorite bands and influences. With these, it's not that difficult to incorporate various styles into a song. However, it is also like playing with fire; if you mix too many styles into a song, you automatically narrow your audience. With "Horizons," I think we found a very good middle ground. Nevertheless, we want to focus more on a Melodic Metalcore sound in the future.

4. "Horizons," your fourth album, is noted for its exploration of different musical genres. How do you approach experimentation within your music while staying true to your core identity as a band?

With "Horizons," we wanted to take a step further and expand sonically. "Horizons" is an album where we revisit styles from our past and spice them up with other styles, such as brief salsa passages. Our core identity has somehow always been in flux over the last 20 years, and we're used to it.

5. As an independent artist, how do you navigate the challenges of the music industry, especially in terms of promotion and distribution, and what advice would you give to emerging bands in a similar position?

Commit yourself and plan ahead. Think about what you want to achieve in the next two years. Album, EP, tour? Plan promotion times, and so on. Everything comes down to your strategy. Since three of us have families, planning ahead is key to maintaining a healthy balance between our regular jobs, our families, and the band.

6. Your band took a break between 2011 and 2012. How did this hiatus impact the band's dynamics and approach to music upon your return?

When Max left, we were obviously at a standstill at first. One thing was clear: we were definitely going to continue, more modern and technical. We wrote new songs and started looking for a drummer (once again) and found one in 2013. Manu was exactly the guy we needed. Technically skilled and a chilled dude.

7. The songwriting process can often be complex, especially when combining different musical styles. Can you walk us through your typical songwriting process and how you collaborate to bring your ideas to fruition?

In the past, Ary often worked out large parts of the songs. In the rehearsal room, we jammed to the songs and exchanged ideas. Here and there, ideas for songs also came from Younas and Tom. One way or another, a song was born. With the current single, we've changed our approach: we collectively choose a song from another band that we like in terms of mood and try to translate it into our sound. A big difference from before is that we first focus on a really good chorus melody, whether it's for the lead guitar or the vocals.

8. Your music has gained recognition both locally in Munich and internationally. How do you perceive the differences in audience reception between your hometown and other parts of the world?

Metalheads are pretty much the best audience you can have anywhere. You're warmly welcomed everywhere, and people have an awesome time. Of course, there are "local customs": In City A, people go wild from the first note, in City B, they might need to "warm up" first. City C might need a brutal breakdown as an icebreaker. But at the End of the day, every Audience has its own charm.

9. "Disintegrate" is self-managed in terms of production and mixed by Ary Keshtgar. How important is creative control for Delirium's Dawn, and how does it contribute to the overall artistic vision of your music?

We have always done everything DIY. In the beginning, it was simply because we had very little money. Over the years, our skills naturally grew, thanks to Ary's strong technical interest. He is always up to date with the latest sound technology and can therefore mix our music to match the sound of our influences. So, it has never been a question for us to hand the mix over to someone else. Of course that doesn't mean it couldn't be an option in the future.

10. Looking ahead, what are the next steps for Delirium's Dawn? Are there any upcoming projects or goals you can share with your fans?

Since we have released only singles and albums so far, we are planning to release our very first EP in 2025. Then, of course, gigs, gigs, gigs. We're already working hard to set things up for 2025, also to properly celebrate our 20th anniversary as a band. We have other plans for the 20th anniversary, as well. But they are still top secret ;-)

DELIRIUM'S DAWN Melodic Metalcore from Bavaria, Germany (deliriumsdawn.de)

Musique | Delirium´s Dawn (bandcamp.com)

DELIRIUM‘S DAWN (@deliriumsdawn) • Photos et vidéos Instagram

DELIRIUM'S DAWN - No Way Out [Official Music Video] (youtube.com)

 

Interview Wound Collector

Peter, a classically trained musician, merges saxophone with death metal in Wound Collector. His passion for both genres fuels this unique fusion.

1. How did the concept of merging saxophone with death metal come about, and what inspired you to pursue this unique fusion?

Peter : Actually I’m a classically trained musician with several conservatory diplomas and lots of orchestra and chamber music experience. My heart has always truly beaten for death metal as it is the music that moves me most. When I was young I played bass guitar in a band but just didn’t cut it for me. The saxophone is an extension of my body so the speak, it’s the language I speak best. Therefore in my head it makes perfect sense to combine saxophone and death metal.

2. Peter, as the founder and saxophonist of Wound Collector, how do you approach incorporating saxophone into a genre typically dominated by guitars and growling vocals?

Peter: For Wound Collector I use the tenor sax which makes it easy to play both solos or melodies and go along with the rhythm guitars as well. Most of the time I take the part of the lead guitar but since Poncho joined the band I like to go along with the other guitar and bass parts as well.

3. Guy, Poncho, and Stijn, coming from diverse musical backgrounds, how does this influence the creative process within Wound Collector, especially when crafting the intricate layers of your sound?

Guy: It's precisely the diverse nature of our tastes and interests that all adds that extra layer of spice to our flavour. Peter does all the heavy lifting concerning writing and arranging the songs. We just add our playing style to the mix. And if we write tracks, then everything goes into the Wound Collector blender and what comes out will always sound like us. Consistency is the key and if it doesn't fit, it doesn't get used or we change it so the final result does feel like one of our tracks. There's always tweaking involved, but the blueprint will usually shine through. Besides, we all like metal in its various guises, so throwing in some stuff coming from different genres makes it more fun to play. We have some Balkan in there, some Latin stuff, … In the end, it will always be brutal, but me personally, I have never understood sticking to only 'genre' items. Variety makes things stay interesting and alive if you toss it all in a blender.

4. Nico, having been with Wound Collector since 2018, how do you contribute to the band's distinctive blend of epic saxophonised death metal, especially considering your background in other death metal projects?

Nico: I hit the skins and make the coffee!

5. "Begging For Chicxulub" is your latest EP. Could you share the thematic inspirations behind the tracks, particularly focusing on the title track "Chicxulub"?

Peter: Chicxulub is the name of the meteor that set the eradication of dinosaus in motion. While at one hand we are describing our version of how we think it could have happened, at the other hand we are actually “begging for Chicxulub” to come back and destroy us like it did with the dinosaurs. Humanity didn’t do a good job at maintaining the planet, you know. Especially with the climate crisis and the amounts of waste we produce it feels symbolic to make a new start as a race.

In ”River Of Scalded Corpses” we describe the biggest boat accident recorded in American history when the USS Sultana got on fire in the middle of a big river during a Winter night. This disaster was documented only briefly because the Americans were already fed up with the news of the Civil War. More American history is sung about in “Dehumanized By The Auburn System” which is about the prison system of the late 19the century up till the 60’ies. “Progress Through Dishonor” tells the story of Russian scientist Vladimir Demikhov who performed gruesome experiments on animals in order to learn more about transplantations.

6. Your music videos often carry a strong visual narrative. How important is storytelling for Wound Collector, and how do you ensure that your visuals align with the intensity of your music?

 Guy: All songs are stories in essence. This goes double for us, because our lyrics deal with historical facts. So you need something to get that across as well. It's useful when Peter already has ideas in his head about how something has to look on screen. If you have a song like 'Seduced Into Depravity' which talks about legendary exotic dancer/spy Mata Hari, you need to have that seductive and lethal edge, so you get a female dancer to play the character. When singing about the massive comte that struck the Earth and nearly wiped out all life, you need those images of natural destruction and chaos. Even though the added layer is how about the world at times seems so screwed, you'd almost wish for another comet to impact the planet so it could start over fresh.

7. With guest vocals from Tommy Dahlströhm of Aeon on "Depravity," how do collaborations like these enhance the overall dynamics of your albums?

Guy: The basic point is that it always has to add something to the track. You could put together an entire album with guest appearances, but if it doesn't add to the song, then what's the point to start with? And seeing as some of us have been Aeon fans for a while, it felt like a good choice to get Tommy to do some growling. He was easily approachable as well, which makes it all the more fun. For some people, you need to jump through an insane amount of hoops (management or otherwise) before they even know you exist. Here, it was a simple question and a while later: done!

8. Peter, you've had an extensive career as a saxophonist, spanning various genres. How does your classical training influence your approach to creating and performing death metal with Wound Collector?

Peter: In fact I take a lot of my experiences into Wound Collector. When we record my saxophone solos in the studio it’s always surprising how much influence from balkan is inside of them. Also free jazz and free impro is carried out regularly in the songs but always aim to have the sax parts intertwined within the songs in a suiting style and manner. While composing a often use classical forms. For instance the song “Death By Guillotine” from our second album is actually a baroque rondo.

9. The band's lineup has evolved over the years. How does this evolution affect the band's sound and dynamics, and what strengths does each member bring to Wound Collector?

Guy: Every member brings something to the table and we all have our strengths and weaknesses, but as a unit, we function with deadly precision. People sometimes leave for various reasons, but you should always look ahead. And we now have had a really solid line-up for a while. Peter's a friggin' genius on a level of musicianship I can't even begin to fathom, which is fun because he writes cool tunes. :-p Stijn is probably one of the best bass players out there with a really cool style; Poncho has the soaring lead chops and Nico is a bloody machine. I once jokingly referred to him as the Belgian Flo Mounier, but that actually isn't far from the truth in skill and tightness. I'm just a tight rhythm player with a big mouth, so I'm playing catch-up, but it does force me to keep on improving and I need that kick in the backside or I probably would have never left the three-chord-chug back in the day.

10. In your live performances, how do you recreate the studio sound of Wound Collector, especially with the complexity of saxophone integrated into the music?

Guy: That isn't too difficult, actually. I mean, sure: we don't have the occasional bass saxophone, but we pride ourselves in putting to disc the things we can play live. There's no backingtracks, no extra layers that we could never recreate live. We're a meat-and-potatoes band, so what we bring live isn't thàt different from the record, except you can see us going bananas on stage. Our albumsound and stagesound are fairly close together. Some bands sound vastly different live from their albums, but I'm fairly certain we stay consistent.

11. Can you share any memorable moments or challenges you've faced as a band, either in the studio, on tour, or during live performances?

Guy: Suddenly not being able to play decently as soon as that 'Record'-light is up? XD Speaking for myself, I always get way too nervous in the studio. It's fun hearing songs truly come together, but getting there is nerve-wracking at times. For me, at least. I can say that life is now a lot easier since we've added Poncho, because before that I had to lay down all the guitatracks and that is exhausting at times. Now it's split more evenly. Doing vocals is more fun for me, because I can lay them down rapidly and pretty consistently as well.

Peter : One of the biggest challenges we face is getting booked by organisors who haven’t seen us live before. Many of them think the saxophone is a bit too curious or experimental fort heir audience. But once they’ve seen us live they usually are pursuaded to book us anyway and give it a shot.

12. Looking ahead, what are your aspirations for Wound Collector, both musically and in terms of reaching new audiences or exploring new territories within the metal genre?

Guy: Reach higher is probably the biggest thing. First and foremost playing live a lot and steadily doing bigger venues or festivals. That is the main thing for me. Sure, having a label backing us to take care of promo and all the less rock 'n' roll things would be great, but I just want to play live so that more and more people can enjoy what we bring to the table.

Peter : Musically I’d like to bring a bit more edge tot he table still. Wound Collector has a great line-up of skilled musicians and I want to explore these skill further. It will always be a form of death metal but there’s a whole playground there that I still want to figure out more and more.

Wound Collector

Home | Wound Collector (bigcartel.com)

Musique | Wound Collector (bandcamp.com)

 

Interview Arhat

Uncover the mysteries of Arhat's 'Secrets of Ancient Gods' album as we delve into its inspirations, unique genre fusion, social messages, creative process, and future plans.

1. Could you tell us more about the inspiration behind your latest album "Secrets of Ancient Gods"?

The album will tell about initiation into the Higher Knowledge and secrets of Ancient Egypt.  More precisely, about the path to acquiring this knowledge, which the adept is destined to take.  Each song is a fragment of an adept's journey along the path of ancient knowledge.

2. How did the concept of combining ethnic elements with extreme metal genres come about?

We decided to combine ethnic instruments and extreme metal just because few bands did it before us.  It is difficult to repeat oneself here, and therefore there is a wide range for creativity.

Secondly, the ethnic instruments add just the right atmosphere to emphasize the lyrics and help the listeners immerse themselves in ancient times.

3. What specific themes or messages are explored in your new single, "Our Walk Is Unstoppable"?

The main message of the song is related to the spirit and inner feelings, the impulse of which gives the power to change circumstances in favor of oneself.

4. You mentioned that you dedicated "Our Walk Is Unstoppable" to defenders who protect Ukraine.  How important is it to you to include social or political messages in your music?

Now for us, Ukrainians, it is very important.  For more than two years, we have been repulsing the aggressor who outnumbers us in all types of weapons.

Thanks to the help of all civilized countries and the bravery of our soldiers, we have the opportunity to live a relatively safe life and write music.

Now we have the opportunity to remind the world about the ongoing struggle of humanity, the struggle against global evil, which is currently represented by the russian federation.

5. Can you share some insights into the creative process behind the song "Our Walk Is Unstoppable"?

We had an idea to create a song that would inspire determination and strength.  According to the first feedback from the listeners, we think that we have succeeded.

6. How do you think the use of instruments such as Turkish ney, sitar and percussion enhance the narrative and atmosphere of your music?

Here everything seems to be simple: "what I hear is what I imagine".  Hope that's how it works:) That's why we selected the instruments in such a way as to convey the atmosphere of ancient times, as we perceive it.

7. What challenges did you face when combining symphonic orchestration with ethnic elements on Secrets of Ancient Gods?

The more instruments, the more difficult it is to combine them into one track, to create a single space.  But Dmitry Kim did a great job with this task.  We are very satisfied with the overall sound.

8. How has your sound evolved from previous works to this album?

Before "Secrets of Ancient Gods", we made several releases. This is our first full-length album "Dead life" and a number of singles ("Stately ruins", "Symbols" and "The Great Unknown"). Lyrically, they covered mainly social  problems of humanity. Musically, it was a combination of minimalist mid-tempo riffs, heavy sound and melodic guitar solos.

In "Secrets of the Ancient Gods" we used more complex musical structures, rich arrangements and a large number of ethnic instruments to emphasize the atmosphere.  We had a lot of fast-paced compositions with technical guitar parts and complex drum arrangements.

It's always difficult to talk about our own music in terms of evolution. We'll leave that to the discretion of fans and music critics. Be sure to listen to our new album and leave feedback on it))

9. Are there any particular mythologies or ancient civilizations that heavily influenced the album's lyrical and musical themes?

Yes, primarily the mythology of ancient Egypt and the works of Iamvlich of Halkidiki and Aleister Crowley.  They have explored this question to some extent.

All the songs on this album were written under the influence of their works.

10. What do you hope listeners will take away from listening to "Secrets of Ancient Gods"?

We hope that those who will hear our music will first of all get aesthetic pleasure from what they listened to.

Secondly, maybe someone will be interested in what we are singing about there and read a couple of books :)

11. Can you describe the meaning of the album title and how it relates to the overall concept of the music?

The name should be intriguing, right?  And what can be more intriguing than a secret?  The name also contains the number seven.  Seven Arcana of the Tarot were chosen for the texts, and we embodied their meanings in music.

12. What are your plans for promoting the album and communicating with fans, especially given the current world music landscape?

In today's world, basically everything is promoted with the help of social networks.

We also use this method. We have our pages on various Internet resources.

Also, as a promo album, we will play several concerts in the capital of our country.

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Interview Scarlet Anger

Welcome! We're here with Scarlet Anger, discussing their latest album "MARTYR" and its themes, a departure from their previous work, and their artistic evolution.

1. Your latest album "MARTYR" was released in January 2024. Can you tell us about the themes and inspirations behind this album?

Our themes are mostly taken out of everyone’s life and problems most of us has to face. We aren’t a political band, neither are we going to be one in the future. The lyrics of the title song MARTYR for example explore the concept of martyrdom and how one sacrifices to achieve personal goals. The text encourages facing the pains and challenges of life and overcoming one's fears. It emphasizes the need to free oneself from negative influences and the past in order to step into the future.

2. "MARTYR" marks a departure from your previous album "Freak Show" in terms of artwork and focus. What influenced this shift in direction?

We wanted to push our music once more to the foreground. Maybe we also needed to break the chains from our mascot the dark clown. I don’t know. But also, all the artwork you’ve seen from us over the years was all from ourselves. Mostly from our guitar player Fred. Particularly on FREAK SHOW Fred did an amazing job as he has drawn a cover for every single song of the album. You can explore it in the booklet of the album. That meant tons of work. We didn’t want that he had to shoulder that again 😉. The cover of MARTYR was in fact not meant to figure as a cover. It was a natural process during our promo photo shoot. We’ve thought that the colours and everything is so cool that we wanted it as the cover.

3. Your band has a unique blend of thrash metal with elements of classic comics and horror stories. How do these influences manifest in your music and lyrics?

Joe, our singer and Fred were the main forces of these elements as they are huge fans of comics, horror stories and b-movies. Both know each other from their early childhood, so that happened automatically that these elements entered their art. But as I mentioned before, the new album MARTYR is more about challenges every single one of us could face in their life.

4. You've mentioned dropping your trademark dark clown imagery in favour of putting the music further in the foreground. Can you elaborate on this decision and its impact on your artistic direction?

It was a natural process. We took it to the extreme on FREAK SHOW as Fred has drawn a cover for each song. That was huge work and we’re very proud of the result. But we had to move on. 4 of us wanted to drop the clown, me not 😉. But I could accept that. I always liked bands that move on without dropping all of their trademark. I think our unique stye of thrash with a lot of melodies in the choruses hasn’t changed that much. Maybe the songs on MARTYR are more mature as on the albums before. That’s the main difference I would say.

5. The cover artwork for each song on "Freak Show" was done by Fred Molitor himself. How important is visual art to the overall presentation of your music?

Now I think it’s less important than before. We don’t take the dark clown on the stage anymore. It’s all about the music and the performance. I don’t think, or at least I hope that you’ll not be bored on one of our shows. Just pass by and we’ll do everything to convince you.

6. Your music videos, such as "The Abominable Master Gruesome" and the lyric videos for songs like "No Time" and "Martyr," have a distinct aesthetic. How involved are you in the conceptualization and production of these videos?

The idea for “The Abominable Master Gruesome” came from the director/producer of the clip. His name is Mike Tereba, also from Luxembourg. It’s the story about the dark clown, why he is (or was😉 ) such a badass. That was a huge shot. The recordings took us 2 complete days. But the time has also changed as lyric videos became more and more popular, and to be honest, nowadays I prefer lyric videos (when they are well done) to normal ones. You get the possibility to check the lyrics and the theme of a song in one time.

7. With extensive touring and festival appearances, how do you maintain energy and keep performances fresh night after night?

All of us have their day jobs as we have to pay our duties as everyone else. An extensive tour with several months on the road isn’t possible for us. But, we’re welcomed to a lot of festivals which is great. You come around and get the possibility to present your music to a wider audience as on normal club shows.

8. You've shared the stage with notable bands like Soulfly, Anthrax, and Megadeth. What have been some of the highlights and challenges of touring with such iconic acts?

Unfortunately, we haven’t toured with them as I mentioned before it would be very difficult. We have been asked several times supporting some other thrash bands through Europe, but unfortunately we couldn’t took the risk of not paying our duties at home. So the shows with Anthrax, Soulfy,… were supporting acts for specific club shows.

9. In addition to performing, you've also been booked for various festivals. How does the experience of playing at festivals differ from traditional concert venues?

Summer festivals are great. You come around, see many different people from different countries. The festival crowd differ not that much to traditional concert venues, except maybe, they are in an even better mood as most of them don’t have to take the car to get home. They sleep on the camp ground. So they can drink AND rock 😉.

10. Looking ahead, what are your goals and aspirations for Scarlet Anger in the coming years, both musically and professionally?

First of all stay healthy! Second keep this band alive as long as possible. We’re on the road since 2007. We’ve already seen many bands we’ve played with which don’t exist anymore. I think with MARTYR we’re on a good way. Maybe we’re gonna release some singles in the nearer future. It surely will not last once more 6 years to the next release 😉.

Scarlet Anger | Thrash Metal from Luxembourg 

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Interview Hell in the Skies

Discover the origins of Hell in the Skies and their unique Swamp Metal sound. Explore their latest EP 'II' and the band's influences, live performances, collaborations, and future aspirations.

1. Can you tell us about the origins of Hell in the Skies? How did the band come together, and what inspired the creation of your unique Swamp Metal sound?

Hell in the Skies was founded in 2017 as a small project by Solas and Asmoday. Over time, enough songs were created to record an album and Garmr came in to play bass. In order to be able to realize a dynamic live performance, a drummer and another guitarist were still missing. These parts were ultimately taken over by Baal and Baka and the band was complete. The swamp metal sound was not a concept that was pursued. It emerged from the band's individual influences and thus found its unique style.

2. Your latest EP, "II," is set to release soon. What can listeners expect from this new collection of songs, and how does it compare to your previous work?

Solas: In any case, you can expect a real HITS album! Our sound has gotten better thanks to more focus on mix and master. Otherwise, we remain true to ourselves and once again created a proper swamp monster for our listeners.

3. The themes in your music seem to draw from a wide range of sources, from mythology to the depths of human psychology. What influences your songwriting process, both lyrically and musically?

Baka: For me personally, influences only arise unconsciously. When I write new songs, I don't pay attention to specific directions. It always starts with a riff, which then expands into a song until the end. When Asmoday's lyrics are added, I take inspiration from them and use them to write additional melodies and solos.

Asmoday: Lyrically I'm often inspired by life itself or the experience of emotions but also by books and movies.

4. Your live performances are often praised for their authenticity and intensity. How do you approach translating your studio recordings into compelling live experiences, and what do you hope audiences take away from your shows?

Baka: We basically write our songs so that they can be broadcast live one-to-one to create a certain authenticity. In every song you will hear everything that you can find on the record live. This creates good interaction for us and gives people a good show. We´re happy when people in front of the stage can just completely surrender to the music for an hour and forget about everyday life.

5. Swamp Metal is a distinctive genre that combines elements of classic Metal, Stoner, and Doom. How do you navigate blending these influences while maintaining your own unique sound?

Baka: As I said, our sound arises unconsciously from the influences of each individual. It's just the way we interact. We have certain bands that we love in equal measure, like Black Sabbath. Things like that automatically flow into the music.

6. Collaborations and partnerships seem to be an important aspect of your artistic vision. Can you share any insights into the collaborative process within the band, as well as any potential future collaborations you're excited about?

Solas: How often is it that one person can change everything? The right contact, a good relationship with the right circle and, ideally, in such a way that everyone benefits from it. I think the network and supporters in all areas can never be big enough. We still need a good booking managment, or the right 1-2 bands with whom we could do smaller tours. Yes, something like that would be just right.

7. Your music has been described as both hypnotic and organically intense. How do you achieve this balance between entrancing melodies and raw energy in your compositions?

Baka: Depending on the riff, Baal plays his drums in a very focused and selective way. This makes it possible to develop a hard dynamic sound. Garmr (bass) creates the bridge between the hard riffs and the melodies played in a minor key. I personally have a penchant for melancholic passages and like to explore them with passion. The ending melody of “Vicious Scorn” serves as an example.

Asmoday: When we write a new song, we try to create a certain mood depending on the theme.
I change my vocal tone depending on the dynamics.
During calm passages, I will tell you a story (mostly with a clean voice) and during the peaks of the song, I will scream my heart and soul out.

8. The imagery associated with Hell in the Skies, from your band name to your album artwork, evokes a sense of darkness and mystery. What role does visual aesthetic play in conveying the themes of your music?

Baka: I think everyone has a certain idea of ​​what it might look like visually when they write the songs. We are all film lovers and classify our feelings and emotions that come from the music. When it comes to creating everything visually, it is done very democratically and everything that can be seen of us also reflects our inner being.

9. As a band, you've shared the stage with a variety of established acts. How has this exposure influenced your approach to music-making and performance, and what have been some memorable moments from these experiences?

Asmoday: For my part, I can say that I always take away a piece of experience. Whether it's during my own performance or while observing other musicians, you pick up a few tricks here and there as well. My biggest success so far was playing with Sepultura, because they are like the heroes of my youth.

Solas: Oh man, I don‘t think it really influences us that much. The five of us are all such distinct and clear characters that we don‘t do a lot of watching or reinventing ourselves based on fresh encounters. Everyone has their own style and I don‘t think it changes much anymore. I think what really sets us apart is that we don‘t try to join in with anyone else, but rather we clearly follow our own path. And of course all backstage stories are secret! Sorry, hahaha.
10. Looking ahead, what are your aspirations for the future of Hell in the Skies? Are there any upcoming projects or goals you're particularly excited about pursuing?

Our future goals are to promote our new album and do some gigs. In the meantime we are writing new songs and preparing for the third album at some point.

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https://hellintheskies.bandcamp.com/

 

 

 

Interview Erik Hansen

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

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

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

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

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

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