Delve into the profound with Fretting Obscurity as we explore 'Das Unglückliche Bewußtsein' and its fusion of pre-Socratic philosophy with funeral doom and death metal.
1. Your
new album, »Das Unglückliche Bewußtsein«, explores themes inspired by
pre-Socratic and classical German philosophy. What drew you to these
philosophical concepts for this album?
To answer
your question, I'd like to give an example. One ancient Greek historian
(probably Herodotus or Hesiod, I can't remember) explained his compatriots'
interest in sea voyages saying, "We want to see how people in other
countries live, what they do, what they say, what their customs are. And also
we want to ask them: why don't you visit our country to find out the same about
us?" This question asked by the ancient Greek to neighboring nations
illustrates a sincere, honest curiosity. This trait is intrinsic to
pre-Socratic philosophy. It's a testimony of the primary movements of the human
mind along the infinite path of knowledge. I could go on about this, but to
save time, I'll say this. Like Faust, I find no place for myself in the pursuit
of knowledge. Faust is a figure from classical European philosophy, so German
philosophy is a logical object of my interest. And although I don’t know where
the path of knowledge leads, I do know where it begins - with the
pre-Socratics. With Parmenides and Heraclitus.
2. How
do you translate philosophical ideas into your music, particularly within the
realms of funeral doom and death metal?
I don't
think I "embody" philosophical ideas in music. Music is emotions + a
sense of beauty. Philosophical pondering gives me a feeling of despair. I don't
know why I'm here and why I have to die. I don't know why I should achieve any
goals if no achievement will be eternal and will end the same for me as for all
people - whether they have achieved something or not - with death. What is the
point of suffering? For what reason? Actually, I know the answer and it
depresses me. I understand everything and can explain everything rationally.
And so I don't see anything really good in anything that surrounds me. Only
beauty is left as a value. Beauty alone does not require reasons,
justifications, excuses. Music is one of the manifestations of beauty. And its
emotional coloring and genre affiliation are the result of my experiences. I
would like to write light, joyful, and life-affirming music. But it seems it
was not meant to be.
3. Could
you walk us through your creative process when composing and recording this
album? Were there any specific challenges or breakthroughs you encountered
along the way?
On the new
album, I used some ideas that didn’t make it onto the first album. Before the
band originated, I accumulated many drafts, so the second album is a direct
continuation of the first one. I wrote the music for it in 2021 and began
recording. In February 2022, when the album was half recorded, Russia started a
war against my country, and for a long time, I was not up to music. This became
the main challenge and still is. I am glad that I managed to see the release of
my album.
4. The
album features poetic influences from classic European authors. How do you
integrate literary elements into your songwriting, and how do they contribute
to the overall atmosphere of the music?
For me,
writing lyrics is the most unpleasant part of creativity. I believe that music
does not need words. But it often requires a human presence - which is provided
by vocals. So when choosing lyrics, I simply use texts that don't seem stupid
to me. I don't want to write my own lyrics - it would be blatant vanity. Two
thousand years ago, Ecclesiastes asserted that it's impossible to be original
because everything you think and say has already been thought and spoken by
countless people who died before you were born.
5. Your
music is described as a blend of flowing, melodic funeral doom with elements of
doom-death, black, and post-metal. How do you navigate between these different
subgenres while maintaining a cohesive sound?
I don't
think it requires special skills or indicates any of my virtues as a composer.
It's a pretty common genre mix. Probably, they just naturally suit each other.
6. What
emotions or themes do you hope listeners take away from “Das Unglückliche
Bewußtsein”?
I don't
have high hopes for the audience and don't strive to get something across to
anyone. This album is from me, about me, and for me. So why am I publishing it?
Just because I can. Also, I'm hoping for a miracle.
To say that
Ukrainian music influenced me would be an exaggeration, but I do love and
respect the Ukrainian doom bands Te Deum, Autumnia, and the black metal band
Nokturnal Mortum. In general, Ukraine has a strong black metal scene. But I
stopped being a fan of black metal at the age of 20, so I rarely listen to
Ukrainian metal music.
8. Can
you share any memorable moments or experiences from the recording process of
this album?
Some parts
were recorded during the air raid warning in Kyiv when missiles launched from
Russia were flying towards my city and dozens of other Ukrainian cities (which,
by the way, is still happening). A positive experience during the creation of
the album was working with sound engineer Volodymyr Trofimov. I'm glad I
connected with him.
9. Your
artwork choices for the album draw from various visual sources, including
Johannes Moreelse and John Martin. How do these visual elements connect with
the music, and what significance do they hold for you?
Johannes
Moreelse painted a picture of Heraclitus, which became the album cover. If I
were an artist, I wouldn’t have portrayed Heraclitus in tears. Heraclitus is
often called "The Weeping Philosopher," but in my opinion, this is
somewhat one-sided interpretation of the figure of this thinker. He didn't like
people because people are usually stupid. His philosophy was firm and filled
with sardonic bitterness. But it was not tearful. However, I liked the picture
because Heraclitus is depicted as an old man. And an old man crying is a bare
and unadorned expression of the truth of human existence. This is how I see
this truth: it does not bring consolation; it brings despair. However, I'll
repeat, it would be better if the artist had depicted Heraclitus without tears.
In despair, but without tears. As for John Martin’s paintings, I used them
because he illustrated Milton's Paradise Lost. I liked the mood of these works
and their connection with literature. These connections are another stroke that
enhances the feeling of beauty in what I do.
10. What's
next for Fretting Obscurity? Do you have any upcoming projects or plans for
future releases?
The drafts
and ideas recorded in my youth are over. If there will be a third album, it
will be written from scratch in every sense. Also, I feel that I have matured
enough to perform live. That interests me. But since I'm preparing to join the
army, this perspective seems quite hazy to me. To die for something, not from
something - it's also beautiful. Perhaps, it's the most beautiful thing I'll
ever manage to do. We'll see.
Thanks for
the non-banal questions. This is my fourth interview and your questions were
the most interesting.
https://bitumeprods.bandcamp.com
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