Interview Mass of Amara

Mass of Amara's latest EP "Through The Ether" showcases a blend of muscular sounds and lush atmospherics. Here's an exclusive look into their creative process and influences..

1. Congratulations on the release of "Through The Ether"! Can you tell us more about the creative process behind this EP and how it differs from your previous releases?

Preston: Thanks so much! We've had these songs in the works for some time and were so excited to finally share them with the world! So the creative process for this EP really just stems from either me working on a song at home and bringing it to the band or victor working on a song and we get together and flesh out the ideas and song structures. Once we get to a point where we're like hey the song is just about done, that's when we'll hand it off to Ella so she can begin to write her vocal parts. Id say the only major difference is that this EP has our other members on the recordings and their ideas as well. Prior to the EP all of our singles and first EP were done by me and ella back when it was just us in the beginning.

2. The EP features a mix of muscular sounds and lush atmospherics. How did you achieve this balance in your compositions and recordings?

Preston: Personally, I feel we established the mix of "brutal but pretty" when Ella and I made the MoA debut with our take on Bjork's "Army of Me". Naturally that song already has the pretty and dark elements so when we did that song I was like all it needs is a fresh heavy riff and her brutal screams to really make this version ours. After that we had our song rebirth written but not released till way after, and if you listen to that song, that's the true first original song we wrote for this project. It perfectly combines the ethereal yet brutal side of our sound. I think that's honestly where it all began.

3. Ella, you wrote the lyrics for the EP, exploring reactions to life's problems and occurrences. What inspired you to delve into these themes, and how do they resonate with your personal experiences?

Ella: When I write I like to pull from my experiences and what I am currently going through because to me that is how I best write. The more personal I get, the more relatable it can be and I always aim to connect with whoever listens to our music. During the time I was writing this EP, there was a lot of confusion and fear because I had gotten deeper into my spiritual healing and had to unlearn and relearn a lot of things. I felt like such an amateur in a lot of the process because I still think there is a lot of room for me to grow in and get better at so sometimes I can feel lost and that's really what writing is for me, it's a way to remain grounded in the process of self awareness and growth.

4. The track "The Ether" serves as an interlude and intro to "Storm." Can you explain the significance of this interlude and how it connects the two songs?

Preston: So when I wrote the song, it also had this pretty drawn out intro for it, I definitely envisioned it being the intro and our walk out track for when we'd start playing shows, it just had the perfect length that built the hype for what was about to start and the bam, the song kicks off and were off. That honestly was its main purpose. Funny enough though, once we had everything mixed and ready to go, it was very apparent to everyone the song that had the strongest kick off was unspoken. no intro no count off just a single punch to the gut and its on. So the ether now serves its purpose as a short break before the song storm kicks in and closes out the EP. Looking back on it now I definitely think this is the best way it could've played out.

5. With influences like Periphery, Spiritbox, and Gojira, how do you integrate these inspirations into your music while maintaining your unique sound?

Preston: Honestly I feel like our sound just comes naturally. there's absolutely no doubt there's some songs that may sound like one band or another, but once Ella enters the picture its no longer a "Jinjer" or a "spiritbox" song, on top of that once we add our layers of synths or guitar leads it definitely alters the vibe and what once was a "Jinjer inspired song" doesn't sound all that close to Jinjer in the end. Great example would be our song "Eyes for Perception" on our first EP, I was jamming Jinjer around that time, and i definitely can see that without the vocals that could be a Jinjer song all day, but Ellas voice is just too unique, and to steer it away from the Jinjer I think I threw in an old school deathcore breakdown to really help make the song more us.

6. You mentioned that "Through The Ether" explores the infinite unconscious. How do you tap into this concept during your songwriting process, and what impact does it have on your music?

Ella: All I did was be as raw as I could when writing about how I approached a part of myself I hadn't really explored yet and it felt like I was going through endless circles made up of negativity and fear. I realized what the unconscious part of me was made up of and a lot of it was trauma and forgotten memories that we store away to avoid feeling but it all came down on me pretty hard when I was faced with an opportunity to do better for myself. So as I was feeling and experiencing this realm I wanted to capture it and make it as vividly as I could by really putting all of my emotions into every line. Delving into concepts like this can be confusing or healing for some. I only wish it reaches people at the right time when they need reassurance that they are not the only ones having these problems. My goal is to always make our music do something good for this world, and in this time we need understanding and compassion more than ever.

7. Preston, as a producer and guitarist, what challenges did you face in producing "Through The Ether," and how did you overcome them?

Preston: The challenge from the start I knew was gonna be myself. I wanna hear the Kick and Snare a certain way and the guitars a certain way and onward. and the tricky part is actually getting those qualities dialed in how i wanna hear them. Even if someones over my shoulder saying "hey man that sounds good". Personally I didn't want to settle for that. And when it came to crunch time for getting the mixes done i had to basically mix on a bluetooth speaker that would connect to my mac mini. I also lost the ability to check my mixes in my car because my stereo crapped out, and with my mixes i trust my cars stereo ANY DAY. I do not have a proper listening environment, and my headphones I use most definitely lie so i gotta be extra careful sometimes, but i knew if i can get the mix to sound brutal and thick on my bluetooth speaker those mixes should be good to go on most car systems especially mine. And it most definitely slams HARD, Im very proud of the mix work i did and extremely happy with the end results. Everyone tells me the snare is brutal and that's what I absolutely love to hear!

8. The EP artwork, created by Ella, is striking. How does the visual aspect of the EP complement the music, and what message were you aiming to convey through the artwork?

Ella: Through the whole process of writing this EP, I kept thinking about how much we have yet to explore about ourselves and it can be so overwhelming sometimes. The mind is made up of infinite space and there is no end to the thoughts and imagination that resides there. So to me it seems like a realm where everywhere you turn there is a new path to explore. I liked the idea of having something that can represent how the unknown might look like to us , a place where anything can happen with a hint of fear of what might be just beyond the fog of our surface level awareness. We also had a lot of ethereal/atmospheric vibes to our music so I wanted to create something that conveyed those themes. I decided to have a human-like character to wander this realm to represent the person choosing to wander off into the infinite unconscious and see what they might find…

9. Since forming in 2021, you've gained a lot of traction performing all over central Texas. How has your live performance experience influenced the music on this EP?

Preston: I think my answer is gonna be backwards, because we wrote and had these songs done before we ever started playing live. so there was no direct live influence into the music, however, there's plenty of sections throughout the EP that when I was writing I knew would translate live. Therefore my mind is always set on writing certain things for live if that makes sense. Thankfully i've just about been right about every section i've written thinking about the live product so let's hope that streak never dies!

10. What’s next for Mass of Amara? Are there any upcoming tours, new music, or other projects you’d like to share with your fans?

Preston: What's next for us, goal wise we'd love to get out there on a support role for a tour and really get our name out there while also supporting some awesome bands. Secondly we have some shows coming up in August and the fall season. Lastly, we want to start writing our first debut album this year for a release next year.

Facebook

Mass of Amara (@massofamara_official) • Photos et vidéos Instagram

(117) Mass of Amara - YouTube

Interview Tystnaden

Join us as we dive into an insightful conversation with Tystnaden, exploring their musical journey, inspirations, and the making of their latest album, "The Black Swan".

1. Tystnaden has been around since 1999. How do you feel your sound has evolved over the years, from your early demos to your latest album "The Black Swan"?

LDL: Since 1999, the year of our first demo, 25 years have passed. You can imagine how much our tastes, listening habits, and perspectives and music have changed. I couldn't tell you exactly how, but we've softened in some ways, and become rougher in others, which I think is the equivalent of maturing (or "aging" , hahaha). What hasn't changed is the love we put into what we do, the dedication to our project, which is like a family to us, with all the ups and downs of daily life. We've also had several lineup changes, but I can tell you that the connection between the five of us has never been stronger. It means we can't do without each other: me, Giulia, Cesare, Stefano, and Alberto.

2. Can you tell us more about the inspiration and concept behind your new album "The Black Swan"? How does it reflect your growth as a band?

LDL: The inspiration for The Black Swan came from the tough times we all went through with COVID and our belief that how we live and react to situations changes everything. I was working in Emergency Department back then, I saw situations with my own eyes that were really hard to accept. I saw, like everyone else, the different reactions to a situation we never thought we'd have to face. One day, Cesare told us: "Read Taleb's essay called 'The Black Swan,' and you'll find a lot of answers." So, we did, and it gave us a lot of clarity about many things. Our new album, The Black Swan, is about how life is full of unexpected events that can have a huge impact. As adults, we often make decisions based on our past experiences, trying to predict and avoid risks. But we tend to forget about those rare, unpredictable events—what Nassim Taleb calls 'black swans'—that can change everything. These can be both good and bad, but they remind us that not everything can be predicted or controlled. So, our album encourages embracing the unknown and keeping our minds and hearts open to whatever comes our way.

3. Laura, your vocal style is quite distinct. How have your influences, such as System of a Down and Rammstein, shaped your approach to singing?

LDL: That's a really tough question. I've always loved unique voices, the ones that, even if they're rough or imperfect, can convey emotions. I have always valued tone over technique and range. It's a bit hard to explain, but I've always loved the rawness of Sandra Nasic (Guano Apes), the tone of Skin for female voices, and the way Serj Tankian sings, which seems to come straight from the heart, along with Jonathan Davis. My way of singing is completely personal, and to be honest, I don't even like my own voice that much, but I love singing and composing melodies, trying to convey what I was feeling in that moment. I wish I had even a fraction of the voices of those I mentioned...

4. Cesare, you have an impressive array of equipment. How do you decide which gear to use for different songs or live performances?

CC: The equipment I use live is as close as possible to the sounds used in the most recent album we are promoting; I always tend to favor the latest sounds created to give the newest songs more impact. What changes significantly in the execution of the songs from album to album is the use of different guitars and tunings. On Sham of Perfection and In Our Eye, we used six-string guitars tuned a whole step down; on Anima, we started using seven-string guitars in a standard tuning; on The Black Swan, we wanted a change and began composing in drop A to have a different, fresher, and heavier sound.

5. Giulia, your musical influences range from Pantera to Ani Di Franco. How do you incorporate such diverse influences into your guitar playing?

GC: I’ve always listened to many styles of music to feed my inspiration. The creativity in guitar techniques and ways of expression has truly encouraged me to improve and learn more. So re-interpreting a vibrato, a lick, a fingerstyle arpeggio of my guitar heroes basically made me develop my style. In the previous bands I used to play different genres (mostly thrash-death metal), always as lead guitarist. It’s the way I truly express myself! Since I joined Tystnaden, “The Black Swan” was the first opportunity for me to give a contribution also to the composition.

6. Stefano, your bass playing brings a lot of energy to the band. How do your hobbies like gym and motorbiking influence your performance style?

SG: Thank you for the compliment! My hobbies, like hitting the gym and motorbiking, definitely play a big role in my performance style. Going to the gym helps me stay fit and maintain the stamina needed for live performances. It’s important to have that physical endurance when you’re on stage, giving it your all for the entire set. As for motorbiking, it’s a passion that gives me a sense of freedom and adrenaline. That feeling translates into my bass playing, adding a layer of intensity and excitement to our music. Both activities keep me mentally and physically sharp, which I believe contributes to the energy and dynamism I bring to Tystnaden’s songs.

7. Alberto, your drumming is a crucial part of Tystnaden's sound. How do your interests in photography and mountain trekking influence your creativity and approach to music?

AI: First of all, thanks for this interesting question. At our level, very often no one stops to really understand the personality behind the members of a band (except the singer, of course!). Regarding my hobbies, I can make a comparison between photography and drumming: both lead you to think about how to best render a scene (photography) or a song (drums). You must always seek a balance between technique and taste; each element must be at the right point, and there should not be too many things that are not functional to the context. It is constant training on how to extract the best from the context. Keeping this in mind, there are many drummers I know who have the same hobby; I don't think it's a coincidence. Regarding mountain trekking, I’d say that it influences my approach to drumming and music in a different way. As we live a chaotic life with no time, too much noise, and stress around us, the quiet, the absence of annoying noises, the open views, and the solitary effort that must be made during a climb completely free your mind. And it is precisely in those moments that the brain begins to process ideas, and I find myself singing pieces of songs; drum passages come to mind that I can't wait to try on the drums or write on the PC. And if nothing comes to mind, well, at least I had a nice walk and saw some beautiful places!

8. The band took a break and then came back in 2023. What motivated your return, and how did you find rediscovering your musical identity after the hiatus?

LDL: It could be answered in one line: we had a strong internal need to release emotions in music and lyrics. From 2012 to 2017, I took a pause from the band for personal reasons. Tystnaden continued to promote our last album “Anima” (2012) with live performances and on social media. 2017 was the year of changes: the awesome Giulia joined the line-up, Cesare found new inspiration with the writing of new songs and at the beginning of 2018 he made me hear some rough pre-production and honestly...the emotion was strong... and I decided to return to what has been a second family for many years, because for me this has always been Tystnaden. In 2019, we started again together with live activity and with the pre-production work of the songs, a magical moment, unfortunately abruptly interrupted by Covid in February 2020. It was a bad break, which affected me and Stefano, our bassist, in a professional way. We had to wait more than a year to see each other again and start working on the new album, and these events certainly brought out our interiority even more to pour it into music and lyrics.

9. "The Black Swan" album's title is a tribute to Nassim Nicholas Taleb's essay. How did the themes of rare and unpredictable events influence your songwriting and lyrical content?

LDL: The album title is taken from Taleb's work, which discusses the existence of black swans from a philosophical perspective. It’s about life's uncertainty in all its forms, marked by these unpredictable events - those so-called black swans - that have a huge impact on the world, even our own little personal worlds. We can't predict them, but we can build resilience against the bad ones and make the most of the good ones by recognizing that we don't know everything and there are limits to what we can know. That's how we see it, and in our songs, there's our way of reacting to such events.

10. Tystnaden has worked with various producers and studios over the years. How has working with Fabio D'Amore on "The Black Swan" been different from your previous experiences?

LDL: In the past, we found an excellent professional in Luigi Stefanini from New Sin Studios, who gave us perfect advice during the recording process to improve some things and arrangements, using his experience to enhance and highlight what he believed were the strengths of a song. Working with Fabio D'Amore was quite different because it started way before the album recordings, during pre-production. For us, he was like the sixth member of the band. He had the experience and an outside perspective that made our work better. He didn't change who we are; he understood us and got excited about The Black Swan like it was part of him. As you can tell, we really enjoyed working with Fabio!

11. Your live performances are known for their energy and atmosphere. How do you prepare for a show, and what can fans expect from your upcoming tours?

CC: We usually decide together on the setlist for the upcoming concerts by discussing it in the band's chat. Each of us does intense personal preparation at home, carefully preparing the songs, then we always try to schedule at least three rehearsals together in the room because we believe that the right energy and the best chemistry can only be generated by playing live together. As for the atmosphere, well, it is almost always created by our emotions, feelings, and interaction with the audience.

12. With such a rich history and a fresh new album, what do you see as the future for Tystnaden? Are there any upcoming projects or goals you'd like to share with your fans?

LDL: We still have so many things to do! Right now, we’re focusing on promoting our second amazing video for the single "Forsaken”, working on new merchandise, and planning a series of live shows (which we can’t wait for). We have more energy and drive than ever to keep going. We try to keep you updated on all our future steps through our social channels. Therefore, follow us on our pages!

WEBSITE: https://www.tystnaden.com/home.html

FACEBOOK: https://www.facebook.com/TystnadenBand

INSTAGRAM: https://www.instagram.com/tystnaden_band/

YOUTUBE: https://www.youtube.com/@tystnadenbandofficial

 

Interview Ghostheart Nebula

In this interview with Ghostheart Nebula, we delve into the creative journey behind their new album "Blackshift," exploring cosmic themes, collaborations, and the powerful emotional impact of their music.

1. Congratulations on the upcoming release of "Blackshift"! Can you tell us about the creative process behind this album? How did it come together?

We started to write “Blackshift” right after we finished the recordings for “Ascension” because we felt that this should someway be a continuation of our previous album and we wanted to keep the same spirit of “Ascension” as the core of the new album.

Then we took three years to finalise it because we focused on taking care of every sound and graphic aspects at their best, it was a overwhelming journey full of sleepless nights to achieve this result but we’re really happy with it and this album helped a lot to create more chemistry between us as well.

2. The album's themes revolve around cosmic melancholy and the vastness of existence. What inspired you to explore these profound concepts?

These cosmic concepts have always been our main inspiration in making this kind of music and, even tough we thematically started with our feet on the ground with our first EP “Reveries” (which is more about sadness, regret and loss), we feel like we’re on a path with an open destination but at the same time it’s very clear to us the direction to follow.

However, the themes we present in our music are not really a choice, they are part of us as individuals and when we put them all together the magic happens.

For example, in this album we talk a lot about quantum entanglement and its relationship with the Indian philosophical concept of vacuity, all translated in the depths of space, with mourn and sorrow patiently waiting around the corner.

3. "Blackshift" features several guest artists, including Diego 'Didi' Cavallotti and Øysten G. Brun. How did these collaborations come about, and what did they bring to the album?

We already knew Diego for his outstanding talent as a guitarist, but thanks to mutual friends we had the chance to discover the exceptional human being that he is. This alchemy is exactly the substance of his guitar solo that can be heard on “Sunya”, in which he managed to turn his feelings into notes that perfectly blend with the song’s atmosphere.

Øystein has always been our mix&master engineer throughout our works , we first got to know him for Borknagar of course, but over the years we have built a really nice relationship with him and he also gives us a lot of advices and creative inputs for our albums every now and then.

This time we felt there was a nice spot in the song “Infinite Mirror” where we wanted to try experimenting some acoustic guitars and we asked him to record them for us.

He took the line we gave him and built a wonderful section that was so good that we even replicated at the end of the song where it wasn’t originally supposed to be.

He’s a man of many talents and we just love collaborating with him every time!

4. The opening track, ‘VdB 141 IC 1805,’ sets a powerful tone for the album. Can you explain the significance of this track and its title?

This track is a transition between our previous album “Ascension “and “Blackshift”.

We kept some instrumental lines from “Ascension pt III - Nebula”, reverse them in order to create a cinematic and imposing build-up.

You can hear the morse code getting sucked in a giant black hole and then ejected out in another plan of the multiverse, where the new album takes place.

The title is a conflation of celestial objects: “Vdb 141” is the designation of the “Ghost Nebula” and “IC 1805” the “Heart Nebula”. The merger of these two nebulae together will create the “Ghostheart Nebula”, our safe place in the cosmos.

5. Your music has been described as ‘Cosmic Doom Metal.’ How would you define this genre, and what draws you to it?

Our inspiration comes from the depths of space which is reflected in the essence of our souls. As musicians and, first of all, human beings, we try to transform chaos and grief into dancing stars and this imaginary always leads us to look at the sky with dreamy eyes.

6. The album is both sonically and emotionally intense. What was the most challenging part of creating such a powerful listening experience?

It's like a puzzle, every little step was fundamental for the success of the album but without any doubt the most challenging part of the process was recording this material with the right mood and connection.

We tried to give emotion to every corner of this record and every nuance of sound is proof of that. There are very few repetitions, we like to writing following a flow that is always changing and never redundant in the same way.

Everything transforms, even us.

7. Heike Langhans created the artwork for "Blackshift." How does the visual art complement the themes and music of the album?

We think the visual part is as important as the music.

It helps to get in the mood of the album and we’re very happy with Heike’s work! She managed to represent the spirit of this album.

As you can see, shades of green and red dominate the cover, the colours of “Reveries” (red, our first EP) and “Ascension” (green, our previous album) alternate to create a new scenario over a toroidal field, and if you blend the colours together you obtain a white light combination which is another one key element of this recording.

8. "Orphan Of Light" is mentioned as having masterful dynamic shifts. Can you elaborate on the song’s composition and the emotions you aimed to convey?

Contrasts that’s what “Orphan Of Light” is about.

We stand among the desperate cries of the motherless child who tries to find consolation by the Mother Light, in a limbo made of rarefied atmospheres, spatial synths and explosive crescendos.

The songs moves on this dualism where all the instruments follow one another in this roller coaster of emotions that we can say it’s the summary of the entire album and a perfect ending.

9. How do you hope listeners will feel after experiencing "Blackshift"? What kind of impact do you want the album to have on them?

It’s a very honest album, we’ve addressed personal topics through the songs and we hope this can somehow help those fragile people who need a hand to find a little glimmer of relief.

Let’s say that anyone can fall into a “Blackshift”, it’s human, but music it’s always here to help, and that’s what Ghostheart Nebula is all about.

It works for ourselves, it might work for our listeners too.

10. Your previous album, "Ascension," set a high standard. In what ways does "Blackshift" differ from or build upon your earlier work?

In “Blackshift” we had the opportunity to take more care of every aspect of the songwriting and production.

“Ascension” was made and released in pandemic times and we didn’t had the same possibilities as now to do things properly, even if we love that album!

We've also grown a lot as musicians since the last album and that’s reflected in the quality of “Blackshift”.

11. As you prepare for the release on October 17th, what are your plans for promoting "Blackshift"? Any upcoming tours or special events your fans should know about?

Yes, absolutely, we’re closing some deals for a special release show and some mini tours, inside and outside Italy. It will be a challenge to bring the new stuff on stage and recreate all the sonic layers and atmospheres but we’re well on our way with rehearsal sessions and can’t wait to bring these new songs live!

Facebook

Ghostheart Nebula (@ghostheartnebula) • Photos et vidéos Instagram

(97) Ghostheart Nebula - YouTube

Musique | Ghostheart Nebula (bandcamp.com)

Interview Lower Hollow

In this interview with Lower Hollow, we explore the inspirations and personal experiences behind their new album "Threnody: Songs of Fortitude," and discuss the impact of lineup changes and creative challenges.

1.  "Threnody: Songs of Fortitude" delves into heavy themes of hurt, pain, and resilience. Can you elaborate on the inspiration behind this album and the personal experiences that shaped its creation?

Chad: The title of the album really says everything about what the album is, both literally and metaphorically. A threnody is a lament, a hymn about death. It's this literal and metaphorical death that inspired the themes of this album. Everybody in the band has let go of something that was incredibly hard to let go of in recent times...be it letting go of friendships involuntarily, losing loved ones or letting go of something you love in general. However, it's the "Fortitude" aspect of the title that is so important here. This album is about coming out stronger after experiencing this difficult process of loss. This album was inspired by that loss, and the determination to come out on top after.

Trystan: Aside from the history prior to me joining the band, my biggest inspiration for this album, lyrically, was losing a close loved one. There was a great amount of pent-up aggression that this journey helped me release and overcome. The Process of Letting Go is a track that I hold very close to my heart, as it was the song that truly allowed me to end the long-term grieving process. The lyrical aspect of Burning Bridges speaks to overcoming the self-hate I had fallen under during the time of grievance. While the rest of Lower Hollow may see this differently, I used this song to get myself out of a repetitive cycle of despair and mental horror that clouded my every waking moment. Overall, the creation of this album helped every one of us through a vast spectrum of emotional whirlwinds. 

2. How did the departure of three founding members impact the band's dynamic and creative process for "Threnody: Songs of Fortitude"?

Ashley: Essentially, the main songwriter/guitarist and the lyricist/vocalist left the band, essentially leaving a huge opening for someone to actually step up and carry the torch. Chad had already been itching you be a writing contributor on the last album, but it felt like we already a writing rhythm in play on “Bloom & Expire” so that just never happened. When everything happened, Chad immediately came forward with ideas and we started working to shape what the band is today. It sounds that simple, but it’s been really challenging at the best of times because you wanna retain certain aspects, bring new ideas into the fold, and also exceed expectations and just exist as a band – all at once.

With this high level of pressure and strain from all sides, looking back now it feels like we really gained so much from it all, and it’s come to really serve us well as musicians. It did just mean that we had to be really hard on ourselves and each other, which can really be taxing if you’re not constantly in check with guys, making sure that everyone understands the end goal, and that this process isn’t one meant to break people, but rather one intended to shape and build. As friends, we also grew really close, and this has ultimately meant the world to each of us.

3.  Can you describe the journey of transitioning to a new lineup and how this change influenced the sound and direction of the new album?

Chad: I took over the duty of songwriting for this album. With that, it gave the opportunity to really let loose and experiment with the sound that was originally intended for Lower Hollow to have, as well as the opportunity for me to add my own personality to the sound. I'm specifically referring to the atmospheric, melodic sound that's present throughout the entire album. This sound really is inspired by a lot of post black metal bands with that beautiful atmospheric touch to their music...bands like Alcest, Møl and Ultar, to name a few. Though, the biggest influence for this new Lower Hollow sound was undoubtedly Svalbard. Combining all that with the hardcore sound that shaped our previous album, Bloom & Expire, is really what gives this new album its identity...at least from an instrumental perspective.

4.  What were some of the challenges you faced while writing and recording the album, and how did you overcome them?

Chad: A big challenge for me was to understand that not all the ideas I presented were good enough to make the final product, despite how good I thought they were. Spending time crafting something for a demo that I would really be proud of, only to have the idea shut down (for the sake of having a better album), was obviously very demotivating. It took a few attempts before I learned to trust my peers' judgement when it came to the ideas I presented, and to keep an open mind to their ideas and contributions, essentially merging my ideas with theirs for a better outcome. This was a good challenge to overcome and will be useful for any collaborative efforts in the future.

5.  The album is described as a 'visceral journey through the depths of human emotion.' What do you hope listeners will take away from this experience?

Chad: From a musical perspective, I hope people can relate to the emotive nature of these songs. Not a single melody was put here without the intention of conveying a certain emotion, nor was a single riff laid down just for the sake of having one there. There was a strict intention behind nearly every component of this album, and I truly hope people can relate to it and appreciate it for what it is. On top of that, I hope people feel inspired by this sound and find the joy in combining ideas that would oppose each other in a different scenario. There are no rules when it comes to creativity.

6.  Your approach to recording combined traditional and modern techniques. How did this hybrid method affect the final sound of "Threnody: Songs of Fortitude"?

Ashley: I mean, it’s funny… We used this word “hydrid” and it’s felt like a buzz word to some degree, like it’s some sort of outta this world terminology for recording. Maybe we just gave a word to a process all studios apply, but bedroom mixers don’t really follow. By this I mean, we recorded real guitar cabs mic’d up, real drums mic’d up… Traditional recording, but obviously apply drum sample replacement on close mic’d snare, kick, toms in a sort of augmented manner with live kit. On clean guitar parts and some lead aspects we recorded DI’s for reamping, so there’s that.

By comparison to what you find most bands doing these days, we prefer to perform live drums, while many bands just program midi drums and release “mix-ready” drums. Sounds super modern that way, while our sound leans way heavier towards a more classic “live” sound. It’s more a choice I guess, perhaps even circumstantial if you consider how few studios are still around in South Africa. Overall, we care about offering an authentic feel to our music and this certainly means a lot to me as a musician and studio producer. Taking this approach all in all leaves a listener with a better impression of who we are as a band live. 

7.  What role did your home studio play in the recording process, and how did the environment contribute to the album's overall feel?

Ashley: Well, our home studio is a one room studio, same place we rehearse and write so it’s really a comfortable space with no pretenses going in. In a one room studio, you’re blasting guitar cabs with nowhere to run, so honestly - it really felt like each guitar performance was fueled by the energy of just loudness in general. Consider natural feedback, working with it and using it in a musical way to shape your songs, and then consider as a player standing in front of blasting amp, I mean it’s very gratifying to feel, and so that’s cool to be able to capture that. I think this sort of tone and energy really translates well in our overall sound as a band, so harnessing that in all the right ways only serves the songs more.

8.  How do you balance maintaining your core sound with experimenting and evolving musically, especially with a new lineup?

Chad: This was a lot easier than I thought it would have been when we first started writing the album. People who are pretty familiar with Bloom & Expire will still find a lot of (what I feel were) signature sounds to that album present in this album, too. This new album obviously takes our sound in a completely new direction, but there are little bits here and there that "pay homage" to the influences that shaped Bloom & Expire. It was combining the old with the new that made the new music so fun to write. At first, a song would start off with an idea that felt extremely risky because of how different it sounded to our previous album, so I'd try balance that out by adding sections that sounded like they could fit in perfectly on the previous album. As time went on, I felt less afraid to branch out to wherever I wanted to in a field of musical ideas and still feel confident about it.

9.  What are some standout tracks on "Threnody: Songs of Fortitude" that you feel best represent the album's themes and your growth as a band?

Chad: Definitely the title track, Threnody. I feel that it's the best song we've written and probably the most diverse song on the album. There are parts there, especially in the drumming, that I haven't heard anyone else do before. There's clean singing with a massive outro that leaves you with a positive aftertaste. There's even a short cello piece by Christine Fourie in the clean section. All of these things sum up the diversity of the album, while the lyrical theme speaks into what the entire message of the album is about.

Another standout track for me is the closing song, Fundamental. It's a song that really throws in all of what shaped Lower Hollow's sound on both the previous album and this one. It has calming cleans, signature melodic hardcore, a breakdown, a super-fast and thrashy section... this feels like the track I'd tell someone to listen to if they asked what our band sounded like, just because it has a bit of everything that makes Lower Hollow what it is.

10.  With the release of "Threnody: Songs of Fortitude" via Mongrel Records, what are your plans for promoting the album, including live performances or tours?

Ashley: Solid touring. It’s an aspect we just feel will help strengthen our fanbase, but also something that will expand our reach. I think for any band, it’s a fun experience but it’s rewarding to see growth and build a sustainable following. South Africa isn’t the biggest country and venues are few and far between, so we’re doing our nationwide “No Love · No Mercy” Tour now to support the album’s release and we’re already planning follow up dates to close off 2024, in between local shows. Beyond touring, we’re building on socials and focusing our attention to building our online presence through video content centred around the various aspects of our current release and just other more band orientated content and ideas we want to share.

 Lower Hollow - Johannesburg Melodic Hardcore (lowerhollowhc.com)

Interview History of Guns

In this interview with History of Guns, we explore their new album 'Half Light,' delving into its concept, narrative arc, and creative process. Let's begin!

1. Your new album 'Half Light' explores a variety of themes and genres. Can you tell us about the concept behind the album and how it evolved during the creative process?
Max: After our most successful album to date (2008’s ‘Acedia’) which focussed on that kind of ‘angry young man’ energy, trying to take an unflinching look at the things that had contributed to our mental health issues and emphasising our punk side, written on guitars, recorded and mixed with live drums. The original idea to follow it up, was to do something focussing on our electronic side. Thematically, after the relentless misery of ‘Acedia’, we wanted to do something lighter and a bit more playful. I originally thought maybe we’d do a satire on ‘genre-fatigue’. Where could we put History Of Guns next? Of course! History Of Guns in space!
Because I believe good satire should be virtually indistinguishable from the thing it is satirising, I set about writing a high-level film treatment. Whereby Del and I were stuck in a damaged spaceship orbiting a moon. Half the day was closest to the sun, and got unbearably hot, and half the day we were on the other side facing a dead planet and it would get unbearably cold. That was the start of ‘Half Light’. I then set about coming up with a back story for how we got there. However, due the relative success of ‘Acedia’, and the fact we had a great live band at the time, it was decided to put ‘Half Light’ on hold and focus on gigging more and developing the live act, and writing/recording more guitar music.
When we came back to the idea recently, I’d developed the story into one about time on Earth having been stuck in 2024 for years by the tech billionaires building bunkers to escape ‘The Event’. History Of Guns was to build a spaceship out of gist, to reach the alien race of Arcadians who would help us unstick time.
The sci-fi story is only one lens to view the narrative through though, it’s designed to work in multiple different ways.

2. You've described 'Half Light' as an album in three acts. Could you walk us through the narrative or emotional arc that listeners can expect from start to finish?
Max: We start with Act One which consists of four relatively straight forward (by our standards) EBM tracks with proper choruses. Each of these represents North (Earth/Body), East (Air/Mind), South (Fire/Energy) and West (Water/Emotions). This is the opening of a door into which the larger aspect of the world/album exists. The Second Act starts with ‘Flashes of Light (Part 5)’ which walks through the door, deep within ourselves and subconscious, or out into outer space, depending on how you’re viewing the journey (or ideally both at the same time!)
Act Two ends with ‘Arcadia’ which is the most joyous point on the album, the place which imagines what if everything all worked out? In the sci-fi story this is where we make contact with the aliens (Arcadians) who are going to help us unstick time on Earth and bring out the evolution of mankind. Alas, life isn’t like that, so Act Three plunges us down to the darkest point which is ‘Drug Castle’ and addiction and cycles of hate. After the lowest point there’s a spark of hope in ‘Survive the Night’, and finally the closing track ‘An Invitation’, which is hopeful, if not exactly joyous.

3. The singles 'No Longer Earthbound' and 'When You Don't Matter' have received positive feedback. How do these tracks represent the broader scope of 'Half Light'?
Max: It’s always a challenge to pick which track off an album to release as the first singles. We couldn’t decide. In the end it was my girlfriend, Priyanka, who said ‘No Longer Earthbound’ is a ‘clear banger’, which decided it for us. It’s about leaving the planet, whether through death, virtual reality or flying into space. It’s a good summation of the main theme of the album.
The second single was a much easier choice. We’d had an early version of ‘When You Don’t Matter’ written back at the time of ‘Acedia’, but it didn’t fit there, a heartbreaking ballad of abandonment. We’ve tweaked it over the years, but aside from the guitars added by Caden, it’s not massively different from the original demo. Now just felt like the right time to finally release it.

4. Max, as a producer and musician, what were some of the challenges and highlights of working on this album, particularly in terms of blending different musical styles and influences?
Max: For each album I think a lot about sound design. Our second album ‘Apophenia’ (2006) tried to do every song in a different genre, which was perhaps a bit too ambitious. These days I have two folders, one for music that starts off as electronic, and one for songs written on the guitar or piano. Either can be developed in either way though. There’s a track on ‘Half Light’ called ‘All You Dream (You Can Never Have)’ which is the electronic version. We’ve also done another version where I took off all the electronic drums, loops and most of the synths, and added big rock drums and Caden added heavy guitars. It’s kind of like the opposite of a remix! Maybe a demix?!

5. Del, your lyrics often touch on themes of mental health, society, and existentialism. How does this album continue those explorations, and how have your perspectives evolved over the years?
Del: If you have not lived it, how can you know it? Yes, it’s hard to talk about, so I put it in music because that way I know I’m not alone. If just one person gets what I’m saying, then I feel I have helped them get
the point, that life, is never going to be all pink bunny rabbits and fluffy clouds, a goal of ‘to be happy’ is as impossible as it is ridiculous. There is no light without shade. So many people think they are alone, but nobody is truly alone. You have your mind so use it.

6. 'Arcadia' is described as a pivotal track on the album. What inspired this song, and how does it fit into the overall narrative structure of 'Half Light'?
Max: I was trying to think, ‘what is it, we want?’ It’s easy to sit around and moan about how shit everything is, but what would we put in its place? I think complaining, without thinking of alternatives of how to make things better, is a dead way of thinking or being in the world. The idea of some kind of utopia with no pain or suffering at all would be very safe, but surely soon become anodyne and boring.
For a while I’ve been thinking one of the main problems with society is that it tends to reward sociopaths and psychopaths to become the ultra-rich and powerful, whereas kind, decent people with empathy don’t push themselves to the top and find themselves powerless, used and trodden on. I was researching this and came across an article saying it was during the Bronze age where humans stopped working collaboratively and started implementing rulers and social structure.
So, I came up with the idea of a planet called Arcadia, which had mirrored Earth in development, but evolution had gone in a slightly different direction during the Bronze Age, and the sociopath trait had pretty much been bred out of human existence, so things are generally much better there than on Earth in 2024. People on Arcadia are still selfish and argue, and there is still drama and tragedy and art and all of that, but everyone has some degree of empathy and what authority there is, is generally benign and for the good of all.
My dream is a world that’s like it is now, just a bit less shit, corrupt and controlled by capitalism, with a bit more kindness.

7. Caden, as the newest member of History of Guns, how did you approach integrating your guitar work into an established sound like theirs?
Caden: I’ve been surrounded by History Of Guns music from a very, very, young age. I've grown up with it and therefore it kind of comes naturally to me. I can feel what fits, and what wouldn't in the songs. I believe that guitar lines should be written and used meaningfully for maximum effect, rather than just including them for the sake of it.

8. Your music has been categorized under various genres from industrial to darkwave. How do you see 'Half Light' contributing to or challenging these genre classifications?
Max: In the mid-90s, when we started, people didn’t know where to put us. There were reviewers who just didn’t think punk music and electronic beats could go together. Our press releases at the time described us as ‘Fat Boy Slim meets Joy Division’ which probably didn’t do us any favours. I’ve always struggled with genre classifications. Mick Mercer once described us as if you went back in time to particular point in music of a genre, but then forked off into a different direction, there you would find History Of Guns, which I think hits the nail on the head.
With Half Light, for the first half the sound design was to take early 00’s dance and industrial and then see where we could take it. The second half we wanted to fit with the first half but get more experimental and push into ambient, avant-garde, and then there’s that moment in ‘Survive the Night’ where it’s just a voice and acoustic guitar. And I think it’s effective because it’s such a change of instrumentation, but flows on from, ‘Drug Castle’’.

9. The album artwork for 'Half Light' is quite striking. Can you tell us about the concept behind it and how it ties into the music?
Max: We were lucky enough to have an amazing artist Amara O’Neill willing to work with us. And she asked what kind of thing we were looking for. Our approach always when collaborating with other creative people is not to tell them what we want, but to tune into what we’re doing and play what they feel, (which can be very frustrating for some people.) But with Amara we just said, ‘Listen to the album and create whatever comes to mind’. Which is what she did. And we absolutely love it.

10. History of Guns has been active since the mid-90s, experiencing various phases and evolutions in your sound. How does 'Half Light' reflect where the band is today compared to its earlier work?
Max: That’s a great question. Stylistically it’s more of a return to our first proper album, ‘Flashes of Light’ (2004), which is why we have the track ‘Flashes of Light (Part 5)’. The main difference is that I was pretty new to Cubase back in 2000, and both me *and* Cubase have evolved quite a bit in the last 24 years.

11. You've mentioned influences like Nine Inch Nails and Coil. How have these influences shaped your approach to music-making on this album?

Max: ‘Pretty Hate Machine’ by Nine Inch Nails was one of the albums, all three of us liked when we started the band. Having been a keyboard player in rock bands at school, it was getting to the point where all keyboard players seemed to be doing was playing boring string pads which didn’t interest me, and then came grunge and it seemed keyboard players were redundant. I was at the goth/alternative club ‘The Catacombs’ in Manor House in London, when I first heard ‘Head Like a Hole’, and I thought, maybe there’s hope for keyboard players after all, and I started getting more into the programming/sequencing side.
Coil I came to later. SWANS had been an influence in letting things breathe and not the constant need for structure and chord changes. ‘Pattern Death’ on Flashes of Light is a good example of this influence directly; the whole song has a one note bass line that never changes. When I came to Coil it reminded me of what I’d tried to do with ,Flashes of Light, but I thought their artistic approach was so beautiful, it inspired me to write much directly from heart and spirit place, and less cognitively, where I’m thinking, ‘Hmmm changing to a relative minor chord would work there.’


12. Looking ahead, what are your hopes for how 'Half Light' will be received by both longtime fans and new listeners, and what's next for History of Guns after this release?
Max: It’s already been our biggest success since ‘Acedia’ which has completely blown us away. There were times when we thought we were finished, and we’d never get a second chance. We’ve learnt so much from the mistakes we made last time, and had such a joyous time making ‘Half Light’ that we just want to keep going for as long as we can. We’ve already got the first few tracks for the next album, which might hopefully end up being a double. Music that originated on guitars on disc 1 and then electronic music on disc 2. We’ve been offered a few gigs, but sadly had to turn them down so far due to not having a full band together. If we do it, we want to play with live drums and not a laptop backing. We’re in talks with a few old comrades though, and going to book a rehearsal studio session to see if we can get a live band going. Regular rehearsing and getting properly tight it a big commitment though, and people have lives, jobs, families etc.
The next thing we’re most excited about is a short film we made with acclaimed film director Howard Gardner called ‘Drug Castle’ which should be coming out around end of August or early September.

Facebook

History Of Guns - When You Don't Matter (youtube.com)

Musique | History Of Guns (bandcamp.com) 

Interview Changing Tymz

In this interview, we delve into the journey of Changing Tymz, their debut album "Finish the Race," and the inspirations behind their unique progressive metal sound.

1.Can you tell us about the journey ofCHANGING TYMZ and how the band was formed?
Tony Rossi and Timmy Wysong forged a connection early on in 2016 when Tony joined Timmy’s existing project. Although that never materialized, they recognized their ability to work together and, driven by a passion and desire to create a unique sound, the roots of Changing Tymz was born in 2018. Bryan McQuade, an experienced bassist, answered an audition and quickly became the perfect addition on bass. Matthew Martin stepped in as vocalist and the first EP, “Changing Tymz” was recorded and released in February 2020. Shortly after, Eric Fenton joined the band as second guitarist and writing and production began of what would lead to “Finish the Race”. For personal reasons two members had exited the band, Matthew Martin (early 2021) followed by Eric Fenton (late 2022). After several auditions, female vocalist Joann E. Wolfe and guitarist Brian Weber filled the vacancies in February 2023. Thus began the tireless work of re-writing and re-recording the material that resulted in "FINISH THE RACE".

2. What was the inspiration behind your debut album, "FINISH THE RACE"?
We are all given a certain allotted time on this Earth and with all of the trials and tribulations we had to go through to get this album out, it was only fitting to call it “FINISH THE RACE" as a message to our audience to never give up on goals, dreams, and your desires for as long as you are capable so that you can look back and say “I finished my race”.

3. How would you describe the sound and style of "FINISH THE RACE" to new listeners?
A review by Rock Charts describes the album best and I quote: “redefining what it means to be a powerhouse in the prog rock and metal genres.”…. Whether it’s the groovy, melodic rock or the aggressive, hard-hitting metal riffs, their artistic ingenuity never fades.”…. “profound blend of prog-rock and metal”.

4. What are some of the key themes and messages explored in the album's lyrics?
Believe in yourself and believe in a better day when things aren’t right. All throughout history, there are examples of people who have found a way to overcome and accomplish great things. It’s through those events, and those people we can look to for inspiration in how we live our own lives.

5. Can you share any stories or experiences from the recording process of the album?
Being fortunate enough that our bassist, Bryan McQuade operates his own professional recording studio, where the album was recorded & mixed, we had the luxury of his expertise in patiently guiding us through the process. This created a bond between everybody as we all felt we had the time to do our best and that bond was reflected in our music. Looking back, the making of this album was truly a tremendous experience.

6. Which track from "FINISH THE RACE" are you most excited for fans to hear, and why?
“The Fear is Gone” because it is the first new release with the new line-up, and a song that exemplifies the passion needed to back the lyrics which hopefully will encourage listeners to do what ever it takes to achieve their dreams.

7. How did you achieve the balance between progressive elements and commercial appeal in your music?
By beating each other with baseball bats. LOL! No seriously, for the most part we wrote and recorded in our home studios. Then the final recordings were done and mixed at McQuades Music Studio. The balance happened naturally because we all had time and opportunity for each to put his/her own creative elements into the recording, some being of a heavier harder background and some being more in the mainstream commercial element of music.

8. What were some of the musical influences and inspirations that shaped the sound of this album?
We all have had variances in our music growing up but some of the common names would include: Yes, Dream Theater, Aretha Franklin, Whitney Houston, Heart, Godsmack, Disturbed, Iron Maiden, Queensrÿche and RUSH.

9. Can you tell us about any challenges you faced while creating "FINISH THE RACE" and how you overcame them?
Changes in the band line-up along the way resulted in the songs being written three times and recorded twice. The longevity of that definitely took a toll that was overcome by the bands drive and “passion” thus the title “FINISH THE RACE”.

10. How do you feel about the comparison to bands like Dream Theater, Rush, and Queensrÿche?
Humbled. These are three of the top names and we could not be more excited to be mentioned alongside yet alone compared to.

11. What do you hope listeners will take away from your music after hearing the album?
A positive upbeat frame of mind created by good new original music and enhanced by authentic and reliable lyrical content.

12. What are CHANGING TYMZ's plans for promoting "FINISH THE RACE" and connecting with fans after its release?"
Changing Tymz is a strong unit as we have had to make changes in band personnel, learning to grow and trust each other. We now have a solid line-up so as long as we are able, we will continue to write and record music. We are also hoping to attract the attention of promoters with increased airplay and our growing fan base. The goal is that this will land us in opening spots for national acts. We welcome the opportunity to play our music live on stage. As it stands, we are independent, but interested in a label to team up with, which would broaden our scope of things. Till then, The Metal Lives On! Blessings!

Changing Tymz | Hard Rock/Metal Band | United States

John Carcer "2 Guys 1 Hammer"

John Carcer, the solo musician behind "2 Guys 1 Hammer," showcases his versatility by handling vocals, producing, engineering, and writing. Carcer began his musical journey in 2019 with horrorcore scream rap, evolving into shoegaze music this year. Influenced by artists such as Slowthai, Deftones, Hole, Fleeting Joys, and Paramore, as well as the video game Manhunt, his sound is unique and eclectic.

Though Carcer has yet to perform live, he has featured on numerous radio stations in the UK and Russia. Early in his career, he collaborated with many of his favorite artists and signed with The Orchard at the end of 2021, setting the stage for the release of his sophomore album, "My European Dream," on September 13th.

Recorded in his home studio in early 2022, "2 Guys 1 Hammer" emerged from a plethora of instrumentals provided by his producer. Carcer's meticulous process of writing lyrics before production shines in this third single from his upcoming album. The song portrays a 2000s throwback alternative shoegaze vibe, depicting two friends in conflict over a shared love interest, ultimately valuing their friendship over rivalry. Notably, the song's vocals were recorded in one take, showcasing Carcer's dedication and skill.

As Carcer puts it, "If you wanna see and hear a brutal bloodbath of a fight that unfortunately follows the guidelines of YouTube's policies, then you have found the perfect song to catch up on."

LIVELEAKSTAR

John Carcer (@johncarcerr) • Photos et vidéos Instagram 

John Carcer (@johncarcerr) | TikTok

(70) John Carcer - YouTube

Bad Guru "Needle Eyes"

Bad Guru Unveils Ethereal Single "Needle Eyes".

Atlanta’s rising progressive rock band, Bad Guru, has released their mesmerizing new single "Needle Eyes" from their upcoming album "Love and Fear Me" set to debut on June 28th.

 Comprising Sierra Crowe (vocals), Ethan Bilkert (guitar), Joey Hurley (guitar), Blake Powell (bass), and Quinn Brophy (drums), the group reunited in Atlanta after college to form a seamless and naturally fitting band.

Influenced by the likes of King Buffalo, All Them Witches, Queens of the Stone Age, and Tool, Bad Guru channels these inspirations into a unique sound that stands out in today’s rock scene. Recorded at Treesound Studios with Kevin Pergantis, "Needle Eyes" embodies the band’s darker thematic approach for this album. The song delves into the human struggle to avoid repeating past mistakes, underscoring the inevitable presence of death.

"Needle Eyes" captivates listeners from the start with its haunting instrumentals and ethereal vocals, drawing them into a sonic journey that leaves them wanting more. As one reviewer noted, "Not every day, I hear such a great composition completed with almost angelic and definitely phenomenal vocals."

The band’s meticulous approach to this album, which took over a year to produce, is evident in the quality and depth of "Needle Eyes." As Bad Guru continues to carve out their place in the progressive rock landscape, this single promises to be a standout track that resonates with fans and new listeners alike. 

Facebook

(70) Bad Guru - YouTube

BAD GURU • Atlanta, GA (@badguruband) • Photos et vidéos Instagram

Interview Bloodcrown

Bloodcrown's new lyric video for "When Wolves" delves into inner strength and ego. Let's explore the inspirations, themes, and creative process behind this track and their upcoming album, "Sound of Flesh and Bone."

1. Congratulations on the release of your new lyric video for "When Wolves." Can you tell us about the inspiration behind this song and its lyrical themes?

 Hey! Thanks a lot for checking out our new lyric video for "When Wolves." I dont know where the inspiration for this particular song came from, I (Rick) were just fooling around with some ideas in the studio and I kind of liked the feeling to the first riff in the song so I just took it from there .

The lyrics of "When Wolves" paint a vivid picture of the struggle between inner strength and ego, symbolized by the transformation of wolves breaking an oath and becoming a god-like figure. The verses depict a journey of self-discovery and the consequences of succumbing to pride and self-righteousness. The imagery of wolves hunting represents the internal battle against one's own inflated ego and the need to confront one's true self. It's a powerful reflection on the dangers of losing oneself to arrogance and the importance of humility in the face of inner turmoil.

2. Your upcoming album, "Sound of Flesh And Bone," is set to release on July 26th. What can fans expect from this album in terms of musical direction and lyrical content?

Those lucky ones who will buy or stream the album can expect a blend of groovy yet brutal metal inspired by death metal bands like The Haunted, Pantera, and At The Gates. The album explores themes of inner strength, resilience, and the primal aspects of our nature.

3. Bloodcrown's music often delves into deep and dark themes like mental illness, social conspiracies, and existential struggles. How do you approach writing lyrics about such complex subjects?

Well we have walked this earth for some time now and as many others we have our own struggles and one of the best tools to handle them is to put pen to paper. When we write about those heavy topics like mental health, social issues, and deep struggles, we aim to approach them with honesty and depth.

4. The album features 11 tracks and has been compared to bands like The Haunted, At The Gates, and Entombed. How have these influences shaped the sound of "Sound of Flesh And Bone"?

The influences of bands like The Haunted, At The Gates, and Entombed have had a significant impact on not just our album but the whole scene. These bands are known for their intense and energetic music, which has inspired us to infuse our album with a blend of groovy yet a little bit more brutal elements.

5. Could you share some insights into the recording and mixing process at Scorched Noise Productions with Rickard Gustafsson? How did you achieve the desired sound for this album?

When we first entered the studio we hadn't a clue of what we were aiming for, not even music wise. So from day one it was sort of a mace finding our sound, but we are more than happy with the end result and also recording and mixing in Rick's studio just made it so laid back and comfortable with zero stress elements.

6. "When Wolves" has received positive feedback for its pulsating double bass, well-composed riffs, and abrasive vocals. How do you balance these elements to create the signature Bloodcrown sound?

 So, when we put together the beats, riffs, and vocals in "When Wolves," we try to mix them just right to get that Bloodcrown vibe. The fast drums keep things pumped, the guitar parts add depth, and the rough vocals bring the edge. It's all about finding that sweet spot where everything clicks.

7. The album cover and logo design by Marcio Blasphemator and Barry Halldan, respectively, are striking. How important is the visual aspect to Bloodcrown's overall artistic expression?

Mario has a very unique style to his art and it just fitted very well with our sound, Barry work as full time tattoo artist so a lot of our visual style originates from his work.

8. Bloodcrown's lineup features a mix of roles among the members, with some handling both guitar and bass duties. How do you manage the dynamics within the band to ensure a cohesive creative process?

Yes you're right, me (Rick) and Johan share the instrument duties and Barry focuses on the vocal arrangements and lyrics.

It's more of a strength than a difficulty and sure as hell makes recording stuff a lot easier, the dynamic between me and Johan is very laid back and non pretentious.

9. With "Sound of Flesh And Bone" addressing themes of liberation from social order and struggles beyond the physical world, what message or experience do you hope listeners take away from this album?

We hope our music makes you feel strong and ready to tackle whatever comes your way, whether it's internal or external. It's all about finding that inner power and using it to push through. We just want our music to connect with you and give you that boost when you need it.

BLOODCROWN | Instagram, Facebook | Linktree