Interview Martin Williams

In this interview, Martin Williams discusses the inspiration behind his single "Soldat und Tod," blending classic Black Metal with cinematic influences, and his journey as a solo artist.

1. Congratulations on the release of your new single "Soldat und Tod"! Can you share the story behind this track? What inspired its creation?
The song title is actually taken from the title of the painting that inspired it - a random post in my Facebook feed one day - when I saw it I knew straight away that I had to compose a piece about this spectacle of Death guiding an Austrian soldier’s aim in the First World War.  It also struck me that as a painting by an official Austrian war artist, just how macabre and evil its portrayal of war is, how truthful it’s bizarre nightmare image appears.  The First World War feeds into the song throughout, the mechanisation of warfare in that conflict along with the relentless and repetitive assaults leading nowhere direct the arrangement and pulse of the music.  Without having seen that painting, I would not have composed this music.

2. Your music draws inspiration from a diverse range of sources, from classic Black Metal bands like Darkthrone to film scores and old paintings. How do you integrate these different influences into your atmospheric sound?
Those elements help me in their own distinct way, the classic Black Metal rawness of bands like Darkthorne influences my choice of instrument tones and recording style, film scores bring their sense of drama and emotion whilst old paintings trigger my imagination into creating a narrative for my songs.

3. The title "Soldat und Tod" translates to "Soldier and Death" in English. Can you delve into the thematic elements of the song? What message or emotions are you conveying through this piece?
People can be in a great and desperate struggle to destroy each other, whereas in contrast, Death, knows his result is guaranteed and for him is effortless so he can patiently wait and watch the spectacle of human suffering.  The core feeling through the song is of the the individual being subsumed by orchestrated destruction with Death as ones constant companion.

4. You’ve been on a solo journey since 2021. How has working alone shaped your music compared to being part of a band? Do you find it more liberating or challenging?
Interesting point, I feel that creative direction is wide open and on the other hand, it can be difficult to have a sense of perspective.  As a solo musician I am completely immersed in the songwriting and recording process which does result in needing to take time out so I can reapply myself with a fresh set of ears and some objectivity - that is the greatest challenge in solo work.  The reward is to go really in depth and explore where your direction leads, the music has control not you, you have to be able to let go and just go for it.

5. Hecate Studios seems to play a central role in your music production. Can you tell us about the recording process for "Soldat und Tod"? How did you achieve the specific sound and atmosphere in this track?
The core instruments I play, guitar and bass are all recorded through amp and cabs miked up through through analogue hardware preamps and compressors, the reason being that I find it far easier to operate hands on equipment whilst recording than switching fast between playing music and operating a computer.  A lot of time is spent recording multiple takes with subtle changes to the amp’s tone and then panning these takes across the stereo image, this creates a sound with a lot of subtle variations and the result has a reverb-like effect, even though they are dry recordings exactly as they sound in the studio.  For vocals my voice is routed through a guitar distortion pedal, again a simple hands on method. Keeping processing to a minimum is an important aspect of Black Metal for me, maintaining as direct a human connection between myself and the listener as is possible.  After the core instruments are recorded; synths, drums and sound effects are added to focus the forward direction of the music and to colour the mood and add further variety.  For the orchestral and supporting instrumentation on this track I took inspiration from Symphonic Metal greats Within Temptation who have some amazing keyboard and orchestration to be inspired by.

6. Atmospheric Black Metal often relies heavily on creating a mood or an emotional landscape. How do you approach songwriting to ensure that your music evokes the intended feelings in your listeners?
My main principle is to develop a basic, minimalist chord progression and use that as a base to explore subtle changes within the chords to create discord, unease and a sense of unsettling movement.  A sense of depth in the recordings is important - I keep the vocals pushed back in the distance with reverb and bring the instruments into and out of the foreground with a mixture of panning them across the stereo field or adding or removing reverb - sounds are kept on the move and that dynamic is important in evoking emotion, as is creating sense of conflict with dissonance.  I can go on about this forever, so I’ll stop and get started on the next track!
Your music has a reflective and solemn tone.

7. How do you see the relationship between your personal experiences and the music you create? Are there any life events that significantly influence your songwriting?
I spent 15 years at sea and that separation from society imbues a solitary, reflective perspective on life, looking at life from afar there was much time to reflect and think, those later two points definitely feed into my music as does the relentless motion of the sea.

8. The Black Metal genre has a rich history and a strong underground culture. How do you see your work contributing to or evolving within this genre? What do you hope to bring to the Black Metal community?
Thats a tough one, it’s difficult for me to have that objective perspective of my music and where it sits in the genre.  I suppose I’m working towards a Raw Atmospheric Black Metal sound, immersive and emotional whilst remaining tight, driven and immediate.  And for the Black Metal Community?  That at 46 you have a lifetime of stories to tell, so tell them in music, the best music - Black Metal!

9. Visual art, such as old paintings, influences your music. Have you ever considered collaborating with visual artists to create artwork that complements your music?
Absolutely, that would be a real privilege to produce collaborative pieces and, as you have mentioned it, I will look into that some more.  That could lead to some really interesting audio-visual creations - yes you’ve got me thinking now!

10. What can fans expect from you in the future? Are there any upcoming projects or releases that you're particularly excited about?
I don’t stop, I constantly compose new pieces and release new tracks monthly sometimes more frequently if they are Acoustic Black Metal.  Actually I have released another track already - ‘1892’ !

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Mühlsteinhorn - Atmospheric Black Metal by Martin Williams (youtube.com)

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Interview Sidus Atrum

Sidus Atrum, an Ukrainian atmospheric black metal band, has evolved from a solo project to a dynamic group, reflecting profound themes of war and resilience in their music.

1. Sidus Atrum has undergone significant evolution since its founding in 2015. How has the transition from a solo project to a full-fledged band impacted the creative process and dynamic within the group?

The process of Sidus Atrum evolving from a solo project to a group happened gradually. Initially, there was an interesting experience of collaborating with guest participants. Then, a decision was made to turn the project into a group with two members. This accelerated the recording process, in addition, Serhii brought his ideas and skills to the project, making it more technical. He also mixed and mastered the album, so the recording was made taking into account the idea of ​​the future sound of the album.

2. Your first album, "Cold Silence," was released in 2019. How do you reflect on the journey from that initial release to your latest album, "Розірване Небо (Torn Sky)"? How has your music evolved over time?

Sidus Atrum's music has evolved both ideologically and technically. The first album was dedicated to depression and immersion in oneself, while the second album “Spiral Of Life” allowed to analyze the life of an individual from birth to death, to think about possible cyclicality and reincarnation. The third album was more global, dedicated to the most difficult ordeal that millions of people go through. As for the music and arrangements, with each release, they became more and more harmonized and complicated.

3. "Ghost Song – Lullaby Of The Lost" featured a collaboration with Margarita Arabadzhieva from Clouds Vocal Collaboration. Could you share with us the story behind this collaboration and how it influenced your musical direction?

In 2019 I participated in vocal collaboration arranged by Death Doom band Clouds and in March 2020 the song “Path Of Sorrow” was released together with the studio video. It was the exciting experience of composing lyrics and vocal lines together with other vocalists, recording the vocals and the video. This collaboration gave us many emotions and new friends. We really loved how we sounded together with Margarita and decided to record a song. Thus appeared the single “Ghost song lullaby of the lost” with music composed by Sidus Atrum and lyrics by Margarita. She has also drawn the illustrations and made a lyric video for the song.

4. "Spiral Of Life," your second album, introduced special guests Serhii Lykhotvor and Daniel Neagoe. What was the experience like working with these talented musicians, and how did their contributions shape the album's sound?

The work experience was very interesting and beneficial, allowing me to broaden my horizons somewhat. Serhii made the music more atmospheric and airy, while Daniel contributed more ideas regarding the arrangement of the vocal parts.

5. Serhii Lykhotvor later joined Sidus Atrum as a regular member after successful collaboration as a guest musician. How has his inclusion impacted the band's dynamic and overall vision?

Our musical tastes are pretty similar, so I wouldn't say the overall vision has changed in any way. We want to express our emotions, experiment and do we want.

6. Your latest album, "Розірване Небо (Torn Sky)," explores themes of war and resilience, reflecting the band's emotions and experiences since the invasion of Ukraine. What inspired you to delve into such heavy subject matter, and how do you hope listeners will connect with it?

The inspiration for the album was our own experience of the beginning of the war, when the old world and familiar life were destroyed, as well as the notion that human nature has changed and brutal bloody war has no place in our days. What everyone saw after the de-occupation of the Kyiv region, the brutal crimes of Russian soldiers against the civilian population, plunged us into an abyss of pain and anger. During the time we were recording the album, many sad events happened, the narrative in the album followed these events and ended on a note of hope for the victory of life. I really hope listeners can understand our pain, our anger, frustration and hopes. We want people to realize that if you let evil win, it will move on and in time, knock on millions more doors of civilians. War and cruelty have no place in this world.

7. Could you walk us through the songwriting process for "Розірване Небо (Torn Sky)"? How do you approach crafting music and lyrics that convey such profound themes?

All the songs for the album were written under the influence of strong emotions from events happening around. Most often, the melody would come first, followed by the idea of what the song would be about. After that, there was work on the arrangement, and then the lyrics were written. However, the song "Worse Than A Torturer" was written a bit differently; the lyrics came first.

8. "Розірване Небо (Torn Sky)" consists of six tracks. Can you give us insight into the overarching themes and emotions explored throughout the album?

The album touches on themes of war, the destruction of the familiar world, and the loss of everything once cherished in life, as well as violence and dehumanization, sacrifice and bravery, disappointment, and the longing to see the dawn when this horror ends. Among the entire range of emotions, pain, hatred, and hope dominate.

9. The new album is accompanied by an official video clip and a lyric video. What can fans expect from these visual accompaniments, and how do they enhance the listening experience?

The official music video “When The Earth Was Screaming” was filmed in Irpin and Hostomel, which were affected during the occupation of the Kyiv region by Russian forces. We wanted to give fans an idea of how children who have been impacted by the war and lost their homes and loved ones are forced to live. The war will forever remain with them, in their broken hearts, in their memories, but for now, it continues in real life, and they are forced to hide from shelling in bomb shelters. Along with the emotions of pain and rage embedded in the song, the video is meant to help people understand that what is happening in Ukraine is unacceptable in the modern world. “Pulse of Life”, through visual imagery, helps to transition from grief to hope for a better future.

10. Looking ahead, what are your aspirations for the future of Sidus Atrum? Are there any new directions or collaborations you hope to explore in your music?

It's difficult for me to say what the future of Sidus Atrum will be; there may be significant changes in the musical direction or even an expansion of the lineup. There are many ideas I'd like to try to bring to life, new techniques to master, and I also understand that staying in the same style as the last album isn't as interesting anymore, unless there are deep emotions and experiences that specifically call for that direction.

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“Розірване Небо (Torn Sky)” | Sidus Atrum (bandcamp.com)

Interview Massive Scar Era

Massive Scar Era, led by Cherine Amr, blends Egyptian Zār traditions with metal in their latest EP, "Assyad." Cherine explores how these cultural roots shape their unique sound, featuring a powerful collaboration with Chaney Crabb of Entheos.

1. "Assyad" is a deeply cultural project. Can you tell us more about how your experiences with Egyptian Zār traditions influenced the creative process of this EP?

I started the research with an open mind, wanting to understand the tradition from the perspective of the Zar community. I was ready to listen and learn. My process began with the Zar songs, not the metal ones. I first learned the Zar song and let it guide the creation of the metal part. The music is deeply rooted in Zar.

2. The single “School Girls” features vocals from Chaney Crabb of Entheos. How did this collaboration come about, and what unique elements did Chaney bring to the track?

Part of the creation process was understanding my own strengths and finding the right elements to bring my vision to life. For the Mu’allima spirit (the Educator spirit), I wanted a strong, textured voice that other women could look up to, even in the metal world. I’ve been a fan of Chaney's voice and love its depth. I felt she could perfectly embody this spirit and support the conversation between the Mu’allima and the outside world. When I connected with her and explained the concept, she brought it to life just as I imagined. I'm so happy with the result!

3. You’ve described “School Girls” as a dialogue between the Mu’allima spirit and the outside world. Can you elaborate on the significance of this dialogue and how it ties into the themes of the EP?

Every song on this EP is inspired by a Zar spirit. The Mu’allima is part of the Zar world—she’s a leader in the female Zar community.

4. Your music blends progressive rock, post-grunge, Egyptian music, and metal. How do you approach merging these diverse genres into a cohesive sound that resonates with your audience?

I'm Egyptian, and I grew up in Egypt, so naturally, I was exposed to a wide range of Egyptian folk genres. I also have another project where I write pop rock in Egyptian Arabic. All these influences are part of my musical vocabulary, and I consciously choose which ones to highlight when composing songs. I know not every listener will connect with everything, but I have a diverse following from different backgrounds, and I think they can pick up on and relate to some of these influences.

5. What was the songwriting and recording process like for "Assyad"? How did working with artists like Simon McKay and Frédérick Filiatrault shape the final sound of the EP?

Simon’s role went far beyond just being a session musician. Zar heavily relies on polyrhythms and skin drums, so I knew I needed a drummer who was not only skilled but also a creative songwriter. Simon took the time to really understand what he was working with, even before the Zar group arrived in Montreal. I shared all the research materials with him, and his drum arrangements were intuitive yet carefully crafted to leave space for the Zar rhythms to remain at the heart of the songs. His brilliance really shines in the track “Genni Lambo,” which is essentially just him and the Zar group.

Frédérick is incredibly smart, and it was clear right away that he’s someone exposed to a wide range of genres. He joined in the final week of rehearsals and understood that his role was to be the backbone of this wild mix. His taste in effects on the EP was spot on. Simon recommended him, and I could immediately see why—they work so well together as a bassist and drummer.

The real effort came from Mohamed, the leader of the Zar group, Abou El Gheit ensemble. Since the Canadian musicians come from diverse backgrounds, they were somewhat familiar with North African beats and rhythms, even if not at this level of intensity or complexity. But Mohamed and his group had never heard metal in their lives. They had never jammed with metal drummers or heard screaming death metal vocals. In fact, they had never even been to North America before. Yet, they weren’t intimidated by metal at all—they actually loved it. The chemistry between Mohamed and Simon was undeniable; it was as if they had played music together before.

6. Zār is a ritualistic practice involving music and dance. How did you adapt these traditional elements into the modern metal framework, and what challenges did you face in doing so?

I made it very clear to everyone involved that I had no intention of practicing the ritual. My focus was purely on exploring the artistic side of this tradition. However, after finishing writing the songs, we presented an interactive show in Montreal, and we did manage to create a trance with the audience. The Zar musicians were on the floor, moving around and interacting with people, focusing on those who were drawn into the trance. I recorded and videotaped the performance, and you can clearly see how some individuals were fully immersed in the experience with the Zar group. This naturally affected the length of the songs, as we had to maintain eye contact to signal different parts. This is a classic improvisational aspect of a Zar ritual, where the leader communicates with the musicians based on how the "patient" responds to the music. I will share these videos with the EP release. 

7. In “Assyad,” each song is inspired by a specific Zar spirit. Can you share how these spirits influenced the lyrics and music, and what message you hope to convey to listeners?

Muluk al-Ardiyya | The Kings of the Earth | ملوك الأرضية 

Muluk al-Ardiyya is a song for the spirits living on the mainland. They are among the oldest kind of invisible creatures whose agency is related to the forces and life on Earth. 

Abdel Salam Lasmar | عبدالسلام الاسمر

Abdel Salam al-Asmar, a revered religious figure in Libyan Muslim history, lived from 1455 to 1575 CE. Began an ascetic (Zahid) in Libya's expansive desert, known for performing miraculous acts for the needy. Later in life, he became a mujahid (holy warrior), defending his city with fervour. Revered across North Africa, he features in traditions like Zār, Gnawa, and Stanbeli. His militant stance inspired many Sufi orders in anti-colonial and military resistance efforts.
Jinn Lambo | جني يالمبو
Spirit of the fire, Jinn Lambo is a spiteful creature and a servant of Sultan al-Nar, the fire sultan. The music retains strong African elements, maintaining a profound connection to Zār's Eastern African roots. The ritual necessitates the presence of fire and lit candles during the trance dance.

Inner Dialogue

Inner Dialogue is inspired by the Zār song "Salila, the Master of the Water," depicted as a mermaid symbolizing rebirth and abundance. Salila is a captivating yet proud female spirit, drawn to wealth and gold, but also capable of transformative generosity and support for humanity.

El-Leil | The Night | الليل 

"The Night serves as an ode to the day and sun. The benevolent Asyad sings to the night, longing for its swift departure, as darkness is associated with malevolent spirits.

Pretend

Pretend draws its inspiration from the esteemed spirits of Mamma el-Sultan and Sa’det El-Bar. Mamma el-Sultan presides as the revered master over all Zār spirits, while Sa’det El-Bar commands the domain of Al-Midan, the battlefield.

School Girls | بنات المدرسة  (Featuring Chaney Crabb from Entheos)

"Banat al-Madrassa or al-Handasa" reflects a pivotal era in Egyptian society and feminism, highlighting middle and upper-class women's pursuit of higher education in the 1950s. The song embodies women's aspirations and empowerment, with the muealima (spirit) serving as a guide in the female Zār realm and a social archetype for all.

There isn’t a specific message I’m trying to convey. I’m more focused on sharing my experience as a songwriter, along with the lyrics and cultural research behind it. It’s really about letting the audience connect with the entire journey and process rather than delivering a particular message.

8. Montreal has been an important base for you. How has the city’s cultural and musical environment impacted your work, especially with the creation of this EP?

Montreal has a wealth of professional musicians from diverse backgrounds, and I don’t think I could have found such talent and resources anywhere else in Canada. The city itself is incredibly inspiring, with its vibrant cityscape and unique architecture. Being in this environment naturally fosters creativity and enhances the creative process.

9. The track "Muluk al-Ardiyya | The Kings of the Earth" opens the EP. What inspired this song, and why did you choose it as the opener for "Assyad"?

In a traditional Zar ceremony, *Muluk el Ardeya* is the first song they start with, so I wanted to honor this tradition and include it in this EP as well.

10. You’ve worked closely with cultural consultant Dr. Kawkab Tawfik and master Zar musician Muhammed AbouZeid. How did their expertise contribute to the authenticity and depth of the EP?

This EP would never have come to life without them. They were the source of all the resources I needed. Dr. Kawkab offered the academic context and analysis, while Mohamed provided the spiritual background and the practical knowledge he inherited from his ancestors. Mohamed taught me the songs and invited me into his world as a healer.

11. Given the rich history and tradition behind the Zār practices, how do you balance honoring these cultural elements while also pushing the boundaries of modern metal music?

I am very open and clear in my messaging when promoting the release that this is not Zar but inspired by Zar. Working on this EP in a collaborative setting allowed the Zar musicians to contribute their voices to the arrangement. Mohamed arranged all the percussion for the EP and decided which Zar beats to include. Each musician had the opportunity to express their creativity and enjoy the process. Dr. Kawkab’s role as a cultural consultant was crucial for maintaining balance. She attended every rehearsal, provided feedback on the execution, advised on what to wear for the show, and offered detailed input on the lyrics. This highlights the importance of hiring a cultural consultant. Dr. Kawkab has a postdoc in Zar Traditions and is an expert in this field. When working with cultural elements, it’s essential to have consultants from the community who are specialists in the matter.

12. Looking ahead, how do you envision the future of Massive Scar Era and the evolution of your sound? Are there any new cultural or musical directions you’re excited to explore?

Yes, I'm currently in the research phase of an exciting new project that's deeply rooted in Egyptian history and culture. While I’m not ready to share the details just yet, I’m confident that the metal community will be very excited about it. The research is expected to conclude by the end of November, and I plan to begin the production process next summer, provided I secure funding for it.

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AydrA "Psycho Pain Control" 2024

On August 22, 2024, cult underground metal band AydrA from Italy released a revitalized version of their classic track, "Psycho Pain Control 2024." Originally composed in 1994, the song has been reimagined for today's audience, showcasing the band's evolution while honoring their roots. The release serves as the second single leading up to their highly anticipated new album, "Leave to Nowhere," set to drop in May 2024.

"Psycho Pain Control 2024" is more than just a re-recording; it's a complete overhaul. The track has been rearranged, replayed, and remastered, offering a fresh take on the iconic sound that defined AydrA's early years. This single not only bridges the gap between past and present but also highlights the band's enduring influence in the metal scene.

Founded in 1986 under the moniker Hydra, AydrA has a rich history of pushing the boundaries of metal, transitioning from power/thrash to a more technical death metal sound. With this release, they reaffirm their place in the metal underground, ready to kick ass once again. Fans can experience the new lyric video on YouTube, a visual journey that complements the track’s intense, revitalized energy.

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Interview Oceans & Omens

Oceans & Omens continue their epic narrative with "II: Aether," blending old-school metalcore and fantasy-driven themes. We dive into their storytelling and musical evolution.

1. Oceans & Omens’ music is deeply narrative-driven, with your latest album II: Aether continuing the saga of The Survivor. Could you tell us more about the story behind this album and how it connects to your previous release, I: Descent?
Rowan: ‘Aether’ picks up immediately after ‘From The Deep’ (the last track on ‘Descent’). After refusing to let death take him and being claimed by our ancient, coral-encrusted reptilian leviathan, The Survivor comes to in an otherworldly landscape of barren wastes and gaping chasms. This is Limbo, the realm between realms. It divides the world of mortals (the physical realm) and the afterlife (the spiritual realm). You could almost view it as purgatory if you want to put a biblical spin on things. For the duration of ‘Aether’ we follow the survivor through his trials and tribulations within this haunted realm and experience his mind-bending discoveries and apocalyptic revelations.

2. Your band blends old-school metalcore with melodic hooks and groove-driven riffs. How do you strike the balance between aggression and melody in your songwriting process?
Rowan: Every song has a “feel” I guess. The story pans out as a cinematic scenescape in my head and each scene gets rendered down into a song. The mood of the depicted section of the story influences the tone of the music. I go into each song with a vague idea of what I want it to sound like and some preliminary ideas but, as I write and as it evolves, I may come up with riffs and melodies that are rock solid but don’t fit the feel of what’s currently going on at that point of the story. These get put in the riff bank for later and pulled out when they fit the theme. It makes for a bit of a protracted writing process but if I wanted “easy” I would just write two and a half minutes of breakdowns and chugs.

3. The concept of gods, demons, and the end of days plays a central role in your music. What inspired you to weave these themes into your work, and how do they influence the overall sound of the band?
Sean: Our band is made up of a bunch of fantasy nerds. Kieran, our drummer, is a Tolkien nut and Rowan churns through books like there’s no tomorrow. No joke, we’re talking novels so large you could beat someone to death with them. We all watch Game of Thrones, Halo, Wheel of Time, Vikings, etc. So, having all our music based around one continuing concept makes complete sense, it’s just how we’re wired. We have a very epic, lengthy story to tell and so much we want to share hence we will keep chipping away at it.

4. You mentioned that the metalcore genre is often saturated with themes like depression and failed relationships, and that Oceans & Omens aims to offer something different. How do you think your fantasy-driven narratives set you apart from other bands in the genre?
Rowan: Metal is such an epic, dynamic and emotive genre of music that it deserves a topic of suitable gravitas. There is nothing wrong with writing songs about everyday things like relationships and personal experiences, plenty of bands do it. But if you have the choice of writing about your last break up or a titanic struggle against hordes of pit-spawned demons intent on the annihilation of all of humanity, then I know which one I would rather write about…

5. Your debut album II: Aether was well-received within the Perth metal scene. What was the creative process like for this album, and how did the band evolve from your earlier releases?
Rowan: Given that ‘Descent’ was written back in 2012-2014 in the band’s first incarnation as ‘To The Depths’, a ten year hiatus played a part in the development of the sound. We are all older, hopefully wiser and have experienced a fair bit more of life over the intervening decade. ‘Limbo’ and ‘Desolation’ were written within that time frame, and you can tell I was going through a bit of a rough patch because those two tracks in particular are pretty dark. The rest of the album came together in fairly short order once Kieran and I got back together and decided to breathe new life into the project, resulting in ‘Oceans & Omens’ being given a second life. Back in the day we were very much influenced by all the early 2000’s metalcore floating around but I think with ‘Aether’ we have developed much more of our own signature sound with a bit more songwriting experience under the belt.

6. Can you share the significance of the album title II: Aether and how it ties into the overarching story of The Survivor?
Rowan: It’s the realm between realms, the not alive but not dead. The dwelling place of the god of destruction and the mustering ground for his hordes of darkness. If the afterlife is the everlasting peace granted to a soul in death, then Limbo (Aether) is where you really don’t want to end up. I guess the term “Aether” conjures up images of ethereal beings, spiritual manifestations and inter-dimensional deities…. seemed an appropriate title for the album.

7. Sean O’Brien’s dynamic vocal range is a standout feature of your music. How do you approach integrating vocals with the intricate, rhythmic instrumentation in your songs?
Sean: Our song writing starts with Rowan. He’ll have the riffs and song structure fully worked out before I hear any of it. So, I get to listen to an instrumental demo and with that, it usually seems quite obvious to me how the vocals need to sound. For example, there are a few passages in the second half of the album where I lean into clean singing. It’s because the instrumentation was written in a way that screaming or growling just wouldn’t make sense. The theme and lyrical content of the album explores a broad spectrum of emotions and storytelling; therefore, I’ve done my best to convey this with a broad range of vocal techniques.

8. Your live performances have been gaining traction, particularly with your headlining show at Amplifier. How do you translate the epic narrative and intense energy of your music into your live shows?
Sean: I try to act as a storyteller while performing. I do behave a lot like a typical metalcore vocalist, banging my head and working up the crowd. However, I also try to inject a touch of theatre as well, with grand hand gestures and dramatic inflections. In some passages, I feel more like I’m voice acting rather than singing a song. I know the vast majority of the crowd has no idea what the story behind the music is, but I hope they’ll be captivated by my performance and perceive something a little different to what they’re used to. The rest of the band generally just goes nuts and they do a bang-up job of it too!

9. The band has shared the stage with acts like Banks Arcade and Patient Sixty-Seven. How have these experiences influenced your approach to performing and connecting with your audience?
Sean: I look up to both of those bands. They’re obviously passionate about their craft and work bloody hard at it. Patient Sixty-Seven has absolutely nailed their online presence and it serves as a good reminder that bands have an awesome opportunity in this day and age to connect with people from all over the world like never before. Running a band can feel like a real slog sometimes, especially when trying to balance it with work, family and everything else going on in life. I recently found out that Joshua from Banks Arcade competes as a mixed martial artist. Imagine staying fighting fit while on the road in a touring band! It’s inspiring and shows that a person really can achieve a hell of a lot if they have discipline and focus. Passion helps too, it’s what drives our band. Every performance and every kind word from our wonderful audience helps to fuel that passion.

10. Fantasy and metal often go hand in hand, but your approach to storytelling seems particularly immersive. What are some of the literary or cinematic influences that have shaped the world you’ve created in your music?
Rowan: Like I said prior, things like Game of Thrones (the books as well as the tv series) and The Lord of the Rings are big influences. Themes from games like God of War and Gears of War insinuate themselves into the narrative. Fantasy authors like Brandon Sanderson with his ‘Storm light Archive’ and Anthony Ryans ‘Draconis Memoria’ play a large role in world building. And let’s face it, at the end of the day who doesn’t want to see a giant, interdimensional, deep dwelling sea dragon wading through hordes of screaming, blood-frenzied demons laying waste to civilisation as we know it?

11. As Oceans & Omens continues to grow within the Perth music scene, what challenges have you faced, and how have you overcome them to establish your presence?
Sean: As I alluded to before, the hardest thing is juggling the band with everything else in life. Oceans & Omens is made up of adults with jobs, responsibilities and other passions outside of music. The only way we make this project work is with everybody chipping in, all hands on deck. Then there’s just perseverance and not being afraid to play a few gigs where it might seem like there’s nobody in the crowd except crickets and a ball of tumbleweed, but you might find one die-hard fan at a gig like that. At our recent launch show, it seemed like everybody who’d attended those little gigs over the past four years all came together at once and celebrated our album launch with a packed house.

12. Looking ahead, what can fans expect from the next chapter in The Survivor’s saga? Are there any new musical directions or story developments on the horizon for Oceans & Omens?
Rowan: I was already four songs into the next instalment of the story before ‘Aether’ was even released. Getting a head start seemed prudent since the writing of the material tends to take a while. Not to mention I’m a bit of a diva when it comes to everything being ‘just so’. The story is about to delve into themes of moral and spiritual corruption and almost acts as an allegory to what is currently going on in the world and what has led to the downfall of empires and dynasties in the distant past. Hubris, greed and the abuse of power all play their parts, and I guess you could sum it up by saying that the next release focuses of the erosion of humanity’s moral fibre. How said attrition opens our souls to the influences of The Aether and begins to break down the barriers separating the world of life from the realm of darkness. Have no fear, it may sound very political but all the blood and destruction is just around the corner.

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Interview Nox Pulso

Nox Pulso, the Manchester-based band, blends industrial, dance, and metal, drawing inspiration from iconic 90s films. Their sound is a dark, intense journey.

1. Nox Pulso’s sound is inspired by the fictional nightclub scenes in iconic films like Blade, The Matrix, and The Crow. What was it about these films that resonated with you musically, and how did they influence the creation of your unique blend of industrial, dance, and metal?

NP: Hi Lelahel and your readers, thank you for having us! We’re Nox Pulso, from Manchester, UK, and we write heavy guitar, dance music, which we call “New Wave of Industrial Metal”. We were teenagers in the 90’s and at that time, these iconic films had that combination of techno and rock, two tribes which could not co-exist in our worlds at the time. It would literally be dangerous to be wearing a metal t shirt and go to a rave - and vice versa. We wanted to make that impossible blend - 30 years later we can do it.

2. You released three EPs—Frontiers, Snake, and Mercury—along with your debut album Songs from the Wastelands in 2023. Can you walk us through the creative process behind these releases and how each one contributed to the overall evolution of your sound?

NP: It’s a steamroller of creation. We started by covering some of the great artists - Ministry, Gary Numan, Bauhaus, and trying to do our “dance metal” take on them. Somewhere in there we found we have no control over it - there is rage - the need for an exorcism. So the music writes itself.


3. "Night Trap," your December single, secured a spot in the festive fifty slot on the We’re All Aliens show. What was the inspiration behind this track, and how did it feel to see it resonate with both fans and critics alike?

NP: Night Trap was a 90’s video game and one of the victims of the moral panic era, where art and music was to blame for everything - the “parental advisory” stickers on records - where people would ask “what will happen to your children if you let them play this game? Or listen to this record?” -- we ARE the children of that age… and Nox Pulso is exactly what will happen if you let them play that game, or listen to that record!

4. Your music has been featured on Total Rock Radio, Emerging Rock Bands, and Moshville Times, among other platforms. How has the exposure on these stations and blogs impacted your band’s journey, and what has been the most rewarding part of reaching new audiences?

NP: The absolute best thing is being able to speak to people who enjoy our music - for whatever reason. Nox Pulso is not a band for average, everyday listeners: Our listeners are us, and we are them. If it speaks to you, you are one of us. If you seek us out on social media, don’t be shy - we will always respond. That connection to and with our tribe is absolutely paramount.


5. The name ‘Nox Pulso’ translates to ‘Night Beats’ in Latin. How does this name encapsulate the essence of your music, and what role does the concept of ‘night’ play in your thematic and lyrical choices?

NP: These are dark songs for a dark world, for a listener who doesn’t want to be spoon fed shit and told its sugar. Don’t come expecting a happy-go-lucky love song. But Nox Pulso can also translate to something like “nasty rhythm” - which is absolutely what it is, with the distorted break beats and sub bass.

6. With the resurgence of 90’s influenced industrial music, what challenges have you faced in blending nostalgic elements with modern, guitar-driven sounds, and how do you strike the right balance in your tracks?

NP: We love The Prodigy, Ministry, KMFDM, Front242, NiN and the list goes on, so there is always nostalgia there. Where we are a bit different is that we are the children of that world - not a dance producer attempting rock, or a rock band attempting dance - we are both, glued together… and with the guitars turned up as high as they can go.

7. The nightclub scenes in the films you draw inspiration from are visually striking and immersive. How do you translate that cinematic experience into your live performances, and what can fans expect when attending a Nox Pulso show?

NP: Expect raw adrenalin, sweat dripping, eyeball bulging, half-dance-half-mosh and a general danger zone.

8. Your debut album Songs from the Wastelands has been described as a significant milestone for the band. What themes and messages are you exploring in this album, and how do they reflect your experiences as musicians and artists?

NP: The wastelands are an allegory for the real wastelands of our time: If you feel disenfranchised, are angry, see the dark side of life… these songs are a sonic manifestation of your feelings.

9. Given the rapid pace at which you released three EPs and an album in 2023, how do you manage the creative and logistical aspects of producing music at such a prolific rate, and what motivates you to maintain this momentum?

NP: We are the vessel for the rage. It decides. It had a lot to say recently - maybe because the wastelands are so utterly screwed. But once it lights the gas, the flame burns hard and fast.

10. Industrial music often incorporates a wide range of sonic textures and influences. How do you approach the production process to ensure that each element, from electronic beats to heavy guitars, complements the overall atmosphere of your tracks?

NP: We think long and hard about this. It’s always difficult to balance low end and high end. Duncan is the guitarist, and loves fizzy distortion. Matt is the beatmaster and loves deep sub bass. We have a push and a pull, with both a right of veto but also a mutual respect and a sense that neither of us is the ultimate arbiter of taste. If a song would be heavier without guitars - for example the main drop on our song Witch youtu.be/YMI1m2q...TNVoQx well, then the guitars stay off.

11. What role do visuals and aesthetics play in Nox Pulso’s identity, and how important is it for you to create a cohesive visual experience that aligns with the sound and themes of your music?

NP: We focus on storytelling. They aren’t always obvious stories, and part of what you will get if you watch the visual side of the storytelling, is a deeper, alternate perspective than you would get from the songs alone. The visuals contain a lot of easter eggs, best seen in our music videos found on YouTube.

12. Looking ahead, what are your plans for Nox Pulso in the coming year? Are there any new projects, collaborations, or live performances that fans should be excited about?

We’ve got some amazing collaborations on a new project coming up, but at the moment we can’t say too much about it. What we can say, is that we’re working on a new album, and that we have a small mailing list of an inner circle of friends of the band, who’ve reached out or enjoyed our work, who we keep an active line of communication open with - including sharing new stuff before we can share it with the rest of the world. It’s not a Patreon thing- this isn’t about the money for us - it’s about sharing with the tribe. So if you like the sound of that… find us at any of the socials listed at www.noxpulso.com and let us know. We would love to hear from you.

Interview Jugulator

Jugulator’s Imperator Insector merges sci-fi-inspired apocalyptic themes with thrash and black metal influences, featuring Algerian guest musicians. This ambitious project showcases the band’s evolution and dedication to the Algerian metal scene.

1. Congratulations on the release of Imperator Insector! Can you tell us about the inspiration behind the album's concept and how it ties into the theme of insects?

Thank you, the inspiration came from science fiction cinema, I am a big fan of the planet of the apes and alien for example, and as our first two albums talk about a decadence of humanity, we decided to end this trilogy with an apocalyptic atmosphere, we chose insects because they are a real species that exists in our world, so the fear is really felt.

2. This album features a unique twist with a second disc that includes the same songs performed with guest musicians from the Algerian metal scene. How did this idea come about, and what was the experience like working with so many talented artists?

The idea was born from the concept itself,  we have to face an unprecedented threat,so we need an army to help us save the earth, so the guests came as reinforcements.

the experience was very interesting and enriching, we were excited each time we received the tracks from the guests to see the result, it's a very special feeling to listen other artists play and sing in your songs, it's a very special feeling for them. gives another color, another approach, so CD 1 is a discovery of the album , CD 2 is a rediscovery , the talent of these musicians enriched the album.

3. The album blends influences from 80s German and US thrash metal. Can you share which bands or albums were the most significant influences for Jugulator during the creation of Imperator Insector?

Everything can inspire me, film music, video games music ,but also the bands that I listen to , the thrash metal from the bay area, I am also a big fan of kreator and annihilator, but there are also touches of black metal in this album, because as a teenager, I had a small period of black metal, I retained some compositional gimmicks that we used here to accentuate the atmosphere of terror that the album described in its lyrics.

4. The track Imperator Insector stands out as the title track of the album. What is the story or message behind this particular song?

this is the eponymous song, it is a description of the war leader imperator insector, in this song, a narrator presents this creature to us, he describes his ambitions, how he is seen by his army and especially what he thinks about irresponsible humanity, the horrors we do on earth and that’s the driving force behind his invasion campaign.

5. You’ve been a band since 2014, and this is your third full-length album. How has Jugulator’s sound evolved over the years, and where do you see your music heading in the future?

the music evolved to something more aggressive and progressive, in the first album we were with the aim of making fairly classic but effective thrash, in the second we began to enrich our compositions with slightly more complex structures, and in this one we released the horses while having fun foraging on the black Metal side of the force.

6. With over 90 minutes of music and 21 guest musicians contributing to the album, what were some of the challenges you faced during the recording and production process?

The challenges are mainly the deadlines, you have to do it well in advance, there is also the method, for example we asked the guitarists to send us two takes, one on direct imput and one with their sound, we try to first mix with their sound because it is part of the musician's touch, but if the take is not suitable, we are forced to fall back on the DI take and try to find a similar sound ,but finally we  mixed the takes with the sound of the guitarists.

Same thing for the singers, you have to check the takes, if they are not suitable, you ask to do it again, so you have to manage all that while respecting the deadlines, there is also the headache of mixing well because each sound is different, the challenge was how to integrate that into the song and make it sound good.

7. The album artwork by Mustapha Harraoui is striking and complements the album’s theme. How did you collaborate with him to bring your vision to life visually?

mustapha is a very talented graphic designer, we worked with him for the previous albums,for this one I gave him a description as usual,I said , I want a big mutant insect monster that decapitates a human, with a background of a completely devastated area, with swarms of insects attacking, all this in a fluorescent green atmosphere to show the radioactivity and nuclear , the result is in front of you, a very beautiful cover.

8. Lamine Amrane handled the mixing and mastering of the album. How important was it to have someone within the band take on this role, and how did it impact the final sound of the record?

I must say that we are very lucky to have him with us, just like Ziri our bassist who was in charge of the video part of the first two albums, Lamine is self-taught, he learned to produce alone, he was very motivated to do it, he is a very open and eclectic person, he immediately understood the direction we wanted to take in this album, I remember that we spent two months just on the sound of the snare drum, I followed his advice to the letter in the sound recording, he was sure of the result,he is also an ultra perfectionist, we often had a situation when I said to him: it's good, we'll keep this version , two days later he sent me another one saying : please listen again I corrected micro details, I had never noticed these details lol.

 And frankly we are very satisfied with his work, I can never thank him enough.

9. The Algerian metal scene has been growing steadily over the years. How do you feel Imperator Insector represents Algerian metal on a global scale, and what do you think the future holds for the scene?

I hope that this album will show the world that in Algeria, there are groups who work hard, with passion, the 19 Algerian guests are there to show that Algeria is full of talent, I hope that this will motivate other bands to make albums, we need more presence of bands in Algeria.

10. Tracks like Radioactive Mutation and Atomic Insecticide have intense titles. Can you delve into the lyrical themes of these tracks and what you hope listeners take away from them?

Radioactive mutation talks about the mutation phase of contaminated insects in infected focus (the previous song), it announces that a new species was born because of nuclear bombs and chemical waste caused by humans.

what listeners must take away? is the construction of the song, the first part is thrash, we tell what's happening, then we let the instruments speak with the groove part in the middle and the sudden switch to black metal , this part clearly tells us that they did it ! they have mutated!! We're in trouble! their size begins to change, they have more arms, more wings, we let the listener imagine the scene through its soundtrack.

for atomic insecticide, it talks about the questioning of humans, who have finally found the weapon that will allow them to triumph, in this song, humans recognizes their errors, they understood the lesson, now we will have to pay by sacrificing ourselves for the good of all, to save our species and our planet by promising to stop the horrors we committed in the past.

what listeners must take away? A fuckin wall of death part after the “GO” in the middle of the song.

11. You’ve played alongside various guest musicians on this album. Are there any plans to perform Imperator Insector live with some of these artists, and how do you envision the live experience for this album?

It's worth considering, it would be great, we're going to see the technical possibilities for that, maybe during a special concert to celebrate our 10th anniversary this year! it will be an honor for us to share the stage with such talented musicians.

12. What’s next for Jugulator? Are there any upcoming tours, music videos, or other projects in the works that fans should be excited about?

we are looking at the possibility of doing a tour, and yes, we are working on a new music video, we hope it will be positive, it's never easy but we believe in it.

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Interview Ektör

Ektör's journey in music blends intense genre fusion with audiovisual artistry. Their latest EP, Ektöristan, reflects a unique blend of influences and creative evolution.

1. Ektör, your work spans audiovisual and choreographic collaborations. How have these experiences influenced the creation of your new EP, "Ektöristan"?

Our various audio-visual productions have given us creative freedom and a certain sense of musical dramaturgy. The variety of artistic choices and the specific technicality of this kind of prods have helped us grow musically. These experiences have also enabled us to confront the demands of this ultra-competitive environment. 

2. "Hybrid," your first instrumental EP, was released in 2017. How has your sound evolved since then, especially with the introduction of "Ektöristan"?

Since Hybrides, we've been lucky enough to add a long-time friend to our gang, the brilliant pianist and composer Guillaume Flamen, . His penchant for Krautrock and minimalist music has undoubtedly modified our melodic approach. The major evolution on this new album remains the introduction of vocals and the desire to make our music more accessible. 

3. Your influences range from hardcore and electronic to tribal and introspective music. How do you blend these diverse genres into a cohesive sound in "Ektöristan"?

We're children of the 20th century, rocked by the fusion, crossover and musical radicalism of Trent Reznor, Mike Patton or Robert Smith. For us, contrasts, ruptures and changes of style are a natural way of writing. Our aim is to take the listener off the beaten track and away from the pre-packaged. Our compositions usually start with a search for sound textures. Most of the time, we have no idea what the piece should sound like until the end of the process. Whether the alchemy works or not, there's no set recipe.

4. Can you elaborate on the concept of the "immunocratic potentorate of Ektöristan"? What inspired this fictional country, and how does it reflect in the music?

It starts out as a joke when we realize the "exotic" nature of the string sample used on the track "Ektoristan" from a contemporary piece written by Benoît, our master of analysis and counterpoint. The immunocratic potentate is a nod to all political regimes which, despite their diversity, systematically retain the same pyramid structure. In Ektöristan, the situation is clear: we're all guilty, irresponsible and equal...

5. The new EP features eight tracks sung in French and Syrian. What motivated the choice of these languages, and how do they contribute to the overall narrative of the EP?

The work on the voices was very intuitive, almost direct. The texts sprang to life at the very moment of recording. Our meeting with lyric singer Ninar Hala Alassar gave the album an unexpected boost. The musicality of the Syrian language was evident on "Ektoristan", and also enabled Nina to express herself in her native tongue. The message conveyed by this song may seem anachronistic in these troubled times ("It feels good here, It's party time here ..."), but hope lives on. As for French, it's our matrix. Definitely the only language in which we know how to have fun without thinking about ourselves like "authors".

6. Can you tell us more about the creative process behind "Ektöristan"? How did you and your team collaborate to bring this vision to life?

2020, like all the confined musicians in the world, our concerts are cancelled without notice. What better way to exist in the face of adversity than to self-produce a record? So we began recording the new compositions and reworking some older tracks. We progressed together and separately on the programming, eventually pooling everything together for the instrumental recordings. Most of the work took place "the old-fashioned way" in Alain's studio/living room/kitchen and Benoît's home studio.

7. How do you balance the introspective elements of your music with the more tribal and hardcore influences? Are there specific tracks on "Ektöristan" that highlight this balance?

There are no set rules, except perhaps the recurrent use of 5/4 or compound bars, as on the first single "Ektoristan". The tracks take on a life of their own, depending on whether we're in a mischievous, calmer or edgier mood. We're contrasting individuals, and so is our music.

The rest is a story of encounters, musical technique, studio work and often chance. All these elements can be found in a track like "L'odyssée".

8. The EP "Ektöristan" seems to tell a story. Can you walk us through the narrative arc of the EP and what you hope listeners take away from it?

The album's various lyrics revolve around the idea of a journey to the fantasy land of "Ektöristan". If some see this as a plea for acceptance of others and simple respect for life, we'll take it ;-)

9. How has the reception of "Ektöristan" been so far, both from your long-time fans and new listeners? Are there any surprising reactions that stood out to you?

Many of our listeners are positively surprised by the vocals on certain tracks ... If it's difficult to assign a style to us, we've recently been described as Disco/Goth ... why not. The main thing is that our music is listened to in one way or another. Posterity is of little or no importance to us.

10. Looking ahead, what are your plans for the future of Ektör? Do you have any upcoming projects or collaborations that you're particularly excited about?

We remain focused on the release of our new album on the Bitume label at the end of October. To celebrate, we're planning to release a 2nd video clip for the track "Alarme", and hope for a providential encounter with an inspired director ....

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Interview Imajjjin

Imajjjin, a multi-generational metal band from Kansas, blends diverse influences to create a unique sound. They discuss their journey, challenges, and future plans.

1. Can you tell us how Imajjjin was formed and what influenced your multi-generational sound?

Imajjjin was formed by its original members being inspired by our individual influences combined with our own talent. We all felt very ready to write and perform together. Our multi-generational sound comes from the group being spread out in the age department, so we all grew up on different music. We believe our tastes blend well to form Imajjjin's sound; With influences from groups like Trivium, Megadeth, Pantera, Death, Killswitch Engage, Type-O Negative, Exodus, Decapitated, Metallica, Iron Maiden, and many more really

2. Your debut EP, "Path of the Nomad," was released in 2018. Can you share the inspiration behind the title and the overall theme of the EP?

We were sitting in an Irish restaurant in Manhattan Kansas, discussing all the recording we had just completed and trying to discover its overall theme. We had agreed that it was simply a compilation of melodies, lyrics, ideas, and just plain hard life stuff that we had all been carrying up to that point. It was almost a combination of all our stories, and we didn't have any idea where it was going. So Ian coined the titie Path Of The Nomad.

3. Your music ranges from melodic and expressive to brutally heavy and angry. How do you balance these diverse elements in your songwriting process?

We try to arrange things in a way that connects with how we feel about the context while we are writing it. Human emotions are not so very predictable, neither is life. Music is in it's simplest form, an expression of self that cannot be just spoken alone. It must be felt to be even a little bit understood. We are simply expressing ourselves, not trying to balance things for the listener. But if it balances out then good!

4. "An Arduous Bloodlust" was released in 2022, and you have a new single "Galaxa" that has come out now. How do these singles differ from your earlier work, and what can fans expect from what is to come?

The mentioned singles were other naturally composed songs. There is plenty of guitarwork, melody, and lead playing, which is not uncommon for Imajjjin. We also made the structure a little different, to suit the context of course. But we were simply trying to express ourselves and write good songs

5. Could you walk us through your creative process? How do you go from an initial idea to a finished song?

Jessie and Jackson will typically write the skeleton for a song on guitar, whether individually or together. They will present the idea and some context, and we will get to work on "finding the song". Next Adam and Steve write their parts, and then the tricky part, this "finding the song". That's where Fallon comes in, she writes lyrics alone, and with the group, then we try to figure out how all the parts compliment each other. This usually depends completely on the vocal parts being written so we can then reform the song around them. Sometimes this makes a very big change, but it is always very beneficial to the song and Fallon has a real ear for it. It's very impressive to us once it all comes together

6. Performing live is a big part of being a metal band. What can fans expect from an Imajjjin live show, and how do you prepare for your performances?

 Fans can expect high energy and lots of heavy guitar interaction. Our bass player Adam is always up to unique antics on stage as well. For example, at the T-Bar's Rally benefit show, Adam hopped up on the passenger seat of our friend's Harley Davidson and did laps around the crowd while we played the intro to the first song of the night! We typically prepare for a performance by taking it easy and relaxing until dinner, then the band has dinner together if we can, then we book it to the venue to  watch the other bands play. During the set prior to ours, we all warm up in our own boring ways.

7. Being from Kansas, how do you see the metal scene in the Midwest, and what role do you think Imajjjin plays in it?

Man, it can be tough sometimes. Especially not being "From" a big city. Fortunately, there are some great people out there looking for talent that have become good friends of ours. We have a long way to go, but we have been blessed in a lot of places we didn't expect to be blessed. We have always seen ourselves as "The red-headed step-child" of every Scene we are a part of. Because we live so far from everywhere! Luckily, our set seems to impress 

8. What have been some of the biggest challenges you've faced as a band, and what are some of your proudest moments?

The biggest challenges usually come in the form of everyday life, life gets in the way of dreams sometimes and we have to address things appropriately and make sure that our priorities are in check. The members of Imajjjin live within a 3 hour drive of a bubble and getting together for rehearsal can be challenging at times. Some of our proudest moments would include: Being asked to play The Granada in Lawrence, KS for our second ever show. Opening for Narcotic Wasteland last Halloween. And Watching Fallon, our vocalist, go from being a shy fan of ours to being the monster on stage and in studio that she is now.

9. What plans does Imajjjin have for the future? Are there any upcoming tours or new projects in the works?

No current upcoming tours just yet, but Jessie will be announcing his second solo album soon hopefully. We are trying to focus on writing as we prepare for our next chapter. Fallon is still fairly new in the band and we have a lot of writing to do, but we are very excited about how it all has been coming together. We have some unreleased songs that have us very happy in our place with Fallon on the microphone.

10. How important is fan interaction for Imajjjin, and how do you stay connected with your audience, especially through social media?

Fan interaction is number two, only below the self expression through our art. We love making music, and we appreciate our fans tremendously. Online interaction can be tricky, but the right post at the right time can get people excited. We try our best to be as present as we can be while attending other shows as well as our own. You never know who you are meeting until after the first impression is over

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