Après l'interview-fleuve avec Heimoth, c'est au tout de A.K. (Vorkreist, Merrimack et tant d'autres) de passer sur le grill.
Après l'interview-fleuve avec Heimoth, c'est au tout de A.K. (Vorkreist, Merrimack et tant d'autres) de passer sur le grill.
Alors que le groupe de black metal français SETH s'est reformé et va entamer une mini-tournée en mai prochain, VS a dépêché sa particule noble pour questionner son guitariste et compositeur principal Heimoth.
| (english version below) |
"Nous, en tant qu'individus distincts, explorons l'Occultisme de différente manière, tout comme l'avancée alchimique diffère selon les pratiquants autant que les éléments diffèrent entre eux. Néanmoins, quand cela a un lien avec Acherontas, nous nous unifions en un seul. Une seule flamme nous consume!"
Et cette flamme a également consumé ceux qui ont écouté la nouvelle offrande du combo grec ACHERONTAS. VS vous propose aujourd'hui de lire en intégralité l'entretien accordé par Acherontas (guitare/vocaux) pour Hard Rock Magazine n°37
Prince de Lu : Can you explain why you have changed the title of your album to Vamachara? What was the former title? Why have you specifically chosen this tantra word to describe your left hand faith?
Acherontas (guitar/vocals) : The first title we have decided for our album was Abraxas. We changed the name as we found it as limit to the spiritual Occult background we wanted to approach through our new Opus…we embraced the view of the ancient greek philosopher Plato about Abraxas :“ABRAXAS was an illusion. No rebirth. No redemption. We must live in the Iron Age, in this Age of Decay till the End”. Vamachara streches back to the buried past, regressing back when the female archetype was worshipped through the Cult of Vama, the falsely so-called excremental,cast-out,left overs of spiritual practice, labelled as such by unaccomplished followers of the Solar Gods. The lunar waters shall possesss the Soul essence with the blood current of Immortality, pushing the Adept towards self excellence through the imbibation of the nectar of Salvation that is Amrita, through ordeals of black Al-Khemy. The vultures on infertile grounds of the desert cry LA ILAHA ILA ANA…
From the Vampyric and Drakkonian blood references of the first release, you revealed yourself as adepts of Kabbalah in Theosis. Amongst all the existing beliefs, how can we define Acherontas (nowadays)?
The Vampiric and the mysteries of Drakkonian Current took place in Theosis Album too, but with a different approach… That time Through Kabalah. In Occultism the maps and tools are many… There are no limits in Spirituality. All depends how you work with these tools. Occultism for us is the knowledge, the weapon and the Way to uncover the “Higher Self”, to become vessels of Acausal Drakkonian energy. We, as separate individuals, explore occultism in a different way since the whole alchemical advancement differs among practitioners as the elements differ from each other. Whereas when it comes to Acherontas we all unify into one; one All-consuming flame!
The lyrics are a crucial part of the art of Acherontas. If I'm not wrong, this is the second full-length where all the lyrics have been written by V. Adept Kadmos. Can you describe your collaboration with your "lyricist"?
In Vamachara album all the band offered their Prana in the lyrics. V Adept Kadmos is my personal Spiritual Mentor for many Years… He is not in Black metal Music. Our relationship is Above the musical Plane..
You are deeply involved in Aleister Crowley's works. Have you been influenced by other religious writers into Crowley's circle? Kenneth Grant or Austin Osman Spare?
Of course Aleister Crowley, Kenneth Grant, Austin Osman Spare, Chumbley, Evola, Ancient greek philosophers, the Ancient Texts of Egypt and Summerians are some of the sources that influenced us and Study, but the core of my influence is a specific Order that I am joining a lot of years...
Several new cultists have embraced your faith. Can you introduce to our readers the new members of the band and how they have joined you?
The new members that joined Acherontas is the mainman of Acrimonious Parfaxitas 450 and C.Docre as our new Drummer. First I joined Acrimonious. The rest was matter of time to happen. In Black metal scene it's very rare to find serious persons that combine strong ego, walk the path of black metal in the veins of early 90s and be serious with the science of Occult.
Have you got any clue why the line-up of Acherontas is so unstable?
Acherontas is not just music. I was never searched just only for good mucisians… But for serious persons as I described before. Everyone that is not anymore member of Acherontas we had our reasons… We are not a party to accept any loser that acts in scene like be a circus. Black metal was an Art and must remain like this. When you Create Art you “sacrifice”your prana to dwell inside your music…. So for different reasons each time I stopped the ex cooperations.
Can you tell us about the recording process? Home-made or professional studio? Total control of your art or do you appreciate an external view during mixing? Astraios has been involved this time?
Astraios was only for the recordings of Tat Tvam Asi album and we disapointed very much by the final production he created. I am not anymore in contact with him and in general with Legion of Doom, except Demogorgon. The New Album was mixed and mastered at the personal studio Sitra Ahra of semjaza 218 from Thy Darkened Shade Band. Yes I like to have the full control of Production in general but of course when someone has a special view and thoughts (as our last producer had) it is perfect acceptable.
Your label describes your new release as a mix of occult black metal and 70's rock. Can you talk about your musical influences? Which releases have recently bang your head?
I think that our musical style could be considered as deriving from the 90’s black metal scene. There is nothing intentional about it though. Our sonic expressions have been filtered by our own musical tastes of course. But the fact is that the sound of Acherontas is unique cause it derives from our seperate and individual Aspect! There were many releases that took my attention the last time... The new Album of Necros Christos, Negative Plane, Nightbringer, Ascension… Personal I listen many kinds of music except metal as Ritual Dark Ambient, martial, Classical Music, Occult Rock, 70s Rock, Neo folk etc. My favourite band is Dead Can Dance. My influences are the 90s Era of black metal that I have grown with..
Can you describe the similarities and differences between your new album Vamachara and your previous releases?
The new Album has an Evolution in musical way…As we did in Theosis we put out the standar limits of how the black metal, sounds today and felt free to create anything we feel… In philosophy we used many elements from Necromantical black Arts, kabbalah, Vampirism(Astral), Alchemy, Hindu… Our Draconian Aspect was embraced by many ways..
Acherontas celebrates its 15th anniversary. Having a look backward, have you accomplished all you wanted to do, through Acherontas or previously Stutthof?
Acherontas is the latest transformation of the band that existed for 15 years. It has evolved through the years as a dissolving stream and an astral force. The past is left behind but not forgotten or being embrarassed about it, by any means. Stutthof was never a part of any “scene”, it was an extreme and cult underground band which served its purpose. The band evolved into something beyond a mundane and hylistic concept as politics. This is my 5th full length album and I have more that 15 releases before... How can I be not accomplished? The most important was that any time I was feeling the need to create I had the chance to do it… It's very important for me to express my feelings and my Nightside experiences in music… Creativity is a side of myself.
Why have you created Nihasa and not used your riffs in Acherontas? Does Nihasa still active?
Yes Nihasa are active. A full length Version of the Debut album will take place soon, and a split EP with the mainman from the Ritual Ambient band of Emme Ya will be out in fall of 2012. But after these releases I will stop any project and my devotion will be Acherontas, Acrimonious & my ritual Dark Ambient band Shibalba. Nihasa was a project to experiment with other sounds and ways to write music.
Do you remember what were your influences at the beginning of Stutthoff? Have you walked a long way as a person?
Acherontas continue in Philosophy what Stutthof started… The same and in Music.. only Evolution in all the sides of Creativity took place.. Both Acherontas & Stutthof were Occult Bands. With Stutthof except the 4 years of cooperation with Demogorgon the rest years I had only few periods that shared with some individuals.. My influence is the Science of Sorcery. Nothing more, nothing less.
Greece is seen as one the most important countries in the story of the European black metal. Do you agree with this heritage? Which Greek bands had the most important influence?
Early Necromantia, Rotting Christ, Varathron, Thou Art Lord, Naos, Diabolos Rising, Mortify are some of the great Bands came from my Land.. Their early era was unique.
Are there any french metal bands you know/appreciate?
Your land has many bands that I enjoy as Nehëmah, Deathspell Omega, Antaeus, Mutiilation (and in general all the black legions movement), VI, Ad Hominem, Aosoth and many more that I am sure I forgot now..
From the beginning of Acherontas to Theosis, your label was the Greek Zyklon-B Productions. Why have you changed to Agonia? What are the advantages to ink a deal with the Polish label?
Agonia is a Major Label That have shown Great respect and Support! I think this is enough to start have a cooperation with someone. About Zyklon B FOR SURE IS THE WORST LABEL I HAVE EVER COOPERATED With these 15 years that my band exists.... I don’t think so that there is a need to say why… A search in forums and in Net can give you all the infos why all say that is a RIP OFF label.
Do you appreciate to play live? What do you like/hate in the fact of playing gigs?
When we perform A ritual Show we choose where and When we play. So from the moment I have this chance to choose, I cant say that I have a bad experience or hate something...
Your new album will release through CD and vinyl format. Which one has your preference?
Of course the Vinyl.. All my releases I am trying to release them in this version! I am maniac collector and have total support in this format… pure Analogy… !
What is your feelings about internet? Opium for the masses or a tool to spread your art?
Unfortunately is a tool to spread anything… But I am against this poison… The reason is that has destroyed the essence of the purity that black metal had… Commercialism and black metal is ridiculous. But I will agree that is Opium for the masses and I support anything that enslave humanity… Black metal started as something anti-nomian, something unique and anti-commercial. The 90’s was definitely an era when black metal was something “dangerous”, “extreme” and above all else a gateway to something deeper and higher. Today it’s a publically accepted music genre, with millions of listeners and records companies running it like a business. Polluted by unworthy lowlifes , with poser bands and kids mocking something that used to be pure and genuine. Of course there are lots of exceptional black metal bands in today’s scene that keep the flame alive, but for how long?
Thanks for your time and answers. You have the final words.
Thank you too! Let the feathers of Abraxas reflect the function of Samsara… Hail Tiamat!
| (english version below) |
Apocalypse de Saint Jean, chapitre VI, versets XII à XVII
Puis je vis l'Agneau ouvrir le sixième sceau ; survint alors un grand séisme, le soleil noircit comme tissu de crin, la lune entière devint rouge sang, et les étoiles du ciel se mirent à choir sur terre, comme les fruits verts que laisse tomber un figuier secoué par gros vent; le ciel se retira comme une bande de papyrus qu'on enroule, et toutes les montagnes et les îles furent délogées de leur cité. Alors les rois de la terre, les grands, les généraux, les riches, les puissants, tous, tant esclaves qu'hommes libres, s'allèrent cacher dans les grottes et les rochers des montagnes ; et de dire aux montagnes et aux rochers : "Tombez-nous dessus et dérobez-nous au visage de Celui qui trône et à la colère de l'Agneau, parce qu'est arrivé le grand jour de son courroux, et qui peut tenir bon ?"
Troublé par ces mots et par la grande teneur de l'album Apokálypsis, VS s'en est allé interroger la formation belge GORATH pour quémander à son oracle FLP quel allait être le sort du monde.
Prince de Lu : Gorath is still very productive. Where the inspiration comes from?
FLP (guitar/vocals) : We’ve released five albums in eight years of existence. It might seems to be a lot, but besides 90% of Gorath’s music I also wrote an LP for Horus (RIP – sludge), a couple of EPs for P:407 (RIP – dark post-rock) and a full album for a clandestine black metal project. When it comes from the heart time isn’t a limitation. It doesn’t take a lot of effort to live your passion. Album number six is almost finished as well. That will be the last Gorath release for a long time.
I hope you don't regret the time Gorath was a solo project. How are the other members contributing to your art? Do you compose everything like before?
Today Gorath feels way better than the time it was a one man band. Finally all four of us are likeminded when it comes to the band. Throughout the years I’ve played with many members and this time it feels right. Guitarist Bart and I write all music. It’s hard for us to work on a song during rehearsals. Most the time we are so fucked up we are unable to work on slow and dark atmospheric parts. On MXCII Bart wrote a few parts and his way of playing showed a different face of Gorath. On Apokálypsis he wrote like 40% of the music pushing everything just that bit further than usually.
Since MXCII, you had a line-up change, as Dennie left the band. Could you tell us what happened? Is the line-up stable now?
Dennie stopped because he couldn’t bring up the dedication, not much big of a deal. Now all four of us are on the same level and the magic is stronger than before. I’m active in the underground for quite some years and this time I feel like we have a line-up that will last until the end. If one of us should quit, the band will stop as well.
To me, Apokálypsis is a mix between the melodic (quite progressive) parts of Misotheism and the atmospheres of MXCII. How can you compare your releases ?
You hit it right on. Apokálypsis is definitely the most complex album, but nevertheless it’s easy to listen to. When people read the term progressive black metal, they are afraid to hear Dream Theater alike crap. Gorath is still black metal for 80%. The rest is sludge and post-rock. MXCII was very dark and less easy listening than the new record. Songs like Millennium and The seven Seals are very straight forward and heavily layered with bits and pieces to keep it interesting after several spins. If I should answer your question directly, I would say Elite is the most catchy album, The Fourth Era the most melodic, Misotheism the fastest, MXCII the darkest and Apokálypsis a mix of the last albums.
Gorath walked a long way, from its first and quite "complicated" albums. What do you think (musically) about your first releases nowadays ?
Elite has got very good songs. It’s very easy listening compared with the last albums. Sometimes the songs are more a collection of riffs, but I still like the overall feeling. However I really despite the use of a drumcomputer which makes the album sound too digital. I would love to redo those albums, especially The Fourth Era, as I really like that album. The songs of that album have got a very natural flow and are quite original compared to most other releases that time. During the early days we were mainly influenced by the so called Moonfog sound (think of Khold, Satyricon & Thorns) mixed with classical Scandinavian black metal (such as Borknagar, Fleurety, Ulver,…). Recently I posted The fall of Winter (from Elite) and The fifth Birth (from The fourth Era) on You Tube. I still embrace the old records.
Can you tell us about the recording process ? This time again, Reinier Schenk was involved in the recording. How much time was spent to record Apokálypsis?
Every release is recorded at my own small Crestfallen Studio. Also this time I tracked all guitars, bass lines and vocals. Reinier from Shumcot Studio recorded the drums and took care of the mix, something I really hate doing. Afterwards Necromorbus mastered everthing. Because I worked at my own place, the recordings were spread during a couple of months. I think Heyde needed 2 days to play the drums, which is magnificent. You must know we didn’t rehearse the tracks on beforehand. He just got the finished songs on disc on which I recorded drum lines with a drum computer.
Many bands chose the Necromorbus for mastering, that's not very surprising. Why have you chosen to master your album there ? Have you heard about music and said "wow, I want the same sound" ?
Previously we worked with Dan Swanö and we wanted something else. Tore (NDR: Stjerna) blesses his productions with a very powerful sound. Sometimes it’s a bit too clinical, as I’m not a big fan of Watain’s last albums. Also this time he did a good job, though honestly, he doesn’t deserve too much credits, as both Reinier and myself recorded a very solid base. Without good recordings and a decent mix you cannot have a good mastering.
As he did for Misotheism, Jurgen from Theudho wrote all the lyrics of Apokálypsis. What does he bring out that you cannot write by yourself ?
Lyrics are very important, but I don’t really spend time writing them. I need to do a lot of research before actually writing them. Things being told need to be correct. The Fourth Era was about the Mayas and their foretold prophecies of doom, 2012 is coming closer, but the time I wrote the lyrics it wasn’t such a hype. MXCII was about my hometown, all written in a local language. Translating words took more than 2 hours per song. Luckily Jurgen wrote the albums in between. He perfectly feels what we want to express. He’s a master in writing lyrics and you can compare him with a living encyclopedia. We know each other from the time I did the bass guitar in his band Theudho. And without Jurgen’s words Gorath wouldn’t be the same. Funny thing is; I wrote half the songs for another band’s debut, namely Saille.
Can you explain us the lyrical concept of your new album ? If I'm not wrong, it talks about the Book of Revelations and a re-writing of Christian history.
According to the bible salvation comes after the Apocalypse. Like many other things the Holy Book can be interpreted in many different ways. Only John’s words are written down. Imagine, what if the martyr leading us to salvation is the Antichrist instead? What if there’s no golden age awaiting? Look at humanity, we not really going towards the right direction. Religion never lead us well. Right now we’re balancing on the edge of an endless abyss and our kind is doomed to fall deep. Apokálypsis tells us the opposite story of the bible. Eternal darkness will reign and true salvation will come when Jerusalem, Mecca and Rome and totally burned. Mankind isn’t following the path of light. Personally I do believe the curtain will fall. Not necessarily because of religious issues or strange cosmic powers reversing the earth’s poles. When a mega tsunami hit south east Asia almost a decade ago, the day of reckoning seem to be upon them . Also our western way of life will hit rock bottom. There are limitations to our fake democratic system, ruled by capitalism, hedonism and corruption. Like any big civilization it will come to an end. The Golden Age will come once we are all whipped away. That’ll be our personal Apocalypse.
Lyrics seem to be an important part of your art. Do put words on music or do you create music to fit with lyrical themes ?
Lyrics are always written afterwards. When Jurgen writes the lyrics, he needs music to focus on. And when I take care of the texts, I first need to finish all music before I can concentrate on the content.
The words are not yours. How can you describe your personal beliefs ? Are you a religious man or a man of belief ?
Jurgen and I have the same look on the world and share the same ideas. I’m 100% fully supporting his words. The intentions of religion are good, but over and over again history proves mankind can’t deal with religion, because it’s used to gain more power. When people are blinded by power the intentions aren’t good anymore. Religion is one of the proves mankind is the dumbest species on this planet. In fact, we are the cancer ruining Mother Earth. Mankind is growing exponentially, but we’re closer to extinction than ever before. The overpopulation of our species will be our downfall. Like a parasite we suck all life out our planet – And only a wasteland remains. Our self destruction is imminent and it’s also the only solution for global life. Religion feeds self destruction. Various religions encourage their flock to breed and even overpopulate this world even more. So be it. When we’re whipped away, hopefully a more intelligent species will come around.
For the second time, your album was released by Twilight Vertrieb. Are you satisfied with this deal? Even if Twilight is good at distributing and sending promos to press, don’t you fear to be drowned among the mass of uninteresting albums released by this label without real identity?
You answered the question yourself, that’s exactly what I’m thinking as well. We had a two album deal and it’s over now.
How much time do you devote to the promotion? How much time do you devote to Gorath, through concerts, rehearsals, recordings and nights talking about music?
I’m spending too much time to Gorath: writing almost all music, arranging all shows, working on artwork, making promotion, merchandise, spamming boards, developing sites,… Without having 100% control I feel lost. Paradoxically I know it’s too much to handle all by myself. Due to our jobs Gorath will never be able to tour and more or less we’ve reached our limits. Very slowly we’re gaining a solid reputation, but I’m not willing to write another five albums to finally get the recognition we deserve. Slowly I will be building down the work I put into this band.
Are there any chances to see you on stage in France ?
We would love to play in France again. Previously we’ve only done a few shows in the north, but I’m not sure whether it will ever happen again. For years I’ve been knocking on doors of promoters and bookers to score a show in France. It never worked out and made me quite pessimistic. Several shows for 2012 are booked and I’ve made myself clear I will not be knocking on doors anymore. For years I’ve tried to make the best of it. All our albums have stellar reviews and also our shows are praised because of their intensity. If people aren’t convinced and if bookers are too pussy to book us; it stops. We’re not searching for new shows anymore. If we are invited to play in France, we will seriously think about the offer – But I’m done with pushing Gorath through the throat of others. Also this is a part of building down the work.
Are your other projects still active or do you focus exclusively on Gorath?
Our drummer Heyde and guitarist Bart have a technical death metal bands for many years. Ill Fares the land is something like Myrkskog, Angel Corpse and Zyklon. They released a MCD like 10 years ago but have finished a new album. That band stays very low profile, as it’s more a bunch of good friends playing music together. Bass player Raf is also active in Torturerama, an old school Swedish sounding death metal band. On a regularly base they play shows in Flanders. And I’ve finished the debut album for a clandestine black metal band. As we speak we’re negotiating a deal with various labels. The music can be compared with Sargeist, Horna & Satanic Warmaster – But better, and less idiotic. I’m also working and guitar based ambient stuff, mixed with post-rock, dissonant black metal and ultra heavy funeral doom. The inspiration keeps on coming and is too different to be released under the banner of Gorath. However, the upcoming album is already written! It’ll be our last one and it’s more sludge than black metal. We’ve signed a deal with a small underground label (which name I cannot reveal right now) and they will release Apokálypsis as a double gatefold 12”. The second LP will hold the final album, as it’s lyrically an appendix of Apokálypsis. I’m pretty sure people will be amazed as the sound is quite unique.
Are there any French bands you're listening to ?
For me the French scene is the most interesting one in the world. Ten years ago Europe only knew Loudblast, Misanthrope and some obscure black metal bands. Nowadays the French rule the world: Deathspell Omega, Glorior Belli, Celeste, Blut aus Nord, Nehemah and also one of my favorite bands: Year of no Light. Also it seems no other country can make the kind of perverse death metal made by bands such as Hell Militia, Temple of Baal or our friends of Bliss of Flesh. Also notice how a band like Svart Crown grew. Some years ago they were supporting us, but nowadays they’ve played all over Europe and signed to Listenable. Hard work pays off!
What do you think about internet? A useful tool or the Pandora box ?
I’m from the Mesozoic time when dinosaurs still walked the earth. Back then there was no internet, no mobile phones and only a few extreme bands on CD. I used a phone to call people and included stamps or something alike the get written letters answered. Osmose Productions sent a small A4 Xeroxed copy of their distribution list and tapes were traded all over the globe. The internet makes all of this much easier and is very helpful to score shows and close deals. However, I miss the charm of the old days and detest the lack of quality nowadays. Youngsters first set up a Facebook account and write music afterwards. They upload unfinished songs on You Tube and dare to say their music rules out the rest. When I started we first wanted to do local shows. Later on we wanted a demo tape, then some foreign shows, then a label, etc. Today we’re living in a hedonistic and capitalistic society. Everyone wants to have more and more. I’m sorry to go off topic here, but the overall western way of thinking seriously annoys me.
Thank you for your time! I let you the final words.
We appreciate your support. Keep the black flame alive.
| || |
CULT OF ERINYES est une formation belge signée chez le label français Les Acteurs de l'Ombre Productions. C'est à l'occasion de la sortie de leur premier album "A Place to Call my Unknown" que votre serviteur a réalisé une interview pour Hard Rock Magazine (n°34).
Etant donné que Guillaume a déjà réalisé une interview du groupe à la même période pour VS, je publie dans mon coin l'intégralité de l'entretien qui a servi de base pour l'article. Enjoy!
Prince de Lu : Peux-tu nous raconter la genèse de Cult of Erinyes? Comment trois membres de Psalm ont-ils envie de s'éloigner de l'univers black/death de leur groupe?
Corvus (guitare) : Cult of Erinyes est né fin 2009. A la base, c’était un projet solo ambiant mais rapidement, il est apparu évident que le ton musical se durcirait. Mastema et Baal m’ont alors rejoint pour former le groupe tel qu’on le connaît aujourd’hui. La volonté de créer une entité oppressante et instinctive est inscrite en moi depuis plus de dix ans, donc bien avant Psalm. Je ne vois pas le Culte comme un éloignement d’un univers mais plutôt comme un rapprochement à mes racines et à ce que j’ai toujours été.
Pourquoi avoir opté pour un nom en lien avec la mythologie grecque? Peux-tu nous en dire plus sur ce culte des Erinyes? Doit-on aussi en déduire que le groupe restera un trio?
Je pourrais te parler des heures du pourquoi et du comment, mais pour faire court, je dirais que les Erinyes rompent avec le dualisme et l’idéalisme en se plaçant d’une part entre la réalité et le supposé et en valorisant la réalité physique d’autre part. La mythologie entourant ces entités est largement en avance sur son temps, puisqu’elle place l’homme devant sa réalité et lui fait assumer celle-ci de son vivant. Je renvoie le lecteur à la toile de Bouguereau « Les remords d’Oreste » pour avoir une image forte de ce concept. Par rapport à la formule du trio, c’est à mes yeux la plus « pure » et si des intervenants extérieurs sont envisageables, il est important à mes yeux que Cult of Erinyes reste une trinité, car ce mode de fonctionnement est inscrit dans l’âme du groupe.
Vous avez annoncé début février votre première date live en avril. CoE est-il un groupe amené à faire d'autres concerts ou est-ce un projet principalement studio?
Le concert que tu évoques n’a pas eu lieu, Kvarforth ayant quitté Bethlehem (qui devait assurer la tête d’affiche), qui se retrouve donc sans chanteur. A l’origine, nous voyions le groupe comme un projet studio, mais le Culte était alors bien plus ambiant qu’il ne l’est aujourd’hui. Nous sommes donc ouverts à l’idée de jouer live, et je suis d’ailleurs en discussion pour quelques dates au deuxième semestre 2011. D’autre part, nous travaillons toujours sur des images et séquences qu’on diffusera pendant le concert, afin de renforcer l’impact de la musique.
Comment se déroule la composition dans CoE? Chaque membre du groupe participe ou un compositeur principal (Corvus?) amène l'essentiel des riffs?
Les rôles au sein du Culte sont clairement définis, et le mien est pour le moment d’amener toute la musique. Mais il est évident qu’avoir un batteur de la trempe de Baal me permet de voir large en termes de composition, tout comme la faculté que possède Mastema de placer son chant pour ainsi dire instinctivement permet au groupe d’avancer très efficacement. Je garderai probablement le contrôle sur la musique, mais je ne suis pas un tyran, très loin de là, et certaines chansons ont d’ailleurs sensiblement évolué suite aux conseils de Baal ou Mastema.
En écoutant l'album, je pense à des références assez modernes qui cherchent les atmosphères avant tout, que ce soit Deathspell Omega, Shining (pour le côté "grand écart" musical par moment) ou Glorior Belli. Quelles sont les références musicales, les inspirations de CoE? Appréciez-vous la scène suédoise dite "orthodoxe"?
Trouver notre univers est bien entendu notre principal objectif ; l’Ep et le cd sont les premiers pas vers cette quête. J’écoute de tout du moment que je ressente une âme derrière la démarche. Cela va des groupes que tu cites aux vieux Allman Brothers ou Lynyrd Skynyrd, voire à Darkspace ou Blut Aus Nord, sans oublier Devin Townsend, qui est sans doute le plus grand artiste de ces dernières décennies. Pour ma part, j’ai plus été marqué par le Storm of The Light’s Bane de Dissection que par la scène qui en a découlé. Je ne suis pas trop fan des dernières sorties de cette scène suédoise, qui tourne quelque peu en rond (à l’exception de Craft). Le terme orthodoxe me dérange, et ne correspond pas au mode de pensée et de fonctionnement de Cult of Erinyes, même si je comprends la filiation d’un stric point de vue musical.
Peux-tu nous en dire plus sur l'enregistrement de l'album? Avez-vous, comme pour le premier EP, mélangé des prises "maison" avec un travail en studio pro?
95% de l’album a été enregistré au Blackout Studio ; seuls quelques bidouillages sonores éthérés viennent de mon home studio. Le Blackout est l’endroit idéal, du moins selon moi, pour enregistrer de la musique extrême. Phorgath a l’oreille du musicien plus que de l’ingé-son qui te fera un son puissant mais sans âme. Il nous a de plus encouragé à expérimenter sur certains passages, et a joué un rôle important dans le développement de certaines ambiances, comme la partie lead à la fin de l’album, qui renvoie plus au psychédélisme qu’au Black Metal proprement dit.
Vous avez un son black résolument moderne également, dans l'esprit de ce qu'on peut trouver en Suède. Quels sont vos objectifs en termes de production? Comment désirez-vous que cela "sonne"?
Le son moderne sous-entend un gros travail de prise de son en studio, avec beaucoup de retouches. Or tous les instruments ont été enregistrés en seulement 4 jours, et la basse fut pour ainsi dire purement et simplement improvisée. Donc je ne pense pas qu’on soit si moderne que cela. Nous n’avons pas couru derrière la perfection sonore, mais derrière l’ambiance sonore ; aucun élément n’est mis en avant, pas même les quelques parties dites « lead » ou le chant. Nous avons voulu créer un flux noir et oppressant, afin que l’auditeur garde en bouche un arrière-goût dérangeant mais qui en même temps lui donne envie d’en reprendre. La perfection tue la musique extrême, et l’oreille attentive percevra ce que les bonnes mœurs du son présenteront comme des défauts sur l’album, alors que c’est justement ce qui pimente l’écoute des morceaux.
Psalm a commencé dans un style plus metal avant de s'orienter vers le black/death. CoE propose maintenant un black gorgé d'atmosphères qui est assez dans le vent. N'as-tu pas l'impression de suivre un peu le mouvement? Quelles sont les qualités de CoE que tu pourrais me retourner dans la gueule pour me convaincre que le groupe a une identité forte? (oui, c'est la question pourrie)
Suivre le mouvement ? Si c’était le cas, Psalm serait devenu un groupe se prostituant tous les week end sur les routes avec des groupes sans aucune vision. Psalm a choisi la difficulté, quid à se saborder. D’autre part, si Cult of Erinyes n’a pas la prétention d’être original, nous avons des éléments propres comme des parties de basse fretless, un aspect lead bien dosé, quelques sonorités « bizarres » provenant de mélanges improbables (bottleneck sur une basse fretless distordue par exemple) mais aussi un chanteur au spectre vocal très large et un batteur qui provient du jazz et a des parties plus intéressantes que ce qu’on est amené à entendre habituellement. Enfin, je te dirais que nous jouons avec nos tripes plus qu’avec nos têtes, et que notre démarche musicale est spontanée, et je pense que cela s’entend. Je laisse cependant le soin aux lecteurs de se faire une opinion sur notre musique.
Quels sont les thèmes abordés dans les textes de CoE? Vous sentez-vous investi d'un message ou habillez-vous simplement votre musique avec des mots choisis?
Les thèmes de prédilection sont l’Histoire mais également l’occultisme (qui n’apparaîtra pas au premier niveau de lecture, car ce serait trop facile) et l’interdit, le non tangible. Nous voulons dépasser le dualisme qui pollue la pensée commune (y compris la pensée dite subversive), pour voir plus loin. De là à être investi d’un message ? Le langage est en soi une métaphore, et met donc le réel en scène à partir de codes, partagés ou non. Nous ne faisons que proposer une interprétation du réel par l’intermédiaire du langage (du moins dans les textes). Mais jamais cette interprétation ne sera perçue telle qu’on la ressent. Avoir un message, c’est espérer être compris, et nous ne vivons pas au crochet de cette espérance qui relèverait de la prétention.
Vous avez dévoilé la pochette du premier album. Si on reste dans un paysage enneigé et montagneux assez classique, cette cover dégage également un côté mystérieux. Avez-vous guidé le travail de David Delander? Comment avez-vous collaboré avec lui? Est-il également responsable du reste de l'artwork, et celui-ci sera-t-il dans le même esprit?
La pochette mais aussi l’intérieur du livret sont issus de photos prises par Mastema lors d’un voyage en Islande. David Delander a retouché les photos pour leur donner un caractère abstrait collant mieux à la musique comme nous le voulions. Il était important que l’arwork soit le prolongement de la musique et c’est pour cela qu’on l’a « guidé ».
Pourquoi avoir choisi de signer avec les Acteurs de l'Ombre et ne pas avoir continué avec Dunkelkunst Records? N'y avait-il aucune structure prête à vous accueillir en Belgique?
Ce n’est pas que nous n’ayons pas voulu continué avec Dunkelkunst. Le digipack de Golgotha est d’ailleurs un splendide objet témoignant du professionnalisme de ce label russe. Je suis en contact avec Les Acteurs de L’Ombre depuis le tout début du groupe, et il était évident que ce label serait privilégié pour un album complet. J’ai toujours suivi mon instinct pour le Culte, et celui-ci me disait que Les Acteurs de L’Ombre était la meilleure solution, tout simplement. Il aurait été stupide de penser en termes de frontières ; cela aurait été la meilleure façon de foncer droit dans le mur car la Belgique n’a pas de label extrême qui fait plus que le pressage. Et lorsqu’un label ne fait que le pressage, autant le faire soi-même !
Dans le contexte actuel très morose concernant les ventes de disques, n'avez-vous pas été tenté par l'auto-production?
Si nous n’étions pas tombés sur Caverna Abismal et Dunkelkunst pour l’ EP, nous l’aurions publié par nos propres moyens, c’est certain. Il en est de même pour l’album. Mais dans tous les cas, nous n’avons pas eu de période de recherche, puisque Golgotha a trouvé preneur avant son enregistrement, et A Place To Call My Unknown a directement plu aux Acteurs de L’ombre Productions. Avec du recul, je me rends compte à quel point nous avons de la chance, tant beaucoup de groupes de qualité restent sur le carreau, souvent par manque d’audace de la part des labels qui, pour la plupart, ne remplissent plus leur rôle de découvreur de talent. On connait quelques groupes "classiques" de la scène belge, mais finalement assez peu.
Quels groupes belges conseillerais-tu aux lecteurs de HRM?
En Black Metal, je dirais Winterblind (splendide groupe flamand mélangeant Opeth et Dissection) et Gorath, tant ce groupe se remet constamment en question. Dans un genre plus Death, je conseille aux lecteurs de Hard Rock Magazine de garder le nom « Dehuman » en tête, tant ce quintet bruxellois vient d’enregistrer une tuerie mêlant le meilleur du death oldschool avec des leads d’une grande qualité et un chant rappelant Death.
Quelle est ta relation avec internet? Est-ce un outil de promotion obligatoire ou un terrain de jeu sur lequel tu trouves ton compte?
Internet a tué la musique en tant qu’ « art ». La qualité se noie dans la médiocrité, la durée de vie des groupes est de plus en plus courte, puisque le gouffre financier finit par avoir raison des plus motivés, et la facilité du téléchargement a détruit le plaisir d’aller chez le disquaire et de faire des découvertes. L’ « objet » s’est perdu, même s’il semble qu’il y ait un regain d’intérêt pour le vinyle, ce qui est la preuve que tout le monde n’est pas à la botte de la Toile. D’un autre côté, la perte de tout enjeu financier aura peut-être comme conséquence de recentrer les groupes extrêmes vers la seule musique. Il serait intéressant de reposer la question dans dix ans. D’un point de vue promotionnel, Internet est devenu indispensable c’est évident, mais la musique se portait bien mieux avant son avènement !
En quelques mots, peux-tu nous expliquer pourquoi tu choisis l'une ou l'autre (ou les deux, ou aucune) des options suivantes:
Thrash américain ou thrash allemand?
Américain, rien que pour Exodus !
Death suédois ou death américain?
Death américain, car il a cet élément noir (Angelcorpse, Morbid Angel etc.) qu’on retrouve moins dans le Death suédois.
Black scandinave ou black sud-américain?
Black scandinave. Même si l’aspect souvent sauvage (sans que cela soit péjoratif) du Black sud-américain a son charme.
Black américain ou black slave?
Black slave, merci Roman Saenko.
Groupe d'ouverture du Hellfest ou tête d'affiche dans un club enfumé?
Le club enfumé. Chaque club a un charme, une histoire, alors que tous les gros festivals, au final, se ressemblent.
BC Rich ou Ibanez?
Je ne jure que par ma Gibson SG pour la guitare et ma Mayones pour la basse. Cependant, à choisir, je dirais Ibanez, pour la série ATK.
Satan ou Lucifer?
Lucifer. L’étymologie liée à ce nom résume à elle seule pourquoi.
Sucré ou salé?
Salé, parce que ça laisse un arrière-goût.
Bière belge ou bière allemande?
A ton avis ;=)
Merci à toi pour ton temps et tes réponses. Si tu veux ajouter quelques mots ou faire passer un message, c'est le moment.
La conscience n’est dans le chaos du monde qu’une petite lumière, précieuse mais fragile. S’il ne peut être commémoré, qu’il soit au moins cité ! Merci à toi pour l’interview !
(P.S. : la presse magazine Metal, à cause des impératifs économiques qu’on ne retrouve pas chez les groupes extrêmes, ne suit-elle pas plus le mouvement que les groupes extrêmes qu’elle interviewe ? (c’était la réponse pourrie sans rancune ;=) )
| || |
Avant de partir en vacances d'été, VS avait mouillé son slip avec le black progressif du groupe grec NO HAND PATH.
Prince de Lu : Hails No Hand Path, and thanks to answer the questions of the french website VS Webzine!
Antonis and Vassilis (guitars) : Hails to you! We are very glad that your webzine has shown such interest and is now hosting this interview. The support we have had from the French audience and press has been great, both for our demo and especially now for the album - and we have to thank all the french folks for that!
Can you tell us the story of No Hand Path between your first demo First Farewell and your new album?
The demo was recorded and released in 2006. For a while we sat back and waited for the response that we would get from the press and audience. The fact that we were getting mostly positive reviews and that people seemed to like our stuff was the second thing that motivated us to work on the new ideas that we had. The first was of course that we were enjoying too much to compose songs together and we wanted to see where this could lead us. So by 2008 we had enough material to decide to go into a studio and record.
The whole process needed much attention and work, and with us living in different cities took a bit more time than expected, but in late 2010 everything was ready and “An Existence Regained” was finally released.
The main point of your new album is that's whole lyrical concept. Can you describe to our readers the purpose of this one-hour story?
The story deals with the rebirth of the Human who by developing his conscience (“To Be Reborn”), destroying the values and “norms” that are forced to him through today’s society (“To Be Awake”) and by coming to a self-realization through inner exploration (“To Be Complete”), can eventually walk the “No Hand Path”: a Path free of influences from any kind of oppressor - whether you call it religion, family or society.
As your album is a concept-album, I wonder what "leads" the writing process? Lyrics or music? How do you build your sophisticated songs? Who is involved in the writing?
It might be that the lyrics are written after the music, but the whole concept exists in Ramin’s head before the music starts to take proper form. So he is using the music to express what he wants to say depending on what the music expresses. On the other hand, the music is using the concept to build up the proper atmosphere.
All the members are involved in the process of composing the songs. We might be more responsible for the riffing and Ramin for the lyrics, but for example one of the songs was composed by Harris (our drummer) - we won’t say which one, take a guess haha! The only criterion that we are using in the composing process is that everyone has to be satisfied with an idea.
The third and final part is composed by the three tracks of your first demo. Can I guess that first demo was the root of the concept?
Exactly, it was the starting point on which the whole concept was developed. It turned out to be the perfect ending to the concept and we had no other choice than to include the three songs also in the album.
What are the musical influences of No Hand Path? As you're guardians of artistic freedom, I imagine you have no bounds in the music you listen to. Are you strictly metalheads?
You are totally correct, there are no boundaries in the types of music that we are listening to, and we are far from “strictly metalheads”. An obvious influence in our music is, of course, Black Metal, however our influences vary not only between band members but also between different periods in our lives.
For example some albums that the two of us are enjoying at the moment are the latest albums by Ulcerate, Sun of Nothing, Primordial, Agalloch, but also bands like Dead Man’s Bones, Grinderman and Portishead, whereas a while ago we might have been listening to Greek traditional music, crust, post rock, or electronic music.
We also enjoy discovering new bands in the underground scene and do not like to stick only in the mainstream ones.
Back in 2007, when I heard the first riff of "The Deepest Journey", I told myself "that's definitively a greek band, with a Rotting Christ melodic feeling". Listening now to your album, this touch has quite disappeared, melted with too many influences. Do you feel that your music is more mature? Have you evolved as musicians since the demo?
We have definitively evolved as musicians, not that much in the technical aspect, but mostly in the way we approach our instruments, in the way we think during the composition process. As a result our music has definitively become more mature, a bit more complex maybe, and we believe that we have started developing a more personal way of musical expression. And it is great to hear that you think the same!
If I'm not wrong, you have recorded in four different studios. Can you tell us more about the recording process? Had you, since the early days of recording, a clear idea of the kind of production you wanted?
We worked too hard during the recording and the mixing/mastering process where we tried to pay attention to the smallest detail and get the best possible outcome.
The recordings took place in 3 different studios, actually. The drums were recorded in “Unreal” studio in Athens, the bass in “Revolting Sound Studios” in Patras and the guitars and vocals in “Estia Patron/Steki P.O.F.P.P” in Patras. We chose these studios to combine the best possible sound but also to be able to work on our own schedules and collaborate with certain people. We had a quite vague idea of the production we were aiming for, but in this part Alexandros Kakaroumpas was more than helpful and inspiring! We were most of the time working together trying to figure out the sound of the album and his ideas were a very important part of what you can hear in our album. Our collaboration was not only very professional, but very friendly as well and we would never hesitate working with him again!
Who is responsible for the artwork? The booklet is amazing, in a kind of faery style.
We very quickly concluded that the artwork that would back up our concept should be equally important as the music. It was created by Stathis Karabateas (he can be contacted at the address creativelight714[at]yahoo[dot]com), based on his discussions with Ramin about the concept of the album, and it consists of 11 different drawings, one for each song and the front and back cover. We worked with him first of all because we love his works but also because he was not at any point involved in this kind of music - we wanted something fresh and not another “black metal cover” (although we enjoy them!). Apart from the general directions based on the concept, we did not get much involved in the process in order to get something original from the artist.
The layout was then done by Antrikos - ADMC07 (admczeroseven[at]yahoo[dot]com) that gave the album its final form.
You have self-released An Existence Regained. Have you been in contact with labels or was self-production the only way to keep an artistic freedom?
We have been contacted by a few small labels, but we wanted to produce the album exactly as you see it today, and we thought that this might have never been feasible (cost-wise) by a label. So we did not actually think about it much, we wanted to have everything under our control and this is exactly what happened, and we are really happy with it.
How can you sell your new release for only 5 euros? Do you lose money in this operation?
No, every penny that we spent has been returned to us by the sales of the album. HA HA HA. We are joking, of course. Yes, we have “lost” a lot of money, but we do not really consider this as a loss. We only did this in order to share our music with people, and this is what is important for us now. This is why we are keeping the price so low, and this is why we are providing a digital version of the album in our website for free.
What are the feedbacks about your album? Maybe the main difficulty is to have feedbacks...
The main feedback that we have is the reviews from the press, and so far most of them are more than encouraging! We are still working though in promoting the album as much as possible.
I read that the members of the band are living in three different countries over Europa. Obviously, there's no chance to see you on stage. Is that no frustrating to write such good songs and can not share this music with people?
We are a bit sad by this fact, of course a live performance is important and we would love to play the songs live. But we have always been far from each other since the beginning of the band and we have kind of accepted this as a fact. But we would grasp the first chance that would appear, we promise you that.
What are the new steps for No Hand Path?
We are at the moment working on some new material that we have. We are not sure what we will do with them, we are working on that, too. Maybe a 7”, maybe another album.
Which greek bands do you recommend to our readers?
Well, if we start from Bohemian Grove, Sun of Nothing, Agnes Vein, the new stuff from Varathron, Aenaon, Dead Congregation, End, Inveracity, Universe 217, Epithanatios Rogxos, Macabre Omen, Since (Time) ...we would not know where to finish!
I know you listen to Deathspell Omega. Are there any other french bands you know?
Blut aus Nord of course, Arkhon Infaustus, Alcest, Amesoeurs, Antaeus, Mystic Forest, Asmodee... These are the ones that come to mind at least!
Thanks for your time! I let you the final words.
We thank you again for your support to the No Hand Path! The French audience’s support has been significant! Feel free to visit our website at www.nohandpath.net or contact us at nohandpath[at]gmail[dot]com.
| || |
Il y a quelques temps, nous avions craqué notre slip pour l'histoire de marins que nous contait le projet basque Ilbeltz.
Après la sélection VS de l'album, voici maintenant l'interview du seul homme à bord du navire, le dénommé Ibai. Un matelot qui touche à tous les postes et assouvit sa soif de découvertes musicales en voguant vers de nombreux horizons.
Prince de Lu: Can you tell our readers the story of Ilbeltz? Is it a one-man project since the early years?
Ibai (everything): Hello, and thanks to you! No, we were four friends when we began with Ilbeltz, around 1995. At that time I was playing in another band, a kind of death metal. But I left that band. I had heavy metal in mind, my first songs. A sunny morning, a friend of mine and myself decided that we were able to form our own band, and already that day, we were four members. Those were good times. We used to play concerts wherever we could, until around 1999. Around that year, the band sufered a change acording to the members. After this changes, 1999 is also the year we recorded the songs for the split album “Iluntasunaren Itzulera” (“The return of darkness” in Basque language, that the label translated into English as “Triarchy of Vasconia”). This split album was shared with other two Basque bands, Aiumeen Basoa and Adhur.
The split album "Triarchy of Vasconia" in 2000, then your first album in 2010. How can you explain this delay of a decade? Was it difficult to elaborate the tracks of "Auskan..." or was the time gone by so fast?
Yes, that split was published in 2000, and it’s a long time since that. Around 2000 I already had some new songs, and I was thinking about recording them, but, I wasn’t happy enough with them. I realized that that was not what I was looking for.
I was trying to tell a story that happened in the XVI th century, but I didn’t know well enough the music of that period. So I began trying to “learn” about the traditional and renaissance music of the diferent countries and courts of Europe.
So I did a long way until I finally decided to record this songs. But I must say, that at the same time, I began writing a book, a novel of 1000 pages about the same story. So music was not the only thing that I had to learn about…
I’ve also been playing in other bands, from rock to classical music, and of course, apart of this, I had to work somewhere, because I need to eat… (ha,ha).
What are the musical influences of Ilbeltz? Which bands of which kind of music do you listen to? Metal? Traditional? Medieval?
I like listening to any kind of music. I think that each style has got each particular point of view, and it trasmits each particular feeling. Concerning to Ilbeltz, I would say that the most important influences have been those that you say, and also Rennaissance music. I’m afraid the list would be very extensive… from any band of extrem or not extrem metal to rock, blues, jazz, classical of any period… But these last years, the kind of music I’ve mostly listened to, has been traditional and renaissance. And I think this has influenced very much the composition of the songs of this CD.
Your album is fantastic, except the sound of drums. I've read that a friend of yours has progammed the drums.
Thank you very much for your words. And yes, that’s right, the drums were programmed between a friend of mine and me. Well, this friend is also technician or engineer in a studio, and he did most of the work with the drums. Yes, as you say, I know there is people that don’t like the sound of these drums, and also there is people that don’t like the way of programming it, in some parts of the album. I accept those opinions and critics very gladly. It’s important for me to know the real opinion of the listener. From the other hand, there is people that told me that they specialy like this sound. So I’ve heared both things, both opinions. For me it does work. For me it trasmits the sensations that I needed for the songs.
Have you recorded your album? Who helped you? Can you describe us the recording process, and in particular how many instruments you have played?
Well, the recording process has been quiet intense. I recorded most of the things in my little and humble “homestudio”: accordions, violins, flutes, oboe, bass, clean and classical guitars, some percussions, vocals… And I recorded the distorsioned guitars and we programmed the drums in the studio. After that, we made the mixing and mastering in the same studio. The instruments I’ve played are: electric and classical guitars, vocals, bass, cromatich button accordion, flutes, baroc flute, a keyboard, an old drum full of dust… and I think that’s all. Imanol from the metal band “Azken Garrasia” played the violin, Albistur (ex Numen) played the oboe, Eneko de la Fuente played bodhram and alboka, Beleak from Aiumeen Basoa sang harsh vocals, Egoitz from Aiumeen Basoa played the bass in part of the last song, my mother and one of her friends sang the “irrintziak” (ancient Basque cry), Mikel Gordo programmed mostly the drums.
If I give you the money to re-record your album in a professional studio with an engineer to get a more powerful sound, do you agree or do you fear to lose the feeling of "Auskan..." ?
I think that I would use that money in the next albums that I’ve got in mind. You know, the recording of “Auskan…” has been intense, and sometimes hard, and I think its sound also represents a period of my life, so I think I wouldn’t change it. Most of the times I’ve really enjoyed recording this album, I’ve been immersed in a deep happiness, but also there were very dificult times, and these intense feelings are also represented in the recording, in the sound… About geting a more powerful sound… yes, that would be great! But it seems that it’s not easy to keep an equilibrium between the black/heavy and the traditional/renaissance parts. When mastering the songs, you’ve got to choice and take dificult decisions. My decision was the equilibrium. But yes, maybe, if I would change something... I would use a more powerful guitar sound, in some parts, for example.
Can you resume us the story your lyrics are about? Is that right that you have written an entire novel about this story?
Yes, I’ve written a novel of 1000 pages (ha,ha), and this album is based on the first chapter of the book more or less. The book is in Basque language, and the story is about some fishermen that scaped from war in the XVI th century. They scaped from war, and became pirate. So, it’s mostly an adventure story. But also apear in the book other characters strongly conected with music, a Venecian lutenist (lute player), a Basque minstrel/trobadour…
Many bands sing in their native tongue and don't care if listeners can understand or not. And by the way, many listeners don't care about lyrics. Was it important for you to translate your Euskera lyrics in English?
Yes, I prefer if people have the oportunity to understand what are the songs about. The translation that I did is not very good maybe, but at least, people can get close to the meaning, I think. The Euskera that I used in the lyrics is not the standart one, I’ve used a mix between diferent dialects, so it wasn’t easy for me to represent that mix in the translation. By the way, my English is not very good nowadays (ha,ha).
How can you define the Basque identity? What is specific to the men of the Basque Country?
And, how can we define the French identity? Engish, Italian identities? I think diferent people would give diferent answers. The same thing happens with us. The diference is, that some Basque people are forced to be French, and some Basque people are forced to be Spanish. But I would say, that the definition of our identity would be similar of the definition of other identities.
For me, the most specific thing of the Basque Country is our language. Language and culture, are the things that nowadays make French diferent from the English, for example, isn’t it? So, the same thing happens with Basque. That’s my opinion.
Do you live in a town or in the countryside? What is the place of Nature in your daily life?
I’m from a city, is not very big, but it’s a city at least. But I’ve been living in the countryside for some years too. Now I live in the city again, next to the sea. Nature is a very important thing in my life, and I suffer with the speed that “modern” life and industry are eating and destroying the forests, mountains, fields, rivers and seas. I don’t understand, how we are not smarter than that. And I don’t understand why we don’t respect the planet, the enviroment and the place where we live.
You have planned a new split release with Hanternoz and Anceisural Eritance. How have you been in touch with Antiq Records? What values do you share with these two french bands?
Yes, I’ve recorded a long song for this split! Leon from Hanternoz wrote to me asking about my album, and I also listened to one of his albums, (I’ve lastly listened to Anceisural Eritance too) and we began talking about music, history, tales, languages and things like that. I am very interested in music and culture from Britany, from around the Loire… and I liked very much a Breton tale that he told me.
He already had in mind to record and release a split based on this tale. I liked the idea so much. And answering to your question, I would say, that the main value and spirit of this split is the ancient respect to forests and nature. I’ve recorded my own version and interpretation of the idea of the tale, inventing another little tale, that would happen in Merlin’s times... Concerning to music, maybe I should’ve recorded a more extrem song, but anyway, I’m really glad about it, I enjoyed a lot composing and recording it. I must say that it’s an underground recording, concerning to the sound (in my case).
You have no label. Are you interested to ink a deal with a label or do you think you could lose control of your project?
I supose it depends on the label, and on their proposition. For me it’s important to have complete control about the musical decisions, about the music that apear in the albums, for example. And in my opinion, in the end, after covering the costs, if the label is earning money, the musicians must too. And this doesn’t happen nowadays usually.
I've also read that you prepare a release of classical stuff. Can you tell us more about that project?
Yes, this was a really great adventure. The previous summer I decided to begin composing a “concert for soloist and orchestra”, this was new for me, but I was very motivated. I began thinking about the first basic melodies and armonies, and at the same time looking for scores and videos to learn of these kind of concerts like Tchaikovsky, Tchaikin... I worked really hard. I worked for 4 months more or less, 8-10 hours every day. I wrote the scores on paper, with a pen, but I needed to write them on a computer. I’m still waiting for the computer, I haven’t been able to buy it yet. After this, I must think about the recording, and some interesting people told me that there is a chance to record it with a real orchestra. This is a crazy option, because I’m afraid I’d have to play the soloist part with the button chromatich accordion, myself. And this is too much pressure. But I will not discard it.
Metal, Classical, Traditional music, you seem to have no bounds about musical creation. Are there styles of music that you don't want to play?
Well, I’m not sure. Sometimes one can enjoy extremely playing styles and songs that wouldn’t imagen, for example when you are drunk (ha,ha).
You have also done the design of the album, including the cover. Are you interested in all forms of Art?
Yes, I think so. But in this case, It was the first time I was going to do the design, and I had some little problems with colours, brightness and darkness... you know, I was working with a portable computer... I made a lot of tests, but...
As you’ve asked about other forms of art... a couple of years ago, I began writing a script for a film. I haven’t finished it yet, I’ve only began with the first parts and minuts, but who knows, maybe when I finish the classical concert... This film is a continuation of the story of the CD and the book.
Is there any chance to see Ilbeltz on stage in the future?
From the one hand, I would like to. But, I would need a lot of help of lots of friends. Who knows... maybe if the next albums are good enough... I’ll let you know if you want, if that day arrives.
Thank you for your time, Ibai. You have the final words.
Thank you very much for your review, for this interview, and for your interest in our music. And also for your work, talking about music and spreading it. Best wishes!
| || |
Faisant fi de toute mode, les Belfortains de Malevolentia nous ont balancé un album de très bon goût dans un black metal orchestral qu'on aurait tort de croire désuet. Si vous avez lu la chronique de Ex Oblivion sur VS, vous savez déjà tout ça.
| || |
Empruntons aux simples d'esprit un extrait d'une citation "à la fin, c'est toujours l'Allemagne qui gagne". Bon, ça n'a pas été vrai pendant les deux guerres mondiales, mais il faut dire que beaucoup de monde en même temps a lâchement agressé cette grande nation.
Pour faire suite au track-by-track de l'album "Infektion 1813" d'Endstille qui sortira le 16 mai prochain chez Season of Mist, VS vous publie l'entretien réalisé avec le batteur Mayhemic Destructor et le nouveau vocaliste Zingultus (ex-Nagelfar, Graupel).
| || |
Enfin, l'interview de Richard Loudin est dans la boite!
Et cela valait le coup de patienter pour finalement rencontrer le vocaliste de BRAN BARR et le maître à penser du nordique NYDVIND. Une rencontre qui a eu lieu lors du CERNUNNOS PAGAN FEST à Paris le 23 janvier dernier.
Le bonhomme est bavard, les questions nombreuses. C'est l'occasion de parler des retours sur les albums des deux groupes sortis il y a un an (Sidh et Sworn to the Elders), de leur avenir, du marché du disque et de la scène pagan (ou plutôt ce qu'il en reste)