So I've been meaning to do this interview for a while...Thanksgiving break sure helped me there. Lonesummer is one of my new favorites, and I hope this cat-loving, nostalgic bedroom-dweller will squirm his way into your hearts as well.
Why don't you tell us about the humble beginnings of Lonesummer. 2008. Bad drum machines. Cheap keyboards. Me writing riffs in the dining room I lived in. What influences your writing most for Lonesummer? Musically, I'm influenced by bands like Mount Eerie/The Microphones, Have a Nice Life, Suis la Lune, Saetia, Godspeed You! Black Emperor, Lifelover, Maths, Trist and A Silver Mt. Zion. But lyrically and emotionally, much of Lonesummer is about suicide, heartbreak, nostalgia and cats. Oh really? Cats? That's pretty awesome, actually (I happen to be a cat person). Why cats? Cats and animals in general have a very therapeutic presence. The love you get from an animal is unconditional and free of judgment. Plus they're adorable. I love my cats more than anything. You recently just performed your first live show. What brought about the decision to go live? Was it a positive experience? Why or why not? Well Thom from Planning for Burial and I had been talking about doing shows for a year or so. Recently I brought up the idea of him playing a Planning for Burial set in my apartment, and when we finalized it I decided it would be the opportune time to play the first Lonesummer performance. After we announced that, Dan Barrett of the amazing Enemies List asked us if he could play an acoustic set of his Giles Corey material. We had a great time, and the performance turned out far better than we could imagine, considering Thom and I rehearsed for 5 minutes. We also tried to take the screamo route of not using any microphones, I just scream at the top of my lungs over the music. Because of the success of the show and actually being able to pull off the music in a live fashion, I've decided to take Lonesummer on more live excursions in the future. We've got some great shows set up that I'm supremely pumped for, especially January 13th with Falls of Rauros, Seidr, and Lake of Blood. Seeing as Lonesummer follows an extremely lo-fi aesthetic, do you think recording in a not-bedroom studio would work? Why or why not? Definitely not. One of the most important parts of Lonesummer is the home recorded aspect. As I've said before, in my music I attempt accurate emotional expression which can only be achieved by recording my feelings as I'm feeling them. It's a shame that “bedroom black metal” is used as a an insult by black metal fellows who think it's so misanthropic and evil to get set up in an expensive studio with pro mics and play their grim and hateful tunes. What are your thoughts on the whole "black noise" scene of which you are considered a member? Do you appreciate this title? I have no respect for the noise scene for it's irritating pretentiousness and gimmickry. I suppose my music can be raw and harsh, but I never attempt any kind of “noise”. If you could change one thing about black metal in general, what would it be and why? I'd like to see 99% of black metal bands vanish off the face of the planet (Bands like Satanic Warmaster and Drowning the Light especially). For the black metal sound to progress we have to strip away every single tired black metal cliché. You guys aren't these esoteric entities living in mountains away from mere mortals. You're just regular dudes. Knock it off. What are your future plans for Lonesummer? There isn't much planning to Lonesummer. It kinda just happens. I've got some new tracks that will see some sort of release in the future. I wish I had more time and energy to focus on music, but it's hard juggling school, work, music and other stuff. I'm working on setting up more gigs as well, and hoping to play live more. Maybe a mini tour in the future....? Any final thoughts? Uhhh I guess not. Thanks for interviewing me, Jon!
Purchase the new Lonesummer/Planning for Burial split here.
In one of this year's most eccentric pairings, we have Music Ruins Lives's second release: a split between Pennsylvania bedroom projects Lonesummer and Planning for Burial. Living on opposite sides of the music spectrum, Lonesummer, as previously described, utilizes elements of black metal and noisepop, and now what appears to be screamo has been stirred into the melting pot, whereas Planning for Burial, at least on this release, relies more on delicate textures, bringing bands such as Landing and Low to mind. Through this collaboration, it can be concluded that what is "pretty" doesn't have to be confined to crystal clear production and sounds that could only be emanated by tickling a fairy.
Starting with Planning for Burial, the listener is immediately thrust into swirling layers of looped keyboards and guitars, eventually joined by Thom's ethereal voice and electronics, making for a condensed, syrupy, slow pop song. "Syrupy" is definitely a word of interest for PfB's half of the split, with solo musician Thom Wasluck utilizing various unique textures all at once to paint a sonic portrait of longing. It is as if one was to look at what is considered a master painting and be able to see all the different layers of paint and erased features and truly understand all the work and craftsmanship that went into such a fantastic work. Though vastly different than his metal-tinged debut, "Leaving," the three songs presented in this split simply show another side of Thom Wasluck's genius ear for texture and song craft.
The always prolific Lonesummer takes over for the last four tracks on this cd. Drenched in fuzz and almost incomprehensible, it took me a few listens to fully understand just what was happening here, and yet that has become a part of the overall Lonesummer experience. Yet, as blisteringly harsh and tinny as this side may be, behind all the noise and fuzz there is some wonderful music. Moving from blasting post-rock-tinged black metal to the mid-paced, almost Weezer-like "I Wish I Could Delete Last Night," main-man Drew reminds us that Lonesummer, though based in black metal, is always progressing. The closer, "Your Eyes Always Shake Me", features a first for Lonesummer: clean vocals, and hyper-sensitive clean vocals at that (without being lame, of course).
The musical marriage of Planning for Burial and Lonesummer was definitely an unexpected one, and yet both projects "brought their A-game" to this release. Though experimental to the "standard" music fan, it is obvious just how talented these two musicians are, and, even if they record in bedrooms, I would certainly hope that they had loyal fans just the same.
You can purchase this fantastic release, as well as two awesome preorders, at the Music Ruins Lives store. I own copy 64/100!
Grave Ritual is a death metal band who hails from Montgomery Alabama. Formed in 2009, they are comprised of R.E (vocals, guitar and bass (live)), R.S. (guitar), and J.B. (drums). Formerly known as Meathole Infection, Grave Ritual is reminiscent of bands like Bolt Thrower, Immolation, and Gorguts (non progressive metal work). Grave Ritual performs classic death just as well as the genre’s founders. However, it doesn’t offer anything new to this prominent genre of death metal.
For starters, “Euphoric Hymns From the Altar of Death” is much distorted and very muddy sounding. The instruments are audible, but they sound like they are one instrument (drums included). If I have strain to listen to certain instruments on a CD, something is wrong. A CD is supposed to present a finished, refined work that is ready for the listener to enjoy. If the listener has to work to find that “finished, refined work”, then that means the engineering team missed something while mixing the record. However, the vocals seem to be mixed the most. They can be easily heard and they are very present compared to the rest of the instrumentation. In my opinion, it sounds like this album was roughly mixed and pushed to press. It sounds like the engineers missed the mastering part of making the record. Whether this sound was intended by Grave Ritual, I cannot know. However, I can say, if the quality of the sound was better mixed and mastered, I would have enjoyed this record a lot more.
Another problem I found with this record was the songs themselves. Each song sounded exactly the same. Before I knew it, I was halfway through the album, without even realizing it. I would have gone through the whole album without a second thought if I hadn’t checked my iTunes song list. Each song seemed to run right into the next. There seemed to be no definite breaks and there was no diversity regarding song material. In my opinion, Grave Ritual needs to work on writing songs that are more diverse regarding guitar, bass, and drum parts. It is obvious that these guys have chops, but to what extent? This is something the band should work toward, especially if they plan on writing material for another album.
Overall, I do think Grave Ritual is a band of talented musicians. They know how to play and they play classic death metal very, very well. Like I have stated before, they need to work on diversifying the material that they write and they need to hire better engineers or, if they are engineering their own material, work on their engineering skills. “Euphoric Hymns From the Altar of Death” is only the bands first full length release; meaning they still have room for improvement. Grave Ritual is still an artist to watch (if they play their cards right). However, I would not buy this album. Instead, I would borrow it from someone that purchased it or I would download it, listen, and decide whether to buy from there. Listen and beware!
From its mellow and refreshing opening chords to the epic post-rock riffage of the last track, Kylesa’s new album Spiral Shadow never really lets up. The hour-and-a-quarter release from the Georgian (US) Sludge Metal quintet is really quite a trip. Blending the obvious Black Sabbath/stoner doom influences with nostalgic pop-punk chords progressions, delay-laden psychedelia and old-school hardcore vocals (the way they were meant to be done -- yelling) the group presents us with a very eclectic yet refreshingly palatable collection of songs. I won’t lie, I had never heard of this group before their new album popped up on my radar. Thus, having only heard the new disc, I hope I don’t offend any Kylesa fans by stating the obvious or misinterpreting the band’s musical intentions in any way. So here we go…
WOW. I love it. Almost every track has double-tracked drums, usually with a tribal beat on the toms infecting the left side of your stereo while the in right side, your speaker cones are bashed to pieces by the gloriously huge and crusty crash-riding and snare rimshots. The combination of Phillip Cope’s percussive yelling and Laura Pleasants’ almost apathetic-sounding (in a good way) stoner rock drone-y vocals works so well, complementing the excellent guitar work. In terms of tone, the stringed artistry on this disc ranges from atmospheric delay-phaser-wah (the classic stoner rock sound) to bright, crunchy sludge tone.
A couple of highlight tracks:
Cheating Synergy
This is the second track, and it features a cool combination of straight 4/4 slamming punctuated by instrumental 6/8 sections that really drive the track forward. Snare and tom rolls push the track to the peak of its energy as the guitars crescendo into madness. A short, sweet track that leaves an awesome aftertaste in your ears.
Don’t Look Back
Definitely the most sunny song on the album, this track is marinated in old-school emo and punk-pop sensibility. The wonderfully excecuted chord progression simply can’t do anything but make you feel happy, and the anthemic lyrics are so catchy it’s ridiculous. Though the song doesn’t really go as many places compositionally as most of the other tracks on the album, the entire thing is an earworm. The middle section of the track features a very well-written yet simple lead melody and culminates in an epic buildup to the final verse/chorus of the song. This one is a winner, combining catchiness and old-school composition to create a track that sounds like what Blink-182 could have been if they were any good.
Spiral Shadow
The title track is a bona-fide epic. At 10:24, it’s by far the longest song on the album. It’s here where the stoner/doom side of the albums really shines. Floating amidst the sea of 2-4 minute tracks that make up the rest of the CD, this one is definitely a standout. Much mellower and spacier than many of the other tracks, this gem features some great spacey guitar tone without overdoing it, and some awesome drumming. Sadly, the track does not really go anywhere and pretty much stays within the same couple of riffs for all if its length. However, don’t let this deter you from checking it out, it’s still a very well written song and showcases Laura Pleasants' beautiful voice very nicely.
Kylesa are well worth checking out. I don’t know about you, but this album makes me feel like hardcore dancing in a neon jumpsuit through a field of dasies atop a tall building at high noon on a bright summer day. Hopefully this is reason enough for you to check it out. http://kylesa.com/
I've been a fan of October Falls for just about as long as I've really been into music. The beautiful sonic combination of Finnish folk music, Western classical guitar meanderings, and engulfing, layered, passionate black metal truly sets M. Lehto's music as a separate entity from the rest of the new school of black metal, or even metal in general. Being able to converse with this enigmatic artist had always been a dream for me, and it truly was otherworldly to be able to hear M. Lehto's philosophies first-hand.
Hey there, M. Lehto. Thanks so much for letting me interview you - it really is an honor.
Hello Jon and thanks to you.
OctoberFalls has gone through many changes over its existence; starting off as a metal band before moving into neofolk/neoclassical territories and ultimately ending up a folk/black metal band. What brought about these changes?
The biggest reason for the musical changes has been the changing interest towards the harsher approach. At the very beginning I was still quite tied to the metal-oriented approach, but soon it begun to feel more like a limiting factor instead of a real opportunity to work with something interesting. It felt better to continue without the wall of distortion and just focus on the acoustic material I had written earlier and all that lead to the first acoustic albums. After the second all-acoustic release the approach started to feel quite limiting again, so I simply decided to split the path into two and release harsher and acoustic material under the same name, only by using different logos for both paths. Overall, the music or the atmosphere hasn’t really changed that much since the beginning, it’s the way of performing the material that makes the real difference between the albums.
What drove you to start making music? What continues to feed this drive?
I can’t really say, as it was something that just happened and keeps happening. Usually a full length’s worth of material takes over a year to compose and record, some parts can be done in a few days but then there can be weeks or even months before I feel an urge to continue or even play anything. After an album is finished, it always feels like the end, like there’s nothing left in me to continue on this path; that I’ve basically given everything I can. After some time passes, something lights the spark again and everything starts from the beginning, it can be a great new record I hear or something totally different.
Are you involved in any other music projects or is OctoberFalls your sole means of musical output?
Actually I do have one other thing I’m involved in but I’ve decided to stay anonymous there and not connect it to October Falls or myself as a person at all - not because it’s something I’m ashamed of but simply because of the fact that I want to keep the focus on the material and not on who’s behind it. Overall it takes so little of my time that I can say OctoberFalls is the sole view of my current visions and as it can be all acoustic or something towards a harsher approach, and basically it feels useless to spread the material for different projects, there’s no need for such actions at least right now.
With OctoberFalls being a very pastoral, nature-oriented project, what is your opinion on the current state of the Earth?
The conditions are getting worse and worse; there are too many people, too much use of natural resources. We’re only getting our selves cornered, I think nature is eternal in some ways no matter how it’s destroyed, but humans are not. We’re changing the natural choice; the survival of the fittest is distorted by us and the modern urge to help others. Like with every animal, if the weakest are kept alive, it drains the resources for the ones who are important for the species to survive. It sounds harsh and the moral dilemmas make it an even more difficult and extreme thing to say, but I think humans are distorting the nature’s circle. It’s actually quite a difficult subject, in some ways I think humans are now travelling much more than would be wise. Diseases travel along with the humans, not only the diseases considering humans, but also the ones destroying the natural environment and the original species in them.
Your lyrics feature extensive use of wolves as metaphors for various themes. What do wolves represent for you?
I see wolves as a perfect example of a primal force behind every individual, no matter what their background is. Be it a tranquil person or a god fearing man, the ultimate circumstances can bring the strength and brutality out of everyone. They’re willing to do anything for their survival and I think that humans have the same primal actions within them as wolves. It just needs the spark to light the long forgotten primordial flame within them.
What are your thoughts on the current state of music?
I basically never listen to radio or know what the charts are currently, so the state of music overall is something very unfamiliar for me. I’m very involved with underground metal, but pop- and rock-scenes are a total blur for me. If the same holds true for everything other than metal-oriented music, it seems that everything has gotten worse. Records don’t sell that much anymore, the focus is too much on something that seems to be trendy at the moment; the interest is more towards fast moving products and money. There can be a new group that sells a lot on the over the top advertised debut album, but the sales drop on the second and the whole band just vanishes. Everything is so disposable for the listeners and most labels these days. If you think about the current mega bands, in most cases their debut albums haven’t been that interesting and sold poorly, but they’ve had the time to grow into huge figures in music. All that seems to be an absurd idea these days, it’s now or never basically. If you think of bands like Genesis, Pink Floyd etc., in the current flow they’d be dropped and likely disbanded after their debut album and no later classics would even be made. With the modern haste, there’s no time for bands to evolve into their prime.
You recorded a promo entitled "Kaste" in the early 2000s. Will these recordings ever see the light of day? If no, why not?
Actually, if everything goes as planned, next year when it’s been 10 years since I formed October Falls there will be a package including almost all the acoustic material I’ve recorded with the exception of the exclusive track on the new “Whom The Moon A Nightsong Sings” compilation by Prophecy Records and the Katatonia-cover released on “December Songs”. It’s still undecided whether “Kaste” will be included on it, since it has some hints of electric guitar on it, but basically “Kaste” is the demos of the songs that were re-recorded for “Tuoni” a bit later. In some ways it would feel a bit wrong to not include them on the package as it’s an important part of the path for myself, but we’ll see about that and the possible additions of other previously unreleased material some time in the next spring.
The OctoberFalls website boasts a "NO MySpace, NO Facebook, NO Twitter" ultimatum. What keeps you from entering the realm of social networking? How do you feel the internet affects music?
I wouldn’t consider myself an anti-social person; I have nothing against people approaching me with emails or using the internet to find new bands or interests, but MySpace, Facebook and Twitter - it all feels totally wrong for me, as if this modern age isn’t offering easy enough contact already, but you are expected to be a part of these formats, filled with unknown people who consider you their friend and there are all these “hope you’re well” messages from people who don’t really know each other at all. Of course all that can be a great promotional channel for bands, but I decided on this policy a long time ago and I don’t want to be one of those who later explain how “they just had to join” because it’s part of today’s society; I’ll stand behind my words unlike too many others. It’s actually quite laughable how some people or bands don’t give interviews to netzines or big normal magazines because they want to stay on the underground, but they still have no problem joining these social networks. Then again, I have no problem with netzines or bigger magazines, but am still avoiding the social networks, so basically there’s no difference. When it comes to the internet itself, it has good and bad sides. People can listen to music easily and if they like it enough, they’ll buy a real record, but naturally it’s not that simple. These days a lot of people don’t care about having the original records or even think that when something is recorded and released, it’s not free to make. I’m not against downloading myself, I think it’s a good thing that people can preview the material before buying and just skip the weaker releases, but maybe too many are just fine with downloads, even if they like it a lot.
What plans do you have for OctoberFalls's future? Any chance of a live concert?
It’s quite unlike there will be any live performances, at least next year. I’m personally not too keen on performing live just for the sake of playing live. If there would be any live appearances, it should be something special and unique. So, no gigs next year but we’ll sure return with a new full-length at some point; the material is already mostly composed and demoed, so now it’s all about working out our schedules and seeing when it would be possible to get together for recordings. This time there’s going to be a bit bigger step forward musically than there was between “The Womb of Primordial Nature” and “A Collapse of Faith”; there will be more songs that will be much shorter, but it won’t be a radical difference.
What is the songwriting process for an OctoberFalls album like? Does it differ between the genres with which you experiment?
Some of the releases were composed and recorded in a very short time, for example “Sarastus” was mainly composed and recorded simultaneously within a week and that was actually a very good choice for it as it still feels natural and genuine. Then again, most often I have a lot of themes that I’ve composed within a longer period and at some point I just start to gather them into full songs and record the demos for others to hear. They then suggest some changes and things somewhat evolve before the actual recordings. Overall, it’s not important whether it’s acoustic or harsher material, the basic structure is same, some parts are just evolving into the direction I choose but the basics are the same.
In 2008 you released a split with "wooden metal" project Varghokhargasmal. What brought about this split? What are your opinions on "outsider" music like Varghokhargasmal? Would you ever consider doing a split release (with anyone) again?
The person behind Varghokhargasmal contacted me and although I usually avoid any splits, I decided to agree as it was something beyond the normal email of “would you do a split with me?”. OctoberFalls and Varghokhargasmal are not that similar really, but in a way I think it’s a good split and I still like “Polku” a lot. It was a good break between the harsher material I was working on. There are a few bands that I’d share a split these days, but overall, it’s more than possible that this one was the one and only.
Your classical guitar work is simple yet effective and quite stirring. Have you received any formal training or are you self taught?
Basically I’m self taught, I took a few lessons on electric guitar over 15 years ago but nothing I’d really even remember anymore or actually benefit from it. I think the best thing I ever did with guitar was to buy an Yngwie Malmsteen tablature book and realize that it would be better for me to focus on the atmosphere than virtuoso playing. Nothing wrong with Yngwie, Jason Becker, Tony MacAlpine etc, but I’ve never been a really good player, so it was good to understand that at least for me the composing was far more important than the skills.
Any closing thoughts?
Thanks to you and the ones who were patient enough to read this through, thanks a lot, kiitos!
Be sure to check out the new October Falls album, "A Collapse of Faith," out on Debemur Morti records, and a new, compilation-only track on Prophecy Productions's masterpiece "Whom the Moon a Nightsong Sings"!
Neige et Noirceur are a band I have been familiar with for quite some time now. My original discovery of this band was completely by accident, but I eventually found myself enjoying them quite a lot. This new album is much different than most of their previous work. Less of the Paysage D'Hiver worship and more of the forging of their own path, which makes me very happy, especially considering that it is done quite well.
This newest album 'La Seigneurie des Loups' is a combination of the earlier works, but with folk and proggy elements added to the mix. Shifting tempos, folk instrumentation, epic synth washes, odd samples, blasting drums and strangled vocals make this album a treat to listen to. NeN is quite adapt at consistently keeping their sound interesting, whether through odd samples or continually evolving song structures, at no point in this album did I find myself bored. This is an especially difficult feat, considering the lengthy nature of most of these songs (3 of the 5 tracks are over 10 minutes long).
Another bonus for the album is the noticeably clean mix. Everything is heard clearly and resonates well, while not polished by any means, most of the fuzz/buzz/reverbed to hell sound is wiped away for something far more digestible. This production compliments the swirling, enveloping structure of the tracks and only adds to the overall enjoyment of the songs.
The songs ebb and flow with dirge-like slow parts, blasting aggressive parts, weird proggy parts overlaid with jew’s-harp (among other folk instruments), chanted clean vocals, atmospheric synths, throaty black metal screams, odd spoken word samples and much more. There is something here for every fan of the black metal spectrum. Everything feels organic and never forced, which is also something that is not easy to do with songs of this sprawling magnitude.
Overall, this is a killer album worthy of your attention. As stated above, there is something for everyone on this record and not in a cheesy/contrived way. Well-crafted progressive black metal that utilizes numerous influences and channels them into a furiously original sound. Highly recommended.
The Canadian black metal scene has more or less made quite a name for itself over the past few years. With landmark albums by artists such as Frozen Shadows, Gris, Sombres Forêts, Utlagr and Miserere Luminis; the CBM scene has really come into its own. Marked by crushing atmospheres and deeply emotional performances, this scene has really set a new bar for the newer wave of black metal bands.
This release is the newest manifesto from the atmospheric black metal project, Forteresse, entitled Par Hauts Bois et Vastes Plaines. What you can expect is 7 tracks of deeply atmospheric black metal, punctuated with distant vocal howls, plodding drums, fuzzed out guitars and texture based keyboards/synthetics. Interspersed within the doomy black metal dirges are tranquil ambient passages than air more on the side of straight textural landscapes, than orchestral flourishes. These interludes are a nice pace-setter for the foggy black metal funeral hymns that follow them. The style of this band is much more akin to something of a Xasthur, Burzum or Gris-like sound than Darkthrone or Horna. Slow, methodical and plodding, the tempo is only a few beats quicker than a funeral doom band. Even the 'faster' parts are not much more than double time variations of the previous beat/riffing. The pace never breaks more than a mid-tempo velocity, which helps maintain the overall atmosphere, it also kind of makes things a bit monotonous.
I found myself consistently comparing this album to a sort of rehashed/watered down version of the absolutely brilliant 'First Spell' release from Gehenna (Nor). Not to say that this album is bad, but I cannot help but think that it never becomes more than mediocre throughout its playing time. The melodies are quite nice, but sometimes seem a bit too drawn-out for their own good.
I would not classify this as a "DSBM" band, but I could certainly see how it could be seen as one. The production is a bit fence-riding on this aspect as well. Everything is soaked in reverb and sounds like it was recorded in a cave. While the mix is clear, the guitar tone is not much more than a treble-y blur of buzz and the vocals sound like they were recorded about 20 feet from the microphone, but the keys and drums are done tastefully enough.
This album is bad by no means, but not really my kind of thing. Not enough variation in the sound to keep it interesting and I simply cannot help but think I have heard this record before, in a more refined (better) form. For those who like slow, depressive-esque, wannabe regal black metal, this is right up your alley. Personally, I do not think I will be listening to this record again anytime soon.
I'm just going to say it: though I might enjoy this new wave of flowery, pretty black metal, people really seem to forget the grimy chaos from which it proliferated. Where's the anger and misanthropy? Nay, they have been replaced by existential quandaries, forests, and paganism. But it's okay, because Vacuus has enough raw, pounding hatred to make up for all of that.
A completely anonymous group (?) from parts unknown, Vacuus brings us their first offering in the form of a 3-track cassette. These untitled tracks jaggedly crawl, reeking of filth, feedback and fuzz, and with treble so intensely harsh one would think that the band had somehow recorded live in a metal trash bin. Pure, frenzied chaos, perhaps reminiscent of Illinois black metal/punk hybrid Ancestors, but wholly something all its own.
Good luck trying to find this, all 100 copies are already sold out. I've seen a few ebay listings, and I'm sure you can find it in the Youth Attack! Jerkbooth for an astronomically high price.
Thank you for taking time to talk with us. How are you?
You're welcome my friend. I am doing quite well, I've actually been in a happy mood lately, for once.
Tell us a little about your self.
I am simply a musician, I don't know what more to say.
What got you into music and recording and when did you pick up your first instrument?
I have the typical "metalhead" story, when I was 13, I got really into Metallica, Maiden, Judas Priest, and the like, and I decided to learn guitar. Technically, my first instrument of passion was the drums, which I played in school band when I was 10, but hated the practices, and gave up.
What do you hope to accomplish with Waste of Life?
I hope to make a name for myself in the underground scene, and fucking stay there, I will never pull a "Dimmu Borgir" with Waste of Life, or any other projects of mine. I also wish to make music like-minded people can enjoy, and maybe drive some people to suicide.
You have been in a lot of musical projects/bands can you shed some light on that?
I have a lot of different tastes, as you obviously know, Waste of Life is a DSBM project, but I have other projects ranging from Dark Ambient/Electric, to total fucking Death Metal. Some people say that I should make one project, and make all of my music, but that is so fucking ignorant to say. Just because I have a lot of solo projects, doesn't mean they are all the same, they all have different meanings. Lot's of other artists in full bands have lots of other bands they're in, it's the same concept. People are just fucking stupid.
What influences you when it comes to music? Is there anything else that influences you like movies, traveling, ect, ect, ect?
I draw influence, of course, from other bands. However, other influences that help me write are: walking through forests, anti-depressants, my stay in a mental hospital, self-mutilation, alcohol, and just total fucking depression and self-disgust, as well as disgust for humanity, people make me sick, and a good majority should just fucking commit suicide.
What is next in line on your musical path?
We will have to see where time takes me, I will keep going with Waste of Life, because it is a very honest project, and honesty in music is the best policy.
Not to say my other projects aren't honest, but Waste of Life is a direct view into my mental state.
We thank you for talking with us! Is there final thoughts or words you wish to say?
You're quite welcome. Last words? Well, I have a full length album coming out, which you reviewed haha, and one last word for any fucking poser reading this...kill yourself, and stay out of our fucking scene, we don't need you, don't want you, and will never accept you. The dark ages of black metal will come again, and I will take part in the holocaust.
Have a nice day my friend, I hope to talk to you guys again soon!
Eleven studio records into their career, Enslaved have yet again pushed the limits of what they can do with their new record, Axioma Ethica Odini. I was able to meet up with Herbrand Larsen, vocals and keyboards, and Ice Dale, lead guitar, before their performance in Chicago on their current 'Circle Above and Within' North American tour. Great guys, amazing performance, I highly recommend seeing Enslaved live as soon as you possibly can!
-I am blown away with Axioma Ethica Odini. Can you tell me, from your perspective, how Enslaved is able to continually push the limits of the genre and how you have once again created a fresh sounding record this far into your career?
Herbrand: We actually don’t know ourselves, I guess, because we are not planning too much when we are writing and recording music. We kind of go with the flow, and sometimes we are a bit surprised ourselves when we finally hear the result. (Laughs)
Ice: Now the lineup has been stable for the last 6 years we really know ourselves as musicians and as a band from touring and playing togeher. The recording sessions this time were very relaxed and had great atmosphere because we recorded it all in Bergen. We took the time to get it all right and if we were having a bad day we took a break and did something else. Whatever felt right we recorded.
-I feel that each of your individual roles in amplified on Axioma Ethica Odini. Herbrand, your vocals take the songs to new heights and Ice, in my opinion, it is some of your greatest guitar playing/writing recorded yet. Herbrand, One can notice the blending in of keyboard textures, yet your vocals are placed more toward the forefront. How has your role altered with this new album? Do you feel you're playing a bigger part this time around?
-Herbrand: I guess so, especially the clean vocals, but its not like we have been planning that way. Grutle and I get together during the preproduction and figure out when to growl and when to sing. Stuff like that. We try different things and maybe I am getting more confident singing also Jens Bogren, the guy who mixed the record, he played the vocals more in front and I also guess that more of the vocal lines are more in front now then maybe on Isa or Ruun.
-Did you feel like you had to change anything compared to writing/recording Vertebrae ?
Ice: We did all the recordings in Bergen this time, except the drums, we did everything in Herbrand and me’s studio. That’s the main difference. We also practiced together a lot before recording so we could relax and get the right sounds on the guitars, bass, keyboards, vocals. That was the biggest change. The last two albums we have gone to Oslo and had only 2 days or so to do guitars.
Herbrand: Also, recording in our own studio, Earshot Studios, we knew what we wanted sound and guitar wise and we went for it, especially for the guitars. We had a clear idea of how we wanted it to sound. Jens the mixer understood everything. He enhanced everything. He is really good.
-Ice, What is your solo routine like? Does Ivar show you riffs, and let you take the reigns and go wild?
Ice: For the solo parts I always do them at the end when the song is recorded and the vocals are done. I have to play in the mood of the song, not to the riffs. I used to record the solos before the vocals on previous records but I would have to go back and change the solos because they would not fit the song. That’s the routine. For the guitars, we try some different stuff when we record. If it sounds good, it’s good. If something doesn’t sound right, you have to change it. And again, recording it ourselves gave us more time for that stuff, like checking it out and redoing it if it’s no good enough.
Herbrand: He (Ice) is very picky, he is like, ‘oh I’m not certain about this one” and we say, “Oh come on, it’s great!” (Laughs)
-I saw all the photos of when you traveled to Jens Bogren’s studio in Sweden. It is always interesting for me to watch other musicians work ‘behind the scenes’ so to speak. How was working with Jens?
Herbrand: He was really easy to work with. I was there during the mixing all the time then we went back with the mix to the other guys. The next day if there were any changes we just did that, but some songs there were no changes and that was it. Some times when I was sitting there, I would be thinking of a change and thought to myself, “Let’s just wait ten minutes.” He usually made the change I was thinking of without me saying anything. He really understood what we were doing, really easy to work with, really nice guy, good guy.
-I know that you both run Earshot Studios in Bergen. What is it like living as a musician in Bergen? Do you have day jobs?
Ice: I don’t, some of the guys do.
Grutle is a bouncer? (Laughs)
Ice: He’s a bouncer and a stamper, it’s like right next door to the studio. We send all the guys if we have bands in the studio. We kick them down to him. He can kick them out they get drunk.
-I know it can be quite difficult to live a balanced lifestyle in the US while being a musician. How do you both maintain jobs while out on tour?
Herbrand: It’s the same in Norway, it’s really hard.
Ice: Especially now with record sales going down, you have to tour more.
Herbrand: Every band has to tour more, there is bigger competition everywhere actually. We have the studio and I work part time as a music teacher. The studio is getting better and better.
-The last time you were in the US you toured with Opeth, which was a dream come true for me. I felt there were many Opeth fans that had not been exposed to Enslaved and who enjoyed your set very much. Could you tell me a little about the tour and possible future plans for more US tours.
Herbrand: No, not really. We have been talking about doing some more, but when and where we have no idea.
Ice: I think it was a good combination doing the Opeth tour last year and now the Dimmu tour because I mean they are great bands and big bands, kind of different. It was a good opportunity for us to expand the audience. The Dimmu guys are great to travel with and they are good friends.
-Back in 2007, I was able to catch you guys on the Ruun part 2 tour, which stopped at the now closed down Pearl Room, here in Chicago land. What is the difference between headlining at a more intimate venue and directly supporting a larger band such as Dimmu at a larger venue?
Ice: It’s different. I like both actually. I like the intimate stuff and small clubs where you get closer to the audience, but it's also fun to play bigger venues in front of more people. It’s the same with festivals. Different but good. I think now you can almost see bigger bands almost putting together small festivals with five or six bands. It like a touring festival.
-For a technical gear standpoint, Herbrand, what kind of Mellotron samples do you use on recordings and for live playing? Have you ever used a real Mellotron on Enslaved recordings?
Herbrand: No real Mellotron actually. I use Clavia stuff, the Nordwave. They have sampled lots of old Mellotrons and you can actually go to their website and just download new stuff and they update that often. They are really good.
Ice, can you tell me a little about your gear setup and the reason you have stuck with Gibson’s all these years?
Ice: I used to play some different guitars, I had an Ibanez and a Fender Strat with a humbicker, but when I bought the Les Paul Custom I basically found ‘my’ guitar visually and sound wise. I have always used Peavey amps. In the studio we may change amps or guitars if we want a different sound, but for amps its basically the Peavey 6505+.
Herbrand: In the studio, we also used the Peavey Classic. For clean and half crunch sounds and some small dubs here and there.
-Did you guys use a different drum set for the first part in “Night Sight?” for a vintage tone?
Herbrand: We actually almost tricked Cato into playing a really small set; he actually didn’t know what was happening. We asked him to just play something, "Play here." A month later he asked, “What about the small drum kit, what was that all about?” We said, “Oh come on… you knew that....” (laughs) He played and he played really well, but he didn’t know the plan behind it (Laughs). It was a 70s Ludwig five piece.
-While fans can read other interviews regarding the Havamal's influence on the new album, what are YOUR opinions on the matter? Are you two more or less on the same page with the Norse stuff? (i.e. do you all have a soft spot for the lore and runic mysteries?)
Herbrand: I guess the concepts are Ivar and Grutle’s ideas basically. I guess we are more into the musical part.
Ice: It’s fascinating more or less. They (Ivar and Grutle) are the ones that are the most into it because they have always been.
-How does Norwegian society look upon the Norse times these days?
Ice: We learn about it in school, yeah.
Herbrand: It is a great part of out inheritance, of course, and I think every kid in Norway knows about Thor and Odin. I think most people are proud of it, it is a part of the Norwegian tradition.
-Where do you see Enslaved in 10 years? I know Grutle must have great vocal technique, but how long does he think he will be able to perform his growls consistently? Do you ever see the band going towards a prog rock act as you grow older or do you think you will continue with your current style for as long as possible?
Ice: I don’t know. The prog elements have been there from the start but now are more in the front these days, more direct maybe.
Herbrand: As I said before, its not like we are thinking about it too much when we are making music so ten years, that is a long time. I think definitely, Grutle, he will be able to scream until he is 90-years-old I’m sure.
Herbrand, what have you done as the albums have progressed to work on your vocals?
Herbrand: I think just singing more and more, maybe thinking about phrasing more, and listening to a lot of music, nothing more than that.
One last question:
-Ice- For workouts, Free weights and dumbbells or natural body movements? (Laughs)
Ice: We try some days to workout during the tour. Sometimes on the bus, sometimes fitness centers.
Herbrand: We are actually very creative during workouts. Sometimes it's like using what you have, bags and stuff, and sometimes there is a fitness center right next to you.
Ice: the last couple tours, we have actually brought some weights and some warm up stuff. It really helps to work out, not just sitting around, waiting, and drinking all night.
Thank you very much to Herbrand Larsen and Ice Dale for their excellent input and fantastic performance.
Impressive cover art for Angels of Darkness, Demons of Light, Vol. I.
Southern Lord will be releasing two new Earth albums next year: "Angels of Darkness, Demons of Light," Volumes I and II. Both albums will feature the canonical Dylan Carlson and Adrienne Davies, along cellist Lori Goldston, and bassist Karl Blau (WHAT?!). Volume I is to be released on February 7th, while Vol. II will follow later in the year.
Weapon is a Canadian blackened death metal band. Formed in Calgary, the band now resides in Edmonton, Canada. The band is made up of Vetis Monarch (vocals and guitar), Apostle VIII (guitar), Kha Tumos (bass), and The Disciple (drums). The blackened death metal genre is a genre I should be following more than I do. The bands that I have heard have done an amazing job at combining these two extreme metal genres. Before hearing this album, I did not know who Weapon was. After hearing it, I am already craving for more!
From the Devil’s Tomb is a nine track epic. To start off, the album artwork is very well put together. The album artwork details something emerging from the tomb of the devil. In good, Satanic form, there are many images of horned beings, jagged brimstone precipices, and to top it all off, an upside image of Jesus Christ. Musically, each track captures the influences of black metal and death metal very well. For example, three tracks come to mind. 'LEFTHANDPATHYOGA' is a slow song; meant to be an intro to its following song The Inner Wolf. However, this track is very well written. It is not a sound clip and it is not less than 30 seconds long. It is a slow, chordal riff that is given a boost with a slow, powerful, simple drum beat behind it. The song builds with intricacy and complexity until it leads into The Inner Wolf. Another song that really hooked me was the second song, entitled 'Vested in Surplice, and Violet Stole'. This song captures the bands black metal influences to the mark. Blast beats and tremolo picking are very prominent in this song. However, it strays far from stereotypical because of how catchy and intricate the riff is. Through and through, 'Vested in Surplice, and Violet Stole' is one of my favorite songs on the album. Lastly, 'Towards the Uncreated' is another song that really caught my attention. What makes this song special is its very accurate blending of both black metal and death metal. The song is 7:16 long and contains very well written black and death metal sections that are well dispersed throughout the song. My favorite part of this song is at marking 3:30. Up until this point, the band is playing a black metal riff. Suddenly, the riff changes to a slow, simple guitar riff with simple drumming. This section reminded me of many of my favorite classic death metal bands like Asphyx, Bolt Thrower, and Grave. For a blackened death metal, Weapon has done their listening and it is showcased quite well in the final track.
This album was a joy to listen to. As a fan of black metal and of death metal, the genre of blackened death metal is right up my alley. If you too are a fan of both of these extreme metal genres and are tired of the same old material, than your search ends with "From the Devil’s Tomb". Weapon is a band with great promise and amazing potential. I hope that this band gains the attention they deserve, as well as the success that they seek. Pick up a copy of this record through Ajna/Agonia Records and start head banging! \m/
