Tomas Nyqvist, the founder of legendary Swedish label No Fashion Records and the Putrefaction Magazine zine, was interviewed by Bardo Methodology. Tomas talks about his zine and label, the careers of Morbid, Mayhem, Merciless, Dissection, and Katatonia, and how the infamous Stockholm record store House of Kicks screwed them all over. A book compilation of Putrefaction Magazine is scheduled for 2017 too.
Dark Tranquility announced the release of their eleventh album of Gothenburg melodeaf for release on November 6th on Century Media records.
Death Metal Underground staffer Corey M reached out to the prolific French-Canadian black metal band Sorcier des Glaces for a written interview about their career. Our staff compiled a list of questions which Sébastien from Sorcier des Glaces thankfully and thoroughly answered:
1. How did Funeste come into being?
Yannis: Well me and Léo met through my work. As a tattoo artist I get to know people rather quickly since we spend long hours together. We realized that we had a lot in common, especially music. Our passion toward the raw and the bleak immediately spawned an interest for us two to collaborate musically. We started Léo playing drums and me on guitar duty and started to incorporate other members as we progressed. But eventually the project died of its own. A couple of years later we were still involved in musical projects together. While I was mixing a common project Léo threw at me the idea to start a black metal project. At the time I was overloaded with family and work but, the idea stuck in my head and we gave the project a go. And thus Funeste was born. From there things started to moved rather quickly. After writing a couple of songs I already had test visuals for the mood of the project. But it was just for fun since we didn’t have plans to release anything serious. But the more we listened to the tracks and the more people gave us feedback on it, we realized that we had something special. So we decided to release the Ep as a demo since it wasn’t mixed at all. And then it exploded, people started to respond very positively to it and it hasn’t stopped since.
2. Funeste plays a style of black metal which although firmly standing on a modern conception of the genre also does a very good job at keeping a smooth continuity in the music through paying attention to the consistency of material. How conscious a decision is this? Do you think a choice in style matters a lot?
Yannis: Like you said although I enjoy the traditional aspect of any genre, I think it has to move forward. To me heavy metal has always been about being extreme and subversive. Personally I think these two things can only be quantized by the era we live in and what was done before. So yes I think our style of black metal is a more modern interpretation of the genre. That said I don’t think what we do is especially new.
As far as the consistency of the material goes, I think we don’t think to much about it. I personally hate music that is too linear and safe. Even super technical band can get boring if there’s no contrast in their music. So in terms of mood I think we’re pretty consistent but, sonically wise I like I’m not so sure. I don’t want us to be coined to a specific genre, that’s why we change things a lot from song to song. Most of this is pretty much done on intuition.
Lastly, the choice of style was important at first to give us a foundation to work on, and draw inspiration from it. But like punk, black metal is more an ideology than a specific sound. It’s music that is very emotionally driven and that wants to leave the listeners scarred In every way possible. At least that’s my interpretation of it. So based on that frame of mind, I think we thrive to use all our influences to emphasize those intentions which creates a black metal with a richer spectrum of nuances.
3. In that same vein, do you think that musical genres have inherent powers or strengths and that they can be especially useful at channeling specific messages?
Yannis: I think so. I always found Black metal very introspective in nature. Delving into the roots of the honest and darkest human emotions, this music can be vessel to all sorts of messages. To me it’s one of the few styles were a musician can expose self-hatred, awe and fear of the world, spirituality to its fullest. Although this music is most of the time executed to be a hard listening experience, i think it is a very positive outlet for the musician and the listener because the themes in black metal are very universal and in the end, it is very easy for people to relate to it.
Léo: I agree with Yannis and think it can go even further than that. Music that touches me is music that was made by someone feeling any kind of emotion, positive or negative, and transcripts these emotions through sound. Or at least this is how I make music. And link with the previous question, this is not constrained to any music genre. Some black metals songs can be transmit hope or relief, and pop songs can be depressing. Anyway, I guess this is why we like having vocals that melt into the instrumental part. Funeste is all about hearing a dark gloomy violent overall sound, and relating to melodic lines in any way that fits with your mind when you hear it. It could destroy your mood or strengthen it depending on who you are and what you
4. Would you care naming your main influences in metal?
Yannis: Oh this could be long hahaha! Well I know it’s not metal but, I grew up listening to King Crimson and Genesis and I think that at that era was the metal of their time. Intense, intricate and creative. When it comes to metal I started with the basic, Iron Maiden, Black Sabbath then in my teens got a NuMetal phase but I was always looking for darker more punishing music. At the time I was living in the suburbs of Montreal and the only place I could dig for music was Archambault, a big record store like HMV. So I would spend days there listening to anything with a cool album cover. That’s where I discovered Cradle of Filth, Dimmu Borgir, Immortal, Darkthrone. These we’re my first contacts with extreme music. Than when I moved to Montreal thing’s got better hehehe. I had more friends into extreme music, listening to death metal like Deicide and Cannibal Corpse, Macabre, Converge, Katatonia, My dying bride, Dark Tranquility. And then the internet started blooming. Oh the glory! Like most kids my age It was a revelation. And it really allowed me to find music that was tailored to my standards.
But to answer your question more specifically, the metal bands that really influenced me to carve the music I do with Funeste would be bands like Weakling, Twilight, Leviathan, Converge, Brutal truth, Cryptopsy, My dying bride, Buried at Sea, Gaza, Deathspell Omega, The body, Abandon. I also draw inspiration from any genre, weather its Massive Attack’s Mezzanine, all the discography from Songs ; Ohia, Van der Graff Generator or the classical music of Alfred Schnittke. Listening only to metal makes really narrow minded records I find.
Léo: Appart from the bands that Yannis cited as direct influence for Funeste, we both listened to many genres which (I hope) gives us some diversity when we compose. My father has a pretty big vinyl collection, and I listened to literally every kind of music that he could find. Later on I developed my own tastes and started to listen to slipknot like many people, which quickly got me interested in more extreme metal bands such as vader, amon amarth, cannibal corpse, gorgoroth, and a lot of punk-hardcore and crust bands like converge, black breath, defdump, etc. There are so many bands that make awesome music that I kind of feel bad to name only a few of them, but I love listening to any band that makes me feel some emotion. Although, music playing with darker emotions will get to me more easily.
5. What about influences outside metal? What about outside music, perhaps in literature or cinema?
Yannis: I guess I answered parts of that question in the last question. For the music we create I focus more on reality. I watch a lot of documentaries on war, poverty and other bleak subjects. Lots of true crime shows. But mostly, what inspires me the most is my own personal experience. I’ve been dealing with Generalized Anxiety disorder for a good while now. Living constantly with feelings of dread generates a lot of anger, which in the end make for good heavy metal hehehe!
Léo: Well, I like making music by myself, so I guess I’m mostly inspired by what goes on through my mind when I let it slide alongside with the music. But what you live everyday is an inspiration. If you have a bad day have a beer and you will most likely write fucking angry music. As long as it concerns me, I like watching movies a lot and taking pictures. I think I’m always writing music with a graphical environment in my mind, but I couldn’t really tell, as my composing process is mainly based on letting everything go, get in my personal bubble and plug my guitar.
6. What is your composition process? Would you care detailing it and commenting on what you believe are its strengths and weaknesses?
Yannis: We’re only two in this project and tough we live in the same city we don’t jam together. I think of us more like a two headed one man project than an actual band. The way it goes is we both compose riffs and we send them to each other, than we build unto them. And then we trim the extra fat, the stuff we don’t want or like. Then I add the bass and the lyrics and vocals. I think it’s a great way to work. We can create on our own time that way we don’t have to go through the hassle of make everyone’s schedules fit. And there’s no downside because we’re always calling each other for input and we meet for beers on a regular basis.
7. Does Funeste have a goal, a message or an intention? Does the music attempt to transmit something in particular or is music “just music”? I am not referring to music in service of an ideology, necessarily, but as music as a communicator of aspects of our condition as human beings.
Yannis: For me it’s a way relieving myself of a lot of anger and frustrations towards that I’ve been repressing for a long time. I guess my main goal is to make music that I enjoy while keeping metal relevant and as far away from the cartoonish travesty it can become. I try to write lyrics that are close to my heart. I know I should be signing about nature, satan or the fact that I wanna go back to our old Viking ways with my iPhone in one hand and my credit card in the other but , this is just not me and its not part of my heritage. I’m a city boy and always been. And the city is a very demanding and stressful place, where the well-off cohabitates with the homeless. With anxiety and depression on the rise, people losing their religion and values and replacing it with careers and selfies. This is all very bleak to me and pushes me to create music that reflects that. Also all the lyrics are written in French which was really important to me. Here in Montreal, the French Canadian underground is not very strong. Very few band writes their music in French. They’d rather write everything in English because there’s a better chance for them to ”make it” in the music business. I think we shouldn’t be ashamed of our heritage and we should promote the hell out of it, even to places that don’t speak french. If the music is good there will be ears all over the globe that want’s to listen to it.
Léo: We started Funeste with no specific goal other than make music and “evacuate” some energy through that. Also, we didn’t expect the attention we get now at all, so we don’t have specific goals related to that. But if people listen to Funeste and enjoy it in any way this we are very thankful. And we will continue making music in the same mindset.
8. Do you have a vision for the future of the band in terms of its growth?
Yannis: Create new music, grow as a musician, meet people. I’d like for us to do splits in the future as well. I still don’t know what our next release is gonna be. Another Ep? LP? who knows. One thing is for sure we’re writing new music as we speak, and it should see the light of day in the next 6 months or so. Eventually I think we’d like to get a proper line up to do live shows but this is still in discussion at the moment.
11. Is Le Triomphe du Charnier Funeste’s first release or is there anything else fans of the band should check out?
Yannis: The Ep is our first outing. Me and Léo also play in a Electro Post-Rockish band called St-Petersbourg. Our new ep that I personally mixed, is coming out this summer. Other that’s pretty much it on my side.
12. What would be the best way in which the audience can get into contact with Funeste?
Through our email: firstname.lastname@example.org
Facebook: https: www.facebook.com/funestemtl
Black element Production: email@example.com
13. Is there anything in particular you would like to let the metal world know about the band? Is there any particular reason why the audience should keep an eye on Funeste?
Yannis: Well, if you like bleak, unforgiving black metal, give us a try. There’s a good chance you’re gonna enjoy our EP. And keep in mind, the next song are gonna continue pushing our own boundaries to create music more and more punishing.
Flooding publishing news, the waves of garbage promos present an ecological problem that can only be dealt with extreme measures. A swift bombardment of napalm would suit all these studios producing garbage albums every day. Even those with high quality production are only hiding behind it. Having a crispy sound, good double bass rendering and perfect sound engineering does not make the music better when it is the equivalent of rat feces, it only makes the odor stronger and more difficult to bear.
Blunt Knife Idol – (2015)
Grindcore is the most misunderstood underground genre after black metal. The simpler something appears on the surface. Blunt Knife Idol things that if they play a groovy or a brutal riff with blast beats or racing double bass drums a grindcore song is automatically produced. Music for empty-headed “headbangers” who want to show their friends how “brutal” and “extreme” they are. Fucking rad, man.
Impurity – Into the Ritual Chamber (2015)
Hard rock with croaking vocals. Not particularly good hard rock at that. Just flat-sounding and never actually doing anything besides existing. Not as distinctive as Sarcófago, but just as bad and far blander. Sometimes, Impurity tries to give songs a twist by inserting a completely random and unrelated blasting section only to finish it with a stadium rock move… or a flute. Other songs start off with the minimalist “black metal” style and then transition into hard rock riffs. Structure-wise it is pretty unpredictable, but it’s only because there is no particular plan behind this. It does not feel like it even makes any sense, parts are just pasted to continue. Stay away from this old turd.
Khors – Night Falls Onto the Fronts of Ours (2015)
Starting out as a light, slavic-styled black rock band, Khors now play depressive alternative rock with double bass drums and black metal vocals in a manner similar to that of Swedish band Katatonia. The difference is that in Cold Khors lacked the content that Katatonia present time-efficiently in their pop-structured songs. Khors pretends to deliver little content inside long-drawn structures in the black metal manner. This makes for ambient rock that is only “atmospheric” but little else. Now they went all the way and became one more alternative-rock-with-harsh-vocals band like the previously mentioned Swedish band or like the Finnish Amorphis. Despite this, Night Falls onto the Fronts of Ours seems to reach its goal within its mainstream constraints. It does not fail, it is just rubbish mainstream music.
My Silent Wake – Damnatio Memoriae (2015)
Funny, confused, tough-guy music for fans of Sludge and the Pink Frothy AIDS approach to songwriting in “diverse” styles stitched together in self-indulgent manner. Each song here is meaningless but has a strong “attitude”. This satisfies most of the Homer Simpsons among metalheads, which is why this will have enough impact. This stretches from the idiotic to the simple music that pretends to be more refined or sensitive. My Silent Wake are a sure commercial bet for labels and a sure formula for artistic failure.
Possession – 1585-1646 (2015)
When you try to make black metal with a punk mentality, you will end up with a very long and repetitive punk song. This is NOT what primitive black metal is, folks. Like most music of its kind, and like most extreme music, this is 80% posturing, 15% music and 5% of something to say. The only reason this sort of band is given any chance is that with the commercial long tail effect the internet provides, niche tastes can be offered a product. Statistically, some clueless idiot is bound to like this heap of messy punk riffs put together by a talentless band.
Online resources for metal pose a problem. On one hand, smaller entities tend to dry up and blow away as their members move on in life and get tired of paying hosting. On the other, large centralized resources are quickly gamed by industry and dominating by small in-groups. Thus the post-modern metalhead always has an eye out for new resources.
A recent entrant in this field is Metal Recusants, a semi-unorthodox site known for its wise-ass reviews and scathing commentary on the metal scene. We were fortunate to be able to get in some words with Dom, head reviewer and site founder, on his activity and the appeal of Metal Recusants in a time of increasing metal information overload.
What’s a “recusant,” why did you pick the term, and how does it describe what you do?
“Recusant,” similarly to “non-conformist,” is a term taken from English history. Recusants were Catholics in England who did not convert to the new Anglican religion. I thought of this term because I was looking for something similar to non-conformism. As you wrote on your site, metalheads do not conform easily and that is the message I want to pass on with this name. I think it fits in perfectly with our mission to promote less-known “underground” music but also in describing the “underground” way we write in and organise ourselves.
Our aim is to not only feature the most obscure metal band that no one knows about but also to provide a balance of the less-known acts with the better-known ones. Additionally, there are many opinions, different tastes and different writing styles that people have. I aim to highlight this with our site by not having strict writing guidelines. Apart from the way our articles are formatted I do not ask our writers to write in a certain style. I do not want MetalRecusants to become the next fruitless mainstream metal magazine in which you cannot easily tell the difference between reviews apart from the album name and the rating.
In many cases they are all written in the same way, most commonly in the third person the writer distances himself/herself from the music and gives an authoritative opinion of the music… Therefore, I do not ask our writers to write in the first or third person, I do not tell them to write in British or American English, I do not ask them to write “death metal” in capitals or small letters. Moreover, I do not ignore genres or sub-genres which I may not like. For instance, I hate metalcore but you can see that we have featured that sub-genre quite a few times. There is no one single music taste which is superior or better, we all have different styles whether it is the way we write or the music we choose to listen to. No one on this planet is a “metal guru” who tells you what you should listen to. We write our opinions in our own way and we let you decide whether you want to check that band out or ignore it.
“Recusant” is also an obscure term, a word not used in everyday language, and, hence, whether someone remembers the word correctly or not, he or she will remember that that is the site with the weird name – which is actually the majority of people, haha!
Apparently MetalRecusants.com started after you’d been writing other reviews. Where did you write, and what was the reaction?
I did not have any experience writing for other websites or magazines prior to starting this site. I have only been writing personal reviews on my last.fm journal after attending gigs and discovering new music. Therefore, the audience was usually my family and friends as well as the odd last.fm user who would stumble upon my writing. The reaction from my family and friends was great, everyone supported me, especially my parents and siblings. I always have the urge to share the stuff I discover if not by writing articles then by sending out emails or messages. On some occasions some friends and family learnt about new bands through me while on other I was just being a nuisance by filling their inboxes with messages.
Do you consider yourselves “elitists”? What is an elitist? How is that different from a snob, poseur, scenester and hipster?
Not at all. As I mentioned before, even though I am the one taking most of the big decisions for MetalRecusants, I still feature music which I may not like but my writers like and want to write about. Since my aim is to feature all kinds of metal (and non-metal with our “31 Flavors” series) music and I do not decide what music is featured by just looking at how the band dresses or if they are labelled as metalcore or black metal, I can safely say that I do not consider MetalRecusants as elitist.
What is an elitist? In metal, the most common term I came across of an elitist person is someone who listens to only the most obscure underground metal – usually death and black – and hates anything else unless it is an old band which had an impact on the metal scene.
I think elitists have many parallels with snobs, poseurs, scenesters and hipsters. They certainly tend to follow a certain limited type of music while ignoring other types. However, poseurs, snobs, scenesters and hipsters may be doing it more in order to show off and fit into a scene. This happens a lot in metal as well but I think the “elitism”, “hipsterism” and “scenesterism” in metal is much more than just showing off. It is a community in which you share the music you listen to with like-minded people.
That is why going to small club metal shows is my favourite activity because the atmosphere is very intimate and makes you feel like at home. Wherever you may find a metalhead, you straight away have something to talk about – you may not have the same tastes and opinions but who does? Metalheads may seem to be elitist but I think it happens in many cases because they have found what they like, they learnt which labels, magazines and venues they can rely on. They feel comfortable with that and I think that is perfectly healthy as long as you keep your mind open of course and do not start following blindly these institutions – something which unfortunately is happening in metal. Sometimes I think commercialism is taking over and some people are becoming victims of it by following things blindly. Sorry, I am straying away from the main topic so I will just stop here!
Do you treat other genres with the same outlook? Is heavy metal different from other genres, with — dare I say it — heavy metal “exceptionalism” such that it merits different treatment?
I always used to (and still do) compare heavy metal to classical music. I do that because when I was crazily into Iron Maiden at the age of 12-13, I would compare their three guitars and all the layers of their music to an orchestra. Being brought up with a variety of music, going to music school in the afternoons almost every day, caused me to draw parallels with classical music. The more I listened to stuff like Beethoven, Mozart or Chopin (which is playing almost constantly in my parents’ living room), the more I could compare it to metal music. Since this was happening in my early teens, it made me into a kvlt (or elitist) metalhead with easy justifications that metal is the only “just” genre in popular music because it has such serious and historical roots!
You could say I matured a bit now as in the same day you can see me listening to stuff such as Vader, ABBA, Beethoven, The Doors, Pearl Jam or Immortal. Anything goes really. It’s all music in the end. To answer your question, I do not think metal should be treated differently than other genres but I do think it is as much of a serious genre as classical music and it has a rich and fruitful history. Heavy metal is already not treated the same way as all the other genres, therefore, I believe, the greater society should start treating heavy metal seriously and not as just some teenager’s rebellious phase.
Is metal an art form, entertainment, both or does it straddle the line? Is there a difference between Beethoven’s Fifth or “Journey to the End of the Night” and Miley Cyrus (“Bangerz”) or “Game of Thrones”?
In most cases, I see metal more as an art form rather than entertainment. The fact that the majority of metal musicians create the music first for themselves, they make music based on how they are inspired, makes it art. They do not care how it is received by the greater public. If you start caring how your music is received by the average person, then that means you are not creating art anymore, you are trying to sell a product to a certain audience.
Metal is not all about entertaining people, however, metal creates great music to rock out to on a night out, right?! I know this has been talked about in all documentaries and interviews and it sounds like a cliché but the following is true: metal music is always there with you and for you. It can make you smile, laugh, cry, feel depressed or be there just as a great soundtrack to getting drunk (or whatever else you might want to poison yourself with). You can only understand this if you truly get into heavy metal by listening to the albums, reading about the bands’ history and going to the shows.
What do you look for in a band that makes you think favorably of them and possibly write a favorable review? Do you treat demo and first album bands differently from established acts on major labels?
There are various things to look out for but I am always up for surprises. Actually, if I listen to a band expecting something totally different and I end up loving it then we have a winner. Nonetheless, for a band to receive a favourable review from me, the music has to reach out to me emotionally and bring me into a certain state of mind. There is no mathematical equation for this really. Some piece of music can reach out more to you than me or the other way around. And here I am talking about myself – I can’t speak for the other writers on our team. They may disagree with me.
Everyone is treated the same by us. Of course, I love to listen to demos and new bands – recently I discovered Dismemberment and we streamed Thunderwar’s debut EP The Birth of Thunder. Because we receive LOADS of requests every week, we end up picking randomly the music we feature. There is only so much we can do since this is not a full-time job for us. Therefore, I would like to aim this to any bands or record labels which got in touch with us and never heard back or did not see their music on our site: please keep getting in touch with us, maybe in a few months we will feature you.
About how many people come through MetalRecusants every day (or month)? Has this gone up over the past year?
The numbers keep increasing every couple months or so. At the moment we have on average 4,000 unique visitors per month. If I remember correctly, half way through or towards the end of 2012, we had some 1,000 visitors, so yeah, the numbers are going up all the time. It is overwhelming when I think that I had literally zero people coming in when I started this as a blog in 2011. The more writers we got, the more bands we featured then the numbers kept going up.
Can you give us your (Dom) background in writing, music and theory? Does your day job/school overlap with your metal identity and life? Do the people in your daytime world understand your nighttime world (metal) or are the two incompatible?
I was brought up with all kinds of music in my family and I went to music school until the age of 19 where I did music theory, history and learnt to play piano and guitar (both classical and electric). My background in writing? I am a History student at the University of Essex in the UK – and currently as an exchange at Purdue University in Indiana, USA – so I guess I get to do a lot of writing like most students do! I think having this website and being a humanities student benefits me both ways because I am now used to writing all the time but it is also improving my writing style.
So far, I did not have to “sacrifice” my metal way of life for my university studies and social life. On the contrary, I will be writing a dissertation about heavy metal behind the Iron Curtain and I have met some wonderful metal (and non-metal as well) people while at university. At Essex there is a Metal Society of which I was an “executive” last year. We did – and they still keep doing – loads of awesome stuff; from organising simple socials at the bar to hosting our own metal nights on campus. I had an amazing time with those people and I am looking forward to going back in June and seeing all of them again as well as meeting any new faces!
MetalRecusants does not rate (assign a numerical value to) a band. Can you go into depth about why you don’t like this method?
That is correct! So people actually notice this? Haha! I always found album ratings ridiculous and especially the ones with decimal points. I mean, seriously, 98.6% or 5.5/10?! Focus on more how the music on the disc in front of you communicates with you, what do you feel when you listen to it? Does it make you smile, laugh or cry? Be creative, let us know how you feel instead of coming up with a weird ranking table. I actually talked about this with the great guys from Cattle Decapitation, we had some laughs about some of the Metal-Archives reviewers.
Music, in most cases, for me is an art form. I do not understand how I can give a numerical value to an album. An album/band rating is misleading, in my opinion, because if someone sees a 3/10 rating, he or she will most probably disregard that album. That person would not have noticed that there might have been something in that album that he/she might have enjoyed. However, if there is no rating, that person can read a balanced and detailed review of the music and come across elements of the music that he/she might have not learnt by looking at the rating. I just find album ratings to be limiting one’s imagination.
Do you think there’s a hazard to over-simplifying ideas expressed in written form? What makes an effective review/article for you?
It can be a hazard but all you have to do is choose the right words. To be honest, sometimes I can’t be bothered to read through a 1,000 word article. Therefore, it is nice to see articles with embedded music players or videos. We have a rule of at least 300 words per article (excluding news posts) on MR which equates to a longer paragraph, which is not that much. As long as the review/article goes into depth about the aforementioned qualities of the music (that we are told whether the writer felt anything while listening to the music) and also given a brief background about the band’s history then it doesn’t matter whether it is a 300 or 2,000 word article.
Can you give us a bit of background on MetalRecusants, i.e. what year it began, how it has grown, and where it’s going in the future?
I started MetalRecusants in March 2011 during my last year of high school on the small Mediterranean island of Cyprus. I somehow started getting more and more familiar and associated with the Cypriot metal scene. A German black metal band, Ctulu, got in touch with me about playing on the island and doing an interview so I gave them the contact details of all the promoters I knew and also contacted them myself to get them to the island – guess what? They played on the island twice so far and I’m now good friends with them, we keep meeting at Wacken Open Air almost every year. Regarding the interview, I decided – after being convinced by members of Cypriot death metal act Vomitile – to start a blog with my friend from school, Christian, since there were no proper active zines in Cyprus; there was only a forum (Cy-Metal) and zines from Greece, nothing truly Cypriot though. As you can see though, I did not make this site into a site about the Cypriot metal scene; I wanted something more than that, haha! There are many great bands in Cyprus though.
As I wrote before, the site has grown because we kept on writing and writing and getting more contributors. It works on a word of mouth basis really. We write a review, a band shares it on their pages, people like it or dislike it and we get recognised. It is important that bands and record label share these reviews – especially at the early stages.
What does the future hold for us? Well, I want to keep on carrying the flame and continue what we are doing as long as possible. I would like one day to start paying all my writers for their hard work but that’s the future. One thing which will definitely not change is that we will keep on writing honest articles and we will never rate releases!!!
Do you think the metal industry has changed over the past few years? Have any genres waned? What seems to be “happening” now?
I actually ask a similar question in some of my band interviews. I like older bands to compare the times when they were starting out to now. I think I came to an agreement with Jonas Renkse of Katatonia/Bloodbath that the metal scene has become more “professional” over the years, it turned into this proper metal music industry which lost that “underground” spirit which was more evident in the 70s, 80s and 90s. I was not really present in the scene (or alive) back then so I can’t really tell. However, I can agree that the metal industry is “professional” at the moment.
There are more people taking care of the bands’ tours, the record labels, the public relations with the press and promoters. Nowadays if you don’t have a PR, you’re less likely to be recognised outside of your own local scene. There are so many bands nowadays that it is very hard for a band to break through on its own. I don’t think any genres have waned over the past few years. On the contrary, every genre seems to have many bands – whether it is new bands forming or older ones creating new material. How many “comeback” albums did we have in 2013?! I am not the one to follow what is “happening” now and I hate editors or journalists who think they are someone and tell the world what is “in” or “out”. Of course, it is great to tell the world what you think is “in” or “the next big thing” but stating such opinions in an authoritative way is rubbish. Nonetheless, there seems to be some kind of stoner/doom/old-school 70s type of revival with loads of such rock ‘n’ roll bands forming which I don’t mind at all!
Do you use subgenre terms, like “death metal” or “discogrind”? How would these be useful to a metal fan?
I usually use the basic subgenre terms like “death metal”, “thrash metal”, “black metal”, “glam metal” and “doom metal”. I have come across a lot of weird terms like the one you mention “discogrind” or “trance death metal”. These terms might be good sometimes to label some piece of music very briefly and might come handy for a review. I am, however, not a big fan of labelling. I prefer to use the basic terms and if I see that there are other styles in the band’s music then I will point out that it is a mix of thrash and death or doom and black.
Finally, the hardest question of all: what is heavy metal? What makes a band heavy metal? How do we tell the difference between a band that is hard rock, industrial, etc. and heavy metal, death metal, grindcore, etc?
That is a good question and a hard one indeed! I guess it is rather hard to define heavy metal nowadays because of how much the genre has evolved. Everyone likes mixing their metal with everything now; there’s jazz metal, discogrind, trance metal, psychedelic/progressive, operatic, orchestral, there’s literally everything you can imagine. For me, heavy metal is something that really rocks, really moves you and fills you with emotions. I will borrow our writer’s, David Halbe, phrase here: “if something rocks, it rocks!”
In the famous documentary Heavy Metal: A Headbanger’s Journey, Deena Weinstein defined metal with a deep bass, distorted guitars and masculine leather-wearing men. That could have been applied in the 80s but cannot be applied anymore in the 21st Century because the genre has expanded so much musically but also visually – you see a lot of bands not wearing the “traditional” black uniform with band T-shirts but still a lot of these bands do play very good metal. Winterfylleth comes to mind straight away.
If someone wants to learn to tell the difference between traditional heavy metal, death metal, thrash metal, grindcore, black metal and all that, then I would suggest going on a listening history trip back to the late 60s and make your way up through to the early 90s. There you can see the traditional evolution of these sub-genres and learn what are their basic differences and even come up with your own description/formula.
Keith Kahn-Harris, a UK-based academic who writes about metal, has recently opined that there’s a glut of metal and it has become impossible to tell good from crap, thus the genre’s stagnating. Does this type of thinking factor into your reviewing choices at all? What about your purchasing choices?
I actually did not know Keith Kahn-Harris’ work before – although I have seen that book on extreme metal on Amazon somewhere – but I checked it out right now and he does have a lot of interesting things to say. He is right that the scene is overflowing with a crazy amount of bands, especially now with the Internet. But I can’t really compare to how it was before when there was no Internet and your only choice was to copy a tape or trade. I was born into the Internet age and I’m used to having everything ready for immediate download either legally or illegally… I discover most of the bands that I listen to either through the Internet or from relatives/friends. And now thanks to MetalRecusants my e-mail inbox is a never ending discovery lane of new and old bands which is something I’m very lucky to have.
Anyways, to answer your questions, I do not think that it has become impossible to tell good from crap – obviously here everyone has their own definition of “good” and “crap”. You know, I think that the more you learn about the metal scene, the more you research and listen, you find your own personal satisfactory source of new music whether it is a few record labels you trust, a website/blog or a magazine. Metalheads are a very opinionated bunch of people and they can definitely tell what is good or crap for them. So, to give you some definite answer out of this brainstorming session, yes it can be sometime chaotic with the reviewing choices; what to assign to our writers, which band should we focus on more and interview, which show to attend. All of this can get frustrating at times but as I said before we choose what we review randomly; sometime because we like the music from first listen and want to learn more about the bands with interviews and sometimes because we want a bit of a challenge in writing about something new.
As for the purchasing choices, yes, I sometimes do end up having a headache as I want to buy too much stuff. That’s why I limit myself to purchasing music at concerts and record shops. I rarely order online nowadays – maybe if it’s a pre-order which I can’t wait for or if it is something which I know I won’t be able to find at my local record shop or I won’t be able to see the band in concert in the near future. I do not like purchasing digital downloads because it feels like buying air. If I am going to spend money, I’d rather have the whole package.
If you want something done right, do it yourself. That also applies to being yourself. Metal has a commodity that the markets and social groups want, which is that it is untamed. Rebellious. Disobedient.
That type of rebellion, if domesticated and made harmless, could mean a lot of money. Your hum-drum product could now be an “edgy lifestyle choice.” Your boring minivans could seem like party wagons. Your corporate brand could get some spiff back in its step and be dangerous again, with a little heavy metal(tm) brand rebellion.
And yet, metal resists. To be used by others for their own purposes is to be conquered, and to be conquered is to be assimilated. For metal that would mean being another flavor of rock, which is the music we turned to metal to escape. In other words, total failure.
Not everyone got the memo. There are a number of bands, both successful and obscure, trying to make a name for themselves by helping with the assimilation. It’s time to mock them sadistically and take vengeance upon their self-image.
A fantastic example of how modernity twists the heart of black metal beyond recognition, this album is fruity symphonic rock masquerading as metal through the vocals and guitar tone. Songs start with nothing and go nowhere, though still manage to take up an inordinate amount of time. Entirely derivative of what came before it, there is nothing on this disc to make it distinguishable from the other bands in this style; though at least the groove is catchy.
With over a hundred releases, you would think this one man band would stumble upon a consistent formula or develop some song writing ability. Wrong. This uses the overblown “recorded through a trashcan on a boombox” aesthetic to fool the unwary into thinking it’s black metal, but it’s just ineptly performed 3 chord garage rock played with marginally faster tempos and over processed vocals that make Xasthur sound like The Three Tenors. Occasionally, early Satyricon/Ulver styled weepy riffs are played, but the inclusion of a Stooges cover confirms this guy should just quit poisoning the world of metal with his toxic, vapid nonsense and play in a pub band.
“Artistic” performance dancers music video and “moody” image aside, Altar of Plagues attempt legitimacy with metalcore fans/Facebook headbangers by playing the “we heard Deathspell Omega” card. Gone are the weepy and whiny one dimensional Slowdive songs for clinical depressives, and here is The Dillinger Escape Plan attempting to intonate their guitars during a meth binge. All the faux-intellectual interviews about Björk having more artististry than “that stupid death metal nonsense with the blastbeats” doesn’t change this simple fact of life: screaming over random dissonance while stop-start “hitting a trash can” noises are played over it is not “high art.”
Another example of mashing rock together with black metal, this one goes for the carnival of progressive and “space” rock being the focus of songs, together with riffs somewhat reminiscent of black metal if it were made by hearing-impaired children with Down’s Syndrome. Combined with ANGRY MAN vocals and lyrics so profound even your local metalcore band would be in awe, this band truly has it all for the devoted hipster. Functional people need not apply.
Stupid protest rock by indie slam poets who play black metal ironically to get people to donate to AIDS research and “spread awareness” about other “social concerns” while rebelling from the safety of their Minnesota suburb. This is not black metal in the same way bands like Liturgy and Deafheaven aren’t. It’s a bunch of weepy, bittersweet screamo chords strummed really fast in a constant cycle while a violin wanders about aimlessly over the whole dreck to drum up some claim towards being “avant-garde.” Mundane crowd-friendly themes are pushed to the forefront to create a “safe, friendly and social” version of “black metal” that soccer moms with bowlcuts can listen to while on their way to the Deepak Chopra book club meeting in their “food not bombs” sticker adorned SUVs.
Here we go again. What are they calling it these days anyway? Black n’ roll? This is no different than a poppy Oi punk band occasionally lapsing toward Venom-dom while flaunting Bathory and Hellhammer patches for “forum cred”. “EXTREMEE!!!!!” moments occur in a third rate NWN Blasphemy ripoff moment here or there, but it lapses into what sounds like happy 3-chord rock n roll all over again. This is the “black metal” version of Nirvana’s Bleach LP.
Is metalcore the final frontier for stupidity? Claiming to be a “progressive and technical death metal”, you can be assured from the band photo of college hipsters that this is not. “Djent” rhythm noodling, tough guy grunting, and a “beetle rattling around in a plastic bin” drum performance are just sideshow elements of what this band truly is: Spawn of Possession playing their favorite moments from Underoath and Thrice songs in double speed. This platter is so weepy and weak despite it’s speed and down tuning that this band might as well drop the whole “metal” act and just become Paramore already.
After seeing how pop music in disguise can be construed as something “unique” after touring with Animals As Leaders and discovering Sumerian Records, Cynic further desecrate their name by hiring the same PR firm that Opeth and Ulver consult with when writing their testosterone sapping abominations. The end result: Coldplay with ADHD. The only element retained from their past are their Holdsworth-esque lead noodlings, but there is no metal to be found here. Even the vocoder was dropped for choir boy whining and multi-tracked prepubescent crying, taking the forefront in songs that emotionally peak in a way that give them the feel of one of those “deep” Adele songs that go viral on Facebook.
Wolves in the Throne Room was pretentious and bad, but this… Most of the tracks flounder about lifelessly with no purpose in a manner similar to Slowdive or Spiritualized while an “agonized” vocal track whines in a manner similar to Anathema and then, wait for it, the innovation occurs! Remember when people heard black metal to hear black metal? BORING. Now we have been graced with Fen’s contribution to the world of underground music: throwing out the vocal track to later day Katatonia songs and replacing them with raspy vocals. Like the other shoegaze black metal infiltrators, this band’s extreme riffs sound as heavy as a Type O Negative single and they will stop at nothing into forcing you to give up on life and retire to a frivolous existence of buying Deepak Chopra books and talking about the latest Walking Dead episode while in line at a Starbucks.
Everyone knows underground metal from Finland is often “quirky”, but …and Oceans have no character or idea to express beyond radio rock song craft with In Flames video game muzak underpinnings. So how do they draw attention? Covering it up with a “strange” band image, stupid name, tons of samples, and electronica interludes. This album makes post-1994 Amorphis look consistent by comparison. All of the “avant-garde” gimmickry this band employed doesn’t change the fact that this is Rob Zombie with swede-AIDS.
If this isn’t a joke… Going from Dimmu Borgir “extreme” blast section to a mash up between Voivod and Marilyn Manson before culminating in Queen styled stadium rock in one song, this band is about as “black metal” as Cradle of Filth at this point in their career. Like other sham artists Aborym and Ved Buens Ende, Dødheimsgard seem to think making a melange of the goofiest and most obnoxious sounds in juxtaposition to “harsh” metal moments is an evolutionary step forward. The androgynous band image suggests this band is making an attempt to draw in the Dimmu mall-goth crowd. In a perfect world, these clowns would drop the guitars and rasps out of their music, delete the extraneous elements, and just become VNV Nation or Apoptygma Berserk.
Maybe people were right in criticizing Obituary for wearing jogging shorts and touring with Madball and Agnostic Front during their The End Complete era. What we have here is pure, unadulterated idiocy. Nothing about this is metal at all. Growled out rap verses over chugging rhythms that demonstrate all the redundant noise one can possibly churn out of the first 2 frets on a drop tuned 7-string does not change this from being anything other than being hip-hop on guitars. “Liege of Inveracity has a slam riff” they say… True, but Effigy of the Forgotten didn’t sound like the Wu-Tang Clan either.
Djent with rapping vocals. Let that settle in for a moment. A conspiracy theory website lyrics slant for an image of “social awareness” to flaunt “importance”. What does this all mean? The abomination known as Hacktivist. With bands like Periphery and Animals As Leaders infiltrating the metal underground with their “deep” nu-metal for the impressionable, it’s no surprise that someone would attempt to “legitimize” this genre by force feeding the masses what is effectively Limp Bizkit after some guitar lessons. For all the “dissing” aimed toward the New World Order, this album reeks of a product that only modernity and globalization can produce.
It’s no surprise this band got so big. Utilize the hipster rock slant Clutch uses for “street cred” with trucker hat sporting “stoners”, but then add the radio rock of The White Stripes into the mix, and you have even more inoffensive teen rock that sounds like Weezer. This band’s music is so painfully banal that it would be no surprise if one of their tracks has been licensed for use in a 16 and Pregnant episode.
Somewhere out there, someone in a Sonic Youth t-shirt smoking a cigarette wedged between his pinky and ring finger came in his pants. By teaming up with singer-songwriter Feist, Mastodon have released their most hipster pandering product yet. Covering each others songs reveals the true ethos behind these abominations – weepy garage rock. You can throw down-tuned instruments and “loud” drumming at this thing all you want, but this is just Weezer covering an Alanis Morrissette song from both sides. Similar to other flavor of the month sham peddlers Boris, Mastodon is all ironic posturing first, band second.
If you thought nobody would ever bother make an album consisting only of distorted guitar arpeggios and linear synth lines, you would be wrong. How this gets filed under black metal is a mystery, as this album is not even metal to begin with. This is hipster lullaby music, an album perfect for listening after consuming just a few too many frappuccinos. In fact, Starbucks should play this in their advertisements. They’d probably make a fortune.
Sadistic Metal Reviews started sometime in the early 00s in tribute to the reviews of fanzines from earlier eras, in which a single sentence correctly categorized a band as the type of useless filler it was and dispatched it to the cut-out sale bins of history.
The grim fact is that as in nature, in heavy metal there are a few winners, and everyone else fails. This isn’t because they are fated to do so, but because they made the wrong choices. Usually, they have no actual artistic motivation, and so are imitating other successful acts for chicks, beer, prestige, an excuse for being stoned in the basement for a decade, whatever.
A band may have spent years learning its instruments, rehearsed for months, hired a good studio, taken all the right notes and had all the right parts, but something didn’t add up. This band had nothing to say, and so no one should listen.
The guiding principle of Sadistic Metal Reviews is that no amount of surface aesthetic can cover up a lack of conviction, content and motivation within. No one can paint-by-numbers imitate, or its cousin the recombining of known styles, and hope to get anything but a polite nod and “It’s OK, I guess, if you like that kind of thing.”
With this edition, SMR takes on the retro phenomenon. Every seven years like clockwork the great factory of wannabes runs out of “new” (usually basic math, like adding two genres together and getting a mystery) ideas and decides that ripping off the past is the safest path to fame and riches.
Hence these imitators are on the altar of sacrifice, awaiting our Sadistic Metal Writers for today’s edition of SMR, which tackles possibly the worst form of retro ever… the wannabe be 1991 Swedish death metal retro.
Our writers, from left to right: Daniel Rodriguez, Cory van der Pol, Max Bloodworth and Jon Wild.
Despite being disguised in every “Swedish death metal” cliche known to man, Repugnant appears to be a retro-thrash band that re-purposes early Entombed lyrics for ironic comic book appeal. This vapid gimmickry with a glossy coat betrays the similarity between this band and Ghost, with whom it shares personnel. Why not try the same shallow stunt, but dress it up as old Entombed for extra clueless metal tourist nu-fan dollars?
This album of Carnage riffs played backward between stolen Nihilist d-beats feels like a flowchart experiment in paint-by-numbers Swedish death metal cliches, with added groove so that even lobotomy patients can tap their feet to it. Entrails lay claim to the early Swe-death scene, but even a blatant clone band can be aim for higher than almost passable. If you take away the buzz-saw distortion, these are just old Saxon tunes sped up with more howling.
Why do bands constantly recreate Slaughter of the Soul? Perhaps because it’s so easy to do. Evocation make forgettable muzak by giving laundry detergent commercial jingles the mid-90s Swe-death post-Deliverance-style rape treatment. This pop muzak sounds every bit as bittersweet as a sad Blink 182 song but in disguise as mid 90s Scandinavian metal to allow Century Media to market it to metalcore kids on Youtube. More “another day at the office” unremarkable mellow-deaf who are given more legitimacy than the other bands for being around in the early 90s. It’s still butt rock with polka drumming and laryngitis vocals.
What most people got out of Swedish death metal was a certain guitar tone and vocal delivery. Complex riff arrangements, time signatures, melodies? Over their heads. So why burden the little dears with something they can’t understand? Instead, take the same music that bad Exodus clones were making in 1987 and dress it up in a “Sexy Swedish Slut Death Metal” Halloween costume. The only people who fall asleep when listening are the smart ones, and we should probably shoot them anyway.
Classic death metal is hard. What’s easy? Metalcore, which is any variation of metal where you use hardcore songwriting with metal riffs. Don’t worry about making the riffs make sense, just have the song go from one ludicrous riff to the next as if they were connected. Then have a mosh part. Hail of Bullets is aggressive like old school death metal turned up to ten, but disorganized so you hear mostly noise.
Remember all those Swedish bands who were almost up there with Entombed, but then dropped out? They dropped out because “not good enough” doesn’t mean you missed good by a hair, but a mile. Kaamos is reconstituted from also-rans in the Swedish scene and it sounds like it. These two chord riffs have zero personality mainly because their creators are obsessed with sounding Swedish. If this band were honest, Samba music would come out of the speakers instead.
What happens if you dress up Def Leppard in Swedish buzz-saw distortion and death metal tempo? I don’t know, because this isn’t as good as Def Leppard. It is however candy heavy metal with every third riff an AOR melodic transition but put into typical Swe-deth(tm) packaging, including Sunlight Studios (Boss Heavy Metal pedal dimed) production, wacky energetic drumming, and barfing pit bull vocals. But once you look below the surface, it’s a power ballad.
Bloodbath is just a bunch of jaded guys from whine rock bands (Katatonia and Opeth) making a parody out of death metal by throwing backwards Dismember riffs into a blender alongside Pantera groove metal riffs. For credibility they add the tremolo riff from Morbid Angel’s “Dawn of the Angry” to be a sufficiently quirky lifestyle product for people who ironically wear Entombed trucker hats and talk wistfully of the early 1990s, when they were four.
This all-star band with Scott Carlsson (Repulsion) and Nicke Andersson (Entombed) applies the Clandestine model of pairing up horror movie motifs on guitar with d-beats. Using a rhythmic approach that alternates between Repulsion’s high-intensity riding blast and a Motorhead-derived groove, this band is competent but formulaic. It escapes the rancor derived at its genre-mates for being what seems like something closer to an honest effort.
Morbus Chron suffers from flowchart death metal syndrome: play d-beat punk played on down-tuned guitars like the old school bands, toss in a stolen Sabbath riffs to remind people of the obligatory Autopsy influence, then maybe inject a zany Demilich/Cadaver “wacky sounding” riff to come off as “outside the box” and “original.” It feels like Entombed met up with a focus group who accidentally purchased a bunch of Oxycontin and tried to replicate Autopsy’s Acts of the Unspeakable.
With lyrical themes of suicide, drugs, and aimless misanthropy on one side, and kumbaya-esque sensibilities on the other, record labels have figured out a way to sell more metal-flavored products to mainstream alt-rock America: make alt-rock that superficially “sounds like” black metal.
Don’t worry; it’s not dangerous. These songs are still the same rock chord progressions we’ve always heard on the radio. The latest new trend formed by burnt out metal musicians who are too inept to fully sell out is to play another genre of music and wrap it in the aesthetic of another. You would think people are smart enough to figure out Nachtmystium is nothing more than Joy Division with raspy vocals or that Liturgy is failed ‘avant-garde’ post-rock dressed up as black metal (much like Solefald), but when marketing dollars and ads are at work, that is unfortunately never the case. Real metalheads know this is false metal, only appearing like metal, but to the American Apparel wearing alt-rock fans who buy Pitchfork magazine and Kerrang for the next bandwagon to hop on, it’s a new fashion statement or lifestyle option. It’s something ‘new’ they can belong to.
Black metal has been absorbed into the melange of the current ‘post-metal’ trend, inspiring new ‘artists’ to create their own rearrangement of pop music under the guise of black metal with no knowledge over it’s history, music, or having any idea about the expression of the music. Falloch, a new band from Glasgow, Scotland, may just be the final word on how awful, poppy, and warped this music associated with black metal has become.
Sounding much like a skinny jeans wearings Ulver shopping at Walmart for Thursday cds, Falloch further destroys the metal ethos much further than the later output from Katatonia or Paradise Lost could have ever hoped for. The emo crooning and the open chord strumming which is suggestive of a depressive hippie get together is all there, but watch out! There is a rasp or inappropriately fast drums at times in there to appear different, unique, whatever. The themes of sadness and lost love is there, and when you wrap this all up in a package whose cover art seems to portray a “this world is lonely, pity time!” aesthetic to AFI fans, you have a winner.
What’s most unfortunate is that Candlelight, a label who once released albums like Dethrone the Son of God has released this. So a once former niche hipster trend that no record label worth their salt would touch has now become a money maker that you can ship off to Terrorizer or Metal Maniacs for promotion in a big way. While some bands are able to mimic black metal better than others, Falloch fails to do even that properly, only using the genres recent popularity to cover up fractures in their pop songwriting and overextending very simple songs for the sake of coming off as ‘different’ when in fact it’s no more different than this.
Falloch is just another tool in the machine of corporate labels’ bid to assimilate itself further into the mainstream music scene. No doubt documentaries like Metal Evolution, Until the Light Takes Us, and Promised Land of Heavy Metal being shown on VH1 or Sundance had a hand in it falling to the hands of Starbucks culture, but even those documentaries have clear cut examples on what the music is all about, showcasing real black metal:
Instead we have people who have consciously decided to make “black metal” that isn’t black metal, and claim it’s an “evolution” when in fact it’s a regression to what existed before black metal, because they hate their fans and think they’re stupid, and want to make some money off of them instead of treating them like human beings. It’s hard to argue against ripping off any group of people stupid enough to think this is black metal, but it’s also unethical and guarantees we’ll get more of this milktoast, lukewarm, baby-soft “black metal” flavored alt-rock.
October Tide create their music in the hazy miasma between funeral doom and post-metal, which means searing distorted vocals, layers of blasted guitar sound, and slow percussion mixed into a dreamy veil of sound.
Tunnel of No Light is their latest album, and it goes further into this direction that ever before, combining post-metal style with the clandestine nature of 1980s dark pop, which makes their music full of mystery.
We were lucky enough to get a chance to talk with Robin Bergh, who plays drums in October Tide, about Tunnel of No Light, metal, what’s not metal and the future of metal.
There seem to be both funeral doom and post-metal/post-rock influences in your music. What were your musical influences, and did any lead in this direction?
There have been so many influences through the years. I can only speak for myself but post-rock is a genre that really attracts me as well as the metal from the 90s. I really like old Tiamat, old Paradise lost, Type O Negative, old Amorphis and of couse the old Katatonia stuff. When it comes to “new” music I tend to listen to some of Porcupine Tree’s albums as well as Cult of luna, A swarm of the sun, PG.Lost and Pallbearer. Perhaps you could hear a little bit of everything in Tunnel of No Light.
You have a lush guitar sound that is both ferociously distorted and seems to preserve the internal harmonies of chords instead of blowing it all on crunch. Can you tell us how you got this sound?
I guess this is a typical Fred/Emil question but I know for sure that Fred loves his GT-10. He has been playing around throughout the GT-series since ages so I guess he has found his comfort zone in his gear.
Do you compare your sound to any of the following: Opeth, Cemetary, My Dying Bride or Jesu?
Nopes. We rather try to catch a feeling then a sound. We are not those technical nerds that spends hour after hour and salary after salary to chase a certain sound. We prefer to spend our time, creating a feeling or some kind of atmosphere.
Do you think metalheads have more trouble reaching your music, or do you think a fan of Joy Division or Sisters of Mercy would?
You might have a point. Most of the metal music these days are quite intense and I guess that is what loads of metal heads expect when they hear a new album. Anyhow, we think the other way around which might attract the old Sisters of Mercy fans, but to be honest I don’t think that they have discovered us yet. Most of our fans are still metal heads.
Your members have been active in the Scandinavian metal scene for many years, always in slightly “outside” bands. Is there some difference in approach or philosophy that made you take this path?
We all play just for fun. We don’t really try to make a break or feed our listeners with music that we expect them to like. It is more important for us to play music that WE like to play and to have a good time together. With that strategy you don’t really get as big as “Swedish House Mafia” which is not really our goal either.
Do you think metal is changing to be more like indie rock and post-rock? Did one swallow up the other?
This is a tricky question. It is quite normal that music tend to develop in some directions and it is hard to predict what the next natural step for the future will be. For some years now a lot of bands have been competing with as high BPM as possible and totally insane guitars. I’m quite fed up with that at the moment so I welcome the post-rock direction with open arms. I have a side project myself that is called Aoria and I find it fun to play that kind of music as well.
One of the most amazing things about Tunnel of No Light is that your vocals are among the most savage in the business, but they get laid over these beautiful guitar tracks. What does this represent to you?
Even if you are surrounded by a beautiful atmosphere in a beautiful landscape you could still be very frustrated. I think that might be more usual in our society to day and that is nothing to be ashamed of. Just walk down the street and take a look at the people that you see. I do like the mix of beautiful and frustration.
How would you describe your sound as having changed since Rain Without End?
We have tried to stay as close to the 90s as possible but with some refreshed elements. The vocals are more intense now and perhaps your hair will stand straight backwards when we crank up the guitars. This is the first album that October Tide have ever recorded as a complete band with the intension to perform it live. That might also have affected the outcome.
These songs seem like they arise out of a clash of emotions. How do you compose? Do you start with a feeling, a picture or a story?
That differs from time to time. It could also be a scenario, that very often will give the song a project name. From there on we start to work it until we are satisfied.
How long did it take to write and record Tunnel of No Light? Will you tour the USA and Europe for this album?
The writing process was much longer than the recording process for sure. I think we did spend 5-6 days in the studio to record this album and the writing was done during the summer 2012. Not really sure what the touring plans are at the moment but check out our homepage at www.octobertide.net for the latest updates.
What do you think the next generation of metal will look like?
Rather synthetic than organic, less dynamic and loads of variation. More of everything I guess. Clean vox + growl + female growl + clean female vox perhaps some keyboards, percussion. Guitars and drums faster than machine-guns and everything is tight as a frog’s ass!