Interview: Vastum
My riffs are often a nod to Death Metal classics beyond just ODSM; even the ominous atonality of Stravinsky has worked its way in here and there.
On their new full-length release, Inward to Gethsemane, Vastum has created a thought-provoking death metal masterpiece. To reflect on the release of the album, J. Donovan Malley caught up with Vastum guitarist and vocalist Leila Abdul-Rauf to discover more about the new record, a new member, the creative process, and more.
E&D: How did the recording and the creation of the album go and was it a smooth process?
L A-R: I would say the songwriting and tracking process was smooth for the most part, and Greg Wilkinson is always wonderful to work with. Shelby and I had been the sole songwriters (minus lyrics, which is divided between Dan and myself) since our third album, Hole Below, and our approach has always been to contribute songs independently. Things got sticky when trying to sort out the track sequence, which was also an issue with Orificial Purge, but we eventually worked it all out.
E&D: It’s been several years since Orificial Purge and this is your first album with new bassist Colin Tarvin. How is Colin fitting into Vastum and what does he bring to your sound? Has the approach to songwriting changed over the years? How so?
L A-R: Colin’s been a real joy to work with, and we’re so thankful for everything he’s brought to the band, both to the album and his energetic live stage presence. He also learned all of the older material at lightning speed, for which we were grateful. He was also a tremendous asset when it came to figuring out the final track sequence for Inward To Gethsemane; he definitely saved the day in that respect. Our songwriting approach has been relatively the same since the beginning, despite the changes in songwriters over the years (Kyle, Luca, Shelby and myself).
E&D: Who and what (both musically and thematically) are the biggest influences on Inward to Gethsemane, in particular, and Vastum, in general?
L A-R: My riffs are often a nod to death metal classics beyond just ODSM; even the ominous atonality of Stravinsky has worked its way in here and there. Lyrically, I draw a lot of inspiration from Nuclear Death’s Lori Bravo; her harrowing, relentless approach to lyric writing is second to none. Diamanda Galas’ The Litanies of Satan was also a big influence on my lyrics and vocals for this album. Thematically, in general, Vastum deals with topics of body horror and eroticism through a psychoanalytic lens (Dan is a psychoanalytic psychotherapist and academic after all). Dan’s lyrics, samples and vocals on this album references bands like Dystopia and Deicide, and anti-theologians like Thomas Altizer and Russian philosopher Lev Shestov.
E&D: Tell me a little about the incredible artwork on the album?
L A-R: The cover art was Dan’s creation, using images of Christ’s agony and crucifixion to evoke the evil of trauma, abuse and neglect. Dan designed all of Vastum’s album covers with the exception of the cover of Orificial Purge, which was a painting by San Francisco artist Laina Terpstra, and an alternate cover painting of Patricidal Lust by Italian artist Paolo Girardi.
E&D: What are your touring plans, now that the album has been released?
L A-R: We’re currently auditioning new guitarists, since Shelby has decided to move on. We hope to do some touring in 2024 as schedules allow, once our live lineup is intact.
E&D: The members of Vastum all have significant commitments to any number of bands and solo projects. Does the spirit of any of these bands seep into the music that you make with Vastum? Can you talk a little bit about how you all manage this in both a logistical and creative manner? For example, when Shelby or Leila work on riffs, is there a specific band in mind from the start, or do you just let the creative forces work and then determine which project an idea is best suited for?
L A-R: There are several different layers to the songwriting process. For me, when it comes to writing the riffs, It’s solely for Vastum and nothing else; I think it was the same for Shelby too. The other layers are the lyric writing and ambient moments. The atmospheric parts come very intuitively to me, as I’ve been making ambient music for over a decade, and often these just come together at the very last minute in the studio. It’s exciting to be able to infuse more of these elements with each new Vastum release.
E&D: What have been some of the proudest moments as a band so far?
L A-R: Every time we get to finish an album! And also the lasting impression we make on audiences through our live performances; I’ve never experienced anything like it before or since we’ve been a band.
E&D: What have been the most memorable live shows?
L A-R: Probably Heavy Montreal Fest in 2016, when we replaced Inquisition on the bill at the very last minute, because we fortunately happened to be in town while it was going on. It was the first time I’ve ever played in front of thousands of people. Netherlands Death Fest in 2017 and then Killtown Death Fest in 2019 were also big highlights for us. My favorite Vastum tour was with Hooded Menace and Demilich in 2015.
E&D: What’s the biggest obstacle you’ve had to overcome as a band?
L A-R: Even more than the many line-up changes we’ve had over the years, the biggest obstacle has always been carving out time to do the band, whether it’s for rehearsing for shows or recording and finishing the album. Trying to make five very busy people’s schedules align is a headache, but always worth it when we make it happen.
E&D: If you had to recommend a few bands that might be overlooked in today’s extreme music scene (defined loosely…hell…Lustmord is still one of the most extreme musicians in my opinion), what would those be?
L A-R: To End It All, Compactor, Shifting Harbor, Somesurprises, Geist and the Sacred Ensemble, and Field of Fear are all amazing artists of various experimental genres from the dark and unsettling to the beautiful and ethereal, almost all of whom I’ve had the pleasure of sharing bills with this year, and all have released new material within the past couple of years. All are criminally underrated and give memorable live performances. I feel fortunate to know them.
