worriedaboutsatan have returned after a four year silence to release the two track EP - I'm Not / The Next Round. A twenty minute expansive excursion in hypnotic beats and lush atmospherics, its a welcome reminder of how great the duo are. Excited to see them back, I caught up with Gavin and Tom to discuss their past, future and present.

(((O))): Hi thanks for taking time to talk to us. For the uninitiated how did worriedaboutsatan start out?

Gavin: It was basically a little side project I started to keep me busy whilst another band Tom and I were both in at the time was sorting itself out. It never really recovered in the end, so when Tom left, I approached him with the first worriedaboutsatan material and wondered if he'd consider making the project into a duo that played gigs, rather than just me doing a solo bedroom recording project thing. The rest, as they say, is history

(((O))): The name comes from being a self- described deus fanboy. Has it ever caused confusion though. Being booked on a metal bill or as some freaked out Christian group?

Tom: haha, yup. certainly has. it's been fun though, being 'accepted' by a lot of different genres (intended or not) because of the name. we've had some pretty interesting conversations with people about how we're inviting the Devil into our lives and so on. One guy took us aside and looked very deeply into our eyes and said we're inviting evil on a daily basis to cause havoc!

(((O))): Four years between releases is quite long. Has it been circumstances or just focusing on other projects like Ghosting Season?

Gavin: Yeah, we decided to do the Ghosting Season thing completely separately from the satan thing, as we didn't feel comfortable just changing names and alienating a whole branch of our fanbase, so we decided to keep worriedaboutsatan open, but just sleeping. I guess it took so long to come back to 'satan, as we'd been doing the GS stuff for a while, and as we're both quite restless people, it just felt right to breathe a bit of life back into worriedaboustatan and explore that side of things again. Especially after we kickstarted our own label to put our solo recordings out, it felt like the natural thing to do!

(((O))): I'm not/ The Next Round is well worth the wait however. Have the tracks been around long or totally newly written?

Tom: they've been around for a few years, just kind of sitting on the computer as demos. Back then we didn't really have much music equipment, so they sounded very different. we have a lot of analogue equipment now, so it was nice to run them through some gear to really beef them up and mess around with them.

(((O))): Early on, worriedaboutsatan were described as being electronic post-rock. While people are keen to put a label on music do you feel it was limiting at all?

Gavin: No, not really. I guess we were always outsiders I suppose, as we've always ended up doing things ourselves about 99% of the time, so we just kinda got on with it! Post rock has become almost a dirty word over the last few years, but I don't mind it. There's definitely a post rock element to our music, as when we started, we were both listening to loads of that kinda stuff, but over time we did get a little restless and explored other things, like ambient and techno, so we were always looking for new avenues to explore to keep things fresh. Plus, I suppose we've always been known as 'knob twiddlers' instead of a 'band' in the traditional sense, so there's always been more leeway for us to experiment and not piss anyone off!

(((O))): Apart from deus, who or what else influenced you to start creating music?

Tom: Just the usual - girls, getting to go to gigs for free… just joking. Sometimes I don't think you 'want' to make music, you just start doing it, and then you find out you've spent all of your money and time on it. There wasn't really anything else to do either, in a sense that there isn't anything else out there other than music!

(((O))): In the past worriedaboutsatan toured with the likes of Maybeshewill and Her Name is Calla. Have you any personal highlights from tours or shows?

Gavin: haha, oh my - far too many to mention here! We're massively thankful that those two bands saw what we were doing and decided to take us with them. We played some pretty crazy gigs on both those tours - places with no roof, bullet casings in the car park and rider-eating dogs (that was all at the same gig, incidentally) but they were amazing fun.

(((O))): How do you begin the writing process, is there an element of experimenting or do you start with a specific idea or sound?

Tom: We do tons of jamming around, and we don't really have any plan. Sometimes we'll start with an idea and it ends up going on a massive tangent and the results aren't anything like we thought they'd go. These jams happen at really random times too. we have our favourite sounds and bits of kit, but that's the only boundary.

(((O))): The first EP has been made available again via Bandcamp. Do you feel it's still a good representation of worriedaboutsatan and what memories do you have of creating it?

Gavin: I think it's a good representation of one side of us, but maybe not the whole, just because so much has happened to us since. It's one of those things though - like a little time capsule, or the foundations, so I think it's important to revisit it and have a look at how far we've come, as both songwriters and producers.

EP1 was mainly made by me, with very shoddy equipment, so now in 2014, hearing some of the drum tracks, I did cringe a little and wonder what the hell I was thinking! Still, I have very fond memories of making it - it was really exciting to work on something that felt quite new. Not a lot of people were doing that kinda thing back then, and certainly the thought of touring with a computer was quite alien to a lot of people. Now you see it quite often, but back then there was quite a lot of resistance to doing things electronically, especially live.

(((O))): Even when artists make releases available very cheap ( sometimes free ) they still seem to end up on illegal download sites. How frustrating is it?

Tom: VERY!! I really don't get why people feel the need to obsessively collect music and make it available for other people behind the artist's back. there's a lot of politics around this subject, it's a real minefield. on one hand, you have so many people who love music and are passionate about sharing their tastes with other people, which is brilliant! but in the long term, the way they're doing this has a huge negative effect on the music industry. and when i say 'music industry' that encompasses Sony, EMI etc AND the smallest of DIY bands who've just decided on their band name. the reality is that these days bands don't benefit from any of this 'distribution'.

(((O))): I'm sure I'm not the only one in wanting to know if there will be a new album coming soon?

Gavin: Well never say never! haha. We are working on some more new material, but we don't know what form it will take just yet

(((O))): Arrivals was released through Gizeh records. Will you be looking to continue to self-release now or are you open to working with a label?

Tom: anything's possible. it's very important to work with people who love the music just as much as we do!

(((O))): With the new release and worriedaboutsatan active again, have you any plans to play live or tour?

Gavin: Yeah, we've talked about it, and we thought it'd be a cool idea to do something. Maybe if there's enough interest in the thing, we'll take it to a stage!

I'm Not / The Next Round is available along with the remastered EP01 through Bandcamp now. As well as Ghosting Season, Tom releases music as Winter Son and Gavin as Gavin Miller.

(((0))): Thanks for taking the time to do this interview with Ech(((o)))es & Dust. Can you give our readers that may not have discovered you yet a history of Marijuana Deathsquads and what you're about?

Marijuana Deathsquads probably started somewhere around 2009, as a way to free ourselves up from the music we were making in a previous hardcore band. We wanted a project that could take many forms, that could play with as few or as many members as we wanted, that could include all of the musicians we wanted to play with at any given time, that could play the weirdest and wildest shows possible and act on any crazy vision we had.

We started by doing a yearlong residency in Minneapolis, then took the residencies to LA, NYC and Austin. Lately we've been touring with our best friend band Poliça and doing maybe the weirdest thing we've ever done: play as a five-piece band every night, same members, similar sets, playing songs that we all know, on the stage with lights at around 8pm. It's wild!

(((0))): In your press release for the album 'Oh My Sexy lord', it said that you were "a gang first, and a band second". That's a damn fine attitude to have, what kind of a gang would you describe yourself as?

A gang of kids sitting in a field, or on a hill somewhere smoking pot and coming up with awesome names for their gang.

(((0))): Can you tell me where the name for the band/gang came from? When I first saw it, I imagined a Mexican stoner rock band for some reason............

The name actually comes from the future, during the devastating Marijuana Wars, when weed is the only currency and the great floods have all but erased the crop from the planet. In the present context though, it's just two words that sound beautiful together.

(((0))): 'Oh My Sexy Lord' is an amazing album that's easy to get lost in and has an inkling of chaos and anarchy, yet the structures of organic-elctronica within also have a sense of order about them. What's the writing process like, and do you write specifically for recording in the studio or for live shows?

Controlled chaos is our main thing. We've always written for the live shows first, writing new sets before each show, so we amassed an insane amount of material after a while. A lot of that has ended up being used for other projects or rap beats or whatever, and a lot of it gets recycled and adapted.

If we revisit it and the sounds seem too old, we just write new stuff. The recording process for "Oh My Sexy Lord" was insane. We probably literally went insane over a 10 day period of recording something like 6 hours of material, which was then edited down, trying to find where the "songs" might be. It took a very long time.

To contrast that, we recorded and mixed the Music Rocks EPs in about a week. The process for the next recordings lies somewhere in between those two.

(((0))): Talking of playing live, I've been checking out some videos on Youtube. My favourite is the full show you did for K Radio last year, non stop for half an hour! There must be some serious communication between you going on to know where the changes all come in. There's a part in the video where you're all waiting for the drums to come back in with shit eating grins on your faces, and then the sonic insanity kicks back in! Even though there's huge concentration going on, you look like you're having the time of your lives. Do youprefer to play live or recording?

We use a lot of hand signals and visual cues to communicate with each other during the live shows so that we can change and react instantly and all together. I think at this point we still all prefer to play live, it's really what the band was built for. We learn new stuff after every performance, and are really excited to take that back into the studio as soon as possible for the next recordings.

(((0))): 'Ewok Sadness' is the first single to be taken from the album and the video does indeed feature a very depressed Ewok. I wondered what one would look like, and the video definitely captures that! Was it your intention to go with a literal vibe to take the song to screen?

Our intention was to do a literal depiction of the songs title, a title that was already ridiculous and really has nothing to do with the imagery in the song - Ewok Sadness was just what the original beat/map of the song was called, and it stuck permanently. The song itself is dark and serious, so it seemed like a good idea to go for a funny and wild take on that for the video.

(((0))) There's quite a few extra members to the gang on the album (Bon Iver, Policia's Channy Leaneagh & Har Mar Superstar). Is there anyone you'd like to work with who you haven't yet?

We've been really lucky to have worked with so many amazing musicians. We have a long list of musicians and artists we'd love to work with at some point. Brian Eno, Joey Baron, John Zorn, EyE from Boredoms… a thousand other dream collaborations…

(((0))): How was the tour in Europe? Do you notice a difference between these crowds and the ones back home?

This tour has been going really great! We play early in the evening, but the crowds seem to fill in and then actually stay to watch us which is very cool. The crowds on this tour haven't danced around as much as at home, but at home we're usually playing very late and under very different circumstances.

We understand we might be tough to take in when your just walking into the club at 8pm not expecting to be bombarded by an unknown opening act. But the crowds have been very gracious and we've met some super cool people out here.

(((0))): We like to let people know about new music (be it recent or from the archives), is there anything you'd recommend to our readers that you're listening to right now?

Why don't we just list off some of our favorite Minneapolis music that's going right now: The Cloak Ox, Lizzo, Tender Meat, Father you See Queen, Ronia, Plain Ole Bill and Get Cryphy, Allan Kingdom… Har Mar Superstar made an amazing album last year and is currently touring the shit out of it. XXXPRESSIONXXX from New Orleans.

(((0))): Before you go, Here's a random question in the form of a lyric just for the hell of it. Guess the song if you can, then answer in another lyric: "What is Love?"

"Baby don't hurt me"? Is that the right answer? From that terrible SNL sketch thing?
Response "love" lyric:

"Ain't enough room in this fucking town
When you see tin head, tell him be ducking down
I'm not romping around
He better be ready and prepared to be stomped in the ground"
-DOOM

(((0))): Anything else planned for2014 that you'd like to tell us about?

We have a small tour in March starting with a bunch of shows at SXSW. Then we're going to try to write and record 4 new albums this year. And we'd like to set up some more residencies somewhere, possibly in Europe.

(((0))): Thank you for taking the time to answer these questions, all the best!

Cheers!

Last week Withered Hand's new album New Gods was released, which is another great collection of songs by the Edinburgh-based singer-songwriter Dan Willson. After reviewing New Gods (see here), Kevin Scott now asked Dan a couple of questions about the new album and Withered Hand.

(((o))): It's been almost five years since Good News - is that stretch of time down to the demands of touring, or did you take a hiatus before working on new material?

Dan: I have been busy, but certainly not on hiatus. I couldn't afford to be. I quietly released two EPs on limited edition vinyl in that time and toured and played one-offs all over the UK and in Europe. The songs for the new album were gestating for a while, until I could work out a new band and how to record the album I wanted to make.

(((o))): How have you changed as a songwriter in that time?

Dan: Well, I suppose I am more comfortable with the idea of being a songwriter, for one thing. I have learned a lot about how songs work. My approach to writing is the same, I don't force it.

(((o))): How did you recruit Tony Doogan, and what did he bring to the album?

Dan: I wrote to his agent and met him for a coffee. I knew he was into recording bands 'live' in the studio, which appeals to me and obviously I am a fan of his earlier work already. Once we started looking at the material I had played him, he brought a belief that we were working on an album of great songs and he applied himself to get the best out of everyone involved. I think the main thing is Tony is very experienced, perceptive, and impervious to fashion.

(((o))): Your address book clearly has some impressive names in - what was it like having members of bands like Belle and Sebastian and Frightened Rabbit on the album?

Dan: Weird. But good weird! I knew Scott and Eugene and obviously Kenny (Anderson) a bit already but I had not met Chris or Stevie before. I think there was one moment when I went to Belle and Sebastian's practice space to borrow a Nashville tuned guitar and I knew a younger part of me was just wanting to flip out with excitement.

(((o))): What artists were an influence during the writing and recording of the album?

Dan: I wrote those songs over such a long time it would be impossible to say.

(((o))): Given the prolific nature of folk musicians, how many songs did you write for the album, and how did you decide the final selection?

Dan: I am about as far from prolific as you could get! We recorded 12 songs and I picked 11 for the album and one B Side. The selection wasn't too hard. The sequence was a little trickier as some of the travelling songs had to be in a certain order and I knew I wanted ‘Horseshoe’ first and ‘Not Alone’ last. It was a bit of a jigsaw puzzle but I feel I cracked it.

(((o))): The sound of New Gods is familiar but there are new themes explored throughout, particularly life on the road; do you feel this record more closely represents your physical world?

Dan: I feel every song I have written has represented the physical world I inhabited at the time as well as my own inner world. I try to ground the songs in my actual lived experience. I suppose it is inevitable that, having suddenly become a travelling musician now for five or so years, some of the insights that peculiar life affords will seep into some songs. It's not an album about trashing hotel rooms.

(((o))): While Good News isn't a concept album, there's a link between several tracks on side one - documenting a trip from Las Vegas to L.A., and then what sounds like quite a night out; how did you come to write these songs, and how do you feel they differ from the rest of your material.

Dan: There are three songs in sequence on the album that refer to my experience of USA in 2011. I have noticed it takes me a while to process experiences and notice them cropping up in my songwriting. There's usually a disconnect of about a year and a half. I don't think they differ from the rest of the material. It was my way of addressing what I experienced there, good and bad.

(((o))): In L.A., were you really as hungover as 'California' sounds?

Dan: I was tripping on strong cough medicine. It took me quite a while to realize. So it was bad, but no not a hungover as such. I rarely booze it up on tour. I don't have the constitution for it.

(((o))): And did you win on the puggies at Las Vegas airport?

Dan: Nobody ever really wins on the puggies.

(((o))): What have you planned for live shows to support the release - full band or solo? Or both?

Dan: Well obviously I am in USA in March for SXSW and a headline show in NYC on 20th March with the band. I have booked a few UK band shows in April to take these new songs on the road but I expect to do a longer UK tour and maybe some more European dates later in the year. I expect to book some solo shows later in the year.

(((o))): As a well-kent face in Scotland's folk scene, and an important part of the Fence Collective, how did you feel about the demise of Fence Records - and can Lost Map Records maintain the influence of its predecessor?

Dan: Personally I think Lost Map is carrying on what the label side of Fence was doing, in terms of running an indie label and putting on interesting events, developing a great roster etc and Fence as an ideal and a broader collective is still alive and well over in the East Neuk of Fife and is as intriguing, homespun and brilliant as ever.

(((o))): Finally, you've mentored young musicians as part of the The Fruit Tree Foundation. Echoes  and  Dust is a huge believer in the power of music to develop and maintain positive mental health; what were your experiences with this initiative, and how important do you believe music to be for people with mental health issues?

Dan: I found it very positive, working with younger people who make music. I mentored Marie Collins, a young songwriter from Paisley. I personally have found music and art very important for my own mental health, as many have before me. So it was nice to give something back.

Next month A Storm of Light (Storm) will embark on another long European tour, including Roadburn Festival and Temples Festival. Bruce Cowie fired some questions to guitarist/singer Josh Graham over the internet to find out more.

(((o))): Your recent release, Nations to Flames, seems - to this listener’s ears anyway - a tad snappier, less ‘sludgy’ than previous Storm albums. Was this a conscious decision or natural evolution?

Josh: It was a combination of both. We were bored playing the slower stuff and we wanted to do something more challenging for us. Once we made the decision on how to move forward, it became more deliberate to edit and push ourselves.

(((o))): As ever, though, the album concerns itself with the damage and destruction of the environment. What does Storm think about those who deny man-made climate change? Do they have a valid argument, or are they mistaken/misinformed? Or are there hidden motives?

Josh: People that don't accept the fact that humanity is playing an active roll in climate change are either: uniformed, blind, selfish, or more simply put, morons. While it's true the earth temperatures tend to cycle over time, the amount of damage we've done is undeniable. No, there is no valid argument against fact. As far as motives to deny, well those are endless. The industrialized corporate world would be far better off without anyone paying attention to cause and effect.

(((o))): Cats or dogs?

Josh: Raptors. Domesticated animals are boring.

(((o))): The first time I saw Storm, in a tiny, sweaty room in Glasgow, you were only three. You were terrifyingly loud and, frankly, awesome. Each time thereafter, with Sleep and with Converge, you were four. Still awesome. Why did you feel it necessary to add the second guitar, and what led you to the young lady in question?

Josh: Josh Holt will be disappointed to find out he's a young lady. Actually we cycle through friends being able to tour with us, so we have different people out with us depending on the tour and circumstance. Drea is busy with other things and Josh is joining us for a while. We added 2nd guitar because we wanted the live show to reflect the two-guitar approach we used on the last two records. It's fuller and more sonically interesting…at least it is to us.

(((o))): Whilst on the subject of tiny, sweaty rooms, you’re playing at Audio in Glasgow this time – again, not the most generous of spaces. Is this through choice – i.e. you like playing in tiny rooms as much as I like seeing bands in tiny rooms – or do you feel that you’d not manage to fill a bigger space?

Josh: We've actually never played in Audio…unless I’m having a serious memory lapse…which isn't entirely out of the question. We've played Captains Rest, Classic Grand and The Arches. I personally love small rooms; they are my favorite place to see a show too. Intimate and loud. If we get to the level of playing larger rooms it will be interesting, but we're not in a rush.

(((o))): Playstation or Xbox?

Josh: Chess. I have never owned Playstation or Xbox.

(((o))): Another – sort of – venue related question. When touring bands like yourselves come to Scotland, it’s very rare for them to play outside of Glasgow. Is there a reason for this? Is it logistics? Have you ever considered playing Edinburgh, for example?

Josh: I have always wanted to play in Edinburgh, as long as I have been touring. I guess it's probably more up to the promoters though. I imagine that they believe people will come to Glasgow from other parts of Scotland, and adding more shows may make less sense that having one focused show.

(((o))): The Beatles or The Stones?

Josh: Blah. Pink Floyd…or 2nd Led Zeppelin.

(((o))): Some years ago – 2010, if I recall – you were booked to play in Glasgow with the mighty Minsk, but had to cancel. Is there any possibility of this happening in the future, given that Minsk appear to be working again? Please say yes. Also, was the gig cancelled because ISIS chose – rather rudely, I thought – to book a Glasgow gig on exactly the same day?

Josh: Haha. Yes, our show was indeed cancelled because of the ISIS show. We hoped to combine but just didn't work out. I'll complain to Mike about that during this tour. Haha. Minsk rules, and if we ever play with them again, it will be awesome.

(((o))): OK, the cliché questions – let’s get them out of the way…First, what’s Storm listening to for pleasure these days? And second, what’s next for Storm?

Josh: I'm in a midlife crisis and listening to a lot of 80's and 90's shit. Black Flag, Discharge, Jane’s Addiction, Ministry, Hair and Skin Trading Company. I revel in the days of taking lots of acid and listening to intense music, and melting (mentally and physically) in the Arizona heat. Other than that…Woven Hand, Fever Ray, Meshuggah, True Detective soundtrack. If anyone is following me on Spotify they are probably thoroughly confused or disappointed.

(((o))): Finally, as I’m guessing you’re on friendly terms with the lads in Neurosis, can you please do me a favour and, when you see them at the Temples thing in Bristol, ask them to play a gig in Scotland? I am prepared to beg.

Josh: Yep we are on great terms. I begged for Scotland for 12 years to no avail. haha. They just need the right circumstance and I am sure it'll happen, and they can finally level the city.

European tour dates with Welsh power trio Hark and M.G.R (aka Mike Gallagher from ISIS):

11.04.14   Belgium, TBA
12.04.14   Netherlands, Tilburg (Roadburn Festival)
13.04.14   Germany, Berlin (Cassiopeia)
14.04.14   Czech Republic, Prague (.007)
15.04.14   Germany, Leipzig (Conne Island)
16.04.14   Germany, Hamburg (Hafenklang)
17.04.14   Denmark, Copenhagen (Underwerket)
18.04.14   Norway, Oslo (Inferno Festival w/o Hark)
19.04.14   Day Off
20.04.14  Germany, Frankfurt (Elfer)
21.04.14   Germany, München (Backstage)
22.04.14   Italy, Bologna (Freakout Club)
23.04.14   Italy, Rome (Traffic)
24.04.14   Italy, Milano (Lo Fi)
25.04.14   France, Clermont-Ferrand (Raymond)
26.04.14   Switzerland, Martigny (Les Caves du Manoir)
27.04.14   Switzerland, Luzern (Schüür)
28.04.14   Germany, Stuttgart (Juha West)
29.04.14   Germany, Köln (Gebäude 9)
30.04.14   Belgium, Liege (La Zone)
01.05.14    UK, London (Birthday's)
02.05.14   UK, Glasgow (Audio)
03.05.14   UK, Bristol (Temples Fest w/o Hark)

Daniela Patrizi recently reviewed the new album Sjätte Vansinnet by Swedish band Scraps of Tape (read her review here). When she got the opportunity to ask the band some questions she didn't hesitate. Find out more about Scraps of Tape and the new album.

(((o))): Hi guys, how is it going? What did you do this past weekend?

We've been touring Germany to promote our new album Sjätte Vansinnet. It's been great being back on the road again, and meeting our German friends/fans!

(((o))): How’s life in Malmö? How is the music scene there?

Malmö is a fantastic city to live and work in. There's a very diverse and open-minded cultural output and you can find top notch bands/artists in almost every genre and art form. It's very inspiring.

On the other hand there are many problems with segregation and recently during the 8th of March-party "Take back the night" two people were stabbed and assaulted by neo-Nazis. The reaction after this incident has been huge. In a city of about 300000 inhabitants, 10000 took to the streets to protest against racism and intolerance.

(((o))): Do you live close to one another?

Some of us do, but most of us live pretty far away from each other. Two live in Malmö (which we refer to as our hometown), one on the countryside in Skåne, one in Stockholm and one in Gothenburg.

(((o))): You have been recording music since 2001. How long have you been knowing each other?

The band started around 2000 with only Johan and Marcus being left of the original members, but most of us has gotten to know each other first through the band, and then as friends.

(((o))): How did you get into producing music and how did the Scraps of Tape project come about?

Marcus and Johan had a smaller project that developed into Scraps of Tape. Before that all of us has been involved in various musical projects, but Scraps of Tape was the first where we played together.

(((o))):  Where your band name come from?

From the linernotes of a fantastic fucking record.

(((o))): I listened to Sjätte Vansinnet countless times and I really like it. What I like most is the mix of different music genres and the outcome  is  really unique. How would you describe it? How come you choose to use lyrics in some songs only?

Sjätte Vansinnet is the logical next step in our sound. We've always mixed various styles and never had a streamlined sound in the original sense, but our strength has been in combining a lot of influences in to something that is our own. The vocals have always been just another instrument/sound in our band, not something that is more important than anything else, so we've only used lyrics/vocals this time when we felt the song needed it.

(((o))): Pick a song and tell me something about it!

'We, the Leftheaded' was actually written around the time when we recorded our previous album Resident Flux, so it's the oldest track on the record.

(((o))): How was the recording of the album for you – fun?

Well, recordings are always a love/hate thing for us. We all have pretty strong visions of what we do, and we have VERY different tastes in music and sound, so at times there were hard words back and forth, but most of the time we all just did our part and tried to do our best. It's an amazing thing to see an album materialise out of thin air on to tape.

(((o))): How did the cover art come about?

The cover art was made by our member Johan G. Winther, and was made early on in the process of the album

(((o))): Who are your favourite musicians? Would you like to collaborate with any of them in the future?

That's too big of a question to answer here. But we've already gotten to collaborate with two very important influences to us, Mattias Alkberg and Cecilia Nordlund.

(((o))): Which band would you say you are most like?

Sonic Youth, Bob Hund, Refused and Mogwai. We are basically a mix of all of those bands.

(((o))): Do you guys have other projects in addition to Scraps of Tape?

Yup, there's a bunch of them. Jerker has Lymland, Marcus has Vädret and a couple of other projects, and Johan has a solo-project as well as Blessings, The Silence Set and more...

(((o))): Have you ever thought, "this is what life was made for"?

Life was made for living. That's super-cliche but also true. Our families and children are the most important things to us, but also working on creative projects such as Scraps of Tape.

(((o))): What is your favourite thing to see in the audience while you are on stage?

The best thing is to see the audience really into the music, and to have a feeling of the audience being a part of the show more than passive on-lookers. We want to connect with people when we play, not just perform for them.

(((o))): What distracts you while you're on stage?

The worst thing is definitely technical troubles. That can throw you off more than anything else.

(((o))): Thanks very much for your time; it was a pleasure reviewing your album and I love your style. Any last words?

Thank you for your interest in what we are doing! Keep up the good fight!

When Martyn reviewed the Warfaring Strangers compilation last week that had been designed as a musical accompaniment to The Darkscorch Canticles, a traditional table top role playing game, as an old gamer myself I wanted to know more about this project so I spoke to Rob Sevier from the label that put it out, Numero.

((o)): Before we get in to the game and the album can you tell us a bit about Numero Records?

Numero Group is a tiny cluster of labels amassed around the obscure recordings lingering in the depths, refurbishing and preserving for today and tomorrow.

((o)): Looking through the artists on your website, the label seems to be quite diverse stylistically. Is there an overiding approach or do you just go for what rings your bells?

The paths do branch out directly from our interests, which of course are ever-evolving. At this point, after ten years, I'm always in the process of figuring out what roads we haven't gone down yet. That said, there are still plenty of projects we've already unearthed that just haven't been completed. We might be taking a violent left-turn right now that no one will know about because they project takes 1-3 years.

((o)): Firstly, isn't a table top role play game quite a strange thing for a record label to produce? What lead to you doing this? What came first, the music or the game?

The game more or less directly came out of our habit of playing Trivial Pursuit on long road trips to keep the mind sharp. That certainly predates the compilation. The whole project came from an observed connection between the rise in hard rock and D&D and the popularity of other fantasy worlds at roughly the same time, in the early 1970s.

The fact that we had access to all this great amateur artwork conceived for a '70s high school D&D game just tied it all together.

((o)): Console gaming has made role playing in to a mainstream activity in recent years, but in this age of internet gaming what made you want to create a physical table top game?

Board games are not obsolete, they definitely dovetail with our analog interests. Think of it as an analog antecedent to console gaming.

((o)): To what extent were the visual aspects of the game shaped by the music you were including? Did you actually create the game art yourselves or did you bring in outside help for it?

Much of the artwork, like the board itself, was created back in the 1970s, simply repurposed for this project. Others, like the cards, were created by the same artist and a few other illustrators we work with and like.

((o)): How did you source the bands & were there any problems trying to find band members or any copywrite issues? What were their reactions to the game idea?

The compilation totally stands on its own, and was completed before we started work on the board game. There were some really fun songs we had to leave off the original intended tracklisting, like "Prayer of Despair" by Gollum, but we're pretty adept at tracking people down and none of these guys were particularly hard to find.

((o)): Why this sort of music? There's a definite psychedelic / mystical vibe to some of the tunes. Did you felt that lent itself naturally to the feel of the game?

The running theme is fantasy, sorcery, magic, and medieval terror.

((o)): I'm an old school gamer myself and played all the classics like D&D, Call Of Cthulu, Cult & the rest; do you guys have an old favourite?

The only game that anyone here played was D&D and AD&D. We're not that deep, for better or worse.

((o)): When we used to play many of us used to create playlists (well, tapes back in those days!) to enhance the atmosphere of the game, is that where this idea came from?

Not directly, but essentially.

((o)): Any plans for a sequel?

We don't intend to tread over this same exact idea again, but there will be similarly high concept compilations coming from our camp of course.

Many thanks for your time.

Today ConSouling Sounds have released the split album between the Italian band Vanessa Van Basten and the Belgium band Hemelbestormer. Daniela Patrizi recently reviewed it for Ech(((o)))es and Dust (see here) and she decided to get to know something more from these two bands that seem to perfectly complement each other on this six track split release.

(((o))): Hi guys, how is it going?

HMBSM (Jo): Everything's fine here at Hemelbestormer's HQ.  Taking some time to prepare for upcoming shows and writing some new sounds.

VVB: Not so good…at the moment I have some problem with the regular job you know…just fucking crisis. But Rock ’n’ Roll will save us all.

(((o))): How’s life in Genoa/Belgium?

HMBSM (Jo): Life in Belgium is good, enjoying it...

VVB: I currently live in Trieste (Italy), a small town with a lot of good musicians, sea, top-class food. Social desperation is all around, but we have good remedies in this country after all.

(((o))): Where does your band name come from?

HMBSM (Filip): We absolutely weren't keen about having an English name. Though it should be easy to pronounce unlike some alienating Finish names. Hemelbestormer is a Dutch word that doesn't really have an English translation, but it should be something like "sky stormer". Someone who's called a hemelbestormer, means he's an idealist, who has got revolutionary ideas and wild plans.

VVB: It’s a joke…we mixed my ex-room mate’s name with the famous football player and then we played this metaphysic heavy stuff. Ironic. At least to us.

Hemelbestormer

(((o))): Let’s start at the very beginning. How did you get into making music?

HMBSM (Jo): Everyone in Hemelbestormer is playing music since their early teens. All members are coming from different musical backgrounds such as hardcore, death metal, rock, etc. Inspiration for getting into music is both spiritual as emotional. Making music for us is much more than just playing songs; it is something we need to do.

VVB: I’ve been playing guitar since I was 13 but my real ‘career’ started at 17 as a rock DJ. This helped a lot because I’ve listened to tons of music and all the styles through the years, making me able to understand what really happens in the ears of people. In 2005 I founded Vanessa Van Basten as a personal psychedelic experience (I used to smoke a lot of weed…), but the project became something more, involving other musicians, so we released 3 albums and some EPs, and we toured a lot as well.

Vanessa Van Basten

(((o))): How did the Vanessa Van Basten/ Hemelbestormer project come about?

HMBSM (Filip): In the past ConSouling Sounds released albums of my previous bands P:407 and Gorath. I know the guys personally and sent over some demo songs we made. Later ConSouling told me about the anniversary project they were about to set up. They wanted to release a batch of collaboration albums of artists connected to the label. First one out was the Alkerdeel versus Gnaw Their Tongues album, which is very good actually. ConSouling matched Vanessa Van Basten and us. Even though our styles aren't likewise, we both created a monolith of a song!

VVB: Everything came from Mike and Miguel of ConSouling Sounds. Our Psygnosis EP was one of the earliest release of their label, back in 2009. The split has born as an anniversary release and the idea was to find some points in common and share some minutes of music. Vanessa has a typical post-rock background but then we evolved in a very personal mix of nineties rock, Swans, Godflesh-esque stuff. At the end we’ve shared with Hemelbestrormer our passion for ambient and drone.

(((o))): I listened your Split EP and I think the way you complement each other is brilliant. The two songs you made together are very beautiful. How did you guys first meet, and what persuaded you to work together?

HMBSM (Filip): we never met in real life, though I'd like to meet mister Morgan some day. Like written above, ConSouling matched us. Initially, I would go for an ambient artist to work with, so we could make an ultimate dark mix of drones and heavy guitars. I knew Vanessa Van Basten as a poppy post-rock band. Anyway, Morgan and I started to communicate through mail and he showed me the song he had in mind for our collaboration album. I was stunned. Just like us, Morgan included loads of ambient and soundscapes to finish off his 20 minutes lasting track. In fact, our songs were quite alike, his being more poppy, ours being more heavy. Later on we mixed the ambient parts and glued one very lengthy song of about 40 minutes.

VVB: We have never met each other. We worked with a distance of 2000 km.

(((o))): Talk about the recording process of the Split EP. How was the recording of the album for you – was it a fun process?

HMBSM (Jo): The recording process was all DIY so it was real fun for us to do. We recorded bass and guitars at a friend's place. Drums were recorded at another place for the acoustics.

HMBSM (Filip): For years I've been working with producers and doing stuff in my home studio. The same can be said about Joris, who was taking care of the synths back then (he had to quit the band, because he moved to England). In the past Joris and I did many recordings together and decided to do it totally without any help or interference from the outside. It was cheap, we had some knowledge and most important: we didn't have any cash to rent an expensive studio. I'm really satisfied about the final product and would redo it again! It just took a lot of time and was quite stressfully sometimes. Joris did a mastering job for the Hemelbestormer track, like it's listed on YouTube, but Morgan made the final master of the CD which is slightly different.

VVB: Of course it was fun. We received the songs from Belgium some time in advance, so we started to figure out how to do it. From the beginning I imagined this strange structure, with our part in the middle and Hemelbestormer opening and closing the album. It’s like changing dimensions twice in half an hour. They liked the idea too. I still love it.

(((o))): Is this your first collaboration? What was it like working with Vanessa Van Basten/ Hemelbestormer on the music? Would you be up for another Split album?

HMBSM (Jo): Portal to the universe was the first release for Hemelbestormer so it was our first collaboration. It was real fun working with VVB, we each wrote our track and it was mixed to one whole. Another split album would be considered if the right band/artist crosses our path.

VVB: This is the third time that Vanessa made a split collaboration. We’ve already done it with Nicker Hill Orchestra and MoRkObOt. The guys of Hemelbestormer are very nice and helpful and the whole matter came out really easy. But we probably never collaborate on an album again in the future simply because… we’ve  already done what we had to do with this release, and it’s out now! You know, it’s been a very special happening. But I will follow their next steps and I will support them in the future, if I can, and I hope for the same from them.

(((o))): What did you enjoy most? Were there any difficulties in the collaboration?

HMBSM (Filip): No, everything went smooth. We were merely focused on our ourselves and the recordings. The collaboration between both bands wasn't absorbing that much time and efforts.

VVB: No difficulties. As I said, I love how the atmosphere changes twice on the album. And their last song, ‘Omega’, comes like a liberation at the end. I like the way this drone (‘Portals II’) evolves into an apocalyptic, metallic assault. Like waking up after a long, strange dream. Or the opposite.

(((o))): The artwork for the album is really interesting and it’s brilliant for the way it encapsulates the balance between darkness and light I recognised in the album. How did you choose that particular artwork?

VVB: You have to ask it to Hemelbestormer, but yes, they made it very well.

HMBSM (Kevin): The inspiration for the artwork came from painters artists like Magritte, Friedrich and digital artists like Dave Mckean. It was very important to capture the balance between darkness and light, because it adds to the experience. The overall sound of the album is obviously very heavy, cold and destructive. But it’s absolutely not the only feeling we try to summon, we also try to shine a light on "the bigger picture”. So aside from the heavy parts, there are plenty of parts where the listener gets time to breathe and where he gets time to self-reflect. There’s obviously a lot of darkness in the world but it’s very important to remember that the world is always moving and developing. Darkness is never a permanent thing, and eventually it will cease to exist. It will die out, and that will be the beginning of something new. We’re all looking for an answer, the truth. The desolate landscape on the cover represents our mind. The enormous floating mountain represents “the truth”. The truth cannot be questioned and it is invincible. Its beauty and its unlimited power equal a greatness that can never be measured. It is, what it is. It can never be reproduced and it can never be imitated because it grew over time. In one way or another it stuns and numbs our soul, and it leaves us with new views. Those new views will eventually lead us to brighter paths... the portal to the universe. So, we do want to wear the listener out, but we also want to offer them hope, something to hold on to.

(((o))): What are your thoughts of composing a soundtrack for a film? And what kind of a film would it be?

HMBSM (Filip): That's actually something on my to do list. For years I'm thinking about writing a soundtrack. Not just some short parts, but one lengthy track for about one hour. The music will be dark, dissonant, bone crushing heavy and with loads of soundscapes. Imaging a post-rock version of Sunn O))). Good question. It's hard to say what the movie should be about. Most obvious should be a perfect match between visual art and musical art.

VVB: I really would like to. In the past I worked on TV documentaries and I know there’s a totally new creative universe behind this. If I could choose two movies, then I’d say ‘Eraserhead’ and ‘Begotten’.

(((o))): What are you working on right now?

HMBSM (Filip): At this moment we are booking shows to promote our portal to the universe. We've got some nice ones listed and are about to announce a few more. Further we're working on our debut full length. All music is written but needs to be fine-tuned. We don't rush things and put efforts in producing quality.

VVB: I’m working on three different fronts: the recordings of a new Vanessa Van Basten EP consisting of four cover versions from The Cure’s Disintegration, very heavy and hypnotic and featuring many special guests. Then I’m selecting stuff from our huge archive of live versions, outtakes, demos etc. for a retrospective compilation to release in fall 2014, and finally I’m rehearsing for a new project that I’ll probably bring on stage.

(((o))): What do you listen to when you’re not writing music?

HMBSM (Filip): We can drop a shitload of bands and various genres here. However it's of no importance. Hemelbestormer absorbs so many influences, ranging from the obvious musical ones to those spiritual, emotional and even personal. Listing down names would indirectly push us into a certain label which we don't like.

VVB: A lot of different bands, styles, ages of rock music. From Motörhead to Cocteau Twins, Distorted Pony, Unsane, Bad Brains, Scorn, The Secret, Grime, Swans, Ennio Morricone, Sonic Youth...

(((o))): Are there things you can only express through music?

HMBSM (Jo): Guess that's why we are in this band.

VVB: Yes. Our condition, to be put here in this world, without any certainty except death, a death that will come soon if we don’t use all our evilness, insincerity and selfishness.

(((o))): Thanks very much for your time; I’m a huge fan of the kind of music you produce so I’ll keep an eye on you. Any last words?

HMBSM (Jo): Let the music speak.

VVB: I would like to thank Mike, Miguel and the guys of Hemelbestormer for the great job done and of course you for this interview. Visit our official blog. A presto!

As winners of the Echoes & Dust 'Album of the Year' poll for 2013, thanks to the glorious Wild Light, and as one of the bands that best sum up the ethos of our humble site, 65daysofstatic hold a pretty special place in our hearts. Phil Johnston spoke to the band's Paul Wolinski about their upcoming shows in celebration of debut record The Fall of Math, and about the difficulties of being a band in the twenty-first century...

(((o))): This year sees The Fall of Math turn 10 years old. Does it seem that long and what memories do you have of the writing/recording process?
Some days it seems like forever ago and some days it feels like it was yesterday. No, that’s not true. It feels like forever ago all the time. I think that’s a good thing, like we’ve managed to fit at least ten years of stuff into ten years. Maybe more...  Imagine if science discovered you could somehow squash an hour into 59 minutes. That’d be crazy. Elastic time.

My memories of that era of 65 are fond but fuzzy. Lots of grand ambitions and late nights; working random service industry/office jobs on 2 hours sleep and a hangover so big it needed its own chair; trying to recreate the sound of wind on fire; a love of red lights on mixing desks and a well-worn pirate copy of Soundforge; a not-quite-in-tune piano...

(((o))): Does the anniversary provide a chance to reflect on what 65dos have achieved in the time since FOM?
Yeah, a period of reflection has kind of been forced on us. We’ve always been pretty insistent on looking forward to the next thing rather than dwelling on the past. It’s a pretty weird history, when you try and look at it all at once. If you compare it to any kind of usual band narrative, you can see all these moments where we actually, probably, should have stopped being a band and done something else instead. It’s bizarre that we’re even still here really. It’s mostly because of this nagging feeling that we’re getting better, and that the next thing we do will be better again.

We’ve been rehearsing the songs from The Fall of Math a lot at the moment, especially the ones that we’ve not played for years. They still stand up, which is great, but we are attacking them a lot differently to the way we played them ten years ago. This is a good thing. It’s made us realise that we actually have been getting a lot more adept at all this stuff, it’s not just in our imaginations.

(((o))): There will be a special show on 27th of March at Koko in London. This will see FOM perfomed in full with a second set of other material. Have you needed to revisit the tracks a lot and has any endurance training been required for a double set?
Nah… The album’s only 45 minutes long. We usually play around 90 minutes anyways these days so it’ll be much the same, or a little longer, just split into two sections.

We have revisited and entirely rebuilt a lot of the tracks though, yes. As mentioned above, we know what we’re doing now, or at least, we do relative to when we made FOM. I mean, that not-knowing-what-we-were-doing was what made it so great, but you can’t pull off that same trick album after album. It would stop being quite as endearing. So we ripped it apart, pulled out some small bits that, with ten years of accumulated hindsight, we really couldn’t bear to recreate, and re-programmed/re-instrumented/transposed what was left on to the live set-up we work with these days, which is a lot more flexible than it was back then.

We haven’t altered the songs in any major way, we figured that would defeat the point of the whole project; we just tried to improve on them in small ways, based on what we’re capable of now.

For quite sometime now Matt Stevens has been heralded as an up and coming guitarist on the British prog scene and with new album Lucid we think it’s safe to say he has now upped and come. We’ve been big fans for a long time, both of his solo work and with The Fierce And The Dead, so we thought it was about time we sat him down & had a chat. Our Mr Prog, Chris McGarel, did the honours.

(((o))): When writing, how do you decide what is a solo piece and what is for The Fierce and the Dead?

Matt: They tend to come about the same way.

It just depends how the piece developed, I might just bring in a small idea for Fierce And The Dead and the other three develop the parts, sometimes the others bring riffs and stuff in. Fierce And The Dead is very much a democracy although I bring in the majority of the initial bits and Kev is very much the “arranger and producer” but Stu and Steve are essential to the process, they write their own parts, it’s not my band. They have their own distinct styles, I really love playing with those guys, top players. Actually the first riff of the first song on Spooky Action Steve wrote so it’s very much a collaboration, very democratic.

If it’s really odd timings like 13’s or 17’s or more acoustic type stuff I’ll normally squirrel away for a solo record, although I’ve brought in acoustic type ideas to Fierce And The Dead and they have become rock songs, 'Ark' was like that. For the solo stuff I develop the idea much further myself then I bring in the people later in the process, although I don’t really tell them what to do. I’d rather get good people in and let them crack on with it, just give them a general idea of what I want. There are two approaches really, you either really arrange it like Zappa or let them get on with it like Miles Davis. I prefer the latter approach, you get the best from people.

(((o))): Can you tell us about how you came to work with such a raft of talented guest musicians on Lucid?

Matt: They were friends or friends of friends. Chrissie, the violinist played on Relic, she’s a wonderful musician. Kev did a fantastic job on the production and programming and I’ve worked with him since we were kids. Stu and Charlie were mates and I imagined them playing together since I saw Knifeworld first play. Stuart is one of my favourite drummers and Charlie has a lovely distinctive melodic style. Emmett is a friend and I love his playing, his new solo stuff is incredible. Jem is a mate and we like a lot of the same music, in this case the Mahavishnu Orchestra. Cracking solo that.

Lorenzo is a great player and a friend and he was recording with Pat Mastelotto and asked him to play on it. I must admit I was really pleased Pat heard it and wanted to do it cause I’m a big fan of his playing, especially on the King Crimson Thrak album.

So it’s all really just friends. I’m very lucky, they’re great players but there was no grand plan to get these stellar players in. Nick from Trojan Horse we’ve played with a lot, I really like that band. Jon came from my friend Pete Chilvers.

(((o))): Your last solo album and the upcoming Lucid have seen you use more electric guitar and focus less on your trademark acoustic guitar looping techniques. Is this because you are now able to collaborate with guest musicians rather than being a Frippian ‘small, mobile, intelligent unit’?

Matt: It’s just a case of changing the approach to force me not to repeat myself. I think it’s all about progression and not making the same record, you go where the music takes you. I had been listening to Jesu and Celtic Frost and Miles Davis and Crimson so it felt a bit more band influenced. If people want the old approach they can listen to the old records or come and see the acoustic shows. You have to make the record you want to make, take risks.

(((o))): Recently you have hinted at the possibility of adding vocals to your compositions. 'The Bridge' from the new album includes a spoken word section. Do you think you will collaborate with vocalists in the near future? Are you hearing music as you compose that is heading in that direction?

Matt: Yeah, I sort of think vocals are the next thing, perhaps 6 instrumental records (solo and TFATD) since 2008 and various EP’s and stuff is enough for now. I’ve had a few approaches to play with vocal orientated bands but nothing that was quite right. I’ve talked to a few friends who are amazing singers so hopefully that’ll come together; Judy Dyble, Ross from Haken, Tim Bowness. Amazing people, so if that works out that would be cool. I’ll only do it if I like the people and the results are really good. Although I might have amazing idea for an instrumental record. soon. I just feel that Lucid and Spooky Action represent everything I wanted to do with instrumental music for the moment. Although I do fancy doing some music for a string quartet.

(((o))): Solo shows are you plus acoustic guitar and effects. As your solo output has become more band-orientated would you like to tour with a group or to introduce your solo compositions into TFATD’s repertoire? Do you see your output and the band’s as separate concerns?

Matt: I think for the moment they’ll be separate. I couldn’t see TFATD playing my solo stuff, I don’t think that would be appropriate, it’s not my band, I’m just a quarter of it, just one of the guitar players. I’m going to tour acoustic and play these tunes with a loop pedal for the start and then if things work out I’ll get a solo band, maybe a three piece. It’s so much more work and expense to gig with a band, I couldn’t pay for it at the moment to be honest.

(((o))): You have announced a project with Andy Tillison of The Tangent. How far along the road are we to hearing some music from those sessions? What other projects are in the queue?

Matt: I went up and recorded with Andy a few weeks back, he’s a top bloke and great musician. We recorded some lovely spacey stuff, I’m not sure when it will be out but it’s cool stuff, improvised. It was an inspiring session, I think we have a good chemistry as players. I’m also working on stuff with my friend Lorenzo Feliciati, he’s amazing. There are a few other potential things, I’m really into doing collaborations now cause I feel like I’ve said what I wanted to say as a solo person and it’s time to learn some new ideas. Try collaboration and teaching and playing on other people’s records, that's a great way to do that.

(((o))): Which musician would you most like to collaborate with?

Matt: Bob Mould. I love his songs, he’s been such an inspiration to me. I’d like to do something like Nels Cline has done in Wilco, like be the weird experimental guy in a vocal/song orientated band, if the right thing came up. I admire what Steven Wilson has been doing lately with his solo stuff, he seems like a smart chap.

I like playing with my mates so Simon Godfrey, Robin Armstrong, Kavus Torabi, Emmett Elvin, Kevin Feazey anyone like that really. I think it’s easy to put famous musicians on a pedestal but you may not have any chemistry with them. But if they want me for Iron Maiden, I’m available!

(((o))): Which guitarists active today, established or up-and-coming, do you see as doing something individual or with their own distinct style?

Matt: The stand-up comedian Stewart Lee has really inspired me, as an improviser, he’s fearless and he uses repetition in an interesting way, the way he phrases and rephrases things for effect. That’s really affected my playing.

For guitarists, Mike Bearpark is really good, he plays in Darkroom and Henry Fool. I’m a massive fan of RM Hubbert as a guitar player and a songwriter, he’s amazing. Nels Cline from Wilco is amazing, really melodic. Dave Gregory is really great. There are loads of people really but I think we need more people with individual voices, I tend to see people and think they can do “the tricks” but don’t have their own voice or phrasing.

I always think of Miles Davis, he got his style cause he couldn’t play like Dizzy. Sometimes your limitations define you and create your own individual style. I think it’s more important and harder to be a remarkable guitarist than it is to be a proficient one. I think you need Belew or Fripp or Holdsworth’s, not clones of them, people who do their own thing.

(((o))): Your influences are very esoteric, from Fripp to Mahavishnu, John McLaughlin to Piggy from Voivod to Thurston Moore. There’s a very melodic sense to your music though, and a definite ear for hooks. Where do you think this more poppy sensibility comes from?

Matt: I love pop music like Bob Mould or The Beatles, strong melodic stuff. The Sugar Copper Blue record is a huge influence and that really melodic thing. Miles Davis was melodic, Frame By Frame is a melodic. I love great pop tunes, Johnny Marr is another big influence, layered melodic playing, harmonised arpeggios.

(((o))): 'Coulrophobia' from Lucid is named after the fear of clowns. Are you in fact the Northampton Clown?

Matt: Yes I am. I loved all that, bloody brilliant but they messed it up, the mystery was solved by some rubbish tabloid. That’s the problem, people want to take the mystery out of bloody everything now. I am terrified of clowns though. Northamptonshire is a weird place. It’s produced Alan Moore who was a huge influence on me as there was nothing else. I’m from Rushden anyway, to me Northampton is an exotic city. Rushden was a great place to grow up cause all you had was music, nothing else to do pre internet. Well almost nothing….

I recently reviewed the latest release Circles by Swiss post-metal/sludge band When Icarus Falls (see review here), which is a very impressive follow up release to Aegean. I asked singer Diego Mediano and drummer/keyboard player Xavier Gigandet some questions about the new release, the band and if the story finishes here or if there's more to come in the future. 

(((o))): For who isn't familiar with When Icarus Falls, can you please introduce the band to our readers?

Diego: Of course! When Icarus Falls is a Swiss quintet based in Lausanne which plays heavy music since 2007. We've always been into heavy built up sounds but I think we manage somehow to bring from the beginning a “cinematic touch” that really defines what When Icarus Falls is: a good blend of hazy atmospheres and loud riffs.

(((o))): How and when did you guys come together as a band?

Diego: We've known each other for years and we naturally also started to play together but the final line up as it is today really began in 2007 with the arrival of Luis [Cordeiro: guitar].

(((o))): I really like the new Circles EP and I also really enjoyed your previous release Aegean. Did Circles take long to get recorded?

Xavier: It was indeed quite a slow process. We’re not the kind of band which enters in a studio with a few ideas and comes out two weeks later with the final product. We rather book the studio once we have a clear idea, i.e. a demo, of what the songs will be. Drums were recorded first in May 2013, followed by guitars and bass two months later. Synths were added at the very end, in order to optimally complete the compositions. Overall the recording took about 5 months during which the songs evolved significantly.

(((o))): What are your songs about? Are there any specific messages or stories you would like to get across with your music?

Diego: Each song is like a small metaphorical tale but there’s not really any specific messages or ideologies behind it. In fact, the myth of Icarus is only a good starting point for broader (and maybe darker) stories about mankind.

(((o))): The artwork for Aegean and Circles is really beautiful. Can you tell us who did those artworks and if there is a specific meaning behind them?

Diego: The magician behind the geometric artwork of Aegean is a young illustrator based in Paris named Synckop. He has done numerous posters and gorgeous artworks for several bands, magazines and theaters. He's very talented! Being a graphic designer myself it was really interesting and inspiring to have someone else giving his own vision of When Icarus Falls' music. Circles, on the other hand is a personal photographic work. It brings something mysterious that fits quite well what I had in mind for this EP.

(((o))): It is obvious that Cult of Luna is a huge influence in your music. Do you see them as an influence as well?

Xavier: Cult of Luna is actually the kick in the ass that made us stop playing covers and put ourselves on the way to Over the Frozen Seas. They were for us the ultimate demonstration of how mind-blowing post-hardcore can be, and they still are. We never try nor want to copy them, they’re just a source of inspiration like many other bands. But unconsciously, they might influence us more than anyone else.

(((o))): Are you influenced or inspired by other bands or artists?

Xavier: Of course we have many sources of inspiration, but most importantly each member has its own influences. Come touring with us and you’ll see five guys, each with their own mp3 player, fighting to have access to the USB cable of the van’s radio, and desperately criticising the winner’s tastes. But in the end, this diversity of influences is very appreciated and inspiring for us.

(((o))): What is the Swiss heavy music scene like?

Diego: It’s a small world with a lot of talented bands. In Switzerland, if you want your band to go somewhere, you have to seriously move your ass and be your own producer, promoter, tour booker and whatever you have to do to make it happen. That’s why the only bands you’ll hear from in this scene are truly passionate people.

(((o))): Let’s assume you are asked to organise your own one day festival. What bands would you ask to play?

Xavier: If I had to choose I would stay rather conventional. I have a personal “to see” list of bands I had no opportunity to meet so far, among which Sigur Ròs and God Is An Astronaut would be good candidates. But more importantly, I’d ask them to play together with other bands, trying to combine various musical universes together and see what comes out of it.

(((o))): I understand that your latest release Circles is going to be your last release for a while. Is this the end for the band or are you going on a long break?

Xavier: It is hard to predict the future of the band. We now focus on the European tour and we’ll see what we decide afterwards. What we know is that we need a new breath to continue afterwards. A fourth release only makes sense if it has something different to propose. Therefore, it is important for us to make a break to think about how the band can evolve and renew itself.

(((o))): Are any of the band members involved in other projects or planning to start new projects?

Xavier: There is no on-going or planned individual side projects. Currently, we’re fully dedicated to When Icarus Falls and I don’t think we can find more energy to do something else.

(((o))): I believe you will go on a tour soon to promote Circles? Where will you play and is there a specific place you really looking forward to play and why is this?

Diego: Pretty much everywhere in the east as far as I remember. We don’t tour often so when it happens it’s like Christmas for us! So we’re really looking forward to it!

(((o))): Thanks a lot for this interview. I wish you guys all the best on your tour and with the future. Is there anything you would like to add?

Diego: Thanks for this kind interview and if you need more infos on the forthcoming tour, you can join us on Facebook.

A couple of weeks ago we published Andrew Rawlinson's review of Woland's latest album Hyperion (read it here), which impressed Andrew immensely. When Andrew got the chance to ask the Finnish post black metal band some questions he didn't hesitate.

(((o))): So according to your biography you formed in 2010, how did the band originally meet?

Woland: Me (W) and our guitarist LXIV are long time friends with our first drummer that we started the band with. The original idea came when I was supporting Mayhem with my other band Cavus and LXIV was our sound engineer. After a rather intoxicated night we ended up discussing doing something together that would slightly differ artistically from the gritty and destructive things I, or we, were up to at the time. After a while LXIV just sent me some riffs and ideas and then we started working on the first songs.

(((o))): The only material released before this was a double single back in 2011, what have you been up to between then and now and how much (if any) has your style or songs changed?

Woland: The double single was actually 'Conquer All' and 'Live Forever', which both are on our album and also the very first songs that we finished. After we put those out we continued to work on what now is the Hyperion album. We worked in our own studio, which meant that we can put down quite a lot of time in things, which turned out to be both a blessing and a curse. Some songs were left out, some were heavily re-edited or re-recorded. In all we used about 2 years on writing and recording, having breaks in between. The last year has mostly been setting up the release. I would say the newest songs on the album are a bit more experimental or twisty than the oldest material, but in general the core idea is very much intact.

(((o))): What bands or other artists have you taken influence from?

Woland: We have very differing tastes in music in the band, but what we all share is a long background in black metal from the 90's. That is then combined with whatever we might be in to, might it be classical music or jazz, metal or pop. I think we've killed all our idols years ago so when we're working with Woland the ideas come more from literacy than any particular musical artist per se. Specially when it comes to the lyrical and internal side of the band.

(((o))): I’m assuming that the band name comes from the Russian novel “The Master and Margarita” why did you decide on this name and how do you feel it represents your music?

Woland: This was our guitarists idea since the book is one of his favourites. It shows the Devil as a modern, mysterious gentleman named Woland. Due to the books satirical approach to a suffocating society it had the perfect tone to the messianic undertone we are trying to translate musically - and apparently our original drummer also had a uncanny resemblance to the cat Behemoth.

(((o))): According to your biography the album’s content has been “inspired by mythology with its gods and heroes”. Which leads me to the name of the album itself, again why did you decide on this name?

Woland: The lyrics combine a lot of modern philosophers and writers like Camus, Huxley and Austin Osman Spare with old mythos like Prometheus or Dionysus. The symbolic value of ancient tales and beliefs are stronger symbolically so they are easier to use when emphasising certain things. Hyperion comes from the Greek language and actually means "the high one" or "in the highest". Hyperion was also one of the 12 titans and the father of the sun and dawn. It's fitting to the content and portrays it quite well in my mind.

(((o))): “The band gazes to the future with a Nietzschean vision”; is there any particular part of Hyperion that you feel encapsulates this idea best?

Woland: It's not so much about the album, it's more of the attitude and ways of thought in general. To overcome not only the set morals and dogmas of society, but yourself and become everything you can and find your inner god. You could just as well call it Satanic or some other secular life stance, Nietzsche just happen to be one of the people who put nicely while having a wonderfully grandiose way about it.

(((o))): You have classified yourselves as “post black metal” what does this term or genre mean to you?

Woland: We felt a need to use a prefix since I would not personally call Woland a "pure" black metal band. We differ both in sound and style from the classic setup and calling it that would be misleading in my point of view. This is something based on black metal but then performed in a new way. We've been called "avant garde black metal" and "melodic black metal" too but that is up to the listener.

(((o))): Who do I congratulate for writing the amazing riff at 3:20 and 4;28 in ‘None’! And on that note there are a lot of great ideas and moments used surprisingly sparingly throughout, was it hard not to keep using them?

Woland: I must admit that I only know that our beloved LXIV had a terribly long night while consuming massive amounts of absinthe and then wrote the song the day after while in some sort of horrible artistic delirium. The progression of the songs are however quite simple so the "spices" just there to give the final feel or emphasis.  There would be no point for us in doing a album of just guitar solos or max-speed blastbeats, or in this case, crushingly heavy djent guitars.

(((o))): It appears that Hyperion has been receiving great responses across the press (and so it should) has it surprised you at how quickly it has gained this?

Woland: The pace itself does not come as a surprise since Indie Recordings are very good at what they do and handled our promotion very well in advance before the release, but the fact that most reviews give praise is a bit interesting. Even the label thought this might be a love it or hate it album and we were sure to have to justify us and our vision through gray stone and stormy water. The album is not designed to be a safe crowd pleaser, quite the opposite. However I am personally very pleased to hear any great review of it, since we poured our blood, sweat and semen into this.

(((o))): You have recently played and released Hyperion at Blastfest, how did that go?

Woland: Blastfest was amazing and we are in awe how good we were treated throughout the event. We had a nice slot together with Shining and some other good bands so we got to perform for a full house and got very good feedback afterwards too. All in all it was a extremely nice event. We are going back to Norway for the Inferno Festival in April so we're hoping that will be just as good.

(((o))): You’re given the opportunity to create your own festival. What would be the first five bands on your list?

Woland: What a horribly difficult question. I'm just going to say the first five that pops to mind. Sunn O))), Thorns, Funeral Mist, Behemoth and Peste Noir. It could be opened by the monks choir of Kiev Pechersk monastery and the head of ceremony would be that Jason fellow from Akercocke.

(((o))): Are they any places you have yet to play that you really want to?

Woland: Space, the final frontier!

(((o))): What are your goals for 2014

Woland: We are now confirming festivals for the summer and then starting to look on tours for the autumn and winter. Depending a bit on how much time we have on our hands, we will probably start working on the follow up for Hyperion at some point too. This is a journey and we don't expect it to end soon, so we just need to wait and see where it takes us.

Gretchen Lyme has emerged from seemingly nowhere to release a highly impressive debut EP. The producer from Glasgow took time out to discuss the music, evil clowns and more with Phil Johnston.

(((o))): Hi Gretchen, thanks for taking time to talk to us.

You have recently released your debut EP. Can you tell us a bit about your background and how you began creating music.

GL: Hey!

My Dad and brother are very musical and I played violin and piano in school when I was a kid.

When my brother went to art school in Dundee I inherited all his vinyl, lots of Mo Wax, Ninja Tune, Warp ect.

I was into a lot of indie at the time and hearing this stuff was a revelation for me so I wanted to try and recreate these sounds myself.

(((o))): Listening to 'Mogadon' there are hints of influences like Boards of Canada and also some elements of shoegaze. Are those close to your main influences.

GL: I'm definitely into Boards Of Canada and shoegaze like Slowdive but I don't think these were a direct influence in these songs but a lot of people have said that to me so I guess it must be subconsciously or something.

(((O))): The music is Electronic based but with a warm and organic texture to it. How would you describe your sound.

GL: I don't know really, I just try to do my own thing. My Dad describes it as "just noise". Thanks dad.

(((O))): The release is titled Mogadon, how did you decide to name it this.

GL: Because its a sedative I thought it would fit with the vibe of the songs and its just a pretty cool word!

(((O))): You use some field recordings and samples of spoken word parts. What do you look for and what is the process like.

GL: I use the recording thing on my iPhone to get most of the field recording stuff.

I'm usually out and about on my days off in Glasgow and I hear all sorts of mad stuff. Sometimes it could be in a crowd or someone talking on the tube just whatever's interesting.

(((O))): There is a track called 'Metamfiezomaiophobia' on Mogadon. Which I think is a fear of clowns. Is there a meaning behind naming the track that. (for the record Clowns freak me out completely)

GL: I found this old poetry record in a charity shop and loved the rhythm and the way he spoke. It kind of reminded me of being young and watching Stephen Kings 'IT' on TV with my brother and being completely freaked out by it. Still am actually.

(((o))): Glasgow has an impressive emerging Electronic scene. With the likes of Atom Tree and Machines in Heaven among others. Do you feel it's a good time to be creating music in the city.

GL: I don't really know many Glasgow electronic bands to be honest. I quite like Sharptooth and Tuff Love but they are more guitar based.

Glasgow has always been a music city since way back so its always got some kind of scene happening be it the Postcard Records thing in the 80s or Chemikal Undergrounds run of great bands, always something happening.

I'll be sure to check out your recommendations tho!

(((O))): How much time do you put into making music, and have you plans to release more in the near future.

GL: I try to do it when I can. I've always got stuff floating around to work on. Might be a wee tune on the guitar or playing about with my sampler. I have a few more songs pretty much finished that I'll try and put out soonish.

(((O))): Have you played any shows yet or is that something your working towards.

GL: I'm not really interested in being one those folk who stand on a stage and push play on a laptop. I'm more into doing my own thing and see where it goes. Saying that some of my new tunes have live guitar and bass on them so never say never I suppose.

(((O))): The artwork is also very eye catching and complimentary to the music. Is it correct you created it as well, can you tell us more about it.

GL: Yeah that's true. I didn't really want to have a something knocked up on photoshop or me posing on the cover.

I wanted it to be something real and I'm quite into art and film so it kind of made sense to use something that I made.

(((O))): Outside of music, do you take inspiration from anything else. Be it art, film or your surroundings etc.

GL: Anything can inspire you. Glasgow is one of those cities where you can walk into any bar and see a great band then walk 10 minutes up the road to see an amazing art exhibition.

(((O))): Bandcamp is used by both established and emerging artists. Do you think you would have been able to get your music out there as easily without the digital platform.

GL: There's no doubt about it that it helps anybody get their music out there easily without the aid of a label or anything else, I certainly wouldn't have been able to get in touch with as many people as I have in this short period that I've been around. As grateful as I am to this digital platform I do intend to do some self funded physical releases as well.

(((O))): Finally is there anything you would like to say that has not been covered already.

GL: I think you've covered everything pretty well. I'm not one to talk about myself but I'm just grateful for the response I've received so far so thankx! 666!

Mogadon is available as a name your price download via Bandcamp and highly recommended.

With Delain's new album The Human Contradiction just under a month away from release, our man Andrew Rawlinson asked some questions of frontwoman Charlotte Wessels...

(((o))): Delain was initially formed in 2002 by Martijin Westerholt (Keyboards). How did you yourself get involved in 2005? 

I was approached by Martijn at the rehearsal space of one of the bands I was in back then. We did not know each other back then but we had both just performed on a local rock opera project. He told me about his project and asked me to help out with some lyrics and vocal lines. This collaboration worked out so well that I ended up singing on the record as well, and after the release of Lucidity it all just got crazy out of hand, in the best possible way.

(((o))): Who are you influences and heroes as a vocalist? 

Certain artists I really appreciate are Nick Cave and Amanda Palmer for their lyrics, Sia for her awesome songwriting skills, and singers like Thom Yorke, Bjork, Kate Bush, and many more for using their voice in an innovative way.

(((o))): On a similar note what album(s) changed your life/had a big impact on you when you were growing up? 

First the classic records by artists like Led Zeppelin, Deep Purple, Pink Floyd, Kate Bush, the Beatles, and Genesis that I got to listen to through my parents, the first albums that got me into metal like Metallica’s black album or Toxicity by System of a Down, and more recently albums by the (alternative) rock acts that I adore: Kid A by Radiohead, and Origin of Symmetry are amongst my all time favourites.

(((o))): Had you been involved in any bands or music projects prior to joining Delain? 

I was in a high school that was especially dedicated to music. I did my first performances with their choirs, classical orchestra (clarinet) and big band, where I was both performing in the band and singing. During these high school days I performed at local venues with a singer-songwriter duo of me and my good friend, and we formed a band too. I was in another metal band with my boyfriend (band split up, we didn’t) and around the time that Martijn and I met, I also performed with local heroes To Elysium and the before mentioned rock opera.

(((o))): What has been the highlight of your career so far? 

There have been many, the special gigs, performing my all time favourite festival Lowlands in Holland, but I think the movement that started after we released We Are the Others, including the video where everybody just really opened up, was really, really special.

(((o))): Which song(s) do you believe best capture and represent Delain's vision? 

Probably a song like ‘The Tragedy of the Commons’ which has a lot of elements that we really like; the big riffs, the epic choirs, the catchy verses, an awesome guest appearance…

(((o))): The new album 'The Human Contradiction' is based upon a concept around the sci-fi novels 'Lilith's Brood' by Octavia E. Butler. How is this represented in the songs themselves? 

Within the books, the human contradiction is described as the fact that we are as a species both intelligent and hierarchic.This human contradiction causes an ‘us versus the others’ mentality; an attitude which makes humans randomly select qualities in others and use those qualities to justify ranking them higher or lower on the socially constructed ladder; it allows for the creation of dualisms; of man and woman, black and white, human and nonhuman, nature and culture... Basically it is an attitude, which in the book - as well as one could argue, in reality - proves to be most self-destructive.

In that way, The Human Contradiction presents a broadening and deepening of the lyrical concept of our previous record We Are the Others: ‘otherness’ and how people relate to this, is a topic that I have been obsessing over both artistically and academically for the last couple of years and it has become a recurrent theme in Delain’s lyrics. Whether it is otherness within our species, so towards people who are perceived as ‘different’ by other people (which was We Are the Others’ main focus and returns now in songs such as ‘Army of Dolls’ and ‘Your Body is a Battleground’) or in our attitudes towards nonhuman ‘others’, which is the lyrical addition made by our new record on songs like ‘Tell Me, Mechanist’, and ‘The Tragedy of the Commons’. Most directly, the song ‘Stardust’ is inspired by the first book of the trilogy, Dawn.

(((o))): The album cover itself is very striking; does it fit in with this concept? 

Definitely; the cosmic element in there directly refers to the books where the title The Human Contradiction comes from, and the left and right side of the record are meant to represent one of these dualism caused by the contradiction; we chose to go for the duality between human and non-human nature. The little logo beneath the title and logo itself is kind of an alternative yin/yang sign and represents duality altogether.

(((o))): How (if at all) has the song writing process changed or evolved over the course of four albums? 

Whereas earlier there used to be much working on separate islands, we now rely increasingly more and more on the collaborate efforts the Delain writing team (Martijn, myself and our long time musical partner Guus Eikens) It’s kind of a magic combination; we all come from different angles (vocals, keys, guitar) and by now we’ve worked together so much that whenever we sit down to write a song, we can be almost sure that something cool will come out.

(((o))): The new album features regular collaborator Marco Hietala (Nightwish) amongst others, if you could collaborate with anyone on the next album who would be your dream choice? 

Nick Cave

(((o))): You’re given the opportunity to create your own festival. What would be the first five bands on your list? 

Radiohead, Grinderman, Muse, System of A Down, and the Foo Fighters.

(((o))): Are they any places you have yet to play that you really want to? 

There are certain places where I know we have a lot of support but where we haven’t played yet, like Colombia, Peru, Indonesia.. It would be great to finally meet our fans there!

(((o))): What are your goals for 2014? 

Great gigs, great tours, and great music 🙂

(((O))) So, tell us a bit about yourself. Do you have a background in music? How did Kubalove come about?

My eardrums never fully recovered from my first band at age 15 and the rehearsals in the drummer’s tiny, sweaty bedroom. I’ve been in a succession of bands ever since, playing bass, some synth and singing, playing at festivals across the country, helping me get to know the London gig circuit intimately – grubby as hell but I love it. I set up my own acoustic music night for a couple of years, which was tough work but it meant I got to put on kids like Ed Sheeran before he got big (though he looks exactly the same now as he did then). Writing music electronically is a newer thing for me but feels very natural. My solo project as Kubalove is what best gets across this thing inside me itching to get out. I find I can produce music really fast these days, which is why I’ve moved into composition for other people recently too.

(((O))) What would you say are your musical influences for Kubalove, and more generally, which artists do you most admire / enjoy listening too / seeing live?

Moloko’s Roisin Murphy was always a massive role model for me. She’s got such a fuck-you attitude, such style - her live performance at Glastonbury years ago left me slack-jawed. And Moloko’s sound unites just what I love, compelling beats with sinister, sensual undertones and dark humour. There are so many strong female artists and front women out there to admire – P J Harvey, Alison Goldfrapp, Karen O – they’re all so awesome. I also appreciate anything that’s sexy, atmospheric and has a damn fine beat – CSS rule, MEN delight me constantly and Siriusmo is magnificent. Also, Thom Yorke is the one true god.

(((O))) Talk us through your creative process. How do you write songs? What's the recording process like?

Sometimes I sit down deliberately to write something, but my best work comes when my subconscious just flows out. It’s like the Elves and the Shoemaker – where in the morning his shoes are magically made somehow… I’ll start by laying down a basic beat, and a big bassline (I’m always going to be a bass player at heart) and then I just let my fingers do the work, and somehow the tune just seems to write itself. I’m lucky like that – often I’m amazed at what I end up with – I think, “where the hell did that come from?” This was very true with ‘Dangerous’. I came home from a heavy drinking session in a dark mood and just sat up and wrote until about 5am. I can’t remember what went on, but all I know is that when I listened back hungover the next day I thought “holy shit, that’s not bad”.

(((O))) What's the story behind the video for Dangerous? How did you decide on the footage to use? It's very well synced to the track, was it edited to fit?

I’ve always been obsessed by bizarre, unsettling dance performances – at the dancers’ ability to move their bodies in completely inhuman ways, to transform themselves into disturbing creatures. Whilst I was putting the final touches on ‘Dangerous’ I was thinking about how I’d move to it if I was totally uninhibited. It’s a song filled with darkness, anger and self-hatred, a desire to be rid of the skin you live in, but also a strange sensuality and passionate desperation. I spent a while searching online for some dance inspiration and came across this incredible Chunky Moves video. I instantly felt it expressed in dance what I was expressing in music – this constant fight against yourself, this desperate inner struggle, these forces battling beneath the skin. The video was edited somewhat to fit, but it didn’t need a lot – somehow the music and video just slotted together like they were meant to be.

(((O))) And how about the video for ‘All I Want’? How did that come to be made?

I’m so happy with how this video for ‘All I Want’ came out. The track is a lot more romantic and euphoric than ‘Dangerous’, but it still has a desperate yearning to it. I think the video captures this atmosphere in a stunningly beautiful, sexy way. It certainly seems to be getting people a bit hot under the collar, which can only be a good thing I think…

The up-and-coming director Susie Francis approached me to make it through the Radar Music Videos site, which was really flattering. It seems she just loved the song and had a great vision for how the video should look. Susie’s based in L.A. and has some amazing connections, and the video ended up starring the very hot fashion model Kasimira Miller and her Hollywood actor boyfriend Tarquin P. Wilding – who also happens to be Elizabeth Taylor’s grandson. You can really see the chemistry between them on screen I think.

(((O))) Tell us a bit about your upcoming EP? When can we expect to get our hands on it? What will it sound like?

The EP will be out at around the start of April. It will be quite a varied mix of sounds, with songs representing all different moods – from the dark aggression and sensuality of ‘Dangerous’, to more feisty, flirty and tongue-in cheek tracks like ‘Criminal’ and ‘Lovesick’, which are more beat-orientated. There’s cohesion throughout though, in their attitude. They’re all about tugs of war – whether it be a dark personal struggle or a more stimulating battle of love, sex and hatred with a partner.

(((O))) What are your plans for 2014? Musically, personally, creatively, professionally?

I’d like to complete my first album as Kubalove – it’s in the works. I’d also like to tour the EP, I’m in the midst of rehearsals now and dates will be announced soon. I’d also like to have my music reach as many people as possible through as many ways as possible. I’m glad to be providing music for the online entertainment show The Fox Problem (hosted by Radio 1’s Gemma Cairney), and to be working with big brands like Hewlett-Packard in my composition work. I’d like to work with more and more TV shows and brands – as it’s a great way to get your music heard by all kinds of people.

(((O))) Reach for the sky time: What one thing, musically, would you most like to happen to Kubalove?

I want to get a song on the Girls soundtrack at some point, because there’s nothing cooler in the world than that right now. I also want the music to feature in a film with Ryan Gosling taking his shirt off to it. The Drive soundtrack is just about my favourite soundtrack ever, and Ryan Gosling’s face makes it sound even better. My music needs his six-pack to reach its full potential.

Thrall's Aokigahara Jukai was a very important album to me, if you couldn't tell from my recent review. I felt so privileged to have the opportunity to ask the band some questions in order to probe deeper into their thoughts behind the myriad of topics explored on the album. This is what Thrall had to say on a number of subjects including their interests in Japanese culture, nature, different philosophical perspectives, and how it all fuels the music they write.

(((o))): I know that parts of Vermin to the Earth were recorded in Japan, whose culture so inspired your work on Aokigahara Jukai; is this where your interest in the country began? Or has there been a curiosity or passion for Japanese culture for a while?

Tom: The drums on Vermin to the Earth were recorded at LM Studio in Osaka with Ippei Suda. Our mate Chew Hasegawa from Corrupted hooked this up for us as Corrupted have long-term ties with Suda, as an engineer and later as a member. Everything else on Vermin to the Earth was recorded by Trent Griggs at his home studio ‘The Gate’ in Tasmania. He put a lot of work into the mixing and tone. His vocal production is particularly outstanding. He also played a couple of guitar parts and did backing vocals along with Em. On Aokigahara Jukai we decided to try and capture something much closer to the live line-up. Neil Thomason recorded the album and a split in about four days. We did everything as live as possible, only vocals and a few leads went down after the fact. Neil is particularly adept at capturing a great drum sound and this was one of the reasons we wanted to work with him. I think we ended up with something unique.

I’ve been interested in Japan for a long time. My fascination with Japan probably started in childhood watching Mighty Atom (Astro Boy) and Robotech. I can remember seeing Akira at The State Cinema when I was about 12 and it blew my mind! I still love that film. I used to watch world cinema late at night on SBS. My favourite Japanese directors were Akira Kurosawa, Takeshi Miike and Shin'ya Tsukamoto. Later I studied film at University, though I never went into making films as I had hoped. I wrote musical scores for a couple of films and performances, half of which weren’t made and my scores went to waste! I was also becoming very interested in Butoh (舞踏, Butō) in the late 90s. Butoh is basically a form of expressionist performance/dance/ritual birthed from reaction to the A-Bomb. One of its defining features is that it defies classification. Whereas Western ballet is oriented toward the sky with all of its leaping and upward energy, Butohis earth-oriented and focused on the space between the body and the spirit. This theme interests me in relation to catharsis and transcendence in black metal. The style of the Yūrei (dim spirit / vengeful ghost)  in the film The Grudge (Ju-On) was derived from a combination of traditional ghost style and movement ‘classic’ Butoh style movements.  In the late 90s I wrote a score for a Butoh-inspired performance.  I reused sections of this score on 'To Velvet Darkness' on Away From the Haunts of Men, though I added acoustic guitar on top.  I would love to collaborate with a legitimate Butoh troupe.

Em: I studied Japanese history and language a bit when I was in high school, and I enjoyed Japanese film and art, but if you’d asked me where I wanted to visit most in the world, I would have probably said Europe. I grew up in rural Tasmania in the pre-internet age and so the things I was exposed to were limited to what was on the bookshelf at home, at the public library, or recommended to me by friends. Friends were very important in this cultural underground, and we used to make each other mix tapes and pass on videocassettes. There was this amazing cult movie show on public television hosted by a guy called Dez Mangan and that exposed me to a lot of my formative impressions of Japan, including Wild Zero (The Guitar Wolf movie), Tampopo, and Kurosawa. Through my friends I found out about Zeni Geva, manga, The Boredoms, Shonen Knife, Japanese martial arts… But really, I didn’t know anything about Japan. My impressions were based on peeking through a crack in a curtain at a reflection based on a third-hand recollection of a real thing; so far from what Japan is really like as to almost be irrelevant. It’s so different for people these days: you can just jump on a computer and look up anything that takes your fancy and become an armchair expert in ten clicks of the mouse. It also encourages people to be satisfied with the experience of a place or a thing through a screen rather than seeking a personal connection with a place or a story. Humans are disappearing up our own arses, we are fucking hilarious creatures…

Back in the 90s, back in Tassie, my exposure to other cultures was even further mediated by who I knew or what was being covered in the music magazines, and even then, it was hard to get music magazines at my local news agency. I read a lot of Rolling Stone. It was the grunge years, so most of the coverage was heavily focused on the USA alternative rock scene. My knowledge of what was out there in the world was quite narrow. I think that’s part of why I’m so keen to travel.

It was 2003, I’d just finished University and I moved to Melbourne from Tassie. I was unemployed and finding it hard to get work; I saw an ad that said Teach English in Japan! in the newspaper and just said “fuck it, can’t be any worse than rotting away here in this dark shithole house with no money.” I don’t know what I was expecting when I went over there. I’d never even travelled outside Australia for a holiday. Air travel was so expensive when I was growing up, it was only well-off families who went on holidays overseas – and when you live in Tasmania, everywhere is overseas. The first three months in Japan were really hard. I lived in Nagoya and worked for a fucked up company called NOVA. My Japanese was bollocks. I had no friends. I just hung out with other ex-pat English teachers and drank heavily. It took me a long time to become more adventurous. But in the last six months of my first year there I started learning how to travel in Japan, learned to speak basic Japanese, and started to really thrive as a truly independent person. I can’t stress this enough, but if you’ve never travelled alone, lived in a country as different as Japan without your safety net, you’ll always have been supported by something else. Even the familiarity of your surroundings will reassure you in your home environment. Japan… hell, Asia in general… is so different. Nothing is as you expect. You have to rely on your wits and figure it out. And so, going back to your question, part of my passion for Japan is symbolic, as Japan is the place where I went from being a cloistered child to being an adult. While I was over there I had my first experience of being able to get regular, unfettered access to a stable internet connection and as a compulsive boffin, I researched my new country heavily. I found out about traditional arts, ukio-e, local Japanese bands and record stores; I visited temples and castles and went for long bike-rides through the local area, just soaking it in. I came back to Australia in 2005 and I yearned to go back to Japan, until Tom and I went together in 2008 for two years in Osaka.

Osaka is my home in Japan. Nagoya was always a bit ‘meh’ – I mean, don’t get me wrong, it’s a great place, I’ve got great friends there and I love Nagoya’s food. But people there aren’t as welcoming and effusive as the Osakans. In Osaka, buoyed by having Tom by my side, we got really involved in the local punk scene – Osakan d-beat is world class – got to see Corrupted and pester Chew Hasegawa until he became my friend. In Osaka I feel like I grew into Thrall and made the switch from live bassist to writing the drums. It was an amazing time. We travelled from the far north of Japan to the west, and a lot of places in between. I’m always sad that I didn’t spend more time in the Tohoku region before the tsunami – the tsunami and the Fukushima Daiichi disaster have cast a long shadow over that whole region. When we went back with the full band in 2013 to visit Aokigahara Jukai and tour, it was so awesome to travel with everyone. Ramez and Tom both have their own relationship with Japan and we got to share a lot of our experience. Ramez lived in Tokyo for two years around the time I was in Nagoya, and Tom had lived in Osaka with me. It was really easy for us to get around because we all have different strengths in communication, logistics and planning in a Japanese context. We got to take turns in being the tour guide for the group. The hardest part was catching the bullet train with all our guitars and gear – trying not to hit people in the head when we were moving down the aisles – but aside from that, it was brilliant fun. So, yes… To return to your question, I have a long-standing relationship with Japan. It is an amazing place, with so many layers, I would encourage anyone who hasn’t been there to make sure to visit Japan at least once in your life.

(((o))): Thrall’s first album, Away From the Haunts of Men, was almost solely the work of Tom. Now you’re a full four-piece band. Did this evolve from performing live or was there simply a desire to bounce ideas off of other people? What is rewarding about creating as a unit as opposed to doing so as a solo performer?

Tom: I wrote Away From the Haunts of Men with the exception of one excellent riff that was written by Trent Griggs. Trent recorded, mixed and produced the album at his home studio ‘The Gate’ in Tasmania. Prior to recording Away From the Haunts of Men our mate Alex invited us to play a couple of live shows with Ruins and Psycroptic and I enlisted Em on bass for these performances. Coincidentally, one of these performances was with ABC Weapons (the band that Ramez was playing in at the time). Away From the Haunts of Men is more akin to Leviathan’s Verräter than a cohesive album.

After our 2013 Japanese tour Leigh Ritson and Thrall parted ways. Leigh has always been based in Tasmania, whereas the rest of the members live in Melbourne, and the distance was just too much in the end. He has several musical projects on the boil and we’re still good friends. Okkvinkalfa stepped into the bass position in Thrall and things are going very well indeed. I recommend that any Thrall listeners check out her other band Hordes of the Black Cross and also Ramez’s other current band Extinct Exist.

Em: My involvement in the band grew kind of organically. First, I just played live bass and hit the “go” button on the drum machine because we had a gig and Tom needed someone to accompany him live. I was living with Tom at the time, we’d played in bands before together – going back to 1997 – so it was an easy fit to enlist me. After that, Tom recorded the first album by himself. Tom was writing a lot in the studio and so it made more sense with the limited time that he had for him to track the bass rather than get me in to figure out the songs. When we were in Japan, we didn’t have the drum machine available to us, so we decided that it would make more sense for me to play drums and find a new live bass player. When it came time to record Vermin to the Earth, again, it made more sense for me to play the drums on the album than it did for Tom to learn to play them, so that’s kind of how we went from being a solo project with live musicians to being a duo. My increasing involvement has been a series of pragmatic decisions over the years. When we got back to Australia, we had Leigh and Ramez playing for us live and we decided that it worked better for us to be a cohesive band than just having live musicians. It’s been a long, organic process, but now we’re at the stage where the band works really well for developing and vetting ideas.

Tom and I discussed an analogy for the benefits of cross-pollination of ideas over the years. It’s a concept that is echoed in Ghost in the Shell and in nature more broadly: over specialisation breeds in weakness. It’s through hybridisation and genetic diversity that an organism will build adaptability, and I think this is as true for an idea as it is for an organism. By having the other members contribute to the songs, the songs can only benefit.

(((o))): To specify concerning Japanese culture, can you speak a bit on what the concept behind this album is?  Many people are totally unaware of the stories behind Aokigahara Jukai and how it relates to certain Japanese cultural beliefs and especially taboos surrounding the dead and the spiritual world.  How did you come to find out about Aokigahara Jukai and what about it drove you to base an entire album around it?

Tom: We were intrigued by the taboo or stigma surrounding Aokigahara Jukai. The overwhelming reluctance of our Japanese friends to talk about Aokigahara Jukai or shed any light upon the subject only spurred our intrigue. We were repeatedly urged not to go there. After several failed attempts we eventually went there during our 2013 Japan tour. It was one of the most eerily beautiful and still places that I have ever been. The silence of the Jukai is the antithesis of overt noise pollution prevalent in Japanese cities. The disjuncture between the actual physical place and the cultural/mythical construct is really interesting. The only time I ever saw a snake in Japan was as we entered the Jukai. It was a beautiful Japanese Grass Snake (Yamakagashi).  I took a photo of it and we watched each other for a while. It didn’t seem very imposing compared to a Tasmanian Copperhead or Tiger Snake. My artwork is filled with snakes so this was a very special moment for me.

Each song on the album is meant to be a distinct story or concept. Aokigahara Jukai the place and/or the cultural construct is the unifying theme. There is a lot in the album about universal themes such as transcendence, despair, death, fecundity through decay, nationalism, social conformity, indoctrination, anti-theism.  There is a lot of specific content too. I also tried to use the trees of the Jukai as protagonists with their own agenda, feeding on the dead.

Em: We came to hear about Aokigahara Jukai in the last year we lived in Japan. Our friends Kerry and Dave came over and stayed with us in Osaka and they told us about Aokigahara Jukai. Hilarious that it was our friends from Australia that told us about this totally Japanese thing. After Kerry described it, I started asking other people about it. It was like all our Japanese friends knew about it, but no one had ever talked about it. When we asked people, everyone said “don’t go there.” They told us stories about how you cannot use a compass there. They said “you will get lost and die.” “Evil spirits live there.” “It is an evil place.” To which, of course, I thought “bullshit. I’m going.” The day before we were due to get on the train to go there in 2010, the master of Away from the Haunts of Men went missing in the mail and we had to cancel going to Aokigahara so we could try and get a back up master from Australia to the plant. I don’t know if we would have had a good time if we’d gone then anyway. It was then end of a damp winter, and we probably would have frozen our arses off. When we finally went there with the whole band in late-Spring 2013, it was amazing. It was such a lovely tranquil place – undulating mossy undergrowth, dappled sunlight through maples and cedars, a warm breeze through the trees – it was intensely beautiful. Then again, I didn’t follow any of the ropes that trail off through the undergrowth to look at the dead bodies. That shit’s just grim: leave those poor dead bastards alone.

(((o))): While the topic of suicide is covered heavily on this album, it ends up not being the sole focus. The track 'Ubasute' for example is named for the Japanese cultural tradition that was once practiced somewhat commonly in which the younger generation will bring their parents to a secluded area so they can die alone.  How does this speak to you philosophically and especially in how it relates to Japan’s views on death as a whole (not to mention your own views on death)?

Tom: I write a lot about death as it is the most universal and inevitable aspect of life. In my opinion religion is a mental disorder that shelters the human psyche from this inevitability. Religion allows humans to disengage from this world/life and perpetrate horrific acts upon other humans. 'Ecstasy not of the Flesh' and 'Slaves' explore such themes.

Aoikagahara Jukai is not entirely focused on suicide or death, though it is one of the major themes. What interested me most is the threshold between Aokigahara Jukai the physical place and the cultural/mythical construct. The disjuncture between the human-abstraction imposed on the physical location. The band members have all been affected by suicides of those close to us. We’re not trying to romanticise, glorify or advocate suicide. Having said that, ignoring it solves nothing.

Em: The Ubasute ritual is very taboo these days and many modern Japanese would either deny that it was ever practiced or would attribute it to the Ainu. I have no idea what really happened back in the pre-Edo times, because there’s a lack of evidence either way and I don’t dabble in historical conjecture. However, there was a poem that was written in pre-Edo period that speaks from the viewpoint of the old lady being carried by her son up some remote mountain to die. The old lady breaks white twigs to make a trail for her son to follow home, like some kind of Hansel and Gretel thing. I found this poem intriguing.

There is a certain acceptance of death as an inevitable conclusion to life in Japanese culture, it flows through Shinto and the indigenous animist traditions, it was imported from China in the form of Buddhism. In the West, we try to make individuals live forever – sometimes at the expense of those who are left behind. We throw good medicine after bad at bodies that are experiencing systemic collapse. The resources that we expend on people who are obviously and inevitably going to die are immense – particularly in the US health system, people inherit incredible bills for treatments for obviously terminal illnesses that ultimately serves no purpose but to prolong people’s suffering. We ruin lives to extend one life. As a culture we are programmed to prolong life at all costs when the life is human, and yet we will put a dog out of its misery as soon as it becomes apparent that it is no longer able to enjoy its life. I’m not saying that I endorse euthanising people, but I think it’s important for us to examine our preconceptions around what is important about life. Illness and death are very real experiences that touch all people’s lives at some point, and I find those kinds of themes far more powerful to explore than fantasies about deity or mythology. I’m really not interested in writing songs about dragons and made up shit.

(((o))): As a sort of side note, I couldn’t help but think of the film The Ballad of Narayama when reading the lyrics to 'Ubasute'. It’s the only film I can think of about the subject, and I was struck by how unsentimental its approach is in really exploring some blunt realities concerning this practice and other elements of life and death. Your album seems to mirror many of its themes.  Is this a reference point for you at all or am I grasping at straws? (As a side note within a side note, I highly recommend this film to anyone who hasn’t seen it yet!)

Tom: Yes I have a copy of The Ballad of Narayama. It’s a very evocative film, very immersed in the seasons and cycles of nature. In this way it seems to tie in with the elements of animism in Shinto. We encountered it during our preproduction research. It’s definitely not clutching at straws, it’s a relevant reference. I would have sampled the film, but we’re not ‘that kind of band’. I hate being absorbed in the atmosphere of an album and then having the experience ruined by an obvious sample from a movie. I would find lazy and clichéd in the context of what we're trying to do. I would like to say that several reviewers have mistaken the Bell Crickets (Suzumushi, 鈴虫, Homoeogryllus japonicus) at the end of 'Aokigahara Jukai' to be electronically generated. They are actually Bell Crickets that we recorded on location in Japan, as were the cicadas on the end of 'Ubasute'.

Em: Are they cicadas? I have no idea what those spooky bugs were that made that weird noise. We were visiting Koya-san, the equivalent of Mount Wudan for Japanese Buddhism, and we stayed in a Buddhist temple overnight. At sunset we started to hear those noises in the forest and we got out a mini-disc recorder and went following the noises up the hill. They appeared to be most intense in a cedar thicket – but we never saw what the creature that was responsible for the noise actually looked like.

Insects are fucking amazing and so different to humans. I can kind of see how someone might mistake the sound of a cricket for a machine – they are so fundamentally different to mammals, both physically and in the way that they organise their societies in bee and ant populations. But yes, oh-cunning-reviewer who thought those noises were electronic: no, they are 100 per cent natural.

Anyway, Koya-san is another amazing place of natural and man-made beauty in Japan. One of the largest and most prestigious graveyards in Japan is situated around the tomb of Kobo Daishi, the monk who imported Buddhism from China to Japan. Koya-san is all misty mountaintops dotted with samurai families’ grave monuments and enormous temples. There’s a monument to miscarried and aborted babies there that has a water throwing ritual attached to it. It’s a seriously evocative place.

There are also some ‘company graves,’ an interesting artefact of the corporate family mentality that Japan was famous for during the post-War and ‘Tiger Economy’ years. As a company employee, you can select to be buried alongside your company colleagues at the Hitachi grave, or the Sanyo grave, or similar. Personally I couldn’t think of anything more heinous than to spend eternity at work, but then again, I’m a gaijin: I don’t think I’m expected to get it.

(((o))): The lyrics in this album take on many voices. From the opening track, which seems to be from the point of view of someone who wishes to commit suicide, to the album closer which ends on a much more self-empowering note. Are these voices all yours? Do any of them speak more closely to your actual voice, beliefs, and emotions than others? I believe that art is most effective when it explores an issue from several, often conflicting, perspectives. In this way, the "truth" seems to be somewhere in between what is actually said.  Is this important to you? To explore these themes without perhaps saying any one concrete statement on them?

Tom: In short, yes! I want to explore themes and conflicting perspectives and prompt others to do so for themselves. I’m fine with others having entirely different interpretations of what my lyrics are about regardless of my intended meaning/message. There are many voices and perspectives on the album. I have tried to inhabit and understand them all in the process of writing the lyrics. I am always attempting to ask others to question and make their own conclusions. I have no interest in proselytising or converting others to my mindset, only to encourage others to free themselves from indoctrination and imposed belief systems. It sounds pretentious, I know, but that’s the truth. 

Em: We wanted to make something that would serve as a document of our interest in the topic and our interest is multifaceted. Aokigahara speaks to the relationship between humans and nature, as well as the stories of death related to the ubasute/euthanasia ritual and the suicides that the area is notorious for. As Tom mentioned earlier, we’ve had people close to us commit suicide. We wouldn’t want to approach the idea of suicide in a way that wouldn’t speak to our experience of the topic, which is raw and real, not abstract or imagined.

The realities of creative endeavour are that once you have completed your work, people will bring their interpretation to your work and you can never control what other people will think of your work. Their reaction to your output will be framed by the things that they have experienced in their lives and people will compare things to what they know to attempt to understand it. That’s why a listener with broad tastes will pick up on a bit of that genre-mashing that we sometimes do, and someone with a less developed understanding of music might just think it sounds like Metallica because that’s the heaviest thing they’ve ever heard. They might invest heavily in your artwork and develop a sophisticated interpretation of what you’ve made or they might listen to half of the first track and then throw it out the window of a moving car. You can never account for the audience reaction.

I think with an inspiration as wide as Aokigahara, I think it was necessary to take a multitude of perspectives. The suicidal have a voice in 'The Pact' and 'Longing for Death', the forest itself speaks in the title track, Tom inhabits his own voice in 'Slaves', 'Of Hate' and 'Its Toothless Maw', and I take the role of the old lady being carried to her death. A lot of people sing endlessly about satan, satan, satan… For fuck’s sake, you may as well sing about the boogy man or the abominable snowman or the Easter bunny or whatever. The struggles that we face in the real world are so much more interesting than the struggles of imaginary beings. So, anyway, we make the music that we want to hear ourselves, we write the words that interest us… And that’s pretty much it. What people take away from what we make is beyond our control and I wouldn’t have it any other way because that’s where the interesting tension between intent and effect exists.

(((o))): I wrote in my review of your Aokigahara Jukai that I believe it is important because it is, ultimately, a very life-affirming album. True, there are moments of vitriol and even hatred toward mankind and toward the self, but I believe these are overcome in a way by first acknowledging the sadness of the subject matter and then transcending it through art. This is in stark contrast to the lyrics in Vermin to the Earth which have a much more overtly misanthropic tone. I know on that album too, though, you’ve spoken in previous interviews of the positive power in viewing the world and humanity in a more truthful way. Would it be safe to say that in an unorthodox way your band is very much commenting on life and how to live it with a more positive (or maybe just honest) way of thinking? Or is this a gross misinterpretation of where you’re coming from

Tom: Through all the voices I use in my lyrics I am merely wrestling with existence. In order to do so one needs to try to overcome the blinkered view of religious and moral dogma and indoctrination. I was trying to talk about this in 'Slaves'. “The system of your beliefs, shelters your psyche, limits your consciousness”. Thrall is a conduit for my madness. I find a cathartic release in Haha. I don’t claim to have the answers, and by saying that that I am honest: Be suspicious of anyone who claims to have answers.

Em: People who claim to have “the answers” are invariably full of shit. They’re either deluded megalomaniacs or they are relying on someone else’s answers being correct – why should you copy your homework from someone else? How do you know that the person you’re copying from knows more than you do? You don’t – and you can’t. You’re better off figuring it out yourself. I pity people who blindly trust a book written 1500-odd years ago for their answers for twenty first century living. The only answer I believe is the one that says “keep questioning.” There’s always more to know out there. And yes, I think this is actually a more honest way of living.

We have spoken previously about the importance of not blocking out the truth. Any reasonable adult can agree that humans have had an impact on this planet. Any reasonable adult can agree that humans have created and released poisons into the air, waterways and dirt. And from that standpoint, isn’t the obvious next part of the conversation is “well, what the fuck are we going to do about it?” But that’s where we can never get any consensus. You start with a simple premise, such as “do you want to drink poison?” You progress to “do you think it is OK for other people to poison people?” You extrapolate “is it OK to poison people if it’s going to make you a lot of money?” But you hit the wall when you start to say “what if the poison takes 100 years to work, and you’re poisoning people who aren’t even born yet?” We can’t agree to the point where people start going back and disputing that there’s any problem at all: “It’s not poison.” “It’s not that poisonous.” “You’re being over-emotional.” “In the future, science will fix all the problems that we are causing now.” And that’s when the truth has left the room. There are already dioxins in every ocean, there are detectable levels of dioxin in the breast milk of every woman in the world, there is radiation seeping into the water table, there are 1000s of 44-gallon drums of radioactive waste in every ocean just rusting away… And yet the chairman of the board will still turn a blind eye to all of this in the name of protecting shareholder profit. It comes from this basic, stupid weakness in our social intelligence. We can’t trust each other and we can’t be bothered. We keep ripping the minerals out of our ground and burning fossil fuels because if we don’t do it, someone else will. And we don’t do anything about deforestation or corporate criminals dumping chemicals all over the place, because someone else will. And if we change the way we do business, we’ll have to find a new way to do business. And the truth, at the end of the day, it’s all too fucking difficult.

So, no, I don’t think this album is life affirming. I’m still as misanthropic as fuck and I think it is important for people to remember that 'Slaves' is a bonus track. On the vinyl, the album ends on 'Ghost Chrysalides'. It does not affirm life. It smothers it. It ends on the emptiness of a lone guitar ringing out into the nothing.

Tom: 'Slaves' was intended to be on our fourth album. It may still be reworked/rerecorded. We already have several songs for Thrall IV largely written.

(((o))): Musically, it’s often spoken about that Thrall is particularly adept at blending different styles of music.  Is this a conscious effort on your part? Or is this simply the sum of a broad range of influences? I almost feel bad asking this question because it seems sad that it’s somehow surprising to some people when a band listens to several styles of music. Nevertheless, I would be interested in knowing if there is a core philosophy to the band’s sound or if it’s simply the result of a natural progression.

Tom: This is difficult to answer. I suppose that it’s a natural progression and the sum of a broad range of influences. It is also deliberate. We prefer to have an expansive (rather than reductive) musical aesthetic. If it works for the song we’ll do it. All of the current members (Em, Ramez and Okkvinkalfa) have played a broad range of styles of music over the years. Playing live has significantly changed what I write from a studio-focused style to a live focused style. Thrall is a collaborative project but I am still the primary writer.

Em: This is an interesting question for me, as I see myself as a bass player who is playing drums. Because it’s not my primary instrument I have to use what I’m able to do in a creative way to get the effect that I want and this probably results in me shifting a few feels from less obvious sources of inspiration into the Thrall sound. So yeah, I do what I do because I can and it’s what I like and it’s what’s natural to me.

(((o))): I know Tom has been responsible for all of Thrall’s album art, and I have to say that the album cover for Vermin to the Earth was the first thing that made me really open my eyes and want to know who your band was. The artwork for Aokigahara Jukai is especially poignant and evokes the sound of the album so well. What is your background in art? Is your passion for visual art equal to your passion for music? It’s clear there is a connection between the two, but is there one creative endeavour that ever takes precedence over the other? I ask a similar question as this one to a lot of bands, but do you feel like the album would be incomplete without the visual component?

Tom: My visual and musical output is inseparably intertwined. I started drawing earlier than playing music. With Thrall I decided to consolidate both fields of endeavour into the one project much more tightly than previously. I stopped doing exhibitions and concentrated all of my visual output to Thrall and commissions for other bands (Ruins, Regnum, Nekros Manteia, Dead River Runs Dry). I tend to operate in cycles. One medium takes precedence over the other in terms of productivity, then I switch, but neither is more important. It seemed like a good way to retain as much control as possible and reduce costs by keeping as much in house as possible and I wanted to create a distinct visual identity for the project.

(((o))): Finally, what’s the best way we can support Thrall in the next year or two? Are there some exciting shows coming up? What’s the best way for people to get their hands on Aokigahara Jukai?

Tom: Well our next show is Friday 21 March at the Melbourne Hi-Fi supporting Absu on their 2014 Australian tour. Portal and Denouncement Pyre are playing all of the dates on the tour as well. After that we’ll be planning some interstate shows to promo Aokigahara Jukai. You can get all of our releases and merch direct from us on our Bandcamp our LP from Eisenwald or our CDs from Moribund Records.

Em: You can buy our albums directly from us through the Bandcamp site – but once we’ve sold out, it’s great if people can support our labels by buying legitimately through them because the labels support us. If people don’t buy from the small to medium-sized labels, the labels disappear, and the support they provide bands disappears too.

I would also like to encourage people to buy the remaining copies of the original pressing of Away from the Haunts of Men from Håken at Total Holocaust Records. I have a personal debt to him: he was the first to believe in us and he made the ultimate version of the album artwork and then we ran off with Moribund – what a bunch of bastards we are! But the Total Holocaust limited edition version with the silver foil packaging is one of the most magnificent things I’ve ever set my eyes on. There’s only 500 copies of it in existence I can’t believe that they haven’t sold out yet. Send well‑hidden cash money to Håken in an envelope and feel massively old school, and support his continued journey unearthing the best underground bands out there.

(((o))): Thank you very much for this in depth interview. I can't wait to see what the future holds for you, and I wish you all great success!

Tom: Thanks Luke! It’s been refreshing for us to have a reviewer engage with the album intellectually.