In the first month of 2009, Yog’s first full length titled, ‘Years Of Nowhere’ was released in the states. Since its original release, they have been hard at work playing shows and writing new material. Fabien, the band’s drummer and guitarist, was able to answer some questions I had about the band’s new material, as well as his thoughts on the bands previous release and a few miscellaneous questions.
[BACKGROUND]
For the readers who are not familiar with your band, can you give a brief history of ‘Yog'?
Fabien: We formed in 2000, upon the split of our previous band, a brutal death combo where I was playing the guitar and doing vocals. I was pissed off because I could not find any good drummer to start something new and I had also been jamming around (on the drums) a lot with a friend who wanted to set up a band to play Napalm Death covers, so we hired the other guitarist and the bassist of the split band and tried something this way. Then we hired a singer and it started like that. But we soon turned to our own compositions since half of the band was not that much interested in covers. Still, we chose to go into something easy to play, few technical stuff, pretty punk-crust oriented. With one guitarist change and the addition (and then departure) of a second singer, this went for about 3 years. We were not much productive and had a lot of tensions, we did not all want the same thing and this blew up in the end of 2003 with the departure of the guitarist and the singer, about 6 months after the recording of our first EP “Feed The Masses”. Not motivated anymore, the other guitarist left shortly after. We kept looking for new guys and found the right ones then with a new guitarist and a new singer. 2 persons who wanted the same thing like us : going forward and try to propose something more interesting than punk-crust riffs. We had a hard time putting everything back on track but we succeeded and, after having released the Feed the Masses EP in the end of 2004, we quickly recorded a new bunch of songs. Basically, we had only 2 new songs but we recorded all that we had at that time because we wanted to hear it with this new band layout. It sounded cool, so we picked the 2 new songs + 4 unreleased old tracks and released it as the “Grindcore Deluxe” EP, in the beginning of 2006. We never hired a second guitarist and kept this way : it was the best band layout we had ever had. Working hard, we set up enough new songs and hit the studio in the end of 2006 for the recording of our first full-length “Years of Nowhere”. The motivation and common will to accomplish something was so strong with the new team that we got much more productive than we ever were before. The album contains songs composed over a period of almost 4 years and I think anyone can notice that. Meanwhile it surprisingly brought a touch of variety that we really love.
How did you come up with the band name ‘Yog', and what is the meaning behind it?
Fabien: It was one of our early guitarists that found this. We were looking for a name because the first gig was approaching and really had no idea. He came with this as some kind of a joke. At that time, a Swiss milk company sold a liquid yoghourt that they had called YOG. He saw an advert, and he also found that it was sounding kind of “barbarian”, if you said it with a “growl”. We kept it.
[CURRENT RELEASE]
Your latest release ‘Years of Nowhere' was recently released on 187 Records in North America. It was recorded at Studio Mecanique with Julien Fehlmann and mastered at West West Side Studios. What was the recording process like?
Fabien: Really awesome. Julien pushed us very far, requesting the best of us. I guess he exaggerated here and there because he likes to piss people off a bit. But he really had us do things we did not think we would be able to do. His studio is on the highest floor of an ancient fabric, in a town that at 1000 meters. It is surrounded by windows so you have a beautiful view on the outside. It was November and the sky was blue everyday and there was tons of fresh snow all around. Kind of perfect environment. We had a great time. We did everything separately and really pushed to have things played perfectly. You know, do it and do it over again until you have it the way you want. We did the takes over 2 weeks for drums, bass, and guitar 1. The vocals were recorded separately in Kehlvin’s practice room, which is also a little record studio, by Zen (Kehlvin’s drummer). The second guitar was done during the first half of the mixing process.
What are some of the lyrical themes for this record?
Fabien: We usually try not to be too “destructive” or “negative” or “revolted”, like too many bands. Of course, you can’t help yourself talking about subjects that touch you, and a lot of times you end up criticising something that annoys you. Here and there we rather try to either ask questions or project ourselves into something. MOUTH FULL OF SHIT CANNOT BITE is a song where we ask about what should be said in songs or not. LOVE PROCESS FAILURE is a sort of “post love story” hallucination. KAL-EL is about Superman’s loneliness. SECRETS is about the ugliness of keeping too many secrets. MERGE is about melting things and people instead of “individualizing” too much. Etc…
Many reviewers have compared ‘Years of Nowhere' to early Dillinger Escape Plan, Converge, and Pig Destroyer. How does it feel to be compared to bands such as these, and are you happy with the way people are reacting to this release?
Fabien: We are very happy about it, it is an honour. Also, we keep listing our influences clearly all the time, we are true admirers of these bands and they do influence us a lot, and we say it. The very good thing about it is that reviewers keep saying that yes, everyone can clearly hear our influences in our music, but they always underline the fact that these influences are digested. That is a great compliment.
Since its original release, you have had a lot of time to listen and play selections from the record. If you were to record this release over again, is there anything that you would do differently?
Fabien: Yonni told me the other day that he found the voice was not loud enough in the mix. I would do the snare differently, not hitting it as hard as I can all the time, but controlling it more in order to have a more “regular” hit. Because the way we did it, it does not come loud enough in the blastbeats. But these are small technical issues. For the whole process, we would not do it another way, we gave 150% of ourselves and it was just awesome.
[UPCOMING MATERIAL]
Earlier this year, you announced the addition of a new bassist to your line-up. How are things progressing with him?
Fabien: Brilliant. This guy has such a high level of bass playing. Really awesome. He’s gone through severe health problems all winter, which hindered him from learning the songs quicker, but now he is almost up-to-speed, and he is a nice perfectionist, exactly the kind of guy we needed.
You have recently contributed a brand new track entitled ‘Breaking the Spell' on the Falling Down Compilation, released September 2008, also featuring bands such as Kehlvin, Zatokrev, Time To Burn, and Pelican among many others. Will this be one of the songs featured on your new record, and does this song set the tone for the rest of the upcoming material?
Fabien: Yes, we’ll have it on the album. This song is the first song we composed after having finished the Years of Nowhere album and it is clearly “the new thing”. Still, saying that it sets the tone, I don’t know, because we have gone into all sorts of directions since. It does, considering the craziness of it, but meanwhile it doesn’t, because we have experimented a lot of other stuff in the other new songs, there will be more songs without blastbeats than in the Y.O.N. album, we use a lot of new chords and harmonies, new drum tricks, we plan to try different stuff on some vocals. We really want to propose new things.
How far along are you with the writing process of the new record?
Fabien: We currently have 9 songs for about 23 minutes, only 4 of them having the vocals yet. We want this second album to be a bit longer than the first one. Possibly 35 minutes of music, and additional intros/ outros/ post-prod if we can. Not everything is set yet.
It has been a few years since you've recorded a full length. What are some of your influences this time around, both lyrically and musically, for the material you are currently writing?
Fabien: Well, the album was recorded end of 2006 but yes, it contains songs composed over a period of almost 4 years in it. Things like The Dillinger Escape Plan and Converge remain main influences today, still. But yes, a few other things have come along, others have left. Matthieu has brought more material this time and he has that weird way of composing music that you can never exactly say where it comes from (well, that’s my feeling about it). Which is a good thing, pretty personal stuff. Sometimes difficult to bring to life with the drums. He listens to various stuff that is not often in relation with what we play, in opposition to me. Lately I discovered a few things that have brought some new blood in my composition process, such as The Crinn, Destroyer Destroyer, Hella, very extreme and interesting bands. Lyrically, Yonni has come with a lot of new ideas. I used to do the most lyrics but this time he’s shown up with a lot of material, hectic stuff. He’s been reading a shitload of books and has brought some very interesting subjects and original concepts. The way it is now, he is probably going to write more than 80% of the lyrics this time. Which I am very happy about !
How will the new material compare to ‘Years of Nowhere'?
Fabien: I think I should say it will be “in line” with Years of Nowhere, but going further, in more different directions. New chords, new harmonies, some new things with the vocals, the speedy things will be played quicker than before, but it will contain more slow stuff than before as well. Probably more technique here and there, but still without exaggeration. More chaotic stuff also. The more we compose, the more we try to “isolate” this or that technique/ harmony/ chord/ principle into one specific song, if you see what I mean. Try not to repeat the same things all along the songs. I am not pretending we succeed, but that’s what we try to do !
When can fans expect a new release and do you have any ideas on what it might be called as well as how many tracks you plan to include on it?
Fabien: We plan to record it end of 2009-beginning of 2010. We would like it to be released before spring 2010. No idea yet about the title, we do not have all the lyrics and have not yet thought about a concept.
[LIVE]
How would you describe the scene in Switzerland?
Fabien: Ha ! Not a big one for that sort of music we play. Still, I have to admit that it has improved in the last 2-3 years. There is a bit of a “rock is back”. More bands, better bands with higher level, and the public seems to follow a bit. The problem is that Switzerland is a small country (less than 7 million citizens). This means that, if you imagine that the proportion of the population that loves this scene is around 5%, it does not make a lot of people… which does not help build big scenes and motivate the kids to move their ass to this or that gig. They seem to remain interested in the bigger and “commercial” bands, the ones they “understand” what it is about musically. There are very few people that really appreciate the sort of stuff we do. But then when they do, they really do. Another thing is the fact that our country is divided in 3 regions : the West-French speaking part, where we are; the East and German speaking part, and the South-East, where the speak Italian. All that is Switzerland, but there are differences in the mentality and then also in the musical tastes. I’m not kidding. The heavy-metal-thrash-death scene is rather on the East side, while the more modern hardcore scene is on the West side. Weird. That makes even less people for each scene…
You have been playing shows since 2000. Are there any shows that really stand out to you, which ones have been your favourites?
Fabien: I would mention 3 : the first one was in a punk basement. It was so small, we were drunk and played like pigs, but it fucking kicked ass. I think I saw Yonni 3 times during the set, he was swallowed in a crazy mosh pit. Crazy. The second time was the dollhouse thing where it was all very relaxed and strange in the same time. The third one was at a festival in the region (organised by friends of ours) called the “VNV rock altitude” (Neurosis played there in 2008). The biggest stage we had ever played on, with perfect sound, huge light show. And the guy that was doing the light for us was just awesome, he did something crazy. A great show.
With certain shows you have played in the past, you have all worn different costumes. How did this come about?
Fabien: This only happened twice in fact. And the second time we did only upon request of a gig organiser because he had loved the first “costumed” show so much. The first time was that dollhouse thing. It was part of an outdoor art exhibition that lasted about 3 months during the summer of 2007. 2 artists had built that human size dollhouse and had invited bands to play there every Saturday afternoon. We had the chance to be on the list. And because it was so weird to play in a dollhouse in the middle of a field, we thought it would be funny to add even more to the event, something that would somehow fit with the environment. That’s how we came up with the idea of the animal masks, playing also in underwear. Really funny. The people loved it and the youtube videos had a nice success.
[MISCELLANEOUS]
What are some of your hobbies outside of ‘Yog'?
Fabien: We all are movie lovers. Matthieu and I are pretty much into sport things. Matthieu loves skiing, I love biking very much. I’d say that Yonni loves smoking pot on top of everything !!! But our passion number 1 remains music, clearly.
Do you have any final thoughts or comments?
Fabien: We hope this scene will continue develop everywhere with interesting bands, and that it will convince more people to get interested into it. This shall happen with the help of motivated and serious people like 187 Records !! Thanks very much for your support guys !
Monday, May 18, 2009
Friday, May 01, 2009
Akaname Interview
Akaname, pronounced Ah-kah-nah-meh, for those who are unfamiliar with the band's moniker, is in the process of recording the follow up to "Filthlicker", a new EP entitled "Faith And Other Evolutionary Obstacles". This will be their first release as an instrumental band. I was recently in contact with Otis, the bands drummer, about the bands past, present, and future.
[Background (2002-2006)]
For those who are not familiar with Akaname, when and how was the band formed?
Otis: I originally crossed paths with Matt and Ben while on a holiday in Australia in 2001. I was scoping out Melbourne with the intention of moving there and met them randomly at a local cafe. They were awesome dudes and we were into a lot of the same bands. I’d been playing in jazz groups back in NZ but wanted to do something heavier, so it seemed like there was a potential golden triangle for something new with these guys. But when I returned to Wellington I got stuck back into the old trappings and the Melbourne plan never eventuated. Later in 2005 they both materialized in Wellington with all their shit - amazing! I'd been chipping away at some guitar/drum ideas on an old 4-track in the years between, so there was already a starting point. In retrospect, my choice of residential country seems arbitrary - the golden triangle was an inescapable fate. I'd met Swampy at a show up the line in 2004, but a year later he turned up in Wellington with his bags looking for a room and there was one going in my building. We all met Kallie a little while later at the final show of her d-beat band, Sparkle Motion. She was keen to get involved and it all kinda fell into place from there... that was the birth of Gomorrah.
What inspired the name change from Gomorrah to Akaname?
Otis: The name Gomorrah was never going to be a keeper. We decided to do our first live show at a house party at the warehouse we were living in - this was before we'd even given thought to a name. That show crept up fast. We'd thrown some names around at the time but they were all pretty bad. We put Gomorrah on the poster because it was the least crap in the pool and we simply couldn't agree on anything better at the time. It stuck for a lot longer than it should have. A little later on (as the Filthlicker recording was nearing completion) it became obvious that we weren't that psyched on Gomorrah, plus it turned out there were already a few bands registered with the name. We needed something original and we needed it before the ep came out. I don’t remember how we arrived at Akaname exactly, but we'd been passing around Japanese Yokai names and it seemed to fit.
Can you explain what Akaname means, and why the name is significant to you?
Otis: An Akaname is a creature in Japanese mythology that inhabits bathrooms and feeds on human waste. The ep title - Filthlicker is the literal english translation of Akaname. We always knew our music was going to be a broader mixture of sounds so it made more sense that any potential name should be more esoteric and not leaning too heavily in any particular direction. Akaname seemed to fit our vibe. We definitely didn't want a wanky 3 word phrase-name like "Breaching December's Anus" or whatever. (Really though - a lot of those haircut band-names are ridiculous).
[‘Filthlicker' Release (2007)]
In January of 2007 Akaname entered Inca Studios to record their debut EP entitled ‘Filthlicker'. It was later mastered by Dave Otero at Flatline Audio (Cephalic Carnage, etc.). What was the recording process like and how do you feel about the way the recording turned out?
Otis: Inca was our first real lesson as a band. We failed to have a pre-studio game-plan and it showed as the recording session progressed. Our music has always developed slowly over fragmented periods, so we'd often get polarized over how some parts should be played and end up with 3 different versions of the same part. This factor caused a few decision-making headaches as the clock was running. Also Alex was so fresh to the fold that he was still learning riffs during the recording. His guitar tracking for the ep actually preceeded his first live show with us. We were swamped with choices and everyone had varying opinions and expectations. Mike Gibson (the chief engineer) was a totally zen and helped us simplify and isolate what was necessary to the songs. He was one of those less-is-more engineers... more interested in getting natural tones than cookie-cutting a certain genre sound. The final mixes were big, rounded and warm. They didn’t have a metallic quality to them until they got to Dave Otero. In the end, it was our debut release and we were pretty stoked with the results we got for the price we paid.
‘Filthlicker' was released on Debello Recordings (Destroyer Destroyer, S.W.W.A.A.T.S., Zatokrev, etc.) on December 18, 2007. How did the opportunity to work with Debello Recordings come about?
Otis: I wanted a Destroyer Destroyer tee but didnt have a credit-card. The Debello site encouraged people to conceal cash in the order so I taped it to the inside sleeve of a shitty demo cd and sent the payment as a demo-submission. I was never really expecting anything other than the shirt in reply. Months later we got a message from Debello saying they liked the demo and about the possibility of doing a release with them. We were still waiting for Dave Otero to complete the Filthlicker mastering at this point. It seemed like a good idea to have label-support outside of our own territory. We were planning to release the ep on our own but it was rad to be approached before we'd even released anything. It felt like there was little to lose so we rolled with it.
What kind of feedback have you received about ‘Filthlicker' and are you pleased with the response it has had thus far?
Otis: When you are a metal band based on an isolated island in the South Pacific, it's hard to know the true scope of any external response, especially without touring that country. Our unfamiliarity with the US has left us with a large question mark over our heads in regards to the actual impact of the ep over there. We know it did well in New Zealand because we took it directly to local audiences and got rid of most of our allocated copies at shows. But NZ is a self-contained microcosm - it's not hard to connect with your fans in your own backyard, especially when the population is so small. But aside from online feedback, we've been unable to grasp any kind of tangible perspective on US promotion/distribution. Evidence has been fairly limited (excluding torrent sites in the Soviet Republic haha). Since Filthlicker's release we've been restricted by location and lack of funds which has prevented us from touring beyond our home territory. In any case - label or not - we believe good promotion and touring would be the true acid-test. This is something we've yet to pursue outside of Australasia, but we have our sights set on US and European tours in the near future.
Where did you draw your influences from musically for this record and what was some of the lyrical content about?
Otis: When we recorded Filthlicker, we were a lot more anchored in the abrasive end of the spectrum. The initial bass/gat/drums triangle always wanted to be more dynamic-sensitive and multi-dimensional, but the writing and work shopping disciplines as a whole weren't fully developed at that early stage. Alex was from a straight-up grindcore background too, his playing and Kallies vocal style put a definitive fence around the early sound. We're all fans of most heavy styles to varying degrees; but for Filthlicker we were trying to achieve a sound in line with our more unusual influences; bands like Kobong, Thordendals Special Defects, Cephalic Carnage, King Crimson etc. The weird shit. We weren’t trying to be all straight blast beats, trill-picking and squeelies. Although the sound on Filthlicker wasn't as pummeling as a lot of the bands we admire, I think we found a common ground within our individual influences. As for lyrics, I don’t think Kallie ever imparted them to us aside from the lyric on the back of the ep sleeve and a line she doctored from a Napoleon Dynamite coffee mug (Liger). She was always quite reserved about them. It was like "as long as she keeps sounding like that it doesn’t matter what she's singing". We were always more concerned with the instrumentation and that's the way I always perceived the vocals. I have a hunch that a lot of her phrases were merely amorphous phonetics. We may never know.
Since the time you recorded the material in early 2007, you have had a lot of time to listen and play tracks from the record. If you were to record this release over again, is there anything that you would do differently?
Otis: I don’t think we could ever try to approximate Filthlicker again. We've actually been listening back on a lot of earlier material lately; the apparent differences are pretty major. It's a different animal now. Since the first ep we've experienced more changes than most bands might expect between releases. Our writing disciplines have evolved and we've whittled down to a 4-piece. We are musically united by progression and this requires us to be looking forward.
[The Shift (2008)]
During and after the release of ‘Filthlicker', Akaname encountered numerous different obstacles. First, was the announcement that Kallie would be stepping down as the vocalist of Akaname. At that time, how did you feel the band's future as a result of her departure?
Otis: With all due respect to Kallie - as an incredible human and amazing vocalist, her approach to the band after the Filthlicker recording became more of an obstacle in itself. Her involvement behind the scenes was always quite hands-off, but she began to exclude herself more as the band developed. She would rarely rehearse with us and would often require a lot of liquor to perform. This would go awry as often as it went well. In the end Kallie became more of a co-exister, than a unified part of the band. Things went this way for a time and when it was finally addressed, her departure were already set in motion, yet without ill-feeling... it was mutually liberating. Our paths just led us in different directions creatively. We are all still great friends. She's doing her d-beat crust thing up in Sydney now.
Initially, after Kallie's departure, there were plans to write material for a collaborative project involving (three) 7 inch records, featuring guest vocalists. While preparing for this project, you ended up adding vocalist Gareth to Akaname, resulting in the abandonment of the 7 inch record project. Shortly thereafter, Akaname announced that they decided to stay an instrumental band. What were some of the decisions and discussions being made behind the scenes that lead Akaname to your current transformation?
Otis: We thought we needed to fill the hole left by Kallie - there were shows booked and recording plans... though ultimately that thought was a knee-jerk reaction. We found ourselves at a crux where we could see the benefits of Kallies departure, but after 2 years with her we were doubting our ability to be convincing as an instrumental unit. The pool of vocalists in NZ at that time was pretty dire. We'd been playing shows with our peer bands: Dial, Ulcerate, Strangers among others - all amazing bands with incredible complimentary vocalists. Those singers were the vocal contributors for the intended 7" projects - there was a certain caliber to maintain so we couldn’t just recruit anyone with a half-decent bark. At the same time there was a growing uncertainty about the context of a vocal element in the newer material... did we really need a vocal personality? We tried out Gareth but he was more brutal than we were, a great grind vocalist but not exactly complimentary to the direction we were heading. We canned the 7" projects in the end and most of the intended material was deconstructed or shelved. Finally, we arrived at the decision to not waste time trying to find a vocalist in NZ and instead focus our attentions on composition. At this point we were beginning to incorporate improv, noise-art, vocal samples and slower dirging atmospheres. Ultimately, we hacked up some Filthlicker material and merged it with the new stuff into one continuous piece. The way we'd developed the set between Kallie's departure and our first performance as an instrumental act - the need for a vocalist pretty much dissolved.
Also during this time period, the band decided to move to Australia and announced that Alex, who played guitar on ‘Filthlicker', would be relinquishing his duties. What were some of the reasons why you decided to move to Australia and how do you think the move has impacted the band?
Otis: As said - New Zealand is a microcosm. There is a low ceiling for everything to do with being a musician there. How many times can a band play the same venues to the same audiences? We had to go somewhere and Melbourne was bigger and close. Also, Matt and Ben had lived there previously so it seemed like the next natural step. But there were also individual personal lives going on - the whole band relocation was staggered over 6 months. After we finally all converged in Melbourne, there was more time expended getting jobs, finding places to live and organizing a rehearsal space. It took more time than we'd anticipated and we lost a lot of momentum. This idle period was a cause of much introspection, anxiety and frustration. Alex found himself in a similar place to where Kallie had been before her departure and we all became increasingly aware of his disposition, the effect it was having on him and the band's greater functional processes. His eventual decision to leave was sad, but ultimately mutual, amicable and positive. There's never been any grudges in Akaname - our friendships have always come first, band issues have always been secondary. With general regard to the Melbourne move, it may or may not have been the right decision for us, but it has revealed much of our strengths and weaknesses.
How would you describe the current incarnation of Akaname to someone who hasn't heard of the band before, and how does it compare to what your description would have been with the material written in 2006?
Otis: We've always had problems with adjectives, bio’s and the whole genre thing. Recently Akaname has resigned our summary to instrumental/ experimental/ post-metal, but in reality any kind of labeling comes with a grain of salt. Apparently music lovers need a reference point to determine whether they will like a band or not, before they even listen. Points of difference are often insignificantly fractional at the sub-genre level. Personally I don't like applying reduction-theory to musical styles. As for Akaname - simply put, the earlier material was more metallic and condensed, where-as the newer material is more expanded, layered, musical. We still enjoy playing with numbers and rhythms.
[‘Faith And Other Evolutionary Obstacles' Release (2009)]
The new album ‘Faith And Other Evolutionary Obstacles' is being recorded as we speak. What can fans be expecting and what do you want to accomplish with this record?
Otis: There was 11 months between the Filthlicker recording and its official release date. 11 fucking months! 2 years ago!! We were over it by the time it came out. We just want the next release to be a more relevant snapshot of the band. The new ep has more continuity on the whole, and in spite of being an instrumental act we are still trying to impart ideas and messages to the listener. There are loose themes about consciousness, spirituality, metaphysics, the misuse of religion etc. We're not proclaiming to be experts in these areas, but we do hope those who are paying attention will be inspired to think more about them.
How do you think fans will react to the new material?
Otis: I’m sure there will be expectations for anyone who heard/liked Filthlicker, but when compared to the new material I think there is as much similarity as there is difference. Dimensionally, the new stuff has more depth, so perhaps those who favour a constant barrage of sonic destruction may be disappointed in parts, but we hope most listeners will be able to register the new ep as a whole, not just a sum of different parts. We'll have to wait and see.
What are some of Akaname's biggest influences musically this time around?
Otis: I've been listening to a lot of King Crimson, Crowpath, Amenra, Knut, Tool, Blotted Science, Magma, Meshuggah - these are bands we all admire and I’m sure the others have their own various inspirations in there as well ... though this time around we're also finding influence in non-musical aspects like sacred geometry, quantum mechanics, consciousness etc. We've been applying some of these concepts onto our instruments and into our writing. As humans, we are living in an exceptional point in time. Once you become aware of that it's hard to be ignorant of it...even in the context of being a musician.
Do you think your plans of self-releasing your upcoming material have any effect on the way that you want the new CD to be perceived?
Otis: We came to the realization that we needed total independence, fidelity of our music, and the choice to be able to make our recorded material available to anyone who wants it - free from monetary constraints and markets. We want to cut out the middle-men where possible and separate the accepted element of commerce from the music. We are content to remunerate by means of our own endeavor (merch, door-takes, personal funds, etc) but we feel that charging people for music is a fundamentally flawed concept. We make music for personal enrichment and to positively affect others. All due respect to the indie labels but they are still intertwined in the greater industry. In terms of being a band, the self-managed DIY approach produces a more genuine and positive experience for us. We'd hope people perceive the new ep based on its musical content and emotive value as opposed to it's method of release, but then I don’t think it's a bad thing if people see we're doing it our own way. The perception that a band has to be signed to be good/ significant has held weight in the world for a long time, its kinda bullshit.
Based on the name chosen for the new EP, what is your view on religion and science?
Otis: We're not trying to condemn or point fingers at anyone, that's counter-productive. The title refers more to the current point that humanity has reached in its conscious evolution. As a species, we are capable of sentience, rational thought and spiritual maturity. We know more about our universe/reality than we ever have, but many of us still freely give ourselves over to the rhymes, reasons and remedies of others - without inner reflection. The ep title is not directed solely at theistic religions as there are many other forms of self-diminishing faith that we might subconsciously subscribe to on a daily basis. Mass-media, advertising and governmental institutions are examples. It can be said that people focus and engage these systems with the same reverence that some do with religion. Consequently, these systems request and desire your constant attention, your adulation, your obedience, and/or your dollar... but how often do they engage your personal growth, wealth of knowledge, or true spiritual fulfillment? We are neglecting the full human experience by chasing the "carrots-on-sticks" of the world... that's mostly what the title of this ep is driving at.
[LIVE]
How would you compare the metal scene in New Zealand to the metal scene in Australia?
Otis: It's still too early to make any real comparisons yet. There are a lot of cultural similarities between Australia and New Zealand in general, but the only tangible differences so far seem to be population-based.
What is one of the most favorite shows you've ever played and why?
Otis: Everyone in the band would have a different experience. I always liked the house-party vibes most. Also one of our last Wellington shows with one my drum mentor's band's; The Village Of The Idiots. They were the yin to our yang, but it worked perfectly. It was rad to play a split-bill with a personal hero/educator.
[MISCELLANEOUS]
What would you consider to be the most rewarding and most frustrating aspects of being in a metal band?
Otis: Doing something you love is most rewarding. I can’t see the bad experiences being genre-specific, but under-managed egos are always a buzz-kill. For everything else you just build a bridge and get over.
What are some of your favorite albums and what bands would you say have had the biggest impact on Akaname as a band?
Otis: I'd say Sol Niger Within (Fredrik Thordendal) would have the top spot. We all love Meshuggah too but the Special Defects album is transcendental. Kobong, Cephalic Carnage, Discordance Axis, Isis, Nyia, Breach, King Crimson, Isis, Tool, Zatokrev, Knut ... there are literally too many. I've written 90% of the material to date (drums and gats) so my influences probably stick out the most. Though the others are injecting more of their essence into the writing process these days - if they were here I’m sure they'd probably drop a whole lot more names.
What are your feelings about illegally downloading music?
Otis: Its a two-edged sword for artists and labels... sure they are losing revenue as a result of "unsolicited" downloading - but they gain a wider audience, virally. So what is more valuable; money or listenership. I’m sure most artists and their labels would offer differing answers to that question. I personally don’t know many people that play in heavy bands for a prime source of income. Personally, while I do download music quite frequently, I also make a point to buy/support the stuff I like.
What are your thoughts on the current state of the music industry?
Otis: Potentially redundant. The greater industry in 2009 appears to be full of "painted rust".
Aside from playing music with Akaname, what are some of your hobbies?
Otis: I also play guitar with Swampy in Ornithologist. I make art for a living (paint, illustrate, design etc), that chews up most of my non-musical time, and I love to skate, read, cook, and hang out with my girlfriend.
You designed the artwork for ‘Filthlicker', will you be designing artwork for the new EP, and where does your inspiration come from?
Otis: I do most of the bands artwork. The Faith ep illo is a weave of barbed vines. It’s basically a nod at all the stuff I previously mentioned regarding the title.
Do you have any final thoughts or comments?
Otis: Brutal thanks, Namaste!
[Background (2002-2006)]
For those who are not familiar with Akaname, when and how was the band formed?
Otis: I originally crossed paths with Matt and Ben while on a holiday in Australia in 2001. I was scoping out Melbourne with the intention of moving there and met them randomly at a local cafe. They were awesome dudes and we were into a lot of the same bands. I’d been playing in jazz groups back in NZ but wanted to do something heavier, so it seemed like there was a potential golden triangle for something new with these guys. But when I returned to Wellington I got stuck back into the old trappings and the Melbourne plan never eventuated. Later in 2005 they both materialized in Wellington with all their shit - amazing! I'd been chipping away at some guitar/drum ideas on an old 4-track in the years between, so there was already a starting point. In retrospect, my choice of residential country seems arbitrary - the golden triangle was an inescapable fate. I'd met Swampy at a show up the line in 2004, but a year later he turned up in Wellington with his bags looking for a room and there was one going in my building. We all met Kallie a little while later at the final show of her d-beat band, Sparkle Motion. She was keen to get involved and it all kinda fell into place from there... that was the birth of Gomorrah.
What inspired the name change from Gomorrah to Akaname?
Otis: The name Gomorrah was never going to be a keeper. We decided to do our first live show at a house party at the warehouse we were living in - this was before we'd even given thought to a name. That show crept up fast. We'd thrown some names around at the time but they were all pretty bad. We put Gomorrah on the poster because it was the least crap in the pool and we simply couldn't agree on anything better at the time. It stuck for a lot longer than it should have. A little later on (as the Filthlicker recording was nearing completion) it became obvious that we weren't that psyched on Gomorrah, plus it turned out there were already a few bands registered with the name. We needed something original and we needed it before the ep came out. I don’t remember how we arrived at Akaname exactly, but we'd been passing around Japanese Yokai names and it seemed to fit.
Can you explain what Akaname means, and why the name is significant to you?
Otis: An Akaname is a creature in Japanese mythology that inhabits bathrooms and feeds on human waste. The ep title - Filthlicker is the literal english translation of Akaname. We always knew our music was going to be a broader mixture of sounds so it made more sense that any potential name should be more esoteric and not leaning too heavily in any particular direction. Akaname seemed to fit our vibe. We definitely didn't want a wanky 3 word phrase-name like "Breaching December's Anus" or whatever. (Really though - a lot of those haircut band-names are ridiculous).
[‘Filthlicker' Release (2007)]
In January of 2007 Akaname entered Inca Studios to record their debut EP entitled ‘Filthlicker'. It was later mastered by Dave Otero at Flatline Audio (Cephalic Carnage, etc.). What was the recording process like and how do you feel about the way the recording turned out?
Otis: Inca was our first real lesson as a band. We failed to have a pre-studio game-plan and it showed as the recording session progressed. Our music has always developed slowly over fragmented periods, so we'd often get polarized over how some parts should be played and end up with 3 different versions of the same part. This factor caused a few decision-making headaches as the clock was running. Also Alex was so fresh to the fold that he was still learning riffs during the recording. His guitar tracking for the ep actually preceeded his first live show with us. We were swamped with choices and everyone had varying opinions and expectations. Mike Gibson (the chief engineer) was a totally zen and helped us simplify and isolate what was necessary to the songs. He was one of those less-is-more engineers... more interested in getting natural tones than cookie-cutting a certain genre sound. The final mixes were big, rounded and warm. They didn’t have a metallic quality to them until they got to Dave Otero. In the end, it was our debut release and we were pretty stoked with the results we got for the price we paid.
‘Filthlicker' was released on Debello Recordings (Destroyer Destroyer, S.W.W.A.A.T.S., Zatokrev, etc.) on December 18, 2007. How did the opportunity to work with Debello Recordings come about?
Otis: I wanted a Destroyer Destroyer tee but didnt have a credit-card. The Debello site encouraged people to conceal cash in the order so I taped it to the inside sleeve of a shitty demo cd and sent the payment as a demo-submission. I was never really expecting anything other than the shirt in reply. Months later we got a message from Debello saying they liked the demo and about the possibility of doing a release with them. We were still waiting for Dave Otero to complete the Filthlicker mastering at this point. It seemed like a good idea to have label-support outside of our own territory. We were planning to release the ep on our own but it was rad to be approached before we'd even released anything. It felt like there was little to lose so we rolled with it.
What kind of feedback have you received about ‘Filthlicker' and are you pleased with the response it has had thus far?
Otis: When you are a metal band based on an isolated island in the South Pacific, it's hard to know the true scope of any external response, especially without touring that country. Our unfamiliarity with the US has left us with a large question mark over our heads in regards to the actual impact of the ep over there. We know it did well in New Zealand because we took it directly to local audiences and got rid of most of our allocated copies at shows. But NZ is a self-contained microcosm - it's not hard to connect with your fans in your own backyard, especially when the population is so small. But aside from online feedback, we've been unable to grasp any kind of tangible perspective on US promotion/distribution. Evidence has been fairly limited (excluding torrent sites in the Soviet Republic haha). Since Filthlicker's release we've been restricted by location and lack of funds which has prevented us from touring beyond our home territory. In any case - label or not - we believe good promotion and touring would be the true acid-test. This is something we've yet to pursue outside of Australasia, but we have our sights set on US and European tours in the near future.
Where did you draw your influences from musically for this record and what was some of the lyrical content about?
Otis: When we recorded Filthlicker, we were a lot more anchored in the abrasive end of the spectrum. The initial bass/gat/drums triangle always wanted to be more dynamic-sensitive and multi-dimensional, but the writing and work shopping disciplines as a whole weren't fully developed at that early stage. Alex was from a straight-up grindcore background too, his playing and Kallies vocal style put a definitive fence around the early sound. We're all fans of most heavy styles to varying degrees; but for Filthlicker we were trying to achieve a sound in line with our more unusual influences; bands like Kobong, Thordendals Special Defects, Cephalic Carnage, King Crimson etc. The weird shit. We weren’t trying to be all straight blast beats, trill-picking and squeelies. Although the sound on Filthlicker wasn't as pummeling as a lot of the bands we admire, I think we found a common ground within our individual influences. As for lyrics, I don’t think Kallie ever imparted them to us aside from the lyric on the back of the ep sleeve and a line she doctored from a Napoleon Dynamite coffee mug (Liger). She was always quite reserved about them. It was like "as long as she keeps sounding like that it doesn’t matter what she's singing". We were always more concerned with the instrumentation and that's the way I always perceived the vocals. I have a hunch that a lot of her phrases were merely amorphous phonetics. We may never know.
Since the time you recorded the material in early 2007, you have had a lot of time to listen and play tracks from the record. If you were to record this release over again, is there anything that you would do differently?
Otis: I don’t think we could ever try to approximate Filthlicker again. We've actually been listening back on a lot of earlier material lately; the apparent differences are pretty major. It's a different animal now. Since the first ep we've experienced more changes than most bands might expect between releases. Our writing disciplines have evolved and we've whittled down to a 4-piece. We are musically united by progression and this requires us to be looking forward.
[The Shift (2008)]
During and after the release of ‘Filthlicker', Akaname encountered numerous different obstacles. First, was the announcement that Kallie would be stepping down as the vocalist of Akaname. At that time, how did you feel the band's future as a result of her departure?
Otis: With all due respect to Kallie - as an incredible human and amazing vocalist, her approach to the band after the Filthlicker recording became more of an obstacle in itself. Her involvement behind the scenes was always quite hands-off, but she began to exclude herself more as the band developed. She would rarely rehearse with us and would often require a lot of liquor to perform. This would go awry as often as it went well. In the end Kallie became more of a co-exister, than a unified part of the band. Things went this way for a time and when it was finally addressed, her departure were already set in motion, yet without ill-feeling... it was mutually liberating. Our paths just led us in different directions creatively. We are all still great friends. She's doing her d-beat crust thing up in Sydney now.
Initially, after Kallie's departure, there were plans to write material for a collaborative project involving (three) 7 inch records, featuring guest vocalists. While preparing for this project, you ended up adding vocalist Gareth to Akaname, resulting in the abandonment of the 7 inch record project. Shortly thereafter, Akaname announced that they decided to stay an instrumental band. What were some of the decisions and discussions being made behind the scenes that lead Akaname to your current transformation?
Otis: We thought we needed to fill the hole left by Kallie - there were shows booked and recording plans... though ultimately that thought was a knee-jerk reaction. We found ourselves at a crux where we could see the benefits of Kallies departure, but after 2 years with her we were doubting our ability to be convincing as an instrumental unit. The pool of vocalists in NZ at that time was pretty dire. We'd been playing shows with our peer bands: Dial, Ulcerate, Strangers among others - all amazing bands with incredible complimentary vocalists. Those singers were the vocal contributors for the intended 7" projects - there was a certain caliber to maintain so we couldn’t just recruit anyone with a half-decent bark. At the same time there was a growing uncertainty about the context of a vocal element in the newer material... did we really need a vocal personality? We tried out Gareth but he was more brutal than we were, a great grind vocalist but not exactly complimentary to the direction we were heading. We canned the 7" projects in the end and most of the intended material was deconstructed or shelved. Finally, we arrived at the decision to not waste time trying to find a vocalist in NZ and instead focus our attentions on composition. At this point we were beginning to incorporate improv, noise-art, vocal samples and slower dirging atmospheres. Ultimately, we hacked up some Filthlicker material and merged it with the new stuff into one continuous piece. The way we'd developed the set between Kallie's departure and our first performance as an instrumental act - the need for a vocalist pretty much dissolved.
Also during this time period, the band decided to move to Australia and announced that Alex, who played guitar on ‘Filthlicker', would be relinquishing his duties. What were some of the reasons why you decided to move to Australia and how do you think the move has impacted the band?
Otis: As said - New Zealand is a microcosm. There is a low ceiling for everything to do with being a musician there. How many times can a band play the same venues to the same audiences? We had to go somewhere and Melbourne was bigger and close. Also, Matt and Ben had lived there previously so it seemed like the next natural step. But there were also individual personal lives going on - the whole band relocation was staggered over 6 months. After we finally all converged in Melbourne, there was more time expended getting jobs, finding places to live and organizing a rehearsal space. It took more time than we'd anticipated and we lost a lot of momentum. This idle period was a cause of much introspection, anxiety and frustration. Alex found himself in a similar place to where Kallie had been before her departure and we all became increasingly aware of his disposition, the effect it was having on him and the band's greater functional processes. His eventual decision to leave was sad, but ultimately mutual, amicable and positive. There's never been any grudges in Akaname - our friendships have always come first, band issues have always been secondary. With general regard to the Melbourne move, it may or may not have been the right decision for us, but it has revealed much of our strengths and weaknesses.
How would you describe the current incarnation of Akaname to someone who hasn't heard of the band before, and how does it compare to what your description would have been with the material written in 2006?
Otis: We've always had problems with adjectives, bio’s and the whole genre thing. Recently Akaname has resigned our summary to instrumental/ experimental/ post-metal, but in reality any kind of labeling comes with a grain of salt. Apparently music lovers need a reference point to determine whether they will like a band or not, before they even listen. Points of difference are often insignificantly fractional at the sub-genre level. Personally I don't like applying reduction-theory to musical styles. As for Akaname - simply put, the earlier material was more metallic and condensed, where-as the newer material is more expanded, layered, musical. We still enjoy playing with numbers and rhythms.
[‘Faith And Other Evolutionary Obstacles' Release (2009)]
The new album ‘Faith And Other Evolutionary Obstacles' is being recorded as we speak. What can fans be expecting and what do you want to accomplish with this record?
Otis: There was 11 months between the Filthlicker recording and its official release date. 11 fucking months! 2 years ago!! We were over it by the time it came out. We just want the next release to be a more relevant snapshot of the band. The new ep has more continuity on the whole, and in spite of being an instrumental act we are still trying to impart ideas and messages to the listener. There are loose themes about consciousness, spirituality, metaphysics, the misuse of religion etc. We're not proclaiming to be experts in these areas, but we do hope those who are paying attention will be inspired to think more about them.
How do you think fans will react to the new material?
Otis: I’m sure there will be expectations for anyone who heard/liked Filthlicker, but when compared to the new material I think there is as much similarity as there is difference. Dimensionally, the new stuff has more depth, so perhaps those who favour a constant barrage of sonic destruction may be disappointed in parts, but we hope most listeners will be able to register the new ep as a whole, not just a sum of different parts. We'll have to wait and see.
What are some of Akaname's biggest influences musically this time around?
Otis: I've been listening to a lot of King Crimson, Crowpath, Amenra, Knut, Tool, Blotted Science, Magma, Meshuggah - these are bands we all admire and I’m sure the others have their own various inspirations in there as well ... though this time around we're also finding influence in non-musical aspects like sacred geometry, quantum mechanics, consciousness etc. We've been applying some of these concepts onto our instruments and into our writing. As humans, we are living in an exceptional point in time. Once you become aware of that it's hard to be ignorant of it...even in the context of being a musician.
Do you think your plans of self-releasing your upcoming material have any effect on the way that you want the new CD to be perceived?
Otis: We came to the realization that we needed total independence, fidelity of our music, and the choice to be able to make our recorded material available to anyone who wants it - free from monetary constraints and markets. We want to cut out the middle-men where possible and separate the accepted element of commerce from the music. We are content to remunerate by means of our own endeavor (merch, door-takes, personal funds, etc) but we feel that charging people for music is a fundamentally flawed concept. We make music for personal enrichment and to positively affect others. All due respect to the indie labels but they are still intertwined in the greater industry. In terms of being a band, the self-managed DIY approach produces a more genuine and positive experience for us. We'd hope people perceive the new ep based on its musical content and emotive value as opposed to it's method of release, but then I don’t think it's a bad thing if people see we're doing it our own way. The perception that a band has to be signed to be good/ significant has held weight in the world for a long time, its kinda bullshit.
Based on the name chosen for the new EP, what is your view on religion and science?
Otis: We're not trying to condemn or point fingers at anyone, that's counter-productive. The title refers more to the current point that humanity has reached in its conscious evolution. As a species, we are capable of sentience, rational thought and spiritual maturity. We know more about our universe/reality than we ever have, but many of us still freely give ourselves over to the rhymes, reasons and remedies of others - without inner reflection. The ep title is not directed solely at theistic religions as there are many other forms of self-diminishing faith that we might subconsciously subscribe to on a daily basis. Mass-media, advertising and governmental institutions are examples. It can be said that people focus and engage these systems with the same reverence that some do with religion. Consequently, these systems request and desire your constant attention, your adulation, your obedience, and/or your dollar... but how often do they engage your personal growth, wealth of knowledge, or true spiritual fulfillment? We are neglecting the full human experience by chasing the "carrots-on-sticks" of the world... that's mostly what the title of this ep is driving at.
[LIVE]
How would you compare the metal scene in New Zealand to the metal scene in Australia?
Otis: It's still too early to make any real comparisons yet. There are a lot of cultural similarities between Australia and New Zealand in general, but the only tangible differences so far seem to be population-based.
What is one of the most favorite shows you've ever played and why?
Otis: Everyone in the band would have a different experience. I always liked the house-party vibes most. Also one of our last Wellington shows with one my drum mentor's band's; The Village Of The Idiots. They were the yin to our yang, but it worked perfectly. It was rad to play a split-bill with a personal hero/educator.
[MISCELLANEOUS]
What would you consider to be the most rewarding and most frustrating aspects of being in a metal band?
Otis: Doing something you love is most rewarding. I can’t see the bad experiences being genre-specific, but under-managed egos are always a buzz-kill. For everything else you just build a bridge and get over.
What are some of your favorite albums and what bands would you say have had the biggest impact on Akaname as a band?
Otis: I'd say Sol Niger Within (Fredrik Thordendal) would have the top spot. We all love Meshuggah too but the Special Defects album is transcendental. Kobong, Cephalic Carnage, Discordance Axis, Isis, Nyia, Breach, King Crimson, Isis, Tool, Zatokrev, Knut ... there are literally too many. I've written 90% of the material to date (drums and gats) so my influences probably stick out the most. Though the others are injecting more of their essence into the writing process these days - if they were here I’m sure they'd probably drop a whole lot more names.
What are your feelings about illegally downloading music?
Otis: Its a two-edged sword for artists and labels... sure they are losing revenue as a result of "unsolicited" downloading - but they gain a wider audience, virally. So what is more valuable; money or listenership. I’m sure most artists and their labels would offer differing answers to that question. I personally don’t know many people that play in heavy bands for a prime source of income. Personally, while I do download music quite frequently, I also make a point to buy/support the stuff I like.
What are your thoughts on the current state of the music industry?
Otis: Potentially redundant. The greater industry in 2009 appears to be full of "painted rust".
Aside from playing music with Akaname, what are some of your hobbies?
Otis: I also play guitar with Swampy in Ornithologist. I make art for a living (paint, illustrate, design etc), that chews up most of my non-musical time, and I love to skate, read, cook, and hang out with my girlfriend.
You designed the artwork for ‘Filthlicker', will you be designing artwork for the new EP, and where does your inspiration come from?
Otis: I do most of the bands artwork. The Faith ep illo is a weave of barbed vines. It’s basically a nod at all the stuff I previously mentioned regarding the title.
Do you have any final thoughts or comments?
Otis: Brutal thanks, Namaste!
Saturday, April 04, 2009
Rise Of Caligula Interview
Rise of Caligula released their album ‘Libretto’ in the summer of 2008. Now, after a few tours and an addition of a second guitarist, the band is preparing to release their first full length album. Rise of Caligula have booked studio time in May and are leaving for a tour with Embrace the End shortly following the recording. I was able to share a few words with George Clarke, the vocalist of Rise of Caligula, about their thoughts on ‘Libretto’, what to expect for their new material, life on the road, and the band in general.
[BACKGROUND]
For the readers who have recently started following ‘Rise of Caligula', let's start at the beginning. When and how was the band formed?
George: The band officially 'formed' in November of 2006, but had come about when our previous band, which most of us shared, fell apart. After deciding to go in a different direction musically, Gary, John, and myself stayed consistent while going through minor lineup changes, eventually adding our friend Kerry on bass guitar. We recorded a 7 song EP as a 4 piece, did some touring, gained our 2nd guitarist Rob in the late summer of 2008, and now we're here.
What is the story behind your band name, ‘Rise of Caligula'?
George: I had read a book called The Twelve Caesars, which of course, featured Caligula. Found him interesting.
How would you describe ‘Rise of Caligula' to someone who hasn't heard of you guys before?
George: On Libretto, we were trying to go for a hardcore/thrash inspired metal sound. We had just decided to change our sound up and hadn't really discovered our sound yet. You can hear us being a young band on that record. On the new release, we know exactly what we're going for. Heavier, faster, and much more diverse.
[CURRENT RELEASE]
‘Libretto' was recorded at Metal Works Studio in Folsom, California and was released in 2008 on 187 Records. What kind of feedback have you received about the material and are you pleased with the response it has had thus far?
George: Actually, every review we've received has been pretty positive and yes, people that have gotten the record seem to enjoy it. Not too shabby.
What is the meaning behind the album name and supporting artwork designed by Mario Garza of Robot Plague (Suicide Silence, Destroyer Destroyer, etc...) ?
George: The album itself has an overall mood and idea to it, but lyrically, there was no central theme. More so varied subjects with a central emotion behind all of them. So, it was hard to come up with a name that I felt summed up the record as a whole. Because of that, I decided to name the record after the accomplishment that we felt it was. And that's what Libretto is.
As far as the artwork, Mario did a great job getting the mood of the record.
Lyrics were not provided as a part of the CD packaging. Does the quote on the back of the insert sum up the lyrical content of ‘Libretto' and where have you drawn your influences from lyrically for this record?
George: The quote was from a book that I was reading on French social anarchism that summed up my viewpoint then. At that time, some of us had been homeless or living poor and getting into anarchist literature. We all started developing similar opinions and because of that, Libretto deals a lot with an overall sense of injustice and frustration, whether it be personal or social. It's a very angry record.
[UPCOMING MATERIAL]
Rise of Caligula has recently added a new guitarist into the mix. How has this affected the writing process of the new record and how does it compare to the way in which ‘Libretto' was written?
George: When we had written Libretto, we lost our original 2nd guitarist a month before recording. Almost every song was revamped / rewritten and thrown together pretty easily even though overall, the writing process was pressured and had to be done quickly. Luckily Gary and Kerry work really well together. Adding Rob to the mix has worked out really well so far. He knows the exact sound we're going for, but also brings a lot of his own brand of spastic death metal to the table. This also allows us to work more with leads and expand our instrumental sections, which is a huge plus.
What are some of your influences this time around, both lyrically and musically, for the material you are about to record?
George: Musically, we've opted for a much more straight forward approach while still trying to maintain diversity. The songs are much shorter, focused, and to the point. Like Libretto, they will blend into an overall mood. Lyrically, the topics are much more personal and span the events of the last year. While Libretto was angry, this will be sad. No optimism and no hope.
If you were to compare the material planned for your full length to your previous effort, ‘Libretto', what are some of the main differences between the two?
George: As I said earlier, I would say that the two main differences would be the song writing approach itself and the overall mood of the record. Songs are shorter and much more ferocious, but also able to be expanded upon because of our 2nd guitar and the time we've had to write. The mood of the record will focus on an overall feeling of sadness and hopelessness, rather than blatant anger.
In 2008, you recorded two demo tracks, ‘Haniera Deinnah' and ‘The Republic'. Will they be featured on the upcoming record and do these songs set the tone for the rest of the upcoming material?
George: We did those two first demos as a small taste of things we had been working on and maybe the direction we were going in. Even since then though, we've progressed and written a lot more. The two songs may or may not be on the album depending on how much new material we continue to push out, but if not, I'm sure we'll put them out as B sides or at least up for download.
You will be recording your full length from May 7th to May 11th at The Atomic Garden Studios in California. In our previous conversations about the upcoming record, you have stated that you plan on recording using analog gear instead of recording it digitally. Now-a-days, many artists choose to record digitally. What are some of the reasons that you have decided to record using analog gear?
George: Well actually, with Libretto, we wanted an analog sound also. We just didn’t have access to that sort of equipment at the time, so we just tried to make the sound as natural as we could. I think 90 percent of bands we listen to record that way so all of us have really adapted to how nice a natural recording sounds. Of course, with technical death metal and such, I understand the need for digital recording, but with what we're going for, it's really not necessary. I look forward to being able to work with the possibilities of natural sound this time around.
When do you expect the new full length to be released and have you decided on a title for it yet?
George: I don't have a title for it yet, but I hope to have it released by late July 09 or so. All depends on what we can work out.
[LIVE]
You have had the chance to tour with quite a few bands such as Molotov Solution (Metal Blade Records), Name (Lifeforce Records), and Katsumoto (Uprising Records). Which tour or show has been the most memorable to you and why?
George: That's really hard. All of those guys are great. A huge mention to The Dajjal Persona who toured with us and Name also. We're lucky that all of the tours we've been on have been a really good time. All those guys in all those bands are great dudes.
What are some of the obstacles you have had while on the road?
George: Christ, we've gone through everything. Try this: touring in a 97 Aerostar with all the seats taken out. No trailer, all your equipment in the van poking you in the back while you sit cross legged pressed against the two front seats. The weather averages 100 degrees, there’s no AC, you break down in every town, and no stereo. Or this: The van you're supposed to get falls through, and you tour in a Volvo, with half your equipment stuffed in between your legs while you're forced to borrow the other half from random bands night after night. These are just the overall pictures. Believe me, Gary catalogs every day of every tour we ever go on in his notebook. There’s a ridiculous obstacle every day.
What is one of the craziest things that have happened thus far while on the road?
George: The White Rabbit incident in San Antonio. The house show in Boise. The house show in Tucson. The SF party. The LA rave. The Vegas strip. I shouldn’t disclose much more.
You will be embarking on a tour from May 15th though May 31st with Embrace the End (Century Media Records) shortly following the recording sessions for the new album. How did the chance to tour with Embrace the End come about and are you excited about playing any place in particular for this tour?
George: We played a few shows with ETE and after John moved to Sacramento, started keeping in contact with them more. I hit Jesse up one day asking if he'd ever want to tour, thinking it was a long shot, and from there we just kind of made it happen. As far as the tour, I'm really looking forward to San Diego, SF, and Portland the most. Every night should be really fun though. I'm excited just to see friends.
[MISCELLANEOUS]
What are some of your hobbies outside of ‘Rise of Caligula'?
George: Drinking. Black metal. Mind expansion. Mind dulling. Mostly Drinking.
Is there anything else you would like to share with the readers?
George: Support word of mouth. Tell your friends.
[BACKGROUND]
For the readers who have recently started following ‘Rise of Caligula', let's start at the beginning. When and how was the band formed?
George: The band officially 'formed' in November of 2006, but had come about when our previous band, which most of us shared, fell apart. After deciding to go in a different direction musically, Gary, John, and myself stayed consistent while going through minor lineup changes, eventually adding our friend Kerry on bass guitar. We recorded a 7 song EP as a 4 piece, did some touring, gained our 2nd guitarist Rob in the late summer of 2008, and now we're here.
What is the story behind your band name, ‘Rise of Caligula'?
George: I had read a book called The Twelve Caesars, which of course, featured Caligula. Found him interesting.
How would you describe ‘Rise of Caligula' to someone who hasn't heard of you guys before?
George: On Libretto, we were trying to go for a hardcore/thrash inspired metal sound. We had just decided to change our sound up and hadn't really discovered our sound yet. You can hear us being a young band on that record. On the new release, we know exactly what we're going for. Heavier, faster, and much more diverse.
[CURRENT RELEASE]
‘Libretto' was recorded at Metal Works Studio in Folsom, California and was released in 2008 on 187 Records. What kind of feedback have you received about the material and are you pleased with the response it has had thus far?
George: Actually, every review we've received has been pretty positive and yes, people that have gotten the record seem to enjoy it. Not too shabby.
What is the meaning behind the album name and supporting artwork designed by Mario Garza of Robot Plague (Suicide Silence, Destroyer Destroyer, etc...) ?
George: The album itself has an overall mood and idea to it, but lyrically, there was no central theme. More so varied subjects with a central emotion behind all of them. So, it was hard to come up with a name that I felt summed up the record as a whole. Because of that, I decided to name the record after the accomplishment that we felt it was. And that's what Libretto is.
As far as the artwork, Mario did a great job getting the mood of the record.
Lyrics were not provided as a part of the CD packaging. Does the quote on the back of the insert sum up the lyrical content of ‘Libretto' and where have you drawn your influences from lyrically for this record?
George: The quote was from a book that I was reading on French social anarchism that summed up my viewpoint then. At that time, some of us had been homeless or living poor and getting into anarchist literature. We all started developing similar opinions and because of that, Libretto deals a lot with an overall sense of injustice and frustration, whether it be personal or social. It's a very angry record.
[UPCOMING MATERIAL]
Rise of Caligula has recently added a new guitarist into the mix. How has this affected the writing process of the new record and how does it compare to the way in which ‘Libretto' was written?
George: When we had written Libretto, we lost our original 2nd guitarist a month before recording. Almost every song was revamped / rewritten and thrown together pretty easily even though overall, the writing process was pressured and had to be done quickly. Luckily Gary and Kerry work really well together. Adding Rob to the mix has worked out really well so far. He knows the exact sound we're going for, but also brings a lot of his own brand of spastic death metal to the table. This also allows us to work more with leads and expand our instrumental sections, which is a huge plus.
What are some of your influences this time around, both lyrically and musically, for the material you are about to record?
George: Musically, we've opted for a much more straight forward approach while still trying to maintain diversity. The songs are much shorter, focused, and to the point. Like Libretto, they will blend into an overall mood. Lyrically, the topics are much more personal and span the events of the last year. While Libretto was angry, this will be sad. No optimism and no hope.
If you were to compare the material planned for your full length to your previous effort, ‘Libretto', what are some of the main differences between the two?
George: As I said earlier, I would say that the two main differences would be the song writing approach itself and the overall mood of the record. Songs are shorter and much more ferocious, but also able to be expanded upon because of our 2nd guitar and the time we've had to write. The mood of the record will focus on an overall feeling of sadness and hopelessness, rather than blatant anger.
In 2008, you recorded two demo tracks, ‘Haniera Deinnah' and ‘The Republic'. Will they be featured on the upcoming record and do these songs set the tone for the rest of the upcoming material?
George: We did those two first demos as a small taste of things we had been working on and maybe the direction we were going in. Even since then though, we've progressed and written a lot more. The two songs may or may not be on the album depending on how much new material we continue to push out, but if not, I'm sure we'll put them out as B sides or at least up for download.
You will be recording your full length from May 7th to May 11th at The Atomic Garden Studios in California. In our previous conversations about the upcoming record, you have stated that you plan on recording using analog gear instead of recording it digitally. Now-a-days, many artists choose to record digitally. What are some of the reasons that you have decided to record using analog gear?
George: Well actually, with Libretto, we wanted an analog sound also. We just didn’t have access to that sort of equipment at the time, so we just tried to make the sound as natural as we could. I think 90 percent of bands we listen to record that way so all of us have really adapted to how nice a natural recording sounds. Of course, with technical death metal and such, I understand the need for digital recording, but with what we're going for, it's really not necessary. I look forward to being able to work with the possibilities of natural sound this time around.
When do you expect the new full length to be released and have you decided on a title for it yet?
George: I don't have a title for it yet, but I hope to have it released by late July 09 or so. All depends on what we can work out.
[LIVE]
You have had the chance to tour with quite a few bands such as Molotov Solution (Metal Blade Records), Name (Lifeforce Records), and Katsumoto (Uprising Records). Which tour or show has been the most memorable to you and why?
George: That's really hard. All of those guys are great. A huge mention to The Dajjal Persona who toured with us and Name also. We're lucky that all of the tours we've been on have been a really good time. All those guys in all those bands are great dudes.
What are some of the obstacles you have had while on the road?
George: Christ, we've gone through everything. Try this: touring in a 97 Aerostar with all the seats taken out. No trailer, all your equipment in the van poking you in the back while you sit cross legged pressed against the two front seats. The weather averages 100 degrees, there’s no AC, you break down in every town, and no stereo. Or this: The van you're supposed to get falls through, and you tour in a Volvo, with half your equipment stuffed in between your legs while you're forced to borrow the other half from random bands night after night. These are just the overall pictures. Believe me, Gary catalogs every day of every tour we ever go on in his notebook. There’s a ridiculous obstacle every day.
What is one of the craziest things that have happened thus far while on the road?
George: The White Rabbit incident in San Antonio. The house show in Boise. The house show in Tucson. The SF party. The LA rave. The Vegas strip. I shouldn’t disclose much more.
You will be embarking on a tour from May 15th though May 31st with Embrace the End (Century Media Records) shortly following the recording sessions for the new album. How did the chance to tour with Embrace the End come about and are you excited about playing any place in particular for this tour?
George: We played a few shows with ETE and after John moved to Sacramento, started keeping in contact with them more. I hit Jesse up one day asking if he'd ever want to tour, thinking it was a long shot, and from there we just kind of made it happen. As far as the tour, I'm really looking forward to San Diego, SF, and Portland the most. Every night should be really fun though. I'm excited just to see friends.
[MISCELLANEOUS]
What are some of your hobbies outside of ‘Rise of Caligula'?
George: Drinking. Black metal. Mind expansion. Mind dulling. Mostly Drinking.
Is there anything else you would like to share with the readers?
George: Support word of mouth. Tell your friends.
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