Steel for Brains

I recently engaged in a friendly conversation with a few people regarding the merits of industrial music as heavy metal and vice versa.  Bands like Godflesh and Skinny Puppy were mentioned, tongue-in-cheek jabs were made, but the topic of discussion was fascinating to me if for no other reason than the fact that after much pontification I sure as shit didn’t have an answer.  Frankly, it doesn’t matter.  Industrial music may or may not be “heavy metal,” but it’s a sure bet that it bears the attitude of its metal counterpart.   San Diego’s Author & Punisher sounds like the masterwork of at least a few musicians all collaborating as a unified front of buzzed out industrial doom, but it’s amazingly the brilliance of one man – Tristan Shone.  Shone has a penchant for auditory decomposition by way of his complexity in composition.  The music here is a gradual staggered pulse into the realm of equal parts metal and industrial with neither gaining a sure foothold thanks to Shone’s dedication to discomfort.

Opener “Women & Children” lurches with a reptilian pace with Shone’s robotic voice echoing like some sermon from the underworld.  One of the most fascinating elements of Women & Children is Shone’s distinct negation of vocals.  It’s not that the vocals are muted here in any way it’s simply that Shone utilizes his technology savvy to make his voice become the music itself weaving in and out in an unsettling and equally captivating way.  “In Remorse” makes judicious use of dissonance laced with the sounds that call to memory the Streetcleaner days of industrial, yet it never pushes itself into the realm of the derivative.  “Melee” is a near eight minute foray into the cavernous space that is Shone’s consciousness both as a musician and writer.  “Tame as a Lion” is perhaps the finest example here Author & Punisher’s definitive sound with its muted intro with only Shone’s voice cascading over an eerie piano line – a journey that quickly devolves into the maddening thuds that define the record.

It’s the kind of music that renders the listener helpless but to listen again and again.  The machinery of Author & Punisher is one far less definitive than the confines of any subgenre of music, and that alone is a testament to what Shone has created here.  If music is meant to challenge us alongside the complex relationship of being entertaining in tandem, then Shone has masterfully accomplished both here.  Women & Children is beautiful in that it collapses the central notion of beauty into a singular beat slithering its way into songs that are haunting and unforgiving.  While much of industrial resorts to the pedantic safeguards of what’s been done already, Shone seems less interested in repeating history so much as he’s interested in burying it beneath a sound that’s familiar but strangely and beautifully new. Women & Childrenwill be released courtesy of Seventh Rule Recordings.

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Since 1991, Enslaved have been forging their own specific path in the metal realm.  Blending equal parts black and progressive metal, their influence is vast and undeniable.  Perhaps their greatest ally has been time as Enslaved have evolved to extraordinary degrees with each release, delving deeper into the consciousness of metal and its infinite possibilities.  I had the opportunity to ask guitarist and founding member, Ivar Bjørnson, a few questions.

What’s been your personal journey as a musician?  That is, what essentially drew you to the music that you create?

It’s been a long and most wonderful journey. It’s hard to pinpoint exactly what led up to it all; but I was lucky to be exposed to music at a very young age – from several angels. I had some great music loving adults in my life – both in family and in school, and they all picked up on my interest. My grandfather gave me, by accident I guess, a Kiss cassette when I was five or six years old – my theory is that that tape more or less unleashed the whole thing. I never became a big Kiss fan, but there was something in there that made me look further. Basically I found my entire life in music!

How have you seen your perspectives on your own art change throughout the years since Enslaved first formed? 

Yes, I think I first and foremost developed a more conscious and aware relationship to my music – now I am more aware of how to make visions and ideas into concrete and tangible things; music, artwork, visuals and so on. Then, on the other hand; I’ve tried to not analyze this too deeply – part of the magick is to let things happen as they happen; to let the inspiration flow freely without too much conscious effort to control or understand anything.

credit: Łukasz Woźny

What’s the creative process for Enslaved when you guys walk into the studio to record material?  Do you find that that process has changed over the years?

The basics of the process remain the same, but the process and surrounding technologies are getting more “refined”. It’s always been me writing the music and making demos for the others to get an impression of what the song is – in the early days I would record on a cassette recorder, eventually multi-trackers, then computers. Then there’s Grutle and Herbrand (our two singers) analyzing the song from the singers’ perspective. Once in a full moon they will want a cosmetic change to the song with more or less of something to accommodate their wishes for the amount (or absence) of singing. If we agree, I’ll go back and make changes and eventually the basic sketch is done. That’s when the practical work starts in the rehearsal room: the core of that work is basically done by myself, Grutle and Cato – and sometimes with Ice Dale; Herbrand is more fond of working on his own in the last minutes before going into the studio – his integration into the songs normally happens more after the album has been released. A bit weird perhaps, but for now it works!

I’m curious as to how the band comes up with the lyrical content for the songs.  What things work as catalysts for Enslaved when writing the lyrics? 

Again, we found a method many years ago that still works, so we stick to that. When there’s been a musical beginning taking place (first song, first riffs etc), me and Grutle meet over some beers and discuss where we want to go with the album in terms of concept and lyrics – sometimes there won’t be a concept album, and then we’ll discuss more on a lyric-by-lyric level.  As lyricists I guess we work differently – my impression is that Grutle uses more research and references from mythology, books on history etc, while I prefer to abstract my topics somewhat more and rather chew up the references and spit them out again through my own psycho-metaphysical filters [laughs].

Much of what draws fans to heavy metal is the aggression and raw emotional output.  I’m curious as to how a band like Enslaved, who are undeniably influential on so much of heavy metal today, thinks about the state of the genre as it stands today.  Do you feel the genre is better than it’s ever been, or is it simply gaining more exposure?

It is definitely at its height in terms of professionalism, commercial success (which isn’t a bad thing, don’t get me wrong) and exposure – but in terms of creativity and actual artistic and “spiritual” content I think we are approaching rock bottom at warp speed hehe. There used to be a time when no one knew or cared about anything but the music and lyrics; what it represented. Now it’s the “interesting persona” (real or constructed) that precedes the music and lyrics. There’s a bigger chance for a person with a vast network and ridiculously poor musical and lyrical skills to succeed than a brilliant mind with no network.

It’s all about who and how, not the what. The upside is the stubbornness it inspires for true artists to focus harder on music and let showbiz be showbiz. Whether this last fashion-catwalk that Metal has become is sustainable or will go down in flames like Metal did in the late 80s last is an open question – and quite frankly I don’t care too much: both scenarios has good and bad sides – we emerged from a dying Metal scene ourselves in the early 90s on one hand, and if the Metal scene goes bust we’ll probably go down with it hehe. So in short; I think it is pretty shitty and at the same time I think it is pretty great also. If it survives in this form eternally; great – if not; even better – something new will emerge from it, certainly!

What’s been the biggest obstacle or challenge for Enslaved throughout the years, and how did the band overcome that?

The difference in ambition and dedication between members is something a band can not survive for long – so it needs to be sorted. Around the turn of the millennium we found Enslaved to be suffering from a band that did not pull in the same direction at all. Finally we had to “reset” the band and start from the beginning almost. Those years before we turned the tide was the toughest for me; I felt quite alone in my wishes for change – but it all worked out for the better!

credit: Mirjam Vikingstad

What’s been the band’s proudest moment since its inception?

Luckily it is really hard to choose one moment! Maybe a split decision between getting the first test print from “Hordanes Land” in 1993 on one side, and on the other side last summer when me and Grutle heard the first mix of Riitiirin the Swedish woods where we stayed when mixing the album.

What do you guys typically enjoy doing when you’re not touring, recording, or writing?

Myself I enjoy spending time with my family – there’s not much time left when all music related activity is done… IF there’s any spare minutes I love being outside in nature – not necessarily doing anything, just being on the water, in the forest, on the mountain, outside our house… And if there’s any time left at that moment when nothing demands my attention: books! Some day I’ll find the time to read a lot more!

Much of what draws me to the metal genre is the topic of decay.  There’s a fine line of distinction between those musicians and bands fully capable of conveying a respectful sense of wonder at the process of decomposition and those who simply feign interest in the hopes of appearing intimidating or frightening.  Those artists and musicians who truly desire to venture outside the confines of what is considered “dark” tend to avoid the clichéd sentiments of purely “evil” or “foreboding” lyrics, instead focusing on the life cycle itself – the equilibrium of the conscious and unconscious.  While much of popular music may take a surface level perspective on death and loss, the metal genre has made it a distinctive characteristic to burrow deep into the heart of every aspect of existence and not simply those that conjure up feelings of positivity. 

England’s Lychgate are one of many bands whose aesthetic is one reliant far more on the space of sound rather than gimmicky undertones of supposed evil or dread.  Just glossing over the band’s Bio or Facebook profile, and you’ll learn their interests are far reaching.  Listen to their recently released S/T debut, and that understanding is amplified to a stunning degree.  Much like the other bands of its members (including Esoteric and Omega Centauri), Lychgate is as decadent in sound as it is in the subject matter of each song.  G.A. Chandler’s vocals work a buzzsaw instrumentation around the blood curdling accuracy of Vortigern (guitars), Aran (bass), and T. J. F. Vallely (drums).  Encapsulating the divinity of decay, the album displays the life cycle from the birth of the first track with its Bach-by-way-of-hell pipe organ to the hauntingly gorgeous ending track, “When Scorn Can Scourge No More.” 

The use of keyboards/synthesizers in black metal is oftentimes (and rightfully so) looked at with a sort of ambivalence by fans and critics alike.  It’s not that the use of them is something inherently bad.  It’s simply that their use is somewhat of a decorative piece that’s almost always forgettable.  With Lychgate, their usage is paramount to the overall atmosphere of the album.  Second track “Resentment” begins with an ominous dirge heralding into a maddening blend of avant-garde black metal and post-metal soundscapes.  “Against the Paradoxical Guild” is an absolutely unrelenting composition filling all six minutes and nineteen seconds with the kind of music that bears repeat listens to fully absorb its mastery.  Lychgate is that metal album whose atmospheric beauty is teethed with the conception of decay and the inevitability of death.  Lychgate was released in April courtesy of Gilead Media and Mordgrimm. 

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Born from the mind of frontman Ashmedi, Melechesh has been defining the metal realm in its own terms since 1993.  Having originations in the very heart of the Middle East, their music has been the subject of controversy and acclaim.  As the band turns twenty this year, their grasp on Assyrian black metal remains firm and finds the band exploring the depths of their own consciousness in composition.  I had the opportunity to ask Ashmedi a few questions about the band itself and its volatile cultural surroundings.  

What’s been your journey as a musician?  Starting from when you first felt compelled to be a musician to where you are now, what’s led you to this point?  

Well passion for music is one of them. Maybe this is a cliché but I felt music was the right outlet for me. Maybe due to the societal setting I was exposed to I turned to music. Heavy Metal in particular was the ideal outlet for my state of mind or personal experiences.  At one point I got the urge to play so after saving up I bought a crappy electric guitar and started playing, teaching myself and eventually composing.  I was met with ridicule by my family and school and many said you can’t even play, how on earth do you think you will ever release any albums let alone release albums while living in Jerusalem?  It did not faze me. I did not think about it too much. Just played. 

What is it about the metal genre that drew you in to create music yourself?

I was always into extreme things from BMX to skateboards, anything with an edge I was into it. In hindsight, living  in Jerusalem exposed me to certain demographics and tensions there, plus my own family setting perhaps made me appreciate the sound of metal more. The guitar and drum correlation, angry vocals etc… it was ideal for me. At the time I knew nothing of  the herd mentalities in metal and conservatism and so on. I just liked the music so it was ideal. Naturally at this time I see the ups and downs . Anything public in the hands of people ( esp over-empowered persons with a sense of self entitlement may offer also a  down side ) But the music was ideal for me I wanted to add a different touch or spice to it , maybe contribute a leaf if not a branch to the tree of  heavy metal if there is a such a thing .

As the metal genre evolves, it seems that fans’ response to it evolves as well.  For you, what seems to be the main difference between American reception of heavy/experimental music and the myriad of other cultures’ reception to it?  What do you feel is the main causality for this difference in reception across cultures?

America is a large place so not one answer or perception is accurate.  There are multiple truths.  I feel there are a lot of conservatives , it is not a bad thing they preserve the essence of Metal and they’re the ones that appreciate the boundaries being pushed . Both are necessary for a healthy scene. I believe metal music does transcend cultures because it is a subculture on its own, so you would notice pretty much similar receptions worldwide provided they are exposed to same level of information . I see a global picture rather than a regional one.

When you go into your head space to compose a song, what’s your process like both when it comes to the musical composition and to the lyrics?

It is quite an abstract process, I am not sure how it happens, at times I feel frustrated and at times it is like a moment of zen the music flows and the music creates images like a film trailer or such from there I keep developing it . I later add the exact wording, the lyrics. Sometimes I start with a verse some inspiring lines then add music to it so there isn’t a blue print or a formula, it’s a mix of order and chaos I guess

You’ve been performing as Melechesh since 1993.  How have you personally seen the band as a whole evolve since then?  What are some lessons you’ve learned along the way?

Well the band grew and became a credible musical entity.  I never planned for this I just wanted to make music that I felt was good. Biggest challenge is human element. Imagine pirates trying to run an organization like company or school… it is not easy. You meet many great people but also many insecure and frustrated characters with giant egos it is hard to deal with them. So I learned to just do what is right to the music or the Melechesh banner we carry and not play into people’s dark side of their minds. I try to avoid that.

What do you see as the greatest detriment to heavy/experimental music in the 21^st century?  Conversely, what do you see as its greatest asset in the age of immediacy?

The detriment would be shallow music and shallow consumers, who alternatively seek to get music for free claim to be rebels but bow in awe to well off corporations such as Sony and Apple, yet still have no issue in hurting the musicians.  This is a generalization though.  One of the greatest assets in this age of immediacy is technology. With one click the world can find out when a band tours and where. Can see the merchandise and news and hear musical samples. It is good. Technology is like fire and can be used in a positive or negative sense. Also in this age the real music lover is exposed to more music that perhaps normally they would not have been exposed to.  So as you see with my answer I do see the pros and cons. This is life.

When you’re not writing or touring with the band, what do you like to do in your leisure time?  Any books you find yourself engrossed in?  Please elaborate.

The band does consume most of my time when I am not touring or writing I am managing and baby sitting .  For leisure I like to escape it all and travel to sunny places, because I live in Amsterdam and I miss the sun there. I like to cook or go and dine out. As for reading I like to read a lot about current issues in the world be it political, social or economic. I also always try to find time to read archaeological anthropological and mystical readings if I find the right and interesting subjects. 

Thanks to Ashmedi for his time.

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