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MOONSPELL
- Dawn Of A New Moon
By Alex Ristic
Four full-length albums, four distinctly different sounds. If Moonspell
are anything, they're definitely ambitious. Now with their latest
release on Century Media, The Butterfly Effect, a new spell has
been cast once again, with the dawning of new music once more.
You can see the transition from their first two records, Wolfheart
and Irreligious. Wolfheart had the black metal attack mixed with
gothic undertones, but when Irreligious came out the gothic sound
took over, and the band's sound became more romantic and dark. Their
third album, Sin/Pecado, saw a transformation once again, with a
little bit of the metal zing taken out and some pop sensibilities
thrown in.
For the Butterfly Effect, Moonspell has emerged from their almost
two-year cocoon with another change. Industrial effects litter the
album, a new twist, but Fernando Ribeiro has borrowed from the old
with his return to black metal style vocals. It is on the topic
of the band's evolution that drummer Mike Gaspar speaks.
"We started to [add] some technological aspects to our music after
Irreligious," admits Gaspar, "but we've gone slowly and tried to
learn as much as we can. It's just like a tool that we're not afraid
to use anymore. On this new album, you might think you're listening
to a sample or something, but it's actually a real guitar. It was
a guitar that was originally recorded, but we put it through a sample
and we filtered it. I think it helps the sound a lot more and makes
it thicker. Live, sometimes people think if you're using electrical
equipment you're not really there; you're not really giving them
what they think they're listening to. The reality of things is that
music sounds a lot better live when you have certain patterns recorded
on a sampler that sustain and give a backbone to the sound. If you
listen to Marilyn Manson, who we've played with, live they'll have
16 tracks of stuff that's recorded, but I know people don't know
that. At the end of the day, the musicians give their best when
they play, but they just have that to give them a bit more."
The loquacious drummer goes on to say that the evolution didn't
all come from within; some outside influences have also affected
the band, like the bands they've toured with: Marilyn Manson, Type
O Negative and Kiss, to name just a few. Gaspar says some of what
you hear on Butterfly may not be a direct link from those bands,
but subconsciously he feels there's an influence.
"I think one of the main aspects for Moonspell is all the experiences
we have from touring," Gaspar says excitedly. "You would encounter
all these different types of bands. We've toured with Type O Negative,
we toured with Morbid Angel, we played a few shows with Kiss. From
the musicians to the technicians, you're always listening to different
things. You go into a record store, I heard them playing the new
Nine Inch Nails. The last album I was listening to was Rob Zombie.
All this has a little bit of influence when you're going into the
recording studio, of course. Especially with Andy Reilly (producer).
He made me think of the old times because he's really into rock
like Motley Crue and all these old hard rock bands. It gives you
a little bit of essence for the live sound of the band."
Ah, so Reilly is responsible, in some part, for how Moonspell sounds
now. The verbose Gaspar tells the tale of how the producer and the
band met up and how he helped coax some of the creativity of the
band.
"Andy's name occurred after us going through Trident Studios. He's
like a hard rock kind of producer, because he's done bands like
The (London) Quireboys, Skin, Bruce Dickinson; he's engineered for
David Bowie. What Moonspell needed was someone more rock oriented
because we had the technology in our sound, so we wanted someone
to bring out the live aspect of the band. He's a typical English
guy. It was lots of fun to bring him over to Portugal. He was here
with us for a week and a half. He was more worried about having
a good time than working. For him everything was fun, and we weren't
used to that because in the past, in Germany, everything was so
strict. You would lose the fun in it. (Reilly) would try to get
the best out of each musician. If something wasn't working he'd
be like, 'Fuck this, let's go to a pub and have some beers.' Then
everything would work better. We ended up doing most of the recordings
during the night, which was a really new experience for us."
The final question is, will the fans understand the constant metamorphosis
the band goes through? With so many changes from each album, some
are bound to feel confused, lost or even, in extreme cases, betrayed.
Gaspar answers that the band is aware of the problem, and it is
something they've talked about.
"That's one of the things that Moonspell does that's pretty cool,"
Gaspar says. "We worry about what the fans have to say. We can't
always do that, because we have to satisfy ourselves first. If you
try to satisfy the fans, something is not going to come out properly
or artistically. It's just going to come out as a repeat of the
past. I think you always have to try and innovate, at least for
yourself. The fans just have to try and understand that for a musician
it's really hard to always do the same thing. We always want to
do something new. The only thing that we can give them is when they
go to a Moonspell show, we always try to give some old material
with the new material. It's not like when they go to a show they
only hear the latest album. I've talked with a lot of fans and they
really respect that, they really like that we play old songs, which
makes them happy."
Look for Moonspell on tour for the Butterfly Effect in North America
starting in November.
THE
CHASM - Devotion To Death
By Paul Schwarz
The Chasm have been gaining momentum as a musical force since their
inception in 1993, but it was only with their last album, 1998's
brilliant (though much delayed) Deathcult For Eternity: The Triumph,
that the band made any serious impression on an audience outside
their native country of Mexico. They capitalized on this further
last year when they relocated to Chicago, a move which coincided
with them leaving their Mexican label, Oz Productions. Daniel Corchado
-- who performed unholy throat contortions (described by some as
mere "vocals") on Incantation's Diabolical Conquest -- the founder
and leader of The Chasm, begins by telling UNRESTRAINED! about the
band's hunt for a new label to release their fully written and partially
recorded fourth album, Procession to the Infraworld.
"It seems that being a band from Mexico and [being] really underground
is like a curse for us. We have never got a serious offer from an
American or European label, and that hasn't changed yet," says Daniel
in describing the unfortunate situation. "It's kinda depressing
and disappointing for me, but it doesn't surprise me anymore. I'm
used to it, and my main priority is to keep creating metal of death
for myself." Though Daniel mentions that the band have in fact had
a few offers of late, the bottom line for him is that, "If nothing
happens with any label, we'll release the next CD by ourselves --
fuck it!!"
From the four-track promo of the material I received at this year's
Milwaukee Metal Fest (shortly before I got to watch The Chasm rip
apart all competition on the Juneau Hall Stage) the indications
are that Procession to the Infraworld will be an even greater triumph
(sic) than Deathcult... was. But was Daniel himself satisfied with
the results the band achieved last time around? It certainly seems
so. "Deathcult For Eternity... is a total triumph for The Chasm.
The aura and feeling that we procreated in that album is sometimes
beyond words for me." But, as is often the case with bands in The
Chasm's position, the album was let down somewhat by its production.
"The sound is really weak," agrees Daniel. "It doesn't capture the
real essence of The Chasm."
This 'essence' has developed while remaining somewhat constant throughout
The Chasm's history. Though line-up changes mean that Daniel (vocals
and guitar) and Antonio Leon (Drums of Doom) are the only surviving
original members, they have been joined by the more-than-amply talented
Julio Viterbo (lead guitar, ex-Cenotaph/Shub Niggurath) and Roberto
Valle (bass). "I definitely think and feel that this is the most
devastating and coldest line-up ever for the Chasm," says Daniel
with obvious confidence in the band's present incarnation.
Daniel originally formed The Chasm to "taste the darker and more
bizarre side of death metal and to have more freedom and experimentation
in my own personal way.
"This is the ultimate way of expression for me and for the other
Sons of the Mictlan," he continues. "We play music from and for
our spirits and will continue to -- loud and proud." A question
that arises, though, is whether some kind of philosophy underlies
The Chasm's dark and spiritual lyrical leanings. Daniel gives us
an overview of the band's 'Deathcult' philosophy, which prompted
Deathcult For Eternity's title, and how it came about. "Since I
can remember, my personality and inner temple have been really strange
and complicated," begins Corchado. "The way I feel and see my existence
is full of questions without answers. I feel trapped in this cage
made of flesh and bones. I want to reach the Portal and find all
the answers and visions that I have been looking for since a long
time ago. I really pray for death. I think that the extinction of
my human being will bring me eternal peace of soul. That's why I
decided to create this cult to the Death, the old rider, the master
reaper. My cult and my devotion to metal and Death are my ultimate
motivation to keep me alive on this rotting earth."
In conclusion, Daniel makes a final proclamation: "Until I complete
my preparation to start my long, cold journey I will be keepin'
alive and well The Chasm. We are overlords of the Infraworld."
SUMMONING
- Heralding Times Long Past
By Adam Wasylyk
And it seemed at last that there were two musics progressing at
one time before the sit of Iluvatar, and they were utterly at variance.
The one was deep and wide and beautiful, but slow and blended with
an immeasurable sorrow, from which its beauty chiefly came. The
other had now achieved a unity of its own; but it was loud, and
vain, and endlessly repeated; and it had little harmony, but rather
a clamorous unison as of many trumpets braying upon a few notes.
And it essayed to drown the other music by the violence of its voice,
but it seemed that its most triumphant notes were taken by the other
and woven into its own solemn pattern...
J.R.R. Tolkien
The Simarillion
Mr. Tolkien's own words best describe the music of one of metal's
most prized acts. Summoning's newest epic, Stronghold, takes the
listener on a majestic voyage, visiting sights and sounds only the
truly enlightened could envision. Integrating medieval and darkwave/ambient
music into their black metal foundation, the literary works of J.R.R.
Tolkien serve as the driving force and lyrical trademark of the
band. Advancing leaps and bounds with each passing record, Summoning
have proved themselves to be one of the most consistent and innovative
bands the genre has yet to see. And there's no indication of the
band slowing down any time soon. Limitless potential is sometimes
a scary thought.
Originally formed as a three piece, Austria's Summoning signed to
Napalm Records after band member Silenius got in contact with the
label through his association with Abigor (whom he did the vocals
for at the time). Shortly after the deal was signed Summoning released
their debut album, 1995's Lugburz, which was shortly followed by
the ousting of drummer Trifixion to become a two piece. The remaining
members, Silenius and Protector, saw their infamous collaboration
result in the LP's Minas Morgul ('95) and Dol Guldur ('97), with
each album strongly influenced by the mythological worlds created
by Professor J.R.R. Tolkien, best known for his literary works "The
Hobbit" and "The Lord Of The Rings." The year of 1999 exhibits Summoning's
best work to date, the band sculpting some of the most powerful
soundscapes and atmospheres to be heard all year.
Co-Founding member Silenius answered my many queries about the band,
from the early days and the band's association with Tolkien up to
their new masterpiece, a record sure to find itself in many critics'
top picks of the year. Enjoy, as I certainly did.
U!: Please begin by talking a bit about Stronghold, what fans should
expect to hear on it and how you think you've progressed since your
prior albums?
Silenius: "Well, people again can expect bombastic soundscapes and
epic mid-tempo metal music with a close link to Tolkien's Middle
Earth concept. Summoning songs should be seen as a kind of meditation
or trance for the willing listener, and therefore Summoning is of
course the total opposite of all of the fast, hectic, progressive
and technical bands around. The main difference from the prior releases
is that this time we paid more attention to the guitar work, so
the whole album sounds heavier than our two previous releases, maybe
a little bit similar to Minas Morgul. As the guitars take over the
leading role of the melody lines, I think this time they fit better
with the keyboard sounds. The effect is that the songs sound less
hypnotic and monotonous, but nevertheless they are still in the
typical Summoning style: bombastic, mid-tempo hymns. Also the vocal
lines are more and more rhythmic this time, and one song [contains]
female vocals as a kind of experiment. The lyrical concept is, as
I said, again based on Tolkien Middle Earth concept, only in a more
global way and not dealing with concrete events of that saga like
the last albums. Maybe our new release Stronghold will appeal to
a larger audience, but I'm not sure. We will see."
U!: I originally heard that the Nightshade Forests MCD (1997) was
supposed to be the last Summoning release to be outrightly influenced
by Tolkien. So if this is true, what influenced the lyrics on Stronghold?
S: "The lyrical concept [for Stronghold] should be based on the
Nibelugen concept, but this concept was already used by a German
band that we don't like too much [I believe he's talking about Mystic
Circle -- Adam], we of course got off this idea because we did not
want to get compared with them. So it's again based on Tolkien's
mindworld. Most of the new lyrics are taken directly from old poems
of Tolkien (Lost Tales, Sauron's Defeat, Shaping of Middle Earth),
all of them or, better, nearly all of them are referring to the
pre-versions of all the Silmarillion. We overworked the poems a
little bit until they fit perfectly to our vocal lines. People may
complain now that we made an easy job out of it, but after all we
stand for it. That's all."
U!: Is the lineup still the same as the prior album? Please explain
the collaboration process between you and Protector.
S: "The lineup of Summoning is still the same; just Protector and
me. Only on one song we, for the first time, had a female singer.
It was kind of experimental. It's of course not the first time that
we worked with female singers [in different bands] (Pazuzu or Die
Verbannten Kinder Evas) but it was the first time for Summoning,
and it was the first time for Tanja the singer who is the life partner
of Protector. First I was a little nervous, but in the end everything
turned out perfectly. But of course that does not mean that Summoning
will become a gothic metal band, so there is nothing to work about.
Usually I do all the basic keyboard lines for each song then I give
them to Protector and he can add to them whatever he wants to. In
the end we share the vocal parts. Not very spectacular, but effective,
and I think that's the climax of musical independence and freedom.
The less musicians, the less compromises you have to make."
U!: What musical elements do you see comprise the Summoning sound?
Is it a hard task to get each element to play off each other successfully,
without sounding contrived or just plain cheesy?
S: "In the past we often had problems to get the right balance between
the symphonic keyboard melodies and sounds and the hard guitar parts.
But I think we are experienced enough now to hold this balance."
U!: I'm sure fans would be interested in hearing what kind of music
you're listening to and what music inspires the sounds of Summoning.
Perhaps you could give us a list?
S: "I don't know what Protector is listening to nowadays. As far
as I know he hasn't bought any new records over the last three years.
When I was a teenager I of course was a total metal maniac and listened
to all types of metal music you can imagine. But meanwhile I'm 28
years old and to be honest, the present metal scene doesn't interest
me at all anymore, just with a few exclusions. About four years
ago I was more and more fascinated by alternative musical types
like avant-garde, industrial, militant music, power electronics,
ritual, dark ambient and soundscapes. Some great bands in that field
I want to mention and unfortunately none of your readers will know
are: Turbund Sturmwerk, Der Blutharsch, Allerseelen, Bosnia, Dogda
Mor, Genocide Organ, Inode, The Moon Lay Hidden Beneath A Cloud
and many more. Within these bands the flow of rebellion and the
will of innovation is still alive, which I cannot say of the present
metal scene."
U!: I'm curious as to whether you had the opportunity to read the
quote-unquote black metal expose 'Lords of Chaos' by Michael Moynihan?
If so, any thoughts on it?
S: "I have read it. It was very detailed and interesting and after
all [Moynihan] tried to be very objective, although he of course
is not. As Michael comes from the avant-garde / neofolk / old-school
industrial scene with his own band Blood Axis and close-standing
bands/friends like Boyd Rice and Death In June etc. his fascination
about pagan mythology, European culture/history and a more right-winged
philosophy always lurks through his book. But after all there is
nothing wrong about that."
U!: I'm aware that you've had a project called Mirkwood in the works
for some time [a ritual keyboard project of Silenius' - Adam]. Please
give us a progress update on it.
S: "Mirkwood during its last years suffered from permanent breakdowns.
The [planned] female singer meanwhile sings in Dagaard, and whenever
I tried to take a step forward, fate forced me to take two steps
back. And this has gone on for three years now. Maybe I'll try to
work again on it next year, but nothing is for sure right now. Meanwhile
I nearly finished the works to my militant industrial project called
Kreuzweg Ost that I have done together with Martin (ex-Pungent Stench).
I hope I can release it at the end of this year. This one is totally
weird and will surprise, offend, shock, and amuse people at the
same time. So let's wait and see what comes about."
U!: I admit to not owning your first release, Lugburz, which has
been described to me as a rawer type of black metal that holds less
of the ambient influences you have today. Perhaps you could say
some words on the formative stages of Summoning.
S: "Our first album Lugburz which was released back in '95 was primitive,
rough and chaotic and doesn't fit at all to our other releases (but
at least it was a thousand times better than our two demos 93/94
which were total chaos and sounded worse than old Beherit). But
it was okay for that time. We had not found our own identity, but
there were some elements that became typical for what Summoning
would stand for in the future. Through Abigor we came in contact
with Max of Napalm, which was a very young and unknown label at
that time. We got a deal and made our way."
U!: The music on Stronghold is very uplifting, almost to the point
that one could shut the lights off and allow it to take you to far-off
places in the distant, forgotten past. Is this a feeling that you
and Summoning try to conjure up in the listener? Are there any other
feelings you want to arouse in a listener of Summoning's music?
S: "I think to get the essence of our music you have to listen to
our songs on a walkman while you are on a mountain top. The combination
of musical stimulation and visual attraction of wide-open, untouched
landscapes is the perfect combination to get this special ancient
feeling and to drown yourself in a daydream. This combination between
wonderlust and dark emotions of high adventure also play a dominant
role while reading the books of Tolkien. After all, our music was
made for the individual, so it absolutely doesn't fit for parties,
metal discos etc..."
U!: Where do you see black metal heading for into the next millennium?
S: "As always, some bands will survive, but most of them will die
soon."
Write to:
SUMMONING
c/o Silenius Gregor
Munzwardeingasse 9/7
A-1061 Wein
AUSTRIA
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