vrijdag 23 februari 2018
The individual struggle to survive in our hectic society is a topic that does not only inspire a lot of books and articles, but also music. The new album from Psy'Aviah - 'Lightflare' - is built around this theme. We asked Yves Schelpe about his inspiration and his motivation for making 'Lightflare'.
Hi Yves. Your previous album 'Seven Sorrows, Seven Stars' was based on the movie Interstellar. Your new album 'Lightflare' also has a concept. You want to tell a story with it. Can you tell us more about this?
Since 2014 with 'The Xenogamous Endeavor' - which was also the start of a ‘new period’ for Psy'Aviah, but that’s another story - I like to use a concept to connect all songs to a bigger story - if only because then there is a 'red thread' for me, both in artwork, lyrics and sound ...
This is also the case with 'Lightflare'. The story is the individual himself and how he struggles in his or her existence. From the deepest, darkest feelings (like 'Ghost' or 'Lonely Soul'), to reflections and trying to place those feelings ('Heavy Heart', 'Lost At Sea', 'The Great Disconnect') to a recovery ('Aftermath', 'For Myself') and perhaps an ultimate happiness that we may experience from time to time ('In The Sound', 'Sound Of New'). In that sense, 'Lightflare' with its cover might be how I experience the Western world since a number of years - sometimes reduced only to 'millenial generation', but I think that more people suffer from it. This is something that the opening song 'Lost At Sea' and also the cover image of the album try to show: 'the balance', 'the search'. The character, on a small wooden boat in a swirling ocean with a view of land in the distance, sends out a cry for help.
Your new record gets inspiration from a depression that you have experienced. Depression has become almost a new epidemic and threatens to become the disease of the current century. Can you tell us more about what happened to you?
I don’t like to use the word depression when I talk about my trajectory in the past years, as I do not know if that 'label' fits. And perhaps it is inappropriate to others. As I said in the previous question, it is more the 'searching' and a certain form of 'getting stuck' in a society that is too rigid for me, that makes me feel less in the right place, or makes me feel bad about myself. As a result, I also changed jobs - which also made me realize that this was not the right solution.
I think, but with the emphasis on 'thinking', that I was close to a form of burn-out, by often working hard, late and passionately but receiving too little in return - or to see too little movement in certain organizations. This means that you do indeed start to feel bad, because you lose the reason for doing something - the ‘sense’ of your existence in that system - and you have the feeling of being alone in that battle.
But I would not call it a 'depression' in itself. Maybe there was something insidious, but music and my girlfriend always kept me going, motivated and so on ...
How difficult is it to put your personal feelings into something, and still stick to an overarching story that you want to tell? Do you feel a contradiction?
Feeling is always the basis of every song for me, whether it is a dance track like 'Before I Die' with Junksista or 'Reboot Reset Relay' on the recent album with Fallon Nieves', or a trip hop / synthpop track as ‘Plan B’ with Kyoko Baertsoen or 'Lonely Soul' with Phoebe Stone. Feeling and emotion must always be there, both in text and in supporting music and sound. Otherwise, I would not be able to live with what I produce. Once I have chosen a theme, it is also not difficult for me to write songs for that theme, there is always enough to tell about aspects - you can zoom in, work on a micro level - or just get very cynical. Autobiographical or not, that is another point - but in any case there is always a part of yourself. Whether the song is started from your own experience or from an experience that you have seen and in which you can empathize or 'imagine something' with - you will achieve feeling and emotion. And that is always a starting point, which I refuse to deviate from.
You write most lyrics yourself, but some lyrics are also written by your guest singers. How did you manage to stay within the story and concept that you wanted to bring?
Before I asked Ellia Bisker or Michael Evans for example, I told them what the concept of the album was and what feeling I had with a musical demo. I send them the already existing demos and songs so they have an idea what the concept is. If I do not like something, or if I think that something could be added - there is room for mailing over and over and experimenting. That creative process is pretty easy for me, and I notice that this has worked for both Ellia and Michael.
It goes even further than that, because also the person who took care of the artwork - Tomoki Hayasaka - gets tons of information and concept sketches and moodboards from me, in order to create the images in his unique style. Tomoki is, I must say, a hugely talented, patient person who really knows how to translate my ideas and mood. But to come back to your question: ‘how does it work’: through dialogue, clear agreements, respect for each other's background and by feeling each other.
Music therapy is an important part of the concept of the record. What do you think is the power of music to help people who feel lost?
For me, music was important because I can lose myself in it and find comfort in it - either by writing it myself or by listening to music from others. You feel a kind of recognition that you are not alone, I think. But it does not have to be music, I think that all forms of art can offer a form of consolation, every person has different interests and for some like me that is music - but also a good book, series, poetry, exhibitions, etc. that treats certain thematics and approachs them with respect. They can help you to heal and to sort things out. But 'consolation' and 'recognition' as in 'I am not alone with this feeling' is I think the power, regardless of the art form.
Musically, I hear new elements on 'Lightflare' again. I notice that there are often different vocals running through each other on your new compositions. I think it is great. Are you satisfied with it?
Thank you for the compliment. I myself am very satisfied, although that may sound arrogant. It worked both for 'Lost At Sea' with Mari Kattman and at 'The Great Disconnect' with Marieke Lightband. There are other songs on the album that do this, but with these two, these elements play a big role. For me, it is a way to emphasize the melody and emotion through the voice more than with a synthesizer or guitar. The very human theme on this album also means that the voices are essential on the album, and they should fit in with the story. There is a 'behind the scene' video on YouTube in which Mari Kattman explains how we worked together on 'Lost At Sea' - it gives a good impression of how I work with people.
I also hear more guitar. I do not remember that guitars were so prominent on your previous records...
That’s right. I found that guitar did not fit on an album like 'Seven Sorrows, Seven Stars' - the sound there had to be really electronic to emphasize that gruesome space journey and the mysterious. On 'Lightflare', there are more songs where no single synthesizer could convince me to give the same power as guitar, and when a song calls for it in my head, then it will get guitar. I am not aversive to guitar, far from it. It is fully exploited during live shows because it gives an extra dimension.
You have a solid live band with singer Marieke Lightband and guitarist Ben Van de Cruys, but the number of gigs is rather low. I can imagine that you find this quite frustrating, especially since your music is quite successful on the dance floor and gets good reviews. How do you think about this?
That's a good question, and it's a strange feeling. I get great reviews on this album, just like the previous ones - for which I am extremely grateful. When we played live, we noticed through reactions and discussions afterwards that the appreciation was there. We are played at DJ sets & podcasts abroad - in the US, Canada, Australia, Mexico, UK, Poland, Russia, Sweden, etc ... Most of the proposals for performances are currently from the US, Canada and the UK - but is that not always easy to arrange it logistically - which is unfortunate for them and for us, but we are looking for a solution ... A 'live-streamed' concert is certainly on it’s way.
The only explanations I can find is that in order to play in Belgium or the Netherlands there is a barrier and much political 'play', 'envy', and the disappearance of subsidies, especially in the Netherlands. The other explanation is that we have a less typical 'electro-indsutrial' sound - and that some bookers / promoters apparently are confused with a band that sometimes has some variation. We are not alone in that, I think - look at Faithless with their trip hop, rap and also their dance songs… Look at Moby, Röyksopp, DAAN, Praga Khan, et cetera. But those are only my ideas, you should really ask the organizers.
In any case, we will not stand still and plans are there to make a performance with Junksista this year, and some other events that I can not say much about ... Keep an eye on us or contact us if you want to see us somewhere live !
zaterdag 10 februari 2018
In 2017, Lacrimosa released ‘Testimonium, an album which combines absolute darkness with absolute beauty. We had a pleasant talk with master brain Tilo Wolff about the present and the past of his project.
We are absolutely astounded by the new album ‘Testimonium’. It is dark and beautiful. You announced the cd as an homage to artists deceased in 2016. Indeed, the opening track ‘Wenn unsere Helden sterben’ contains references to David Bowie, Prince and even George Michael… In what sense did their passing inspire you to make this cd?
You know, I grew up with Prince and later, when I got in contact to alternative music I discovered David Bowie’s work from the 1970s. So, those two musicians made me fall in love with music and they both shaped the way of understanding and listening to music for me for many years. Now, when they suddenly died only a few month apart from each other, as well as the death of so many other great artists I respected a lot within the same year, a part of my childhood and my youth died as well. This was a loss and a sorrow that needed to be expressed in – of course – music. And ‘Testimonium’ is the result of this!
The new cd offers very much a consolidated Lacrimosa sound that is similar to that of ‘Hoffnung’, your previous cd. Lacrimosa has been known to evolve in sound at every new release. Do you still try to change your sound, and if so: what new elements did you bring on ‘Testimonium’?
On this album I was more concentrated on the compositions themselves. When I made this album I was kind of in trance. I couldn’t think of anything else but this music that was fulfilling and at the same time haunting me. ‘Testimonium’ is probably my most subconscious album.
The evolution in sound was obvious on ‘Revolution’, which I still love very much. You tried things there that were unheard of in the world of Lacrimosa. How do you look back on it?
Yes, after ‘Sehnsucht’, which was the first album after a short break in which I was busy supporting another band, I wanted to achieve a new sound like I did back in 1995 and then again in 1997 with ‘Inferno’ and with ‘Stille’. But this time it was supposed to be a sound that would carry LACRIMOSA for several years and albums because after all these years I want to achieve a certain constancy. The reason for this is actually very simple: when I listen to METALLICAs self-titled black album, I want to get more albums with that sort of stuff. But there is nothing more like that. The previous and later albums are – mostly – also pretty cool, but they are very different. So, after doing so many various albums I now want to combine my personal favorite things within LACRIMOSA and want to stick with them for a while.
Can we look back at an earlier milestone? ‘Elodia’ - out in 1999 - is a fan favorite and contains the most orchestral sound up to that date. If I’m well informed, it was a very hard time for you. What memories do you have of composing ‘Elodia’?
Yes, it was. On one hand I was personally not in the best shape – at least during a certain period of time while working on the album – and on the other hand the production was hell! It became far too expensive, partly due to the trade union of the orchestra, so I couldn’t pay my bills anymore and at a certain point during the production I couldn’t pay the musicians and the studios anymore. The entire project nearly collapsed while I was completely broke privately.
Back to the new album. You released a beautiful video for ‘Nach der Sturm’. Many artists think that videos are important to promote an album. What are your thoughts on that? Will there be other videos from ‘Testimonium’?
Yes, friends of us made a very artful clip for the title song “Testimonium” upon the entire ten minutes of the song, which is to be seen on our YouTube channel. This clip is very intense but of course no promotion video. After all, I myself don’t like to watch videos when I see that they are only made to be for promotion. I want to be entertained and I want my emotions to be triggered, but making videos is always a challenge in many ways.
The last years have seen you working together with several other artists. We note the very successful collaboration with Mono Inc. on the hit ‘Children of the Dark’, but also one with Tk Kim, which accidently saw you working together with Philippe Alioth, an early Lacrimosa-guitarist. How were these experiences for you?
That was great! I love working with good and inspiring artists because the result is always something that none alone could have done. Especially working with fellows from the own history and past is very interesting. To find out how they developed and what happens, if you come together again. If the chemistry still works, if you still can inspire each other. You know, we are all living in our own universe, with our own phantasies and with our own understanding of this world. Now, upon that it is so beautiful when people start working together, sharing their innermost with each other by doing new art. It is like a journey through strange worlds and receiving a lasting souvenir!
2016 saw the release of the long awaited new Snakeskin-album ‘Tunes for my Santiméa’. It is very different from the previous two Snakeskin albums. We also have the feeling that you wanted to reach out to the dance scene with songs as ‘Alive’ and ‘Take Me Now’. Can you tell us more about your aims this cd?
I am a huge fan of the Eurovision Song Contest and those songs are a little inspired by the music I hear there. On the other hand I feel that this album is very close to LACRIMOSA, if you think about the title song or songs like ‘Le seul vrai’, but after all between this album and the previous one there are ten years and that is most probably the main reason for this development, just like if you would compare ‘Angst’ from 1991 with ‘Fassade’ from 2001.
Finally, 2016 saw the first Lacrimosa concert in seven years in Belgium. It was a huge success and you even edited a video for ‘Die unbekannte Farbe’ from the concert. Were you happy with this concert? Will there be a show in Belgium on the ‘Testimonium’-tour?
Unfortunately it was not possible to arrange a show for ‘Testimonium’ in Belgium again, but I am eager to come back again because the Belgians are one of our best audiences ever!
Pictures: Xavier Marquis
Interview: Xavier Kruth
Interview: Xavier Kruth
zondag 24 december 2017
Genre: EBM - Electro
Label: Digital Absynthe / No Labels Interested
Yesterday, I published my "best of" list on Dark Entries. This contained a giant spoiler, as one of the Chosen Five was a release that I still needed to review. Of course, I could have waited a little longer, but that is not who I am. Here is my review of 'Dark Tunnel', the new album of First Aid 4 Souls, which made it to my favourite dark electronic releases of 2017 last-minute.
I cannot repeat it enough. This Hungarian project remains one of the best kept secrets within the dark electronic scene. I have all CDs of First Aid 4 Souls and there is literally not a single bad one. The style varies from album to album, with some releases being more experimental and/or darker than other ones. The previous album 'Trashcathedral' was the first CD on which the collaboration with guest-vocalists was limited to a single person, namely Mortum (in the meantime, I have found out that his real name is Gyorgy). He is once again present on 'Dark Tunnel', making me wonder if he has become an official band member. Either way, you will not hear me complain, as Mortum's voice perfectly fits the dark(er) tracks of First Aid 4 Souls. And rest assured that the new album is dark.
'Dark Tunnel' is a relatively short album, especially in comparison with previous releases. The total running time is less than 45 minutes, covering no more than 9 tracks. The emphasis is on old-school electro/EBM; therefore the album is in the same vein as its predecessor. But it is remarkably more quiet, even demure in a certain way. Exceptions are 'Her Face As An Angel' and 'A Place To Rest', which are up-tempo and cheerful to some extent. Even though "cheerful" may not be the right word for a song which is about a funeral (just to be clear, I am talking about 'A Place To Rest'). Fact is that almost the entire album is dedicated to death and decay. An excellent theme, especially with Mortum behind the microphone. I am a big fan of his morbid sounding vocals and lyrics, which have been partly altered by effects. Even though I have to rely on the CD booklet to check what he is actually singing about.
A couple of tracks which I would like to mention in particular. 'Back To Dust' is a lovely, atmospheric track with a menacing undertone in the beginning. The subsequent, equally melodic 'Sleeping In Death' is even better. The multi-layered vocals/effects give this track a wonderful, almost moving touch. 'Dead Life To The Sons Of Men' is the most unusual track on this album because of its tribal feel. It is not the first time that First Aid 4 Souls is experimenting with this kind of influences, but on 'Dark Tunnel', it feels a bit out of place. In 'Nothing Keeps My Mind Clean', Mortum delivers yet another really nice vocal contribution. Finally, 'Inside There Is No God' is an authentic dark electro song. Dark and menacing, reminiscent of the 90s.
CD review: Marjolein Laenen
maandag 27 november 2017
Euforic Existence: We like to be put under the heading of EBM, but realize that we are an outsider. I would not want anything else.
Euforic Existence will open for Mildreda on our 21st Dark Entries Night on December 8th. Euforic Existence is the project of Koen Van Dappernest - also known from KnK - assisted live by Bart Peeters. The project has been around for 17 years, but after a long silence between 2003 and 2013, the project - which combines a typical EBM sounds with structures from metal and industrial - is in very good shape. And the energetic performances are an important part in that. Koen told us all we needed to know in this interview.
Your latest CD 'MMXVI - IIIIII00000 - 2016' was, to say the least, well received at Dark Entries. Colleague Peter De Koning even wrote that you have never sounded so good. Do you also think so?
It is of course the intention to improve a bit every time, but we only know that we have succeeded when others say it, haha. We read the reviews and take every point of constructive criticism. It is the criticism of the same Peter De Koning who has moved us to use certain buttons slightly differently to previous releases. And of course experience usually leads to evolution in a positive sense.
EBM sounds to many as a retro genre from the 80's, but you manage to update the sound by adding influences from industrial and especially metal, but without using guitars. Is this the way that EBM needs to go to stay relevant?
EBM is very widely interpretable for some - including myself - and very limited for others. I do not discuss this and do not have an opinion about what others should or should not do. I am a music fanatic myself with a very broad view between the different genres and I grew up with a lot of influences. And everything that comes in to me, also comes out in my own version. Our sound spectrum is strictly EBM, but the structures of the songs go in all directions. We just do not like to make the same song twice.
We like to be put under the heading of EBM, but realize that we are outsiders. I've always been a rebel, so I would not want anything else, haha.
A question that I always ask myself with EBM, and that certainly applies to you: the music is meant to be danceable, so enjoyable, but the lyrics are hopelessly pessimistic. Is this not a contradiction?
I have been thinking too much my whole life, and only by writing those lyrics can I put structure in the hopelessness, the worldly and philosophical disappointments in my head, and learn to accept it. Think of it as a kind of therapy. 90% of the texts are about personal experiences, world / universe views and hatred / feelings of love (some traumatic, others less bad). Everything that concerns me creeps into my lyrics. I think it's great when colleagues write about beer or a fat factory, but I'm not going to imitate that.
Most EBM sounds pretty nice, but with us everything is written in minor. A habit that I have never unlearned after my experiments with my Doom Metal project Cold Bleak Irrelevance.
Koen, you are also the man behind Fear The Light, the Antwerp organization that promotes EBM. You have been working since the 90s and have undergone a major evolution, from many bands to just the nucleus: Euforic Existence, KnK (which you are also active in) and Slave Separation (the project by KnK singer Koenraad Vercammen). How did that go?
First of all, the name ‘Fear the Light’ was invented at the afterparty of the first performance of Euforic Existence in 2000 (not the 90s), where Slave Separation had also performed. At that time we had the plan with some of the artists present to organize several mini-festivals under that name. After a small setback and lack of coherence, this stopped and Koenraad Vercammen (K1) and I (K2) decided to set up the website with which we would then promote dark musicians without contract (it went much further than just EBM). We have then released and distributed some samplers with sponsor money and gifts (the third of which was added free of charge with a Dark Entries magazine in the paper age). Due to time pressure from my professional life and the gigantic expansion of my family, this has completely disappeared in the background at a certain moment. The site was reduced in 2010 to the promotion of K1's own music projects and myself, due to lack of time.
At the moment, ‘Fear the Light Underground productions’ is not much more than a brand. The brand symbolizes the friendship and musical cooperation between Koenraad Vercammen (K1) and myself (K2) since 17 years, from which KNK was born in early 2015.
Sometimes I dream to set up great things under that name, but I still have my busy job, 6 children and 2 musical acts. It's enough.
Euforic Existence saw the light of day in 2000, but got a restart in 2013. What is the reason for this and what is the difference between Euforic Existence in 2000 and after 2013?
Between 2000 and 2003 I was very active with 5 music projects, but as just mentioned, I had to give priority to career and family between 2003 and 2013. Euforic Existence hardly existed between 2003 and 2013. In 2013 I was present at WGT Leipzig at a performance by Orange Sector when my best friend came to ask if I would like to make such music again. I told him that I had no time for that, so he started talking to my wife. She then told me that I would better get rid of some frustrations (and those were there!). 6 months later, the CD 'MMXIII - IIIIIOIIIOI - 2013' was a fact. So I just needed a push from my two major partners. The difference between EE 2000 and EE 2013 is indeed very large: in 2000 I started experimenting with electronics without experience, in 2013 I already knew how everything worked. In 2000 I was only 21 years old and quickly satisfied with every sound that I made, in 2013 I worked on every song for weeks until it was completely what I wanted. The self-confidence of an average thirty-something is also much stronger than that of a 21-year-old, and that translates into stronger vocals.
As far as the texts are concerned: in 2000 I was a happy young lad with no responsibilities and in 2013 I had a busy job, 6 children and I had recently recovered from a painful family break (2010).
17 years is long. You have seen the scene evolve in those 17 years. What thoughts do you have about that?
In the early 2000s it struck me that the scene was dominated by techno influences, which I absolutely could not and did not want to play with. We then profiled ourselves as ‘Old school’ and Fear the Light was given the subtitle ‘Underground stubborn’. We did not fit in any picture, and had to do it with a sympathizer here and there.
It may sound strange, but between 2003 and 2013 I personally have not been present in the scene. My involvement was completely gone and absorbed by my career. The family break that I experienced in 2010 changed some of that, and in 2013 I really started to get back into the EBM scene. I saw many familiar old faces and what struck me very hard was that this techno-dominance almost completely disappeared. Everything seemed back, however. The very young people are now a bit on separate events (‘cybergoth’ and other new terms) and the ancients seem to be grouping together in an unadulterated old school scene. On the one hand I think that's okay, on the other hand I fear that this cannot last for 20 years ... I see the difference between the past and the present, but unfortunately I did not see it evolve.
Koen, you do everything yourself on CD. In 2017 it is almost obligatory to do everything yourself if you are not in a commercial genre. Are you happy with that method?
I would not know how to do it differently. I have a degree in autism and it’s very hard for me to work with others. I am glad that I have learned everything while by doing it myself, and I am aware that I can learn a lot more. That is the big advantage of doing everything yourself: you learn everything!
Your performances are known as very dark and very intense. What are you trying to achieve during your performances?
The involvement with my lyrics is very intense. Every word comes from the deepest caves of my soul. On stage, we want to convey the feeling we had when we first wrote a song. If you view a song as a kind of box, we put everything into it during the writing process. When a CD is played, that box is partly opened, but unfortunately not everything comes out. On the stage we try to tear open the box completely for the fullest possible experience of the content. Emotions are also clear in the stage mimics, and it is not fake.
Bart’s role in this is also very important. Although I do everything at home in the studio, I was still a layman in terms of live sound, stage material and technical knowledge in 2013. After all, studio and stage are two completely different worlds. Bart has shared a lot of his knowledge with me and is a very important pillar on which the live performance is based.
And yes, what is the greatest intention of performances? Have a nice evening and share this with as many people as possible, which in turn provides more performances. Creating unforgettable parties and getting to know wonderful people; get fans and make them friends.
DarkEntries Night XXI with Euforic Existence and Mildreda, Friday 8 December 2017,Kinky Star (Vlasmarkt 9 in Ghent)
Pictures: Benny Serneel