Vuyvr’s new “Eiskalt” is out now on Throatruiner Records & Blastbeat Mailmurder
Intro and questions by Panos Agoros
It is just a matter of time before a musician takes the challenge to create outside of the cozy familiarity of her/his confined microcosm – be it a scene, genre or whatever. The outcome of such projects usually doesn’t rank above “amusing,” serving more like a creativity break than anything else.
Vuyvr from Switzerland are the rare exception to the rule. “Eiskalt”’s no-nonsensical take on black metal, devoid of its most overdone clichés and chock full of genuine inspiration, might very well be the album you were looking for. A rollercoster ride into the punk roots of the genre, an eerie, yet concrete trip, exciting for the imagination but free of mumbo-jumbo.
You recorded «Eiskalt» live in your practice space. Do you think that you will also record live for your next record?
Roderic: Maybe not in our practice space, but definitely live. Just with a little more time.
A daydream for us at Dephosphorus is one day to record live in optimal conditions, at a studio which would allow us to perform live each one on our own individual room… Would you like that too?
Roderic: Well, I can only speak for myself but with Knut we’ve always recorded in a decent environment, with enough time to do as many takes as we wanted. Same goes with the other guys and their bands, as far as I know. So the idea with Vuyvr really was to go for more direct and rough approach.
Pushing this scenario further would be to record 100% analogically directly to tape… Would that make sense to you too?
Roderic: Analog is great, just much more expensive. I’ve had the luck to record an album on analog tape, «Bastardiser», back in 1997.
What advice would you give to bands planning a live recording?
Michael: To rehearse for a 100,000 centuries.
Roderic: Haha. Seriously, be much more prepared than we were. Make sure every part is clearly defined, no mystery. If you record live, there’s little chance you’re going to fix it in the mix.
When you decide to do a live recording, you must feel comfortable with the idea that some mistakes of execution are going to find their way through. In your case, do you think that tolerating this comes from your hardcore background?
Roderic: Not really, because I don’t think any of our bands ever left that many mistakes in their respective records. Plus I’m not sure if these bands could be labeled as hardcore, but that’s a different story and I understand your point. We definitely approach things in a «punk» way more than traditionally «metal», in the sense that we regard energy and spontaneous intention in the music higher than technicality, precision, etc. In the case of Vuyvr and this first recording, I guess it speaks for itself.
I think that it is a fantasy for almost everyone who is into black metal and/or even remotely feeling heathen/pagan, to someday record in a cabin in the woods, like Ulver did for “Nattens Madrigal”. Have you already considered that?
Roderic: I’d love to do that. Even though you couldn’t consider Vuyvr straight-up BM, it’s pretty clear to us that we feel a strong connection with this music, the spirit and mystique it conveys. And nature, isolation, darkness certainly are strong elements in this regard.
Why did you pick up Richey Beckett for the artwork? Did you have other artists in mind, or did you absolutely wanted to work with him?
Julien: Yes, absolutely. When I started thinking about the artwork for «Eiskalt», I immediately thought of Richey. I knew his style of drawing with all the micro details would exactly match with our expectations. I’ve already worked with him in the past and we always had a great feeling about the interaction between the concepts I came up with and his pencil stroke.
Did you give him directions, or a general concept?
Julien: The atmosphere was already in our mind. I suggested the concept to Richey and he was completely into it. We spent a lot of time discussing about the various elements that could be added.
In general, how was your interaction?
Julien: As I said, really good. We exchanged a lot of emails, when either he or I discovered interesting elements during a walk in the woods or whatever. The time he had to complete the illustration was short, it was quite a challenge for him to achieve it.
For your future releases, do you want to continue working with Richey? Are there other artists that you would like to work with?
Julien: Perhaps, we’ll see.
How come that you’re released directly a full-length album? I understood that «Eiskalt» was supposed to be a demo in the beginning. Did it turn out so good that it would be a pity for it to become a mere demo recording?
Julien: Indeed, «Eiskalt» was destined to be a demo. I know Matthias from Throatruiner Records, since he released of my band Elizabeth’s first EP. I was curious to have his feedback about this record. After a listen he asked me if we could work together again.
The CD format is dying a slow death. How do you feel about it?
Roderic: «Eiskalt» is available in vinyl and free download, does that answer your question?
Are you interested in the cassette format?
Roderic: Someone mentioned it at some point, so why not? I owe a lot to TDK.
Why did you chose to release «Eiskalt» via two underground labels, while you could have got it released from bigger independent labels?
Roderic: First, Vuyvr started as a side-project, a way of paying our dues to our beloved black metal. Bigger labels? I don’t see it. Secondly, Throatruiner and Blastbeat Productions are outstanding underground labels, which says it all.
What do you think about the shutdown of Hydrahead?
Roderic: Sad, but I’m surprised it didn’t happen earlier. It’s amazing that people all over the world are helping them with their fundraising efforts, though. I’m proud to have been part of this uncompromising label’s adventure.
Knowing the good relationship that Knut had with Hydrahead, would you have released it there if they were still in business?
Roderic: Not necessarily. I like the fact that Vuyvr is a totally new thing, free from all past references and loyalties. Wishful thinking…
Are you into splits, and if yes, what kind of splits? Normal ones («my side», «your side»), collaborative ones?
Roderic: So far for me it’s been «normal», but I’m open to suggestions.
Which bands would be on the top of your list in order to share a split record?
Julien: Craft.
Roderic: Craft is a no-brainer. But Dephosphorus is pretty high on our list!
What feedback do you have until now for Eiskalt?
Roderic: Two types of comments. The good ones focus on the music regardless of our background and the trends. The negative ones label us «post» whatever, a breed of blackened hardcore that, for the most part, I don’t relate to (some may be good though). Who cares anyway?
Any reactions from black metal elitists advising you to kill yourselves because not trve/occvlt/longhaired enough?
Roderic: Not that I know, which is good. I mean, Watain fans probably don’t give a shit about us, contrary to the «new breed» of purists.
Have you considered not using the term black metal at all?
Michael: Yes, that’s something we had in mind, but I guess now it’s too late. No matter what we’re doing or what we’ll do in the future, we’ll always be seen as a Swiss black metal band with a hardcore or «post-hardcore» background.
Roderic has mentioned seeing Samael live in the early 90’s (or before?) as a duo. How was it? What kind of vibes?
Roderic: That goes back back a long way, the late 80’s probably. At the time I wasn’t even listening to metal! But I can still recall the impression, the vibe: unusual and evil. These were the times when bands, more notably Swiss ones, had such an impact on me: The Young Gods, Celtic Frost, Coroner, Alboth, Swamp Terrorists…
Any remarkable Hellhammer, Celtic Frost experiences?
Roderic: Not until 2006, when Knut was fortunate enough to share the stage with Celtic Frost at Hellfest.
With two cornerstones of the genre, Burzum and Darkthrone, that have never played live, black metal is not a genre that is necessarily to be gigged. Have you been to any good black metal gigs and what do you think in general of BM shows?
Roderic: Darkthrone have played live, mostly earlier in their career. But it’s true, BM doesn’t necessarily benefit from a traditional live environment. It depends on the approach I guess, whether they go for the evil, in-you-face vibe or a more conceptual trip. Gorgoroth in the Gaahl era was totally mindblowing, but some bands wouldn’t feel right on a stage. I’d love to see Krallice once!
Vuyvr is a live band, so how would you describe your gigs?
Roderic: We’re still in our early stage. We haven’t played a lot live, and most of all haven’t been able to tour. When you play the odd gig, it’s usually with mixed results.
Do you always put candles or other paraphernalia on stage?
Roderic: Actually yes, we are using candles on stage – black candles, but that’s all.
For those of us who have started listening to BM in the early 90’s (or before), we have witnessed the takeover of one part of the scene by Nazis. What do you think about all this?
Michael: Nazis did it before with punk/hardcore, or the folk scene, for instance. Maybe I’m wrong, but I think that this takeover is and will remain marginal.
Roderic: There’s a lot of creativity and diversity in BM right now, which is a positive thing unless you want to see the genre fade out and die. All kinds of people are claiming black metal as their own. I love Krallice, Drudkh, Deathspell Omega, Darkthrone, Wolves In The Throne Room and Revenge just as much, and I even dig Liturgy (haha). Who gives a shit about the fascist nonsense from a small minority? After all, we all heard stories about high profile death metal bands being white supremacist fucks.
Furthermore, what do you think about the amalgam often done between paganism and Nazism?
Michael: If there’s an ideology / religion / philosophy that you don’t like, and that you want to fight, the best way to do it is to create an amalgam with fascism or nazism. It works for paganism, catholicism, islam, ecology, communism…
Even though I personally hate Nazis, I don’t like the witch hunt perpetrated by Antifa, often resulting in bands getting banned from playing (some of them having no relation whatsoever with Nazism – like a USBM band who got recently banned from playing in Germany, even though their drummer was Jewish!). What do you think of this kind of censorship?
Michael : «Witch hunt» is the right expression.
Roderic: Well, I’m not sure I see it like that. I mean, can you compare the Antifa activists, even narrow-minded (we all know how stupid they can be), with criminal douchebags who hate entire groups of people for what they are and not for their political thoughts? The way I see it: education is the key. Let’s promote intelligent, or let’s just say «punk-spirited» BM, and let the others rot in hell.
Do you agree with what has once been written: that the main appeal of fascism is of aesthetic nature?
Roderic: That might be partly true, but only if you choose to neglect the social and economical factors. I mean, everyone loves aesthetics (even totalitarian, it’s great) but when fascism arises, there’s a good chance it’s in a place seriously fucked up. Aesthetics to me are like religion: facilitating fuel. For elevation or war.
Since your name comes from “vouivre”, which means “wyvern” in French, you must know a lot of stories with wyverns. What’s your favorite one?
Michael: To be honest, before doing this band, I just knew that a Wyvern was a «dragon» living in water, in the legends of the Jura area. I’m learning a little bit more these days, for instance that there are Wyverns throughout the whole European continent, and each one has it own legend. There’s always a relation with water, and that’s why we wanted an element of water on the cover.
A simple thought that I’ve came up with relatively recently ago, but one that was quite a revelation to me was the following. There is something common in all human beings, ever since they have developed language: they love a good story. They’re DYING for a good story. The widespread success of christianism has been based on a story that appealed to many, one of peace, love and understanding. Hitler and the Nazis have told their own story with which they mesmerized the masses; one of blond giants who escaped the lost continent of Atlantis/Thule and descended down to India then to Europe. Do you think that a positive/non-selfdestructive future of mankind would involve new ways of exciting the collective imagination in order to transcend our present miserable condition and state of mind?
Michael: I don’t know, but we could ask the following question: is the main appeal of religion of aesthetic nature? (and I’ asking this without making any amalgam with nazism…)
Roderic: I think I’ve replied to this one, to some extent. What I believe, basically, is that people need to be in touch with their own self, their desires and aspirations. They need to be in charge, connected to the power. That’s the main problem: I do believe in true, effective anarchy. Organized, healthy, transparent. What drives people crazy and makes them hate each other is the idea that someone else is stepping on them, on their identity. They need to have more control over their lives, to engineer and participate. Then, they’ll realize we need each other, just as philosophers pointed out. But most of all: without any clergies nor centralized, authoritarian powers of any kind. Utopian? Very much so. Life’s an adventure, until you die.
What are you up to with your other bands?
Michael: The new Impure Wilhelmina album is recorded, mixed and mastered, but we are on a hiatus, don’t ask me why…
Roderic: Knut went on an indefinite hiatus, late 2011. Which means the band is dead, practically speaking. Diogo, who didn’t take part in this interview, is pretty active with Rorcal. They just released their new album and toured Europe.
Julien: I play bass in Elizabeth, we’re doing some kind of hardcore/punk/metal. We’re touring in April in Eastern Europe and Russia. First tour since the last ones with Cowards in France/Belgium last November and our tour in Cuba in August 2012. We plan to record a new EP this Spring. Pretty busy we are.
Any new local bands or friends of yours in general that you would recommend?
Julien: Wardhill, Rorcal, Daggers, Cowards. Great bands!
Roderic: Commodore, Intercostal, Ventura, Mandroid of Krypton, Impure Wilhelmina, Coilguns and Zatokrev are pretty great too.
Some of you (or is it just Roderic?) have created 15 year ago a fucking excellent fanzine, EVIL. It was way ahead of its time, melting together underground punk/hardcore and metal aesthetics. What was the reaction to it back to the time?
Roderic: Few people seemed to care. When it changed, the zine was no more.
Each time I speak with Swiss dudes from the scene, I ask if they have news from Shora – I still can’t get over with their «Malval» record! So, do you have any news from them?
Michael: They recorded something after «Malval», but never released it, or maybe it’s a legend…
All right, what comes next for Vuyvr?
Julien: We have some shows planned in the coming months, and a short tour in France should be scheduled later this year.
Thanks Dephosphorus!
“Eiskalt” is out now in LP and digital formats via Throatruiner Records (France) and Blastbeat Mailmurder (Greece).
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