Let’s start with the present – “The Formulas of Death” was officially released last weekend with a launch gig. How was the event? And are you happy with how the finished album has turned out?
The festivities surrounding the release of the album turned out the way we wanted them to. We had a sold out show and I guess you can say that we arranged the entire night by ourselves. We only played songs from the new album since it was the release show, and that all felt really good. Yes, we are of course very pleased with the way the album turned out.
I’m curious about the genesis of this new record, as it seems like a giant leap in every way from your previous work. I only discovered recently that there was a big delay between the recording and release of “The Horror”, so I’m curious first of all: did the work start on the writing of “Formulas” before “the Horror” was released? And did the time between the recording of the first album and it finally seeing the light of day allow you time to reflect on how you wanted to progress as a band?
The first conscious decision to start writing on a new album came after the release if I’m not mistaken, around three months after the release. Some of the riffs actually date back as far as 8 years. I don’t recall us actively discussing how to progress, it all happened when we were not together really. We didn’t rehearse for quite a long time due to various things and once we started doing it again we were somewhere else. No one objected and no one really said anything about it. To say a cliché; it was all very natural. We all knew that we were going somewhere else, and I guess we are still on the move.
How do you feel about “The Horror” now looking back on it?
It reflects us perfectly as the band we were back in 2007 when we recorded it. It had a big impact on a lot of people and in Sweden it had a hype that extended outside of the underground metal scene. Could we do another album like that today? No, it’s behind us.
So, to the new album. I was intrigued by this quote on the inner booklet: “Music from the depths of the soul, Music from the other”. This sums up this new set of songs perfectly I think. What is the intention behind this new, more atmospheric approach in your sound? What do you hope to inspire in those listening to the record?
I’m not sure we had an intention to invoke anything at all within the listeners when we were creating it, we just did it. But we wanted to achieve something for ourselves I guess, and that in turn could generate the same feeling in whoever is listening to it. What I’m saying is that we didn’t think at all about what people would and could feel about the music but we consciously made the song structures more “atmospheric” rather than just aggressive as we sort of used to. Why? That’s just where we are at the moment, we don’t force these decisions out and we close to never fight over such things; we let them happen. What I can say to anyone listening to the album is to listen to it more than a couple of times, I think it takes more. Take it or leave it, you know. I don’t really want to lead anyone in any direction either, we already did that with the layout and the lyrics.
The very essence of the new album – the music, the art, the lyrics..to me it seems to be one of creating a very macabre, almost vintage kind of feeling of horror. The front cover in particular is very reminiscent of an old book cover or movie poster, I see references to Goethe and DeQuincy, and there’s even quite a cinematic feel to some of the music at times. Lyrically, did you feel that it was important to try and tell a story with each song on this album? What, if any film makers/writers or non-musical influences effected the creation of the new album?
No, there are no stories like that in the lyrics and they are not inspired by movies. The Goethe reference in the song Rånda fit the lyrics (written by our friend Konstantin) and the De Quincey title is an interpretation and adaptation to the album. But that aura is within the album for sure. That “gothic” aura and that Nosferatu aura will always be there in some way I guess. Most of the lyrics on this album focus on spiritual death and rebirth and about certain supernatural elements in both myth and reality. Initiation of any kind is something that’s lacking in our society and if it exists in some way it’s often quite distorted and shallow. I think that’s a mistake even when it’s not of a spiritual nature.
The other thing I found interesting, is there seems to be a kind of “Eastern” influence in some of the new stuff; both in some of the melodies at work, and in some of the lyrics – I see a reference to the god Rudra in “When The Sky Is Black With Devils”. Is there anything specific in that culture that drew you to it? (or am I imagining this whole influence completely! I suppose) Do you feel that perhaps in Western culture, our attitude towards death is less of a spiritual persuasion?
There is an Easter influence in both the lyrics and in the way the music is being presented. There are Western spiritual traditions that in some ways could equal that of the Eastern, or Indian, but it isn’t really as out and about I guess. Some even argue that our physiology is better suited for our “own” Western traditions. And yes, our attitude towards Death is entirely different. We’re just matter, right? I feel more and more drawn to certain parts of Indian philosophy, a lot due to its completeness and variety. Any one that has been digging just a little bit will most likely see more references to it. That this particular reference is to Rudra is no coincidence, but as with most of the lyrical content it’s a metaphor describing something else.
Related to the last question…How important is the visual aspect, the creation of imagery to you as a band? And how do you feel art of the kind you make relates to the “other” of which you speak?
That’s important for any band I guess. It’s how we present the non-musical sides of the band and it reflects the way we see the music. It isn’t as important as the music I think, nothing is. What I say in this interview really means nothing when it all comes down to it. The music is the band and everything else is just how we present what we feel the music is in images and words. So, The Other is more concerned with the music.
Where do you feel your place in the death metal scene is nowadays? Or is that something you guys even think about now? Do you feel perhaps that death metal has become dumbed down a little in recent times?
We don’t think about it. We’re not “above” it, but we take a different path. I think Death Metal became dumbed down over 20 years ago, and I have never really listened to those bands that didn’t do their own thing. Morbid Angel is one of the bands that did their own thing and succeeded in doing so. I also listened to Kaamos the other day, and even though that came much later it has something fresh to it! We really don’t care anymore, and it gets more and more obvious to us every day that we don’t. We are just the musical band Tribulation now, really.
Back to earth now – you’re about to hit the road with an excellent line up: Ketzer, Alchemyst and Venenum for a European/UK tour. Firstly, will you solely play the new album or will there be older material in the set? And secondly what are your expectations for the tour?
We will play old songs as well. I’m guessing that most of the people coming hasn’t even heard the new album and if these people pay money to see us play we’re going to play at least some old songs. I have no expectations at all except that I hope it all turns out well.
The last time I saw you live was here in Dublin with Negative Plane. How was that tour for you? It seems to me like that band and yourselves have a very similar approach to feeling and atmosphere in music, would that be fair to say?
That was a great tour, mostly due to Negative Plane and everyone else on the tour being great guys. We did really small shows but they all turned out well I think. We didn’t expect anything else in the middle of the summer. I don’t know how their approach to their own music is, but I guess you can compare us in some ways. They are doing their own thing and they are doing it well, we are as well.
Okay, last question for now, thanks so much for answering: There is a quote in Swedish on the album: “Vara lyrors strangar aro stamda, For att motaga de andra valsigneser”. Can you maybe tell us what this means and how it related to the album as a whole?
The original quote that is also in the album is from one of Sweden’s best and most well-known authors Selma Lagerlöf, she’s on our 20 kronor bill actually. It’s a continuation of that quote by the band, referring to the creative process while writing the album.
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