Latest / HEAVY Music Interviews / NAILED TO OBSCURITY Unleash Generation Of The Void With Expansive New Vision

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NAILED TO OBSCURITY Unleash Generation Of The Void With Expansive New Vision · HEAVY Music Interviews

• 0:00
  Speaker 1: Hi, this is a Ramund from Nail to Obscurity. I'm
• 0:04
  Speaker 1: the vocalist and we're about to release Generation of the Void,
• 0:07
  Speaker 1: our new record. Yeah, in quite a while. I think
• 0:11
  Speaker 1: it's in two weeks that we finally unleash this beast
• 0:16
  Speaker 1: getting close.
• 0:17
  Speaker 2: Before anything, I have to ask, do you think that
• 0:19
  Speaker 2: your tour this album in Australia.
• 0:23
  Speaker 1: Let's put it this way, we would definitely love to
• 0:26
  Speaker 1: do this, to go down Under and promote it there
• 0:30
  Speaker 1: because it's kind of interesting. It's it's for us, it's
• 0:34
  Speaker 1: such an interesting territory in so many ways. We I
• 0:38
  Speaker 1: think no one in the band has ever been to Australia.
• 0:41
  Speaker 1: I know I'm lying. Our bass player and our drummer
• 0:44
  Speaker 1: I think they have been there, yeah, but never as
• 0:49
  Speaker 1: a band, And we would really love to play for
• 0:53
  Speaker 1: you guys. It would be a pleasure. So let's say
• 0:57
  Speaker 1: there's no particular plan as of now, but we hope
• 1:01
  Speaker 1: that we get the chance to play for you.
• 1:03
  Speaker 3: Yes, that would be awesome.
• 1:04
  Speaker 2: I know, logistics wise, being so far away and the
• 1:08
  Speaker 2: costs and everything, it can be a lot, but hopefully one.
• 1:11
  Speaker 1: Day yes, fingers crossed. Really, it's something that we would
• 1:16
  Speaker 1: really love to We would love to touch as many
• 1:19
  Speaker 1: fields as possible, but Australia would be really special, like
• 1:24
  Speaker 1: I said, in so many ways.
• 1:26
  Speaker 3: Yeah, oh we'd love that.
• 1:29
  Speaker 2: And your new album, Generation of the Void is described
• 1:32
  Speaker 2: as your most expansive album. Yet, what do you feel
• 1:35
  Speaker 2: was the biggest creative risk you took.
• 1:37
  Speaker 3: On this record?
• 1:39
  Speaker 2: Oh?
• 1:40
  Speaker 1: Yeah, I think there are so many artistic, let's say, changes,
• 1:46
  Speaker 1: opportunities that we took for this record. Because when we
• 1:51
  Speaker 1: finalize Black Frost, and when we look back at that record,
• 1:54
  Speaker 1: we said the next one should be more diverse, more dynamic,
• 2:00
  Speaker 1: because we love this record. It's like like you're talking
• 2:06
  Speaker 1: about your children. I love Like Frost for what it is,
• 2:10
  Speaker 1: and I think it's a very cohesive record. It's there
• 2:13
  Speaker 1: are a lot of stand up tracks, but we thought,
• 2:16
  Speaker 1: let's just let things happen, let's open up for things.
• 2:22
  Speaker 1: And on both sides, maybe on the on the more
• 2:26
  Speaker 1: extreme side of metal, when you listen to a song
• 2:29
  Speaker 1: like class Bleeding with blast beats, I think this is
• 2:32
  Speaker 1: more full throttle than we have ever done with netw
• 2:36
  Speaker 1: Obscurity so far. But then there are songs like Allure,
• 2:39
  Speaker 1: which is like hands down ability a ballad, and then
• 2:46
  Speaker 1: we have overcast, which is death doom, uh and and
• 2:55
  Speaker 1: and then we have like more accessible songs like Spirit
• 2:59
  Speaker 1: Corrosion that are I would even use the term catchy
• 3:03
  Speaker 1: in a way. So yeah, we really wanted to achieve that,
• 3:07
  Speaker 1: but it was a huge process behind that because we
• 3:12
  Speaker 1: needed to learn how to write proper vocal melodies because
• 3:17
  Speaker 1: this is the next thing we incorporated more clean singing.
• 3:21
  Speaker 1: So I had to redefine my role because I was
• 3:27
  Speaker 1: more or less the harsh vocal shouter, whatever you want
• 3:31
  Speaker 1: to call it, and now I needed to find a
• 3:34
  Speaker 1: way to present me as the clean singer in the
• 3:39
  Speaker 1: right way. So I needed to find the sweet spot
• 3:43
  Speaker 1: for my clean singing, so to speak, and where is
• 3:46
  Speaker 1: my voice because in the past we also did clean vocals,
• 3:50
  Speaker 1: even on opaque with murder of crows and protein on
• 3:55
  Speaker 1: conglusion and tears of the eyelists on the black Frost
• 4:00
  Speaker 1: and on several occasions here and there, but it was
• 4:04
  Speaker 1: me just singing. But now it feels like a more
• 4:09
  Speaker 1: matured singing. Also, with these vocal lines we made, we
• 4:15
  Speaker 1: really tried to make sure that it works with my
• 4:18
  Speaker 1: voice and everything all and Volka came up with brilliant
• 4:23
  Speaker 1: vocal and harmony lines, and and I tried to make
• 4:26
  Speaker 1: sure that the lyrics are still catering the song. So
• 4:32
  Speaker 1: it was a very fresh process. It took us a while. Really,
• 4:36
  Speaker 1: it did not just because of the pandemic situation where
• 4:40
  Speaker 1: we needed to relearn how to do this, to find
• 4:44
  Speaker 1: the coping mechanism to write songs when we are not
• 4:50
  Speaker 1: together in the same room, because we finalized songs in
• 4:54
  Speaker 1: the past mainly in the rehearsal room like an old
• 4:58
  Speaker 1: school band, so to speak. And now how we needed
• 5:00
  Speaker 1: to find ways to to create proper demos to uh,
• 5:07
  Speaker 1: to make these songs work and all that stuff. And
• 5:09
  Speaker 1: then if you're having said all that, there is also
• 5:13
  Speaker 1: something that is happening in the in the back of
• 5:17
  Speaker 1: these songs, like soundscapes and everything. So all the really
• 5:21
  Speaker 1: took a deep dive into that territory. And I think
• 5:25
  Speaker 1: he did a fantastic job. He enriched these songs and
• 5:28
  Speaker 1: lifted them up and made them I would say bigger, Yeah,
• 5:35
  Speaker 1: it's it's it's it's really interesting what that does with
• 5:41
  Speaker 1: these songs. So, yeah, it was it was a huge
• 5:45
  Speaker 1: process to write these songs and then record them.
• 5:49
  Speaker 2: Yeah, it sounds like it did you all have your
• 5:52
  Speaker 2: own parts that you had recorded yourselves and then put
• 5:56
  Speaker 2: them together. It's saying as you weren't all in the studio.
• 5:58
  Speaker 3: At the same time.
• 6:03
  Speaker 1: I have to divide this answer into two pieces. So
• 6:06
  Speaker 1: at first there is the the demo stuff. So we
• 6:09
  Speaker 1: did basically all the demos at Olda's house with him
• 6:17
  Speaker 1: helming as the producer. And that was like combining the
• 6:23
  Speaker 1: process of recording demos and songwriting, so both went hand
• 6:28
  Speaker 1: in hand. So Young or a drummer the he did
• 6:33
  Speaker 1: his tracks on his own and recorded them and sent
• 6:36
  Speaker 1: them over and sometimes old and Foka also programmed drums
• 6:41
  Speaker 1: to present an idea to him that he could take
• 6:44
  Speaker 1: from that and made it his own. So that was
• 6:48
  Speaker 1: the process behind the drums. And when it comes to
• 6:51
  Speaker 1: the guitars and bass lines, it was all of Vodka
• 6:56
  Speaker 1: and also Carsten or former base player involved in that
• 7:02
  Speaker 1: and later on Loots also tweaked some of the bass lines.
• 7:05
  Speaker 1: So it was that. But when it comes to the vocals,
• 7:08
  Speaker 1: it was like so called top lining. We had the
• 7:13
  Speaker 1: instrumental parts done and then I came into the picture
• 7:18
  Speaker 1: and we decided what way of singing to use for
• 7:22
  Speaker 1: that song. So harsh vocals versus clean vocals, and we
• 7:28
  Speaker 1: tried a lot of things, and then it was like
• 7:32
  Speaker 1: finding great harmony lines and finding great melodies that work
• 7:38
  Speaker 1: with my voice because I'm also, like I said, it's
• 7:43
  Speaker 1: somewhat new territory, and I really wanted to make sure
• 7:46
  Speaker 1: that it works, not that I reach a very very
• 7:50
  Speaker 1: high note that I can reproduce when we are in
• 7:53
  Speaker 1: a live situation and everything, so everything should work also
• 7:58
  Speaker 1: in the live situation. So that was that process, and
• 8:02
  Speaker 1: that was in little I would say, teams of the band,
• 8:10
  Speaker 1: so to speak. So it was when it comes to vocals,
• 8:14
  Speaker 1: this is where I can talk best about. That was me,
• 8:19
  Speaker 1: and and then like drums, that was young and I
• 8:23
  Speaker 1: think also a little bit of older. And when it
• 8:26
  Speaker 1: comes to guitars, of course older and Falkka, and when
• 8:30
  Speaker 1: it comes to bass lines it was like Foka and
• 8:35
  Speaker 1: older and also Carsten or Lutz because yeah, Carston left
• 8:40
  Speaker 1: the band in the beginning of twenty twenty four on
• 8:45
  Speaker 1: his own terms and on good terms. We're still befriended.
• 8:49
  Speaker 1: All got there, yeah, But then lots came into the picture,
• 8:56
  Speaker 1: and then there is the recording process in the proper studio,
• 9:00
  Speaker 1: So we split. We split it this time like we
• 9:02
  Speaker 1: did for the singles that were released in twenty twenty one,
• 9:07
  Speaker 1: Liquid Mourning and Clouded Frame. We recorded instrumentals with v
• 9:10
  Speaker 1: Centura at the Woodshed Studio in southern Germany, and then
• 9:16
  Speaker 1: we headed over to Denmark to record vocals there with
• 9:20
  Speaker 1: Jacob Hansen, who also handled mixing and mastering duties. In
• 9:24
  Speaker 1: a I would say perfect way, it's still unbelievable that
• 9:30
  Speaker 1: this is our album. It's so great that we get
• 9:34
  Speaker 1: the chance to work with him as a producer. It
• 9:37
  Speaker 1: was on our wish lists, so to speak, and it
• 9:41
  Speaker 1: turned out just great. He's a fantastic guy. Not saying
• 9:45
  Speaker 1: that V Centura is not a fantastic guy. I love
• 9:47
  Speaker 1: this guy. He played with us also in a life situation.
• 9:51
  Speaker 1: He stepped in for Caston when he was not able
• 9:53
  Speaker 1: to play some shows as a bass player, and he
• 9:55
  Speaker 1: also stepped in for Folker to play the guitar. He's
• 9:58
  Speaker 1: part of our family. I really want to make sure
• 10:01
  Speaker 1: that this doesn't yeh.
• 10:05
  Speaker 3: No, no, understandable.
• 10:07
  Speaker 2: You've just answered one of my questions as well about
• 10:09
  Speaker 2: working with Jacob and splitting your time across Woodshed Studios
• 10:14
  Speaker 2: and Denmark. As well, it hadn't splitting it influence. Splitting
• 10:19
  Speaker 2: your time between these two places influence your final sound.
• 10:24
  Speaker 1: Yeah, I think it did because the process, to be
• 10:30
  Speaker 1: fairly honest, I wasn't there at the Woodshit when the
• 10:36
  Speaker 1: instrumental tracks were recorded, because the first three tracks we
• 10:42
  Speaker 1: released Liquid Morning and Clouded Frame, but we also already
• 10:45
  Speaker 1: recorded glass Bleeding to test this new setup that we
• 10:49
  Speaker 1: had in mind that was under the I would say
• 10:53
  Speaker 1: COVID umbrella. So I couldn't take part in the actual
• 10:58
  Speaker 1: recordings and when we recorded the remaining tracks and twenty
• 11:04
  Speaker 1: twenty three instrumental wise, I had other things to do
• 11:11
  Speaker 1: from our regular work, so I wasn't able to catch that.
• 11:15
  Speaker 1: But so I can't speak too much about that, but
• 11:21
  Speaker 1: for what I heard from the other guys, it was
• 11:24
  Speaker 1: basically like the King Delusion and like Frost sessions. So
• 11:29
  Speaker 1: Victor is a fantastic guys, one hell of a guy,
• 11:32
  Speaker 1: and he has great years for everything, and yeah, he
• 11:38
  Speaker 1: was the guy that we know from these sessions. But
• 11:44
  Speaker 1: for me it was very different because we had like
• 11:48
  Speaker 1: these three recorded instrumental tracks and I went to Jacob
• 11:54
  Speaker 1: Hanson's studio to record the vocals there and he already
• 12:00
  Speaker 1: he did like which is mandatory, like a pre mix.
• 12:04
  Speaker 1: And what I heard in my ears already differed a
• 12:07
  Speaker 1: lot from from Victor. Not uh saying that it was
• 12:14
  Speaker 1: bad in the past, but but I could already hear
• 12:16
  Speaker 1: that there is a switch in in in the opportunities
• 12:21
  Speaker 1: and the quality and everything. So it felt very different.
• 12:24
  Speaker 1: And also Jacob is a different kind of a producer Victor.
• 12:30
  Speaker 1: He's more like, maybe more like us. We're just a
• 12:37
  Speaker 1: pack of people that are trying to make things work.
• 12:41
  Speaker 1: Not that we know what we do, but we sometimes
• 12:46
  Speaker 1: have like the moment in the afternoon where we get
• 12:52
  Speaker 1: tired of stuff, and this was already worked into the
• 12:57
  Speaker 1: agenda with with Victor, and Jacob is more like we
• 13:03
  Speaker 1: start at I would say, nine or ten o'clock and
• 13:07
  Speaker 1: then we work until four or five pm and then
• 13:14
  Speaker 1: that's that. So it was a very different setting. But
• 13:18
  Speaker 1: working with him felt very comfortable because he was of
• 13:23
  Speaker 1: course also taking care that you feel good when you
• 13:26
  Speaker 1: do your stuff, and if you're not in the right mood,
• 13:29
  Speaker 1: you take a break and all that stuff. So different.
• 13:33
  Speaker 1: Having said the stuff before, it also goes for this,
• 13:36
  Speaker 1: but it was a little different. And then he is
• 13:41
  Speaker 1: such a calm guy. And I like this because it
• 13:44
  Speaker 1: calms you down so much. He's really not stressed at all.
• 13:55
  Speaker 1: If you, I don't know, if you run into I
• 13:58
  Speaker 1: would say that territory, sorry, where where you try to
• 14:02
  Speaker 1: sing a part over and over again and it's not
• 14:04
  Speaker 1: getting into the direction that you want to achieve. He's
• 14:09
  Speaker 1: just the nicest, down to earth, calm guy that you
• 14:17
  Speaker 1: can think of. And but but then when when he
• 14:22
  Speaker 1: gets out of you what he wants to have, he's
• 14:24
  Speaker 1: really like, yes, that's fantastic, go for it. And then
• 14:30
  Speaker 1: he says things like maybe just try this and that
• 14:36
  Speaker 1: and it will be even better. And this motivates you
• 14:39
  Speaker 1: to just do the next star, the next tryout and
• 14:45
  Speaker 1: and and then yeah, he's really really good at that.
• 14:49
  Speaker 1: And he has like what people call, I would say
• 14:52
  Speaker 1: big ears, not that he actually has big ears, but
• 15:00
  Speaker 1: I have some sort of muppet in my mind but
• 15:03
  Speaker 1: with giant ears. But no, no, no, he has big ears.
• 15:06
  Speaker 1: He can hear something that is special in your performance. Yeah.
• 15:14
  Speaker 2: Isn't it amazing how some people's energy just can affect
• 15:19
  Speaker 2: the mood around the place so much, Like just one
• 15:22
  Speaker 2: person's energy can affect and you so much as.
• 15:25
  Speaker 1: Well absolutely, yeah, yeah, yeah, it is like you absorb
• 15:30
  Speaker 1: and energy. Yeah, yeah, this is this is this is
• 15:35
  Speaker 1: how it should be always and I have to be
• 15:39
  Speaker 1: I have to say that as well. I've never made
• 15:42
  Speaker 1: a bad experience with with a producer so far, so
• 15:50
  Speaker 1: this this also goes for for everyone I work with.
• 15:54
  Speaker 2: Yeah, that's amazing and I like on this album too.
• 15:58
  Speaker 2: How your vocals You do really also have some vocals
• 16:02
  Speaker 2: in there that are really high and like beautiful. Did
• 16:05
  Speaker 2: you have to train yourself? We did speak about this
• 16:08
  Speaker 2: a little bit before, but training yourself to sing differently?
• 16:14
  Speaker 3: Yes.
• 16:15
  Speaker 1: I took vocal lessons starting in twenty twenty one, and
• 16:22
  Speaker 1: I think this helped a lot because I was able
• 16:26
  Speaker 1: to find my sweet space and also I learned how
• 16:30
  Speaker 1: to sing Hi without stressing my voice. It's still, I
• 16:33
  Speaker 1: would say, a work in progress, because sometimes I I
• 16:38
  Speaker 1: go back into false muscle memory and do it the
• 16:42
  Speaker 1: wrong way and then it sounds pitchy. But I think
• 16:48
  Speaker 1: I've found some good ways to make my voice sound. Yeah,
• 16:53
  Speaker 1: I would say, okay, ish, but yeah, did you have
• 16:57
  Speaker 1: sorry No, No, it's so good. I just wanted to say,
• 17:02
  Speaker 1: I have to be honest here. Some of the of
• 17:05
  Speaker 1: the harmony vocals were sung Biola and just to get
• 17:09
  Speaker 1: another flavor it.
• 17:12
  Speaker 2: Yeah.
• 17:13
  Speaker 1: Yeah, and this is also something that makes it, I think,
• 17:16
  Speaker 1: even more special. And when we do this live, they
• 17:19
  Speaker 1: also sing their lines or the harmony lines that are
• 17:25
  Speaker 1: needed for a song if I sang them on on
• 17:27
  Speaker 1: the album. But it's kind of cool to have like
• 17:31
  Speaker 1: hybrid already on the album of our Voices.
• 17:34
  Speaker 3: Yeah, definitely.
• 17:35
  Speaker 2: It sounds like too that you guys created this album
• 17:37
  Speaker 2: really thinking about how it would translate live.
• 17:40
  Speaker 3: Is that true? Do you think?
• 17:42
  Speaker 1: Absolutely? This has always been the case. We really thought
• 17:47
  Speaker 1: of the live presentation. I think there are some exceptions,
• 17:52
  Speaker 1: but we already made some of them work, like Ebnea
• 17:59
  Speaker 1: on on the Black Frost record, which ended up being
• 18:01
  Speaker 1: on the Settlers of the Last Tour, which was all
• 18:05
  Speaker 1: already a huge thing for us because this was really
• 18:10
  Speaker 1: like a studio track yea, but we found a way
• 18:16
  Speaker 1: to make a cool live rendition of this one. So yeah,
• 18:21
  Speaker 1: And when we Degeneration of the Void live was always
• 18:24
  Speaker 1: key because we see ourselves as a live band, which
• 18:29
  Speaker 1: doesn't mean that our albums doesn't mean something to us.
• 18:33
  Speaker 1: They are like the foundation of what we do live.
• 18:37
  Speaker 1: But it's always about the live presentation. Yeah.
• 18:41
  Speaker 3: Yeah.
• 18:42
  Speaker 2: And the new record has also been called cinematic, almost
• 18:46
  Speaker 2: like a soundtrack. Do you have a picture your music
• 18:49
  Speaker 2: pad with film or visuals when writing?
• 18:53
  Speaker 1: Sometimes I really do, especially in lyric writing. But when
• 18:58
  Speaker 1: it comes to this record, of course I did. When
• 19:02
  Speaker 1: when you listen to Overcasts, for example, which is a
• 19:06
  Speaker 1: full on harsh vocal track, but it sounds so huge.
• 19:12
  Speaker 1: When when I received the song, all then Foker said
• 19:17
  Speaker 1: think post apocalypse and and then write something. They never
• 19:20
  Speaker 1: did this so far because they didn't force me to
• 19:24
  Speaker 1: to write that, but it was like, maybe I have
• 19:27
  Speaker 1: something in mind that that really works with my own,
• 19:31
  Speaker 1: let's say, more emotional approach of writing lyrics, but making
• 19:36
  Speaker 1: it like a post apocalyptic story. And this also goes
• 19:42
  Speaker 1: for uh, I have to think for some more of
• 19:50
  Speaker 1: these tracks. But Echo Attempt is another example for that,
• 19:56
  Speaker 1: because this is like I am I say it here,
• 20:01
  Speaker 1: it's it sounds a little weird. I'm a huge Star
• 20:04
  Speaker 1: Wars fan and yeah, okay, yeah, you see the Stormtrooper
• 20:10
  Speaker 1: in the back. Yeah yeah, it's easy. Yeah, and I
• 20:15
  Speaker 1: never thought I could match my I wouldn't say obsession
• 20:19
  Speaker 1: with Star Wars. I'm not that much of a fan
• 20:22
  Speaker 1: but I'm I'm a fan boy. And I think one
• 20:26
  Speaker 1: of the ideas in Star Wars in the in the
• 20:28
  Speaker 1: original movie is that they destroy a star with a
• 20:33
  Speaker 1: death death star. Yeah, and it's like thousand voices disappear
• 20:40
  Speaker 1: into nothingness and it's it's it's gone, It's not there anymore.
• 20:46
  Speaker 1: And I kept that and this is like the basic
• 20:49
  Speaker 1: idea for I could attempt. It's a bat that is
• 20:54
  Speaker 1: trying to navigate him an over through the nothingness. So this,
• 21:01
  Speaker 1: this person or bad, whatever you want to use here
• 21:07
  Speaker 1: is maneuvering through nothingness and the bad is trying to
• 21:11
  Speaker 1: echolocate and there is nothing to echo locate because nothing
• 21:16
  Speaker 1: can resonate because there is nothing. So I took a
• 21:23
  Speaker 1: tiny piece of Star Wars and made it mail to Obscurity.
• 21:27
  Speaker 3: But you made it your own as well. I love that.
• 21:29
  Speaker 3: But you know, with the bat, that's really my own idea.
• 21:32
  Speaker 3: I love that.
• 21:34
  Speaker 1: Yeah, thank you.
• 21:35
  Speaker 3: That's awesome.
• 21:36
  Speaker 2: And do you think some of the themes on this
• 21:38
  Speaker 2: album as well are from real world events that are
• 21:44
  Speaker 2: happening at the moment, or maybe even say COVID.
• 21:48
  Speaker 1: I would say on a subliminal level, because when I
• 21:52
  Speaker 1: started collecting the ideas. Some of them are even left over,
• 21:57
  Speaker 1: just lyric left over ideas from Black Frost. So I
• 22:03
  Speaker 1: collected these ideas starting in let's say twenty eighteen twenty nineteen,
• 22:07
  Speaker 1: which was pre pandemic times. But I finalized most of
• 22:13
  Speaker 1: these lyrics post pandemic, or sometimes even during the pandemic.
• 22:19
  Speaker 1: So it had an influence. And when I look back
• 22:22
  Speaker 1: at these songs now, it's not on the very forefront
• 22:25
  Speaker 1: of things, but it's there because I'm a moody person,
• 22:32
  Speaker 1: I would say, and I can be sometimes I would
• 22:36
  Speaker 1: say depressed here and there, And the pandemic maybe turned
• 22:43
  Speaker 1: these emotions upside down, made them more heavy, being disconnected
• 22:51
  Speaker 1: to your family or friends and everything. Also to my
• 22:55
  Speaker 1: bandmates you weren't able to meet. And when I eat
• 23:00
  Speaker 1: my own lyrics these days, after having found the right
• 23:04
  Speaker 1: amount of distance to them, I feel that the war
• 23:10
  Speaker 1: in Europe and the pandemic and the post pandemic times
• 23:17
  Speaker 1: had a huge influence on let's say, the intensity of
• 23:22
  Speaker 1: emotions on that record. Yes, this is also why we
• 23:28
  Speaker 1: are stressed that there is a socio critical underlying theme
• 23:34
  Speaker 1: or generation of the void, because I like to keep
• 23:37
  Speaker 1: things open all the time. But when I presented the
• 23:40
  Speaker 1: idea Generation of the Void as an album title to
• 23:44
  Speaker 1: Ola and Falka while we were in the studio to
• 23:46
  Speaker 1: record the full album, they were like, we can so
• 23:50
  Speaker 1: much relate to that. We already have our own interpretation
• 23:54
  Speaker 1: to this one. And that was more social critical than
• 24:00
  Speaker 1: even I would have pointed it out while I was
• 24:02
  Speaker 1: writing that. But I could connect to that because I'm
• 24:06
  Speaker 1: socio critical myself. And it's also tough times here in
• 24:11
  Speaker 1: Europe because we in the band, we all are more
• 24:15
  Speaker 1: on the left side of things when it comes to
• 24:19
  Speaker 1: our political mindset. Yeah, and it's for us it's not
• 24:25
  Speaker 1: understandable the right right wing extremism shift all over the world.
• 24:32
  Speaker 1: It's not understandable for us. And the whole frustration about
• 24:37
  Speaker 1: that is also a huge part of the song's lyrics,
• 24:41
  Speaker 1: and it was not on purpose. It was subliminal.
• 24:44
  Speaker 2: Yeah, yeah, definitely, And you can, like you say, because
• 24:48
  Speaker 2: I don't think it's really like that. Your lyrics are explicitly,
• 24:52
  Speaker 2: you know, telling a social economic story. Really, it's that
• 24:56
  Speaker 2: intensity that is in the music behind the music that,
• 24:59
  Speaker 2: like you said, and it's also got a really nice
• 25:01
  Speaker 2: contrast in there of intensity and harmony versus you know,
• 25:07
  Speaker 2: more harshness, and yeah, yeah, you guys have captured it
• 25:11
  Speaker 2: really well.
• 25:12
  Speaker 1: Thank you very much. It's great that it pays off, because, yeah,
• 25:16
  Speaker 1: we we took so long to finalize these records, and
• 25:20
  Speaker 1: sometimes when you when you when you put so much
• 25:25
  Speaker 1: effort into the music, you get like I would say,
• 25:30
  Speaker 1: blindsided in a way. And it was hard for us
• 25:33
  Speaker 1: to judge because sometimes things tend to be like overly done,
• 25:42
  Speaker 1: you know. Yeah, And it's great to hear that. It
• 25:46
  Speaker 1: seems seems to be the case that it pays off
• 25:49
  Speaker 1: when I hear things like that, So thank you so
• 25:51
  Speaker 1: much for having said that.
• 25:53
  Speaker 2: Definitely, it must be hard when you've produced something to
• 25:56
  Speaker 2: know when to kind of stop and stop working on
• 26:00
  Speaker 2: it and stop obsessing and fixating on certain parts and
• 26:03
  Speaker 2: just let it be.
• 26:04
  Speaker 1: Do you find that, Oh yeah, of course of course.
• 26:08
  Speaker 1: And I think it's it's great that we are not
• 26:11
  Speaker 1: producing the whole record on our own. So there is
• 26:15
  Speaker 1: this very moment when you say, now it's up to
• 26:21
  Speaker 1: in this case Jacob Hanson to judge what ends up
• 26:24
  Speaker 1: being on the record on how to balance things and stuff,
• 26:29
  Speaker 1: because I think we would just produce dozens of versions
• 26:35
  Speaker 1: and in the end we couldn't judge, And this is
• 26:38
  Speaker 1: just great to have the outside view someone who's saying,
• 26:43
  Speaker 1: I think this could work, and sometimes there are some
• 26:47
  Speaker 1: ideas in the mix that are even better. Then we
• 26:55
  Speaker 1: would expect these songs to turn out.
• 26:59
  Speaker 2: Yeah, definitely, having someone else will go over it and yeah,
• 27:03
  Speaker 2: put have their input in.
• 27:04
  Speaker 1: Yeah absolutely, Yeah.
• 27:06
  Speaker 3: Oh man, I.
• 27:07
  Speaker 2: Could talk to you forever, but I've already gone over time.
• 27:09
  Speaker 2: I'm so sorry.
• 27:11
  Speaker 1: No, don't, don't sorry, because I took my little spot before,
• 27:14
  Speaker 1: So we can just talk a little longer, just just
• 27:19
  Speaker 1: to you.
• 27:19
  Speaker 2: I'll have one more question then, and then I'll what's
• 27:24
  Speaker 2: a non metal influence, musical or otherwise that shaped your
• 27:27
  Speaker 2: vocal style or performance on this record.
• 27:31
  Speaker 1: There's a very very good question, because when I took
• 27:35
  Speaker 1: vocal lessons, I mainly sang things outside of the metal world,
• 27:40
  Speaker 1: so to speak. I sang songs by sting for example. Yeah,
• 27:47
  Speaker 1: and I really think he's he's a fantastic musician in
• 27:53
  Speaker 1: a way because he knows so well where the speeds
• 27:58
  Speaker 1: sweet spot for his voices. This is something where I
• 28:02
  Speaker 1: learned a lot because he's one of these so called
• 28:04
  Speaker 1: singer songwriters he's writing songs for his own voice because
• 28:10
  Speaker 1: he knows where his voice shines, and so I think
• 28:15
  Speaker 1: I learned from him in that case, and also from
• 28:22
  Speaker 1: like singing stuff that I always loved that I didn't
• 28:26
  Speaker 1: know that I could do. I sang, and I'm not
• 28:29
  Speaker 1: very good at that, and I don't want to this.
• 28:33
  Speaker 1: I'm not saying this because I hope that people ask
• 28:36
  Speaker 1: me to do this, But I sang the d O songs, yeah,
• 28:40
  Speaker 1: and from his Black Sabbath Days, like Children of the Sea,
• 28:47
  Speaker 1: and it was a lot of fun, and I really realized, Okay,
• 28:53
  Speaker 1: I can also do this, not in the d O way.
• 28:57
  Speaker 1: And I don't want to present this to anyone because
• 28:59
  Speaker 1: this is this is such a fantastic vocalist. I'm not
• 29:05
  Speaker 1: at all even close to him.
• 29:07
  Speaker 2: Yes, itself more credit, please, you really are, That's what
• 29:12
  Speaker 2: I was saying. It was really nice to hear these
• 29:14
  Speaker 2: different vocals from you on this record that you know,
• 29:18
  Speaker 2: none of us knew that you could do that before.
• 29:20
  Speaker 2: It must have been a shock to even yourself. Did
• 29:23
  Speaker 2: you know you could sing like that?
• 29:25
  Speaker 1: No, it's yeah, you really said it very well. It
• 29:29
  Speaker 1: was some sort of shock where we did these demos.
• 29:33
  Speaker 1: I have to say. I was on vacation with my
• 29:40
  Speaker 1: wife and I had like a melody and a vocal
• 29:45
  Speaker 1: line in my head that was my own voice from
• 29:49
  Speaker 1: the recording, and it was like resonating with me on
• 29:53
  Speaker 1: a different level, because when you sing, you feel like
• 29:58
  Speaker 1: you're sounding like this or that, but then you hear
• 30:02
  Speaker 1: your voice recorded and sometimes it's like I can't stand
• 30:08
  Speaker 1: my own voice. Do you know that when you hear
• 30:11
  Speaker 1: when you listen back to like a voice message on
• 30:15
  Speaker 1: WhatsApp or something, it's like, oh that's my yeah, my god,
• 30:20
  Speaker 1: how can some somebody listen to this? But but but
• 30:24
  Speaker 1: but in this case, it was like I can accept
• 30:29
  Speaker 1: that this is me, but I didn't know that I
• 30:32
  Speaker 1: could pull this off. So yeah, it was some sort
• 30:34
  Speaker 1: of shock.
• 30:35
  Speaker 2: Yeah, yeah, crazy, that is so cool, right with congratulations
• 30:41
  Speaker 2: on this album. We're loving it, and thank you so
• 30:43
  Speaker 2: much for your time today.
• 30:45
  Speaker 1: Hey, thank you so much for having me, and yeah,
• 30:48
  Speaker 1: thanks for your patience in the very beginning