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Kruelty - Unleash 'Absolute Terror'
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Japanese trio Kruelty are premiering the second advance single, "Absolute Terror", off their soon-to-be-released 4-track EP Profane Usurpation. Read more ›› |
Interviews
Infestus
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German one-man black metal project Infestus has been around for over 20 years now. Albums like E X | I S T and The Reflecting Void are among the best examples of modern black metal, as founder Andras focuses on both the past and the present to compose his dark music. Rod considered the band to be criminally overlooked and was more than positive on his review for Infestus' latest work, Entzweiung. Surprised and delighted by the proposition of an interview, Rod began working on his questions while exploring Infestus' discography and sent them to Andras via e-mail. Rod: Hi Andras! It’s great to be able to conduct this interview with you. How are you doing now that almost half a year has passed since the release of your latest work, Entzweiung? Are you satisfied with the result and feedback from the public? Nothing that you would have done differently in hindsight? Andras: Greetings! Thank you for the opportunity for this interview. I am deeply satisfied with the whole album. Regarding the compositions, recordings or production, I wouldn’t change anything. This is actually the first time in my life that I feel this way. In the past, there were always several things I would have liked to change afterwards, I was never entirely satisfied. But Entzweiung — at least to me — is perfection in every aspect. It is music the way I want it to be. The feedback has been great so far, although there should have been way more promotion, to be honest. But that has to do with the label that released the album, a bitter pill to swallow. Rod: Could you tell us a bit about your beginnings? When and how did you start to listen to (extreme) metal? When did you start playing and writing music? Infestus has been around for over 20 years now! Have your goals and philosophies regarding Infestus changed over time and if so, how? Andras: I was already into metal when I was about 11 years old, mainly old Metallica and Megadeth albums. At 13, I accidentally opened the door to black metal when I stole a black metal sampler from a shop. It was unbelievable. I still remember the first moment of listening to that sampler as if it were yesterday. I encountered music that reflected my inner experience in a far more fitting way than any other music I had listened to before. It came over me like a serious infection. The bond that was created between my inner self and this style of musical expression, as both a composer and performer, is still strong today. I am an autodidact on every instrument I play. I’m also self-taught in music production, by the way. I started playing drums when I was about 16 and also played some guitar alongside that. I think it was around 2003 that I started writing music myself. Back then, when Infestus consisted of three people (2003-2005), I increasingly contributed music on other instruments. From 2005 on, I took over the whole instrumentation, and from 2008 on, I also took over the vocals, making Infestus a true solo project. No one else involved. No session musicians. As for the last question: When talking about Infestus during the period when it existed as a solo project (because from my point of view, this is really the most important time for me as an artist), there hasn’t been a change in the philosophy behind it. Infestus is my way of giving a voice to the things inside me that I cannot, or let’s say, should not express in any other way. It is an introspective journey through the darkest recesses of my mind, far away from the clichés of black metal. Honest and authentic music for masochists. Rod: There seems to be a strongly personal, emotionally-charged component in Infestus music. From the dark melodies and ominous riffs to the harrowing vocals. Each album seems to describe a feeling, a state of mind or a facet of a person plagued by negativity but this is very different to all the “depressive black metal” bands one can easily find. The sensation runs far deeper. More cerebral. To me it sounds like black metal that aims at deconstructing the mind and spirit. How would you describe Infestus music and the emotions you want to convey with the project? Andras: You totally nailed it. This is actually what it is. With every album, I reflect on different aspects of darkness that have ruined my psyche. I analyze and dissect it and construct a conceptual album that reflects my psyche in an extremely coherent interplay of music, rhythm, vocal expression, and lyrics. Existential pain, for example, is quite a prominent issue in my work. As a matter of fact, I see pain in whatever form as one of the most important drivers of art. In my opinion, true art can only derive from something that threatens your existence. Just like selection pressure in nature that drives evolution, I see true art as the evolution of the soul. So, in a way, I try to evolve by putting this inner darkness into art, using destructive energy to construct something greater. I write music in a way that the result is something that emotionally affects me in a very profound manner. That’s what I demand from other music, too. I actually choose the music I listen to depending on how strongly it affects my emotional state. It has to hurt me in a certain way, opening up destructive inner parts of the soul. And if it does, a weird masochistic relationship is created between the album and me. But to come back to your question and put it simply, Infestus is about all the negativity in life and the different emotions that come with it — A lot of desperation and pain paired with aggression and fear, constantly alternating between defensive and offensive moods, a maelstrom of utter darkness. Rod: Do you feel you discover or better understand an aspect of yourself after each album or is it more a case of creating what you know and feeling the need to release it in a tangible form? Would you say there is a therapeutic aspect in creating Infestus music? Andras: I have the need to give a name to my darkness. It is a process of discovering and understanding, yes. When a concept album is finished, I see and feel the big picture. This moment feels so tragic because it required such a huge amount of creative energy and endurance to bring to life a deeper understanding and even acceptance. So, in a way, it might have therapeutic aspects, although in my experience, psychic wounds do not really heal. Then there is the other side of the coin that threatens to devour my soul entirely. Repeatedly exposing myself to such straining issues results in a balancing act. I have to know the dosage to which I expose myself. I had to learn from my past experiences and stop at a certain point to not lose control entirely. It can easily become compulsive, and the emotional influence on life is major. But to be honest, I cannot deny that I have a strong addiction to darkness Rod: Creating this kind of art can be both liberating and taxing for the soul. How do you best free your mind and relax after an intense period of writing and releasing music? Andras: I do several types of outdoor mountain sports. A lone wolf in music as well as in nature... Rod: Are there any other forms of art besides music that really speak to you? Any of them that you have tried to create in your free time as well? Andras: I like modern abtract paintings that convey an intense feeling of darkness or dark emotions. Also abstract sculpture. None of those things I have tried, though. The day has 24 hours, and it is already too packed. Rod: We’ve had the largest skip between Infestus albums with the last two releases. Six years between Thrypsis and Entzweiung. I would say there is much more complexity involved in your latest album compared to some of your earlier work. Am I correct in assuming that this more complex songwriting, along with working alone, are the reason for these six years? Andras: Doing really everything myself (composing, playing drums, guitars, bass, vocals, keys, creating the concepts and the lyrics, recording and mixing the material, doing the layout of the album design...) is one aspect of why it takes the time it takes. Music is my passion, but I have a day job, too. But no, it is not the complexity that caused the six-year gap. I had a pretty tough period for two years in which I wasn’t able to proceed with the album. And no, the reason was not the coronavirus pandemic. I pretty much enjoyed the state of the pandemic, to be honest, haha. Rod: Entzweiung is a bit of a departure in style compared to the previous album, Thrypsis. Your latest album seems closer in sound and atmosphere to previous albums like E X | I S T and The Reflecting Void, for example. Let us go through the process of making Entzweiung. Did you have an idea/concept in mind already by the time you released Thrypsis? Did you start writing the new songs as soon as you were done with Thrypsis? Was there an intention of revisiting sounds and textures from your older works? Andras: You are right. I also feel Entzweiung is closer to the above-mentioned older albums. And that was actually my plan for this album: I wanted to return to a more atmospheric sound. With Thrypsis, there was a lot of aggression involved, which led to this rather in-your-face sound with only a little room and reverb on the different instruments. I started to write Entzweiung pretty soon after Thrypsis. I usually finish a preproduction song on guitar only and then sit down at the drums to create the drum tracks and so on. As songs evolve in the writing process, my music acts as a door-opener to issues that fit perfectly with the soundscape. And so I proceeded to dig into a very quintessential inner conflict I have experienced since I was young. On the one hand, a profound yearning for maximum distance from this world, a desire for tranquility, for freedom from external impressions, entanglements, and relationships; a pursuit of ultimate detachment from everything deemed contemptible and "human" as a potentially last resort for healing. On the other hand, a force diametrically opposed, binding consciousness like chains to earthly existence, drawing the "soul" into darkness and slowly devouring it from within. Rod: In comparison to previous albums, there is a larger amount of piano and there’s even a cello in the second track of Entzweiung. This adds a very different layer of darkness to your music. It was ambitious. What drove you to expand the instrumentals this time? Is this something you’ll like to try more in the future? Any instrument you haven’t tried out yet but think it would fit nicely with Infestus’ sound? Andras: True. I especially love the piano as an instrument. I think the piano has the ability to connect with the listener very quickly and profoundly. As I enjoy listening to solo piano pieces especially nowadays, it just felt right to me to play more piano on this album. The same goes for the cello. I had to have a cello in the second track, ‘Dead Inside,’ but I couldn’t play it. So, this is actually the first time I have allowed somebody to contribute something to one of my albums since 2008. I have no plans to add new instruments for the time being. I leave it open to my needs in terms of taste and expression in the writing process. Rod: The previous 4 albums were released through the Debemur Morti label. How was that partnership? May I ask why Entzweiung was released under a different label (Talheim Records)? Was it much easier to work with a more local, German label? Andras: To me, working with Debemur Morti was a matter of creative freedom. I still feel honored to have been part of this label for such a long period. I can only speculate about the real reason why we split because, from my point of view, it couldn't have been the music. Anyway, I had to find another label, and a musician friend recommended Talheim Records, so it was a rather pragmatic choice. I would do things differently now. Rod: It was a surprise to discover that Infestus has performed live every now and then although it doesn’t seem to be a present thing. Do you think Infestus translated well into a concert experience or do you view Infestus as music that is better to experience in solitude? If so, why? Infestus had already played a couple of shows, D'oh!] Andras: I decided to bring Infestus to the stage in 2013 with live musicians, with myself on vocals and occasionally playing a third guitar. I had no, and still do not have, much contact with the scene. There was also no booking agency involved. We played here and there—small gigs and also at big festivals like Hellfest, Metaldays, and others. There was also quite a high fluctuation of live musicians and other issues that made it complicated. With the new album out since April, I have actually renewed nearly the whole live lineup again. In terms of musical quality in a live setting, this is the best lineup I have ever had. I generally believe that such music can only be experienced in its entirety when being alone and totally focused on it. That’s why I rarely attend black metal concerts, actually. But that must not be true for other people. From my point of view as a solo artist, entering the stage with a group of people who dedicate their free time to learning my music and thereby give me the opportunity to perform my creations live is beyond words. It adds another level to experiencing my own songs. When people in the crowd tell me that they felt the pain and were so touched that they had to cry, this moment is so indescribably intimate, intense, and special. Although it’s a lot of work to bring Infestus to the stage (organization of the live line-up, arranging songs for only two to three guitars, writing them down as sheet music, taking care of backing tracks, and audio engineering issues, and so on), I do it for the sake of the on-stage experience. For the past few months, I have been working with two booking agencies, so it might happen that Infestus will play a bit more often in the future Rod: As I understand it, Infestus will remain a project with you, Andras, as its only member; with session musicians appearing only as you see fit. Infestus started as a band that slowly became a one-man operation. Have you ever thought of (or being asked to) participate in a band again? Andras: Yes, Infestus will remain a true solo project, with me doing everything. The vision of each album is simply too personal. To be honest, I work best alone, especially when it comes to things that are of high importance to me. I have been asked by several other bands to join them, but I don’t want to use my spare time just for music. It is already enough to do the work of approximately eight people when a new Infestus album is being created. I do play drums now and then in another metal band with friends of mine, though. Rod: I’ve always viewed Infestus as a band with one foot firmly put on the traditional ground of second-wave black metal but with the other foot in continuous search of new territories to conquer. There is a good balance of tradition and innovation. What can we expect from the future, Andras? Andras: Just what you said. Expect that mixture to continue with its strong emphasis on provoking intense emotions. An exquisite blend of raging darkness and excruciatingly vulnerable moods. Perhaps too demanding for some, but all the more rewarding to others. Rod: Andras, It has been a pleasure to see some of the inner workings behind your art. On behalf of the staff and users of Metalstorm, we thank you for this interview and for your music. We wish you a great day and leave the last words to you. Andras: I thank you for the well-thought-out questions. And my appreciation to everyone who read through the entire interview, as you are among the few who still take the time to dive deeper to gain understanding in a society where most people waste their waking hours scrolling through useless social media crap. Read more ›› |
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