ALTAR OF PLAGUES (Eng.)
– Hello, thanks for your time. What are you currently up to?
Tour preparation, which generally entails boring logistical planning and incessant emailing.
– First of all, could you make some history of the band for all those who aren’t really familiar with you yet?
We are a group from Ireland, and play music that is influenced by dark and an emotionally driven music- be it Emperor or Bjork. We have released two albums “White Tomb” and “Mammal” (on Candlelight and Profound Lore Records). We have toured throughout Europe and the U.S. We began as a ‘bedroom’ project and never had any major aspirations to tour or release music on the scale that we now do. We have always wished to create music for ourselves first and foremost.
– What are the main musical influences for the band?
Musically, many groups from different genres. Metal – Emperor, Ulver. Classical- Arvo Part, Phillip Glass, Jazz – Coltrane, Davis. Electronica – Aphex Twin, Bjork. Altar of Plagues is inspired by a vast range of styles and we aim to utilize these to create a coherent sound. Lyrically we are influenced by the way in which we observed and engage with the world around us.
– And why did you pick «Altar of Plagues» for the name of the band? Both its origin and meaning.
Earth is the altar, man/mankind is the plague. This is a sentiment which informed the concept of “White Tomb” in particular. Our connection with that from which we came, and that which is most important, grows ever further apart. We destroy the earth that bore us.
– Some months ago you released your latest «Mammal». How was the feedback it got? Are you satisfied with it?
Yes absolutely. We put a great deal of time and physical, and emotional, energy into its creation so it is pleasing to see that it has been well received. But we do not release music for praise so we would be happy with or without wider support.
– Your two albums are superb and your debut album got as well really good critics; did this put more pressure on you while creating this new «Mammal» or was just bonus motivation?
The band has given us the opportunity to see parts of the world we would never have see, make some important friends, and allowed us to share something we create with people. Its great, as we never had an expectations or ambitions. This all started with me making a one-man bedroom demo. I try to ignore peoples expectations as I don’t want such things to influence my writing. Likewise with criticisms. Sometimes if you read something enough times you start to believe it.
– Your songs are like an emotional journey where we can taste a really elaborated and well-cared music. Where do you draw inspiration from to create that sound?
We know a track is complete when it has climaxed in terms of the energy we intend to communicate with a particular track. When we are developing a track, the structure is created somewhat instinctively. Its all about what feels right for us and it perhaps one of those subconscious things that cannot be put into words. When we are developing a track, we just play it the note over and over until we feel ready to move on. I genuinely do not believe we would be able to create the type of songs we feel a representative of our band in a five minute template. I think that the concept of time within music makes it more of a form of entertainment.
– And due to this I would also like to know how was the songwriting for «Mammal».
We did not have any preconceived notions before writing ‘Mammal’, but we also are not interested in repeating ourselves. I think that the more intense nature of the music on “Mammal” came from the amount of live shows we played last year, which have a very intense energy. All of our tracks begin as ideas written on paper. Many of the earliest ideas were conceived during tours last year. I will always write a sizeable amount of the music before developing it further with the other guys. So with “Mammal”, once I had enough material ready we began to figure out the structure in our rehearsal space. We prefer to let the music dictate the structure and we simply play the notes over and over until it feels right to move on. For us, lengthy compositions are a means to truly deliver the emotional intent of the music. Every time a movement is repeated is allows us to go deeper into the emotions driving the track. The actual geographical distance between the band members has never been an issue, as when we write we do so in lengthy, sporadic bursts. We prefer to do things this way as it keeps the drive constant and allows us to stick with anything we might tap into.
– Your sound is not the standard into the Black Metal scene since you manage to blend different influences with great skills. How could you describe your sound?
We are asked this a lot and I remain unable to answer. Creating a coherent work is the most important things for us when we write. Where the sound goes is unimportant, as long as we feel the music has a reason to go in that direction. Shades of tone has always been very important to us. I think that it is very easy to become numb to anything heavy when it is relentless. It is important to take it away also. And then sometimes relentless intensity is called for. I would certainly think that there is a point at which something is no longer black metal. As listeners any of us can make this judgement. For me it is purely based on the audible.
– Lyrics don’t deal neither with the standard Black Metal topics. Could you tell us a bit what themes have you covered in «Mammal»?
“Mammal” explores the concept of death in a personal context to seek its greater significance and meaning. It had never been planned to develop this concept within the context of our band but as with all of our past recordings the things going on in my life at the time found their way into the lyrical concepts and developed in tandem with the music. Around the period of developing ideas for the album, I became obsessed with the subject of death and its significance within my immediate life. I sought some sort of understanding in its purpose and meaning, or if such a thing even existed.
– You did two covers, one for Candlelight and another cover for the US pressing with Profound Lore Recs. Would you mind elaborating a bit on what do they both represent?
The Candlelight cover art is an image I came accross. The picture made a strong impact on me and I immediately contacted the photographer. We had absolutely nothing to do with its creation and for that reason any interpretation I can offer is mine also. For me, I see the child in mothers hand, the lineage. The picture is fleeting, a passing glimpse, much like life itself. For the Profound Lore cover, we contacted Ketola as I am a huge admirer of his work and I was confident that he would be more than capable of creating the right piece, which we feel he did.
– And talking about Candlelight; how’s everything going with them? I guess it may be positive for you as a band having such a well-known label behind ALTAR OF PLAGUES.
Yes, it has been great working with them. Considering they released some of the most important music to me, it always seemed like a natural fit.
– Ireland is not a so «Metal country» for the bands I know hailing from there; do you think maybe if you were hailing from England (for instance) you would have made a greater impact?
To be honest I dont think so. Any success we have has is a result of our own efforts and intuition and is not specific to our geographic location.
– Finally, what does future hold for ALTAR OF PLAGUES? What can we expect from you from now on?
We have a European/Scandanavian with the French act Monarch taking please this February and March. Following this we will release a split record with Year of No Light, and also a remix 12”.
– That’s all from my side, thanks again for taking the time. Now the famous last words are all yours.
Thank you.
