– Hello, thanks for answering to our questions. What are you guys currently up to?
A. We’re taking some holiday before the gigging season. We’re writing the new material for when we get back to rehearsing to put some new tracks together. Currently the promotion of our debut – Temoignages de la Gnose Terrestre is going strong and this is the main focus for the moment.
– First off, could you make some history of the band?
A. I started off with Steve D (lead guitar) sometime in 2006 and we carried on as a two-piece for about two years. Dan joined us on drums in 2008 and Steve W (bass) closed the line up in 2009. By then we had a few tracks done. After two years of systematic rehearsing and writing new songs we eventually decided to make it live in early 2011. We gigged locally quite a bit during that year and supported Vader and Gorgoroth on their UK tour. We selected the best tracks to be registered on Temoignages de la Gnose Terrestre, which has been realised by the end of 2011. This EP was officially released in the beginning of 2012, with support from the Polish management – Seven Gates of Hell/Godz Ov War Productions. The LP version of this mini-album will be released by Iron Bonehead Productions (limited to 300 copies). Also the tape version will be out in September by the French Maltkross Productions/Glorification MusiX.
– How could you describe your sound?
A. INHUMAN PSYCHOTIC SLAUGHTER
– What are the band’s main musical influences?
A. Musically we’re closest to the War Metal scene of the 90s from Australia/Canada/USA. There is a great amount of AngelCorpse-type riffing and the raw barbarity of Bestial Warlust or Conqueror, while the obsession with relentless speed is inspired mostly by the bands like Sadistik Exekution or Throneum. We also try to incorporate the sharpness and shifting velocity thrash riffing (e.g. Absu) as well as of the early Morbid Angel and other 90s “unholy” death metal acts (Immolation, Damnation [PL]). The explorations of dissonance and advanced multi-metric experiments come from the recent masterpieces of for instance Deathspell Omega or Portal…
– How is the feedback for your new album being?
A. It has been very good indeed! Well, some 97% of the reviewers are very enthusiastic about the MCD to say the least. This is a very good sign. I was expecting it to be received well, but what some people say has exceeded our expectations.
– And are your personally satisfied with the final outcome?
A. I must admit I would not change much about the whole production and the choice of the way the things were done to make it sound as it does. The result was premeditated and certain informed decisions had been made in order to obtain this particular sonic result. I think ithe MCD sound great: it has a raw sound, you can hear there is very little post-processing or multi-tracking stuff done to it, which makes it sound live and spontaneous while at the same time one can hear all the constituent parts of the recording clearly. The overall tone is big and brutal with a lot of dynamics as for this kind of music.
– How has the production process for your new release been?
A. The whole of the recording has been done by myself and our friend, Dan, who really managed the project while I concentrated on performing. My choice was simple: to evoke the raw atmosphere of live gig on a record; I wanted it to sound like the old records used to. We used some top-quality gear as the studio we had on our disposal is one of the best places in South-West England. But I wanted to avoid all the high-tech production shit and capture sound as raw as possible in the possibly shortest amount of time. We did not use a click track or anything like that. We played live (in seperate rooms) as we were recording on tape (no editing). We spent a few evenings selecting appropriate mics, settings etc. and the recording itself took us perhaps another 4 afternoons. The mix has taken merely 8 hours, which was a deliberate decision – to avoid overdoing it! We only used 16 tracks for the whole material (including leads overdubs). Most of the instruments are just single tracks miked up with U87. I had in mind the kind of sound which can breathe and is not too cluttered, like some modern recordings… Tool is a great example of this – very raw sound, very few tracks but extremely powerful tone – straight form the amp-kind-of-tone. 90% of the compression and EQ on the mini-album is analogue to bring the best out of our organic sound. After that we mastered it at Super Audio Mastering, which also is amongst the top mastering studios in UK so the result of that quality work is audible on the final product…
– And how do you use to work on the songwriting?
A. Although sometimes I write music by myself, most of the time Steve D brings some riffs, which then I adapt to whatever my vision of a track is and then I put it all together. Once the guitar parts are near-finished, we start arranging the drums and bass to it and tweak things until it forms a coherent whole. I write all the lyrics. When a track is solid enough to be unlikely to be altered, I come in with the lyrics and arrange vocal parts. Steve D and myself then meet up at mine and work on his leads if applicable.
Adam Widawski – guitars, vocals
Steve Dean – guitar
Steve Waldron – bass
Dan Couch – drums
Témoignages de la Gnose Terrestre – MCD’12 [self released]
Seven Gates of Hell