MEGIDDO (Eng.)

– Hello and first of all, thanks for taking the time. How is everything going right now with MEGIDDO? How does it feel to be back with a new full-length album after 13 years?
Ave Tania – all is progressing well.  13 years may as well have been 13 months for all the effect it has had.

– After the splits in 2003 you took an hiatus with MEGIDDO and formed SEPULCHRE with some members of the full MEGIDDO line-up. What made you cease activity with MEGIDDO and then resurrect it last year?
I had grown weary of everything, I had no impetus to continue, and so all activities ceased, although in truth I never made a decision as such…rather it was something I no longer thought about.  The resurrection: Megiddo were asked to play the Wings of Metal festival.  After much consideration, I agreed and a live line-up was drawn from SEPULCHRE (which was a band I had formed along with 2 members of the first full MEGIDDO line-up) as well as recruited second guitarist (Darcy from SYLVUS).  A full return was inevitable after that.

– As I said, «The Holocaust Messiah» is your first album in 13 años but how long did it take you to create it? Have you been writing these songs over the last decade?
I had initially written the skeletons to 12 or 13 songs for “The Holocaust Messiah” back in 2003, but by the time I had started final pre-production for the album at the beginning of 2015, this had grown to 21 songs (out of which I selected 7).  Total time from the demo/pre-production stage to completion was 3 months.

 
– This is your first opus that has been performed strictly by yourself. Is this way easier to get the exact idea of how you want it to be?
Even prior to the hiatus I had made the decision that for the third album, MEGIDDO would once again return to being a solo project again as I’ve always found it more satisfying to work alone.   Which is not at all to downplay Blaspherion’s performance and contributions to the first two albums…I simply find it easier to convey my vision without the involvement of others.

 
– Musically I find it closer to the demos, in all ways, from the overall sound to the main approach, being maybe your more old school sounding album. Was this how you envisioned the record or do you work on a more spontaneous way? As everything feels so natural and honest.
Perhaps because like the demos, everything was done very quickly and spontaneously and not diluted by the passage of time that is required for a multi member recording. There’s a certain refinement that can only be achieved with months and months of rehearsals…changes that can sometimes improve upon the initial concept, but this album was not about refinement.

 
– For instance there’s more Thrash elements, ala early Bathory, or even some Heavy riffing. Have you broaden a bit more your horizons or is it just a matter of letting influences take a bigger step into this effort?
The first 3 Bathory albums have been a major influence, and that element has always been present in the music, although perhaps more-so on The Holocaust Messiah.  Not intentionally so, but with 3 decades of absorption…

 
– Riffs are really catchy, making the overall music really addictive, enhanced by the tempo diversity. How important is to have this contrast between brutality/catchiness? What effect do you think bring to your songs? As one aspect do doesn’t sacrifice the other, but enhances it.
Without contrast, without variations in tempo, it would be faceless and one dimensional, so it’s very important.  Music that lacks those elements is of no interest to me.

– For instance «Tombs» is the longest track on the album, the bleakest (sound-wise), almost atmospheric. It really manages to stand out and break with the «pattern» of the album. Would you mind to elaborate a little bit on how was this track born?
All songs come about the in the same manner, so I can not elaborate specifically on any one of them, but I can say that both “Tombs” and “The Holocaust Messiah”, the 2 longest and most atmospheric tracks on the album, were placed at the beginning and the end for very specific thematic reasons.

– Something I have always like about MEGIDDO is listener can interpret your lyrics on a different way. Is this something you make on purpose?
The lyrics are written so that those who wish to can absorb and interpret them on several different levels.  No further explanation will be given.

 
– But in general I would dare say are blasphemous hymns and odes to the end of existence, disgust toward humanity, in fact I think the band’s name reflects this, being MEGIDDO the hill were the apocalypse was supposed to happen. How did you come up with the name and what did you want to portrait with it?
I culled the name from the Abrahamic mythos, specifically because of the connotations of the apocalypse that are tied to it, as the end of all life, especially when cloaked in the regalia of religion, has always been a topic I’ve been strongly drawn towards and saw as central to the theme of MEGIDDO.

– Visuals (from artworks to promo pictures) have always seemed to be an important part of MEGIDDO. Is everything on this project supposed to work as a whole?
Visuals are indeed an important aspect, which is why I tend to draw heavily from the same types of sources over and over again for imagery associated with MEGIDDO.  A presentation in stylistic conflict would greatly detract from the final form, as they can never truly be taken separately.

– About the cover artwork and layout on the album, would you mind to elaborate on the artists and how did you work on it? As far as I know Annick, from CAUCHEMAR, was responsible for the photography on the album.
I’ve a strong penchant for stark minimalistic presentations – something that forces the audience to think about what little has been used and to what end, and that would not have been possible on this album were it not for contributions of both artwork from  Nicola Solieri as well as the guidance, suggestions and photographic work of Annick Giroux.  Eternal and infernal gratitude to the both of them.

 
– And all this about «The Holocaust Messiah»; how could you describe it in just 3 words?
Complete eternal annihilation.

– Finally, what are now your near-future plans? What’s the next step for MEGIDDO?
Until beckoned back into the shadows, preparation for the fourth album and perhaps even setting foot in Europa.

– That’s all, thank you once more for answering our questions. If you want to add some final words; feel free to do it.

Salute.  Long Live Death.

Tania Giménez
tania@queensofsteel.com