Interview by Robin Stryker
Femme Metal chats with Edera, vocalist and lyricst for Italian metal/rock band Domina Noctis, about their sophomore release “Second Rose”. Read on to learn what the moon, Cher, poetry and a love of contradictions have in common.
Hi Edera, please tell us about the newest release from Domina Noctis, “Second Rose”.
I would define “Second Rose” a melodic rock album a twist of electronic sound and some metal grooves. For us, this album is a sum of all our influences, from dark/pop/rock music of the 80’s and early 90’s, to metal; we’re definitely inspired by Paradise Lost and Katatonia just to name a few.
The ten-track album includes covers of two iconic songs, “Because the Night” (Patti Smith – 1978) and “Bang Bang” (Cher - 1966). Why record covers, and why these particular songs?
We love to find some covers that fit to our sound. Covers are an incredible source of inspiration and we always learn a lot more about music every time we play a cover. We all in the band are huge listeners of music of any kind! That’s why our covers are from different scenes and years.
Which songs have the most personal meaning for you?
“Exile” is definitely the song that moves me everytime I listen to it! It’s a song about those times in life when you’re feeling fragile, like you need to heal some wounds, so you need to be alone and you feel comfortable like that, but you also need a lot of patience from the people you love, to gather some force inside and the be born again. It’s a message of hope.
How has Domina Noctis‘s music evolved in the three years since releasing your first full-length album, “Nocturnalight”?
When we recorded “Nocturnalight” the songs included in the album were sounding “old” yet for us because the whole recording/mixing process lasted 1 year and of course the style and sound of a band evolves in 1 year. Recordings are a true “gym” for a band and for each member. You learn a lot, and hopefully, you improve. So, during the promotion of “Nocturnalight” we were still playing live some of the songs that have been included in “Second Rose”, as we couldn’t wait to have a feedback about them. “Second Rose” is a rock album, we focused on the structure of the songs and on the arrangements, with the precious help of our producer Cristiano Santini from Black Fading (our label). We wanted the songs to sound solid yet full of emotion, rock and melodic, dark yet full of light too, because we are like that, we have both sides.
Can we expect a third album? If so, where are you in the process of writing and recording it?
We started to write new stuff during the recordings of “Second Rose”, we’re now working a lot on the new songs and we love them!
Please introduce the other four members of Domina Noctis.
Asher plays guitar and composes most of the music; Azog plays bass; Ruyen plays synth & piano; Niko plays drums.
Are you or any of your bandmates involved with other bands or side-projects?
Asher plays drums in Forgotten Tomb and in Whiskey Ritual and Azog often plays as a live sessionist for Whiskey Ritual; Niko plays drums in the band Noctiluca. Ruyen is currently working on some compositions and he’s planning to record a promo cd very soon for his new side project. And about me, I’m working on an acoustic live set project along with Azog and Ruyen, way too soon to say more anyway.
In addition to being a musician, you are also a photographer and graphic artist. Have you been able to use your talents as a visual artist with Domina Noctis?
Well I guess I have the bad habit of doing too many things! I love to “move” through different art “levels”… I’ve been creating the artwork of all our CDs, band merchandise and band logo too. I like to express the same concept through music and through visual arts too, and I had the chance to do so during the creation of “Second Rose” CD layout, digitally working on a self-portrait I took some years ago.
References to the moon appear in the band’s former name -The Moontower- and current name (Latin for the moon), the title of your first album, song lyrics and your artwork. Does the moon have special significance for you?
We feel very attracted by the moon, a sacred symbol that reminds of feminine, poetry, night… I think we’re definitely “moon worshipers”!
The phrase, “I love my contradictions”, is intriguing. What does it mean?
I know it may seem just a contradiction itself! Okay, maybe it’s just insane, or maybe not, but anyway I believe that sometimes we should learn to love ourselves as we are, in our complexity, trying to understand that we’re made of many shades, white, black, and many tones of grey. It’s such a revelation when we finally are able to accept these apparent contradictions, only when we’re able to say “I have white parts and black parts and grey parts because that’s what I am, that’s human” and then we start to love those different parts.
If I understand correctly, you write the lyrics for all the songs and Asher writes the music. How does this collaborative songwriting process work? Lyrics first and then music, or vice versa?
Usually, Asher composes some riffs, he tells about his ideas and all together we have a session in the rehearsal room. During this session I try to sing whatever it comes to my mind, and write down a draft of the lyrics. Then, as soon as the melody takes shape, I work more specifically on the concept, to make melody and words fit together. Then we always work together on the song structure and on the arrangements. I have to say that in some of our latest compositions we tried to work in the opposite way: I’ve been singing a melody, and after the guys worked on the arrangement of the song.
Asher and you have been musical partners since Domina Noctis began a decade ago, yet your musical influences (and perhaps even taste) seem worlds apart. Does this ever create conflict, or does it make life more interesting?
Asher and I have different yet similar taste as music listeners, for instance there is a lot of music that we both love, yet sometimes for different reasons. As composers we are really lucky because we both have a precise idea about how our songs have to sound like, and this idea has been evolving through the past 10 years, but I can say it has been a co-evolution for sure, because we rarely “argue” about songs! We always try to make the song to sound in a way that pleases both of us.
Congratulations on having your poems published in the anthology, “Carmen Nocturna”. In what ways are writing lyrics and poetry similar or different?
Thank you! I had the chance to gather some of my poems in this little book “Carmen Nocturna” and I was really happy about that. I really love “minimal” poetry, I usually write really short poems. Writing lyrics and writing poems are two really different things to me. When I write lyrics, I always write words and melodies together. It’s very hard to tell what I feel inside, but it’s like specific words in my mind need a melody, and the melody needs some specific words, and suddenly they find each other fitting. I love this mysterious process.
Many years ago, you said that Domina Noctis probably would not perform songs in Italian. Now that you’ve written poems in Italian and been a guest vocalist on In Tormentata Quiete’s new album, has your opinion changed?
My collaboration with In Tormentata Quiete has been a beautiful, inspiring and really interesting experience for me: to sing in Italian was a new challenge and the songs were really beautiful. Still, I’m not convinced about writing my own lyrics in Italian, I’m not sure that our language would fit to the sound of Domina Noctis. Anyway, maybe we’re going to make some experiments. Who knows?
How did your collaborations with In Tormentata Quiete, Kalevala and Dark Princess come about?
I’ve got in touch with Antonio Ricco, composer of In Tormentata Quiete, many years ago via email, and we traded our demo CDs. After a long time, we got in touch again and he asked me to sing some songs in their album. I was really happy to have the chance to make this collaboration, I love to try and express myself in different ways, and as I said it was a great experience. Kalevala is a folk metal band from our city, the band members are all friends of ours and I had the chance to play with them as a guest in some acoustic set concerts. I love their sound and folk music in general, and I hope to have the chance to sing again in the future with the band. About Dark Princess, after the reprint of “Nocturnalight” in Russia, we got in touch with the label of this band and they asked us to have a mini tour with them in Russia. It was a great experience for all of us, it was really great.
Italy is home to many exciting new female-fronted bands from every subgenre of metal — Elegy of Madness, Exilia, Winter Haze, Lunacy Box and Raving Season, to name just a few. Has the metal scene changed for the better? Do you think female musicians face different challenges than all-male bands?
Good bands are so many and female fronted are more! Sure, there are many challenges that a female fronted band have to face, like defying the commonplaces, like easy comparisons to famous female fronted bands, and for what concerns Domina Noctis, trying to break the cliché that female vocals + distorted guitar is gothic metal. I can’t stand this pointless reasoning, but anyway there’s a lot of people who don’t care about this stuff, and we’re glad to have those people as followers!
We’ve talked a lot about Domina Noctis and other artistic pursuits. What is your favourite way to just kick back and relax?
When I need some relax, I often watch a movie along with my boyfriend Ruyen, on the couch! I love cooking too, I find it really relaxing (when I’m not in a hurry)!
Thank you taking the time to chat with us today. Any last words for your fans?
We’re focused on the composition process right now and we’d like to make some prerecordings as soon as possible to work better on the arrangements of the songs. Anything more than this will be appreciated!
What are Domina Noctis’s plans for 2010?
Thank you very much Robin for this nice chatting, I’d like to invite all our followers to join our newsletter on www.dominanoctis.it and to take a look to the following links (please add us to your friends list!). Thank you for the support! Horns up! Stay free!
Interview by Miriam NocturnalConcerto
Transcription by Robin Stryker
I cannot tell you how excited I was to doing this interview with Danny Cavanagh, Anathema singer and guitarist, for a lot of causes, take it because was my first phoner interview, take it because I was worried that something gone wrong. The interview has started with a delay of 30 minutes preview by the slot I was very nervous but in the end I’m happy to share with you this interview, hope like it!
Since are passed 7 years from your last album “A Natural Disaster”, why it passed so much time?
Well, mainly it is because we didn’t have a manager. We didn’t have a record company, and one or two of our band members had family commitments they had to attend to. Different things were happening in their lives. You know, at the time, you don’t realise… one month becomes another month, becomes another month. It was just one of those things. Without a record company, it was just something that happened, and it will never happen again.
And also we must add that is your first album under KScope Music (excluding the semi acoustic album “Hindsights”), why have you chosen this label?
Why did we choose KScope Records? Well, they are very good and they believe in us very much and they wanted it more than anybody else did. They were really keen to have our record, and they wanted it for many years. We saw that, with the work they did on “Hindsight”, they are actually quite good. They do things properly and they don’t spend a fortune. They don’t spend quite a lot of money wastefully. Our manager — we have a manager now — he recommends we take this and we did. We were not the kind of band at that time that could attract a much bigger label, so we went with that one. We are happy and I am happy that we did.
I make a question about the title of the new album – it sound like a statement, who came up with title and why?
Well it’s not very very important and it’s not very meaningful. It is the title that we all liked. It’s the only title that everybody in the band liked. We couldn’t find another one where six people agreed. That’s the only one that six people agreed on. For me personally, it doesn’t have the greatest meaning for the songs. It does though, however, suggest the bond that we have as a band together… the family, the friendships, the caring that we have for each other. It is suggested in that title because we are here for each other, so I like it for that reason. I like it because it suggests “being there for each other” to me. It’s not a great statement, it’s not a spiritual statement or an anti-religious statement, or anything. It is just the fact that we all like it. Also, the fact is, it comes from a very moving story from the First World War in Europe when many, many millions of men and women died for no real reason. That was one of the most extreme situations that humanity has ever seen. And, during that war, young men in England used to sing this song, “We’re Here Because We’re Here”. You can actually hear a very small selection of that song… as the song “Hindsight” is tuning into the radio, you can hear it there. They used to sing that song in defiance of the situation that they were in. They were in an impossible situation, and there was no reason for them to be there, so they used to sing that song, “We’re Here Because We’re Here”. We like that story. And we like the meaning behind it and the memory of those men, so we chose it.
A question about the cover – How’s your interpretation and in some manner, is it related to the lyrics of the album?
Yes and no, really. The front cover and all of the artwork is related to Anathema, to the people and to our childhood, our story, and to our personalities. They are childhood memories of everyone… an old school, an old playing field, an old street that we lived in. The beach with the man in the distance is actually Liverpool Beach in the north of Liverpool. The mountains in the distance are the Welsh Mountains, the mountains of Wales where we spent many, many years on holiday as kids. So, what I love about the artwork and title is not that it relates very, very, very closely to the meaning of the songs. It relates to the meaning of the band and to the people in the band and the personalities and the family and the heritage and the love and the memories that we have together. And that’s why I like it.
I’ve listened to album like I said before and my favourite album song is “Everything” with the duet of Lee. What your favourite track?
My favourite track is “Dreaming Light” because it is probably the most personal one to me, and it is the one I am most proud of it. That’s my favourite one, but I love them all really. I think it’s the first record that … okay, well maybe not … I would say that it’s a consistently good album. All the songs are very good, and (for me) one or two are truly great. Those two would probably be “Dreaming Light” and “Universal”. What I like about “Dreaming Light” is the optimism in the melody and the emotion in the melody. I remember the day it was written, I remember how it came through me and I remember how I felt after it was written. It was just a special time. It was a special feeling to have that feeling come through. To feel that tune and feel those words. I do think it’s a gift. That song is a gift.
So now I have three curiosity to satisfy: How’s born the collaboration with HIM singer Ville Valo, how’s working with Steven Wilson and who sang the spoken words on “Presence”?
Ville Valo is a lovely guy. He is a very nice person, and I like him very much. He is a good friend. And that is the only reason, really, that we asked him to do it. He’s been very kind to Anathema and he’s been a loyal fan, if you like, of the band. He likes the band very much and he’s been supportive of Anathema very much. I wanted in a way to say “thanks” to Ville Valo because he’s been such a gentleman and a kind person to us that it felt appropriate for me to ask him. And he said yes. It was simple and he has added something very good to the song. It’s a background, but it works for me. He adds something to the song “Angels” and doesn’t take anything away. I like it very much. And that was really just a matter of friendship, he’s a good friend. Second question, Steve Wilson. Well, that was much more involved because we worked together for two weeks to mix the record, or maybe longer. It was a great pleasure working with him because he is very very very good at what he does. So I would go to his house, sit on the couch and drink tea and listen to his work and comment and work on the collaboration and he would suggest some things. He would try to make us think carefully about all the choices that we’re making, and he would try to encourage more simplicity in the record. I had a clear vision, almost, of how it should sound. What I appreciated about Steve was his willingness to allow us to follow that vision and to only speak up when he really felt that something was a little bit wrong. We worked well together. There was no real difficulty and I like him very much. So that was a great pleasure and I am delighted we did that collaboration with him. I think it makes a difference in the impact of the record also, because people are talking about this record because of it. The final question was the spoken word on “Presence”. That is an interview I made with a gentleman in Liverpool , England where I was living at the time. A gentleman called Stan Ambrose. He is a very beautiful person, he’s a musician and a radio presenter. He was involved in counselling for a long time and he is a local activist. Just a gentleman who many people like… many people like this man. He is very humble, very kind and we became friends. We started to talk about spiritual things and the essence of life and these things. He’s always been interested in those things, interested in mediation and all that stuff. So I interviewed him actually in the Cathedral — in Liverpool Cathedral I interviewed him – and he began talking about a book by Eckhart Tolle, who is a spiritual writer, a very successful spiritual writer whose message of stillness is making an impact around the world. Stan is a person who is very much interested in these things and very sincere. When he spoke to me about this, he almost had a tear in his eye. I made the interview with him, and it just seemed to fit with the song, “Presence”. Also, the fact is that he is talking a little bit about the possibility of life beyond death and I know that he was thinking about that. And that relates directly to “Angels Walk Among Us”, which is also asking that question. Just the same as “Are You There?” was asking that question: “Is there something beyond?”
With this album you have confirmed Lee Douglas like a full member in Anathema. Can you give more infos about her and say something about the decision to confirm her in the line up.
Lee is family, and a very good friend, and a very very good singer. She was always there… she sang on all the records since “Judgement”. Ever since “A Natural Disaster”, she became more involved because she sang the lead vocal on that song. It just, you know, developed. When she came to the studio to record, she did say that she would like to be more present at the live concerts because she has to balance it with work and stuff. She has always been there, really. If I’m honest, she’s always been there, so it’s okay. We are very glad about it because she is one of us. She does fit very well — a very good singer, easy-going and easy to be around, fun. So, no problem there, really. We’re happy about it.
So, now some advices for the new fans, what Anathema album to advise to start from?
I would advise to begin with the new album, “We’re Here Because We’re Here”. That’s what I would advise. And the reason is because that is the best one, and also it’s the picture of who Anathema really is right now. I would start with this record. I would suggest that it is just open-minded music. A powerful rock band, it’s emotional and it’s honest and it’s real … from the heart.
I would say that you have similitaries with The Gathering, you know, you first started like a doom metal band after you came through with an alternative rock band.
I understand what you’re saying. They really developed and changed and grew into much more of an alternative rock band. And I suppose we did the same. But, I’m looking at the interview schedule and it’s still Metal webzine, it’s in Metal Maniac, it’s in Metal Hammer (Germany). Those are our roots. The band is much more than metal and has not been a metal band for many years. Real musicians — like Radiohead or The Beatles, Pink Floyd, Led Zeppelin, Black Sabbath, U2, band like this – the real musicians, they do evolve. We are of that stock. I love Iron Maiden and their music has evolved a little bit. Our heritage is much more in the Radiohead, the Pink Floyd, the Led Zeppelin and the Sabbath and that area of evolution, which is much more expansive and open-minded. That’s just our style. And if they don’t like it, that’s tough shit.
What are the next band planes (talking about tours ecc.)?
We are in between playing Turkey and Russia right now. In three days we’re going to Russia, and then there is a show in London. Then I’m touring with Anneke van Giersbergen in South America. It’s just one or two festivals over the summer and a time over the summer to collect ourselves, to relax, to gather our strength and to do some new writing. Then, in the autumn, a natural machine will start, and a long tour will happen. I look forward to that, actually.
We know that you do acoustic tours with Anneke van Giersbergen and now I make you a question, do you think that in the future there will be a project or a collaboration with Anathema? I mean not only with your solo project…
We have talked about that, and she would be welcome because she is such a great person and such a great singer. So, she would be welcome. But, the fact is, we have a female vocalist in the band. You know what I mean? Lee has the voice for our style, so she’s in the band. I did have ideas for Anneke to sing on the new record and she would have sounded beautiful. But Lee Douglas is there and she’s committed and it wouldn’t really be appropriate. But we certainly love Anneke very much. She has sung live with Anathema. We love her very much. I think she is a wonderful person and a really wonderful singer and a really good professional. Of course, it’s a possibility.
So we’re at end greet as you want our readers.
Thank you, my dear. Ciao and grazie.
Interview by Alessandro Narcissus
First it was Danny on the phone, now it’s Vinny : Alessandro, in the second Anathema interview that we publish, took the chance to ask some question about the newcomer milestone “Weather Systems” during the Italian promo day in Milan.
Hello, Danny! Welcome to Femme Metal Webzine
First of all, let’s introduce “Weather Systems”. Looking at the title of both the album and the songs and then reading the lyrics, it’s easy to figure out that the album is not really about weather and landscapes, but those are metaphores for different moments and feelings in life.
Yeah. When you dig a little bit more you can see the metaphor is very clearly connected to the internal landscapes that we have to go through, the storms that we have to wade through as people. You know, everybody has to go through these things, so it’s a matter of how you confront it, if you want to: a lot of people do, a lot of people don’t. Some people go to therapy and some people put it into music.
How did you come up with the idea of writing a whole album with this concept?
It grew out of four songs that came up around the same time as “We’re Here Because We’re Here”. Those song titled “The Gathering of Clouds”, “Lightning Storm”, “Sunlight” and “The Storm Before the Calm”, obviously based upon this theme, they could not really be separeted. They had to stay together but it was too much to go on the last album, so we said “Okay, this is the foundation of the next thing that we do” and we took them into the studio for the next album. The first thing we did after that was “Internal Landscapes”, which is connected with that as well, but more directly confronting mortality and, you know, the effects of one’s own contemplation on one’s own mortality and the realisation of what that means to you. Ultimately it’s about people. And then the rest of the album grew from that: we had those songs that are linked and then the final song in the puzzle, so all we had to do was to put a couple of songs in between and we had the perfect flow on the album. So it actually happened quite easily, quite naturally.
What about the sound? “We’re Here Because We’re Here” is a very atmospheric album, and after the beautiful orchestral moment of “Falling Deeper” one could have expected an even mellower album. However, “Weather Systems” is much more layered, with diverse influences that make it sound generally more rock-driven. How did your sound happen to go into that direction, this time?
It seems to us that especially in this album each song had to reach a certain level of intensity before we would let it out. So it depends on how fast you reach the crescendo and how quickly you get to that build, the way you get to the climax, or in fact if there’s more than one climax in one song. I think with the last album being orchestral and this one being what it is, you should really realise that anything that we do is not really an accurate indication of what we’re gonna do next, but in some ways I do feel that “Weather Systems” and “We’re Here Because We’re Here” are connected, there’s something similar about those two. Well, given the fact that a few songs were born around the same time, so it’s something to be expected. But the next thing could be ranging further forward. “Weather Systems” is not just an album you listen with your ears only: a great deal you listen with your heart. The emotional impact of this album is immense, I literally can’t go past the first two tracks without crying and the rest are no less intense.
Oh, wow! Yeah, there’s a genuine emotion flow. How could you, as songwriters and musicians, bear such an emotional pressure?
Well, people have different ways of dealing with it. There’s no pressure, to begin with. The emotional intensity in our music is a component, it’s something we have to do, we have to go to those levels. Now, whether there’s always some cathartic element, sometimes I don’t think it goes away just because you wrote the song, you’re not necessarily healed of this thing, you’re just kind of addressing it. Now, how do we cope with things. I personally have a very intense relationship with these songs, but at the same time I kind of “keep myself to myself” as well, so I can have the same kind of experience as you might when I listen to our music, but it depends on which song it is of course. Danny, who writes a lof of these lyrics, on the other hand, he would probably tell you that he’s always kind of dealing with this, everyday anyway, and he’s always that kind of open person to talk about that, if you do know him, so his musical side is natural just like having a cup of tea in the morning, it’s just part of who he is, part of what he does. So, the dealing thing: it takes more than just writing a song to deal with some things, but it’s just natural to write songs about that.
Aren’t you afraid of exposure of your feelings so much to the rest of the world?
Me personally, it would depend. I think, for me personally, yeah. I would say I would keep some things private, some things that I wouldn’t want to say. Similarly, Danny, there also got to be something he would not want to say, but he puts a lot of himself into everything he does. It kind of leaves you open, but that’s the way it is. You’ve got to ask him, you know.
If I get the chance!
Yeah! I don’t know, I imagine he would say that sharing things helps him, that’s the way.
In “Storm Before the Calm” you can clearly hear massive electronic influences. I have noticed that many rock and even metal artists, lately, are drawing from electronica to add a flavour to their work, much more than in the past decade when such experiments were carried out only by the most pioneering bands. What’s your opinion about this massive blend of electronica into rock and metal? And how did it work for Anathema‘s sound?
I’m not concerned with the scene. I don’t really listen to metal music, or whatever makes the connection with that, Linkin Park or this kind of things. But I do listen to electronic music. I’ve done that all my life, expecially since I discovered Aphex Twin when I was seventeen. Anyway, sometimes it’s just right for a given song. I mean, that song particularly, it’s kind of like building a psychosis, that’s how it feels. And certain things get across these feelings better than normal things would do, you know what I mean? So that kind of psychedelic-drawn, hypnotic part in the middle is there to illustrate this building of madness, a second wave building and eventually crashing on you, and what you’re left with after that is yourself on the shore, and that first breath that you take aftermaths is that first chord. That’s all you have left at that point. After all, anything that we do has got to be meant. It’s the same for the orchestra too, we only have use for it if the song is calling for it.
So basically it must just suit it.
Yeah, I do think it’s important to remember the fact that you can get across a lot more emotion with a single note played in the right way. It could be on the guitar, it could be from the human voice, it could be on the piano, it could be on the violin, anything, but those kind of emotions are right there in the expression. You don’t need all of this trickery to get across that.
That’s perhaps why the record sounds so genuine. Actually Anathema is one of those bands that managed to stay true to themselves the best. You always sound like yourself, but each release is fresh and unique. You keep your identity while going further in your experimentation journey, each album being a new step forward.
Yeah, I think it’s a step forward down our own evolution, but at the same time I think, musically, if we analyse how it sounds, it seems like being expanding.
It’s not getting different, it’s just getting weird.
And what do you feel you have achieved with “Weather Systems” on your evolution path?
I think we’ve made probably the most cohesive record that we’ve done. It’s one of those reords that passes quicker than you think. It’s fifty-five minute long, but if you listen to it in one go, it doesn’t feel like fifty-five minutes. Just kind of, “wow, what happened?”. So… that’s interesting! That’s true! Okay, it’s enough of a positive step in our own direction. I’d call it the successor of “We’re Here Because We’re Here” and something that sets up things for the next time, the next thing we’ll do. Something that we’re very happy with.
Is there some nice anecdote that occourred while recording or mixing “Weather Systems” that you would like to share?
Oh, all kinds of stuff happened, you know! The entire fact sounds like a funny anecdote. On the third session we were booked on this place that was converted from a nuclear bunker. It’s a building that’s built to withstand bomb blasts. It has six-feet concrete walls, no daylight, no windows, no concept of time. We just worked in the middle of the night, constantly. I had a studio set up in my own bedroom, which was bizarre because I could get up not knowing what time it was and just get to work. Sometimes I woke up and it was before four in the morning, and then was like, “Okay, why am I tired now? I thought it was about twelve o’ clock but no, it’s actually eight!”.
Yeah. There was another time during “We’re Here Because We’re Here”. Danny actually woke up in the middle of the night. He just had this dream and he said: “Fuck, I’ve got to tell you about this dream. This tune was being sung to me and… I need to remember this tune, I need to remember this dream!”. So I was half asleep, I was like, “Ok, well, I get up”, then we switched on the studio to record the music, to record right down this dream, and that became “The Lost Child”.
So that’s the reason why it’s so dream-like, it’s very evocative and onyric!
Yeah! Another story is Joe Geraci, who does the narration before “Internal Landscapes”. He’s still alive. That interview was conducted in 1991. Danny got in touh with the documentary film-maker [Dr. Kenneth Ring ed.], who got in touch with Joe. Joe got in touch with us and we exchanged some correspondance, and the next thing, you know, when we finished the song he was on the phone and I could not believe I had the chanche to say thank you to this guy for this amazing story that he went through, which inspired the song and in time became one of the catalists for making a full record. So, that’s a beautiful thing, it’s almost like it was meant to be, like a collaboration.
“Weather Systems” is going to be released on the 16th April. What are the plans about its promotion? Will you embark a tour, release singles or videos?
There are different formats the record is coming out. There’s a 5.1, there’s a different huge digibook with a 24-page full colour booklet with all the lyris and everything else, and there’s a double vinyl. Of course we’re doing a tour, in which we’ll be performing at the Alcatraz on the 30th of April.
And I’ll be there!
Cool! I think that this time it makes more sense to make a mix of songs from all the album. The tour is coming up about a week or two after the album, so it seems more natural to give people more time to absorb it, to get used to it. And then in the autumn we’re going to come back with a full European tour, probably we’ll get to play in more places in Italy at that point, and I think we can do something more conceptual, like playing the whole album start to finish.
That would be a priceless experience!
I think so, yeah. But I think it makes more sense to do it then. Now of course we gotta go to the rehearsal studio and we’ll have two weeks from now, so if we choose to do it quickly, then right, but I don’t know, it kind of makes more sense to do it at the end of the year
Is there any interesting bonus material that would make up good b-sides?
Yes, there’s a couple of things knocking around, but at this point we’ll see. We’ll put that out.
What about the front cover of the album? Of course, it’s really connected to the weather metaphore.
Yes, but it’s a little bit more surreal and a little bit more like a dream or something. ‘Cause for instance it does look like a seed.
Actually I thought more of a planet…
Also like a planet, but then it’s within a different atmosphere, so is that just hovering, or is it moving, or what? There’s something interesting about this image. And I think that sometimes you have to see the image and the title together, because we may have called this album “Internal Landscapes”, which would have worked just as well, but when I saw the cover with this title, with “Weather Systems”, it made it. It’s more cryptic and I prefere things to be less on the surface, so people have to think about it.
Were you involved with the creation of the cover?
Yeah! It’s myself with my girlfriend Sarah. And the rest of the artwork too.
Can you spoil us something about the booklet, the interior of the album.
Yeah, it’s more directly connected to the metaphore, and it’s based more upon aesthetics and feelings behind it rather than someting kind of conceptual. A lot of the aesthetics in our music is kind of emotional, specifically talking about the story, having a picture describing it. It’s something that feels the same way as the music, as the lyrics. It’s a bit more, you know…
Part of the same artistic experience?
Yes, it’s a bit synaesthetic, in a way.
Actually, one thing I really love about this album is how it gives vivid images in your head. You can relate to with also depending on what you see, like, I was listening to it yesterday on the train on the coast at sunset, and with that music and those colours and hues I kind of got goosebumps all over, I was like, “Oh my God, this is bliss”.
Ah, that’s amazing, yeah! There’s this imagery that is right all through the album in a way, I can say there’s something just in the feeling that evokes these images. Specifically the song “The Lost Child” because it’s written about that dream and it all kind of goes hand in hand, like the imagery is right there in the lyrics, like it’s painting a picture.
Yet, the first time I listened to it without the lyrics, I initially thought of a forest rather than the sea. So it’s kind open to different interpretations as well…
Yeah, similarly if you think of the cover for “We’re Here Because We’re Here”, I’d see that the guy isn’t really there, this is kind of a visual representation of how he is or where he’s at, so the horizon represents the completely open mind, and the colours similarly, and then… yeah, he’s not really there, it’s not a snapshot.
Changing subject, I know this may sound a bit early, but what are your future plans in terms of songwriting and composing new music? Is there any clue about the musical directions you are going to take?
I would say there’s less of a clue in this album, really. The last two albums feel connected, but the next one will be disconneted. Sometimes you have to do things in pairs, but the next thing is going to be different.
Last question: With the benefit of hindsight, would you change anything in your career?
Oh, all kinds of things, yeah! But you learn from these things. One thing about mistakes is that they’re there to teach you something. Or regrets: you’re there to learn from them, just don’t make them twice.
Do you regret anything in particular?
All kind of things, yep. But I have no real time for it, because more importantly it’s a lesson, I think. In my personal life I don’t make mistakes anymore. It’s something that we have to go through in our youth, and sometimes it can be useful. There’s always something to learn, we’re always progressing in some way. But I think I find some kind of contentment now with who I am in my place, in my life, in the world, what I have done. I can be positive and live it the best I can… I can try!
Band photo by Rod Maurice (Le Hiboo)
Label : KScope Records
Review By Tony Cannella
From the U.K., Anathema are a long-running atmospheric metal band. Their career first started way back in 1990, with the band releasing their full-length debut in 1993. In that time they have built up quite a cult following all over the world, and now with the release of their new album, “We’re Here Because We’re Here”, Anathema are sure to build up their fan base even more. The majority of the vocals are handled by Vincent Cavanagh with Lee Douglas adding female vocals throughout the album. The songs on “We’re Here Because We’re Here” continues the evolution of this legendary band. The songs are well thought out – and at times – progressive and quite addicting. With a playing time of about 1-hour, “We’re Here…” includes a couple of songs in the 7 – 8 minute range, with the best of these being, “A Simple Mistake”. This song features some outstanding musicianship and great male and female vocals. The track, “Everything” quickly became a favorite, with it’s piano driven opening as the song builds slowly and the vocals provided by Vincent Cavanagh and Lee Douglas work well together. Other highlights include, “Angels Walk Among Us” (featuring Ville Vallo of H.I.M. on backing vocals), “Universal”, “Presence” and “Hindsight”. There are quite a few big, orchestral moments throughout the CD. Even though Anathema have been at it for 20-years, they continue to release good, quality music, “We’re Here Because We’re Here” is a testament to the longevity and consistency of Anathema.
Rating – 80/100
- Thin Air
- Summernight Horizon
- Dreaming Light
- Angels Walk Among Us
- A Simple Mistake
- Get Off, Get Out
- Vincent Cavanagh – Vocals, Guitars
- Lee Douglas – Female Vocals
- Daniel Cavanagh – Guitars, Vocals, Keyboards
- Les Smith – Keyboards
- Jamie Cavanagh – Bass
- John Douglas – Drums
Label: Black Fading Records
Review By Tony Cannella
Italy’s Domina Noctis have existed since 1999. They play a melodic brand of gothic metal and they have just issued their second full-length CD titled “Second Rose”. The band line-up looks like this: Edera (Vocals), Asher (Guitars), Azog (Bass), Ruyen (Keyboards) and Nicola Corradi (Drums). Getting right into it with the opening track “Electric Dragonfly”. A solid opener that gets us off and running. “Untold” is next and is another solid track. “Into Hades” is next and is really one of the many highlights. Just a melodic metal masterpiece that is really well written and well produced. The biggest surprise is their version of the Patti Smith 70′s rock classic “Because the Night”. This has always been a great song and Domina Noctis have done a great version of the song in their own style. It works really well and is a great addition to their repertoire. The vocals of Edera are strong and a perfect fit for the band and the melodies are so damn infectious that you have to give them the due. “Lamia” is next and is another highpoint and it features a cool guitar riff and the soaring vocals of Edera. Other highlights include: “Sisters in Melancholy”, “Broken Flowers” and “The Mask”. Italy has produced another fine band. Domina Noctis are a band that has all of the ingredients to make their mark in the metal realm. “Second Rose” is a bold statement from a band who I am sure will be heard from in the future. Domina Noctis are described as a goth band and I will admit to not even being sure what constitutes a goth band these days. Just because they have a female singer, does that make them a goth band? Not in my opinion. Sure I suppose there are those qualities included in some of the songs on “Second Rose” but the beauty of this CD and band is that it should be able to appeal to wide range of metal fans if given the chance. Overall quite an impressive CD and band.
Rating – 85/100
- Electric Dragonfly
- Into Hades
- Because the Night
- Sisters in Melancholy
- Broken Flowers
- The Mask
- Bang Bang (Bonus Track)
- Edera – Vocals
- Asher – Guitars
- Ruyen – Keyboards
- Azog – Bass
- Niko – Drums
Style switcher only on this demo version. Theme styles can be changed from Options page.
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