Interview by Si Smith


From the gothic wastes of Québec, Canada, come a band determind to put some melancholy back in your day – Endless Night cite some of their inspirations as “traumas, suffering, murder and mourning”. Yet one listen to their debut CD “Haunted Lullabies” shows that not all is doom and gloom. There are also some hefty guitar riffs on here and some meaty solos. So what is it that drives Endless Night? I spoke to vocalist and keyboardist Emi to find out…

Firstly, thanks very much for the interview and a warm welcome from all at Femme Metal.

I also want to thank you! It’s an honor to be interviewed by Femme Metal!

Endless Night is a four-piece at present. It can’t be helped noticing however that a lot of the publicity focuses on you – how have you found it stepping into the role of front-person for the band? Is it a role that comes naturally to you?

First of all, I entered the band as a keyboardist. I had no idea I was about to become a frontwoman! But it soon became evident: we needed one. So I decided to give it a try. Since then, I have never stopped loving it! In everyday life, I am calm and introverted but with Endless Night I express myself and rock on! It’s because music is very much like storytelling; and I’ve got a story to tell.

As this is your debut release, many of our readers may not yet be aware of you. Would you like to introduce your fellow band-members to us, and maybe tell us how they all contribute to Endless Night?

Wared is the guitarist. He is the strength in Endless Night’s sound: pure emotions, no futile detours. He pays a huge attention to his sound. He is an excellent organizer and views the band not only as a member, but also with a manager’s eye. Franky is a self-taught bassist. He brings to us an energized and fierce sound. For him, Endless Night is not only about expressing suffering and darkness, it’s also an undeniable effort to bring his passion and music to a higher level. The drummer, Jay, is the most recent member of the band. He’s a well-grown musician we can always count on. He’s been studying his instrument for a long time now and knows how to bring a catchy melody to life. And as the signer, I am the member who is the most in touch with the band’s concepts and moods. Everyone takes part in the songwriting process, but I am the only lyrics writer.

The band was formed “officially” in 2008 with you on vocals and piano. How do you manage to put your all into the vocal performance when you are also the musician at the piano? Does it pose problems live?

I have learned the piano for more than eleven years now, so I am able to coordinate my hands with my voice without any problems. It just takes a little practice. But I don’t find it interesting to see a front person locked behind the keyboard, so we have most of the pianos and choirs on playback. I like to move on stage! 

You managed to get a track featured on the World of Glass compilation. In what ways did that help you?

It gives us visibility in a different context than MySpace or Facebook. Because it is an all women-fronted metal bands compilation, our music can be listened to by people who have more chance of loving it but would have maybe not find us without this. It also gave us some contacts with very great people we are very thankful to, Raquel Senra, for instance.

Your debut CD is self-financed, something that is becoming more popular these days. If you don’t mind me asking, what was the most expensive part of the process (just to warn any up and coming bands that might be heading that way) ? What were the main advantages or drawbacks of doing things this way?

The most expensive part of the process were the recording sessions. The main advantage was our independence:  we had the choice to do whatever we wanted to with our sound. Obviously, the main drawback is the production’s cost.

On your Facebook page you quote contrasting bands such as Evanescence and Rammstein as some of your influences. In what way do other bands such as these influence your sound?

We draw inspiration form a great variety of bands, because every member of Endless Night has different influences. However, some of these influences are common. These show in subtle ways, sometimes in the musicality of the melodies, in the drum lines, in the “catchiness” of the guitar riffs, or in the visual aspect. 

Across the album you seem to have a preference for the lower register in your vocals. How do you think that assists in conveying some of the emotion of the songs?

This low register gives a heavy mood to the songs. It can express anger or sadness. However, since the album recording, my voice has evolved a lot, as has my higher register. But even in high notes, my voice is never crystal-clear, it always keeps a deep, round sound; I’m a mezzo-soprano.

“Hear This Now” is one of your heavier songs. What is it you would like us to hear in this song?

It talks about unhealthy habits that we all have that make our world worse than it should be; that make our world darker and darker, but also, this is one of our songs that, as of today, has been rethought a little bit to be more catchy to make a stronger contrast with the lyrics.

Like many bands before you, you have included a ballad on the album, “Burial (for My Mortician)”. As this is mostly you and the piano, does this song have any particular personal meaning for you?

Yes, it is the first song I entirely wrote the musical parts and the lyrics, as all my lyrics, have a deep meaning. They are basically a story of lost friendship.

As the album is quite a melancholy offering, how would you hope that a listener would feel after listening to your album?

We wish that the listener would enter into our mood and musical environment but not necessarily feel depressed: we only wish the listener to find himself and to travel in our music, so that he lives the story we tell in each song.

Bands often develop and mature as they produce more albums. How would you envisage Endless Night developing by the time of your next release?

Our next release will be less eclectic; it will have a more defined sound. We worked very hard on defining what we want to stand out in our music and in which way we want to tell our stories, but now, I think we have found it. A heavier sound with more catchy vocal lines, less experimental structures and powerful, but not overloaded drum lines is where we have headed.

The band has stated that its intention is “Établir un contraste entre l’enfance et l’horreur, la nuit”…how do you think this album fulfils that?

Lyrically, most of the songs fulfil this goal, for instance, “Trauma”“Winter Cloak”“Childhood Prejudice”. Musically, it’s the combination of soft piano melodies with more heavy guitars that brings us there.

I went on to Pixule.com where fans can vote for their favourite band on CD3 of the World of Glass compilation. (of course I voted for you…) The results so far is that you are third from the top!! Far above more “well-established” bands such as PythiaEchoterra and Ancient Bards, who only managed to scrape 1% of the vote each. How does that make you feel?

Thanks for voting for us! We are pleased to see these results! It shows that we have wonderful friends and fans. We always try to make strong bonds with them, because the human experience is important for us. As I said before, that music can be about storytelling, but it’s also about giving, and we give all that we can!

One final question before we leave: you are a four-piece, but would you introduce us to the fifth member of the band that we see you holding in your myspace photo?

Haha!! This is a little doll we had for a photoshoot and we thought it showed well the innocence and the sensibility of childhood. However, we don’t have it anymore: it has been replaced by a teddy bear with a blue bow. It is on our album cover and I bring it on stage in every show, it is like our mascot! Haha!!

Thank you once again for your time, and we wish you well in the band’s future!!

Thank’s to YOU!!! I wish long life to Femme Metal!

 

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