Cadaver Garden

"Blasphemer, Heretic, Defiler of the Sacred Ones. Thou art Deprived of Your Limbs. Thy Nose Shall be Split. Thou art Cast Down and Overthrown."-Cast Down The Heretic by Nile

Featured Interview With Pieter Oevering From Insurrection

August 20, 2019

Earlier this week I was fortunate enough to interview Pieter Oevering from Insurrection and ask him some questions about the band as well as their upcoming release Circles Of Despair. The interview is below, enjoy!

For a little background on the band, how did you choose the name Insurrection, and how did you come together as a band?

I actually don’t know how the guys came up with the name Insurrection. I know they used to call themselves Deathwish in the beginning of the band. It started with our guitarist Marten Hutten when he started writing songs with his buddy Sander Blok. When the first songs started to take form they went looking for members to complete the band. That’s how they found our drummer Douwe Talma and soon after that our guitarist Armand Venema. With this lineup they called themselves Insurrection and started doing the first shows. 

But after a few years things didn’t really work with Sander anymore. Different views and ambitions. So Sander left. At this time I was working as an intern at the Audioshape Studios. That’s where I met Douwe who was recording with his band Enraged in the studio. He told me about the vacant position of the band and asked me to do an audition for them as a vocalist and bass player.  

When first starting out, did you start out as a straight up thrash outfit, or had you always had the idea to intertwine death metal in to your thrash foundation? 

We didn’t really think about it in that way. We just tried to make the best songs with the best riffs we came up with. Looking back to it I realize we never aimed to be a full blown thrash outfit. There are enough of those bands already and we aimed more for our own unique style. Writing the best songs was always our main interest. Our songs need to be catchy and they need hooks. We want our songs to be catchy and to be remembered. 

Thrash over the years in certain regards had and has grown pretty stagnant with a lot of ideas and sounds being rehashed. Was there a driving force for you to want to make a more unique thrash sound? 

The whole process of creating our unique sound came remarkably natural to us. We are a band with 4 members with their own opinions and their own musical taste. Everyone in the band has their part in writing the songs. It takes a lot of compromising to imply all our own views into the songs. We went through a lot of trials and errors but now we know what works for us and what doesn’t work. The result is our unique blend of metal that we call Insurrection.

From your EP Catatonic to your full length Circles of Despair, what changes did you make to your sound if any? And how did the lyrical content from Catatonic to Circles of Despair change? 

We played a lot of shows since the release of ‘Catatonic’. Our sound matured and we grew as musicians. We invested more in gear and we went into the studio with way more preparations in comparison to ‘Catatonic’. We took more time for the recordings. And this time we knew what we wanted! ‘Catatonic’ was more, we just go to the studio and record our parts and let’s see what happens. This time we knew what we wanted to achieve for this album and we didn’t stop working on it until we were fully satisfied by the results. Lyrically I also feel like I’ve matured. I found out while growing up that I became way better in expressing myself. It’s easier for me now to create a mood using my lyrics.  

What were the driving forces for the themes in Circles of Despair? And what was the driving inspiration behind the lyrics to the tracks within this release? 

Most lyrics on the album are a point of view on certain events or certain feelings. They’re always a way to express myself. I found out it comes naturally for me to write lyrics from a personal point of view. I write the lyrics and sing the songs, screaming the lyrics this way keeps it real and personal. The recurring lyrical themes on the album are about losing hope until complete hopelessness. The relief you can find in that hopelessness until reaching the deepest depths. Self reflection, suicidal thoughts, hate and hearing the call of the comfort of an endless void. 

Can you tell me a little bit about the writing and recording process that went into making your new record? 

I already told a bit about our writing process. Just like on ‘Catatonic’ we used different studios for different instruments. The drums are recorded at the Audioshape Studios. The bass is recorded at the Oeversound studio. Guitars are recorded at the Vainman Studio. Vocals and some choir parts are recorded at the Tunnelgeur Studios. And finally the acoustic guitar and the cello is recorded at the Neushoorn Studio. This way we could focus on each instrument separately and really pull the best performance out of the situation. We are really proud about how it all came together especially with the help of Fredrik Nordstrom and the Fredman studios for mixing and mastering the album. 

The album art for Circles of Despair is amazing. What was the inspiration behind it, and what was the  message if there is one that you are trying to convey through it?

The artwork is done by Remedy Art Design. We found him while looking for inspiration for the artwork and we really liked his style. We sent him some songs and he made this for us. We are really pleased with the results, it matches our feelings about the music and it gives a really nice and memorable face to it.

If there was anything that you would feel like you wanted to change in Circles of Despair what would it be? 

I’m extremely proud of the final results. Wouldn’t change a thing. I listened to every song over a hundred times, there are some slight mistakes here and there, I think I’ve found them all by now. But editing them out would make it feel less honest and less real. With this album we captured our musical skills while we were on top of our game. This album is a reflection of our conjoined abilities of that time. There are some things I would like to do different now but that’s for the next album.

How has the reception been to Circles of Despair so far? 

So far it is beyond our expectations. Haven’t heard a bad thing about it yet. But the album isn’t out yet. I can’t wait until it’s finally released to the mass public on august 30th. In the end the opinion of our fans means the most to us.

Are you planning on touring in support of this release, and do you know where you’ll be touring?

There are some really cool shows coming up. We’re heading back to Germany for a few days in october. Some cool festival shows next summer. And of course some cool stuff in between but I can’t confirm any of that on this point. Just that we are planning to play a lot of shows all over Europe in support of this album.

 Finally, Is there anything that you would like to tell or say to your fans? 

Yeah, i would like to tell everyone who is slightly interested in our music that we really worked our asses off for this album. We were all broken by the end of the recording process. It took a lot of sweat, tears and other manly body fluids to make this product. We’ve just released a new music video taken from the forthcoming album. Check it out on Youtube:

I would also like to invite you all to give our album a fair listen when it comes out on august 30th and look for the emotional energy that we try to capture. I want you guys to find the pure passion and ambition we put into making this album. And enjoy it to the max of your ability. Play it loud so the neighbours can enjoy it to 😉 see you guys at our shows! And like us on facebook ofcourse:

Thank you for your time and for answering my questions, it is greatly appreciated. Circles of Despair will be unleashed August 30th!

Featured Interview: Acedia Mundi

July 14, 2017

Acedia Mundi - Speculum Humanae Salvationis

Earlier today I was fortunate enough to interview the masterminds behind Acedia Mundi and ask them some questions about their record “Speculum Humanae Salvationis” as well as their plans for upcoming releases and touring. The entire interview can be seen below! Enjoy!

How did the name Acedia Mundi come about and what does it mean?

J : Acedia Mundi means “disgust of the world”, and the word “acedia” can also refer, nowadays, to a spiritual crisis experienced by a monk. 

W : The word ‘Acedia’ comes from the Ancient Greek substantive “ακηδία”. Its primordial meaning was “lack of care”. If this spiritual disease is very common these days its roots go back to the fathers of the desert. Saint Thomas Aquinas defined acedia as a form of “disgust with activity”. Acedia relates to the fact of doing several things but the one you are supposed to be doing. It is a way to avoid the existential question: “what am I supposed to be doing?”. Some think acedia is the greatest of all sins, probably because of its universality; and I do believe it strikes more people than capital vices like lust or pride. According to Christians, the antidote for acedia is God’s love. To love as Christ did.

Can you tell a little bit about the history of Acedia Mundi?

V : J and I have been playing together for almost 9 years in different death or black metal bands that remained studio projects. After a short break in our musical activities, we decided to reunite and create Acedia Mundi at the end of 2013. We began to put together directly a debut full-length album. Then W (bass) and G (drums) joined us in 2014. Now we are preparing ourselves for some live appearances planned for early 2018.

What compelled you to create the music that you do? What is the driving force behind it?

J : It’s difficult to answer and it can be very different for each of us, I guess. For me, I would say that our songs are a means of expressing feelings and emotions that could hardly find another way out. Everybody experiences extreme feelings, what Spinoza called the “sad passions”, and we need to let it go and to create something with those. It’s a catharsis.

V : Alcohol is also a good way to create this twisted vibe of Acedia’s music.

Your sound is incredibly raw. Is that the sound you intended on going for to begin with or did it happen naturally?

J : Both. We wanted something raw, but you never know exactly how it will sound before you record it. A huge part of the job was up to Andrew Guillotin from the Hybreed Studios (Temple of Baal, Merrimack…), and he did great.

The last two tracks of your album read kind of like a sentence. I believe it to be written in Latin. I may have the translation wrong, but I think it’s, “We have not chosen that we are not the dregs.” If I’m not reading too much into this, what is the meaning behind this and the way that you have the last two tracks titled?

J : Actually it means something like : “We who haven’t been chosen, we are the shit of god”. The idea to link those two tracks occurred when we were writing the last one. There was something common in the riffing, and we just thought about the lyrics of the last song as a sequel to the previous one. Here, we were talking about the absence of transcendence, of mysticism, of divine, confronted to our human need to believe in something more than what we see, need which has to remain unfulfilled. 

As for the song “Ceux qui Marchent” I believe it to be “those who walk”. Again I may be way off in translation, but would you mind telling what this track is about and the meaning behind the title?

J : The lyrics are about the violence the weak ones have to cope with. In the song, you hear the voice of a kid explaining how he was raped. To be “those who walk” means to kiss your past goodbye (to quote Aerosmith) and to move form victim to revolutionary. They sow the wind and they will reap the whirlwind (to quote something less cool than Aerosmith). 

Each track on your record is something that is unique and doesn’t necessarily bind itself to death, black or doom metal. Was it a conscious effort to not pigeonhole yourselves into a single genre?

J : We listen to many different genres, even out of the metal sphere. So it was natural for us to break free from the expectations of black metal.

 There are some spoken word samples that are spread all throughout the release, can you tell where you came up with them and why you decided to incorporate them into your music?

V : The spoken words come from films we like. For the intro, it’s extracted from Harmony Korine’s “Gummo”, David Lynch’s “Lost Highway” for “The Sadist is The Saddest”, “Les Enfants Terribles”, a film by Jean-Pierre Melville for “From Sodom to Magog” and “Song for A Raggy Boy” (Aisling Walsh) on “Ceux qui Marchent”. In Acedia Mundi, the cinematographic aspect is very important. It brings another level of reading, an extension of our lyrics and something that highlight the oppressive atmosphere of our songs. We also have some musical samples, like Gregorian Chants on “The Sadist is the Saddest”, that add an ironic “spiritual” side and an old melancholic and forlorn song from a 20’s French singer called Yvonne George, “Les Cloches de Nantes” at the end of “… Sumus Fex Dei”.

W : These cinematographic influences should help us in the making of a video-clip. We know it isn’t something popular within the Black Metal scene yet our aim isn’t to reproduce a standard and stereotypical exercise. We are tired to see bands film themselves playing their own music. It’s boring as fuck and nobody is really interested in the final product. It ends up being a bland promotional tool to get the attention of the public. Our goal would be to make something aesthetically interesting and strong without falling into the thousands of clichés the mainstream bands do.

France seems to have a large religious presence, and your music certainly is not. Has there been any backlash on that front? And if so, how have you dealt with it?

J : Black metal bands talk about religion because it’s traditional in the genre, not because it’s what they are disgusted by when they get out to see the streets downstairs. More often than not, they are just motherfucking traditionalists, nationalists and so on, and they share the ideology of Christians without the cornerstone of Christianism, that is to say god. We are not like that. God is out my life (and out of yours too, in case you don’t know). There are enough real problems; we don’t need to deal with imaginary ones. I don’t think that a so called  “satanic band” can have anything sincere : “hey wanker, talk about what you really feel and what you really see, you are too old to play with supernatural toys. Or maybe you just have nothing to say…”

W : The religious presence of our country is more symbolic than anything else. The halls of our churches welcome more tourists than devoted Christians. I’d say most of the French worship secularity and the great nothing with the same intensity as Christians believe in god. Which means that being antichristian or anticlerical isn’t much of a rebellious nor courageous approach to Black Metal. You don’t fight those who are no threat to you. In the end there is no religious backlash, only some Christians blind enough to be upset that Watain and Tsjuder perform at Hellfest.

  As for the sincerity among satanic black metal bands I disagree with J. A lot of bands have turned to occultism and mysticism these past few years. Especially with the eruption of Ritual and Occult Black Metal. I can’t believe there is no sincerity in a mystical approach of the genre as the Left Hand Path is a very intimate, deep and strong approach to life itself. The Left Emanations are connected with black metal and I don’t think they can be separated “for good”. Even some titles of our album could be associated with occult symbols. To some extent, a title like “Sumus Fex Dei” (We are the shit of God) could be associated with Qliphoths, fragments of the evil worlds that preceded ours.

Are you planning on touring soon, and if so where will you be playing?

W : Touring shouldn’t been too hard for us as I have built some connections. It is the benefit of touring with other bands. Unfortunately, Acedia Mundi was initially thought as a studio project and it is not an easy task to find a good and available drummer in Paris. Yet, rehearsals have begun and we’d love to get on stage. I’d like a crushing start : touring within the country plus opening for a festival. We’ll see how that goes. Of course, we’ll definitely try to get out the country as soon as possible.

Your new record didnt come out all too long ago, but have you begun writing more music and what are your plans for future releases?

J: Yes. And it’s fucking crazy.

V: We have already started writing some new materials for the next release. We have two new songs almost ready. It will be probably a little bit different. The songs and the lyrics will be shorter. We want to keep our dissonant atmosphere while bringing a punk/crust side in our music. Even for the imagery, we’d like to evolve towards something more modern and more provocative that break all the clichés. This next album will be less dense and more fitted for the live. It’s still a little early to confirm all this, but it’s in any case the way we’d like to sound in the future.

And last but not least, do you have anything you would like to say to your fans?

J: Frankly speaking, no.

V: We’ve got no fans

W : Send us dick picks we can use for future artworks.

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