 Интервью, interviews |
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(120 - 149)
| AbsolutOmega |
 Aug 2 2011, 15:01:33
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#121
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Guests team  |
В общем позиция ясна. Спасибо всем отписавшимся. Все "болтающиеся" интервью вынес в заглавный пост.
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Thanks:
(2) Blood13, Moonlight_Dominion, |
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Aug 3 2011, 18:27:32
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#122
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 Group: Металариец 
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AbsolutOmega, ай красава! Спасибо огромное.
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Aug 4 2011, 20:30:33
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#123
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Group: Металариец
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Avichi (Andrew Markuszewski) for thatshowkidsdie.com 02.08.2011 (Eng) http://thatshowkidsdie.com/2011/08/02/interview-avichi/
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Thanks:
(1) Morbvs, |
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| ivan_rex |
Aug 17 2011, 12:28:14
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#124
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Guests team |
Интервью с Murmuüre очень понравилось. Очень интересно
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Aug 17 2011, 19:32:06
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#125
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Group: Металариец
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У кого-нибудь есть английский вариант интервью Lonndom немецкому порталу www.metal.de? На пейсах музыкантов говорится, что он лежит на сайте нордвиса, однако я не нашел...
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Aug 18 2011, 16:41:27
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#126
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Group: Подсевший
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Вот ещё достаточно интересные интервью:
ABIGOR for Voices from the Dark Side AOSOTH for Orthodox Black Metal' zine (V.E.G.A.) for Mortem Zine |
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Thanks:
(1) Chasm, |
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Sep 2 2011, 10:28:18
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#127
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Group: Металариец
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Wolves In The Throne Room (Aaron) for alternativematter.net, 2011, ENG Pacific Northwest black metal duo Wolves in the Throne Room are about to release their fourth album, Celestial Lineage, and embark on a North American tour at the end of this month. Celestial Lineage is a highly refined album, the final installation in a series of albums they have been working on for the past nine years. At the end of August, Dani conducted a phone interview with Aaron Weaver of WITTR. Where I live everyone talks about the weather first. So, what are the skies looking like where you’re at and where have we reached you today? We live in Olympia, Washington, which is about an hour south of Seattle, about two hours north of Portland, Oregon, at the southern tip of the Salish Sea, which is the old name for what they used to call Puget Sound. That was before Western incursion into the Northwest. The Salish Sea was named after the Salish people who live around here. So, that’s where I’m at. And right now it’s actually quite beautiful outside. I’d say it’s maybe 80 degrees and sunny, which is a bit of rarity here in the Northwest. I’m enjoying looking out my window at some chickens that are scurrying around out in the bushes. Your fourth album, Celestial Lineage, will be released on September 13th through Southern Lord Records. The release coincides with a tour that you start at the end of August. It’s been rumoured that you’re taking along extra equipment so you can play nontraditional settings. Can you speak to this? Also how did you go about selecting the places you’re playing? For example, I see that you’re playing in a field or barn in Northfield, Vermont. Yeah, hopefully there will be a number of outdoor venues. We’re a band who has always been very committed to sticking as much as possible to a DIY ethic, and for the past couple of years we’ve done things maybe a little more on the conventional side. We had a booking agent and played the traditional circuit of rock clubs. That was fine while it lasted, but after the last tour, I said, ‘Man, I’m not doing this anymore.’ I’m not going to play sports bars and places where there’s a big screen T.V. playing the football game while we’re trying to get into the specific mind state we like to get into to play music. So, for this tour we got rid of our booking agent and booked the entire tour ourselves through the DIY network. We put out calls to local promoters in cities across North America that we wanted to play in warehouses and non-traditional venues. It’s a pretty big logistical undertaking. And if 300-400 people came to a show, it could be interesting because your average punk warehouse isn’t used to dealing with that kind of crowd. We’re going to bring our own P.A. system, lighting rig, and a much bigger crew to operate it. It’s almost like a Grateful Dead kind of thing: a travelling carnival of freaks. Speaking of the new album, it has a distinctly expansive and expressive feel to it. Almost meditative in nature at times. What was the inspiration for this album? Was there a spark, or was it simply the natural extension of your previous albums? Yes, we definitely had a specific thing in mind. We wanted [the album] to have that meditative quality. We imagined it as being the liturgical music of a Cascadian religion. It’s a bit of an imaginative process. We’re imagining what that music would sound like—perhaps the sound of a future world, alternate dimension, or maybe just a world that we can dream about for a while. It’s music that has a certain feeling of being attached to a tradition taking place in a temple or a cathedral, but not necessarily linked to any existing religion, spiritual tradition, or culture. It’s something that exists in the mists…in your imagination or dreams. Wolves is ardently embedded in DIY culture. What are some aspects of DIY culture that were brought to or appear in Celestial Lineage? For instance, on some tracks, there are sections where it’s difficult to figure it out exactly what instrument is making a particular sound. How did you manage to create this effect? Any unusual or unique instruments or processes? One really important thing about the sound on this record is that we recorded a lot of it at home in the studio that we built at our practice space in Olympia. We were able to take a lot of time to layer sounds to create that effect when you can’t really tell what instrument it is. And that was very much our goal from the beginning—not to have it sound like a rock band with drums and guitars and bass and vocals. We wanted to have the instruments be smeared and washed over with mist and fog, [rendered] unidentifiable, to be some sort of instrument you can’t even imagine. We diffused everyday stuff: guitars, effects pedals, analog synthesizers, drum kit, and percussion. Nothing special, nothing fancy, maybe apart from being old, crusty, and decrepit. It was just a matter of layering those sounds in a creative way to make it sound otherworldly. With this latest project has your vision for the band grown, changed, and/or deepened? It’s a highly refined album, and it almost feels like an ending of sorts. Is it an ending? I’m glad that comes through in the music because it was very clear when we were tracking the last guitar on the last song of the album that this was the last thing we were ever going to do as Wolves in the Throne Room. This is totally the end, and I very much had that in mind in those guitar parts. We’ll continue to do music and we definitely plan on making another record, but it’s the end of a cycle that we’ve been working on for the past eight or nine years. We started this band almost nine years ago. It’s definitely time to move on to something else—change the music, change the things we focus on in our lives. I’m definitely planning on spending more time at home on my farm in Olympia that my wife has been running in my absence. Music is going to have to not play as big a part in our lives anymore, and that’s a bit of sad thing because it’s been a huge part of our existence for a long time. It’s very much a part of our personalities and our everyday experiences, but it’s definitely time to force ourselves to transform a bit. Wolves appears to be fiercely loyal and proud of it’s geographical origins. Much in the same way eating locally has gained a toehold of late, it feels like some bands are embracing and celebrating their hometowns rather than trying to appear from, say European countries, or larger city centres. What is it about the place where you live that inspires such loyalty from you and you inspiration from it? I think that’s true. In the wider culture, people are trying to connect more deeply to place, really set down roots, and come to understand and respect the place they come from, which, I think, is a really positive thing. The reason we did that is that it fits into our overall life philosophy that we’re not interested in trying to move somewhere else. A lot bands are always thinking, ‘This place sucks. If only we lived in New York or LA we could really make it,’ and that’s just so far away from the spirit and the ethic that we’ve always had with our music and with our lives. We don’t want to be a professional band, always going on bigger tours, and getting on bigger record labels. If anything, we want our music to be more obscure, more private, more localized. Just played here in the Northwest, and we haven’t done that in the past couple of years. We’ve been touring all over the world, but we’re definitely going to move more toward that kind of direction of being more intensely local in our orientation. The reason for this is that we’re doing black metal music, which is adversarial. It’s attempting to serve as a counterweight to the mainstream culture. Mainstream culture is always rootless, it’s always moving onto the next thing, one musical trend after another. One celebrity scandal after the other. And black metal, the way we see it, is trying to move in the opposite direction, to try to move slower, to try to become deeply engaged with one thing rather than skim over a thousand things. That idea, which is really inherent in black metal, fits in very closely with our wider life philosophy. I believe that the things you do in one area of your life naturally bleed into others. The idea of compartmentalization seems less achievable to me than finding a sense of balance. How do you find the communities your involved in – metal, local, farming, ecological, etc. – influence and better one another? We definitely try to weave it all together. That compartmentalization that you mentioned is something that I’ve always wanted to avoid as much as possible in my life because I think it allows people to go on working in a job they hate or do something they know is wrong for themselves and maybe wrong for the wider world. If you’re able to compartmentalize, you’re able to go on doing those kinds of things even if you know they’re wrong. I guess I’ve always had the aspiration, and I fail all the time, to try to create a life that is the opposite of that, something where everything is connected to everything else and the music is a reflection of the farming and vice versa. And also that’s one of the reasons why I’m stepping away from music as a full-time vocation. It’s just too disconnected from the very intensely local life that I want to live. Being in a band is all about being in a recording studio, it’s about touring, it’s about sending emails on the internet. Those are the sort of things that I’d like to minimize as much as possible in my life. That’s one of the primary reasons why I’m very interested in stepping away from it. Exactly. For instance, right now you’re in the Pacific Northwest, fielding a call from Central Canada for an interview that will appear on a Dutch website. It’s an ever-expanding, borderless world. It’s difficult to keep things local. At the same time, another central theme that’s very black metal and defines our music is that very sense of contradiction, that idea that we’re hypocrites and failures and don’t live up to the ideal that we wish we could. That’s a big part of the music as well and the struggle to have to make those sort of compromises and figure out what you will and will not do. What is the one take-away you hope listeners, both new and old, will take away from this album? That’s a tough one because I’ve always been really conscious of not trying to have any sort of message in the music. I don’t want to use our music as a platform to spread any particular idea, try to convince anyone to do anything, or say, ‘Hey, the thing we’re doing is better than the way you do things.’ I don’t want to cast those sorts of judgements. We make this music entirely for ourselves and that’s a pretty private undertaking until we present it to the public. I just hope that people take from it whatever they want to and not worry about what my expectations are or what my feelings are about it. Once you release [an album] out into the world, it’s not really yours anymore. People can do whatever they want. They can toss it in the garbage or they can take it really seriously. They can interpret it in a completely different way than I intended. It becomes its own entity once it’s released out into the world. I once sat in the audience for a Q&A with Canadian writer Dionne Brand. Someone put up their hand and asked her whether or not she ever thought about her readers when she was writing. She responded to say that if she did that she’d likely never write. I imagine you have to get deep into your own process and not worry about reception on the other side. Yeah, absolutely. It’s really important. We were successful in getting really deep into this record because we were able to record a lot of it at home in the winter when it’s already a very quiet and meditative time. We were able to not really see anyone for a couple of months and just work and focus entirely on the record and just being in that world. When you’re in that space, you’re not concerned with what people are going to think about or how it’s going to be received. It becomes all about the art and that’s a really great place to get to. And finally, since you live on the farm, can you give us the update on the harvest, how things have been going this year? Was it a particularly good year for a certain crop? Anything unexpected? Honestly, it’s been kind of a rough year. It’s been incredibly cold. Most of North America has been extremely hot and a lot of drought conditions have prevailed, but in the Northwest it’s been the coldest spring and summer since the turn of the century. So a lot of the things that rely on heat to ripen are suffering a bit—tomatoes and peppers and that kind of thing. But it’s just the way it is, you know. And sometimes I wonder if whether or not these extreme shifts in weather are a result of climate change and things that human beings are doing to alter the natural cycle of the earth’s weather patterns. I don’t know. It’s the kind of thing I think about with a sense of doom and gloom, and it’s reflected a bit in our music |
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Thanks:
(1) Blood13, |
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Sep 20 2011, 17:43:58
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#128
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Group: Металариец
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Thanks:
(1) BenedictBMF, |
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Oct 8 2011, 21:23:28
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#129
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Group: Металариец
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Shining vocalist Niklas Kvarforth being interviewed @ Firebox Metalfest in Seinдjoki, Finland
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Thanks:
(1) Ambercandle, |
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| flyw |
Oct 8 2011, 22:49:53
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#130
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Guests team |
Ух ты, под чем это он? Что-то я не припоминаю, чтобы он так спокойно и вменяемо высказывался.
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Oct 12 2011, 09:52:51
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#131
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Group: Завсегдатай
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Интервью с Underdark (Ukr) [11.10.11] - RUS link
Moonlight Dominion e-zine |
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Oct 14 2011, 16:01:43
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#132
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Group: Завсегдатай
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| VVurd |
Oct 21 2011, 00:49:17 Сейчас играет: Förgjord - Surman Säkeet
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#133
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Guests team |
Не знаю, было или нет, но очень развернутое и толковое интервью от одного из главных персонажей финской блэк-сцены. Вообще, интервью с Аспой всегда интересно читать, в отличие от оных большинства современных деятелей черной сцены. Никакого пафоса, никаких стандартных "типа правильных" ответов и множество интересных умных мыслей.
Clandestine Blaze / Northern Heritage |
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Oct 23 2011, 14:51:30
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#134
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Group: Металариец 
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Целый ряд новёхоньких интервью с Варгом
Register
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Oct 24 2011, 18:20:15
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#136
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Group: Завсегдатай
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Интервью с Negative Plane (US) [24.10.11] - RUS link
Moonlight Dominion e-zine На вопросы отвечает лидер группы Nameless Void. |
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Oct 24 2011, 18:33:37
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#137
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Group: Металариец
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ЦИТАТА Интервью с Negative Plane (US) [24.10.11]- RUS link Годная интервьюха, пацан без сомнительных загонов, видать. Вчера как раз с этой группой ознакомился, атлична нарезают ребятки. |
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| AbsolutOmega |
Oct 29 2011, 17:29:58
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#139
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Guests team |
На днях закреплю в заглавном посте. Спасибо всем, кто поддерживает тему.
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Nov 8 2011, 11:13:54
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#140
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Group: Металариец
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ЦИТАТА(Vorgr @ May 27 2011, 23:48:39) Так как наверняка далеко не все хорошо учили английский в школе, позволю себе выложить данное интервью на русском: Vindsval of Blut Aus Nord
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Nov 13 2011, 21:45:32
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#141
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Group: Металариец
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Avichi for Infernal Dominion - 31.10.2011(Eng) http://infernal-dominion.blogspot.com/2011...l-absolute.html
Leviathan for Decibel(Eng) http://www.profoundlorerecords.com/images/...ecibel_Scan.jpg http://www.profoundlorerecords.com/images/...bel_Scan_01.jpg http://www.profoundlorerecords.com/images/...bel_Scan_02.jpg Portal(Horror Illogium) for brooklynvegan.com - 09.11.2011(Eng) http://www.brooklynvegan.com/archives/2011...terview_wi.html |
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(2) Flower Shop Guy, HA7tur, |
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Nov 14 2011, 18:03:05
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#142
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Group: Металариец
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D. (Woods of Desolation) Interviewed, November 9th, 2011 (Eng)
http://www.decibelmagazine.com/featured/d-...on-interviewed/ |
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Nov 19 2011, 16:44:52
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#143
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Group: Завсегдатай
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Интервью с Drengskapur (Ger) [19.11.11] - RUS link
Moonlight Dominion e-zine На вопросы отвечает лидер группы Wintergrimm. |
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Nov 19 2011, 23:08:26
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#144
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Group: Металариец
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Caпna for lurkerspath.com - 17.11.2011(Eng) http://www.lurkerspath.com/2011/11/17/an-i...iew-with-caina/
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Nov 29 2011, 12:56:04
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#145
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Group: Подсевший
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Довольно общирное интервью с Эриком Даниэльсоном (WATAIN).
http://musica.mustdie.ru/ru/articles/1/67567/ |
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Dec 15 2011, 01:38:38
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#146
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Group: Завсегдатай
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Интервью с Asmodeus (Aut) [14.12.11] - RUS link
Moonlight Dominion e-zine |
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Dec 21 2011, 11:05:22
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#148
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Group: Завсегдатай
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Интервью с Balance Interruption (Ukr) [21.12.11] - RUS link
Moonlight Dominion e-zine |
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Jan 5 2012, 14:11:41
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#149
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Group: Металариец
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Inquisition (Dagon) for HMHTV - 2011(Eng) http://www.youtube.com/watch?v=pHAp5xWdIgI
Mayhem (Attila Csihar) for metal-rules.com - 2011(Video Eng) http://www.metal-rules.com/zine/content/view/2385/92/ |
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Jan 5 2012, 15:48:07
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#150
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Group: Завсегдатай
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Dagon (IMG:style_emoticons/default/spitggis0.gif) Aliving, спасибо, очень понравились оба интервью, интересно видеть этих музыкантов в их человеческом облике)) |
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Thanks:
(1) Aliving, |
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