I can’t tell you much about rāhha as of yet. Not that I don’t want to, but the German duo seems to come out of nowhere with this their destructive second EP ‘Descension Ceremony’. Their Facebook page made me none the wiser either so I’m just going to tell you how they sound instead.
So think Germany, think Nachtmysticum, think Mgła, think… well, listen. It combines the atmospheric, the raw and the haunting into one epic journey.
Fire and fury erupt when the EP kicks off with ‘Diocese of Endless Strife’. The sound is cavernous but full and immersive. The vocals are in your face, raw and passionate. They are in power, in control of the depths you’ve plummeted into as the thudding drum starts to hammer away. There is not even any noticeable shift when we move on to ‘Korpsgeist’. If you catch the wave, the sonic exaltation of their song, your in for a rapturous ride as the speed and rising cadence has a sweeping power. I just want to punch my fucking fist in the air and scream until I have the same rattling howl.
‘Empty Chalice of Life’ is another firebrand on the holy houses. Black metal in righteous opposition with all the anger and not a sense of compromise as we launch into the final tune. We delve into ‘A Waxen Image Ritual’, where the raspy voice barks and howls. An immersion into the purest darkness with rapid blast beats, tremolo guitars and and a remarkable portion of catchiness to it. Can’t wait for more from this duo!
Label: Metal Blade Band; Downfall of Gaia Origin: Germany
Rarely does a band blow you away so much as Downfall of Gaia does. The Germans have just released ‘Ethic of Radical Finitude’ and its a towering piece of powerful black metal. Atmospheric doesn’t do it justice, because this record rocks with accessible, grand guitar play and convincing showmanship throughout its 6 songs.
As a band, this is their fifth full length since their inception in 2008. Though the base structure is very much lying on the foundation of black metal of the atmospheric type, the band leans outward to the post-metal and crust scene in their stylistic wanderings. In that sense, they’ll probably never really leave their roots behind. The result is a colorful piece of extreme metal, full of consciousness and meaning.
Lyrically, it’s abundantly clear that Downfall of Gaia focuses on more abstract and complex topics. It explains their wordy titles I suppose. The looming darkness descends as we start with the intro ‘Seduced by…’, setting the scene. But then the veil is lifted on ‘The Grotesque Illusion of Being’, with ascending black metal, that ever pulls you up higher onto your toes. The crusted, grimy vocals really add to the feeling of unworthy beckoning of the heavens, as crisp clear sound contrasts heavily with that hoarse bark. But the track to really fall in love with is ‘We Pursue The Serpent of Time’, with that tribal drumming intro, that just keeps going as the song slowly builds up. It turns violent and the guitars move faster all the time, but always it follows a wavering pattern, like that of mountain peaks in its brilliance.
‘Guiding Through A Starless Night’ is a whole different beast. Unleashing a torrent of tremolo guitars, it just rages on and on, till al lull in the sound comes on. Spoken word passages follow with dark, melancholic words. Spoken by a woman in clear tones, with a slight tremble. But it also has these uplifting waves, those sonic enhancers of your mood and state of mind. But there’s also definitely a romantic side to Downfall of Gaia. ‘As our Bones Break to the Dance’ captures that in lyrics, but also in its melancholic vibe. yet this is one hell of a track for the rhythm section, as the blast beats just reign supreme here with a pounding, pavement cracking intensity. Hell yeah! It even falls into some horrendous barking and shouting, like barren, blazing black metal for a bit there. Good stuff!
By the time you get to ‘Of Withering Violet Leaves’, you’ve been beaten up enough. You’d think, right? Sonorous singing and wavering guitar work, an ocean of sound to dwell in, to float away in as the music is gentle and swooping, slowly fading out. A beautiful record for sure.
Friisk translates roughly as Frisian, and though many people think this is a distinct region in the Netherlands, it actually also concerns the north-western part of Germany. The Frisians were and are a Northern people with a culture connected to that of Scandinavia, but also very distinct on their own. They were the hold-outs on Christianity in this region and have claimed stubborn independence
The band Friisk is very much steeped in the Frisian sound and makes me think of bands like Kjeld from the Dutch parts. Members have previously been active in the group Friesenblut, so as you may be able to tell, it goes deep for these guys. This is their debut and I’m very excited to hear it.
After a brief intro ‘Flut’, we instantly address the Nordic roots with ‘ ‘ ‘Ægir’. A piece of stampeding, roaring black metal, with a continuous rampaging rhythm and those screams and shouts above the turmoil, colliding with he sonic chaos. But the band also knows their subtleties, as the intro of the title track betrays. But soon we launch in typical Nordic riffage, where the band harkens to the Norwegian tradition more and more. I think, after listening to this record for a bit, that it is a typical hybrid sound that emerges, which I feel is very typical for this part of the world (including the Netherlands here actually). The bellowing vocals, the flat flow of the song, the immersion in a sea of gray, it sounds like the land in a way.
One of the highlights of the record is the track ‘Dämmerung’. An eight-minute epic, with big emotional movements and vocals that are clawing and grasping for the light. Every bit of tremolo riffing is rife with that sense of doom and that is what makes the track exceptionally strong. ‘Kein Heiland’ then merely has to offer a final swing of the axe to finish the album with another classic sounding hymn to the sees in best black metal fashion. Friisk may be a new band on the block, but those who love their metal traditionally and seeped with tradition should give these guys a listen. You’ll not be disappointed.
Label: Seasons of Mist Band: Der Weg Einer Freiheit Label: Seasons of Mist
Goodbye, Cruel World with Der Weg Einer Freiheit
Der Weg Einer Freiheit offers the world a new taste of their dominating black metal skills with ‘Finisterre’. Only two years after ‘Stellar’ the group from Würzburg is back with an absolute gem. The solid core of the band is still Nikita Kamprad, but with some member changes, it seems that the group is gently shifting direction.
Though the sound seems to evolve in the expected trajectory, the album art is different on this record. For the first time, we see some more traditional black metal symbols adorning the cover of ‘Finisterre’. In one interview, Kamprad proclaimed that this record is their goodbye to the world as we know it. A line in the sand, a point of saying that we have to start over instead of continuing along this line.
I’ve written about Der Weg Einer Freiheit before on this site. I have to admit that I find both listening to and writing about this band daunting. Not because I think there is anything obstructive, I just think that they’re that good. There’s something so immense to the sound of these Germans. Listen to opener ‘Aufbruch’ with is monumental drum work and eerie, out of space guitars. Launching into a ferocious machine gun drum roll at the end the song finishes in a majestic show of force.
As said, ‘Stellar’ was much more spiritual, so ‘Finisterre’ brings us back to the ground. The sound of the album is much more earthy, solid and strong. A mixture between Endstille and Wolves in the Throne room would be a fitting way to describe this band, but it lacks the nuances to fully embrace them. It is telling on a track like ‘Ein letzter Tanz’, where the mournful melody merges with the sheer inferno of a scouring verdict, of our times as the nadir of civilization. Never afraid to implement lessons from modern black metal, a calm, soothing break occurs as well after which the abyss fully opens seven minutes into the song.
As if that was not severe enough, the two part ‘Skepsis’ follows with a climactic explosion. The sound sweeps you along in all its dramatic splendor, only to be repeated one more time on the finalizing title track. There’s hints to the more melodic, blackgaze or post-black metal sound here and there, which is perfectly fine. The music needs to convey grief. The sound truly holds a sense of finiteness. Slowly the cavernous riffing fades away into nothingness.
Label: Zeitgeister Music Origin: Germany Band: Klabautamann
Sail the unknown with Klabautamann
It’s a peculiar entity, this Klabautamann, who deliver some wonderful music with their fifth full length, titled ‘Smaragd’. The German group enlisted Costin Chorineau for the artwork, which looks as if it was inspired by the similar looking cover of Helms Alee’s ‘Sleepwalking Sailors’. There’s not much similarity in the music, though both albums allow you to just dream away in distinct manners.
Klabautamann blends black metal with elements of folk and quite a bit of postrock. Klabautamann refers to a specific type of goblin that causes shipwrecks. The nautical theme is not overly present in their work though, but the focus on nature is. The band is a two piece, with Florian Toyka (Valborg) and Tim Steffens (Skarab). So both are not strangers to the weird and experimental we could say. This project definitely has a progressive flavor.
Pecularly, Klabautamann can sound a bit PinkFloydish at times. For example on ‘In My Shadow’, where a passage feels like the trickling, playful tease of one of those tunes. That shortly shifts back to blast beats and growls though. Massive archs and thunderous rhythms hit the listener like waves. The music is filled with tiny details and as a result of this the band doesn’t need to be loud. Their loudness is in the gentle flow of the organ, the muffled drum hits. All ready to erupt in violent blasts at any time.
But there’s some doom and gloom in their music too. Check out the song ‘The Murderers’, withits creeping, death metal vibe, which morphs into cascading, clean sounding doom riffs. It’s remarkable how these guys never need the pure volume and distortion to be loud. Klabautamann is all about atmosphere. The songs slowly unfold, while all those details work the listeners imagination. It makes for a record that is a daunting listen, yet so worth your time to check it out.
Rimruna hails from Berlin and its two members are also active under the name Drangskapur. Rimruna has been active as a project since 2011 and this album is the second full length for the duo. The last one came out back in 2014. The title ‘Der Hatz Entronnen’ translates as ‘Escaped from hate’.
The music of Rimruna fits well into the German tradition of folk-flavored, atmospheric black metal. Thematically the band appears to have a particular fascination for the winter season. Much effort goes into the lyrics for this band it would seem. They are written in German, which might be a bit of work for you, but totally worth it. Being part of the Naturmacht stable, this group fits right in with their sound.
The dark folkloric sound is as dark cloud gathering and following you. Strong, galloping rhythms and drum rolls hit home, while the guitars seem to produce a thin but compelling sound of swooping dissonance. The gnarly vocals are as bent and twisted as old tree trunks sticking out from the snow, with the particular bite the language allows for.
The sound holds a clarity, which gives it a direct and melodic feel. On the other hand, it also makes particularly the rhythm section sound pretty raw and aggressive on a track like ‘Tor der Zeit’, where the melodies meander past, while the drums assault the hearing. That contradiction in sound is one of the great alluring powers of Rimruna, who truly drag the listener in all directions and often sound close to some of the blackgaze bands of these days. The sound is harrowing, but filled with melancholic melodies that take the listener along.
Still, the sound is rooted in raw black metal and that is what you get mostly. The tremolo guitar play on a song like ‘In Ewigkeit Versunken’ takes nothing away from that, but just makes the story and flow of the album so much more captivating and pleasant. This certainly is a good bit of music!
Well, sometimes you get to do an interview with a really cool band and it really did feel that way when I go to interview none other than the great Ahab from Germany. I got in tocuh with drummer Cornelius Althammer and this interview appeared on the Sleeping Shaman. Enjoy.
We at the Sleeping Shaman like ourselves a nice slice of doom now and then and who better to provide some of the thickest and most salty slices of it than Germany’s Ahab. The nautical doom pioneers have a new album in store for those who love a good story and it sure as hell ain’t a sea shanty.
The Boats Of The Glen Carrig is a heavy album that carries literary references and a poetic approach to their music. Surprisingly gentle at one moment and surging wildly the other, the band has reinvented itself. We got in touch with drummer Cornelius Althammer and asked him about album number four, literary inspirations, water and other wet topics, so enjoy…
Hello, I hope you guys are keeping well as we creep into the grip of winter.
For my taste that old fucker doesn’t have to appear at all. I like sun and warmth… But inside the rehearsal space weather doesn’t play a big role. So everything is going fine for us, we just spent a weekend rehearsing for our upcoming tour.
You recently released another great album The Boats Of The Glen Carrig, which is out now on Napalm Records. What can you tell us about the writing and recording process of the album?And what has the feedback so far been like?
Finally we had that kind of writing process all of us ever wanted. Ideas were brought to the rehearsal space where they were composed into songs by all of us. Every song has undergone this process. On our previous album The Giant we already had started to work this way, but about 40-50% of the songs had been composed by Daniel Droste alone at home. It’s not like these were bad ones, but Ahab feel as much more like a band that does things jointly. Each one of us loves to hang out in the rehearsal room and create music with the other dudes.
The process itself went as probably every single band on the planet. Some songs just ‘happen’, other ones need a very long time. We didn’t stop until all the four of us were happy with every single note on the album. The process of recording was very stressful this time. Especially Daniel, he looked like a zombie in the end. It wasn’t so easy to manage getting enough days off from work; the typical shit you have to deal with if you’re not in a famous mainstream act. In the end I have never been that much happy with any record before. It simply sounds … huge… The production is perfect, that’s all I still can say.
Peoples and press reactions to the album were from very good to amazing, judging from what I heard so far.
You’ve also released a video for the track Like Red Foam (The Great Storm), can you tell a bit about it? It feels like it is touching upon political topics, far removed from the album’s theme. Do you face issues making a video due to the length of the songs?
Well, when we became aware of the fact that there will be a video of one song there obviously was only one choice. Like Red Foam is the shortest song of the album, so it had to be this one. I am happy with this choice, because I really like this song (in fact I totally didn’t care which one it would be, because I love them all).
So then we had to come up with ideas. As an underground band you surely can’t produce a € 100.000 video with ships, huge sea creatures and all that stuff. So it had to be something that works on the metal level. The only one who really was involved in the process of creation was Christian Hector. But the main work was done by a team of creative people. The other three of us were not really sure about what to contribute to a clip. It just was a very new thing for us.
What came out in the end is a really good clip that deals with a political topic. Which is no problem for me, because I am a political person. My problem here is that I just cannot find the connection between the clip and our music. I really don’t see it and therefore I don’t like the clip so much… Which is not a problem for me. In the end I have learned how to contribute to a clip the next time.
What made you chose The Boats Of The Glen Carrig as your literary inspiration for this album? Do you ever think of your music as a soundtrack for reading the literary works you use as inspiration?
Seen from our point of view it works exactly vice versa. Obviously the stories function as the lyrical groundwork for our album. They inspire us in mood and vibe. I don’t think any of us read one of the stories we used so far again, listening to the album that was written about this story. But, yes, I think one could easily turn the tables on this. For I am damn sure that some fans read and listen. Which means they ‘use’ our music as a soundtrack for those books.
It was also fan who called our attention to W. H. Hodgson (author of The Boats Of The Glen Carrig). Our bass player Stephan read some of his stories and especially pointed at this one to read. When all of us had read it, it had become very clear that this tale would make it. Perfect in terms of gloom and horror and with a message that comes across when you read between the lines. “Doesn’t matter who you are, within the elements fierce ire” is a line from Red Foam (The Great Storm) pretty much hits the bull’s eye.
What I definitely enjoyed on your album is how powerful the more clean parts sound and the specific gloom it evokes. Do you feel you are moving to a more subtle sound in that sense?
Well, if it comes to clean vocals Daniel obviously likes to surprise us every time for he never shows any single vocal line before entering the studio. This time he was even better than ever before, in my opinion. Next to the idea itself, clean guitar parts depend very much on the sound. During the last three years the guys bought lots of effect pedals and in my opinion, especially their non-distortion, sounds extremely profited from this.
Generally, I can absolutely not make any predictions for our future direction. I only feel what possibly can become during the very process of composing. And for sure we are not composing at the moment. I just assume that the fascination for sound in general will grow on in this band. And I surely expect Daniel to have great visions for his vocals in the future as well…
What song would you pick out as illustrative for your current musical course, and why?
That would probably be my favourite track To Mourn Job. I love its flow and diversity. From psychedelic to jazzy, from mellow to brutal. Everything Ahab is about is in there, combined in a very natural way.
What is the origin of your passion for the nautical theme and can we ever expect the concept album about The Rime of the Ancient Mariner?
Why not? Never say never! For I am a huge Maiden fan I’d love to have an album called The Rime Of The Ancient Mariner, that’s for sure! The nautical theme just fits perfectly. When Daniel and Christian were writing stuff for their new funeral doom project one day they came up with this idea and the name Ahab. What was just a good idea in the beginning, became our trademark. Surely our personal obsession with the sea grew with Ahab. The sea itself is as well fascinating as its symbolism. Depth… Source of life… End of life… Philosophically looking at it, I could go on for hours now…
And to following on from that, what is the sea/ocean to you?
I consider my music as my personal Ocean. I need it to go for a swim, to escape from the main land called ‘daily life’. Without my art I am nothing, my life would barely make any sense. I never consider it just as music, it’s more like a cosmos. In the first place it is full of those people (= close friends) I create, play and therefore share with. And it’s not only the people. In this very moment I see flashes of grooves, tour busses, vocal lines, interviews, broken sticks, ear plugs, beer, time schedules, weed, clubs, cymbals, my dear, dear friends, cover artworks, laughter, more laughter, gaffa tape, writing sessions, listening sessions, recording sessions…
Doom metal has had a recent surge of popularity so with that in mind, what active bands are you currently listing to and why?
There are tons of great bands, so I have to pick some few ones:
The first one on this list has to be the mighty Black Shape Of Nexus (B.SoN) from Mannheim. These guys started about at the same time as Ahab did and we shared the stage at their AND our first live show ever. They play a very heavy and sludgy, sometimes a little psychedelic style of doom. I just got some rough mixes from their next album. As expected this one will be the shit! I highly recommend to check out these guys!
Esoteric probably are the most horrific band in the world. If somebody would ask me how a nightmare sounds I would give him a random Esoteric album. Besides, they are the best tour-buddies I can think of…
Omega Massif unfortunately split up. They played this more modern, postish, sludgish way of instrumental Doom. Karpatia was their last album and it simply was the best album ever written in this particular style. Everybody HAS to check this one out. Fortunately all of the members split up in different bands: Cranial, Blacksmoker and Phantom Winter which I also would recommend.
For Electric Wizard’s way to present themselves in public has become some kind of ridiculous to me (sucking at live shows, wearing SS Uniforms…) I have the perfect alternative to them. Witchsorrow from the UK play this very, very English Style of doom. And they are fucking cool.
Conan, the heaviest band in the world, also consists of a bunch of lovely guys we always love to meet and have some drinks with. My favourite album of these fine Englishmen is their second one calledMonnos.
Monarch from France are very special. Their droning sound is being enriched in a very unorthodox way by singer Emilie. Also a big recommendation here. Besides, the guys are absolutely lovely folks of course…
There is so much more great stuff to discover. Old farts complaining about the scene just can fuck off. I don’t get which scene they are talking about, but it must be on mars or the moon. There has never been more diversity and quality than nowadays. You just have to pick the pearls from the dirt.
Cough, Yob, Samothrace, Monachus, Windhand, Jex Thoth, Obelyskkh, Chelsea Wolfe, Watered, Lumbar, Mammoth Storm, Generation Of Vipers, Grime, Whalerider… And these are just the more doom or post-like bands…. I could give you a huge list…
What does the near future have in store for Ahab?
First of all there will be a tour in the end of October/beginning of November with High Fighter and Mammoth Storm. For some personal reasons we will take a break in the beginning of 2016. And then we’re hopefully back on the road. For UK… France… There are lots of options and we’re about checking out which ones will work for us…
There have been numerous sounds from the underground worthy of capture like Toska, Protean, Der Weg Einer Freiheit and Krallice. This one packs a punch!
Toska –Toska Self Released
The band Toska is inspired by poetry of Tadeusz Micinski, a polish poet, gnostic and playwright who was an early expressionist or even surrealist. That’s about all there is known about the black metal band, which surprisingly is not from Poland or anywhere around, but from Iceland. This is the debut of the band, which only came out very recently this year (2015). Let’s check it out.
There’s a cold in the sound of the band, like you can feel in the air when frost is approaching. It becomes clear, while the tracks pass by, that there’s a certain amount of electronics involved in the production of this bit of music, which gives it a particular industrial-like cold feeling. The drums therefor lack the organic, furious feel that you’d expect. They feel too tight, to automatic. Some weird samples of keys are played through the music at a very low volume. This is rather peculiar and a bit spooky. Regardles of all that, the music is intense, full and like a blizzard storm in aural form. If you like you black metal cold and technical, this is the record for you.
Protean – The BurningCenturies Beverina Productions
Protean is a Latvian band with (former) members of various bands from the Baltic state, such as Eschatos, Urskumug, Frailty, Grondh and many others. Guest contributions were made by no other than the guys from Skyforger, making this a bit of an all-star record for extreme metal LV. Protean is a musical project that takes a journey through the history of warfare, mythology and legends. From the Punic Wars to the Hungarian Black Legions clash with the Ottoman turks, the longboats of the north and ancient Latvian myths. This is very promising material.
What we get is a clean production and sound that is big and mean. Protean embodies the sound of battle, history and a passion for metal in one furious ball of force. From the chanting on ‘Bringer of Fear’ to its thunderous main song, it resembles the more bold and heavy in the blackened genre, like Behemoth (which I find it resembles a lot). The focus is on atmosphere and grandeur, without much regard of genre boundaries, which is something I love in Latvian metal. The clean singing on ‘Swordwraith’ for example, gives a power metal like vibe combined with machine gun drums. It makes it sound big and honest. I particularly like the long track ‘The Longships Are Burning’, which is a bit of a nod to good old Unleashed and their beer guzzling favorite. A long track full of ambiance of Opeth-y guitar play and brutal bursts like a reign of fire. It shows a feeling for the dramatic as well as great musicianship. This whole album is a demonstration of strenght, a tour de force if you will, of a group of musicians that is highly talented. I feel like I’m just the jackass that wants to tell you that… Please listen to this band.
Der Weg Einer Freiheit – Stellar Season of Mist
This German black metal band was one of those that I missed out on on Roadburn. I thought, judging by the name, that this was some sort of post-apocalyptic folk ensemble. Yeah, you know the kind. Nothing of the kind however, but brutal, icy and melodic black metal (yes, all of that). The band from Würzburg is inspired by philosophy, death and life in their music and has 3 records under their belt this far. Yes I know that ‘Stellar’ has been out for almost 9 months, but have you heard this record? How could I not include it in this section of my website.
The sound of this band is like a warm bath with ice storms. The music provides the bath in the sense that its full and soothing with some major elements creating that immersion. Thematically and through the vocals and hard hooks there’s the storm, stirring unease in the general pool of sound. There’s blistering fury in the sound, but also the anticipation in the calm parts of ‘Repulsion’. Then there’s the catharsis and bliss united in ‘Einkehr’, a chastizing pilgrimage into destruction, total annihilation of the self. Closer is one beautiful and harrowing soundscape, under the title ‘Letzte Sonne’.
Krallice – Hyperion Independent
I feel like I’ve just finished with the previous full length titled Ygg-Huur, which I discussed in #19 of Sounds of the Underground, and then this band of rascalls from New York suddenly drops another one. Hyperion was recorded back in 2013, but only now is released on bandcamp. An interesting mention on bandcamp was the comparison to Sonic Youth, which is hard to distiniguish, but definitely present in the experimental sound of the group. It’s their way of saying Happy New Year I suppose.
The cover shows what appears to be a mountain range or maybe water? It speaks to the imagination, like the music of Hyperion. Blistering, radical twists open up the grandeur of the title track, with roaring drums and intense blasts. The band is like an uncoming storm, taking the most surprising twists and turns in their sound and obliterating any opposition. I can not understand how someone would not classify this as black metal’s next evolutionairy fase. The inspiration for the almost cacophonic, primordial ceremony that is performed on ‘The Guilt of Time’ makes you think of Lovecraftian sources, with copper beaten, clanging and grinding distortion. Krallice proves that they’re here to stay.
This was a lovely weekend to see some hockey and since it’s not that great in the Netherlands, we headed to Krefeld in Germany to see the Pinguine play ERC Ingolstadt.
I think it’s a good oppertunity to say something about how awesome German sports fans actually are and the insane atmosphere in the Königspalast in Krefeld. It’s about an hours drive from where I live and well worth the ride. Funny enough, from Eindhoven on it’s about 70 kilometers straight on, take a turn and drive 7 more and then it’s like around the corner. It’s a nice drive so enough time to chat.
I went down there with a friend and my long suffering girlfriend (just kidding, she likes the hockey too), taking enough time to get a good taste of what it’s like. German fans are well dedicated to the sport and ofcourse their beloved team. Normally they might just as well hang out in the old rink across the street to watch another team, but the amount of people already present during the warm-up is a sight of dedication.
It kinda sucked a bit that Ingolstadt scored two goals in the first period, which started to diminish the fevered chanting of the Krefeld fans. Tirelessly they keep chanting and shouting, during the whole game. During the game there’s also space for some activism, which has a lot to do with the future of the team. I must say I’m hard pressed to fully understand what’s happening, but it seems a political game has started to be involved. Signatures are collected and ofcourse I signed for the Pinguine. Let’s be fair, it’s good to have a funteam on driving distance. Comments with info would be much appreciated.
So the game starts to be quite a downer, when Krefeld gets the third goal against. The team plays wobbly and confused at times, but gradually builds up to some momentum and scores a brilliant goal. Suddenly the crowd is roaring again, and the last ten minutes of the game feel super intense once more. It’s a shame that the Pinguine did’nt manage to get a goal in against the champion of the DEL. For us, it was still a great experience that we can talk about on our way home from Krefeld. Go Pinguine!
Back in 2010 I did an interview with German punk-nutters AYS. Back then they were the first band on the bill for the Persistence tour, for which we did a whole dossier on ROAR E-Zine. We would write about pretty much every band on the bill and I got to do an interview with AYS.
The interview was rewritten in Dutch by me and can be found over here on the website. This is the raw interview. By now AYS is pretty much one of the leading punkrock acts from Germany, so well worth seeing where they were at in 2010.
Who are you and what is your job in AYS? And how are you doing?
Yo, my name is Gummi. I’m doing the lead guitar and a lot of the songwriting stuff in AYS. I’m fine, but I have to go to work today… that sucks!
What does AYS stand for? And what does it represent for you? How did you pick this name?
AYS stands for “Against Your Society” and was founded 2002 by our singer Schommer, who played bass, our drummer Pietz, and two other guys. One of them is our ex-guitar player Felix who left the band some months ago. They were playing melodic punk stuff like Good Riddance or Pennywise. After some lineup changes I joined the band in march 2007 as a bass player and our second guitar player Henne joined us at the beginning of 2008. Our newest member is Chris of Black Friday 29 who replaced me playing the bass when i changed to the guitar. We all have our roots in being Punks. So this name is still representing our punk attitude, being against racism and also not being satisfied what’s going on in this world. And of course: ACAB
What has the band accomplished this far? Who have you played with and where?
In the actual lineup we released an EP (“The Path Of Ages” – 2009) and two LPs (“Wreck My Soul” – 2008) and the newest one is called “Eroded By The Breeze” which was released 3 months ago. There are some old releases but they are not worth to be mentioned.
We played 7 tours in the last 3 Years and saw a lot of cool parts of europe like belgium, netherlands, france, spain, czech, poland, austria, switzerland, sweden, norway and england. At the moment we’re planning some tours and trips for 2011. In february we’ll be back in the UK and we’ll do an Australia/Malaysia Tour in April/May.
On our shows and tours we played with bands like No Turning Back, Sick Of It All, Have Heart, Carpathian, Trash Talk, Rise & Fall, Black Friday 29, Ritual, Born From Pain, The Effort, Swamp Thing, and too much more to name them all. Propably we played with almost everything what’s famous up to day and became friends with a lot of them.
What does AYS Sound like, what are your main inspirations?
I think it took a lot of time to find the sound that we’ve got today. It’s very desperate and pissed. We tried a lot to find out what we want to do, invested a lot of time and I think everybody who knows our old releases can see our development.
I think it’s important to be kinda incomparable and don’t sound like every second existing band what’s really hard because there are a lot of them who are doing a great job. Certainly we are inspirated by everything we listen to, which is not just Punk and Hardcore music.
How did you come together as a band?
Schommer, Pietz and I know each other from school, hangin around, skating, drinking, etc for 8 years. In our hometown was a quite big punk/hardcore scene at that time.
Henne is a friend of us for about 4 years and we know each other from shows in our area and his brother Chris used to play in Black Friday 29 who became good friends of us in the last 2 years.
What’s the German Hardcore scene like?
The german hardcore scene is pretty big. A lot of the kids are doing bands, setting up shows or do labels, fanzines, etc. Also they just support bands by showing up on shows whats propably the most important part. A lot of bands from oversea like our scene and appreciate the support of the german kids.
You’ve got a new album out, called Eroded By the Breeze, what can you tell us about it?
“Eroded By The Breeze” has got a tough and pissed sound combined with melancholic melodics and a lot of experimental parts. It got 13 Songs with a 35 minute playtime.
It was released on the 17th of August 2010 on LP and CD by Cobra Records (LP – Europe), Coretex Records (CD – Europe), Purgatory Records (LP – UK) and soon on Dead Souls Records (CD – Australia).
How did the writing and recording process go. What were your inspirations for this album?
After the release of our “Path Of Ages” EP in July 2009 we didn’t know how we could beat it. We had the goal to write those songs on the same level as “Snowblind” and “Nemesis”, which where re-recorded for the LP again, too. But after 10 Month of writing new stuff we we’re very satisfied with the outcome. The songs hadn’t been finished completely when we arrived at studio and the best ideas we had were while the recordings, breaking edge, playing Super Street Fighter 4, watching football and hooligan Films and eating a lot of pizza. We had a lot of time to try different sounds, settings and effects.
Who does your artwork?
Our singer Schommer is doing all the artwork stuff for us. He also made some designs for other bands as well, but at the moment he’s very busy. Schommer is studying media design so he decided to concetrate on that and just doing sick artworks for us in his freetime.
Who’s the guy with the AYS tattoo on the inside of his mouth?
That’s Schommer, too!
Apparently you guys bring a wicked show to the stage. What can people expect from you guys live?
A short set with the most possible energy we could give and hopeful withouth broken strings… fuck that.
Who are you going to watch at Persistance tour? What bands do you recommend to people?
I’m definitely looking forward to Cruel Hand. I really like their new album and of course their live shows. Also i’m glad to see the guys of Sick Of It All again, cause we just played some dates on their last europe tour together. And last but not least Blood For Blood, I think I don’t have to comment that!
If you don’t know our Album yet, you should really check it out. But you also should take an eye on bands like “Brutality Will Prevail” (UK) and the rest of the Purgatory Records bands. If you don’t know our friends “Carpathian” from Australia check their new EP “Wanderlust”, “Ritual” just released some new stuff, too, and also our friends “Man Overboard” from the US who will be on their first europe tour soon.