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Vieux 22/01/2016, 11h22   #1
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Par défaut Wildernessking-Mystical Future-Interview

Noisey Vice


South African Post-Black Metal Enigmas Wildernessking Peer Into the 'Mystical Future'

By Kim Kelly

Cape Town black metal collective Wildernessking first appeared on my radar back in 2012 with their debut album, The Writing of Gods in the Sand, and I gushed about them in miniature via my old Terrorizer Magazine column, Ravishing Grimness. Back then, I praised their "expansive, almost progressive compositions that draw just as heavily from Agalloch and Drudkh as they do post-rock’s crescendos and melodic death’s triumphant marches," and now, four years later, I'm pleased to report that they've only gotten better, and more ambitious in their sound and scope.

The band's second full-length, Mystical Future, builds upon The Writing of Gods' sturdy foundation, their skills further sharpened by a preceding series of splits and EPs (including this South African metal compilation we covered last year). Wildernessking make no bones about their intention to move beyond "just" black metal; Mystical Future is a richly-layered recording, one whose lush melodies and bright atmosphere lean far more heavily on its creators' interest in progressive rock, post-rock, and 90s screamo than on Scandinavian tradition. Even though the "post-black metal" tag has fallen out of vogue, that's exactly what Wildernessking offers here. Take it or leave it (though I highly suggest you take it, because it's brilliant).

Stream Mystical Future in its entirety below, and read on for a chat with vocalist and bassist Keenan Nathan Oakes.

Noisey: What can you tell me about the process of bringing Mystical Future to life?
Keenan Nathan Oakes: We recorded drums at Big House Studios in St. James (a scenic, seaside location not far from where we recorded our first album). We recorded vocals at their Cape Town studio, while bass and guitars were recorded in Jesse’s bedroom and engineered by the band. Daniel Thackwray, a good friend who works for Big House engineered the drums and vocals, and helped a little with production. The album was produced by ourselves and then sent to Jack Shirley for reamping, mixing and mastering. The recording process took less than 30 days, but it was broken up over 6 months between June and December 2014. We wanted to give our best possible performances, so we didn’t rush anything, and recorded when we were able to.

What was the most challenging part of creating this album?

We had a few studio issues. In fact, I ended up tracking vocals twice, because the audio files I recorded to were exported at the incorrect bit rate, so they were much slower than what they were supposed to be. That was a very frustrating process, having to redo the vocals. Another challenge would be having to wait a while before the project was realized. We spent a lot of time rehearsing the material (the album was completely written and arranged by September of 2013), but looking back we feel that our patience was rewarded. We’re happy with the way the record came out.

Tell me a bit about the themes you explore on this album.
This album is definitely more personal than the first. We really immersed ourselves in the entire process and felt that we tapped more into our own lives this time. It is an expansion on some of the motives and themes explored on our first album, a consolidation. Themes of loss, submission, and enlightenment are scattered throughout. We draw inspiration from various forms of music, art, film and literature, our daily activities, and nature, of course.

Black metal is an evolving genre, for better or for worse. What does black metal mean to you? What do you see in the genre's future?
Black metal was the starting point of this band, so in that sense it means everything. It’s amazing to experiment within the framework, to see how the genre can be twisted and manipulated using various styles. Black metal will always play a part in the music we create, but we are carving our own path now. If our new music only hints at the genre, or is littered with black metal tendencies, it won’t really matter to us, as we only want to write the best possible music we can.

Wildernessking is now one of the biggest (or at the very least, best-known) African metal bands. Given South Africa's history and the fact that the majority of the band is white, how has the greater African metal community reacted to your success? Do you encounter negativity because of it, or is it a supportive environment?

It’s strange, how the metal scene works down here. South Africa exists in isolation, and metal is still very much a white thing, in Cape Town especially. However, things are a bit different in Johannesburg, and it was incredible to see a racially diverse audience when we played Witchfest in 2015. We have a long way to go in terms of becoming a fully integrated country, let alone niche music scene, but things are looking better now. We are at least having conversations about this. With regards to our ethnic backgrounds, nothing negative has come from it. Now and again, there are a few people (mostly Americans and Europeans) who are surprised that we have some white people in the band.

You're very much an international band, in that your music and reputation has traveled far beyond your home borders. Have you made plans to play in Europe or North America yet? What's stopping you from hitting the road—is there bureaucratic red tape, or is it just the classic time/money issue that faces every band?
We are making plans. Trust us, we want to come. No red tape, just money issues. The rand is incredibly weak at the moment, as our economy is in the trenches. But as soon as we can afford a couple of plane tickets, we will make our way to Europe, and then at some point, North America. Hopefully this year, but if not, next year definitely. We are saving and we are talking to the appropriate people!

What's your greatest goal as a band?
We’re just happy making music, and putting out records that we’re proud of. Our next goal is to complete our third album, and then we’ll take it from there. It would be nice to play Hellfest or Roadburn, or one of those amazing festivals.

What's been the most surreal moment of your career thus far?
Honestly, hearing people’s reactions to our music. Reading glowing reviews from publications that we respect. It’s been a truly humbling and incredible experience so far. Being featured on Noisey is pretty fucking surreal, too. Perhaps "surrea"l isn’t the right word, but being able to make e-friendships with a lot of our fans has been fulfilling and insightful.
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Vieux 22/02/2016, 16h57   #2
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Interview: Keenan Nathan Oakes from Wildernessking
Feb 14, 2016
website | facebook | twitter | bandcamp |
By: Patrick Thompson

Wildernessking kicked off 2016 with their powerful sophomore full-length album Mystical Future, from Sick Man Getting Sick Records (read our review here). Patrick Thompson got the chance to have a quick chat with bassist and vocalist Keenan Nathan Oakes, and we talked about all things Wildernessking.

(((o))): Thank you for taking time to let us get to know Wildernessking, it is much appreciated. Can you please tell our readers a little about yourselves and how Wildernessking came to be?

Keenan: No problem! Wildernessking started in 2011, but we began playing in 2010 with the line-up we have now. The band started out under the name Heathens, with myself, Dylan [Viljoen, guitar] and Jason [Jardim, drums]. It was just a fun project with no real intentions of being a serious band or anything like that. We put out our first EP in May of 2010, and things have progressed nicely ever since. Jesse [Navarre Vos, guitar] is doing his Honours degree in branding and business management this year, Dylan is a high school maths teacher, Jason is a drum teacher and I work at a wine bar and play for another band called Sakawa Boys.

(((o))): Your first full- length album, The Writing of Gods in the Sand, came out in 2012. How does it feel to finally get your 2nd full-length album, Mystical Future, recorded and released?

Keenan: It’s a huge weight off our shoulders. We are relieved to finally have this new record out there, especially considering that we finished writing it in September of 2013. Nothing has really changed (musically) since then. So we played a serious game of patience in the build-up to this album. But we’re glad that it’s taken awhile to get it out there… We were well rehearsed because of it. It won’t be long before new music drops.

(((o))): Let’s do a quick track by track if you don’t mind, please tell us about Mystical Future.

Keenan: ‘White Horses’ was written in January 2012 in our old pre-production studio at Dylan’s parents’ house. It was a very collaborative effort between Jesse and Dylan. I remember Jesse bringing the intro sequence, and we just took it from there. I fell asleep around the point the verse was written, and woke up during that final bridge/climactic section. That song was pretty much written in one day.

Dylan had the intro riff for ‘I Will Go To Your Tomb’ for awhile (the original demo file is dated June 2012). We were playing the song live in March of 2013 already. The song initially veered off into more progressive territories after Dylan’s first lead section, but we weren’t that pleased with it, so we decided to jam it out as a band. The song wrote itself from that point, and I distinctly remember being over the moon because we managed to write as a band in our rehearsal room. That was the start of many band jams that turned into songs (see ‘Soundless Longing’ from the Secret Ceremonies compilation).

Dylan had written the intro to this song (‘To Transcend’) and once again it was completed in the band room, as Jesse came up with the guitar picking part in the bridge. That was the touch the song needed to be fully structured and complete. The additional stuff, like overdriven guitars and ghostly vocals came later on. Like most of this album, once we had the song and structures down, nothing changed much.

‘With Arms Like Wands’ started with a picking guitar section before the intro you now hear in the song. Because of how the album was flowing, in terms of dynamics and pace, we decided to scrap that intro and cut right to the core. Jason’s drumming really brings the frenetic energy of the song alive, and once again we just took it from there, and built upon that initial chord sequence. We wrote the song fairly quickly, and I distinctly remember the 3/4 section, and how Jason wanted to include it in the song, but we were struggling to find a section to slot it in to. He suggested doing it after the blast beat that follows eventually after the second chorus, and we didn’t think it would work. It did, and it’s one of our favourite parts on the album now, as it goes from a 4/4 blast beat section into a 3/4 blast beat section, and the song just pulls and lifts in that moment.

We had written about 6 minutes of a completely different song. We knew what type of song we wanted the closer to be, but we weren’t feeling it. So we decided to scrap the idea (I still have it on my PC somewhere) and start from scratch. Jesse, Dylan and I met up at Jesse’s house one evening and started simple. We said that we’ll choose a chord and try to build the song from there. And that’s exactly what you hear on the record. We had the opening A minor chord repeat for awhile [we settled for something as simple as that], with subtle changes in the other instruments (bass guitar came in with the bass drum), then the toms and Dylan’s guitar lead eventually. We built upon the layers we created, and used an old idea of Jesse’s to complete the song. It’s an idea we were jamming for awhile, but never knew where to place it or how to get to it. It was written in a different key, but we changed it to suit this song, and it kind of just worked as the ending to the album. We approached Alexandra Morte after the entire song was written, and I had mapped out all the vocal sections. And that’s ‘If You Leave’ really, a title that Jesse found from an art exhibition.

(((o))): Where do you usually gather songwriting inspiration? What is your usual songwriting process?

Keenan: It can build from a riff, a drum beat, anything really. Sometimes someone will come in with a more refined idea. Sometimes someone will just play something in the band room/mess around, and another member will pick up on that and roll with it. I guess we’re inspired by what we listen to, what we read, what we see, and by our experiences. I think a lot of the inspiring moments happen in our personal lives, where we feel that we must capture that instance musically, and that inspiration is manifested when we bring it to the band room and everyone gives their take on it. It’s funny, it’s almost always interpreted differently when we come together, but made better for the most part.

(((o))): How does the music affect the lyrics and vice versa?

Keenan: Often I will come up with vocal arrangements to the music that we’ve written. Some stick, and others I discard. For the ones that stick, sometimes I am not saying actual words, but I like the melody, so I try to write to the part I came up with. It’s a fun challenge, syllabically. So in that sense, the music affects the lyrics. Other times I will have a song title (Jesse’s been contributing quite a few titles lately as well), and that plays on our sub-conscious I’m sure. It can steer the song into a different direction somehow.

(((o))): With all of the numerous metal genres out there, why did you decide to pick atmospheric black metal?

Keenan: I wouldn’t say that we chose anything to be honest. We don’t see ourselves as an atmospheric black metal band, as that has become a very specific thing in itself. There’s atmosphere, and there’s black metal for sure, but that’s the jumping off point. We just play the music that we love, the music that comes naturally to us. In response to a “These guys will be labeled as hipster/atmospheric black metal…” comment on his blog (called That’s How Kids Die at the time), Josh Haun said: “Do you really think so? Man I hope not. I just don’t hear it… as I stated above, to me these guys sound more like latter day Enslaved with maybe a dash of Primordial’s grandeur than anything remotely similar to Krallice or Liturgy. Also, these guys have songs…”.

That always hit home with me, especially as Enslaved and Primordial are big influences, and I feel that if we are taking anything, it’s from those bands.

(((o))): What was your first concert and your favorite concert when you were younger?

Keenan: It wasn’t metal, that’s for sure. I know Dylan watched Roger Waters when he came to South Africa, and that had a big impact on him. I watched some local alternative bands back in 2003, and it definitely sealed the deal in me wanting to start a band. Jason had a similar experience when he used to go watch his cousin’s band In 2001 at an old local venue called the Purple Turtle. Jesse’s first live gig was watching The Offspring on their South African tour in 2004 when he was 13 years old.

(((o))): What is your dream gig if you could tour with two or three other bands (current or historical)?

Keenan: 9pm: Wildernessking; 10pm: Mastodon (Playing material from Leviathan and Blood Mountain only); 11:30pm: Opeth (Playing material ranging from My Arms, Your Hearse and ending at Ghost Reveries).

(((o))): What do you do to unwind outside of music?

Keenan: We use music to unwind. But we also enjoy the outdoors, hiking, going for drinks and dinner with friends, etc. The usual really. Occasionally, though we haven’t done so in awhile, we play football/soccer.

(((o))): Have you had a chance to play any of the songs off of Mystical Future live yet, and do you have an upcoming tour?

Keenan: We’ve been playing all of these songs for a long time now, and have played all of them live. As I mentioned before, Mystical Future is pretty old, to us at least. We are touring South Africa this year, and hopefully Europe at some point. We are doing our best to get out there more, as we don’t play too often.

(((o))): Again, thank you so much for taking time to do this interview. In closing do you have any parting comments for the Wildernessking fans out there?

Keenan: It’s a pleasure! Thanks for a fun interview. And thanks to everyone for the amazing support of Mystical Future. The response has been overwhelming and we couldn’t be happier. Stay tuned for more music this year.
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Vieux 05/04/2016, 10h26   #3
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INTERVIEW: WILDERNESSKING, the post-black freshness from South Africa

par Julius Interviews

To celebrate their arrival on the french label Les Acteurs De L’Ombre, the release of their album » Mystical Future » and the EP » Levitate « , we had the chance to ask some questions to this young South African band, the mysterious WILDERNESSKING, to introduce themselves and learn more about this promising band that takes us off the beaten track with its very personal « post-rock-black » .

Could you make us a short presentation of WILDERNESSKING ? What’s the concept behind the band?

WILDERNESSKING is four friends from the suburbs of Cape Town, South Africa making music together. Formed from the black ‘n roll project, HEATHENS, WILDERNESSKING was born in May/June 2011, and the debut album was released in February 2012, which showed a stark contrast in sound from our former days. The name hints at a reverence towards the natural world, but also could suggest the wilderness inside you, and about conquering it. It’s an uplifting and cathartic moniker for us.

How do you work? What is the process of composition? Who brings the ideas?

We all write together. Someone will bring in an idea, sometimes it’s not a fully-fledged part, just a couple of chords etc. We then expand on whatever the foundation is, a drum beat, a riff, even a lyrical theme or song title. We tend to do that over two rehearsals, and that’s pretty much how a WK song comes into the world. Just to get a taste of our different styles; Jason (drums) wrote the bulk of The « Devil Within », Keenan (vocals/bass) wrote the bulk of « Discovery », Jesse (guitar) wrote the bulk of « Birth », and Dylan (guitar) wrote the bulk of « To Transcend ». But as we mentioned, we all write together. For a good example of expanding on one person’s idea, see « With Arms Like Wands », » I Will Go To Your Tomb », and « Soundless Longing ».

What are your main influences?

Movies, literature, art, music and our life experiences.

I feel that the sound of Mystical Future is very post-rock, very aerial…. Was that a will to distinguish yourself from black metal bands, I’d say, more classical? How and where did you record?

Not at all. We don’t see ourselves as a black metal band. We’re a metal/rock band with black metal influences, to us anyway. We write the music we’re passionate about, where our hearts lead us. We recorded drums and vocals in a professional studio, while guitars and bass were tracked at Jesse’s house in Rondebosch, and then reamped in the States by Jack Shirley ( DEAFHEAVEN, LOMO PRIETA ), who also mixed and mastered the record.

What are the lyrics of Mystical Future about? What is the story of it if there is one?

It’s ultimately talking about the mystery of one’s future, what lies ahead… When writing the album we were at big developing stages in our lives, so lyrically (to some extent), that part in our personal history was captured.

You signed under the “Les Acteurs de L’Ombre” French label, it’s pretty surprising when we know you’re from South Africa… How did that happen? Are they the ones who came to you first? What kind of relationship do you have with them? How is the agreement doing?

They approached us after being big fans of our previous work. We have a good relationship with them and everything is going well. They’ve put a lot of effort into getting our name out there, and we appreciate working with them. LADLO are putting out our first two EPs on a single vinyl release in the middle of the year, so we’re excited about that. We haven’t actually signed a deal with any label to be honest. We enjoy being able to work with as many people and labels as possible, as to not be tied to anyone in particular. We’re a very collaborative band.

Like I was saying before, you’re from South Africa. Your country is not especially known for being a metal scene country. So what is the current state of the metal scene in South Africa?

It’s good, it’s growing. There are shows happening nearly every weekend now. And we have bands from pretty much the entire metal spectrum, it’s exciting.

Is that complicated for you to play that style of music and find dates over there?

Sure, in a way. We just do our own thing, and for those who listen, they enjoy it. It’s easy to play shows, but unfortunately we don’t have a lot of venues, so options are limited in that regard, and you end up playing to the same crowd (or lack thereof) over and over again. So we choose not to play often, and make each event a unique experience for the audience.

Now that the album came out, what are your projects for 2016? Can we expect a tour or at least some dates in Europe?

Our new EP, « Levitate », is being released this week. And then we’re writing new music and planning for a Euro tour at some point. So there’s quite a bit happening…

Thank you and I leave you the last word…

Thank you. We appreciate the support and coverage, and look forward to visiting you in France soon. Cheers
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Vieux 05/04/2016, 10h32   #4
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Occult black metal zine

Wildernssking Interview

1. Can you give us an update on what is going on with the band these days?

After each major release, we actually take a few weeks to clear our heads and start organizing everything for the next phase. During this time, we managed to put the finishing touches to the LEVITATE EP, which is being released through Permanent Record and Breathe Plastic Records. Currently, we are preparing for the start of intense work on the next full-length album and are very pleased with how everything is sounding so far. Over the next while, we will really get stuck in to the process. A lot of time and energy will be spent.

2. In January you had released a new album, how would you describe the musical sound that is presented on the recording and also how does it differ from the stuff you have released in the past?

With Mystical Future, there was definitely a clear shift from the releases of the past. It seems as if the latest album was easier to conceptualise, or - it was easier to aim all of the musical elements towards a central theme. For example, we were able to use the guitars in a new way, to fulfill a different purpose in the general flow of a song. We wanted to explore a less ‘riff-driven’ arrangement, and write from the perspective of the emotive theme. Perhaps this somewhat melancholic album would not have translated as well if we had to approach it with the same mindset as the older releases. In saying this, most of our observations actually happen after the fact. Looking back, it’s possible for one (or more) of the songs on The Writing of Gods in the Sand to be a precursor to a theme on Mystical Future, but ultimately we always try to leave behind old sounds, and therefore expect our music to constantly deviate from our beaten path.

In terms of production, we strive to work with different people in the making of our albums. We enjoy the new approaches and perspectives, and are always surprised at how well the sound is interpreted by the people we work with.

3. What are some of the lyrical topics and subjects the band explores with the newer music?

With the latest album (and Levitate), the lyrical themes definitely touch on nostalgia, relationships and loss. Mystical Future tackles the idea of looking ahead while acknowledging one’s past. This is a general approximation however, as all four of us look at the themes in a more personal and intimate way. As a whole, we’ve noticed an uplifting yet melancholic atmosphere both musically and lyrically – but ultimately it is up to the listener to interpret in their own way.

4. Originally the band was called 'Heathens', what was the cause of the name change and also the meaning and inspiration behind the name 'Wildernessking'?

While writing under the name Heathens, we began to notice a shift in our sound and felt the name to be somewhat limiting. In a way, we decided to re-form the band, and use the concatenation of ‘Wilderness’ and ‘King’ as our new name. The interplay between the two words create a theme that allows for more innovation and exploration, both conceptually and musically. We certainly feel that the name will follow us for as long as we are all making music together.

5. What are some of the best shows that the band has played over the years and also how would you describe your stage performance?

We have had so many wonderful experiences on stage. If we had to answer the question a few years ago, we would have probably said the same thing – and perhaps that illustrates how unique and special we find each live performance to be. A few weekends ago, we had the pleasure of sharing the stage with God Mother (SWE) while they were on tour here in South Africa, and that was a fantastic show. It’s difficult to single out any particular shows as the crowd and the atmosphere on the night really make each experience memorable and unique. We are conscious about this fact, so we try to make our stage performances as relaxed and intimate as possible.

6. Do you have any touring or show plans for the future?

Yes, we are actually just about to leave for a tour of South Africa, to play a couple of shows up north. We have been touring the country every year for a short while now, and we really enjoy the sights, the people and just being able to play our music to new audiences. We are definitely working on doing a European tour soon, possibly with the release of our next album.

7. On a worldwide level how has the feedback been to your newer music by fans of atmospheric black metal?

We are blown away by the feedback we’ve received and continue to receive from the international community. Because of the digital age that we find ourselves in, we’re privileged to be in close contact with our supporters, and truly appreciate all forms of correspondence we have with them. This is also one of the main reasons why we are excited to tour, as most of our fans are in Europe and the States. In terms of feedback from fans of a sub-genre, it would be difficult to say. Just like all music, some people enjoy it and some people don’t. We are thrilled to be making new fans with the release of Mystical Future, and that’s all we can really ask for. This is very inspiring and we are highly appreciative of it. The fact that someone else far away notices our passion in a particular part of a song, or a subtlety in a certain theme, that really means the world to us.

8. Are any of the band members currently involved with any other bands or musical projects these days?

Yes, Keenan and Jason are currently involved in ‘Sakawa Boys’ and ‘Wargrave’ respectively. We are all very passionate about music in all of its forms, and enjoy making it a large part of our lives, by collaborating with other people etc.

9. Where do you see the band heading into musically during the future?

This is probably one of the most difficult questions to answer, because when we look back at the path we’ve shared over the years, we really couldn’t have predicted nothing like this. We’ve all experienced a lot during the making of Mystical Future and the years that lead up to it. All we can say with assurance is that the phase we find ourselves in has prepared the groundwork to delve deep into the writing of the new record. Many factors have helped to define the ‘Wildernessking’ sound, for both us and our fans, and we are only eager to discover more.

10. What are some of the bands or musical styles that have had an influence on your newer music and also what are you listening to nowadays?

When starting out, we obviously focused on the metal bands we had in common and tried to write music that we would enjoy listening to... As the years pass, we find that other metal bands actually tend to influence us less and less – or perhaps in a more subconscious way. We are influenced by human relationships, art, movies and anything else which affect our outlook in a particular way. That leaves our individual music taste as members to be a much more personal part of our lives. What we listen to is often a reflection of where we are and what we are feeling – something we hope Wildernessking is to the listener. At the moment, we are enjoying The Besnard Lakes, Jessica Pratt, Mgla, Flatbush Zombies, Mastodon, Perfume Genius etc.

11. Does Occultism play any role in your music?

Not really. There has definitely been no drive to include occultism in the writing and music, or more specifically in the way we approach our music in general - especially when placed in relation to other bands out there. It would be an interesting thing to discuss actually, because if we treat occultism to an exploration of supernatural forces, then much of our work would certainly focus on these forces, amongst others. We have always deeply respected the natural world, and we feel that the ‘supernatural’ is surely included within that particular framework.

12. What are some of your non-musical interests?

We enjoy the outdoors, relaxing, hiking and spending time with friends. We especially enjoy traveling to the countryside for a few days, when taking a break from our personal careers outside of Wildernessking.

13. Before we wrap up this interview, do you have any final words or thoughts?

Thank you for the interview! We really enjoyed your diverse questions and look forward to visiting our Italian fans soon. A big show of appreciation to everyone who listens to our music… We are truly grateful for the support you have shown us.
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WILDERNESSKING fielen meinem Kollegen Chris (Review hier) und mir (Review hier) durch ihr zweites Album auf, welches sie unlängst veröffentlicht haben. Da die Scheibe uns beide fasziniert hat, habe ich mich daran gemacht, den Jungs mal ein paar Fragen zu stellen.

AMBOSS: Hallo WILDERNESSKING! Danke für das Interview. Wie geht es euch?

WILDERNESSKING: Hey Hendrik! Uns geht es gut, wir können nicht klagen. Danke für das Interview!

AMBOSS: Vor eurem zweiten Album habe ich noch nie etwas von euch gehört und ich glaube so geht es vielen Leuten, besonders in Europa. Würdest du mir bitte etwas über WILDERNESSKING erzählen?

WILDERNESSKING: WILDERNESSKING startete als “fun side-project” von Dylan und Keenan. Es begann unter dem Namen Heathens, aber als es irgendwie ernster wurde der Name geändert, um die Entwicklung der Musik und das Konzept der Band wider zu spiegeln.

AMBOSS: Auf euren Bandfotos seht ihr sehr jung aus… Welche Bands haben euch in den Black Metal eingeführt und welche favorite habt ihr jetzt, nachdem ihr mehr Bands kennen gelernt habt?

WILDERNESSKING: An Black Metal kamen wir durch Bands wie Immortal, Gorgoroth und Dark Funeral. Auch wenn einige unserer Favoriten nicht wirklich in das Raster Black Metal passen, gehören auch Enslaved, Primordial und Wolves In The Throne Room dazu.

AMBOSS: Euer erstes Album “The Writing Of Gods In The Sand” ist etwas krasser als “Mystical Future”. Was hat euch zu dieser Stiländerung veranlasst?

WILDERNESSKING: Es war keine bewusste Entscheidung. Es war ein natürlicher Prozess der Musik, die wir schreiben. Da sind immer noch einige sehr aggressive Momente auf „Mystical Future”, vielleicht sogar einige unserer härtesten.

AMBOSS: Welches sind denn euren größten Einflüsse außerhalb des Black Metal? Ihr habt ja einige Einflüsse aus der Post Metal und der Rock Szene!

WILDERNESSKING: Das meiste was wir hören ist gar kein Black Metal! Einige, unter anderen Einflüssen sind: Beach House, Neurosis, Death Cab For Cutie, The Mars Volta, The Dillinger Escape Plan, Bon Iver, Cult Of Luna, Godspeed You! Black Emperor, Fleet Foxes.

AMBOSS: Gibt es Zukunftspläne für euren Stil? Habt ihr ihn mit “Mystical Future” gefunden oder wollt ihr auf jeder Scheibe anders klingen?
WILDERNESSKING: Wir sin dimmer noch in der Findungsphase unseres Sounds. Auch jetzt, während wir unser drittes Album schreiben. Wir schreiben melodischeres Material aber planen auch mehr Heavy-Riff- Songs für das neue Album. Wir werden immer etwas verändern und nicht an einem bestimmten Stil festhalten. Es wird aber immer Metal in irgendeiner Form sein.

AMBOSS: Wie schreibt ihr eure Songs? Was ist eure Inspiration?

WILDERNESSKING: Wir werden ständig inspiriert von Dingen die wir sehen, hören, in Büchern, die wir lessen oder in Filmen, die wir sehen. Kapstadt ist ein wunderschöner Ort, eine großartige Stadt die viel Inspiration bereithält. Unsere Songs starten mit einem Riff, einem Drumbeat oder einer Jamsession. Wir haben kein festes Schema. Wir starten mit Ideen, die jemand in den Bandraum trägt oder von ganz vorne.

AMBOSS: Erzähle mir doch bitte etwas über die Black Metal Szene in Südafrika. Gibt es viele Fans? Gibt es viele Bands? Gibt es Festivals oder Konzerte in eurer Gegend? Welche Möglichkeiten hat ein Black Metal Fan seiner Leidenschaft in eurem Land/auf eurem Kontinent zu frönen?

WILDERNESSKING: Es ist eine kleine, aber schnell wachsende Szene. Es gibt ein halbjährliches Metalfestival, dass von Metal 4 Africa, eine großartige kleine Organisation aus Kapstadt, welche Metal aus Afrika fördert und unterstützt, veranstaltet wird. Wir haben regelmäßig Shows. Wir haben nicht wirklich eine Black Metal Szene, weil Metal hier immer noch eine Nische ist. Für Black Metal Fans gibt es hier nur wenige Genrebands. Sie müssen schon ihren Computer oder CD-Player anschmeißen um ihren Trieb zu befriedigen.

AMBOSS: Was sind eure Pläne für 2016? Wird man euch in Deutschland live erleben können?

WILDERNESSKING: Wir veröffentlichen bald eine EP, Levitate. Wir machen eine lokale Tour im April und planen in einer nicht zu fernen Zukunft in Deutschland und Teilen Europas zu spielen. Wir würden uns riesig freuen bei euch zu spielen!

AMBOSS: Warum habt ihr “Mystical Future” auf 4 Labeln veröffentlicht? Eines für Vinyl, eines für CD und sogar 2 Labeln für die Tape-Version!

WILDERNESSKING: Wir arbeiten gerne mit so vielen Personen wie möglich zusammen. So haben wir mehr Möglichkeiten und können unsere Scheibe auf jedem Format herausbringen. Einige bevorzugen immer noch Kasetten, andere eben die CD oder halt das Vinyl. So hat jeder die Möglichkeit zu wählen. Wir haben 2 Label für die Tape-Version, da das eine für Europa und das andere für die Staaten zuständig ist.

AMBOSS: Wie kamt ihr zu dem Vertrag mit dem französischen Label Les Acteurs De L´Ombre, welches die CD Version vertreibt?

WILDERNESSKING: Sie haben sich vor einer ganzen Weile bei uns gemeldet, als wir die Songs für „Mystical Future“. Sie sind ein großes und großartiges Label, da haben wir natürlich zugegriffen. Sie veröffentlichen bald unsere ersten beiden EP´s auf einer Vinyl, auch wenn wir keinen Vertrag mit ihnen haben.

AMBOSS: Was war euer großartigster Auftritt bis jetzt und was wäre der größte, den ihr euch vorstellen könntet?

WILDERNESSKING: Das ist schwer zu beantworten, da es schon einige gute waren. Aber wahrscheinlich war es die Releaseshow für die „The Devil Within“-EP. Wir spielten 2 Sets und es war, wie es das immer ist, großartig zu sehen wie wir von unseren Anhängern unterstützt werden. Im Falle des größten Gig, den wir uns vorstellen können, wäre es wohl ein Headliner Slot beim Hellfest oder Roadburn.

AMBOSS: OK, das war´s schon. Ich hoffe, euch schnell in Deutschland sehen zu können. Die letzten Worte gehören euch!

WILDERNESSKING: Danke für das Interview und sorry, dass die Antworten so lange gedauert haben. Wir danken dir für die Unterstützung und hoffen unsere deutschen Freunde schnell zu sehen!
Saltimbank021 est déconnecté   Réponse avec citation
Vieux 02/03/2017, 17h46   #6
hello world!
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Date d'inscription: juillet 2009
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Wildernessking - Sud Africa
Pubblicato il 10/07/2016 da lorenzo becciani
Ph.Eckardt Kasselman

Qual è il concept di 'Mystical Future'?
E' una storia di menzogne, ignoto, possibilità e eventi inevitabili..

Vi siete ispirati a qualche libro o film in particolare per i testi?
La poetica di Rilke e Rumi e la prosa di Kerouac prima di tutto. 'Synecdoche', New York', 'Se mi lasci ti cancello' e 'Lei' sono i film che ci hanno ispirato durante il processo.

Com'è la scena musicale sudafricana? Conosciamo solo i Die Antwoord..
Ci sono un sacco di band emergenti. Ti consiglio di ascoltare John Wizards, Beatenberg, Christian Tiger School, Sakawa Boys, Nihil, Strage, Ark Synesis e Peasant.

È difficile organizzare show e promuovere il vostro materiale fuori dal paese?
Gli show sono complicati da organizzare a causa del numero limitato di location e delle finanze. E' molto costoso viaggiare ma fortunatamente abbiamo tanti fans che ci aiutano così come altre etichette. La promozione è più facile grazie ad internet.

Come siete entrati in contatto con Les Acteurs De L'Ombre Productions? Qual è la vostra band preferita nel loro catalogo?
Senza dubbio The Great Old Ones. La label ci ha contattato dopo avere ascoltato un paio di vecchie release e finalmente c'è stata la possibilità di collaborare.

Ritieni che post black metal sia un termine che descriva adeguatamente il vostro stile?
Sì e no. Siamo post black metal perché la band si è formata dopo l'avvento della prima e della seconda ondata di black metal ma non lo siamo dal punto di vista stilistico. Nelle nostre canzoni ci sono alcuni elementi del sottogenere ma anche altri che vanno per conto proprio. Ci auguriamo che con il prossimo album questi elementi vengano fuori ancora di più.

Cos'è il black metal per voi? Siete appassionati della scena norvegese, francese e americana?
Ci piacciono un po' tutte le forme di black metal. E' una sensazione. Può essere freddo, nichilista, catartico e trascinante. Diciamo che la materia norvegese ci ha affascinato, quella francese ha rinvigorito tale sensazione e quella americana ci intriga. Siamo orgogliosi di fare parte di un movimento così creativo.

Cosa volevate cambiare o migliorare dopo 'The Writing Of Gods In The Sand'?
Volevamo migliorare la produzione e scrivere pezzi più coesi tra loro. Siamo contenti del primo album ma 'Mystical Future' è più dinamico e ha consolidato la nostra posizione nella scena.

Perché avete scelto di lavorare con Daniel Thackwray?
Abbiamo registrato ai Big House Studios a St. James, un posto di mare splendido, e a quelli di Cape Town. Daniel è un amico e un ottimo ingegnere del suono. Sapevamo che era capace di darci un grande suono, specialmente per quanto concerne la batteria visto che anche lui è un batterista.

Che tipo di suoni e atmosfere volevate ottenere prima di entrare in studio?
Volevamo che l'album suonasse come quando ci esibiamo dal vivo. Sapevamo anche che Jack Shirley avrebbe potuto aiutarci ad ottenere la giusta atmosfera. Il suono è pulito, atmosferico, facilmente riconoscibile e, guardandoci alle spalle, esattamente come speravamo che fosse.

Prova a recensire 'With Arms Like Wands' per i nostri lettori...
E' un pezzo di otto minuti che presenta il nostro spetto di colori molto bene. Si va dai blast beat al doom, da momenti di quiete a una melodia accattivante.

Qual è stato il momento più intrigante nella realizzazione dell'album?
Componiamo come una unità. Partiamo dall'idea di un membro e poi ci lavoriamo sopra. Sono momenti speciali e spesso il processo è rapido. Aspettare un po' di tempo prima di realizzare l'album è stata la scelta giusta. Ci ha trasmesso un po' di ansia e quando è stato il momento di registrare è andato tutto bene. Abbiamo avuto qualche problema nella registrazione delle parti vocali. Rifarle è stato frustrante ma quando abbiamo ascoltato l'esecuzione finale è stato davvero speciale. Soprattutto riascoltare le parti di batteria che hanno rappresentato un grosso miglioramento rispetto a 'The Writing Of Gods'. La creazione di 'If You Leave', registrata con l'aiuto di Alexandre, è stato in assoluto il momento più magico.

Dove avete suonato la prima volta?
Al R.O.A.R., un locale underground alternativo molto popolare. Non male come concerto..

Qual è stato il vostro migliore concerto fino adesso?
Non è semplice rispondere perché ce ne sono stati tanti. Forse quello in occasione del lancio dell'EP 'The Devil Within'. Suonammo due set. 'If You Leave', 'I Will Go To Your Tomb' e 'With Arms Like Wands' nel primo e 'Lurker', 'Flesh' e 'The Devil Within', più il bis 'Kings', nel secondo.

(parole di Keenan Nathan Oakes)
Saltimbank021 est déconnecté   Réponse avec citation

wildernessking interview

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