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Interview with atmospheric death metal band - JADE.
Answered Joan Fiar (bass, vocals), thank you!
Recenze/review - JADE - Mysteries Of A Flowery Dream (2025):
Ave JADE! Welcome to the mystical underground. I would like to start by thanking you for your music. I've been following you since the first demo and you play exactly the kind of mysterious, magical death metal that runs through my veins. I was really looking forward to this year's new record and when it came up for review I was immediately lost. Could you please introduce us to the new album? How did it come about and what direction did you want to take?
Dear Jakub, I’m well aware of the support you have given us since the beginning, and I have not enough words to describe how valuable we receive it… Thanks a lot for the job you do for the underground, the metal community and of course our very own music. Priceless!
“Smoking Mirror” sounded and was conceived from primitiveness, a channel to put together some ideas and set the path to follow from then on. 2022’s debut album “The Pacification of Death” probably exposed our more Death Metal side to date but with a way more layered composition and arrangment level, while the 3 tracks from “The Sempiternal Wound” a way more Doom language. The sophomore album probably puts the balance on the Black Metal side, due the more Atmospheric and dense approach to music, but never was something planned.
I don’t like to use the Black Metal label out of the Atmosphere, but I’m pretty sure your readers and album listeners will get what I mean. As Jade listeners has already got from past experiences and will get with this new album, there’s a need of playing such game with balance, all driven with the main goal so called emotion. Music must emanate emotion, density and being so dynamic. I would love someone to consider Jade’s music under the band’s name label, as in my opinion happens with many other bands, Bolt Thrower or Katatonia back in time, or today’s Bölzer for naming just three.
So, more than redefining our style/sound, I want to believe we are shaping more and more our own language.
I personally find the new album "Mysteries Of A Flowery Dream" even more mysterious, mystical. Listening to it, I feel like I'm visiting some ancient ritual. But the new one seems to me a bit more complicated, more demanding to listen to. What is the reason for that? Have I noticed a change of musicians? Why is that?
Honestly, the line-up change has nothing to do with the album composition or arrangement beyond the synths sections on some songs opening. On this album we have continued with the same method since the debut Ep. Demo songs made by me, and then jumping into guitar arrangements by A. I feel that giving him freedom to arrange the guitar lines, with his unique harmonic skills, is the best decision I have ever made. But, that’s it… in fact this time we did a sort of preproduction version of the album in between of the Studio recording and my initial demos. Basically to give us more time to recognize the songs and work with a bit more feedback and chances to improve.
On studio we spent more time than in previous recordings on finding a good sound for each instrument, and how worked among them in terms of frequencies and so. We had so clear that the guitars should be a defining element in terms of production, as they are in terms of composition, but I think the sense of freedom and control we feel album after album and show after show, are the only reasons to perceive such a level of complexity. It’s not on purpose at all… In fact I always remark Albert that Jade’s music must remain primitive in its nature, despite the additional Heavy Metal touch and reinterpretation he may add on our own sources.
The only change we have suffered, is on the drums position, which supposes the 3rd drummer since our debut Ep. But having Bud with us since the Split with Sanctuarium, has allowed us to consolidate strategies and rhythmical patterns.
Oh, lest I forget... Could you please take us through the history of JADE. How did the band come into being, who was at the beginning? You each come from different places (Spain, Germany), does that cause you any problems?
Jade was a creation of mine, which seed was laying in my head for almost 20 years, due a long trip to Mexico. There was something hidden from that journey which definitely grew in me connecting concepts and music needs during 2017. At that time, I was in touch with my friend Dylan, based in Berlin and who used to play drums many years ago. We matched interests and a sort of self-promise at 2016’s Party San metal Open Air, where Graveyard were playing, for which we would play together someday. We took the time to record a 4 track demo I had during a short job visit to Barcelona in 2018, and started spreading the project. First through a self-release tape, and later with the professional release under Pulverised Records’s banner, also with the help of Swedish label Nigredo Records.
Dylan was a sort of spark to my music expectations, for which I felt the need of recovering my role as composer in a band. My role in Foscor and of course in Graveyard as live singer, was lately reduced to the vocals, lyrical and management parcels, so it was a natural and organic need that I was feeling. Working with someone from another country was a sort of challenge, but probably the best thing Jade could ever have had, as a kick off point.
From there to now, there has been a big location change for Dylan, which totally affected to his possibilities to keep practicing drums or considering accomplish the schedules I wanted to follow. I’m talking about 2022’s debut album „The Pacification of Death“, which in my opinion should get done right when I started to recover my life after pandemic and a very harsh personal period. His role was reduced to writing some lyrics, that were included in that debut and also the recent split Lp with Sanctuarium. We have lost contact during the last times, and that’s why although we started this project together, now remains in silent mode and I run most of the band parcels.
So, being a full band line-up based in Barcelona, this is Albert on main guitars role, for whom my compositions reach the level of arrangement they do; Bud, as the third drummer I’ve been working with, already responsible of the drum lines on “The Sempiternal Wound” split, after Marc departure to focus efforts on his main bands Trollcave and Sanctuarium; and Christopher, and old dog from the Catalan and Spanish scene who also plays and has played in some of the most relevant bands here, and who adds a classy touch on stage and a friendly vibe out of it. My role keeps being of the main member, composer, lyricist, manager and any other shitty role you might imagine… I love it, and not because I’m a creepy egocentric or egoist in terms of sharing the band’s parcels and roles. I consider it a way to make my bandmate’s life easier, and get them focused for when the band really need them.
Let's go back to the new record. The first thing I noticed is of course the cover art. The author is Adam Burke and the motif is a giant spider going through a storm. How did you choose the motif and how does it relate to the music? I have to say that the cover evoked a lot of strange moods in me. I like it, but at the same time I have respect for it. How do you feel about the motif and why did you team up with Adam?
The album lyrical concept digs into the relationship between life on earth and the mysterious magical world of dreams, for which we might identify the human soul in Ancient Mesoamerican cultures. The waking mind and the energetic body used at death, or to sleep, form the aura, and how dreams play a crucial role within these cultures’ cosmovision is what here dwells.
There’s a 9 levels sort of pyramid of dreams you might compare to an ascending process to improve yourself as individual, that composes the main part of the lyrical conception here.
A journey into the dialogue between conscious and subconscious dreaming states and the mysteries around.
Having always in mind the way those cultures conceived its world, with gods and entities on the 3 main levels with a so rich list of tales and interrelations, the reference of the powerful moon goddess Ixchel, creative and destructive came to me as a nice resource for expressing how all this life seemed to be controlled by unknown forces. She was associated with the Spider, who creates the thread of life like an umbilical cord. She could give life to beings and nature, but also punish and sent floods and storms to the earth in her destructive phase…
That was the initial guide I shared with Adam Burke, and the importance of each character on this scene, and his magic came naturally to close this really majestic painting.
I’ve always read and perceived Adam’s art close to my music vision… Based on how his talent can shape and compose with lucidity and efficiency a strong and so iconic idea, while his skills with the brush, colour can reach the sort of texture from beyond sometimes I don’t read in other artists. It’s the balance between rawness and not so defined details what probably touches me and actually complements how I see music. For sure his role is as important as for being considered another member of Jade.
Besides, despite the cover for the debut Ep “Smoking Mirror” wasn’t a commissioned work, giving him the few references and elements I have in mind is a sure bet of success from the very first sketch. At least, during the two experiences lived with both full length albums, I don’t remember a single correction from my part. Although I remember asking him to add a few more elements ( spectres in the case of “The Pacification…”cover, and ascending bodies on the new album one ) for getting the concept fully expressed.
The sound, yes, the sound is always very important. This is even more true with your music than anywhere else. You have to hear every note, every note, to bring out their power. You put yourselves in the hands of Javi Bastard and Jaime G. Arellano. What were your feelings going into the studio and what were your ideas? How does one actually achieve such a majestic, well-read yet restless and mystical sound?
Since the very first Ep we have repeated the formula used at Moontower Studios. Javi, Its owner, is a long-time friend and band mate in Graveyard. We perfectly know each other, and things can follow the most efficient, productive and trustful method you may imagine. So having Javi and his Moontower Studios as the place to make things happen, is nothing but a sure bet and of course a privilege.
With the previous releases we have always started recording drums there, and then jumped into some weeks to record guitars, bass and vocals at our own place over them. After that our lines are reamped and mixed in the studio, until the final mix which as usual has just taken very few corrections from Javi’s initial proposal. As the only change introduced compared to the previous stuff, the final Mastering process was sent to our friend Jaime G. Arellano to get an even better piece from his Orgone Studios in Portugal.
Probably there’s way more share of work files at home between A. and me during the chords and vocals recording than at the studio itself. Have in mind there’s a pre-production work from my initial demos that sets a good guide for what we close on the final recording process. But I think there’s no better team to translate our ideas than Javi at Moontower and Jaime at Orgone. I’ve been talking ith Javi many times about the way I perceive and conceive music, doesn’t matter if it’s Death Metal, Black Metal or a way more progressive approach. There’s always a sense of emotion and intangible aura that must cover everything like a flavour… it’s ho we conceive music as the channel to open a dialogue with ourselves and the far beyond.
In your lyrics you venture into ancient cultures, dealing with spirituality, darkness, mysticism. Where do you get your inspiration for them? What books do you draw from? I really like that you make the lyrics stand out so much that it has clear thoughts and ideas. It's not very common in death metal, yet it's very important. How did the lyrics for the new album come about?
The album lyrical concept digs into the relationship between life on earth and the mysterious magical world of dreams, for which we might identify the human soul in Ancient Mesoamerican cultures. The waking mind and the energetic body used at death, or to sleep, form the aura, and how dreams play a crucial role within these cultures’ cosmovision is what here dwells.
This is a poetized journey into the dialogue between conscious and subconscious dreaming states and the mysteries around.
The “Flowery Dream” is the inebriated state of ecstasy for which a lucid dream happens. We can also attain this state while awake, by altering our state of consciousness, bringing the tonal (waking state) and the nahual (sleep/dream state) together in what may be called daydreaming, or dreaming while awake.
From Mesoamerican cultures to Chinese and Southern Asian ones, the greenstone was conferred with deep spiritual symbolism and used to connect the earthly level to the unknown. The history of the countless traditions, legends and cults remain as an endless source of topics in terms of lyrics for the band, with a rich historical narrative also poetized which we cannot find in European soil through this rare mineral. I guess we are way more used to see the world and its historical conception from our European eyes than from the depths of other cultures. The connection I did of all these terms and topics while taking studies of symbolism, and my trip to Mexico like 20 years ago, as I mentioned earlier in the interview, probably are the spark to choose such an unusual name and propose this lyrical landscape.
I usually dig into articles, history books or online sources when there’s an initial idea I want to develop. Within the Measoamerican ancestral cultures there is an epic narrative in the describing the celestial world, and how its patterns may serve to overcome ominous times and the gathering of dark deities and creation Gods for Mayans. The subconscious guide was found in the Moon calendar and sets with ‘The Stars’ Shelter’, the opening track to the dreaming journey.
With ‘Light’s Blood’, the topic was to deal with the importance of dreams, which is demonstrated by how the Maya discussed them, as Omens not meant to be feared. Dreams are myths, described in mythical speech. When talking of the soul, there’s a phenomenon within the human body called “koyopa” which might be described as lightning in the blood, or sky serpents some are born with and others awaken through powerful spiritual experiences.
The Stars’ Shelter (II) is and instrumental track which serves as a soundtrack of the ancestral Mexican cosmovision. The ascension and descent of forces and celestial bodies converge on the middle realm finding balance. As above so below. And as a sort of break during the album tracklist.
It is said that Mictlan (the underworld) is not a place but a state of resting, to be in that moment of dreaming. The tough fight and transition facing the tyrannical tests and punishments, reaches the ultimate level reaching the longed rest of the soul with “9th Episode”’s lyric.
In “Darkness in Movement” there’s a reference to the 9th level of Temictzacoalli, the Toltec pyramid of dreams, which claims to be the sacred place of sleep, the place of darkness from where light emerges. There are no dreams, only darkness in movement, and we access the mind of the Black Eagle, the place of the original plan. This is the last test related to power and ego, where we have the option of intervening or not in the original plan, depending on whether we can transcend the light and darkness of the mind.
Finally, the last song serves as a summary of the album title. “A Flowery Dream” is the inebriated state of ecstasy for which a lucid dream happens. We can also attain this state while awake, by altering our state of consciousness, bringing the tonal (waking state) and the nahual (sleep/dream state) together in what may be called daydreaming, or dreaming while awake.
Each of the musicians plays in other bands. Does that mean that JADE are more of a project? Have you ever played live? And you don't plan to? I would imagine some old temple, ruins, where I think your music would stand out very well...
Jade was conceived from the need of recovering two main aspects on my life. The role of composer, which I declined for some years in order to leave space as composers to the guitar players, and reach better results, with my other band Foscor... And also recover the feeling I had during the first years of that band on stage. We started playing shows in May 2023, just a few months after releasing our debut album “The Pacification of Death”, and during the first 6 months from the album promotion and release we will play live the same amount of shows that during the past 2 years. We have toured UK once, and played in Germany, France, Portugal or Spain repeatedly. In September we will do our first 10 dates European run through France, Netherlands and Germany, and I’m sure 2026 will be similar.
Being honest, with Jade I needed to be back to my comfort zone, a way more energetic performance, visceral and easy to shape on studio and on stage. I also missed my role as singer and bassist from the early years. It‘s been almost 15 years being more involved in only vocals performing, writing and band managing than playing my own music.
Our debut show was indeed in a Medieval Fortress in Catalonia, in 2023, during the Necesse Mori II Festival. Quite unique event and fantastic scenario for debut our band live.
JADE is one of the bands that are recognizable within the first few moments. You have your own expression, your own face, your own handwriting. I wonder how a new song is actually created? When does the initial idea come? Is it in the studio? Or at home, where it's quiet and peaceful? When does the inspiration come?
Jade’s foundations are set in a past musical period, for which I felt I needed to get back after many years trying to develop other music paths through my other bands. I needed to rescue what meant to be my youth main musical inspirations, and which without doubt shaped who I am.
I’m talking of late 80’s / early 90’s Death Metal, the sacred British Doom trinity and Norwegian Black Metal on early mid 90’s. At that time, a listener had the sensation that every album released was a sort of pioneer using similar tools and clearly different way. That’s the value I’ve always been interested in, despite sounding so pretentious. It’s not an easy path to walk, but the fact you say that our music is recognizable from the first listen gives me a really special feeling of satisfaction and pride.
I like to speak about language, not sound... Jade’s proposal might be read from the eyes of that past time, but shall be filtered by this attitude of trying to offer a new perspective to an existing point of view. I guess that playing in different bands for almost 30 years has to have an impact on the way you read those past references, so, I agree with your point about us but without a sort of innovating aim… Music from any genre and time still has path to be developed. The difference comes naturally from the fact we all are different, but having open heart and mind to cross the line.
I like to compose at night, at my home studio… usually from a lead guitar melody that might lead the whole song. It’s a matter of working a solid and coherent music story in 3 or 4 riffs, melodies, that are dressed then by a rhythmical base on guitars and drums, as primitive as possible.
I don’t think on new music until I know I should start planning a new release, and that’s always after putting all my heart on the post release stages and parcels, like Live activity, promotion or so…I don’t jump into a new song until I close the one I’m working in, and there hasn’t been a single song I created that wasn’t included in a collection of tracks for a release. Even more… all the creations are chronologically recorded and released as I did them. I feel that way makes more credible what Jade is and who and where comes its music from.
Everybody started with music somehow. What were your beginnings? When did you first pick up an instrument and start playing? Who inspired you? Please reminisce for us...
I remember being at High School and sharing time with friends not only listening to music but playing some instruments and trying to work on cover bands or even with on stuff. I think I picked the bass because it was the most requested instrument at that time… Everybody wanted to play guitars, drums or even singing!!! Ha, ha, ha… I quickly developed myself on other instruments as Keyboards, in order to add atmosphere to the bands or rehearsals I was sharing with friends here and there.
It was at the time when Rock, Metal or whatever you want to mention Heavy Metal, was way more a transversal cultural movement with no the level of specificity that the end of 90’s would add on music.
I was on the branch of Heavy Metal, Thrash Metal and later Death Metal, Grind, Doom and Black Metal…while most of my High School mates were more into Hardcore and Punk stuff, I was poisoned by darkness in a way that would change my entire world until now. I started playing from Thrash to Hardcore stuff actually, but quickly at mid 90’s I began emulating the vibe of mainly Black Metal bands that inspired me to new levels. That mix of Death Metal, Doom and Black I was mentioning before.
As I mentioned before, you are a band with German-Spanish roots. Is the history of both countries somehow reflected in your work? We are all influenced by the society, the experiences, the places we grow up in. Recently, I've coincidentally read a few books set in Catalonia (I've been there on holiday too) and I have to say that I was literally fascinated by the history!
Not in our case…or not in the direct way that for instance performs on another of my bands like Foscor. I’m pretty sure that the person I am has been shaped not only from the music I’ve been listening, which at some point has depended on what I’ve been able to discover from the place I live… but from the cultural background I’ve been raised in. But Jade was a project I wanted to reach timeless levels of reading from music to lyrical parcels, so having the sources on far ancient cultural points makes it be way more distant from our reality than with other bands.
There’s probably a sense of clarity on where exploring and how history and tradition might open a wide door to explore… as it happens with the Catalan culture, but this is way more connected to who am I and the attitude behind Jade, than the band itself.
What does music mean to you? Is it a hobby, a relaxation, a lifestyle? For example, I can't exist without music at all. I listen to it from morning till night, I dose it according to my mood and taste. I'm the fool with headphones on, lost in my own world. How do you perceive music, death metal?
I’m a music consumer since my youth years, and not only metal on all its variants, but Post Punk, Pop Music and Classical music stuff. I have less time than I used to have for properly listening an album, take out the envelope and enjoy of this sort of ritual… but I do need to be connected to the music I’ve been linked since my early years to the new I’m adding and still discovering.
I always love to live music, not simply listen music… So I guess that having a band, attending concerts or being in touch with all sort of industry agents makes me have a full or richer experience than when I started just listening.
Trading in the 90’s was something I learnt after joining bands with an international approach to how develop a music project. But definitely that time was the seed to who I am now and how I still can count many friends out there met from the shared passion for music. Lifestyle I would say matches better with the definition of who I am.
Necessary question at the end. What are JADE planning in the next few months? If you have something to say and would like to tell it to fans, promoters, labels, you have the opportunity, here is the space...
We are now on mid-August, and in less than a months we will not only embark ourselves in a 10 dates tour with our country mates Totengott, but release new stuff with a friend band. We are waiting to the official press release, but a limited batch of copies on one of the most incredible formats I enjoy listening music, will be out.
The dates we have scheduled for “A Veil Of Dreams” Tour 2025 are as follows:
12.09 FR - LYON - Over Eighteen Motors w/ South Of Hell
13.09 FR – STRASBOURG – Le Local
14.09 NL – LEEUWARDEN – Alternative Café Mukkes w/ Mourn
15.09 GER - MÜLHEIM AN DER RUHR - AZ Mülheim
16.09 GER - BREMEN - Zollkantine w/ Hallucinate
17.09 GER - HAMBURG - Bambi galore w/ Hallucinate
18.09 GER - WOLFSBURG - s.v. Jugendhaus Ost w/ Hallucinate
19.09 GER - WEIMAR - Party.San Herbstoffensive VI*
20.09 GER - DRESDEN - HD - Die Rock& Metalbar
Additionally, before that tour, we will be playing at this fantastic lineup festival in our hometown
06.09 SP - BARCELONA | Sadistic Intent + Krypts + Eurynomos + Hellish Crossfire... | Foment Martinenc
Thank you so much for your music and for this interview. I think you can guess what I'm going to do. I'm going to turn off all the lights and let the new album "Mysteries Of A Flowery Dream" take me to other worlds. I wish you all the best in your personal lives as well! Good luck to you!
Thanks a lot Jakub!! It’s been a pleasure to share these words and chat in your site. I really hope we can meet us soon in person, that would make this experience and relation way more special and richer. Keep up the great job you do!! Cheers!
Recenze/review - JADE - The Pacification Of Death (2022):
Recenze/review - JADE - Smoking Mirror (2019):
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