A few questions - interview with death metal band from Canada - DEFENESTRATION.
Ave, can you introduce your band to our readers? When was it founded and what style of music do you play etc.?
The band was founded in 2022. Me (Ben) and the other guitar Jesse met at a music festival and came up with the idea to try and start a death metal band. After a few months of writing we got together with Steve and Adrian and started putting together the demo.
Where and under what conditions were you recording the new album? Who was in charge of sound, production and mastering?
We recorded the new album with Ryan Nash at his home studio in Winnipeg, MB. The record was produced by the band, engineered and mastered by Ryan Nash, and mastered by Andrew Oswald.
How many copies were released and which medium was used for this new edition (CD, digital, vinyl, cassette)?
It was released on Vinyl, Casette and CD. Vinyl limited to 200 copies.
Who is the author of the lyrics and how were they created and about what do the lyrics deal with?
I (Ben) wrote all the lyrics. The lyrics are about death, mysticism, and ancient times.
Who created the logo of the band, and who took care of the graphics and the website? What about you and social networks? Do you consider these things important?
Hidris created the band logo. Iron Fortress took care of the layout and and the website. We’re on instagram @deathbydefenstration. Social media is important for promoting shows and our album but that’s about it.
Which label did you choose for releasing your album and why this label? Are you satisfied by how your label represents you and takés care about you?
Iron Fortress released this record for us. They did an awesome job with everything, we couldn’t be more happy with how it turned out.
Which bands do you idolise and where do you get your inspiration?
Some old school bands we take inspiration from are bands like Asphyx and Autopsy. Also contemporary bands like Necrot.
Did you send your record to some Labels - which are the labels? How was the response?
Just to Iron Fortress
How many gigs have you played? Which type of gigs do you prefer, whether it's (clubs or festivals) and which of your performances would you consider as the best?
We have played quite a bit Over the last few years. Mainly smaller club gigs. We played Manitoba metal fest last year which was a big achievement for us.
What about your plans for the future? What do you want to achieve with the band?
We would like to play more shows out of town across the country, and continue to release more music.
How and where can your fans contact you? Can you provide some contact information?
You can find us on instagram @deathbydefenestration or reach us by email defenestration.death@gmail.com.
Ave SOULBURN! Greetings from the Netherlands. Something strange just happened to me. I was listening to your new album, “Quantifying Cosmic Doom,” in my home office when a storm broke out. I opened the window, and everything came together in a single moment. The new album has a beautifully chilling atmosphere. It literally captivated me. How difficult was it to follow up on your previous album, “Noa’s D’ark”? How did the new album come together?
Eric: Greetings back to you, Jakub, and to the Czech Republic as well. And wow… a storm breaking loose while you were listening to our new album. That is the kind of synchronicity you simply cannot plan. It almost feels as if the elements themselves decided to join in. Moments like that capture exactly what this record is about: atmosphere, tension, and that sense of something vast moving around you. Thank you. The new album definitely carries a strong atmospheric presence. It is something we focused on intensely while creating it, letting the music breathe, expand, and pull the listener into its own world. Our new album Quantifying Cosmic Doom is a step upward compared to our previous album Noa’s D’ark. We call it a step upward because this time we made more use of pure clean vocals, and that is immediately the biggest difference from the previous album. We continue to improve ourselves as musicians, and our interest in listening to music beyond just death metal or black metal also makes a difference in our inspiration and in composing new songs. Actually, all the songs came together quite smoothly. During the writing and arranging process we always record demo versions at home using Cubase. Those are our so‑called blueprints, and we bring them with us into the studio as well. One day the recording might flow better than another, but that’s just part of being human. There wasn’t really a difference between recording the latest album and the previous one. The only exception is that our previous album Noa’s D’ark was recorded during the corona period, and that was quite special. At the time, only three people were allowed in the studio at once. That created a very unusual working atmosphere.
I’m a bit of a traditionalist in certain ways, so I ordered both the CD and a T-shirt from you. It’s very fulfilling for me to hold such a perfectly executed piece of work in my hands. And I’m not just talking about the music here. The cover art was created by Manuel Tinnemans. What exactly does the artwork mean? And how does it relate to the new songs?
Eric: Thank you for your support in buying the shirt and the CD. We truly appreciate it. It means a lot to us when people not only enjoy the music but also choose to support the physical releases. That is something that is far from guaranteed these days.
Twan: The artwork for Quantifying Cosmic Doom, created by Manuel Tinnemans (Comaworx), is deeply intriguing. It weaves together octopuses, hourglasses, and cosmic imagery, centered around a female Goddes‑like figure. These elements collide and coexist, reinforcing the album’s themes of time, transcendence, and humanity’s search for meaning within the vast indifference of the universe.
“During our South American tour with Mork in 2022, we found ourselves in São Paulo one day. The city is home to this vast cemeterie, and there, among the silence, I came upon this statue a female figure of sorts. It struck me immediately. I took a photograph on the spot, with the quiet intuition that it might one day become the seed of a future album. At that time, not a single new song had been written.To me, the figure embodies that which people cling to as they move through life, an anchor, a source of meaning. In the artwork she stands at the heart of the cosmos, encircled by a serpent and by tentacles reaching outward. Time runs as a central thread through the album, hence the hourglasses. One holds an embryo, the other a feather, symbols of how an entire lifetime is, in a sense, suspended within time, inescapable and relentless. And yet the cosmos remains unmoved, utterly indifferent to it all. If you look closely, you see the chopped off hand underneath the hourglass, ‘the thief of time’ we call it. Because, what is time? Just another fucking made up thing of mankind to be in control. Well, here is news for you all; the universe doenst give a shit, haha! It’s that quiet, unsettling contrast I found so compelling.
You’ve had a new drummer since the album before last. His name is Marc Verhaar. Why did Bob Bagchus leave, anyway? In any case, I really like the drum sound this year.
Eric: Yes that is correct. Marc took over the drums in 2018, and wow, that is already quite some time ago. I had to refresh my memory for a moment. As far as I remember, Bob wrote to us through WhatsApp to say that he wanted to focus on other things in life and that he no longer felt the drive to continue drumming. That was a moment of reflection for us, thinking about how we wanted to move forward. Fortunately, Marc came into the picture very quickly. He had always travelled with Remco and helped us whenever needed, so the connection was already there. It turned out to be the perfect choice. Marc fits Soulburn flawlessly. He is tight like a Swiss clock and an absolute beast behind the drums. I am very glad that he agreed to join us back then.
The sound is great overall. Cool, dark, captivating. Yet every instrument and the vocals were recorded in a different studio (if I understood correctly). How was the album actually recorded? I still live with this romantic notion that musicians gather in one studio, have a good drink, and get to work, but it seems like you didn’t even have to meet in person?
Eric: Yes I remember that as well. That is how recordings used to be done back in the day, often even played simultaneously, with just a few overdubs and that was it. Things were much more direct and straightforward then. These days we have been working in a completely different way for several albums already. We record everything separately, choosing the studios where each of us feels most at home. One place for the drums, another for the guitars, another for the bass and the vocals. And of course the full mix and mastering as well. This approach gives us the freedom to focus on every detail and to capture the atmosphere exactly the way we envision it. The album was mixed, mastered, and produced by Erwin Hermsen at Toneshed Studio in the Netherlands. He delivered exactly the result we were aiming for. With his skill and experience, he shaped the sound into something powerful, massive, and just as important for us organic. That character fits Soulburn perfectly. The drums were recorded at Jörg Uken’s Soundlodge, the bass and vocals at Erwin’s Toneshed Studio, and all guitars were tracked at Tom Meier Studio Recording & Live Sound in the Netherlands.
SOULBURN is a band made up entirely of experienced musicians. Each member has a tremendous amount of great work under their belt. But you know how it is everyone also has their own ego that they want to assert. How does that work in your band? Does anyone have the final say? Do you ever argue? And what about cabin fever have you experienced that yet?
Eric: We have a professional mindset. In all the years we have been together we have never had a single argument, and that is something I find very special and something I truly cherish. We are simply not the kind of people who fall into that. Ego is not part of who we are. We are musicians who love our instruments. We discuss whatever comes our way, we solve things together, and there is not really one leader in the band. Maybe they would point to me because I founded Soulburn, but that is not how it feels and it is not something I want. The four of us are intelligent individuals with our own insight. We have been part of the metal scene for so long that we know very well what works and what does not. Cabin fever is not something we deal with. We have toured together, played shows, rehearsed, spent countless hours in each other’s company, and we always have fun. We enjoy what we do, and that is what matters most to us.
“Quantifying Cosmic Doom” hovers somewhere between death metal, black metal, and doom. Erik’s style is unmistakable at least that’s how I see it as a fan. I’d be curious to know how he composes the basic riffs themselves. A lot of musicians just jam around in the studio and then “something comes out of it.” Others put everything together only in the studio. Erik, how do you approach composing?
Eric: In the end it is not complicated. For me it has always been quite basic in a certain way. I play a lot of guitar at home and I have my own little mancave, so to speak. I love grabbing the guitar after a strong cup of Nespresso, plugging in, and simply playing. Practicing, going through the setlist, or just letting ideas flow. There is always some form of inspiration that appears. Often it starts with two riffs or two fragments of riffs. I record them on my computer using Cubase. I have a template that I use as a starting point, and from there I begin shaping those two guitar parts. I add simple computer drums underneath and, most importantly, I determine the tempo of the click track. That is how I build the songs, with the initial ideas always coming from the guitar. When the songs are finished and the ideas for samples or effects are clear, I record those immediately as well. Then I create MP3 files and send them to the other band members so they can hear the concept I have in mind. That is basically how the entire album comes together. Remco and Marc then create the ideas for the final drum parts and send them back to me. After that, Twan spends a weekend at my place and we arrange the songs together and later work out the bass parts. The ideas for the vocals are something Twan develops entirely on his own.
I’m reading through the lyrics, and each one has a sort of preface, an introduction to the story. A lot of metal bands forget this aspect, but your content is very well-developed. Where do you get inspiration for the lyrics? Is it books, movies? Or personal experiences?
Twan:
Thanks, and yes, all you mention plays a part. The lyrics are a cocktail of things. But first comes the music, which is my main inspiration for the vibe of the lyrics. It gives me direction, a pace, and that comes with a type of vocalline or melody how I want to sing to it. And then that vocal line comes with words that start to flow, it builds itself, and from there on sets a tone of emotions. I actually never really think about what I am going to write, I just litarally feel. And then words just start to flow and form lyrics. Topics are always philosophical in their DNA. Combine that with a deep-rooted dose of poetic misantropy and a lustful desire to intrique with ambiguous depth. The music is the vessel, the words are its ghost.
Are you familiar with the term chromesthesia? This also played a large part for me when shaping the concept of the album, the titles, the chapters, and the front cover artwork. This was not just black and grey; colorful enigmas began to emerge once the blueprints of the early demo tracks sank into my subconscious. And once the albumtitle revealed itself to me, the cosmic element, like a weavery, found it’s way throughout all the lyrics.
The connection I try to weave throughout the album is the notion that everything is a universe unto itself. No matter how deeply you travel inward, or how far you stretch outward lines, forms, shapes and figures; movements, forces and recurring patterns each existence is caught within what we, in our human inadequacy, have chosen to call “time.”
Much of this lies far beyond the reach of our limited minds, and that is precisely where I want to go when I write. Soulburn’s music becomes the boundless vessel that carries me there. And just as with music though it may be harder to achieve with words I believe lyrics must leave room for ambiguity. They should reveal themselves differently from moment to moment: something to return to, to conspire with mentally, or simply to experience as a source of inspiration and imagination.
The new album practically demands a live performance. Are you planning a tour? I’m sure you’ll play at some big festivals, but what about small club shows? Can we look forward to that? I can totally picture a dark club… fog… the first riff rings out…
Eric: This October we’ll embark on a European tour together with our brothers from the Norwegian band Mork the same guys we toured South America with back in 2022. That bond runs deep. And there are already confirmed shows for 2027, so we go hit the road again and spread our Quantifying Cosmic Doom. We basically play wherever our booker sends us the offers. Whether it is festivals, club shows, or a full tour, as long as the conditions are good we are there. So yes, that also includes a dark club filled with mist and an atmosphere that feels deadly. For us it is all part of the experience. If the vibe is right and the energy is there, we will play it.
SOULBURN is now one of those veteran bands that has gone through a certain evolution. I’m sure you guys are music fans yourselves. What influenced you in your early days, and what do you listen to today?
Eric : We listen to all kinds of music from Pink Floyd, Fleetwood Mac, Bowie and Nick Cave to the most extreme forms of metal. Type O Negative, Trelldom, Oranssi Pazuzu… our musical taste is very broad. All those influences find their way into our inspiration, but always indirectly. We never copy anything. Whatever resonates with us, we absorb it and transform it into something that becomes our own a true Soulburn ingredient. And of course we still listen to the same music we listened to in the early days of Soulburn. Bathory, old Venom, Celtic Frost, Slayer, the Canadian band Slaughter. Those records still carry a very special feeling for us. There is a certain rawness, a spirit, an atmosphere that has never lost its power. When we go back to those albums it is almost like stepping into the same dark room where our musical journey began. The sound, the attitude, the energy, it all shaped who we became as musicians. Even after all these years it still resonates deeply. It reminds us why we picked up our instruments in the first place and why we continue to create the music we do. Those early influences are not something we try to copy, but they are part of our DNA. They keep us grounded, inspired, and connected to the roots of extreme metal.
Everyone had to start somewhere. What was the initial impulse that made you pick up a guitar? Was it because of the girls? And who was your role model in the beginning? Is there a period you remember most fondly?
Eric: That is a funny question, no it wasn’t for the girls haha, it could have been but no, I was simply fascinated by playing guitar. I started playing guitar when I was 14 years old. That’s like 45 years ago. My parents bought me my first electric guitar a blue Aria Pro II and that’s the instrument on which I discovered how to play. I never took guitar lessons; I mainly figured out the chords myself while playing along to records by the Scorpions, Van Halen, and later Metallica, along with many other bands. I loved figuring out what they were playing. I wanted to join a band once I became a huge fan of the early Venom records the first album Welcome to Hell and then the second one, Black Metal. Those two albums made such a massive impact on me that I knew for sure I wanted to play in a band, but in the style of Venom meaning the extreme stuff for that time. I played a little every day after school and eventually I could play chords. I was never a fast lead guitarist, it just was not my thing. The doom solos or the melodic line solos are where I can really put my feeling into the music.
What does music mean to you? How do you perceive it in relation to your life? Is it a curse, a joy, a necessity? I, for one, couldn’t live without music; I listen to it all day long, and when I can’t, I miss it… how about you? Feel free to get into some philosophical musings.
Twan:
This question is deceptively simple in its asking, yet almost boundless in its answering. Where does one even begin to trace the origin of something so deeply woven into existence?
As far back as my memory allows, I have not merely listened to music, I have belonged to it. Even before language, before understanding, there was rhythm. As a child, I could not sit still; there was an irresistible urge to strike, to tap, to resonate with the world around me. Every surface became an instrument, every moment an opportunity to shape sound into pattern.
Over time, that instinct unfolded into many forms, singing, imitation playbacks, strings slightly out of tune, keys pressed in curiosity rather than mastery, drums found where none were intended. It never truly depended on the tools. Music was never something external to acquire; it was something inevitable to express. Even in the absence of instruments, the body itself became a medium. Hitting my knuckles against my skullbone while the hollow of cheeks turn into a chamber of resonance. Clicking my teeth and tongue creating the most crazy galloping beats...
Perhaps this is because music does not begin outside of us. It originates within. The steady pulse of the heart is our first metronome, marking time long before we understand its passing. In that sense, every life is already a composition to the rhythm of the heartbeat, writing the song of our lives.
What does SOULBURN have planned for the coming months, and what can we look forward to? If you have a message for promoters, labels, or fans, this is the place for it!
Eric: We’re currently taking the time to fully enjoy the release of our new album “Quantifying Cosmic Doom”. It’s a record we poured an enormous amount of energy, emotion, and creative intent into, so it feels good to finally let it breathe and share it with the world. The reactions so far have been overwhelming, and it motivates us even more to keep pushing ourselves as musicians. As mentioned earlier, we’ll be hitting the road in October for a European tour together with Mork and Arroganz. It’s an exciting step for us a journey into new cities, new stages, and new audiences. We’re letting everything that comes our way unfold naturally, embracing the unknown and the thrill that comes with it. There’s a lot happening behind the scenes, and the anticipation is growing every day. Promoters who want to bring this cosmic darkness to their stage can book us through our booker Stefan at We‑Live Agency. And to our fans: thank you for your unwavering support. It means the world to us. We hope to see you at our upcoming live shows, where we can share the energy of this new chapter together.
Thank you so much for the interview. I see it’s still raining outside; I think I’ll head into the woods and put your new album on my player. Thanks a lot for it there’s plenty to listen to. I wish the new album and all of you the best, and I look forward to seeing you at a concert someday. SOULBURN FOREVER!
Eric: Thank you, Jakub, for these powerful closing words at the end of this remarkable interview. Outside it is still raining a constant grey veil over the world, the perfect atmosphere for our new album, where every drop seems to echo the cosmic darkness we tried to capture. I wish you many deep and immersive listening sessions, the kind where the music pulls you into its own universe and refuses to let go. And I truly hope our paths will cross someday during one of our live shows, where the songs take on a life of their own and the energy becomes something almost ritualistic. Cheers, and dark greetings to the Czech Republic may the cosmic doom reach you soon.
Ave SOULBURN! Zdravím do Holandska. Zrovna se mi stala zvláštní věc. Pouštím si doma na home office vaši novou desku „Quantifying Cosmic Doom“ a začala bouřka. Otevřel jsem okno a všechno se mi spojilo v jedno. Novinka má krásně mrazivou atmosféru. Doslova mě uhranula. Jak bylo těžké navázat na předchozí album „Noa's D'ark“? Jak nová deska vznikala?
Eric: Zdravím tě, Jakube, a také do České republiky. A wow… bouře se rozpoutala, když jsi poslouchal naše nové album. To je ten druh synchronicity, kterou prostě nedokážeš naplánovat. Skoro je to, jako by se k vám samy živly rozhodly přidat. Takové momenty přesně vystihují, o čem tato deska je: atmosféra, napětí a ten pocit něčeho obrovského, co se kolem tebe pohybuje. Děkuji. Nové album rozhodně nese silnou atmosférickou přítomnost. Je to něco, na co jsme se při jeho tvorbě intenzivně zaměřili, nechali hudbu dýchat, rozpínat se a vtáhnout posluchače do jeho vlastního světa. Naše nové album Quantifying Cosmic Doom je krokem vzhůru ve srovnání s naším předchozím albem Noa’s D’ark. Říkáme tomu krok vzhůru, protože tentokrát jsme více využili čisté vokály, a to je hned největší rozdíl oproti předchozímu albu. Neustále se zlepšujeme jako hudebníci a náš zájem o poslech hudby nad rámec pouhého death metalu nebo black metalu také ovlivňuje naši inspiraci a skládání nových písní. Vlastně všechny písně dohromady docela hladce zapadly. Během procesu psaní a aranžování vždy nahráváme demo verze doma pomocí Cubase. Jsou to naše takzvané plány a ty si nosíme s sebou i do studia. Jeden den může nahrávka plynout lépe než jiný, ale to je prostě součást lidského bytí. Mezi nahráváním nejnovějšího alba a předchozího nebyl žádný velký rozdíl. Jedinou výjimkou je, že naše předchozí album Noa’s D’ark bylo nahráno během koronavirové krize, a to bylo docela zvláštní. V té době směli do studia najednou jen tři lidé. To vytvářelo velmi neobvyklou pracovní atmosféru.
Jsem v určitých věcech staromilec a tak jsem si objednal u vás jak CD, tak tričko. Je pro mě hodně naplňující držet v ruce tak perfektně odvedenou práci. A to teď nemluvím jen o hudbě. Motiv na obal dělal Manuel Tinnemans. Co přesně motiv znamená? A jak souvisí s novými skladbami?
Eric: Děkujeme za vaši podporu při koupi trička a CD. Opravdu si toho vážíme. Hodně pro nás znamená, když si lidé nejen užívají hudbu, ale také se rozhodnou podpořit fyzická vydání. To je něco, co je není v dnešní době zdaleka zaručené.
Twan: Obal alba Quantifying Cosmic Doom, který vytvořil Manuel Tinnemans (Comaworx), je hluboce fascinující. Proplétá chobotnice, přesýpací hodiny a kosmické obrazy, soustředěné kolem ženské postavy podobné bohyni. Tyto prvky se střetávají a koexistují, čímž posilují témata alba, jako je čas, transcendence a hledání smyslu lidstva v obrovské lhostejnosti vesmíru.
„Během našeho jihoamerického turné s Mork v roce 2022 jsme se jednoho dne ocitli v São Paulu. Ve městě se nachází rozlehlý hřbitov a tam, uprostřed ticha, jsem narazil na tuto sochu, jakousi ženskou postavu. Okamžitě mě to zasáhlo. Na místě jsem ji vyfotil s tichou intuicí, že by se jednoho dne mohla stát zárodkem budoucího alba. V té době ještě nebyla napsána jediná nová píseň. Pro mě tato postava ztělesňuje to, k čemu se lidé upínají, když procházejí životem, kotvu, zdroj smyslu. V uměleckém díle stojí v srdci kosmu, obklopena hadem a chapadly sahajícími ven. Čas probíhá albem jako ústřední nit, proto ty přesýpací hodiny. Jedny drží embryo, druhé pírko, symboly toho, jak je celý život v jistém smyslu zavěšen v čase, nevyhnutelný a neúprosný. A přesto kosmos zůstává nehybný, ke všemu naprosto lhostejný. Když se podíváte pozorně, uvidíte pod přesýpacími hodinami useknutou ruku, říkáme mu „zloděj času“. Protože co je…“ čas? Jen další zatracený výmysl lidstva, který má mít vše pod kontrolou. Tak tady je novinka pro vás všechny; vesmíru je to fuk, haha! Je to ten tichý, znepokojivý kontrast, který mě tak podmanil.
Od předminulé desky máte nového bubeníka. Je jím Marc Verhaar. Proč vlastně odešel Bob Bagchus? Každopádně, letos se mi hodně líbí zvuk bicích.
Eric: Ano, to je pravda. Marc převzal bicí v roce 2018 a wow, to už je docela dávno. Musel jsem si na chvíli osvěžit paměť. Pokud si dobře pamatuji, Bob nám napsal přes WhatsApp, že se chce soustředit na jiné věci v životě a že už necítí potřebu pokračovat v bubnování. To pro nás byl okamžik zamyšlení, přemýšlení o tom, jak se chceme posunout dál. Naštěstí se Marc objevil velmi rychle. Vždycky cestoval s Remcem a pomáhal nám, kdykoli bylo potřeba, takže spojení už tam bylo. Ukázalo se, že to byla perfektní volba. Marc se k Soulburn perfektně hodí. Je přesný jako švýcarské hodiny a za bicími je to naprostá bestie. Jsem moc rád, že tehdy souhlasil, že se k nám přidá.
On je zvuk vůbec skvělý. Chladný, temný, podmanivý. Přitom se nahrával každý nástroj i vokály v jiném studiu (jestli jsem to dobře pochopil). Jak se vlastně album nahrávalo? Já pořád žiju v romantické představě, že se muzikanti sjedou do jednoho studia, dají si něco dobrého k pití a jdou na to, ale takhle to vypadá, že jste se vůbec nemuseli potkat?
Eric: Ano, taky si to pamatuji. Takhle se dříve nahrávalo, často se to hrálo současně, jen s pár overdubingovými nahrávkami a to bylo vše. Tehdy to bylo mnohem přímočařejší a upřímnější. Dnes už na několika albech pracujeme úplně jinak. Všechno nahráváme zvlášť a vybíráme si studia, kde se každý z nás cítí nejvíc doma. Jedno místo pro bicí, jiné pro kytary, další pro basu a zpěv. A samozřejmě také kompletní mix a mastering. Tento přístup nám dává svobodu soustředit se na každý detail a zachytit atmosféru přesně tak, jak si ji představujeme. Album mixoval, masteroval a produkoval Erwin Hermsen ve studiu Toneshed v Nizozemsku. Dosáhl přesně takového výsledku, o který jsme usilovali. Svými dovednostmi a zkušenostmi dokázal zvuk zformovat do něčeho silného, masivního a pro nás stejně důležitého organického. Tenhle charakter se k Soulburnu perfektně hodí. Bicí byly nahrány v Jörg Uken’s Soundlodge, basa a zpěv v Erwin’s Toneshed Studio a všechny kytary byly nahrané v Tom Meier Studio Recording & Live Sound v Nizozemsku.
SOULBURN jsou kapela složená ze samých zkušených muzikantů. Každý má za sebou obrovský kus skvělé práce. Ale znáš to, každý má také svoje ego, které chce prosadit. Jak tohle funguje ve vaší kapele? Má někdo rozhodující slovo, pohádáte se třeba? A co ponorková nemoc, už jste ji také zažili?
Eric: Máme profesionální přístup. Za všechny ty roky, co jsme spolu, jsme se nikdy nepohádali, a to je něco, co považuji za velmi zvláštní a čeho si opravdu vážím. Prostě nejsme typ lidí, kteří by do toho propadali. Ego není součástí toho, kým jsme. Jsme hudebníci, kteří milují své nástroje. Diskutujeme o všem, co nám přijde do cesty, řešíme věci společně a v kapele není jeden skutečný lídr. Možná by na mě ukázali, protože jsem založil Soulburn, ale takhle to necítím a ani to nechci. My čtyři jsme inteligentní jedinci s vlastním vhledem. Jsme součástí metalové scény tak dlouho, že velmi dobře víme, co funguje a co ne. S ponorkovou nemocé se nesetkáváme. Chodili jsme spolu na turné, hráli koncerty, zkoušeli, strávili jsme spolu nespočet hodin a vždycky se bavíme. Baví nás to, co děláme, a to je pro nás nejdůležitější.
„Quantifying Cosmic Doom“ se pohybuje někde na pomezí death metalu, blacku, doomu. Erikův rukopis je nezaměnitelný, alespoň takhle to vnímám já jako fanoušek. Zajímalo by mě, jakým způsobem skládá samotné základní riffy. Spousta muzikantů si jen tak hraje sama ve studiu a potom z „toho něco vyleze“. Někdo zase nasází všechno až ve studiu. Eriku, jak přistupuješ ke skládání ty?
Eric: Nakonec to není nic složitého. Pro mě to vždycky bylo v jistém smyslu docela jednoduché. Hodně hraji doma na kytaru a mám takříkajíc svou vlastní malou mancave. Miluji, když po silném šálku Nespressa vezmu kytaru do ruky, zapojím ji a prostě hraji. Cvičím, procházím setlist nebo jen nechávám myšlenky plynout. Vždycky se objeví nějaká forma inspirace. Často to začíná dvěma riffy nebo dvěma fragmenty riffů. Nahrávám je na počítači pomocí Cubase. Mám šablonu, kterou používám jako výchozí bod, a odtud začínám tvarovat dvě kytarové party. Pod to přidávám jednoduché počítačové bicí a co je nejdůležitější, určuji tempo click tracku. Takhle stavím písně, přičemž počáteční nápady vždycky vycházejí z kytary. Když jsou písně hotové a nápady na samply nebo efekty jsou jasné, hned je také nahraji. Pak vytvořím soubory MP3 a pošlu je ostatním členům kapely, aby si poslechli koncept, který mám na mysli. Takhle v podstatě vzniká celé album. Remco a Marc pak vymyslí nápady na finální bicí party a pošlou mi je zpátky. Poté Twan stráví víkend u mě doma a společně aranžujeme písně a později pracujeme na basových partech. Nápady na vokály si Twan obstará zcela sám.
Pročítám si texty a každý je opatřen jakousi předmluvou, uvedením do děje. Na tuhle složku spousta metalových kapel zapomíná, ale vy máte obsah velmi propracovaný. Kde pro texty berete inspiraci? Jsou to knihy, filmy? Nebo osobní zážitky?
Twan:
Díky, a ano, všechno, co zmiňuješ, hraje roli. Texty jsou koktejlem věcí. Ale nejdřív přichází hudba, která je mou hlavní inspirací pro atmosféru textů. Dává mi směr, tempo a to přichází s typem vokální linky nebo melodie, jak k ní chci zpívat. A pak přichází tato vokální linka se slovy, která začnou plynout, budují se sama a odtud dále udávají tón emocí. Vlastně nikdy moc nepřemýšlím o tom, co budu psát, jen doslova cítím. A pak slova prostě začnou plynout a tvořit texty. Témata jsou vždycky ve své DNA filozofická. Spojte to s hluboce zakořeněnou dávkou poetické misantropie a vášnivou touhou zaujmout nejednoznačnou hloubkou. Hudba je nádoba, slova jsou její duch.
Znáš termín chromestézie? I to pro mě hrálo velkou roli při formování konceptu alba, názvů, kapitol a obálky. Nebylo to jen černošedé; Barevné hádanky se začaly vynořovat, jakmile se do mého podvědomí propadly plány raných demo skladeb. A jakmile se mi odhalil název alba, kosmický element si jako tkaní našel cestu všemi texty.
Spojení, které se snažím v celém albu proplést, je myšlenka, že všechno je vesmír sám o sobě. Nezáleží na tom, jak hluboko cestujete dovnitř nebo jak daleko natahujete ven linie, formy, tvary a obrazce; pohyby, síly a opakující se vzorce, každá existence je zachycena v tom, co jsme se ve své lidské nedostatečnosti rozhodli nazývat „časem“.
Mnoho z toho leží daleko za dosahem naší omezené mysli a přesně tam chci jít, když píšu. Hudba Soulburn se stává bezmeznou nádobou, která mě tam nese. A stejně jako u hudby, i když to může být těžší dosáhnout slovy, věřím, že texty musí nechat prostor pro nejednoznačnost. Měly by se odhalovat odlišně od okamžiku k okamžiku: něco, k čemu se lze vrátit, s čím se mentálně spiknout nebo co jednoduše prožít jako zdroj inspirace a představivosti.
Novinka si sama říká o živou prezentaci. Chystáte se na turné? Je mi jasné, že asi zahrajete na nějakých velkých festivalech, ale co třeba malé klubové koncerty? Můžeme se těšit? Úplně před sebou vidím temný klub…mlhu…zazní první riff…
Eric: Letos v říjnu se vydáme na evropské turné společně s našimi bratry z norské kapely Mork, se stejnými kluky, se kterými jsme v roce 2022 absolvovali turné po Jižní Americe. To pouto je hluboké. A už máme potvrzené koncerty na rok 2027, takže se znovu vydáváme na cesty a budeme šířit náš Quantifying Cosmic Doom. V podstatě hrajeme všude, kde nám náš booker pošle nabídky. Ať už jsou to festivaly, klubové koncerty nebo kompletní turné, pokud jsou dobré podmínky, jsme tam. Takže ano, to zahrnuje i temný klub plný mlhy a atmosféry, která působí smrtelně. Pro nás je to všechno součástí zážitku. Pokud je atmosféra správná a energie je tam, zahrajeme.
SOULBURN patří dnes již ke starým kapelám, která si prošla určitým vývojem. Určitě jste i posluchači hudby. Co vás ovlivnilo ve vašich začátcích a co posloucháte dnes?
Eric: Posloucháme všechny druhy hudby od Pink Floyd, Fleetwood Mac, Bowieho a Nicka Cavea až po ty nejextrémnější formy metalu. Type O Negative, Trelldom, Oranssi Pazuzu… náš hudební vkus je velmi široký. Všechny tyto vlivy si nacházejí cestu do naší inspirace, ale vždy nepřímo. Nikdy nic nekopírujeme. Cokoli s námi rezonuje, vstřebáváme to a transformujeme to do něčeho, co se stane naším vlastním, pravou ingrediencí Soulburnu. A samozřejmě stále posloucháme stejnou hudbu, jakou jsme poslouchali v raných dobách Soulburn. Bathory, staré Venom, Celtic Frost, Slayer, kanadskou kapelu Slaughter. Tyto desky v nás stále nesou velmi zvláštní pocit. Je v nich určitá syrovost, duch, atmosféra, která nikdy neztratila svou sílu. Když se k těm albům vracíme, je to skoro jako vstoupit do stejné temné místnosti, kde začala naše hudební cesta. Zvuk, přístup, energie, to vše formovalo to, kým jsme se stali jako hudebníci. I po všech těch letech to stále hluboce rezonuje. Připomíná nám to, proč jsme vůbec vzali do ruky nástroje a proč stále tvoříme hudbu, kterou děláme. Tyto rané vlivy se nesnažíme kopírovat, ale jsou součástí naší DNA. Udržují nás uzemněné, inspirované a spojené s kořeny extrémního metalu.
Každý nějak začínal. Co pro vás bylo prvním popudem, vzít do ruky kytaru? Bylo to kvůli holkám? A kdo byl vaším vzorem v začátcích? Je nějaké období, na které vzpomínáš nejraději?
Eric: To je vtipná otázka, ne, nebylo to pro holky haha, mohlo to být, ale ne, prostě mě fascinovalo hraní na kytaru. Začal jsem hrát na kytaru, když mi bylo 14 let. To je asi před 45 lety. Rodiče mi koupili mou první elektrickou kytaru, modrou Aria Pro II, a to je nástroj, na kterém jsem se naučil hrát. Nikdy jsem nebral hodiny na kytaru; akordy jsem se hlavně učil sám, když jsem hrál s nahrávkami Scorpions, Van Halen a později Metallicu a mnoho dalších kapel. Miloval jsem zjišťování, objevování, co hrají. Chtěl jsem se přidat ke kapele, jakmile jsem se stal velkým fanouškem raných nahrávek Venom, prvního alba Welcome to Hell a pak druhého, Black Metal. Tato dvě alba na mě měla takový dopad, že jsem si byl jistý, že chci hrát v kapele, ale ve stylu Venom, což na tehdejší dobu znamenalo extrémní věci. Hrál jsem trochu každý den po škole a nakonec jsem uměl hrát akordy. Nikdy jsem nebyl rychlý sólový kytarista, prostě to nebyl můj styl. Doomová sóla nebo sóla s melodickými linkami jsou místem, kde do hudby můžu opravdu vložit svůj cit.
Co pro tebe představuje hudba? Jak ji vnímáš ve vztahu ke svému životu? Je to prokletí, radost, nutnost? Já bych třeba bez muziky nemohl žít, poslouchám ji celý den a když nemůžu, tak mi chybí…jak to máš ty? Klidně se můžeš pustit i do filozofických úvah.
Twan:
Tato otázka je klamně jednoduchá ve svém kladení, ale téměř bezmezná ve svém zodpovídání. Kde vůbec začít sledovat původ něčeho tak hluboce vetkaného do existence?
Pokud mi paměť dovolí, hudbu jsem nejen poslouchal, ale patřil jsem k ní. Ještě před jazykem, před porozuměním existoval rytmus. Jako dítě jsem nemohl sedět v klidu; cítil jsem neodolatelnou touhu udeřit, poklepat, rezonovat se světem kolem sebe. Každý povrch se stal nástrojem, každý okamžik příležitostí formovat zvuk do vzoru.
Postupem času se tento instinkt rozvinul do mnoha podob, zpěv, imitace přehrávání, smyčce mírně rozladěné, klávesy stisknuté spíše ze zvědavosti než z mistrovství, bubny nalezené tam, kde žádné nebyly zamýšleny. Nikdy to doopravdy nezáviselo na nástrojích. Hudba nikdy nebyla něčím vnějším, co si lze osvojit; bylo to něco nevyhnutelného, co je třeba vyjádřit. I bez nástrojů se samotné tělo stalo médiem. Narážím klouby o lebku, zatímco prohlubně tváří se mění v rezonanční komoru. Cvakáním zubů a jazykem vytvářím ty nejbláznivější cválající rytmy...
Možná je to proto, že hudba nezačíná mimo nás. Pramení zevnitř. Pravidelný tep srdce je naším prvním metronomem, který odměřuje čas dlouho předtím, než pochopíme jeho plynoucnost. V tomto smyslu je každý život již skladbou v rytmu tlukotu srdce, která píše píseň našich životů.
Co chystají SOULBURN v nejbližších měsících a na co se můžeme těšit? Pokud máš nějaký vzkaz pro promotéry, labely, fanoušky, tak zde je prostor!
Eric: Momentálně si dáváme čas na to, abychom si naplno užili vydání našeho nového alba „Quantifying Cosmic Doom“. Je to deska, do které jsme vložili obrovské množství energie, emocí a tvůrčího záměru, takže je skvělé, že ji konečně můžeme nechat dýchat a sdílet ji se světem. Dosavadní reakce jsou ohromující a to nás jako hudebníky ještě více motivuje k tomu, abychom se dál posouvali dál. Jak již bylo zmíněno, v říjnu vyrazíme na evropské turné společně s Morkem a Arroganz. Je to pro nás vzrušující krok – cesta do nových měst, na nová pódia a k novému publiku. Necháváme všechno, co nám přijde do cesty, přirozeně se odvíjet, přijímáme neznámo a vzrušení, které s tím přichází. V zákulisí se toho děje hodně a očekávání každým dnem roste. Promotéři, kteří chtějí tuto kosmickou temnotu přinést na svá pódia, nás mohou rezervovat prostřednictvím našeho bookera Stefana z We-Live Agency. A našim fanouškům: děkujeme za vaši neochvějnou podporu. Znamená to pro nás celý svět. Doufáme, že se s vámi uvidíme na našich nadcházejících živých vystoupeních, kde se společně podělíme o energii této nové kapitoly.
Děkuji moc za rozhovor. Koukám, že venku pořád prší, asi půjdu do lesa a do přehrávače si dám vaši novou desku. Dík moc za ni, je co poslouchat. Ať se novince i vám daří a budu se těšit někdy na koncertě. SOULBURN FOREVER!
Eric: Děkuji, Jakube, za tato silná závěrečná slova na konci tohoto pozoruhodného rozhovoru. Venku stále leje neustálý šedý závoj nad světem, perfektní atmosféra pro naše nové album, kde se zdá, že každá kapka odráží kosmickou temnotu, kterou jsme se snažili zachytit. Přeji ti mnoho hlubokých a pohlcujících poslechových sezení, takových, kdy tě hudba vtáhne do svého vlastního vesmíru a odmítá pustit. A upřímně doufám, že se naše cesty jednou zkříží během jednoho z našich živých vystoupení, kde písně naberou vlastní život a energie se stane něčím téměř rituálním. Na zdraví a temné pozdravy do České republiky, ať tě brzy dostihne kosmická zkáza.
A few questions - interview with old school death metal band from Canada - YEGG.
Ave, can you introduce your band to our readers? – When was it founded and what style of music do you play etc.?
Yegg is an Old School Death Metal band that was founded in 2023 in Nanaimo BC, by Kyden McCormick (guitar - backing vocals), Kephren Jorgensen (lead vocals), and Joey Paul (drums). We started this band to pay homage to the classic Florida style of death metal.
Where and under what conditions were you recording the new album? Who was in charge of sound, production and mastering?
Rotten was recorded and produced by Matt Roach at Rain City Recorders, Vancouver, Canada in January of 2025. The tracking was done live off the floor with additional vocal overdubs and lead guitar work recorded afterwards at guitarist Kyden McCormicks home studio.
During the initial tracking our drummer Joey became very sick with food poisoning but managed to prevail through it all. We think it definitely added to the atmosphere of the record.
How many copies were released and which medium was used for this new edition (CD, digital, vinyl, cassette)?
Rotten has been pressed to 300 units of CD, 100 Cassette tapes and 300 Vinyl (100 of which are limited green& black splatter), they are available through YEGGMetal.bandcamp.com.
Who is the author of the lyrics and how were they created and about what do the lyrics deal with?
Kephren Jorgensen. Most of the lyrics were written while jamming song ideas and messing around with sounds and syllables to form phrasing. The album's lyrics deal with graphic imagery, the feeling of impending doom, and undead horror.
Who created the logo of the band, and who took care of the graphics and the website? What about you and social networks? Do you consider these things important?
Kyden McCormick is the designer behind our logo and art layout. He designs most of the posters and merchendise designs aswell. This is very important to us as this is our visual identity to the world of metal and optics are definitely an element that enhances the an artist's overall “vibes”.
Which label did you choose for releasing your album and why this label? Are you satisfied by how your label represents you and takés care about you?
Because of our past experience and being a relatively new band we decided release ROTTEN independently. With help and guidance from our producer Matt Roach we have attained some noteriety through out the global metal community that continues to be growing.
Which bands do you idolise and where do you get your inspiration?
Like the swampy Everglades of Florida, we come from a swampy party of Canada on Vancouver Island, British Columbia. We love the sounds of classic bands like Morbid Angel, Obituary, Deicide, Cannibal Corpse and Death. We draw lots of inspiration from traditional 90s and 00s Death Metal and blend it with modern elements.
Did you send your record to some Labels - which are the labels? How was the response?
No we haven't really, a few have checked us out and reached out but we felt the calling to do this DIY the first time to really test our medal (Metal!)
How many gigs have you played? Which type of gigs do you prefer, whether it's (clubs or festivals) and which of your performances would you consider as the best?
We've played close to probably 100 shows at this point, lots of small tours and festival appearances. We love any show where people get moving and have fun with us, it's usually quite rowdy when things get moving. Standout show: Armstrong Metal Fest 2025.
What about your plans for the future? What do you want to achieve with the band?
We're currently touring this album through Western Canada and want to continue traveling to New places to share our love for OSDM. Lots of new material is in the works and we will be doing a follow up record in the near future!
How and where can your fans contact you? Can you provide some contact information?
A few questions - interview with death metal band from Italy - TOMBAL.
Answered Luigi Cara (vocals, guitars), thank you!
Ave, can you introduce your band to our readers? – When was it founded and what style of music do you play etc.?
Hi! Tombal is a death metal band made up of four friends with a shared passion for extreme music, especially 90s Swedish death metal. In August 2025 I finally decided to form a band dedicated to that sound. I always loved the HM-2 tone and bands like Dismember, Entombed, Grave, Unleashed, and Interment. Years ago I had already spoken with Massimiliano (our bassist) after listening together to Scent of the Buried by Interment, about the almost dream-like idea of forming a swedeath band. After many years, I finally made it happen (hehehe). I then spoke with Luca, a very young and talented drummer and a brother to me, who immediately joined the project with enthusiasm. After that, I spoke with Massimiliano and he was fully on board as well, and that’s how TOMBAL was born. I chose this name because I don't think there's a better name to describe our style and the music we play. I composed our first single "Grave of the Damned" , which was released via Death Madness on YouTube and received a great response. We then recorded the EP of the same name. After that, I invited Mario to join the band as the second chainsaw guitar, and he accepted immediately. Now we are four, more united and motivated than ever.
Where and under what conditions were you recording the new album? Who was in charge of sound, production and mastering?
Two of us are based in Sardinia, while Luca lives in Basilicata and Massimiliano is in Dublin, so everything was done remotely. Luca recorded the drums, while the rest of us recorded everything in Sardinia. The material was then sent to Andy Mornar in London, who handled the mixing and mastering. We are extremely satisfied with the final result. We were aiming for a raw "in-your-face", violent and powerful sound, and he absolutely nailed it.
How many copies were released and which medium was used for this new edition (CD, digital, vinyl, cassette)?
So, the EP was released on tape by Unholy Domain, who pressed 100 copies, while Blood Harvest handled the CD edition with a limited run of 300 copies. With Blood Harvest we also signed a deal for our first full-length album, which is expected to be released either at the end of this year or in early 2027.
Who is the author of the lyrics and how were they created and about what do the lyrics deal with?
I compose the lyrics myself, which are entirely focused on death, decay, darkness, and are mostly set in cemetery environments, where the sun never shines and post-mortem existence takes over. I really want to stay connected to the lyrical style of the 90s bands I mentioned earlier and keep that same attitude and writing approach that defined the swedeath scene.
Who created the logo of the band, and who took care of the graphics and the website? What about you and social networks? Do you consider these things important?
The band logo was created by Blssnd, while the artwork was made by Valeria Foddanu, both very talented artists from Sardinia. I also handle the social media, and together as a band we decided on the colors and all the rest. I believe social media is very useful for promotion and helps spread the music quickly, even if we are quite old-school and prefer direct contact with fans at shows, sharing a conversation while having a good, fresh beer with our friends and/or fans.
Which label did you choose for releasing your album and why this label? Are you satisfied by how your label represents you and takés care about you?
As I was saying before, we chose Blood Harvest Records because they showed strong interest in the band from the very beginning and immediately offered us a record deal, especially for the full-length,and we have big plans for the future. They are also working with other great releases like Dishumane, who are absolutely crushing, and their level of promotion and merch quality is extremely high.
Which bands do you idolise and where do you get your inspiration?
The bands we admire the most are bands like Dismember, Entombed, Interment; we are also huge Carnage and Unleashed fans, and we like Lik too. Apart from these we follow also the Italian death metal scene a lot; I see that death metal is still alive and well. Our inspiration comes from that Swedish scene, but in reality we simply play what comes naturally from within, following our instinct rather than trying to imitate anyone.
Did you send your record to some Labels - which are the labels? How was the response?
Yes, After releasing the single, several labels reached out to us, but we ultimately decided to sign with Blood Harvest, both because of their history and because I had followed them for years and always appreciated their releases and attitude. We also had to decline other very interesting offers from labels we deeply respect.
How many gigs have you played? Which type of gigs do you prefer, whether it's (clubs or festivals) and which of your performances would you consider as the best?
The band was formed very recently, and we immediately focused on recording the EP and writing the full-length, which is practically ready. We already had a rehearsal, which went great, and we already have confirmed shows for this winter as well as for 2027. We are also working on a European tour with our management Occult Booking in order to support the full-lenght release, alongside appearances at major European festivals. We are very excited about this and can’t wait to play live. We enjoy both club shows and open-air festivals, so we hope to perform everywhere possible.
What about your plans for the future? What do you want to achieve with the band?
Our plans for the future are to record the full-length as soon as possible and release it around December or January 2027, and to play live as much as we can. We just want to play the music we love with full passion and meet death metal fanatics like us around the world. We have no limits, and we are extremely happy with how the band has started and how things are going.
How and where can your fans contact you? Can you provide some contact information?
Our fans can contact us directly through our social media, and we always reply to everyone with pleasure. They can also reach us via email at tombal.official@gmail.com, and for booking or shows, our management can be contacted at andreaoccult@gmail.com.
Thanx for the interview.
Thank you very much for the interview and for the support, it has been a real pleasure! Especially since we have followed Deadly Storm for a long time. DEATH METAL IS ALIVE.
