Nebude to trvat dlouho a své budoucí dítě si vyberete z katalogu. Jako obyčejné zboží. Už teď je spousta lidí ovládána na dálku. Mnozí si to ani neuvědomují. Budoucnost bude krásná, růžová a samozřejmě dokonalá. Ale jen pro někoho. Jako vždycky. Pořád existuje až příliš lidí bez morálky, bez svědomí. Technologie jsou dál, než většinová inteligence. O podobných vizích dost často přemýšlím. Když si přečtu dobrou sci-fi knížku, když vidím skvělý film a nebo v momentech, když poslouchám kapely jako ARTIFICIAL BRAIN.
Pokud jste hledači a objevovači a nevadí vám disharmonie a skřípot, tak jste zde správně. Progresivní, technický death metal, samozřejmě s příměsí blackové atmosféry. Složité kompozice, spousta různých odboček, preludií. Orgie pro všechny, kteří nechávají rádi svoji fantazii létat podzemím.
Tahle smečka je úkaz, zjevení. Shromáždila ve své hudbě vše, co dělávali a hrají třeba takoví GORGUTS, ULCERATE, DODECAHEDRON, BLUT AUS NORD, DEMILICH, KRONOS, IMMOLATION. Poslech se tak stává zajímavým výletem do oblastí, ve kterých je všechno jiné, odlišné. Vnímám hudbu spíše pocitově a nikdy mě nebavilo ji matematicky rozebírat. Pokud by byla totiž jen obyčejným vzorcem bez emocí, nebavila by mě. Mám to za ty roky poslechu extrémních stylů na sobě ozkoušeno. ARTIFICIAL BRAIN nejsou ale jen dnes tolik typickým zástupcem nekonečné řady skvělých muzikantů. Oni na rozdíl od ostatních umí skládat. Dokáží napsat skladby tak, že po nějakém počátečním zmatku a zdánlivém chaosu vyplují na povrch nosné kompozice. Zvukově skvělé, s obalem, který připomíná tichou smrt na lesní pěšině, s nápady, nad kterými budete dlouho přemýšlet. Alespoň já to mám takto nastaveno. Chodím tichým ranním městem a sleduji tlukot a tepot města. Hudba je jako obřad, infúze, kterou mi kapela píchla přímo do žíly. Do práce přijdu rozebraný na prvočástice. Kolem se potulují lidé s dávno mrtvými obličeji, ovládáni na umělou inteligencí. Davy bez názoru, šedé a tupé, krásná nová společnost. Ještě, že existují podobné smečky, dávají mi přeci jen alespoň malou naději, že na konci tunelu může být světlo. Jen musíte projít peklem. Alespoň takhle novinku vnímám já. Tak slyšte a poslouchejte bedlivě. Konec se pomalu blíží! Apokalyptický, temný, technický death metal ze světa za oponou!
Asphyx says:
If you're a seeker and explorer and don't mind discord and screeching, you've come to the right place. Progressive, technical death metal, of course with a touch of black atmosphere. Complex compositions, a lot of different branches, preludes. An orgy for all those who like to let their imagination fly through the underground.
There are albums that cannot be written about immediately, I have to listen to them for a long time, let them drift, inspire and after that I can write a few lines. In fact, the American ARTIFICIAL BRAIN does not belong to a group of bands that I would meet so often. But their before work "Infrared Horizon" has taken me to a completely different dimension than where I normally move. It is uplifting, grim, sad and cold at the same time.
Yes, the basis for the creation of ARTIFICIAL BRAIN is the old album GORGUTS, ULCERATE, DODECAHEDRON, BLUT AUS NORD, DEMILICH, KRONOS, IMMOLATION. But the superstructure is interesting, the added value, which further develops and fills the thoughts. Have you ever seen torn webs in the wind? Did you feel the lightness, grandeur, beauty? I do. I played the album when I read mysterious hero stories. The songs literally shine by cold, sadness. "Artificial Brain" acts as an icy touch of death, chilling and burning at the same time. I like albums that make people think. They wake up the imagination and let the thoughts fly through the air like the wings of moths. For me personally, it is a recording that is not worth to describe. Words are not enough here, music is a better expression. I am already looking forward to sitting in a dark room again, spreading a white screen in front of me and waiting and listening. A great thing for everyone who likes to think about music! I walk through the quiet morning city and watch the beat and pulse of the city. The music is like a ceremony, an infusion that the band has injected directly into my veins. I come to work stripped down to its elemental parts. There are people wandering around with long-dead faces, remotely controlled by artificial intelligence. Crowds without opinion, grey and dull, a beautiful new society. It's a good thing there are packs like this, they give me at least a little hope that there may be light at the end of the tunnel. You just have to go through hell. At least, that's how I see the news. So listen up and listen closely. The end is slowly approaching! Apocalyptic, dark, technical death metal from the world behind the curtain!
Interview with avantgarde, progressive death grind band !T.O.O.H.!.
Answered Schizoid, thank you!
Questions prepared Jakub Asphyx.
Ave !T.O.O.H.!! Hey, I do experiments like this sometimes – I take some music, in this case your latest CD "Free Speech", and I play it to people who have no idea what it's about. They're pure as a lily, untainted by listening to thousands of metal albums. You know what's interesting? Everybody likes your record! The girl who listens to disco, the old dad who rides a fox tail to the potlucks. At most, somebody had said that it was creepy, but they always say it was great! Can you please explain how that's possible? How do people, listeners, reviewers perceive you anyway? And what kind of response do you get to the record?
Hi Jakub! That's interesting, those experiments of yours. If people who don't listen to metal tend to like our record, that may be because it's musical and it has vocals one can clearly understand. So that's probably the reason. Otherwise, it's nice of you to broaden people's musical horizons. And how do other people perceive us? I don't really know. We've read some reviews, but there haven't been many. The response has been mostly positive. The main thing is to make ourselves satisfied with our efforts. And so we are.
I'll admit it without torture. I have my rituals, like everyone else, I guess. Monday through Thursday at work, I listen to whatever I feel like to, but on Friday I'm so tired that I either put on something totally off metal or !T.O.O.H.!. I return home happy, with a clean head and feeling just fine somehow. I am not afraid to say, your music has literally a chilling effect on me like a way of meditation. What state of mind do you have to be in order to compose music? How did "Free Speech" come about? When do you say to yourself - okay, it's time, let's go, let's compose!?
The music on Free Speech (hereafter FS) was composed quite quickly. Of course, one has to be in a good state of mind, which Humanoid usually was. Composing FS was a continuous process. With Humanoid grabbing guitar and recording his ideas with his phone. Later on, he transcribed those into GuitarPro and I laid down the drum patterns which we programmed into the demo. Everyone of us practiced his parts separately, we didn't even have one rehearsal together. My brother practiced directly with GuitarPro and I practiced with the Wave file he emailed me. We then tweaked and improved the songs for the better here and there. At the end of the day, the drums I recorded on the album turned out to be completely different from the ones we demoed. I improvise a lot...
When I listen to contemporary progressive and technical death metal bads, it's some mad stuff. Seventeen-year-old boys playing like gods. Technically, they're actually perfect. It's just that quite often their music doesn't have any balls. You guys aren't really young anymore, but tell me, how do you actually play so fast and complicated? How much time do you spend practicing? I would see it that you have to sleep with the instruments or am I wrong? Correct me in case I am wrong but I can imagine you even sleeping with your instruments.
We don't overdo it with the practicing. I think the main thing is talent. When working on FS, my brother grabbed guitar and played two to three hours a day, sometimes more if needed. Once the album was done, he played it once or twice almost every day to stay in shape. I practiced as needed and as the mood took me. Sometimes I would sit behind the drums for two hours, sometimes just an hour. Sometimes I sit somewhere else... ie. behind the computer screen where I spend more time than behind my drums... :-) And yes, you're right. Today's youngsters play like gods. It's because there are expanded learning opportunities. That's something our generation could only dream of. Speaking on behalf of drummers, nowadays you can find everything on YouTube – from the way of how to hold drumsticks to learning what techniques to use when playing the snare, drum kicks... Everything. But I listen to these new bands just out of curiosity. The vast majority of them sound very similar. It's as if the music has been manufactured in one and the same manufactory...
All your songs sound different from one another. The mood, the energy differ. Does that mean the songs are composed in different moods or settings? Things coming more aggressive when you're angry, etc.? How does all that you feel, see around you, all the politics, human dullness, but also joy and humility, mirrors in the music you create?
I'm glad you noticed that. In our case, it's a very natural thing. It's not like we would compose only when we were angry or something. My brother sends me a song that's composed from A to Z. With a clearly defined tempo. Occasionally, we may speed up the song during the process but I am not involved in the composing process as such that's all my brother's thing. I'll just run with what he delivers but at the same time, in return, my brother has no say in whatever drum patterns I create for the song. It's a mutual respect and I think it works for us. And the world around us and the emotions it brings, that's rather imprinted in the lyrics...
You are both very talented. And I don't mean just technically, but also compositionally. Plus, you're brothers. Is music in your genes? Did you trace a great-grandfather who composed, let's say, some classical music? Did anyone sing in your family? Oh, and not to forget, I have a brother too, but we don't get along at all, he's completely different from me. Are you arguing with each other? Who does usually have the final say?
Thank you. Music is definitely a part of our genes. When it comes to immediate family, my mom used to sing when she was young. And very well. From the age of 10, she went to a singing teacher once or twice a week. At 16, she was preparing for the State Conservatory. But because it was 1969, the specialization in Musical Comedy she wanted to apply to got cancelled because a lot of people were fired and stuff... In the end, she was offered to enter an Opera Singing course. But my mother declined that opportunity since she always hated opera singing with all her heart. So she joined the Folk-art Conservatory and started singing various (also jazz) songs in Prague. Those songs were written straight to fit her mezzo-soprano. But then she met her dad and... the singing was over. Eventually, she finished medical school and worked in a nursing home. Her singing career was over. Her dad, our grandfather, played mandolin. And his whole family, his sisters, they all played musical instruments. So my mom liked to sing with them even when she was a little girl. On my dad's side, his grandfather, my namesake, played the clarinet. Maybe I'm his reincarnation... hahaha.
It's sad to hear about your brother. I mean, from my point of view. Having a sibling I don't get along with, I don't even want to imagine that... I always got along well with my brother.
You know we argue with each other. But only sometimes. When one of us is irritated which is mostly myself. We had a few fights. But that was a long time ago, and it was always caused by the demon alcohol. My brother's been abstinent and a non-smoker since 2008. So there's no danger of a fight anymore... -)))
I really liked the reaction to your board from an old gentleman at the workshop. He said, dude, that's passion in disguise. And he was smiling like me. I'm telling you straight up, you just have a gift for conveying emotion, for shocking or even more shocking, for captivating. Tell me, what were your beginnings, why and how did !T.O.O.H.! come about? Please dive deep into the history with us.
Thank you very much. My brother and I decided to start a band sometime in elementary school. We discovered a beautiful style of music. We discovered metal. I remember at the cottage, we were fooling around in front of the mirror with badminton bats that represented guitars, swaying to the beat of Kern's "Blízko nás. There was no internet then, it was before 1989 and we had a complete lack of information. When my friends and I were scavenging in salvage yards, I would cut out all the mentions of metal in the press at the time. We knew a lot of bands just by name. It was better just before the revolution. My brother used to go to the Havel market with his friends, so he experienced the police raids on metal record sellers. We didn't have a gramophone at home, so he just admired the covers. Then we found a contact in the Holešovice market. We used to buy recorded tapes from him. Overkill, Sodom, Coroner, Living Death, Laaz Rockit... And of course Polish original tapes... That was after the revolution. There used to be stock exchanges at Letná, at the Sparta stadium. That's where we discovered other bands. After that, it got easier and easier...
Our first project was called VVD. That is: Veselý, Veselý, Dvořák. It was actually pure noise. We made noise on everything and recorded it on a cassette recorder. It had funny names and we screamed, shouted and mutated into all this mess. That was fun. My brother and I still have the tapes. Then me and another friend started a band called Devastator. We had just discovered Napalm Death, so it was clear that we wanted to do the biggest shit of the time. Heavy metal was the style of a different generation, thrash metal was slowly peaking and death metal was coming on the scene. It was clear what direction we were going to go in. It took us quite a long time before we decided to come out with our own work. That was in 1995. Demo You guys are pieces of fucking meat. I think our fans know the story by then. From our online biography.
You went through the beginning in the 1990s, then the turbulent period in 2000-2005, and then suddenly it was gone. You've been coming back at greater intervals since then. Why is that? Have you been consumed by work, families? Or "not so many ideas", the desire? I'm asking because you know, nowadays if you don't see the band, it's like it doesn't exist.
We first came back in 2011. My brother decided to buy a guitar again and rebuild the band. Before that he was always creating, writing electronic music and painting pictures. I had no objections -) The work definitely didn't swallow us or our families. We are both childless. Neither of us has ever been married in our lives. Could you imagine us being bothered by the families with the lyrics we spawn? Maybe so, but it would be very strange... -))
We disbanded in 2013 for the second time. It was because of my brother being diagnosed with paranoid schizophrenia. He just decided to call it quits again. I had no objections whatsoever...
In 2017 we announced a comeback again. The impetus came again from my brother. I'm glad it happened. I think we still have a lot to offer. My brother is just a pioneering soul. Our music and lyrics are constantly evolving, so it makes sense. If I, or my brother felt we lost our drive and inspirations, I'm sure we would put the band to rest.
!T.O.O.H.! You two are Schizoid and Humanoid. But Android, Freedom, Wokis have played with you over the years. Always just for a little while. Why is that? Didn't anyone fit in with you guys?
No, no, we've had guys fit in and get along well with us, but it has usually been the circumstances that did not work to our favour. Pavel Slavíček (Android) started a family and his own band Misogynist. He started writing his own music and playing guitar, something that he enjoyed more doing than just playing bass guitar. And at the time of the release of "Order and Punishment", we were also a great bunch of friends. But again, circumstances didn't favor us. The only one guy who was able to keep up the pace with whatever my brother came up with was the bass player Freedom. Guitarist Wokis was in college at the time and had other hobbies... And then the problems with the label occured and some unpleasantness in personal life. So my brother decided to lay it down to rest.
If I'm not mistaken, you haven't performed in a long time. I think you still have a lot of fans. How about Prague, maybe my favourite Modrá Vopice, invite a few friends to make the possible embarrassment less (joke) and get it back on the boards? How do you feel about gigs? Smaller tours?
We are planning to start playing gigs again. It's going to be a very interesting experience. Since my brother is schizophrenic, he doesn't have as much energy as he used to have. Still, he made the decision to give it a try. We've already started practicing together a compilation of songs from the demo and old albums. We've upped the tempo of the songs by a bit and added synths here and there... We're still figuring out how exactly we're going to perform everything live. We will use playback for electronic bass and the synths. I will be drumming on the electronic drum-kit set. We're going to play to a click which we are used to... We're going to try out the performance at a private event first, to see how things will work out and if my brother can perform the songs live in front of people. After that we'll see. I'm confident he will pull it off. In fact, I can even tell you where our first show will be. It's going to be at our friends' place in Studanka, North Bohemia. The guys have a band called Evil Regiment. We made a promise that our first public performance will také place there and we will keep that promise. And I hope it won't be a shame, don't worry... -)) You can be there if you want. You're entitled to that just for making these great questions. It's going to be an exclusive event and I'm looking forward to it.
It's such a weird time these days, everyone's commenting on everything. The problem is that most of them are people who have not been given much by nature, God or Satan. You're musicians, you must be a little crazy, different, different. Still, do you have anyone whose opinion you'll give? Who's gonna tell you, like, this is over the line, this is too much. Or on the contrary, you can lean into it here?
We are setting that line, that boundary ourselves. But we actually have such a person. It's our publisher, Honza. I think that if he had any problem with our lyrics, which he hasn't had so far, we would definitely take his recommendation or opinion. I recently sent him the titles of our new texts and wrote to him what they are about. He wanted me to send the lyrics over, so he could read them. But then it wouldn't have been a surprise if he knew the content in advance. So we'll see what he'll say when he hears the new madness in the complete package (with music)... -))) We just like it when the lyrics are provocative. And since the boundary is constantly being pushed further (who is shocked by brutal scenes nowadays?), we decided to push it a bit...
!T.O.O.H.! cover arts and the band's sound. Those are the two things that take your band into a whole different realm. I love the cover art for Komouš, I love it, and if I had a gallery, it would take pride of place. Where do you go for those ideas? They're so fresh, fresh, funny. And the sound by the master Standa Valášek. Why him? Is he the one who understands your fuzzy souls the most?
I'm so happy to see how you perceive our band. As for the ideas, I guess we ate a lot of funny porridge... -))) Do you know what it really is? It's a program we have been already born with. I'm very interested in astrology. When I saw our horoscopes, it's all written there... My brother often laughs at me, saying that I'm like an old woman who believes everything... But I see it there. It's all there. My brother's imagination, his energy, his artistic inclinations and, after all, his illness... In my case, it includes artistic inclinations too, of course, and I also got to know that „sarcasm is my second language“, etc. etc. It's a very interesting subject.
Also, about the ideas which grace the cover-arts my brother paints. It has always been his imagination and his ideas. But on Free Speech we agreed to come up with the content together. So we sat down together in front of the computer screen and had that something going on, I think it's called brainstorming nowadays.
And why Standa Valášek? He's just a professional and a nice person. We've had a great experience with him since the album Order and Punishment. At that time my brother and I wanted to go back to the Hacienda Studio. But the guitarist Wokis was worried about analogue equipment, so he persuaded us to try a digital studio. So we went to the Šopa. In the end it was a very good idea. Dodo from Hacienda Studio was also able to manage the recording process digitally but but he just prefers analogue sound. When we relaunched the band in 2017, we decided to go with Standa again. Although he also does analogue, of course. We wanted to symbolically start where we left off with our most successful period...
My wife is a teacher and she told me that it's starting to scare her how kids today don't read books at all. It's like they're losing perspective, imagination. I don't know, I'm not an educator, but I always liked your lyrics. These are masterpieces! Where do you get the inspiration for them? What influences you?
It's a gift, as I mentioned before. We were born with that gift. When we first started, my brother wrote the majority of lyrics. But he always encouraged me to write something too. Nowadays, he doesn't have to do it anymore. Speaking for myself, it's like when you want to poop... Your stomach hurts, you know you're full of inspiration... -)) Then comes the first rhyme. If I laugh at it and don't forget it by the other day, it's almost certain that something will come out of it. It's stuck in my mind for a day, a week, it doesn't matter. Or things simply happen when the setting is really good, I'll get right at it and if it continues to evolve smoothly, I know it's going to be good. When I finish the lyrics, I am not revising it in any way. It has to be coming out of the same water, so to speak. Well, sometimes I'll fix some details. Or if my brother has a note, we adjust the lyrics.
And the kids are not reading books anymore, it is a plague. It's modern technology. The new people will soon be completely demented... Even monkeys can learn to operate devices at a user level. I've read about how there was an experiment to teach monkeys to use tokens to obtain food when they were hungry and things soon went downhill. Prostitution and shit like that occurred amonst them, just the way like in our society. Humans are still basically animals. Critical thinking is being suppressed. Just be obedient, follow the entertainment...
I'm quite conservative in my personal life, but I do like science fiction, for example, and in music I also sometimes choose things that move me from our stinking planet to higher realms. I love VOIVOD! Who influenced you? What music do you like, do you listen to, do you go to concerts? What about books, movies? Other hobbies?
I totally understand. My brother loves Alien and Terminator. He's still watching those flicks a lot and relaxing. He's seen the last Terminator about 20 times... -)) Or now he's obsessed with Underwater with Kristen Stewart (his other favorite actress)... He's seen that one about six times. I like sci-fi, especially movies. It attracts my attention. I barely read science fiction books.
VOIVOD. The first time I heard them, it didn't grab me at all. I think it was some of their early albums. Compared to what I was listening to back then, they were a flop. So it was a quick resolution and I didn't bother following them. But after some time, Petr Korál played some songs from Negatron on a radio station “Radio 1“ and I liked it a lot. So I am still not a real fan, but they have some great songs.
If I wrote down what music I like, it would be a very long list. I like mostly good music. The genre doesn't matter. I love Depeche Mode. I like all their albums, even the new ones. I also listen to a lot of remixes from different artists. I like classical music. I like rock. I like jazz, especially from the '50s. I appreciate a well-written pop song. I'm pretty picky.
I don't go to concerts. Music occupies most of my time already. And you can't talk much in the noisy environment that live events are about.
I love books. I've always loved to read. Nowadays, I more read the news about what's going on in the current world. Alternative media that brings serious topics. With links to sources of information (evidence based), of course. I'm interested in what's going on around us. I don't follow disinformation news of the mainstream, and when I do, it's just for fun... Corporate media tells you nothing. They just lie, cover up and obfuscate. Filthy stuff.
In your email you told me that we fans can look forward to a new EP from your stable. Can you tell us more? What's it about, where have you been trying to push it, where did you record it, where will you be releasing it? Tell me, exaggerate.
The EP is called Premiant. The recording process was the same as with FS. We recorded the guitars at Šopa Studio, the remaining instruments and vocals were recorded in our home studio. Mixing and general supervision by Standa Valášek.
This material is probably the peak of our work in my opinion. Seriously. I'd probably just be bragging if I had to describe it... -))) And the cover-art my brother painted is just perfect. It's got four songs on it. Compared to FS, the EP sounds different. Everyone would be able to hear the progress. I can't wait for it to be out.
Damn, I'm talking again, but you know, if I like a band, I don't know my brother. Anything you want to say to the fans? To the promoters? To the government? To the Facebook debaters? There's room.
Jakub, first of all, thank you so much for the opportunity to speak out. We could probably have conducted the interview with ourselves, but that wouldn't have been the right thing to do... -)) You did a great job. I like reading your site, you know that.
To the fans I want to say: By supporting Lavadome production, you are supporting us too, thanks. To the promoters: We don't play gigs for the travelling costs anymore -)) I won't say anything to the government. I didn't vote for this bunch. To the FB debaters: Wake up and just be factual. Everyone can just criticize.
Thanks for your time!
Thank you so much for the interview. I appreciate it. I look forward to more music from !T.O.O.H.! or just a beer concert somewhere. I wish you all the best in your personal lives and may strength follow your steps.
Rozhovor s avantgardní progresivní death grind kapelou !T.O.O.H.!.
Odpovídal Schizoid, děkujeme!
Otázky připravil Jakub Asphyx.
Ave !T.O.O.H.!! Hele, občas dělám takový pokusy. Vezmu nějakou muziku, v tomhle případě vaše poslední CD „Free Speech“, a pouštím ji lidem, kteří nemají vůbec žádné ponětí, o co jde. Jsou čistí jako lilie, nepoznamenaní poslechem tisícovky metalových alb. Víš co je zajímavý? Vaše deska se líbí každýmu! Holce, co poslouchá disko, starýmu fotrovi, co jezdí s liščím ohonem na potlachy. Maximálně někdo prohodil, že je to úchylárna, ale vždy dodal, že výborná! Můžeš mi prosím tě vysvětlit, jak je to možné? Jak vás vůbec vnímají lidé, posluchači, recenzenti? A jaké máte na desku ohlasy?
Ahoj Jakube! To je zajímavý, ty tvoje pokusy. Jestli se naše deska líbí i lidem, co neposlouchají metal, možná je to proto, že je muzikální a má čitelné vokály. Takže to je asi ten důvod. Jinak je to od tebe hezký, že rozšiřuješ lidem hudební obzory. A jak nás vnímají ti ostatní? Vlastně ani nevím. Přečetli jsme si nějaké recenze, ale nebylo jich mnoho. Ohlasy byly vesměs pozitivní. Hlavní je, abychom byli spokojení my sami. A to jsme.
Přiznám se bez mučení. Mám, asi jako každý, své rituály. Pondělí až čtvrtek poslouchám v práci na co mám chuť, ale v pátek jsem tak unavený, že si dávám buď něco absolutně mimo metal nebo !T.O.O.H.! Přicházím domů veselý, s hlavou čistou a je mi tak nějak fajn. Vaše hudba na mě má a já se toho nebojím, doslova očišťující účinek. Něco jako meditace. V jakém rozpoložení musíte být, abyste něco složili? Jak vznikalo „Free Speech“? Kdy si řeknete - tak a je čas, jdeme na to, skládáme!?
Hudba na Free Speech (dále jen FS) byla složená poměrně rychle. Samozřejmě, člověk musí být v dobrém rozpoložení, což Humanoid většinou byl. FS skládal průběžně s kytarou v ruce a nápady nahrával do mobilu. Poté je zapisoval do programu GuitarPro. Já pak vymyslel bicí, které jsme naprogramovali do dema. Každý cvičil sám, dohromady jsme neměli ani jednu společnou zkoušku. Brácha cvičil přímo s GuitarPro a já s Wave souborem, který mi poslal emailem. Songy jsme pak malinko upravovali a vylepšovali, jak se nám zdálo vhodné. Nakonec jsem ale na album stejně nahrál úplně jiné bicí, než byly na demu. Já totiž hodně improvizuji…
Když se podívám na současný progresivní a technický death metal, tak koukám jako blázen. Sedmnáctiletí kluci hrají jako bohové. Technicky jsou vlastně dokonalí. Akorát se dost často stává, že jejich hudba nemá koule. Vy už nejste vyloženě mladíci, ale prozraď mi, jak se vlastně dá hrát tak rychle a komplikovaně? Kolik času věnujete cvičení? Já bych to viděl, že musíte s nástroji i spát nebo se pletu?
S cvičením to moc nepřeháníme. Myslím, že hlavní je talent. Brácha měl při práci na FS kytaru v ruce tak dvě až tři hodiny denně, někdy i více, jak bylo potřeba. Když už bylo album kompletně složené, přehrával ho jednou až dvakrát skoro každý den, aby byl stále ve formě. Já jsem cvičil podle potřeby a nálady. Někdy sedím za bicími dvě hodiny, někdy jenom hodinu. Někdy sedím úplně někde jinde… Třeba u počítače. Tam určitě sedím více než za bicíma… -)) Jo a máš pravdu. Dnešní mladíci hrají jako bozi. Je to dané tím, že existují rozšířené možnosti výuky. O tom se mohlo naší generaci jenom zdát. Když budu mluvit za bubeníky, tak dneska najdeš na YouTube úplně všechno. Jak máš držet paličky, jaké používat techniky při hře na malý buben i na pedály. Všechno. Ale já ty nový kapely poslouchám už jenom ze zvědavosti. Drtivá většina jich zní hrozně podobně. Jako kdyby ta hudba pocházela z jediný fabriky…
Každá vaše skladba je jiná, má jiný náboj, náladu. Znamená to, že je složena v různém rozpoložení? Třeba když jste naštvaní, tak je agresivnější apod.? Jak se to, co cítíš, vidíš kolem sebe, všechna ta politika, lidská tupost, ale i radost a pokora, otiskují do hudby?
Jsem rád, že sis toho všiml. V našem případě se jedná o naprosto samozřejmou věc. Není to nějaký kalkul, že by jsi šel skládat naštvaný nebo tak. Brácha mi pošle skladbu složenou od A do Z. S jasně daným tempem. Občas se může stát, že skladbu v průběhu procesu ještě zrychlíme. Já do skládání bráchovi vůbec nemluvím. Přijmu to tak, jak mi to naservíruje pod nos… Na oplátku brácha vůbec nemluví do toho, jaké si udělám bicí linky. Vůbec. Je to oboustranný respekt a myslím, že nám to funguje. A svět kolem nás se otiskuje spíše do textů…
Jste v kapele oba velmi talentovaní. A to nemyslím jen technicky, ale i skladatelsky. Navíc jste bráchové. Máte muziku v genech? Vystopoval si pradědu, co tvořil třeba vážnou muziku? Zpíval někdo? Jo, a abych nezapomněl, já mám taky bráchu, ale nerozumíme si vůbec, je úplně jiný než já. Hádáte se? Kdo má poslední slovo?
Díky. Muziku v genech určitě máme. Když to vezmu z nejbližšího okruhu, tak máma za mlada zpívala. A velmi dobře. Od 10 let chodila jednou, dvakrát týdně zpívat k profesorce zpěvu. V 16 letech se připravovala na Státní konzervatoř. Protože byl ale rok 1969, tak obor Hudební komedie, na který chtěla nastoupit, zrušili, protože vyhazovali různé lidi a tak… a přijali ji na obor Operní zpěv. To ale máma odmítla, protože ho bytostně nesnáší. Takže nastoupila na Lidovou konzervatoř a zpívala po Praze různé (i jazzové) písničky, které jí psali přímo pro její mezzosoprán. Pak ale potkala tátu a… bylo po zpěvu. Nakonec si dodělala Zdravotní školu a pracovala v kojeneckém ústavu. Kariéra zpěvačky tak byla pryč. Její táta, náš děda, hrál na mandolínu. I celá jeho rodina, sestry, všichni hráli na hudební nástroje. Takže máma s nimi ráda zpívala už jako malá. Z tátovi strany, jeho dědeček, můj jmenovec, hrál na klarinet. Třeba jsem jeho reinkarnace… hahaha.
S tvým bráchou je to smutný. Teda, z mého pohledu. Mít sourozence, s kterým si nerozumím, to si ani nechci představovat… Já si s bráchou vždycky rozuměl.
To víš, že se hádáme. Ale jenom občas. Když je někdo z nás podrážděný. Většinou já… -)) Několikrát jsme se i pobili. Ale to už je dávno a vždycky v tom byl démon alkohol. Brácha je od roku 2008 abstinent a nekuřák. Takže bitka už nehrozí… -))
Hrozně se mi líbila reakce na vaši desku od jednoho starého pána na dílně. Říkal, ty vole, to je přetavená vášeň. A usmíval se u toho jako já. Říkám to na rovinu, máte prostě dar předávat emoce, lehce nebo i více šokovat, zaujmout. Prozraď mi, jaké byly vaše začátky, proč a jak vlastně !T.O.O.H.! vznikli? Ponoř se s námi prosím do hluboké historie.
Díky moc. S bráchou jsme se rozhodli založit kapelu někdy na základní škole. Objevili jsme krásný hudební styl. Objevili jsme metal. Pamatuju se, jak jsme na chalupě blbli u zrcadla s badmintonovými pálkami, které představovaly kytary a kývali se do rytmu skladby od Kern: Blízko nás. Tehdy nebyl internet, bylo to před rokem 1989 a měli jsme naprostý nedostatek informací. Když jsme s kamarády zevlovali po sběrných dvorech, tak jsem si pak vystřihoval všechny zmínky o metalu v tehdejším tisku. Hromadu kapel jsme znali jenom podle názvu. Těsně před revolucí už to bylo lepší. Brácha chodil s kamarády na burzu na Havelské tržiště, takže zažil i zátahy policajtů na prodejce metalových desek. My jsme jenom obdivoval obaly. Potom jsme objevili kontakt v holešovické tržnici. Od něj jsme nakupovali nahrané kazety z CD. Overkill, Sodom, Coroner, Living Death, Laaz Rockit… A samozřejmě polské originální kazety… To už bylo po revoluci. Na Letné, na stadionu Sparty bývaly burzy. Tam jsme objevili další kapely. Pak už to bylo čím dál jednodušší…
Náš první projekt se jmenoval VVD. Tedy: Veselý, Veselý, Dvořák. Byl to vlastně čistý noise. Dělali jsme rámus na všechno možný a nahrávali to na kazetový magnetofon. Mělo to vtipný názvy a do toho všeho bordelu jsme řvali, křičeli a hlavně: mutovali. To byla zábava. Ty kazety ještě s bráchou máme. Pak jsme ještě s dalším kamarádem založili kapelu Devastator. Zrovna jsme objevili Napalm Death, takže bylo jasný, že chceme dělat ten největší nářez tehdejší doby. Heavy metal byl styl jiné generace, thrash metal pomalu vrcholil a na scénu se začal drát death metal. Bylo jasný, jakým směrem se budeme ubírat. Dost dlouho nám trvalo, než jsme se odhodlali vylézt s vlastní tvorbou na světlo. To bylo v roce 1995. Demo Vy kusy mrdacího masa. Pak už to asi naši fanoušci znají. Z naší biografie na netu.
Prošli jste začátkem v devadesátých letech, pak turbulentním obdobím v roce 2000 - 2005 a najednou šlus. Od té doby se vracíte ve větších intervalech. Proč vlastně? Pohltila vás práce, rodiny? Nebo „není tolik nápadů“, chuť? Ptám se, protože znáš to, dneska když kapela není vidět, jakoby neexistovala.
Poprvé jsme se vrátili v roce 2011. Brácha se rozhodl, že si opět koupí kytaru a obnovíme kapelu. Předtím neustále tvořil, skládal elektronickou muziku a maloval obrazy. Neměl jsem žádný námitky -) Práce nás rozhodně nepohltila, ani rodiny. My jsem totiž oba bezdětní. Ani jeden z nás nebyl v životě ženatý. Dokážeš si představit, že bychom byli fotříci od rodin s texty, které plodíme? Možná jo, bylo by to ale dost divný… -))
To druhé ukončení činnosti v roce 2013 bylo způsobené tím, že brácha onemocněl paranoidní schizofrenií. Prostě se rozhodl to znovu zabalit. Neměl jsem námitek…
V roce 2017 jsme znova ohlásili obnovení činnosti. Impuls přišel opět od bráchy. Jsem za to rád. Myslím, že máme stále co nabídnout. Brácha je prostě pionýr. Naše hudba i texty se neustále vyvíjí, takže to má smysl. Kdybych měl pocit, nebo brácha, že to stojí na mrtvém bodě, určitě by jsme se na kapelu vykakali.
!T.O.O.H.! jste vy dva - Schizoid a Humanoid. Ale hrávali s vámi v průběhu let i Android, Freedom, Wokis. Vždy ale jen chvilku. Proč? To mezi vás nikdo nezapadl naplno?
To ne, kluci mezi nás zapadli, ale většinou nám nepřály okolnosti. Pavel Slavíček (Android) založil rodinu a vlastní kapelu Misogynist. Tam skládal vlastní hudbu a hrál na kytaru, která ho bavila více než baskytara. A v období vydání alba „Řád a trest“, jsme byli také super parta. Ale okolnosti nám opět nepřály. Jediný, kdo stíhal hrát vše, co brácha zrovna vymyslel, byl basák Freedom. Kytarista Wokis tehdy studoval vysokou školu a měl další koníčky… No a pak tu byly ty problémy s vydavatelem a do toho ještě nějaké nepříjemnosti v osobním životě. Tak se brácha rozhodl, že to uspí…
Jestli se nepletu, tak už jste hodně dlouho nevystupovali. Myslím, že fanoušků máte pořád dost. Co takhle Praha, třeba má oblíbená Modrá Vopice, pozvat pár kámošů, aby případná ostuda byla menší (vtip) a zase to rozjet na prknech? Jak se díváš na koncerty? Menší turné?
Koncerty máme opět v plánu. Bude to hodně zajímavá zkušenost. Jelikož je brácha schizofrenik, nemá tolik energie jako dříve. Přesto se rozhodl znova to zkusit. Začali jsme spolu cvičit výběr z demokazet a starých alb, něco jsme trochu zrychlili a někde jsme přidali syntezátory… Zatím ještě vymýšlíme, jak to budeme přesně dělat. Hrajeme totiž s doprovodným playbackem (elektronická basa a syntezátory) a já bubnuju na elektronické bicí. Každopádně budeme hrát s klikem. Jako dříve... Vystoupení si vyzkoušíme nejdříve na soukromé akci, abychom věděli, jak to bude fungovat a jestli to brácha před lidmi zvládne. Pak se uvidí. Já jsem přesvědčený, že to dá. Vlastně i můžu prozradit, kde se náš první koncert odehraje. Bude to u našich přátel ve Studánce v severních Čechách. Hrají v kapele Evil Regiment. Dali jsme slib, že naše první veřejné vystoupení proběhne právě tam a ten slib dodržíme. A ostuda to doufám nebude, nestraš… -)) Můžeš být u toho, jestli chceš. Za tyhle super otázky na to máš nárok. Bude to exkluzivní akce a už se na ní moc těším.
Dneska je taková divná doba, každej se vyjadřuje ke všemu. Problém je, že většinou jsou to lidé, kterým příroda, bůh ani Satan moc nenadělili. Vy jste muzikanti, musíte být trošku šílení, jiní, odlišní. Přesto, máte někoho, na jehož názor dáte? Kdo vám řekne třeba - tohle už je přes čáru, tohle je moc. Nebo naopak, tady se do toho klidně opřete?
Tu čáru, tu hranici, jsme si stanovili sami. Ale vlastně takového člověka máme. Je to náš vydavatel Honza. Myslím, že kdyby měl s našimi texty nějaký problém, což zatím neměl, tak bychom na jeho doporučení či názor určitě dali. Nedávno jsem mu posílal názvy našich nových textů a napsal mu, o čem pojednávají. No a Honza je chtěl poslat. Jenže, to by pak pro něj nebylo překvapení, kdyby znal obsah dopředu. Takže uvidíme, co nám řekne, až uslyší ty nové šílenosti nazpívané ze studia… -)) Nás prostě baví, když jsou ty texty provokativní. A jelikož se ta hranice neustále posouvá (koho dnes šokují brutální scény?), tak i my jsme se rozhodli pro určitý posun…
!T.O.O.H.! a obaly, !T.O.O.H.! a zvuk. To jsou dvě věci, které vaši kapelu posouvají do zcela jiných sfér. Obal ke Komoušovi žeru, miluju a kdybych měl galerii, tak bude na čestném místě. Kam na ty nápady chodíte? Jsou tak svěží, neotřelé, vtipné. A zvuk od mistra Standy Valáška také. Proč právě on? Rozumí nejvíc vašim rozevlátým duším?
To mám radost, jak nás vnímáš. Co se týče těch nápadů, asi jsme pojedli hodně vtipné kaše… -)) Víš čím to ale ve skutečnosti je? Je to program, s kterým jsme se už narodili. Hodně se zajímám o astrologii. Když jsem viděl naše horoskopy, tak tam to všechno je vepsané… Brácha se mi kolikrát směje, že jsem jak nějaká stará bába, co všemu věří… Já to tam ale vidím. Je tam všechno. Bratrova imaginace, energie, umělecké sklony a koneckonců i ta nemoc… V mém případě umělecké sklony samozřejmě také, a ještě jsem se tam dočetl, že sarkasmus je můj druhý jazyk, atd. atd. Je to hodně zajímavý téma.
A ještě k těm nápadům na obalech, které brácha maluje. Vždycky to byla jeho fantazie a jeho nápady. Na FS jsme se ale domluvili, že vymyslíme ten obsah společně. Takže jsme si spolu sedli k počítači a proběhlo něco, čemu se dnes říká Brainstorming.
A proč zrovna Standa Valášek? Je to prostě profesionál a příjemný člověk. Máme s ním výbornou zkušenost od alba Řád a trest. Tehdy jsme s bráchou chtěli jít opět do studia Hacienda. Kytarista Wokis měl ale obavy z analogu a tak nás přemluvil, abychom zkusili digitální studio. Takže jsme šli do Šopy. Nakonec to byl velmi dobrý nápad. Dodo samozřejmě také dělal digitální nahrávání, ale dává přednost analogovému zvuku. Když jsme s bráchou obnovili v roce 2017 činnost, tak jsme se rozhodli opět pro Standu. I když ten dělá samozřejmě i analog. Chtěli jsme symbolicky navázat na naše nejúspěšnější období…
Manželka je učitelka a říkala mi, že ji začíná děsit, jak dnešní děti vůbec nečtou. Jakoby ztrácely nadhled, fantazii. Nevím, nejsem pedagog, ale u vás se mi vždy líbily texty. To jsou majstrštyky! Kde pro ně berete inspiraci? Co vás ovlivňuje?
Je to dar, jak už jsem zmínil výše. S tím se rodíš. Když jsme začínali, tak brácha psal většinu textů. Vždycky mě ale pobízel, abych taky něco napsal. Dneska už nemusí. Když budu mluvit za sebe, tak je to jako když se ti chce kadit… Bolí tě břicho, víš, že jsi plný inspirace… -)) Pak přijde první rým. Když se mu zasměju a do druhého dne nezapomenu, tak je jasný, že z toho něco bude. Mám ho v hlavě třeba den, týden, na tom nezáleží. Nebo když je zrovna fakt dobrá konstelace, tak se do toho hned pustím. Jakmile to jde plynule, vím, že je to dobrý. Pokud text napíšu, už se k němu nevracím, nepřepisuju ho. Musí být takříkajíc z jedné vody. Občas něco poopravím, nějaký detail. Nebo má brácha nějakou dobrou připomínku a to opravíme spolu.
A že děti nečtou je fakt mor. To jsou ale ty moderní technologie. Z nových lidí budou brzy úplní dementi... Ovládat přístroje na uživatelský úrovni se naučí i opice. O tom jsem četl, jak byl pokus, že je naučili používat žetony na žrádlo a brzy se to zvrtlo. Prostituce a podobný sračky, jako v naší společnosti. Lidi jsou v podstatě stále zvířata. Kritický myšlení se potlačuje. Hlavně buď poslušný, tady máš zábavu…
Já jsem v osobním životě poměrně konzervativní, ale mám třeba rád sci-fi a v muzice si taky občas vybírám věci, co mě posunou z naší smradlavý planety do vyšších sfér. Miluju VOIVOD! Kdo ovlivnil tebe/vás? Jakou hudbu máš rád, posloucháš ji, zajdeš na koncert? A co knihy, filmy? Jiné koníčky?
Úplně ti rozumím. Brácha třeba miluje Vetřelce a Terminátora. Hodně si to pouští a relaxuje u toho. Poslední díl Terminátora viděl asi 20krát… -)) Nebo teď třeba ujíždí na filmu Underwater s Kristen Stewart (další jeho oblíbená herečka)… Ten už viděl asi šestkrát. Já mám sci-fi rád hlavně ve filmech. To udrží mojí pozornost. Knížky sci-fi skoro nečtu.
VOIVOD. Když jsem je poprvé slyšel, tak mě to vůbec nechytlo. Bylo to asi nějaké jejich rané album. Ve srovnání s tím, co jsem zrovna poslouchal, propadli. Takže tam to bylo rychle vyřešené. Už jsem je nesledoval. Pak ale pouštěl Petr Korál na Rádiu 1 nějaký songy z Negatron a ty se mi hodně líbili. Takže je nesleduju, ale skladby mají některý výborný.
Kdybych ti napsal, jakou mám rád hudbu, tak by to byl hodně dlouhý seznam. Mám rád hlavně dobrou hudbu. Takže nezáleží na žánru. Já třeba miluju Depeche Mode. Líbí se mi všechny jejich alba, i ty nový. Hodně poslouchám i jejich remixy od různých umělců. Mám rád vážnou hudbu. Mám rád rock. Líbí se mi jazz, hlavně z padesátých let. Ocením dobře napsanou popovou písničku. Jsem dost vybíravý.
Na koncerty nechodím. Hudby mám až nad hlavu. A v hluku si stejně moc nepopovídáš.
Knihy miluju. Vždycky jsem rád četl. Dneska už si čtu spíše aktuální informace ze světa. Alternativní média, která přinášejí vážná témata. S odkazy na zdroje informací, samozřejmě. Zajímá mě, co se kolem nás děje. Dezinformační zprávy hlavního proudu nesleduji, nebo jenom pro zábavu… Korporátní média ti neřeknou nic. Jenom lžou, zatajují a mlží. Hnus hnusů.
V emailu si mi prozradil, že se my fanoušci můžeme těšit na nové EP z vaší stáje. Prozradíš nám víc? O čem je, kam jste se snažili posunout, kde jste nahrávali, kde jej budete vydávat? Povídej, přeháněj.
EP se jmenuje Premiant. Nahrávací proces proběhl stejně jako u FS. Kytary jsme nahráli ve studiu Šopa, zbytek nástrojů a vokály v domácím studiu. Mix a celkový dozor: Standa Valášek.
Ten materiál je podle mě asi vrchol naší tvorby. Vážně. Asi bych se jenom chvástal, kdybych ho měl popisovat… -)) A obal, který namaloval brácha je prostě dokonalý. Jsou tam čtyři skladby. Oproti FS zní EP jinak. Každý ten progres uslyší. Nemůžu se dočkat, až to bude venku.
Hergot, to jsem se zase rozkecal, ale to víš, když mám nějakou kapelu rád, tak neznám bratra. Chtěl bys něco vzkázat fanouškům? Promotérům? Vládě? Facebookovým diskutérům? Zde je prostor.
Jakube, předně díky moc, za možnost se vyjádřit. Asi bychom mohli spáchat rozhovor sami se sebou, to by ale nebylo ono… -)) Dal jsi si s otázkami záležet. Dobrá práce. Rád si čtu tvoje stránky, to víš.
Fanouškům chci vzkázat: Podpořte Lavadome production, podpoříte i nás, díky. Promotérům vzkazuji: Za cesťák už nehrajeme -)) Vládě nic vzkazovat nebudu. Tuhle sebranku jsem nevolil. FB diskutérům: Proberte se a buďte jenom věcní. Jenom kritizovat umí každý.
Díky za váš čas!
Děkuji moc za rozhovor. Vážím si jej. Budu se těšit na další hudbu od !T.O.O.H.! a nebo jen tak někde na koncertě u piva. Přeji vám vše dobré i v osobních životech a ať vaše kroky provází síla.
Hail SUPREME CONCEPTION! I always have a habit that when I write interview questions, I also play music from the band I'm interviewing. With you, I went from driving to work, with your last year's album "Empires of the Mind" blaring full blast into my ears, fluently to my computer, where the player immediately offered me the same album. For me it's quite strange, because I'm picky about technical death metal. I like very little of it. But I keep discovering something on the new album, different corners, passages, moments. Will you let us have a look into your "kitchen"? How was the record made?
Sure, happy to share some insights. The music was crafted entirely by Marty Meyer. He normally starts with writing down the notation for each song and this is how he prepares all guitar arrangements upfront. When he had all the five songs for “Empires Of The Mind” outlined this way, we went to a studio to record the demo versions of the guitar tracks. Interestingly, we recorded those in New York, with Chris Basile from PYREXIA, because both Marty and I were spending some time in the US at that point. The reason for doing those demo tracks was to find out what worked and what did not, and at the same time to have professionally recorded guitar tracks for a drummer. We then sent those to Aaron Stechauner who prepared the drums. And with the drums ready, we could finally go to a studio again – this time around to Davos Studio in Vyskov, CZE – and did the final recordings there. We made some small tweaks and alterations to the songs during each stage of the process outlined above. And that’s how we landed at the final shape of “Empires Of The Mind”.
When it comes to the lyrics, I had had a few high-level ideas for the concept in mind, but I wrote the actual lyrics in parallel with the music, so that they were tailored more fittingly to each song. It may appear that the music and the lyrics were done in silos, but the truth is that Marty and I discussed the details throughout the prep and consulted the various parts where we had a few options on how to approach those parts. I think this is how we will continue working in future as well because this has worked quite well for us. And we both now have more understanding of how the other one thinks.
There are currently two members of SUPREME CONCEPTION (Sepp - vocals and Martin Meyer - guitar). But you recorded your last album with a completely different line-up (Sepp, Jirka Zajíc - drums, František Šerák - guitar). So we could say that you are a completely different band. How did the changes affect the way of composing, recording and the overall vision you have? The new one sounds different from your first record "Liturgy of Spiritual Disturbance".
I agree that “Empires Of The Mind” may at first sound like a different band compared to the one that did “Liturgy Of Spiritual Disturbance”. At the same time, it’s important to remember that there is a 12 years’ gap between the two records. Most bands who like to think progressively would have naturally evolved into a somewhat different territory over such time too, even if they functioned continuously. So I see the change as a logical evolution, though I admit that a few links may be missing.
“Liturgy Of Spiritual Disturbance” was a record stemming from brutal death and when it was released, it fully reflected our mindset at the time. Coming up with something a little different now was an interesting challenge and it was one of the things that I liked about the new record. Also, as a listener and a music fan, I tend to prefer bands that gradually evolve and move forward – and hence it’s something that I personally would like to see with SUPREME CONCEPTION.
Thanks to Marty, SUPREME CONCEPTION was resurrected and transformed from a one-time project into a band. And it’s also due to him being the composer now that SUPREME CONCEPTION sounds different. Marty as a musician comes from a different generation compared to Frank Serak, Jirka Zajic and myself – he thinks differently, his way of writing songs is different and he has grown up listening to different bands. He also has a proper music education which impacts the way he writes music and crafts arrangements. But I think we are finding a common ground and the result is not a typical combination. Which is great because we want to have our own thing going as well.
Having said all that, I really don’t want to compare Marty with Frank and Jirka or infer that one line-up was better than the other. Working on “Liturgy Of Spiritual Disturbance” with Frank and Jirka was a fantastic experience and I like to think that we came up with a record that stood out. There is nothing peculiar behind the line-up change – Marty had some musical ideas that were fitting the direction in which SUPREME CONCEPTION could go. Moreover, Frank and I are now playing together in ALTARS ABLAZE, and Jirka and I have also done some music together since “Liturgy Of Spiritual Disturbance”. So there is definitely no bad blood among the original SUPREME CONCEPTION members (smile). Among ourselves, we’re just now creating different music, which is good at the end of the day.
So I understand you had guitars and vocals written and you were missing drums. You approached Aaron Stechauner, who is obviously an incredible musician, professional and from what I've read, a great person. I just can't imagine how it actually went. Did you leave it all up to him or did you fine-tune the details, were you constantly in touch and discussing every beat, every changeover? How did the cooperation work?
We’d given him a free hand really to come up with the initial ideas, because he was the expert when it came to drumming, not us (smile). All communication was electronic but that was not an issue at all, because Aaron was very responsive and flexible. We did ask for a few changes but the vast majority of what you hear on the record are his ideas and arrangements. He also suggested some changes to the structure and composition of some songs that we went ahead with. Perhaps today we would hold the line on some things, but the truth is that at that time we did not have strong opinions on certain elements or arrangements and Aaron’s arguments were convincing.
The collaboration with him was certainly a very interesting experience and we are happy that “Empires Of The Mind” sounds the way it does and has its own character also thanks to his input. We have already started working on a new material and it will most likely feature a different drummer, someone closer to us geographically. If it all works out well, then it will be really exciting!
In an interview you mention that you recorded the new album in different places and finally Chris Donaldson from CRYPTOPSY mixed it for you. Again a great performance, I really like how the sound is organic and dark. At the same time it has this hard to describe "sparkle". Why him? Do you think we couldn't make a similar sound here? And how do you perceive the sound? Are you absolutely satisfied or would you like to change something in the future?
I am very happy with the sound of “Empires Of The Mind”. There are a few things that we’d like to do differently in future, but those things have nothing to do with mix and mastering. Chris Donaldson was a great choice and we’re planning to work with him on our next record again. He has got some interesting productions under his belt, he plays tech death himself and obviously understands the genre, the records he does sound contemporary but without following a generic formula.
Personally, I am excited about how he has mixed the vocals, keeping them clear and understandable, and how he has approached the layered vocals. This is where the outcome was a really pleasant surprise.
And whether someone over here could come up with such sound and production? I hope so, at least in the near future. But to be honest, no one who would be specialized in producing tech death and played in an international league comes to my mind right now. Truth be told though, I had not done too much research locally and choosing Chis was a safe bet.
But we were not after a “big name” necessarily. We’d wanted someone with an outside view who would interpret the record differently compared to what we would have done ourselves. We’d wanted a producer to shift the sound into a direction we would not naturally go into ourselves, And that’s exactly where Chris was a great help, because we did not have to follow any trial-and-error process.
I personally see vocals as another instrument in technical death metal (and not only in it). It depends not only on the timbre, how powerful and "loud" it is, but also on what emotions the singer can convey. Sepp, you are an experienced singer. Is the way of singing in SUPREME CONCEPTION different? Maybe it's age or you eat nails for breakfast, but I find it more "powerful" than DESPISE or HEAVING EARTH used to be. Do you approach singing differently?
I do approach vocals differently than I used to in the past, in a few ways actually. I have been working on my technique over the past few years – and it all started with vocal lessons that I was taking from a classical singer for about a year. We worked on the basics that every vocalist needs. I also started focusing on keeping the vocals understandable, without making them any less growly. And I paid more attention to the form of the lyrics, to ensure the phrasing worked well with the music without loosing the clarity or power. Last but not least, I am no longer afraid to let some emotions into the vocals, exactly as you mentioned. When it comes to the recording process in a studio, I am also much more relaxed and focused these days and enjoy recording vocals a lot more than I used to. Which was not always the case in the past.
It's not just about singing. When I see young guys, what and how they are able to play (especially drummers) in their twenties, I always think, I'm curious about you in your fifties. I think death metal is a hard discipline, even physically. How are you doing? Do you have to do sports or do you have to follow a lifestyle? To do the same thing at a gig as you do on a record must be incredible hard work!
I think that at the end of the day, it is mostly all about discipline and perseverance. It’s almost impossible to make any more progress from a certain point without a regular practice – and it does not matter whether we are talking about music, sport or chess playing. One can have some initial talent but without practicing and training, he or she hits the limits. And then you have a plenty of people who may not necessarily have the “right talent” or be “naturally gifted” but they have the motivation and discipline and perseverance, and so over time they reach the required level, and sometimes even surpass those more talented ones who don’t work that hard. In my view, pretty much anything is possible – it may just be easier for some than for others. But I really think it’s mainly a question of how much time and effort you are ready to dedicate to your thing. And whether you are willing to take some advice or help from someone else maybe.
When it comes to vocals and maintaining the voice in a good shape, I have been trying to follow the usual advice given by seasoned singers – good physical fitness level, enough sleep, voice hygiene, or taking it easy on drinking and eating spicy food. Not that I always succeed, but I am certainly making the effort here. I know where my areas of improvement are – which is good news actually, because this means that an improvement is possible and I can still make some progress, even at my age (smile).
In the texts you are inspired by Yuval Noah Harari's Homo deus - A Brief History of Tomorrow. The book is about the transformation of a man influenced for centuries by different religions, who in the contemporary world is faced with social networks and a completely new approach to life. One can agree with the author on many things, but I found some of them too scary and depressing. Anyway, hats off to you, most of the contemporary lyrics not only in death metal are common, boring, repeated thousands of times and you managed to graft the ideas onto the music precisely - moreover, the album has its own direction, vision, idea. How did you come up with Homo Deus? And why were you inspired by this book? Were the lyrics for "Empires of the Mind" inspired by other authors?
Thank you and I am glad you see it that way. Reading is another hobby of mine – in general, I like to absorb new information and seek further context. When the opportunity to do another SUPREME CONCEPTION record appeared, I started to think about what the right follow-up to “Liturgy Of Spiritual Disturbance” lyrics-wise should be, while refreshing things a bit. It made a lot of sense to me to complement the technical brutal death on the first EP with somewhat philosophical and spiritually charged lyrics. The current musical direction, however, required something different – a bit more futuristic, with questions about where we find ourselves as the species, how we got there and where we are headed.
And in this area, it is Yuval Harari who brings some fascinating insights and observations. As an anthropologist, he obviously has a deep knowledge of the history of Homo Sapiens, but he also has the ability to put things in broader context and perspective – social, political or technological. He asks provocative questions and often outlines even more provocative possible answers. He really makes the reader think about matters that he or she would not contemplate exactly on daily basis. There is one more aspect of his books that is important to me – his critique of religions, or any other dogmas on that matter, and emphasis on thinking, science and rational approach. Because if there is one thing that I can’t comprehend, it is the existence of groundless dogmas and blind faith in them, as opposed to using own brain in a creative or critical way.
Even though “Homo Deus” was the key inspiration for the key messages and concepts of “Empires Of The Mind”, I need to mention a few more interesting books that have had some impacts on me while I was writing the lyrics: “Cosmos” (Carl Sagan), “Beyond the Weird” (Philip Ball) or “Physics Of The Future” (Michio Kaku).
Orion Landau has painted you a very memorable cover. Is there a brain on it, which I understand to be more of a consciousness, which in your case travels through space? It's a great idea, I like Orion's work in general, but I'd be interested in your interpretation of what's on the cover? And how would you describe the motif in relation to the music?
We always knew we wanted to have a strong and distinctive theme of the cover artwork. The key idea came from Marty and Orion was the who was able to transform that idea into a visual that really worked, he added some interesting twists to it and moved the whole thing to a different level. Which only proves again that it always pays off to work with a professional who is able to add extra value.
The theme itself contains a few layers of meaning. The brain does represent the human mind or consciousness as such – whether as a product of or something that also influences the universe. The mind that comprehends how the universe works on macro and micro level – and an intelligence capable of creating new forms of intelligence.
And as far as the relationship between the artwork and the music itself goes, I can see two connections. The first being that a human brain or mind may serve a symbol of progression – the urge to keep moving and evolving. And the other is an element of cautious optimism because of the fact that the mind is not only the source of various problems but can also be a key to their solutions. And it is this optimistic symbolism that corresponds with a relatively positive and upbeat mood of the record.
The question arises, what about SUPREME CONCEPTION and concerts? Again, of course, the drummer is essential. But the bass also makes the music. In my opinion, it is absolutely irreplaceable at concerts. Are you ready and will you perform? And what direction do you want to take SUPREME CONCEPTION in? Do you have a goal? Please give us an outline of the future of the band.
Gradually we’ve been getting ready for future live shows because we really enjoy playing these songs and can’t wait to perform them live. I agree that a drummer will be the key person here. We need not only someone able to play the material easily, but also to have a similar approach like Marty and myself with respect to playing and being in a band. If we don’t find someone locally, then we’ll hire someone from abroad. We’ve already made some contacts and had some preliminary chats about that. And regarding the bass – our next record will feature a proper bassist and we will find someone for concerts as well.
I don’t think we’ll rush into playing live this year as we still need to add a few more songs to the playlist, so that we don’t run off stage after 20 mins or so. We will be releasing some new material this year, but I can already say that this new material is not going to be something that could at this point become a part of the live playlist.
As a whole, SUPREME CONCEPTION is for me a technical death metal band that wanders in a dark universe. Actually the lyrics make you seem rather "negative". I know, this all comes from a certain concept, the album is also terribly easy to listen to (because it is simply well composed, which is quite often forgotten nowadays). But I would be interested in your opinion about the contemporary world, society. I think it's clear that we are at a crossroads. On the one hand we have great technology, on the other we have a lot of people who have nothing to eat. But for me personally the biggest problem is education (not only Facebook). What is your opinion?
This is quite interesting because I actually think all the lyrics that I wrote for SUPREME CONCEPTION are quite positive (smile), especially those on “Empires Of The Mind” and compared to what I’ve been writing for my other bands. I do admit that they may still come across as critical with respect to dogmatic “thinking” or herd mentality, but the underlying message is still positive. “Empires Of The Mind” is a homage to all the visionaries and great thinkers, thanks to whom the humanity has been able to reach today’s level. By that I mean that the science, technology (and I don’t mean just information technology) and collaboration are at such a level that many unsurmountable problems of the past have now become merely technical challenges that can be solved sooner or later. The progress is really striking – from a bit more sophisticated ape we became a dominant species on this planet and our mind is massively expanding across time and space. Which I find really fascinating.
At the same time, some things just don’t change even as generations come and go. We still have that reptile part of the brain that influences the way we act. And in some ways our minds are still stuck in the “dark medieval times”. So we live in a world of paradoxes and contrasts beyond our comprehension sometimes – as you say…
I do think – or perhaps that’s just wishful thinking – that as people we are at a certain crossroad. Globalization has started a number of processes and people can finally see themselves more as members of one species inhabiting this (by now quite decimated) planet, rather than as competing clans (please read as: states, political, religious, political or cultural tribes – and feel free to add any other categories). At the end of the day, we all are after the same things in our daily lives. So yes, there is some potential for us to become a sort of planetary civilization – and possibly reach even beyond this planet. We know so much about the cosmos now and it would be a real shame not to visit some of the places one day (smile).
Beside that “madness gene” that is urging us to keep moving forward and into the unknown, there is also something genocidal about our species. Because I can’t think of any other species capable of obliterating its own members (or relative species) just because they are too familiar to ignore yet too different to tolerate. Maybe rats and sewer rats treat one another in a similar manner. And it’s this aspect of Homo Sapiens (which has been there since the inception) that represents another fascinating mystery.
To be honest, I am not really sure what kind of future scenario I would bet on. But if the past few millennia provide any guidance, then perhaps over the next few decades or centuries there will be some more positive progress despite the risks of serious missteps and setbacks along the way.
And I totally agree with you that education is absolutely key. One may look at what Europe looked like during some 1,000 years after the fall of the Roman Empire, when it was co-ruled by the Catholic Church that maintained the monopoly over “culture” and “education” – during those 1,000 years Europe was one of the most backward places in the world. For 1,000 years (!!!) – until renaissance and enlightenment came and people realized that instead of going to a church they can start using their brains. Even if we fast-forward to our times – many people are content with having “information” and “opinion” – and share that “opinion” under the shield of anonymity with the rest of the world without much consequence. Everyone has an “opinion” (even the biggest morons) but having access to information (or “information”) does not necessarily mean that I actually understand something (even if I am totally convinced about the opposite). So it boils down back to education – it provides at least some basis for being able to process the available information and course-correct own” opinions”. On the other hand, education itself does not guarantee that people will use it wisely. Bashar al-Assad for example is apparently an educated man, yet it did not stop him from totally devastating Syria and mass-murdering its civilians. But that’s a different debate…
And how do you see the current underground scene? I mean promoters, labels, concerts. You've been in the scene for years, you've worked in the US and Saudi Arabia, you've seen a lot of the world, you've met a lot of people. Has a lot changed over the years? I don't think of it nostalgically now, but rather new technology in the studio, people's attitude, etc.
I don’t have as much experience as other musicians, but I will share a few observations and personal thoughts on this. The metal underground is a thriving and a very diverse organism. Almost anywhere in this world you will find people who are extremely passionate about metal music and way of life. For example, I met one of my best friends (Shazwan) at a totally UG concert in Dubai a few years back, and he started talking to me because I was wearing a HEAVING EARTH t-shirt. It became very clear that Shazwan knew not only HEAVING EARTH, but also many other Czech bands, LYKATHEA AFLAME being one of his all-time faves. These are the things that don’t change over time or based on geography.
Like everyone else, I too see the massive shift in how music is produced and distributed compared to the situation 10 – 20 years ago. Recording is so accessible and literally anyone can create something on the musical front. And basically anyone can share their music with the rest of the world. And both things cost close to nothing. Hence on one side, we now have the access to some fantastic bands and records. On the other, the internet is flooded with new albums every day, which makes it impossible to keep up with all good music or separate the quality stuff from junk. So in a way, the gate-keeping role that record labels or mags played in the past is missing now a bit. But I am definitely not nostalgic about any “good old times” or “golden age” or whatever.
Luckily most bands who want to reach a certain level now understand that they need to stand out of the huge crowd, whether via getting help from various PR agencies or via relentless touring, especially on international level. Though things have got crowded there too – you really have to book interviews or press profiles months in advance, and even that may not always help. And the value of certain tour packages is dropping with the number of support bands increasing, especially if the quality is not necessarily the key decision factor.
So yes, the times have changed and continue to change, though some principles (such as the fundamental passion for music itself) are constant. But I believe it’s better to use some opportunities the new times bring rather than fight against the changes. But it’s up to each band to determine how they want to use their energy {smile).
What I do regret to see is a certain fragmentation of the metal scene along the lines of various sub-genres, but I guess that’s just the way things are (smile). But the thing that does worry me quite a bit is how political the musical scene in general has become. It seems that artists’ political stances (both current and past), or the absence of them, is more important to some people than the actual music they create. The whole notion of whether the music is “engaged enough” (of course, in the “correct” direction) or whether the music is not “hurting” someone’s “feelings” is really concerning. For me, metal music and mentality of dictating/controlling what’s right and what’s not just don’t go together. Censorship and auto-censorship kill creativity. But I still believe that common sense and not taking everything so bloody seriously will prevail at some point (smile).
Thank you very much for the interview, I appreciate it. And especially for your music. Because I keep coming back to "Empires of the Mind". There's always something to discover, to enjoy. I wish you as many loyal fans as possible, crowded concerts and that people think more about your music. May you do well in your private life and I'll look forward to seeing you live somewhere!
On behalf of SUPREME CONCEPTION, I want to thank you as well for the support and space in Deadly Storm zine. We really appreciate that you had dedicated some good time to “Empires Of The Mind” and were willing to dig under the surface!
