For those that have never heard of you before, can you tell us a little bit about the musical project?
Hails ! Adoperta Tenebris is a long lasting project I put on hold several times since a decade, more or less, and always returning to it while I got time to do so. It’s a project where I can mix different influences — mainly Black metal, of course — and try to express the cold and dark side of mankind.
In November you have a new album coming out, musically how does it differ from the stuff you have released in the past?
First of all, I recorded in a real studio, which make a huge difference when you want your music to be intelligible to your listenners. “Oblivion: The Forthcoming Ends”, this new album, is probably a bit more “straight to the point” than I used to do in the past. Finding my own way and trying to avoid, as much as possible, to play the same music than the bands I like to listen to and influenced the music I make. This second album is also probably less technical than the first one.
This is also your first release in 4 years, can you tell us a little bit more about what has been going on during the time frame?
I write riffs and music on a regular basis but writing lyrics is a real pain in the ass to me. I’m not saying it took me four years to write the lyrics of the album but... I don’t want anobody else to do the job, so it appears to be time-consuming. Quite a bit.
What are some of the lyrical topics and subjects you have explored so far with the music?
There’s no red thread in the lyrics I write. Just a simple reflection on the world we’re living in. Nourished and infused with dystopian and nihilistic readings here and there (“We Were Giants”, “Calvaire”, “The Season of Gallows”). And maybe a glimpse of mystical thoughts hidden somewhere (“A farewell to Hope”, “Utter manifest”). But I’m fascinated by the fact that you just have to put a nice clean paint on a old wreck to make it brand new, even if everyone knows it’s a wreck. Fascinating really.
What is the meaning and inspiration behind the name 'Adoperta Tenebris'?
Adoperta Tenebris means “cover with darkness” and is out of the first book of Elegies by latin classic poet Tibullus. I found this name in the very beginning of the project. Maybe before even writing the first single note, I don’t remember clearly. And I always thought it is the perfect name for the issues I deal with this project.
Can you tell us a little bit more about the artwork that is presented on the new album cover?
This picture is the work of norwegian photographer Dina Christophersen. It appeared randomly while I was recording the album and I thought it was the perfect visual twin to the atmosphere I would reach with the music. It’s a really powerful composition. Cold, unwelcoming, unmovable yet overwhelming and alluring. The similarities with the artwork of the first album make it even more obvious and logical.
With this project you record everything by yourself, are you open to working with other musicians or do you prefer to work solo?
I compose everything, yes, but I didn’t record the whole album. It’s Äaerzerath, from the band Natremia, who recorded all drums parts. And I ask some friends to appear on vocals and instruments here and there. In the other hand, the process of composition with other people would make it really easier but I’m not ready to it. Having a band is a real commitment to you and the other musicians, and I don’t want to be some sort of CEO telling others to play “this way” and “not this way” and having to explain the reason why I make this choice or another. I want to remain free with my own music, nevermind mistakes or regrets.
In 2018 you also done a 'Velvet Underground' cover, what was the decision behind doing your own version of one of their songs?
‘Venus In Furs’ is one of the most powerful and dark pieces ever written. I should have heard a BM melody while listenning to the song one day and it probably started like that. But it was more like an exercise, in the way I made it : how to keep the cold aura of the song and avoiding this overpowering dissonant violin line? Didn’t expect to release it, but a night of insomnia changed my plans.
On a worldwide level how has the reaction been to your music by fans of black metal?
Pretty good so far. The music didn’t reach a massive audience, of course, but the “happy few” who listen to Adoperta Tenebris seem to like it, your review tend to prove it. And I’m lucky to have the support of a reknown label like Les Acteurs de l’Ombre to promote it.
Where do you see yourself heading into as a musician during the future?
While bringing Adoperta Tenebris to a new level for the next album, I think I will try to create something different. Got tons of ideas on hard drives covering a whole bunch of genres, so I will probably cheat on BM for a while.
What are some of the bands or musical styles that have had an influence on your music and also what are you listening to nowadays?
I begin to play music under the influence of the Scandinavian second wave, Emperor and Satyricon first and foremost. Later, I’ve been really impressed by the work of Ophthalamia, Nehëmah, DSO, Funeral Mist, Anorexia Nervosa or Thorns among many. Even if I still listen to some new stuffs, I’m not really into Black Metal anymore, there’s too much bands to listen to and I don’t have time to really dig into a band or an album. Yet, lately, Vortex of End, Sordide, Clandestine Blaze, Decline of the I or Ruyyn rejoice my soft and delicate ears.
Before we wrap up this interview, do you have any final words or thoughts?
Nothing except to thank you for your review and this interview. Keep supporting the underground scene and never let anybody tell you what you should (or shouldn’t) listen to.
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