Thought I would pop on to post the second round of videos for the month, as I start to look forward to a long weekend and some writing. Hope everyone is well. Enjoy!
Alpines’ “Drive” from their YouTube Channel: AlpinesMusic.
Frankie & The Heartstrings’ “Hunger” from their YouTube Channel: frankieheartstrings.
David’s Lyre’s “In Arms” from their Youtube Channel: ThisIsDavidsLyre.
The Unravelling’s “Move Forward Until You Are Dead” from their YouTube Channel: Theunravellingmusic.
The Kills’ “Satellite” from the DominoRecords YouTube Channel.
Jessie Ware & Sampha’s “Valetine” from the youngturksrecords YouTube Channel.
The New Raemon’s “Verdugo” from the bcoredisc YouTube Channel.
Two Door Cinema Club’s “What You Know” from their YouTube Channel: twodoorcinemaclub.
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Showing posts with label The Unravelling. Show all posts
Showing posts with label The Unravelling. Show all posts
17 February 2011
22 July 2010
The Unravelling Answer 5 Again
I was completely excited when The Unravelling released their debut album, “13 Arcane Hymns” (link to review). From listening to the demo versions to the final product, I was blown away by the depth and beauty of the album…. Two e-mails later, and Gustavo de Beauville and Steve Moore were more than happy to answer 5, again. Everything from hookers and blow to politics get mentioned here, and just as their music, their answers are uncompromising. I hope you all enjoy, and I would like to personally thank Gus and Steve for taking the time to answer 5.
1. The Unravelling did not play it safe with "13 Arcane Hymns." Though I have used the word "metal," I am not sure that does the album justice. (And I hate the "progressive" label, as I think all artists have a duty to be progressive in terms of anything artistic.) What I hear are many strains of different musical traditions, from rock to metal, from industrial to goth, coming together in various different degrees. When you started composing the album, was this the goal or is this something that happened naturally?
Gus: In terms of the music, “13 Arcane Hymns” took early shape as a maniacal one man project with the aim of creating a body of material that would be enticing enough to attract the right vocalist to complete them. Somewhat of a Venus flytrap or anglefish approach. I was going through a lot of genre experimentation at the time, so the songs reflect this period. It was very new to me because my background up to this point was metal and 90s grunge but traveling to Canada and living alone for a year made me seek out a plethora of interesting new artists. Such as Sopor Aeternus, Sophia, Arcana, Predella Avant, Dead Can Dance, Nox Arcana and Sephiroth, which really inspired me but were filtered through the lens of a "meat and potatoes" (drums, guitar, bass, vocals) musician.
Steve: To me, progressive can get to be a strange word in the context of music - it can mean wildly different things to different people. I don't even know what pure progressive rock or metal, bereft of other style interference, would sound like. I think that in the end, I just don't care enough to research it too closely. That being said, I love a lot of different music, so this kind of schizophrenia comes out in my writing that is probably unusual. I love Dead Can Dance and Dillinger Escape Plan, for example - they would normally be seen as two completely different energies, but I see them both as honest, talented artists. They're both powerful in their own way. The first priority is to write something I feel is good and that I'm inspired by, and the second priority that I try to fulfill is that I feel the work is original.
So not playing it safe was intentional and natural at the same time. We recorded and released this album in the faith and strong belief that there are still people out there who want honesty in their art and music. That is technically our market.
2. Metal is one of the genres I feel is in a tragic state; it has become generic, complacent, and repetitive. I have read about the days when metal dominated the Reading Festival and find myself wishing for a metal renaissance. Why do you think this complacency has happened?
Gus: Renaissance.....Such an eloquent way to describe your dismay. It's sad but a lot of bands are a reflection of society I think. They cater to the masses to suckle at the teat of their masters. I firmly believe somewhere out there there's powerful suit-wearing, cigar toting assholes in tall buildings with gold records on their walls going, "They want to shake their asses and swig cheap booze, then give those sheep what they want. Churn that shit out ASAP. I got hookers to bang and blow to inhale." Then bands like Nickelback, State of Shock, Theory of A Deadman, Puddle of Mud, Shinedown, Hinder, Finger Eleven, Seether, Stone Sour, Hedley, Marianas Trench, and Simple Plan get a phone call.
Steve: You could say the same thing about the world I think. The complacency in metal music has probably happened due to lack of inspiration or good ideas, the desire to cater to genre regulations, the need to be part of a crowd, a lack of new learning and an over-interest in anti-religious sentiment without enough intelligent argument or political points, and a general rejection of individuality and artistic expression. I always appreciate when artists and bands dare to do something different. There's a lot of room for it in metal, but you can't be afraid of breaking the rules and leaving the genre if need be. That being said, there are some amazing bands out there today. The ones that blow you away just don't typically tend to be the ones who put themselves in a box.
Geez, that's quite the list, Gus! You forgot Justin Bieber, though it'll probably be a few years yet before he's into the hookers and blow.
3. Let's continue to speak about complacency: Audiences! From relying on traditional sources for new music, especially radio, and an environment of not wanting to think or feel when listening to music, most listeners have become passive, empty receptacles, who are either scared, uninspired, or too damn lazy to scratch the surface. What would you say to them to get them to scratch the surface and listen to "13 Arcane Hymns?"
Steve: If the description in question 3 sounds like you, you should listen to “13 Arcane Hymns.” Unlike much of the music out there currently, this stuff is real - for better or worse, and that's for you to decide. It's not the feel-good album of the summer, but it offers something strong and worthwhile. If Top 40 is your thing, I wouldn't strain yourself.
Gus: That's a really tough question. I prefer to remember the days when music really inspired and almost defined who you were. Times when Phil Anselmo would rant about the 'trend being dead,' also when Kurt Cobain had to explain what the doodles on his sneakers meant. When Layne Staley had to tell people that drugs were bad and were actually killing him (RIP). When people used to hang on every obscure word from Maynard James Keenan. When Trent Reznor dropped “The Downward Spiral” onto the scene and people thought he was nuts. When “Anti Christ Superstar” came out and the video for “The Beautiful People” was so dark, twisted and innovative it was awe-inspiring. Nowadays it's about having wineries and selling overpriced merchandise. But getting back to your question, I think either it's a state of being young and impressionable and hearing some great bands or maybe the quality of music as an art form has indeed been diluted. I'm leaning towards the later.
4. The images in the "Fire Breather" video, which capture a Tibetan protest, really stuck with me for quite some time. But the one thing that I started to think about is what is the role of artists in making political/social statements or allowing their music to be used in that vein. What do you guys think about the meeting of "politics" and music? Is this a responsibility of musicians?
Gus: Ok, straight off the bat, I do not mix politics with art. Yes, the world is a sordid, twisted political place, but I leave these matters to people that are more equipped to resist the machine. Steve does very well in this area and has thus far been the political figurehead for the band. I myself tend to be the wide-eyed dreamer that grasps for the invisible thread in his reclusive comfort zone. Dabbling in the unknown and mysteries of the occult interests me far greater than focusing on the misdeeds of man.
Steve: I don't mix politics and music all the time, but I do it on some tracks. I tend to talk quite often about spiritual or energetic concepts that I feel are potent in poetic form as well. Basically, I think people should be able to talk about whatever the hell they want to, and there should be no stigma attached to it. People arguing for less politics in music and movies are happy pawns. 100 indie pop songs about tube socks and ex-girlfriends and you have a problem with a song about something that actually affects our lives in a profound way? They must have a lot of trust in their politicians to want them to be the only ones to have the microphones in our society. I do not share the same general trust in politicians, so I express that from time to time. At the same time, you can only be responsible for what you project and for what you say, so all I can control is my own voice, and I monitor it fairly closely. I try to make sure what I say is really what I want to project to the world - a positive expression of empowerment.
5. The natural course of music is that is it is conceived and composed, recorded, and then showcased live. How are you two going to approach the music live? What can we expect?
Gus: We have played a couple of live shows thus far and the response has been very encouraging. At this moment I am working on incorporating psychedelic visuals to our show.
Entertaining and inspiring our fans is very important to us as a unit and a trusted mentor of mine told me to "Go create the show that you want to be at" and that is what I am doing. Crafting out our own mythos and an ethereal aura for the band is my goal. See you on the other side...
Steve: We will do everything we can to push this project to new listeners, so that includes building a successful live show. The shows thus far have been great and we look forward to more. Expect something different. Rants via megaphone most definitely!
Keep up with The Unravelling at their homepage, MySpace, Facebook, and Twitter.
Here is “Where Will It End?” from their YouTube Channel: Theunravellingmusic.
Read more ...
The Unravelling
1. The Unravelling did not play it safe with "13 Arcane Hymns." Though I have used the word "metal," I am not sure that does the album justice. (And I hate the "progressive" label, as I think all artists have a duty to be progressive in terms of anything artistic.) What I hear are many strains of different musical traditions, from rock to metal, from industrial to goth, coming together in various different degrees. When you started composing the album, was this the goal or is this something that happened naturally?
Gus: In terms of the music, “13 Arcane Hymns” took early shape as a maniacal one man project with the aim of creating a body of material that would be enticing enough to attract the right vocalist to complete them. Somewhat of a Venus flytrap or anglefish approach. I was going through a lot of genre experimentation at the time, so the songs reflect this period. It was very new to me because my background up to this point was metal and 90s grunge but traveling to Canada and living alone for a year made me seek out a plethora of interesting new artists. Such as Sopor Aeternus, Sophia, Arcana, Predella Avant, Dead Can Dance, Nox Arcana and Sephiroth, which really inspired me but were filtered through the lens of a "meat and potatoes" (drums, guitar, bass, vocals) musician.
Steve: To me, progressive can get to be a strange word in the context of music - it can mean wildly different things to different people. I don't even know what pure progressive rock or metal, bereft of other style interference, would sound like. I think that in the end, I just don't care enough to research it too closely. That being said, I love a lot of different music, so this kind of schizophrenia comes out in my writing that is probably unusual. I love Dead Can Dance and Dillinger Escape Plan, for example - they would normally be seen as two completely different energies, but I see them both as honest, talented artists. They're both powerful in their own way. The first priority is to write something I feel is good and that I'm inspired by, and the second priority that I try to fulfill is that I feel the work is original.
So not playing it safe was intentional and natural at the same time. We recorded and released this album in the faith and strong belief that there are still people out there who want honesty in their art and music. That is technically our market.
Gustavo de Beauville
2. Metal is one of the genres I feel is in a tragic state; it has become generic, complacent, and repetitive. I have read about the days when metal dominated the Reading Festival and find myself wishing for a metal renaissance. Why do you think this complacency has happened?
Gus: Renaissance.....Such an eloquent way to describe your dismay. It's sad but a lot of bands are a reflection of society I think. They cater to the masses to suckle at the teat of their masters. I firmly believe somewhere out there there's powerful suit-wearing, cigar toting assholes in tall buildings with gold records on their walls going, "They want to shake their asses and swig cheap booze, then give those sheep what they want. Churn that shit out ASAP. I got hookers to bang and blow to inhale." Then bands like Nickelback, State of Shock, Theory of A Deadman, Puddle of Mud, Shinedown, Hinder, Finger Eleven, Seether, Stone Sour, Hedley, Marianas Trench, and Simple Plan get a phone call.
Steve: You could say the same thing about the world I think. The complacency in metal music has probably happened due to lack of inspiration or good ideas, the desire to cater to genre regulations, the need to be part of a crowd, a lack of new learning and an over-interest in anti-religious sentiment without enough intelligent argument or political points, and a general rejection of individuality and artistic expression. I always appreciate when artists and bands dare to do something different. There's a lot of room for it in metal, but you can't be afraid of breaking the rules and leaving the genre if need be. That being said, there are some amazing bands out there today. The ones that blow you away just don't typically tend to be the ones who put themselves in a box.
Geez, that's quite the list, Gus! You forgot Justin Bieber, though it'll probably be a few years yet before he's into the hookers and blow.
Steve Moore
3. Let's continue to speak about complacency: Audiences! From relying on traditional sources for new music, especially radio, and an environment of not wanting to think or feel when listening to music, most listeners have become passive, empty receptacles, who are either scared, uninspired, or too damn lazy to scratch the surface. What would you say to them to get them to scratch the surface and listen to "13 Arcane Hymns?"
Steve: If the description in question 3 sounds like you, you should listen to “13 Arcane Hymns.” Unlike much of the music out there currently, this stuff is real - for better or worse, and that's for you to decide. It's not the feel-good album of the summer, but it offers something strong and worthwhile. If Top 40 is your thing, I wouldn't strain yourself.
Gus: That's a really tough question. I prefer to remember the days when music really inspired and almost defined who you were. Times when Phil Anselmo would rant about the 'trend being dead,' also when Kurt Cobain had to explain what the doodles on his sneakers meant. When Layne Staley had to tell people that drugs were bad and were actually killing him (RIP). When people used to hang on every obscure word from Maynard James Keenan. When Trent Reznor dropped “The Downward Spiral” onto the scene and people thought he was nuts. When “Anti Christ Superstar” came out and the video for “The Beautiful People” was so dark, twisted and innovative it was awe-inspiring. Nowadays it's about having wineries and selling overpriced merchandise. But getting back to your question, I think either it's a state of being young and impressionable and hearing some great bands or maybe the quality of music as an art form has indeed been diluted. I'm leaning towards the later.
Gustavo de Beauville
4. The images in the "Fire Breather" video, which capture a Tibetan protest, really stuck with me for quite some time. But the one thing that I started to think about is what is the role of artists in making political/social statements or allowing their music to be used in that vein. What do you guys think about the meeting of "politics" and music? Is this a responsibility of musicians?
Gus: Ok, straight off the bat, I do not mix politics with art. Yes, the world is a sordid, twisted political place, but I leave these matters to people that are more equipped to resist the machine. Steve does very well in this area and has thus far been the political figurehead for the band. I myself tend to be the wide-eyed dreamer that grasps for the invisible thread in his reclusive comfort zone. Dabbling in the unknown and mysteries of the occult interests me far greater than focusing on the misdeeds of man.
Steve: I don't mix politics and music all the time, but I do it on some tracks. I tend to talk quite often about spiritual or energetic concepts that I feel are potent in poetic form as well. Basically, I think people should be able to talk about whatever the hell they want to, and there should be no stigma attached to it. People arguing for less politics in music and movies are happy pawns. 100 indie pop songs about tube socks and ex-girlfriends and you have a problem with a song about something that actually affects our lives in a profound way? They must have a lot of trust in their politicians to want them to be the only ones to have the microphones in our society. I do not share the same general trust in politicians, so I express that from time to time. At the same time, you can only be responsible for what you project and for what you say, so all I can control is my own voice, and I monitor it fairly closely. I try to make sure what I say is really what I want to project to the world - a positive expression of empowerment.
Steve Moore
5. The natural course of music is that is it is conceived and composed, recorded, and then showcased live. How are you two going to approach the music live? What can we expect?
Gus: We have played a couple of live shows thus far and the response has been very encouraging. At this moment I am working on incorporating psychedelic visuals to our show.
Entertaining and inspiring our fans is very important to us as a unit and a trusted mentor of mine told me to "Go create the show that you want to be at" and that is what I am doing. Crafting out our own mythos and an ethereal aura for the band is my goal. See you on the other side...
Steve: We will do everything we can to push this project to new listeners, so that includes building a successful live show. The shows thus far have been great and we look forward to more. Expect something different. Rants via megaphone most definitely!
Keep up with The Unravelling at their homepage, MySpace, Facebook, and Twitter.
Here is “Where Will It End?” from their YouTube Channel: Theunravellingmusic.
Read more ...
05 June 2010
The Unravelling: "13 Arcane Hymns"
I really make no assumption of where great music comes from or what genre it happens to be in. Though I tend to wear my post-punk / shoegaze heart on my sleeve, I honestly listen to just about anything and everything. This includes metal, which may surprise some people. But I think, in general, metal suffers from the same thing as many genres are suffering from right now: complacency. Between metalcore and metal’s own looking backwards in retro-metal, there doesn’t seem to be much out there that offers something new, something vibrant, or something urgently relevant. Of course, that is my own opinion, and others are welcome to chastise me for it, but before doing that, take a moment and discover The Unravelling. Last year, I had the pleasure of listening to and writing about demos recorded by this Canadian duo, and even getting them to answer a few questions for me (links to demo review and interview). And in the midst of all the chaos and my own struggles to find time, I listened to the official release of “13 Arcane Hymns” (15 May 2010 – available in CD or digital download on the band's website). And after listening, I feel the need to restate something I have said before: Gustavo de Beauville and Steve Moore are incredible songwriters, and their proper release proves just how much chops they really have. And when listening to a band like The Unravelling, one thing comes to mind: Welcome to the future.
The musical references here are broad and wide: from Tool to Nine Inch Nails, from Opeth to Dead Can Dance – but there is always something there that is uniquely them. Self-financing their debut release, “13 Arcane Hymns” is a testament that great music does not have to kiss the arse of the corporate music industry. From beginning to end, this duo takes you on a musical journey of different moods and emotions, as this concept album about being buried alive unfurls. Musically, the credit goes to Beauville, who has created an ever-shifting, unpredictable soundscape that is haunting and mesmerizing. Lyrical and vocal credits go to Moore, who is able to not just carry a tune, but sing with passion, and then turn around and scream, howl, and become primal. And it is in that marriage of dual range, dual versatility, that The Unravelling generates both sonic and visceral power. Actually, it is hard to divorce the two – as the music sometimes pummels you, at others sooths you, and you’re listening to the words and the voice, your heart is racing… your anxiety building… as you shift from one mood to another.
Opening with “Move Forward Until You Are Dead,” “13 Arcane Hymns” has this inviting intro, with Moore singing over the guitar arrangement and a building beat, and forty-five seconds into the song, the beat drops and you are completely disarmed. And the track continues to alternate between both extremes: smooth/soothing and hard/abrasive. The third track, “Fire Breather,” the shortest on the album, really demonstrates what these two have learned from Dead Can Dance: big atmosphere, haunting backgrounds, and ambient energy. Further down, “Last Rights Protest” smacks you with its in-your-face power; the song has my favorite guitar work on the album. The eighth track, “In The Safe House,” is simply an incredible song. I will restate what I said about this track before: it is the evidence that these guys can write anything they want, any genre, any mood. This is the one song that stands out the most on the album from the others; it is not just because of its softness, everything about the song is different than what surrounds it. From how it is arranged, to how it was recorded, to how it is sung and played, they demonstrate they are not victims of expectations, nor confined by any complacency of only producing music in one format. The album closes with “Victory Song.” After generating forty-eight minutes of sonic and visceral power that leaves you jumbled on the inside, they create the catharsis you need in this last track. Though only five minutes, this song feels of uber-epic proportion, and everything is here: the thinking outside of the box, the atmosphere, the harshness, the soothing, the harrowing, and the final release.
Why is this a must? “13 Arcane Hymns” is brilliant, infectious, and non-complacent. Not to mention urgent, relevant, and thriving full of energy. In an industry that is marred by counterfeits, musicians buying into shallowly defined genres, and industry whims and trends, The Unravelling compose, recorded, and self-release an album that continues that 2010 trend of pulling that proverbial bar higher. This is more than just any ole metal album; this is evolution, a step towards the future, pioneering new directions for a genre in desperate need of that.
Track Listing:
1. Move Forward Until You Are Dead
2. Becoming Chaos
3. Fire Breather
4. Open Skull
5. Last Rights Protest
6. Revived
7. Unscripted Disclosure
8. In The Safe House
9. Where Will It End?
10. Disconnect-Connect
11. My Resignation
12. Arjuna
13. Victory Song
Keep up with The Unravelling at their homepage (where you can purchase the hard-copy CD or the digit download), MySpace, Facebook, and Twitter.
Here is “Where Will It End?” from their YouTube Channel: Theunravellingmusic.
Read more ...
The musical references here are broad and wide: from Tool to Nine Inch Nails, from Opeth to Dead Can Dance – but there is always something there that is uniquely them. Self-financing their debut release, “13 Arcane Hymns” is a testament that great music does not have to kiss the arse of the corporate music industry. From beginning to end, this duo takes you on a musical journey of different moods and emotions, as this concept album about being buried alive unfurls. Musically, the credit goes to Beauville, who has created an ever-shifting, unpredictable soundscape that is haunting and mesmerizing. Lyrical and vocal credits go to Moore, who is able to not just carry a tune, but sing with passion, and then turn around and scream, howl, and become primal. And it is in that marriage of dual range, dual versatility, that The Unravelling generates both sonic and visceral power. Actually, it is hard to divorce the two – as the music sometimes pummels you, at others sooths you, and you’re listening to the words and the voice, your heart is racing… your anxiety building… as you shift from one mood to another.
Opening with “Move Forward Until You Are Dead,” “13 Arcane Hymns” has this inviting intro, with Moore singing over the guitar arrangement and a building beat, and forty-five seconds into the song, the beat drops and you are completely disarmed. And the track continues to alternate between both extremes: smooth/soothing and hard/abrasive. The third track, “Fire Breather,” the shortest on the album, really demonstrates what these two have learned from Dead Can Dance: big atmosphere, haunting backgrounds, and ambient energy. Further down, “Last Rights Protest” smacks you with its in-your-face power; the song has my favorite guitar work on the album. The eighth track, “In The Safe House,” is simply an incredible song. I will restate what I said about this track before: it is the evidence that these guys can write anything they want, any genre, any mood. This is the one song that stands out the most on the album from the others; it is not just because of its softness, everything about the song is different than what surrounds it. From how it is arranged, to how it was recorded, to how it is sung and played, they demonstrate they are not victims of expectations, nor confined by any complacency of only producing music in one format. The album closes with “Victory Song.” After generating forty-eight minutes of sonic and visceral power that leaves you jumbled on the inside, they create the catharsis you need in this last track. Though only five minutes, this song feels of uber-epic proportion, and everything is here: the thinking outside of the box, the atmosphere, the harshness, the soothing, the harrowing, and the final release.
Why is this a must? “13 Arcane Hymns” is brilliant, infectious, and non-complacent. Not to mention urgent, relevant, and thriving full of energy. In an industry that is marred by counterfeits, musicians buying into shallowly defined genres, and industry whims and trends, The Unravelling compose, recorded, and self-release an album that continues that 2010 trend of pulling that proverbial bar higher. This is more than just any ole metal album; this is evolution, a step towards the future, pioneering new directions for a genre in desperate need of that.
Track Listing:
1. Move Forward Until You Are Dead
2. Becoming Chaos
3. Fire Breather
4. Open Skull
5. Last Rights Protest
6. Revived
7. Unscripted Disclosure
8. In The Safe House
9. Where Will It End?
10. Disconnect-Connect
11. My Resignation
12. Arjuna
13. Victory Song
Keep up with The Unravelling at their homepage (where you can purchase the hard-copy CD or the digit download), MySpace, Facebook, and Twitter.
Here is “Where Will It End?” from their YouTube Channel: Theunravellingmusic.
Read more ...
19 May 2009
The Unravelling Answers 5
The Unravelling Answer 5
It is amazing when you are part of a journey of something that is so nascent. Steve and I have been chatting back and forth now for some time, and I have been able to share in the unraveling of the Unravelling. I had the opportunity to listen to some of their developing music and share it with you (link, check it out). It is not often that I am especially anxious for the release of a new album (for example, when Fat Bob is about to release, then I chew my nails to non-existence), but I have become anxious to finally hear the final product, “13 Arcane Hymns,” later this year and hopefully getting to see/hear this perspicacious music live – imagine the power! Though they are busy finishing this process before their release, I would like to genuinely thank both Gus and Steve for taking the time to Answer 5.
1. Who are your musical and nonmusical influences?
Gus: My musical origins took root from growing up as a child and looking through my father's records. I would always pick out the most bizarre looking ones with the craziest, psychedelic artwork and study them in great detail. Naturally when I learnt how to work the LP player I started popping them in for a listen. Out of that I discovered Black Sabbath, Pink Floyd, Rush and similar pioneers. Of course he listened to other 'renegades' of the day that I thought were total shit even at the age of nine - so the entire collection wasn't flawless, but it did serve to lead me to where I am now.
Steve: My influences have evolved and grown over the years but there have been some staples that have shaped my leanings as a person. I read “The Autobiography of Malcolm X” by Alex Haley at quite a young age and this changed me completely. It inspired a keen interest in human rights that has stayed with me and grown throughout my life. Other individuals like Taslima Nasrin, Simon Wiesenthal, Che Guevara, Hunter S Thompson, Ward Churchill, and Noam Chomsky are people I get inspiration from - certain aspects of their characteristics, that is. I don't agree with everything they have said or done, but many things, including the attitude of no compromise on the most important things, I believe in. It's important to look with a discerning eye and choose what is relevant to you rather than to blindly follow a group of ideas. I also am inspired by the Zapatista's, as I've stated elsewhere.
Musically, I'm inspired by music that strikes me as intensely honest, or that lights a sort of match for me. Some of my favorite artists include The Dillinger Escape Plan, Tool, Dead Can Dance, Public Enemy, Skinny Puppy, The Doors, Refused, Jeff Buckley, and Tom Waits. All for different reasons really. Dillinger, I love for their pure aggression and uncompromising musical nature. Dead Can Dance is an unearthly band really - Lisa Gerrard's voice sounds more than human. Public Enemy for their intelligence and activism. Now The Doors' Jim Morrison was quite the train wreck, but I like that he was completely self-destructive and threw himself into the ringer. I like a bit of insanity and danger. I definitely listen to more hardcore and varied stuff than Gus, so you can tell which tracks were driven by each of our personalities. Pretty varied influences though, lately I've been listening to early Leonard Cohen and Nick Drake, for example.
2. Hailing from Canada, you are part of slightly different music and cultural scenes than the US or UK. How do you guys feel that this is an advantage in terms of what you have been exposed to and why?
Steve: I seek out music so I feel I expose myself to virtually the same music as say someone in the US or the UK. I definitely have had more CD sales, downloads, and general interest in my musical projects from outside Canada in the past and I hope that changes. Canada is still going through an indie pop revival that has gone on for 8 years or so, and the scenes tend to be very genre specific, meaning most of the bands do not offer much as far as dynamics. The response to The Unravelling so far has been unusually good, so I'm excited about a turning of the tides potentially. Maybe there are people out there looking for something other than emo, hardcore, or straight ahead metal. If so, we will find them.
Gus: I'm not originally from Canada so I can't really admit to growing up in the metal scene here - if that were the case, who knows maybe our album might have sounded more like Nickelback or The Arcade Fire. Hahahaha, just kidding, I've been quite a hermit here in terms of integrating into the music scene. Where I came from we only heard of new bands years after they came out. I caught wind of the "Teen Spirit" video three years after it was released just to give you an idea of how things were back in the day growing up in Barbados. This made us ravenous collectors of anything cool we could find. From absorbing the grunge scene (Nirvana, Pearl Jam, Soundgarden, Alice in Chains) from the nineties, then moving on to heavier type stuff (Pantera, Sepultura, Machine Head, Tool, NIN etc.), and then branching out into the vast European metal scene (Opeth, Samael, Rotting Christ, Amon Amarth, Anorexia Nervosa etc.)
When I came up here in 2006 to study recording engineering I was living in a one-bedroom dorm. In this solitude I discovered a great many ambient artists that got me through the cold lonely years. Bands like Arcana, Dead Can Dance, Nox Arcana, Sophia, Sopor Aeternus and Summoning became my mantras in the evenings.
3. In my opinion, some of the greatest collaborations in music have been duos. Besides the obvious of who writes what, how do both of you feed off of each others' energy and inspire each other to be productive and creative?
Gus: That’s a deep question man; when I compose I mainly let it flow as naturally as possible while trying to guide the music in a way so as to create an appealing tapestry. An interesting landscape for a vocalist to want to sing on it. I also think of what an audience may feel as they experience the music. Almost as if they're taken on a journey or experience aided by the music. After the material is ready I separate myself from it and allow Steve to mold it into its final incarnation. Clearly there's a level of trust, understanding and respect that has to exist for this to work but so far the results have been encouraging to say the least.
Steve: There's a good amount of room for me to use my voice as an instrument rather than just sing a line or two in this project. Gus puts a lot of intensive emotionally charged atmosphere into his music and it lends itself well to harmonies and poetry. Some tracks like "Last Rights Protest" and "Fire Breather" were ones I encouraged Gus to use - they are not his typical playing style. These songs enabled me to expand what I do as well. I've always felt that the best albums are the rare ones that take you all over the spectrum. Some songs I'm expressing myself very calmly, whereas some are anarchy in the purest sense of the word (“Fire Breather”). It's all just part of being honest. As much as possible, it all has to come out.
Beyond that, as we've gotten to know each other better, we seem to gel well and the writing will get more intricate and involved between the two of us in the future. The trust is there.
4. You describe your upcoming album as being "pscyho-analytical" in theme. Could you elaborate on that?
Steve: That's just an honest assessment of what I figure it is. There are themes running throughout the album that were not intentional but yet so obvious once you read the lyrics through song by song. One very persistent theme is the concept of being buried alive, then digging your way out and coming back from the "precieved dead,’ the phoenix rising from the ashes, Arjuna laying down his doubts and going into battle. This is an idea close to my heart.
I have gone through an intensive time personally over the past year in the writing of this album, and these ideas have come out naturally in my writing. I think it's easy to feel in this day and age like you are dead, like you have no genuine communication method to get through to others, no legitimate options to live an authentic life - beyond television and corporate servitude. I want to feel alive and inspired beyond the mundane. I work hard to express myself honestly in hopes that this communication will inspire others, even if that puts me in a vulnerable position. The digging yourself out part takes intense focus and continual reiteration of your intentions. So the album is not a negative exploration of any kind - in fact it's about reclaiming personal power, it's about victory.
5. I really like the artwork that Gus comes up with. Is there a direct connection between the artwork and the music?
Gus: Thanks for the kind words - it's quite intimidating to put oneself out there for others to scrutinize. The art pieces started off as a completely separate outlet for me, it's only through wanting to craft out a more encompassing mythology that I started using the art to enhance the music. I think it was Keith Richards that said songs are all around us swirling around in the air - it just depends on who can reach out and grasp one. That's the way I paint, I splash some lines on the paper and then stare at it until faces and visions start to emerge from the page. Then I start to paint them out and give the symbols relevance to the time in my life that I'm experiencing. I hope it gives people a chance to experience dark, entrancing visions along with the music if they wanted. I can't wait until we get to the point in our journey where we're allowed to make videos. That's when the true nightmares will begin. Thanks so much for having us.
Steve: I'm a big fan of it as well. I'm pretty fussy with artwork to represent music I get involved with, and I love his interpretations of what looks to me like chaos and mystery meeting. Thanks Slowdive Music! We appreciate it very much.
Keep up with The Unravelling at their homepage (join the mailing list), MySpace, and Facebook. Read more ...
It is amazing when you are part of a journey of something that is so nascent. Steve and I have been chatting back and forth now for some time, and I have been able to share in the unraveling of the Unravelling. I had the opportunity to listen to some of their developing music and share it with you (link, check it out). It is not often that I am especially anxious for the release of a new album (for example, when Fat Bob is about to release, then I chew my nails to non-existence), but I have become anxious to finally hear the final product, “13 Arcane Hymns,” later this year and hopefully getting to see/hear this perspicacious music live – imagine the power! Though they are busy finishing this process before their release, I would like to genuinely thank both Gus and Steve for taking the time to Answer 5.
Gus De Beauville and Steve Moore of The Unravelling
Picture from The Unravelling homepage
1. Who are your musical and nonmusical influences?
Gus: My musical origins took root from growing up as a child and looking through my father's records. I would always pick out the most bizarre looking ones with the craziest, psychedelic artwork and study them in great detail. Naturally when I learnt how to work the LP player I started popping them in for a listen. Out of that I discovered Black Sabbath, Pink Floyd, Rush and similar pioneers. Of course he listened to other 'renegades' of the day that I thought were total shit even at the age of nine - so the entire collection wasn't flawless, but it did serve to lead me to where I am now.
Steve: My influences have evolved and grown over the years but there have been some staples that have shaped my leanings as a person. I read “The Autobiography of Malcolm X” by Alex Haley at quite a young age and this changed me completely. It inspired a keen interest in human rights that has stayed with me and grown throughout my life. Other individuals like Taslima Nasrin, Simon Wiesenthal, Che Guevara, Hunter S Thompson, Ward Churchill, and Noam Chomsky are people I get inspiration from - certain aspects of their characteristics, that is. I don't agree with everything they have said or done, but many things, including the attitude of no compromise on the most important things, I believe in. It's important to look with a discerning eye and choose what is relevant to you rather than to blindly follow a group of ideas. I also am inspired by the Zapatista's, as I've stated elsewhere.
Musically, I'm inspired by music that strikes me as intensely honest, or that lights a sort of match for me. Some of my favorite artists include The Dillinger Escape Plan, Tool, Dead Can Dance, Public Enemy, Skinny Puppy, The Doors, Refused, Jeff Buckley, and Tom Waits. All for different reasons really. Dillinger, I love for their pure aggression and uncompromising musical nature. Dead Can Dance is an unearthly band really - Lisa Gerrard's voice sounds more than human. Public Enemy for their intelligence and activism. Now The Doors' Jim Morrison was quite the train wreck, but I like that he was completely self-destructive and threw himself into the ringer. I like a bit of insanity and danger. I definitely listen to more hardcore and varied stuff than Gus, so you can tell which tracks were driven by each of our personalities. Pretty varied influences though, lately I've been listening to early Leonard Cohen and Nick Drake, for example.
2. Hailing from Canada, you are part of slightly different music and cultural scenes than the US or UK. How do you guys feel that this is an advantage in terms of what you have been exposed to and why?
Steve: I seek out music so I feel I expose myself to virtually the same music as say someone in the US or the UK. I definitely have had more CD sales, downloads, and general interest in my musical projects from outside Canada in the past and I hope that changes. Canada is still going through an indie pop revival that has gone on for 8 years or so, and the scenes tend to be very genre specific, meaning most of the bands do not offer much as far as dynamics. The response to The Unravelling so far has been unusually good, so I'm excited about a turning of the tides potentially. Maybe there are people out there looking for something other than emo, hardcore, or straight ahead metal. If so, we will find them.
Gus: I'm not originally from Canada so I can't really admit to growing up in the metal scene here - if that were the case, who knows maybe our album might have sounded more like Nickelback or The Arcade Fire. Hahahaha, just kidding, I've been quite a hermit here in terms of integrating into the music scene. Where I came from we only heard of new bands years after they came out. I caught wind of the "Teen Spirit" video three years after it was released just to give you an idea of how things were back in the day growing up in Barbados. This made us ravenous collectors of anything cool we could find. From absorbing the grunge scene (Nirvana, Pearl Jam, Soundgarden, Alice in Chains) from the nineties, then moving on to heavier type stuff (Pantera, Sepultura, Machine Head, Tool, NIN etc.), and then branching out into the vast European metal scene (Opeth, Samael, Rotting Christ, Amon Amarth, Anorexia Nervosa etc.)
When I came up here in 2006 to study recording engineering I was living in a one-bedroom dorm. In this solitude I discovered a great many ambient artists that got me through the cold lonely years. Bands like Arcana, Dead Can Dance, Nox Arcana, Sophia, Sopor Aeternus and Summoning became my mantras in the evenings.
3. In my opinion, some of the greatest collaborations in music have been duos. Besides the obvious of who writes what, how do both of you feed off of each others' energy and inspire each other to be productive and creative?
Gus: That’s a deep question man; when I compose I mainly let it flow as naturally as possible while trying to guide the music in a way so as to create an appealing tapestry. An interesting landscape for a vocalist to want to sing on it. I also think of what an audience may feel as they experience the music. Almost as if they're taken on a journey or experience aided by the music. After the material is ready I separate myself from it and allow Steve to mold it into its final incarnation. Clearly there's a level of trust, understanding and respect that has to exist for this to work but so far the results have been encouraging to say the least.
Steve: There's a good amount of room for me to use my voice as an instrument rather than just sing a line or two in this project. Gus puts a lot of intensive emotionally charged atmosphere into his music and it lends itself well to harmonies and poetry. Some tracks like "Last Rights Protest" and "Fire Breather" were ones I encouraged Gus to use - they are not his typical playing style. These songs enabled me to expand what I do as well. I've always felt that the best albums are the rare ones that take you all over the spectrum. Some songs I'm expressing myself very calmly, whereas some are anarchy in the purest sense of the word (“Fire Breather”). It's all just part of being honest. As much as possible, it all has to come out.
Beyond that, as we've gotten to know each other better, we seem to gel well and the writing will get more intricate and involved between the two of us in the future. The trust is there.
4. You describe your upcoming album as being "pscyho-analytical" in theme. Could you elaborate on that?
Steve: That's just an honest assessment of what I figure it is. There are themes running throughout the album that were not intentional but yet so obvious once you read the lyrics through song by song. One very persistent theme is the concept of being buried alive, then digging your way out and coming back from the "precieved dead,’ the phoenix rising from the ashes, Arjuna laying down his doubts and going into battle. This is an idea close to my heart.
I have gone through an intensive time personally over the past year in the writing of this album, and these ideas have come out naturally in my writing. I think it's easy to feel in this day and age like you are dead, like you have no genuine communication method to get through to others, no legitimate options to live an authentic life - beyond television and corporate servitude. I want to feel alive and inspired beyond the mundane. I work hard to express myself honestly in hopes that this communication will inspire others, even if that puts me in a vulnerable position. The digging yourself out part takes intense focus and continual reiteration of your intentions. So the album is not a negative exploration of any kind - in fact it's about reclaiming personal power, it's about victory.
By Gus De Beauville
5. I really like the artwork that Gus comes up with. Is there a direct connection between the artwork and the music?
Gus: Thanks for the kind words - it's quite intimidating to put oneself out there for others to scrutinize. The art pieces started off as a completely separate outlet for me, it's only through wanting to craft out a more encompassing mythology that I started using the art to enhance the music. I think it was Keith Richards that said songs are all around us swirling around in the air - it just depends on who can reach out and grasp one. That's the way I paint, I splash some lines on the paper and then stare at it until faces and visions start to emerge from the page. Then I start to paint them out and give the symbols relevance to the time in my life that I'm experiencing. I hope it gives people a chance to experience dark, entrancing visions along with the music if they wanted. I can't wait until we get to the point in our journey where we're allowed to make videos. That's when the true nightmares will begin. Thanks so much for having us.
Steve: I'm a big fan of it as well. I'm pretty fussy with artwork to represent music I get involved with, and I love his interpretations of what looks to me like chaos and mystery meeting. Thanks Slowdive Music! We appreciate it very much.
Keep up with The Unravelling at their homepage (join the mailing list), MySpace, and Facebook. Read more ...
07 May 2009
The Unravelling
Any band that can say in one sentence that an array of artists like Dead Can Dance, Tool, and Opeth inspire them gets my attention right away. Hailing from Calgary, Canada, the Unravelling is slated for an album release later this year (“13 Arcane Hymns”); the band is composed of Gusavto De Beauville (guitars, bass, drum programming, synths, engineering) and Steve Moore (lyricist, vocalists). In this collaboration, there is a ying-yang thing happening, as Gus is described as being a “consummate, ethereal dreamer,” while Steve is the “more grounded in-your-face realist.” Under other circumstances this disparity in personality traits may lead to deadlock in producing music, it seems to be the what fuels the urgency of this band.
Gus, the multi-instrumentalist, spent most of 2007 composing the material that would become “13 Arcane Hymns.” He would meet Steve, a member of both Post Death Soundtrack (electro-industrial) and Inner Surge (metal) (not to mention running the company Overthrow Promotions), in the fall of 2008. Soon the completion of composition and then recording would occur.
Here are three of their songs I would like you to really listen to: “Victory Song,” “My Resignation,” and “Last Rights Protest.” (These songs are posted with the band’s permission. If you are interested in their music, visit their sites, links below.)
Let’s talk about that ying-yang thing now, the counterbalance between the ethereal and in-your-face. The one thing that has hit me about all of these songs, in fact all of their catalogue that I have listened to, is that none of the songs try to overpower you with sheer power, nor are they sleepy lullabies to drown you into lethargy. Instead, the ethereal is made concrete before becoming mundane, while the in-you-face is tempered before becoming cliché. Take “Victory Song,” with an ethereal opening, sort of hinting towards a softer song, but the beat will drop, and that sort of gothic-industrial sound, which so many b-rate goth metal bands are trying to achieve, is delivered to perfection. Throughout the entire song, both aspects of the ying-yang play back and forth, keeping the listener on his/her toes.
“My Resignation” is similar in approach, but not in texture. It does not reach the pace of many of their other songs, but what the song creates is anxiety and urgency. From the careful arrangements between singing and screaming, to the play on the different beats, this is one of those songs that wants to explode in your face, but never does. And that is where the power is. It gives you enough to want more, and keeps you wanting more – a very hard feat to accomplish. (Considering the theme of the song, it is a perfect approach.) Then there is “Last Rights Protest.” Overtly there is a feeling that this song abandons any etherealness, until you hear the sophisticated vocal arrangements, using his voice as an instrument. What I really am feeling about this band is that they are not the run-of-the-mill cliché, screaming their ass off for over thirty-minutes sort of band (though I am looking forward to a chaotic mosh pit). There is definitely more attention to detail in the song writing and arrangement than most bands out there. But if that does not impress you, click below.
“In the Safe House” from the Overthrowpromotions YouTube Channel.
“In the Safe House” takes you into a completely different direction. With vocal harmonies that reminds me of the Brit pop and shoegazing of the early 90s, acoustic elements, and pop sensibility, this proves that De Beauville and Moore can write anything they want to. They have chosen, though, not to give you a listening experience of safe, cliché, radio friendly music, but rather have chosen a specific direction in their song writing, because they have something to bring to the table that is different and distinct. Just these four songs alone are making me anxious to hearing the final product, “13 Arcane Hymns.” This is the kind of song writing that has the potential to expand genre.
I am reminded by something that Alison Moyet (yeah, I know, completely unrelated to this, but keep reading) said. She alluded to the fact that music has a natural course from conception/song writing, recording, and then live performance. All considered, she hit the nail right on the head, and I have also become anxious to see this band take it on the road.
Keep up with The Unravelling at their homepage (join the mailing list) and MySpace.
Also, keep up with Overthrow Promotions. Read more ...
(Art work by Gusatvo De Beauville)
Gus, the multi-instrumentalist, spent most of 2007 composing the material that would become “13 Arcane Hymns.” He would meet Steve, a member of both Post Death Soundtrack (electro-industrial) and Inner Surge (metal) (not to mention running the company Overthrow Promotions), in the fall of 2008. Soon the completion of composition and then recording would occur.
Here are three of their songs I would like you to really listen to: “Victory Song,” “My Resignation,” and “Last Rights Protest.” (These songs are posted with the band’s permission. If you are interested in their music, visit their sites, links below.)
Create a MySpace Music Playlist at MixPod.com
Let’s talk about that ying-yang thing now, the counterbalance between the ethereal and in-your-face. The one thing that has hit me about all of these songs, in fact all of their catalogue that I have listened to, is that none of the songs try to overpower you with sheer power, nor are they sleepy lullabies to drown you into lethargy. Instead, the ethereal is made concrete before becoming mundane, while the in-you-face is tempered before becoming cliché. Take “Victory Song,” with an ethereal opening, sort of hinting towards a softer song, but the beat will drop, and that sort of gothic-industrial sound, which so many b-rate goth metal bands are trying to achieve, is delivered to perfection. Throughout the entire song, both aspects of the ying-yang play back and forth, keeping the listener on his/her toes.
“My Resignation” is similar in approach, but not in texture. It does not reach the pace of many of their other songs, but what the song creates is anxiety and urgency. From the careful arrangements between singing and screaming, to the play on the different beats, this is one of those songs that wants to explode in your face, but never does. And that is where the power is. It gives you enough to want more, and keeps you wanting more – a very hard feat to accomplish. (Considering the theme of the song, it is a perfect approach.) Then there is “Last Rights Protest.” Overtly there is a feeling that this song abandons any etherealness, until you hear the sophisticated vocal arrangements, using his voice as an instrument. What I really am feeling about this band is that they are not the run-of-the-mill cliché, screaming their ass off for over thirty-minutes sort of band (though I am looking forward to a chaotic mosh pit). There is definitely more attention to detail in the song writing and arrangement than most bands out there. But if that does not impress you, click below.
“In the Safe House” from the Overthrowpromotions YouTube Channel.
“In the Safe House” takes you into a completely different direction. With vocal harmonies that reminds me of the Brit pop and shoegazing of the early 90s, acoustic elements, and pop sensibility, this proves that De Beauville and Moore can write anything they want to. They have chosen, though, not to give you a listening experience of safe, cliché, radio friendly music, but rather have chosen a specific direction in their song writing, because they have something to bring to the table that is different and distinct. Just these four songs alone are making me anxious to hearing the final product, “13 Arcane Hymns.” This is the kind of song writing that has the potential to expand genre.
I am reminded by something that Alison Moyet (yeah, I know, completely unrelated to this, but keep reading) said. She alluded to the fact that music has a natural course from conception/song writing, recording, and then live performance. All considered, she hit the nail right on the head, and I have also become anxious to see this band take it on the road.
Keep up with The Unravelling at their homepage (join the mailing list) and MySpace.
Also, keep up with Overthrow Promotions. Read more ...
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