Kråkevisa

1. Ulver - Messe I.X-VI.X

2. Wardruna - Yggdrasil

3. Deafheaven - Sunbather

'Hidden Place is an Alternative Electro Wave band from Italy'. They were born in 2004, from the ashes of a previous project, Lupis Gladius, in the search for a more electrical sound - cold, minimalist and melancholic.

More recently I've talked with Fabio Vitelli, one of the main founders, about the band, Italy and, of course, New Wave. 

  Ruído Sonoro: Tell us a bit about Hidden Place. When was it formed?

Hidden Place: Hidden Place was born in the summer of 2004 when, after a brief affair with the Neofolk band Lupi Gladius, we wanted to move towards a more electronic sound, adding SaraLux's voice to the formation. All of this was born with a certain spontaneity, and because of a certain interest in the sounds that have always characterized our musical background. The initial idea was to create something combining the electronic, cold and minimalist sound, with simple and melancholic melodies. The band is formed by SaraLux,Fabio, Giampiero and Antonio.

RS: Why did you choose the name 'Hidden Place', and in what way does it reflect tthe concept behind the band?

HP: We have always understood this 'Hidden Place' as an area of meditation and reflection, a sort of microcosm where we try to 'act' in a way highly intimate and pure and naïve, where the end of our action is the 'creation of our art', considering it a sort of cure for the soul.

RS: As you have said, before Hidden Place you had a different music project called Lupi Gladius, which was a Neofolk one. Why did it end so quickly and why did you move away from Nefolk to New Wave?

HP: Lupi Gladius is still alive. After 10 years we have decided to make new songs, and we have just finished recordings. We are really satisfied with our new work, and it has been so emotional to make Lupis Gladius songs after so many years. Then, we moved to a New Wave sound because, at end, being all of us New Wave records collectors, it has always been our kind of music.

RS: Although you are Italian, you have chosen to sing most of your songs in English. Why?

HP: Yes, most of our songs are in English. This choice was made because the English Language fits well with our sonorities but, if you see all our albums, you can find songs in Italian. Our mother language is so beautiful... You can notice it also from the titles of our albums.

RS: You have stated in a previous interview that playing live is not one of your priorities, and that the most important thing for you is the recording of the music itself. Do you think that live performances are less relevant than the recording process? Why is that?

HP: The main priority is to make songs and albums. We did it, and now our priority is to play gigs. We want to express ourselves and play our songs. It's something that we and our fans deserve. By the way, it would be awesome if we could play in Portugal!

RS: I know that the band Frozen Autumn is a big inspiration for you, and although Diego Merletto has participated in your first album [Fantasia Meccanica, 2007], last year, with Novecento, you had the honor to have Froxeanne participating in it. How was that experience for you? Was it an old dream of yours?

HP: Frozen Autumn has always been a big inspiration for us. Besides the artistic side, there has always been a deep friendship beetween us and them. We have also signed with Calembour Records (Froxeanne's label) for our last album Novecento. Having Diego and Froxeanne as guests in our albums has been a big satisfaction for us.

RS: Also in Novecento, you had the participation of Jean-Pierre Mercier, from the band A Handful of Snowdrops, who also produced one of the songs. How did it come about?

HP: We are Handful of Snowdrops fans, and out of nowhere we thought, 'Why don't we ask Jean Pierre if he wants to collaborate with us?'. When he said 'yes', it was really nice for us, and the song 'Between the Devil and the Blue Sea' was a wonderful result!

RS: Besides Frozen Autumn, which are your other big influences?

HP: Many bands influence our music, such as Kirlian Camera, Ultravox, early Clan of Xymox, Kraftwerk, Handful of Snowdrops, Cocteau Twins, This Mortal Coil, the 80's Italian New Wave, etc.

RS: When we think about the Italian New Wave scene, most of the bands that come to our mind are from the 80s/90s, like Kirilian Camera, or even Frozen Autumn. How is it for you to be an Italian New Wave band today? Do you feel a bit alone in the scene?

HP: What matters for us is to create our music and always follow our ideas. We can say we belong to a scene but, at same time, we are fighting in isolation, and for us it is ok.

RS: Next year you will be celebrating your 10th anniversary. How do you look back at these 10 years of work, and how do you see yourselves in the future?

HP: During those years, we have always experimented, especially because we don’t like monotony. Because of that, we have become, for sure, more mature, and we will continue to make some experiences in the future. Many things have happened during these years, and for our 10th anniversary there will be nice surprises!

RS: Do you have plans for the future? Are you planning to release a new album soon?

HP: Our plans are to give concerts. We have fixed our live performance with video and many other surprises. As we have said before, we wish to play our music live everywhere, and we also hope to do that one day in Portugal! 

Interview to the Italian New Wave band Hidden Place. 

The release of Black Metal: The Evolution of the Cult, the new Black Metal book by Dayal Patterson, has been delayed ultil late December. However, the book has been expanded, and it will feature more photos than was originally planned.

I had the pleasure to talk with Dayal Patterson, the author of the new Black Metal book, Black Metal: Evolution of the Cult.

It is a massive realease with more than 600 pages, and loads of interviews and exclusive insights.It will be release on 1st November, but you can preorder it here.

Meanwhile, you can read the interview: 

  Ruído Sonoro: The Black Metal movement was born in the mid/late 80's, which makes it a very recent genre, but many books and documentaries have already been written about it. Since so many things have already been said and written, why did you decide to publish this book? And why now?

Dayal Patterson: I would say early eighties, but I take your point - a lot has been said about Black Metal. I think, however, that the majority of it has been said from an outsider’s point of view, that is to say that most of the documentaries and books written are created by well-meaning people, curious about the genre, but not necessary very well informed or versed in it. The result is that they tend to tell the same stories again and again, and interview the same people, or get distracted with rather irrelevant factors, and thus never really give an enlightening account of the genre as a whole.

For years I preferred Black Metal to be something sheltered from the world at large but that’s impossible now, and it’s better to correct misinformation once and for all, I think. I strongly felt that there was a need for a detailed, thorough and honest book which would examine the personalities and ‘truths’ behind the whole story, from Venom to the present day. So I wrote it. [Laughs] That sounds pretty arrogant, doesn’t it? But I’m a pretty harsh self-critic when I feel my efforts haven’t succeeded, and I’ve shared this work with members of Mayhem, Ulver, Gorgoroth, Emperor, Beherit, Rotting Christ, Sigh, etc., etc., and all have given strong words of support, so I feel encouraged by that.

RS: In what way your book is different from the others previously published? What does it bring us new?

DP: Put simply, I think it’s the only book that has attempted to present a definitive look at the birth of the genre, its development and the personalities behind it. In general, people seem to focus only on Norway and specifically the years ‘91-‘94 (and of course this is a fascinating and important time), so I wanted to really dig deep and look at what preceded this period, as well as what followed. I’ve been reading Black Metal interviews for almost two decades now, so I was pretty much aware of what had been told and what hadn’t. For that reason, I made sure that the book offered plenty of new information, if only because I am aware that some readers will have been following the scene for as long as me (or longer!). I would also say that by broadening the number of artists interviewed beyond the usual suspects, it gives a much more accurate picture of the whole thing.

RS: The writing of such a massive volume, with so much detail in it, should have been truly life consuming. For how long have you been working on this project?

DP: About four years! I initially thought it would take much less because so much was achieved in the first six months, but it was not a project that could be easily rushed, simply due to the huge number of artists involved and the scope of the book. A huge amount of time was necessary to structure and edit the book, not to mention actually writing it and, last but not least, getting all the parties involved to cooperate!

RS: Black Metal: The Evolution of the Cult has a big selection of interviews. How did you select them? Which were your criteria?

DP: My focus has been on the evolution and development of Black Metal and therefore the bands who had a significant musical and/or cultural impact and/or who illustrate a particular element of the genre. So, for the main part, it was about interviewing those bands who helped influence others or who did something new – for example I interview bands such as Gehenna, Emperor and Dimmu in detail, to discuss the symphonic side of the genre, then mention the other bands playing that style, but in less detail, rather than try and cover every band in a superficial way (which would be entirely pointless in an internet age). Or I speak to Primordial, Windir, Negura Bunget, Ulver, etc., regarding Folk Black Metal, in order to examine why that influence entered the scene. At times I’ve also tried to lean toward musicians who simply have good stories to tell, or an unusual worldview (of course they must be worthy artists but that helps) - the book is meant to entertain as well as inform.

RS: Black Metal has changed a lot since its birth, in the 80s. What do you think of the current scene?

DP: It’s hard to be objective because we are right in the heart of it. In a few years it will be easier to look back and decide. But, generally, I think today’s scene is in great health. There are more Black Metal bands active than ever before, both in terms of new bands (and even new sub genres) and  veteran acts. Of course that means more pointless bands, but one can usually be selective (with the exception of live shows and support acts). With every increasing year the available back catalogue extends, so in a sense there is more great Black Metal that is possible to listen to now than ever before. At the same time, there can’t be any doubt that many of the most essential records are from the past. Even putting aside nostalgia, I think it’s unlikely that say 2013 or 2014 will produce as many essential recordings as 1993 or 1994.

RS: The fact is that, as a genre, it has been losing many of its characteristics, and we have been simultaneously seeing the emergence of many different approaches (in the themes, and in the music itself). Do you think that the original feeling of the Black Metal music is disappearing? Do you agree with those who say that ‘Black Metal is dead’?

DP: I don’t think that’s true. Of course a lot of new subgenres spring up over time, the most obvious being the current ‘Post-Black Metal’ phenomenon, with bands such as Alcest and Fen, blending Black Metal with Post-Rock and Shoegaze, but there will always be bands who stick fanatically to the early nineties ‘second wave’ approach, or even the mid-eighties Black Thrash sound.

I think one of the most interesting things about Black Metal is that it has always combined the revolutionary with the conservative – the late eighties/early nineties pioneers, such as Beherit, Darkthrone, Gorgoroth, Marduk, etc., saw themselves as continuing the spirit of eighties bands, such as Bathory, Tormentor, Sodom (early), and so on, yet were also creating a whole new chapter in the process.

So in answer to your question, Black Metal is not dead. It is, however, perhaps debatable whether underground Black Metal exists in the way it once did – the invention of the internet and the explosion in popularity (from the late nineties/early 2000s onwards), means that the genre is unlikely to ever be hidden in quite the same way as it was, and so there are a lot more casual fans (and casual bands). Still, I hope this book captures some of that aura both for those who discovered it later, and those who were there.

RS: Why do you think Black Metal, perhaps more than any other genre, is so fascinating?

It combines a lot of qualities; there is a very primal side to the genre, but also a very cerebral aspect, likewise it is both groundbreaking and, at the same time, very interested in tradition. The music is hugely varied, even when compared to other genres of metal, and it touches upon a lot of themes (spiritual, ideological, metaphysical) in a heartfelt and, when it’s at its best, a meaningful way. The people involved are generally not your typical musicians, I think it’s fair to say, and without wanting to sound horribly pretentious, I think the music is not only extremely dark at times, but touches upon something pretty transcendental.

  Dayal Patterson | Official website | Facebook |

Black Metal: The Evolution of the Cult | Facebook |

Last December, I’ve interviewed the british band A Forest of Stars. They are the nicest guys ever! As a result, I have this huuugee interview. Enjoy!

  Ruído Sonoro: You have released a new album this year, which has received great critics from the press and from the fans. How do you feel about that? Were you expecting such a reaction?

The Gentleman: Gosh, no. It’s very tricky, actually. I mean, we knew we’d made the best album we possibly could, but to try and guess how it would be received is utter madness, so I try to avoid thinking about it all together. Of course, we’re all extremely flattered at the response, and as you say, really, it was beyond all expectations. It’s all very, very odd and dreamlike…

Curse: I can only say that it is flattering to receive so many positive responses. Also most interesting to read those that are less favourable!

 RS: This new release is your first attempt to create a concept album. Why did you decide to do this type of album? And how were for you to create and concept it?

The Gentleman: We didn’t sit down with the intention of creating a concept album, it was born out of various discussions between Curse, myself and the Projectionist (who did our wonderful video). At that point, we decided on a concept and we could comfortably see that story panning out over an album. After that, the music sort of fell into place quite rapidly, though it was rather tricky to create a series of songs that when put together in order, had a definite beginning, middle and end. You couldn’t shuffle them afterwards, otherwise the story would (obviously) be out of sequence! But, using reoccurring themes and melodies and riffs to unite the whole concept, it seemed to work out, at least, I hope so. It was messy, but fluid. Or something.  

Curse: In fairness, there have been concepts surrounding the other albums, also. Perhaps less obvious, but there nonetheless.

RS:  A Shadowplay for Yesterdays is a very beautiful and interesting name. Why did you choose it, and how does it reflect the whole concept of the album?

Curse: Thank you. We had a fair few options for the final title, and it took us a while to settle upon this one. The general idea behind it is to suggest moments of a life flashing behind the eyes of an individual at the moment of death. It was intended to point to the thought that each song is a moment in this shadowplay; also to suggest that there may be fictions and truths evident within the twists within the tale.

RS: Your sound has changed a bit since your first album. When A Forest of Stars was created, back in 2007, did you already know that you wanted to create this kind of music?

The Gentleman: Not exactly. At that point, beyond the first songs we wrote (that eventually made up our debut album), we thought of absolutely nothing else. We were doing this just for fun between friends. And we certainly didn’t anticipate how things would pan out in the long run. But now, we just approach each album with a blank slate and see what happens – hopefully we can keep evolving and see where our song writing takes us next. It’s far more fun (and less stressful) to leave it up to the Fates than try to worry about how it should be done. What will be, will be!

Curse: I agree – we have simply followed our noses. Our influences are many and varied, and I suppose that our music reflects this. We are loath to pigeon-hole anything too much; least of all our not-so-good selves.

RS: After Opportunistic Thieves of Spring [2010], you have decided to make some changes concerning the line-up. Why did you decide to add more members to the band? And did it have any effect on your music?

The Gentleman: Indeed. After Opportunistic Thieves of Spring, TS Kettleburner left and/or died in a freak barbecuing accident, leaving us short of a guitar and bass. We counteracted this by inducting live members as full time fools, and additionally invited our long time friend (HH Bronsdon) to join as well. Between them the impact has been enormous, in myriad ways, both small and large. Bronsdon and myself ended up writing the lion’s share of the music, as well as producing the album, for instance, whereas previously it was Kettleburner and myself, so that added an immediately different perspective. Kettleburner was very unique in all sorts of ways, so there was absolutely no point in trying to replicate him. You have to start again, from a fresh (well, in our case, stale) approach!

Curse: After the departure of the much missed TSK, we were lucky enough to draw in the talents of three new individuals who have all contributed immeasurably to our ongoing creativity.

RS: One of your big influences is the 19th Century and the Victorian Era, which isn’t a very common theme for a Black Metal band. Why did you choose to go for it and how did you create the whole concept for the band?

The Gentleman: I was entirely responsible for that and it is therefore my fault. For which I’ve never quite worked out if I should apologise or not (and who to?) I have no idea why I suggested it – we needed something to frame the band, to give it an identity and something we could latch on to, and that was my suggestion. It’s most certainly not my fault if everyone immediately leapt upon it as “A Good Idea”! As to why I thought of it in the first place, well, I’ve been obsessed with the era since I was a small child, through books, museums, memorabilia and  so on – it’s part of me and I have no idea why, it’s just one of those things. As to how we created it, I honestly couldn’t say, it just seemed entirely natural to slip into the role and everything – music, lyrics, art, stage set ups, costumes, etc just fell into line as if it had always been that way. It’s a very odd experience to watch the pieces of a puzzle just solve themselves, but I’m eternally grateful and thankful for such luck.

RS: You are also often linked to Steampunk. What do you think about that? Do you agree with that?

The Gentleman: No, I don’t. I have nothing against steampunk at all, it’s tremendous fun, and very inventive, but it is absolutely not what we are about. We are Victoriana – though whether they will accept us is a different matter. It’s all very fractured and unnecessary – to anyone outside it will just look like the pot is calling the kettle black, but it’s an important distinction, to me at least. I’m sure the rest of the band are rolling their collective eyes as I type. Victoriana is a love of all things related to the Victorian era, and deals more with real things, real people and the real world. There is no fantasy element. If you sprinkle a bit of the occult on that, stick it in a children’s storybook, imbibe a few drops of your favourite liquid opiate and read the resultant mess in a fashionable parlour circa, ooh, say… 1892, then that’s us. Quite.

Curse: I agree that we disagree! To each their own of course, though we are more an idea or insinuation of a time than a time capsule, in my oh so humble opinion.

RS: This summer you toured with Wodensthrone in the UK. How did it go?

Curse: We couldn’t have asked for a better set of people to float around the country with. It was an absolute pleasure. There were a few rough moments here and there, but then a tour wouldn’t be a tour otherwise, would it? Personally I would be more than up for touring with them again, whenever and wherever they may choose to play.

RS: Are you planning on going on tour again in the near future?

Curse: Well, they say you can’t keep a bad dog down, so there’s more than a fair chance…

RS: You have recently announced that you are going to play in next edition of the Roadburn Festival in Tilburg, Holland, where you are going to play A Shadowplay for Yesterdays in its entirety. Are you excited about that?

 Curse: Yes most certainly! I have been somewhat upset by the fact that I’m not going to get to see Pallbearer play, as they are on on the Thursday. In fact, there are several bands I’d love to see that are going to be performing in the days surrounding our set, but still – it is an utter pleasure to be asked to play, so mustn’t grumble!

Henry Hyde Bronsdon: It will be an interesting and unique (so far) event. I am sure it will be enjoyable, and one advantage is that it will be easier than usual for us all to remember the setlist!

RS: The concert will be also accompanied by a special visual stage show. What can we expect from it? And in what way the special effects will help the audience to enter the world of A Forest of Stars?

Curse: Our esteemed colleague will be providing a selection of smoke, mirrors, lights and projections to attempt to take the edge off of our performance. I don’t wish to say too much at this point, though I am sure that he will not disappoint!

HH Bronsdon: The visual element has always been an integral part of AFOS. Our good friend Ingram Blakelock has consistently worked far and beyond the call of duty to produce complimentary visual accompaniment to our aural ramblings – both on and off stage.  Our aim is for this event to be a veritable feast for the ears and eyes. Of course, we may fail entirely in this - as we usually do.

RS: Do you have any idea of what are you going to do next? An idea for your next release, perhaps?

The Gentleman: As it happens, we had our first writing session the other day and that was brief but incredibly fruitful. The problem we have at the moment is getting enough time to sit down and work through ideas and equally distilling the large bag of riffs, melodies and tunes we’ve written into a whole. But it’s my favourite part of the whole album process, so I’ll grin and bear it! At this stage, it’s too early to tell what form a new album would take, a lot more will need to be done first!

Curse: Me being me, I shall attempt to shoe-horn as much grimness, spit and sorrow in as possible. I am looking forward to the next instalment. I am currently mulling several ideas around between my festering temples, and once they bear some dubious fruit I will set to writing again.

HH Bronsdon: We are already beginning to cobble together some sounds and create something resembling the initial sketch of an outline of an idea of a record. It’s always a good period of time – before a record has fully taken shape, and when the creative vein can be tapped to push things in any direction one desires. The initial signs are most encouraging and inspiring – to us at least. We’ll see (and hear) how it turns out eventually… 

  Some mounths ago, I’ve talked with Grutle Kjellson and Ivar Bjørnson from Enslaved. Such nice guys! Here’s the interview:

  Ruído Sonoro: You have recently release a new album, RIITIIR, which has received amazing reviews. In fact, it has been pointed out several times as one of the best albums of 2012. How do you feel about that?

Grutle Kjellson: What can I say? It feels great being appreciated for what you do, especially when we have never constructed any music or lyrics for a certain purpose or for a specific audience. This is 100% honest music, this is made without any sort of pressure from the outside. This is 100% Enslaved, and Enslaved only. It´s about having belief in our own abilities and to dare to just go with the flow and see where things naturally end up. We are really satisfied with the result of our efforts, and it is really cool that the fans and critics feel the same way.

RS: Once again, the album was produced by members of Enslaved, but this time including a member from outside the band. How was it for you?

Grutle: It was very healthy, I think. Iver Sandøy (the fourth member of the production team) is an old friend of us. He is such a good friend that he always dares to be 100% honest, and he clearly points out what he is comfortable with or not. We’re a bunch of stubborn middle aged guys; so it was great to have someone who dared to disagree with us from time to time during the process. Iver’s input was crucial for the final result. He has a unique way to approach music that differs from the way we view music. It was a success, and we´ll most likely include him on the next album too.

RS: At a certain point, the recordings were taking place in three different locations. How did you manage that?

Ivar Bjørnson: It isn’t the easiest of things, but you need a solid plan and hands-on producers to pull it off (which we did for most of the time). There were some minor troubles, to be honest – Arve and Herbrand are used to working in their own studio, and I guess being part of a such a fragmented production with multiple studios, was a challenge for them. So they had to do some stuff over due to misconceptions about what was going on in other studios. It caused minor delays and budget glitches, but nothing big. In our production team, it is my task to be the link to the executive production side of it (management), so ultimately I will have to shoulder the responsibility. it is a learning curve, next time I will have to clearer and more detailed in the info and plans! I have a lot to learn still…

RS: Do you think that the decision of becoming your own producers was an important and decisive step for the band? What made you definitely take the production of your albums into your own hands?

Ivar: Absolutely! I think it might have been the single most important step, besides what we learned from Joe Baressi mixing the album Vertebrae in 2008. He basically taught us, in easy layman’s terms what needed to be done to achieve the sound we were looking for. At the same time I came to the conclusion that we were ready to try out forming the team of producers from within the band itself. I would say that after all the years me and Grutle had refined a vision clear enough, and Herbrand had achieved a strong enough technical know-how. Put together, we were ready to do it ourselves. And that turned out to be the best decision we could have made!

RS: What is the concept behind RIITIIR and why did you choose that name?

Grutle: The title is a little construction of me and Ivar, and it is a made up word meaning something like “The rites of man” in English. The lyrics are loosely tied together in a concept that deals with the common/mutual instincts humanity shared when it came to approach life in the pre-monotheistic ages. We look at the similarities you can find in very different cultures and mythologies all around the world. People from very different places geographically, with no communication with each other what so ever, seemed to share almost exactly the same gods representing the same forces, just under different names. So, it is fair to say that we shared an ancient metaphysical common platform of some sort. We share the same irrational fear, and the same hang to something more divine than humanity itself. So the lyrics are about how mankind have always stretched out in search for a deeper understanding.

RS: This time, you have made a very long album because there was nothing that you wanted to cut off. It was difficult to make that decision?

Ivar: It was actually a little bit the other way around… It was a matter of a lot of elements that felt necessary to include to feel that the album was complete. It was more after the fact I discovered how long the album had become. Then the album was complete and there was no way anything was going to be left behind – every riff and every song had become a vital organ in the whole body that had become the album.

RS: Your sound has become very different from the songs you made, back in the 90s. Have you always wanted to follow a more “progressive” way?

Ivar: It has never been an explicit wish to go more “proggy” or more “raw” or whatever, it is all just results of where the flow went. We’re music-loving people; we listen to all kinds of music and are influenced by it. Our only ambition has been to make the best possible music for our own ears and heads. I guess it just “happened” that the direction we took was taken, as this is the music that felt right for us on a personal level. There has never a point where any specific musical direction was decided and verbalized. I think that is a reason for the music sounding “fresh” and honest - we go where the music takes us and not the other way around.

RS: I know there are a lot of people who are always asking you to play your oldest songs, from your first album and from the EP. Do you feel that there is some resistance to your more recent sound?

Grutle: [Laughs] Isn’t resistance always positive? Well, we play a bunch of those old songs, so I think we kind of satisfy all of the audience. But, the majority of our audience nowadays seems to appreciate all the stuff we play. On our recent trip to the US/CAN now in February 2013, the situation was actually the opposite. The demand for new material was a lot bigger than it was for the old songs. I know that there is always a bunch of dudes that only like the old stuff, no matter WHICH gig they are attending, but I think that is unavoidable… [Laughs]

RS: You have been touring in the US. How are things going?

Ivar: Amazing, really amazing. There has been a superb development for us in the US.  We’ve been lucky to have had an excellent cooperation between our US booking agent (Nick Storch/ ICM) and our management (Tonje Peersen/ Peersen Production) that has been slowly and solidly building our name in North America since 2009. And now it starting to show that their work combined with our efforts are paying off. The last tour we did now in February was amazing in terms of turn-outs and response!

RS: In May, you will play your first show ever in Tel Aviv. Are you excited about that?

Grutle: Of course! We’ve heard many good things about Tel Aviv and the Israeli metal scene, and none of us have ever been in Israel before either, so this will most definitely be one of the highlights this year. We always like to play in countries we’ve never visited before.

RS: Do you have any plans for the future? Do you know what are going to do next?

Ivar: There’s touring in Europe throughout March and parts of April. Then there’s festivals and probably more tours in the fall and winter. And of course, at some point between all this, there will be writing of new material!&nbsp 

I've talked with Jari Mäenpää, about Time I, its successor Time II, and the future of Wintersun.

  RS: Time I has been finally released. How is the new material being received by the fans and by the public in general? 

 JM: It’s been received very well and many have been blown away by it. Everyone seem to be first a bit overwhelmed and surprised about the material, but when they give it a few more listens, they really seem “get it” and fall in love with the album. The minor criticism has been that it´s “only” 40 minutes long. I can understand this criticism since the wait for the album was long, but on the other hand many albums are “only 40 minutes long” and these other albums usually don´t have the multiple layers, the details and the depth that this album has. It´s a good sign also. If the songs don´t feel long, it only means that the songs are good and the structures and arrangements were built in engaging and interesting ways and people can really get deep inside to the music and not get bored. And of course there´s still Time II coming, so…

RS: Time I is definitely the most anticipated album of the last 8 years. Did you felt the pressure while recording it?

JM: Sure, but I think most of the pressure comes from myself. I´m sort of my own enemy sometimes. I really push myself and give it all. Maybe sometimes even too much. When I have a vision, I know how things should sound like, but it´s sometimes very hard to reach that vision with my limited resources, but I think I came at least close to it with Time II.

RS: Since you have taken so long to release the album, has the initial concept changed? Or did you always wanted to create something similar to the finish product?

JM: It didn’t change much from my original vision. Of course some things change and I even surprise myself a lot. I wanted to make the debut album already as big as the Time albums, but at that time I didn´t have even close to the resources that I needed.

RS: Why did you decide to divide the album in two parts?

JM: We felt that +80 minutes of this kind of complex material was way too much for the listener and also for us to start rehearsing all the songs at once. Also it would have taken much more time to release everything at once, maybe even 10 or more years, ´cause I was close to burn out while mixing Time I. So we wanted to get material out sooner and get on the road for a while. It would have been pretty much impossible for me to mix everything in one session, ‘cause mixing half of the material was already just pure insanity.

RS: What can we expect from the second part, and in which ways it will be different from Time I?

JM: It will be just as epic or even more. It will have more variety between the songs, more contrast. There´s many guitar solos for those who missed them on Time I. The songs are maybe a bit more progressive and faster, but also there´s some tear shedding beautiful melodies. The sound and production will have an upgrade, since I got now better gear and I´ve gained experience from the first mixing session. I don´t want to reveal too much, but I can assure you that there will be lots of new surprises again and I can guarantee it will satisfy everyone that loved Time I.

RS: One of the biggest influences in this album is the Japanese music and aesthetic, which is very present not only in the music itself, but also in the artwork. Why did you choose to go for an oriental theme? Is Japanese music a big influence in your music (in general)?

JM: Yes I´ve always been fascinated with oriental music and the beautiful melodies and the instruments. I´ve always put few oriental touches here and there in my music. After the first album movies like “Crouching Tiger, Hidden Dragon” and “Memoirs of a Geisha” was released and I really loved these movies. The atmospheres and the soundtracks were really amazing. Also many software companies around that time started releasing these wonderful sample libraries with these oriental instruments like Erhu and Koto for example. During the recording of the debut album and before I had already written some oriental melodies, so I knew that this would be the right time “go all out oriental” and explore more of these magical melodies and atmospheres that I´ve always loved.

RS: Some people have said that oriental themes don’t belong to Wintersun. What do you usually answer to that comments?

JM: I don´t usually comment anything, I just shake my head. I can understand why people would say that, ´cause our band name is Wintersun and we have only released two albums so far and the debut album was very theme specific focusing on this “winter” theme. But they clearly have no idea what Wintersun is about, so let me clarify: we are not just tied into one specific genre or one specific theme. Wintersun is freedom for me to explore any music styles and themes I please. And there´s always going to be style changes and new surprises with Wintersun. Right now we are have this “oriental theme” and we love it! In the future we´ll grow into new things again. So always expect changes with Wintersun!

RS: After so many years, you have finally begun to play live shows again, with some regularity. How was for you coming back after such a long absence?

JM: It´s been really refreshing to get out a little bit and not just sit inside four walls all the time. It´s been really fun playing the new songs and hanging out with the guys. Playing the new songs just brings new energy in all of us! It´s also been nice to get some stability to our live gear, finding some awesome people to our live crew and organizing everything better, ´cause it´s been quite chaotic in the past, still is a bit, but it´s getting much better, so we have been able to do more shows. Also I have to say that the fans have been really amazing! They have welcomed us back with open arms and we feel really humbled by it. The support has been really great, so big thanks to everyone!

RS: Have you already started the recording of the next album? How are things going?

JM: If you mean the 4th album then no, but if you mean Time II, then yes. Time II was all already recorded the same time as Time I, only the mixing and mastering will happen in different sessions. I´ve already mixed the basic sound for Time II; The drums, rhythm guitars and bass, but there´s still a lot to do with mixing all the orchestrations, synths, FX, vocals, guitar overdubs etc… And of course mastering. Right now I´m actually having some studio problems, so there´s been a break from the mixing, but I´m hoping to get back to it soon.

RS: Do you know what are you going to do after Time II? Do you have any plans for the future?

JM: Yes, there are many plans. We are going to tour a lot and I´m trying to save up for better apartment and studio, so I can start making the 4th and 5th albums. I have two visions for these two albums and I´m really excited about them. I´m gonna be building both albums at the same time, so I don´t know which one we´ll be finished first.  We are also focusing on our live shows. We are upgrading the gear, upgrading the lights and stage props and so on… And maybe have even a screen to project visuals. Maybe even do a special show with a live orchestra and record a DVD while where at it. These are of course big budget projects, so lot of it depends how much the fans will support us. They are the ones that can help us grow. But of course right now I have to first focus on finishing Time II, then we shall see...