Animae (Darkend): "Cunoasterea impartasita este cunoastere pierduta"

Dupa vestea recenta potrivit careia Darkend se va alatura formatiei Cradle of Filth intr-un turneu european in luna noiembrie, am luat legatura cu vocalistul Animae si claparul Antarktica pentru a vorbi despre “Grand Guignol - Book I” – cel de-al treilea album al trupei lansat la inceputul acestui an, despre viitoarele show-uri si alte chestii “teribile”. Iata ce au avut de spus maestrii italieni ai ororii. Lectura placuta!

Buna si multumesc pentru timpul acordat acestui interviu! Haideti sa facem un pic de introducere. Unii dintre cititori au aflat de Darkend anul trecut datorita turneelor cu Rotting Christ, respectiv Samael. Ce ar trebui sa stie cei care inca nu au auzit de voi si ce mai e nou in tabara Darkend?

Animae: Buna si multumesc asemenea pentru suport si interesul fata de Darkend. Pentru toti cei care se intreaba cine suntem voi spune doar ca noi, in colectivitatea noastra, intruchipam conceptul de “Obscure Horror Art”/Arta Obscura a Ororii, ceea ce e dincolo de simpla muzica, e mai degraba un labirint in care fantome, moartea, intunericul si magia se reunesc pentru a ne face sa ajungem la esenta Spiritului nostru suprem. Momentan suntem in pregatiri pentru show-urile din cadrul viitorului turneu european alaturi de Cradle Of Filth, Rotting Christ & God Seed si, pe langa asta, compunem intens noi piese pentru urmatorul album.

“Grand Guignol - Book I” a fost lansat de ceva vreme, care a fost reactia, atat din partea presei, cat si a fanilor?

Animae: Feedback-ul a fost fantastic pana acum. Am avut parte de recenzii superbe (majoritatea cu scor maxim) aproape pretutindeni, comentariile pe care le-am regasit pe forumuri sunt fantastice, iar numarul fanilor nostri creste pe zi ce trece. Acest lucru este intr-adevar nemaipomenit si tin sa subliniez ca VOI (toti cei care ne incurajati si ne sustineti cresterea) SUNTETI FANTASTICI, voua tuturor ramanem indatorati!

Ne poti dezvalui care a fost inspiratia pentru acest album? De ce Grand Guignol si care este legatura cu Heinrich Himmler si Iisus Hristos?

Animae: Hmm, e foarte dificil sa te axezi pe anumite surse de inspiratie, fiindca toti din trupa ascultam foarte multa muzica si avem gusturi diferite. In principal, arta noastra obscura are la baza metalul extrem, intunecat si melancolic, in combinatie cu elemente de black metal, simfonii clasice si riffuri heavy sulfuroase a la Mercyful Fate/Angel Witch la care se adauga compozitii sumbre ecleziastice, armonii preluate din tristele reprezentatii teatrale ale secolului al XVIII-lea, solo-uri melodice de chitara si ceva ambient atmosferic nocturn.

Ne-am oprit asupra titlului “Grand Guignol” (denumirea unui curent teatral infiintat la Paris la sfarsitul secolului al XIX-lea si specializat pe reprezentatii macabre, de o teroare naturalista, in care cel mai adesea realitatea si fantezia deveneau acelasi lucru) din doua motive: in primul rand deoarece acesta descrie perfect nucleul intregii filozofii DARKEND (ceea ce noi numim “TEATRUL ORORILOR”) si in al doilea rand fiindca este legat metaforic de conceptul albumului. De fapt, din punct de vedere liric, cel de-al treilea album al nostru porneste de la o atenta cercetare ezoterica/filozofica si exploreaza radacinile comune ale ocultismului si spiritualismului, ale auto-martiriului si ceremoniilor de magie neagra.

Aici, Heinrich Himmler si Iisus Hristos reprezinta extremele ideologice si morale a secole intregi de istorie si cultura, in care cei “ne-alesi” ratacesc ca niste marionete pierdute intr-un teatru oribil. Prin expunerea emotiilor comune care le-au ghidat faptele, ei sunt atat simboluri cat si creaturi incarnate ce indruma ascultatorul pe parcursul cunoasterii pacatului, puritatii, indurarii, crimei... pana la sforile invizibile ale imensitatii cosmice ce pune totul in miscare.

Apropos, in carticica din interiorul CD-ului veti gasi o prezentare foarte detaliata a intregului concept, cu o introducere bogata si scrieri pline de talc dedicate fiecarei piese.

Ce ne poti spune despre compunerea si inregistrarea pieselor de pe “Grand Guignol - Book I”? Ati avut o alta abordare de data asta, mai ales avand in vedere plecarea unuia dintre membrii fondatori ai trupei (n.r. chitaristul Imajes) inainte de finalizarea noului album?

Animae: Nu, nu chiar: albumul era deja finalizat inainte de plecarea lui Imajes si, ca tot veni vorba, el nu s-a implicat prea mult in compozitie de data asta, dandu-ne doar cateva riff-uri disparate. Prima piatra pusa la temelia “Grand Guignol” a fost nemijlocit legata de intensele mele cercetari in domeniul filozofiei si teatrului, acestea servind ca baza pentru structura si atmosfera generala a operei. Ulterior Antarktica, si uneori eu, am inceput sa ne concentram pe compozitiile muzicale la care eu am adaugat treptat versurile.

Legat de inregistrari, albumul a fost partial inregistrat dupa primul turneu cu ROTTING CHRIST si finalizat la sfarsitul anului trecut, folosind doua studiouri diferite: Remaster Studios (acelasi ca si pentru “Assassine”) si Nothing Studios (studio-ul personal al noului nostru chitarist), ambele situate aici, in Italia.

Nightbreeder’s Frozen Orchestra are un aport monumental la dimensiunea simfonica a albumului, cine sunt membrii orchestrei: sunt fiinte umane sau “spirite”?! Cum integrati elementele orchestrale in arhitectura pieselor? Cat inseamna spirit creativ si cat precizie tehnica in tot acest proces?

Antarktica: Nightbreeder Orchestra sunt eu (desi mi-ar placea sa spun ca este o orchestra adevarata), dar, folosind EastWest software, care este varful pe piata mondiala pentru sunete si plug-ins orchestrale, imi face placere sa stiu ca uneori e dificil sa sesizezi diferenta.

Sunt doua moduri pe care le abordez pentru a integra elementele orchestrale intr-o piesa Darkend, si anume daca este vorba de o piesa pe care o scriu eu, atunci pornesc de la o melodie orchestrala si inserez treptat chitari, bass si baterie in functie de ce am scris si de textul lui Animae pe care vrem sa-l transpunem in muzica; atunci cand compun piese impreuna cu alti membri ai trupei care, la randul lor, vin cu riff-urile si ideile lor de dezvoltat, incerc sa imi imaginez chitarile si bass-ul ca instrumente orchestrale (contrabasuri, violoncele si tromboane); in general asa procedez, iar dupa aceea compun restul partii orchestrale in consecinta.

Spiritul creativ este fundamental si pe primul loc, e punctul de unde pornesc intotdeauna pentru a scrie piesele mele: de la ceea ce simt, ceea ce doresc si ceea ce trebuie sa transmit (pe baza textelor lui Animae), si apoi, evident, daca folosesti o orchestra care simuleaza sunete orchestrale reale, trebuie sa ai si cunostinte compozitionale si tehnice de un anumit nivel, o orchestra nu se poate asambla la intamplare, fiecare instrument pe care il folosesti are culori diferite, caracteristici precise, iar studiile sunt esentiale pentru a putea sa compui intotdeauna melodii cu efect.

Ce v-a facut sa considerati si implementati clean vocals pe acest album? Veti pastra acest detaliu si in urmatoarele aparitii? Ce parere aveti despre comparatiile pe care unii le fac cu I.C.S. Vortex si implicit cu Dimmu Borgir?

Animae: Am un mod foarte teatral de a rezona cu muzica noastra: incerc intotdeauna sa dau o voce diferita fiecarei emotii in parte, nuante capabile sa insufle viata cuvintelor. De data aceasta aveam nevoie de o expresie vocala curata, epica, melancolica, iar prietenul nostru Fearbringer a avut o prestatie minunata, dupa parerea mea. Iar legat de comparatia cu I.C.S. Vortex, ei bine, eu cred ca este o comparatie foarte buna, nu-i asa? :) Asta nu inseamna ca facem aceeasi muzica ca si Dimmu Borgir, dimpotriva, diferentele dintre noi sunt multe si clare.

Revenind la subiectul “clean vocals”, ei bine, da, le vom avea din nou pe urmatorul album, dar vor fi altfel, pentru ca intreaga atmosfera va fi foarte diferita: sumbra si ritualica. Apoi, cu siguranta Fearbringer ni se va alatura din nou cu vocea sa pentru partea a doua la “Grand Guignol”, numai ca asta nu va fi acum, nu inca.

Vorbind de comparatii mai mult sau mai putin prietenoase cu alte trupe emblematice pentru symphonic black metal, acum e oficial ca veti porni in turneu european alaturi Cradle of Filth in noiembrie. Ce ne poti spune despre turneu si mai ales, cum va simtiti in asteptarea sa, mai ales in acest context al paralelelor si similaritatilor stilistice?

Animae: Abia asteptam sa pornim in turneu, suntem atat de entuziasmati si mandri sa cantam pe aceeasi scena cu doua formatii legendare precum Cradle Of Filth si (din nou) Rotting Christ! Legat de comparatia Darkend cu Cradle Of Filth, ei bine, ca si in cazul Dimmu Borgir, cred ca este evident ca exista cateva similaritati de baza, intrucat ambele trupe au stabilit “codul genetic” al unui anumit mod de a face muzica (combinand black metal-ul cu clape si orchestratii intense, structurand piese lungi si complexe s.a.m.d. …) insa, hei, acelasi lucru e valabil pentru fiecare gen muzical: spre exemplu, in cea mai mare parte a bleak funeral doom vei putea inca sesiza ecouri de Black Sabbath, in cea mai mare parte a brutal/technical death metal vei putea regasi urme de thrash metal si de NWOBHM si metal clasic … chiar si black metal-ul modern mai este inca influentat de trupe de la inceputul anilor ’80 precum Celtic Frost si Venom! E istoria muzicii, cred eu… si farmecul sau totodata. Revenind la Darkend, in ciuda acelor similaritati “necesare”, eu cred ca muzica noastra este foarte diferita de cea prezentata de Cradle Of Filth: asa cum am mai spus, Darkend e dincolo de muzica… e o forma teatrala a groazei impinsa la limita, scaldata in intuneric absolut si magie.

Crezi ca e posibil sa descrii corect sound-ul unei trupe fara a face referire la vecini stilistici de mult consacrati?

Animae: Asta se leaga de raspunsul meu precedent… nu, din punctul meu de vedere, nu. Chiar si pentru a descrie pionieri ai genului precum Black Sabbath sau Led Zeppelin tot trebuie sa faci referire la blues, folk si radacinile rock-ului … si asta ar continua ad infinitum :)

Ce alte trupe ati mai ascultat in ultimul timp si care sunt albumele recente care au ajuns in topurile voastre?

Animae: Oh, asta e o alta intrebare dificila! In ultimul timp am ascultat foarte mult funeral doom, death/doom, classic doom si Bay Area thrash… dar asta e ca o roata ce se invarte la nesfarsit, sunt intr-adevar o persoana dependenta de muzica si in fiecare zi ascult o multime de chestii diferite! Apropos, zilele astea sistemul meu stereo a rulat intens Esoteric – “The Maniacal Vale”, Ahab – “The Call Of The Wretched Sea”, Testament – “The Legacy”, Heathen – “Breaking The Silence”, King Diamond – “The Graveyard”, Decrepitaph – “Profane Doctrines Unburied”, Forsaken – “After The Fall”, Tom Waits – “Rain Dogs”, Encoffination – “Ritual Ascension Beyond Flesh”, Forbidden – “Twisted Into Form”, Coffins – “Mortuary In Darkness”, Genesis – “Selling England By The Pound”, Funeral – “As The Light Does The Shadow”, Memory Garden – “Tides/Forever”, iar in momentul de fata ascult Wooden Stake – “Dungeon Prayers & Tombyard Serenades”!

Antarktica: In ultimul timp am ascultat cu precadere muzica clasica si coloane sonore, iar discurile cu auditie repetata in momentul de fata sunt: muzicalul "Les Miserables", coloana sonora "The Dark Knight Rises" si Tchaikovsky - Symphony No. 1 "Winter Dreams".

Ce parere aveti despre proiectele secundare ale muzicienilor: distrag de la preocuparea principala a unei trupe sau adauga valoare prin diversitate? A fost vreodata vreo problema cu suprapunerea de show-uri, cum gestionati acest aspect?

Animae: N-au fost niciodata o problema… dimpotriva, cred ca reprezinta o buna ocazie de a canta ceva diferit, ce poate nu si-ar gasi locul in Darkend, si totodata de a ne imbunatati abilitatile noastre individuale, ajutandu-ne sa evoluam ca muzicieni si persoane. Legat de show-uri live, doar Hatred (proiectul death metal al lui Valentz si Ashes) are activitate live, asa ca e destul de simplu sa impacam totul.

Antarktica: Nightbreeder este proiectul meu simfonic pe care il conduc de patru ani. Scriu o suita de povestiri thriller/horror pe care le transpun in muzica prin piesele mele. Stilul lor muzical este foarte divers, de la muzica clasica, la stilul lui Danny Elfman si Hans Zimmer si pana la un gothic mai simplu gen Nox Arcana sau Midnight Syndicate. Primul album - "The Dawn Of The Dark Age" - a fost lansat acum doi ani si reprezinta preludiul povestii. Cel de-al doilea album, ancorat tot in prima poveste, este intitulat "CHAPTER I - A Black Comet Shineth On The New Age Of Witchcraft" si va aparea in mai putin de o luna.

Revenind la albumul vostru conceptual „Grand Guignol - Book I”, povestea abunda in ocultism, istorie si filozofie. Nu v-a fost teama ca audienta va trece pe langa semnificatie sau l-ati gandit ca pe o provocare? Sunteti multumiti de rezultat?

Animae: Ai spus-o chiar tu, e o provocare, si e si felul meu de a transmite ceea ce simt: este foarte multa cunoastere ascunsa la radacinile acestui album, dar pentru a ajunge la ea, trebuie sa fii atent, sa dezlegi enigme si sa te angajezi intr-un proces de cercetare si introspectie prin care sa-ti depasesti limitele obisnuite. Din punctul meu de vedere, asta e singurul mod de dobandire a cunoasterii: cu energie, interes si curiozitate neobosita. Cu o vointa profunda de a cunoaste. Doar scotocind printre umbre vei pastra cu adevarat ceea ce vei gasi. Dimpotriva, cand “cunoasterea” este impartasita intr-un mod facil, expunandu-i miezul la lumina, aceasta isi pierde intreaga semnificatie, nu mai este deloc cunoastere. E doar ceva ce vezi, citesti si ulterior arhivezi in propria minte spre uitare. Cunoasterea impartasita este cunoastere pierduta.

“Grand Guignol - Book I“ are o componenta teatrala care uneori, datorita orchestrei, imbraca o atmosfera cinematica. V-ati gandit sa cantati albumul in intregime intr-un singur show, poate intr-o locatie mai asemanatoare cu un teatru? Vezi asta materializandu-se candva?

Animae: Oh sigur, ar fi de vis! Si fiindca sunt cu adevarat o persoana optimista, sunt sigur ca intr-o zi se va indeplini. Asa ca… da! Ne gandim la o reprezentatie teatrala a intregului concept “Grand Guignol” (ambele parti), cu decoruri speciale si cativa actori. Acum insa va trebui sa mai asteptam! :)

Editia limitata a “Grand Guignol - Book I” denota o mare atentie la detaliile palpabile menite a transpune ascultatorul intr-o anumita stare, ma refer la prezenta tamaii ritualice, a certificatului de magie semnat de un cerc esoteric obscur.... In acest context, ce parere ai despre Internetul omniprezent si omniscient de azi: e o binecuvantare sau un blestem? Crezi ca intr-o buna zi editiile fizice ale albumelor vor pierde teren in fata celor digitale?

Animae: Pentru scena underground cred ca Internetul este o binecuvantare daca e folosit intr-un mod pozitiv: te ajuta sa raspandesti vestea despre Arta ta, sa descoperi tone de trupe fantastice si sa-ti faci o idee despre cum suna acestea. Il folosesc zilnic si, desigur, de fiecare data cand gasesc ceva care imi place mult, contactez trupa sau casa de discuri si cumpar CD-ul. Referitor la Darkend, sunt sigur ca o multime de internauti dependenti de metal procedeaza la fel: de fapt primim multe comenzi on-line, aproape zilnic! Si nu cred ca editiile digitale vor putea vreodata sa le faca pe cele fizice sa dispara, chiar daca piata muzicala trece acum prin momente foarte ciudate si dificile. Desigur, timpul va stabili un nou echilibru, dar atat timp cat vor exista obiecte fizice bine realizate, dupa parerea mea nu, in nici un caz … pentru noi, cei dependenti de muzica, nimic nu se compara cu a detine un CD sau LP adevarat, minunat!

Albumul vostru precedent, “Assassine”, a aparut sub egida casei de discuri italiene Crash & Burn Records, in timp ce “Grand Guignol - Book I” si-a facut intrarea cu binecuvantarea celor de la Arcane Witchcraft Coven. Ati schimbat casa de discuri?

Animae: Subiectul casei de discuri este unul mai aparte in cazul nostru. Crash & Burn Records a fost din nou implicata intr-un segment al promovarii, dar grosul l-a suportat “Arcane Witchcraft Coven”, care nu este o casa de discuri, ci un cerc esoteric care a decis sa ne produca si sustina materialul dupa ce unul din membrii lor a avut posibilitatea sa fie martor la unul din show-urile noastre in deschidere la Samael si Melechesh. Intelegerea e foarte simpla: in schimbul serviciilor pe care ei ni le ofera, noi trebuie sa le compunem muzica si simfonii ritualice spre exclusiva lor intrebuintare. Situatia nou creata astfel pentru "Grand Guignol" s-a dovedit atat de pozitiva, incat ne-a determinat sa refuzam unele contracte cu case de un anume prestigiu si vizibilitate, care insa la acea vreme nu ofereau conditii prea interesante trupei Darkend. Asa ca, din punct de vedere discografic, noi ramanem absolut liberi si fara nici o obligatie, desi, desigur, suntem inca deschisi pentru posibile acorduri ce ni s-ar parea atractive – pastrand insa colaborarea fructuoasa cu ''''"Arcane Witchcraft Coven."

Poti lamuri un pic modul alternativ de scriere al numelui trupei Dark End vs. Darkend? Este o declaratie in evolutia trupei?

Animae: Asta e un subiect de luat in seama. Trebuie sa stiti ca denumirea “Darkend” deriva in primul rand dintr-un artificiu intrebuintat in traditia esoterica fie pentru a ascunde adevarul, fie pentru a transmite cititorului un mesaj ce transcende textul scris: Anagrama. Numele trupei (pe care l-am modificat sudand termenii "dark" si "end" pentru a ramane fideli acestui principiu) asa cum este simbolizeaza Abisul, inconstientul deschizand portile spre mister si vis, in timp ce anagramat si despuiat de aparente acelasi nume dezvaluie REALA semnificatie: de fapt este vorba de un termen cheie folosit intr-o straveche rugaciune sumeriana de reincarnare, termen ce va aparea in versurile ultimei piese de pe al cincilea album al nostru.

La ce ar trebui sa se astepte fanii din partea Darkend pentru restul anului si dincolo de 2012? Lucrati la “Book II”?

Animae: In prezent finalizam partea de compozitie a celui de-al patrulea album, care insa nu va fi “Grand Guignol – Book II”. Se va intitula “Il Velo Delle Ombre” (“Valul Umbrelor” in italiana) si se va ocupa de un concept obscur, total diferit. Acesta va fi urmat de un EP special si apoi de cel de-al 5-lea album, strict legat de EP-ul precedent. Abia dupa aceea va veni vremea pentru “Book II”…

Iar acum o intrebare finala menita a va testa latura umana: ce hobby-uri, in afara de horror metal, mai au membrii trupei?

Animae: Oh, pe langa muzica, studiez si citesc intens despre filozofie, teologie, astronomie, culte stravechi si magie… asta cand nu sunt prea ocupat cu Universitatea! :D Imi plac si filmele, sa fac sport, sa merg la concerte, sa-mi petrec timpul cu prietenii … si oh, desigur, sa cumpar o gramada de CD-uri!

Antarktica: Evident Nightbreeder, si apoi coloane sonore, cinema si lectura...

Multumesc foarte mult pentru raspunsuri! Cateva cuvinte de incheiere pentru cititori?

Darkend: Si noi va multumim pentru suportul adevarat, pentru spatiul acordat trupei DARKEND si pentru cuvintele frumoase pe care le-ati scris in cronica “Grand Guignol”… MULTUMIM! Speram sa va vedem in curand, pe toti! Pana atunci… raspanditi Cultul nostru obscur al Ororii!

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English version below:

Animae (Darkend): “Knowledge shared is knowledge lost”

Following the recent news about Darkend supporting Cradle of Filth on a European tour this November, I caught up with vocalist Animae and keyboardist Antarktica to talk about “Grand Guignol - Book I” - the band’s third full length released earlier this year, about the forthcoming shows and other “horrific” stuff. Here’s what Italy’s masters of horror revealed. Enjoy!

Hello and thank you for taking the time for this interview! Let us start off with a bit of introduction. Some of our readers made first contact with Darkend last year when you were touring with Rotting Christ and Samael respectively. What should those who still haven’t heard of you know and what’s new in Darkend’s camp?

Animae: Hello, and thank you for your support and interest in Darkend. To all of those who are wondering who we are, I just tell that we, in our collectivity, incarnate the concept of “Obscure Horror Art”: it’s beyond simple music, it’s more like a labyrinth where ghosts, death, darkness and magic unite in order to reach the most profound core of our highest Spirit. At the moment we are preparing our live show for the upcoming European tour with Cradle Of Filth, Rotting Christ & God Seed and, in addition to this, we are writing a lot of new material for our next album.

“Grand Guignol - Book I” has been out for some time, what’s the reaction been like, both with the media and the fans?

Animae: The feedback has been fantastic thus far. We are collecting superb reviews (most of them are full rating) almost everywhere, the comments that we found on forums are fantastic and our fan-base is increasing day after day. This is really great, and I have to say, YOU (all the people that support us and stand by our constant growth) ARE GREAT, we owe a lot to all of you!

Can you indulge us with some insight into the inspiration for this album? Why Grand Guignol and what is the connection to Heinrich Himmler and Jesus Christ?

Animae: Hmm, it’s very difficult to focus on single sources of inspiration, as all of us listen to a lot of music and we also have different tastes. Basically, our obscure art is set up by dark and melancholic extreme metal tightly combined with black metal patterns, classical symphonies and sulphur heavy riffs in the vein of Mercyful Fate/Angel Witch combined with bleak ecclesiastic compositions, harmonies directly taken from the gloomy theatrical representation of the XVIIIth century, straight melodic guitar solos and some atmospheric nocturne ambience.

We decided to use the title “Grand Guignol” (the name of a theatrical movement born in Paris at the end of the XIXth century and specialized in naturalistic terror and macabre shows, where more than often reality and fantasy become one) for 2 main reasons: firstly, because it perfectly describes the core of the whole DARKEND philosophy (what we call “THE THEATRE OF HORRORS”) and secondly, because it is metaphorically connected to the main concept of the album. In fact, lyrically, our third opus originates in a conscious and profound esoteric/philosophical research and explores the common roots of occultism and spiritualism, self-martyrdom and black magic ceremonies.

Here inside, the figures of Heinrich Himmler and Jesus Christ represent the ideological and moral extremes of centuries of history and culture, where the “non-chosen ones” roam as puppets lost in a horrible theatre. With the exposure of the common emotions that drove their deeds, they are both symbols and fleshy creatures, guiding the listener through the knowledge of sin, purity, pity, murder...up to the invisible strings of the cosmic immensity that moves everything.

By the way, inside the CD booklet you can find a very detailed presentation of the whole concept, with a vast introduction too and meaningful writings accompanying every single song.

What can you tell us about the songwriting and recording process for “Grand Guignol - Book I”? Did you take a different approach this time, especially with the departure of one of the band’s founding members (editor’s note: guitarist Imajes) before the new album’s completion?

Animae: No, not really: the album was already completed before Imajes’ departure and, by the way, he wasn’t much involved in the composition this time, sharing just some scattered riffs. The first stone settled in the creation of “Grand Guignol” was directly connected to my intensive philosophical and theatrical researches, used as a basis to set up the whole structure and the general atmosphere of the opera. Then Antarktica, and sometimes me, started to focus on the musical compositions, to which I progressively added my lyrics.

Concerning the recording sessions, the album was partly recorded after the first tour with ROTTING CHRIST and then finished at the end of last year, using two different studios: Remaster Studios (the same used for “Assassine”) and Nothing Studios (our new guitarist’s personal studio), both situated here in Italy.

Nightbreeder’s Frozen Orchestra has delivered a monumental job on the symphonic dimension of the album, who are its members: are they human, are they “spirits”?! How do you proceed with the integration of the orchestral elements into the songs’ architecture? How much is it creative mood and how much accurate technicality in this whole process?

Antarktica: Nightbreeder Orchestra is me (although I would love to say that it is a real orchestra), but using EastWest software, which is the best on the world market in terms of sounds and orchestral plug-ins, I’m glad to know that sometimes it’s difficult to tell the difference.

There’s two approaches I take to integrate the orchestral elements into a Darkend song, namely if it’s a song I am writing, then I start from an orchestral melody and gradually insert guitars, bass and drums according to whatever I have written and in tune with the theme of Animae’s text that needs to be set to music; when I write songs together with other band members who, in turn, come up with their riffs and ideas to be developed, I try to imagine the guitars and bass as orchestral instruments (contrabasses, cellos and trombones), so, generally, I do it like this and then I write the rest of the orchestral part accordingly.

The creative mood is fundamental and holds the first place, it’s where I always start from in order to write my songs: from what I feel, from what I want and what I need to express (still based on Animae’s texts), and then, obliviously, if you’re using an orchestra that simulates true orchestral sounds, you must also have compositional and technical knowledge of a certain level, an orchestra cannot be assembled at random, each instrument you use has different colours, definite characteristics and the studies are essential to be able to always make effective melodies.

What made you consider and implement clean vocals on this album? Will you keep this feature on your next releases, too, and what are your thoughts on people’s comparing it to I.C.S. Vortex and implicitly to Dimmu Borgir?

Animae: I have a very theatrical way to relate to our music: I always try to give a different voice to every single emotion, shades able to bring words to life. This time we needed some epic, melancholic clean vocal expression and our friend Fearbringer in my opinion did a wonderful job in delivering it. And about the comparison with I.C.S. Vortex, well, I think it is a very good comparison, don’t you? :) This doesn’t mean that we play the same music as Dimmu Borgir, on the contrary, the differences between us are many and plain.

Going back to the “clean vocals” topic, yes, we will have them again in the next album, but they will be different, as the whole atmosphere will be very different: bleak and ritualistic. Then, for sure, Fearbringer will join us again with his voice for the second book of “Grand Guignol”, only it’s not going to be this time, not just yet.

Speaking of more or less friendly comparisons to other iconic symphonic black metal acts, it’s official now that you’ll be joining Cradle of Filth on a European Tour in November. What can you tell us about the tour and, most importantly, what’s the feeling in anticipation of it, especially in this context of genre-related parallels and similarities?

Animae: We really can’t wait to leave for the tour, we are so excited and proud to share the stage with two legendary bands such as Cradle Of Filth and (again) Rotting Christ! About the comparison between Darkend and Cradle Of Filth, well, as for Dimmu Borgir, I think that is obvious that there are some basic similarities, as they both have set the “genetic code” of a certain way of doing music (mixing black metal with strong keyboards and orchestrations, structuring long and complex songs and so on…) but hey, it’s like this for every musical genre: so, as for example, in most bleak funeral doom you can still hear echoes of Black Sabbath, in most brutal/technical death metal you still find traces of thrash metal and there you still find traces of NWOBHM and classic metal… even modern black metal is still influenced by acts of the early 80’s such as Celtic Frost and Venom! It’s the history of music I think… and its beauty, also. Going back to Darkend, despite those “necessary” similarities, I think that our music is very different from the one presented by Cradle Of Filth: as stated before, Darkend are beyond music… it’s a theatrical form of horror pushed to its limits, watered with complete darkness and magic.

Do you think it is possible to justly describe a band’s sound without making any reference to long established stylistic neighbours?

Animae: This is directly connected with my previous answer… no, in my opinion. Even to describe some pioneers of the genre such as Black Sabbath or Led Zeppelin you have to refer to blues, to folk and rock roots … and this would go on ad infinitum :)

What other bands have you guys been listening to lately and what recent albums made it to the top of your list?

Animae: Oh, this is another difficult question! Lately I’ve been listening to a lot of funeral doom, death/doom, classic doom and Bay Area thrash… but it is like a never-ending wheel, I’m a real music addicted and every day I listen to a lot of different stuff! By the way, in these days my stereo gave a lot of spins to Esoteric – “The Maniacal Vale”, Ahab – “The Call Of The Wretched Sea”, Testament – “The Legacy”, Heathen – “Breaking The Silence”, King Diamond – “The Graveyard”, Decrepitaph – “Profane Doctrines Unburied”, Forsaken – “After The Fall”, Tom Waits – “Rain Dogs”, Encoffination – “Ritual Ascension Beyond Flesh”, Forbidden – “Twisted Into Form”, Coffins – “Mortuary In Darkness”, Genesis – “Selling England By The Pound”, Funeral – “As The Light Does The Shadow”, Memory Garden – “Tides/Forever” and now I am listening to Wooden Stake – “Dungeon Prayers & Tombyard Serenades”!

Antarktica: I’ve been listening mostly to classical music and soundtracks lately, and the records in constant rotation at the moment are: "Les Miserables" the musical, "The Dark Knight Rises" soundtrack and Tchaikovsky - Symphony No. 1 "Winter Dreams".

What’s your opinion on musicians’ side projects: do they detract from a band’s main focus or do they add value through diversity? Has it ever become a problem with simultaneous live dates, how do you manage that?

Animae: They have never been a problem… on the contrary, I think that they represent a good occasion to play something different that maybe could not find its space inside Darkend and to improve our individual skills, too, making us grow as musicians and individuals. Concerning live dates, you have to consider that only Hatred (the death metal side project of Valentz and Ashes) have a live activity, so it’s quite simple to fit up everything.

Antarktica: Nightbreeder is my symphonic project that I’ve been carrying forward for fourth years. I’m writing a series of thriller/horror stories, which I set to music by my songs. Their musical style is very diverse, ranging from classical music to the style of Danny Elfman and Hans Zimmer and to a simpler gothic like Nox Arcana or Midnight Syndicate. The first album - "The Dawn Of The Dark Age" was released two years ago and it represents the prelude of the story. The second album, still based on the first story, is entitled "CHAPTER I - A Black Comet Shineth On The New Age Of Witchcraft" and it will be out in less than a month.

Now, coming back to your concept album Grand Guignol - Book I, the story abounds in occultism, history and philosophy. Were you not afraid of your audience missing the point or did you mean it as a challenge, and if so, are you happy with the results?

Animae: You said it yourself, it’s a challenge, and it’s also my way of transmitting what I have inside: there is a lot of knowledge hidden at the roots of this album, but to reach it, you have to pay attention, solve enigmas and embark on a process of research and introspection transcending your common borders. In my opinion, this is the only way to gain knowledge: with strength, interest and never-resting curiosity. With the profound will to know. Only by searching through the shades you will really possess what you will find. On the contrary, when “knowledge” is shared in an easy way, exposing its core to light, it loses its whole meaning, it’s no more knowledge at all. It is just something you see, something you read and then archive in your mind to be forgotten. Knowledge shared is knowledge lost.

“Grand Guignol - Book I” has a very obvious theatrical vibe, which at times, with the orchestra’s contribution, takes on cinematic atmosphere. Have you ever considered performing the album in its entirety in one show, perhaps in a more theatre-specific location? Do you see that happen one day?

Animae: Oh yes, that would be a dream! And as I am a true optimistic guy, I am sure that one day it will come true. So… yes! We are thinking about an intense theatrical representation of the whole “Grand Guignol” concept (both parts), with a very particular scenery together with some actors. Now, we have just to wait :)

The limited edition of “Grand Guignol - Book I” speaks of great care for palpable details meant to make the listener tune in to a certain mood, I mean the presence of the ceremonial incense, the awe-inspiring Magic Certificate signed by an obscure esoteric circle.... In this context, what do you think of the omnipresent, omniscient Internet of today: is it a blessing, is it a curse? Do you think physical releases will one day lose ground in front of the digital ones?

Animae: For the underground scene I think that Internet is a blessing if used in a good way: it helps you spread the word about your Art, discover tons of wonderful bands and also get an idea on what they sound like. I use it daily and of course, every time I find something that I really like, I contact the band or their label and buy the CD. Also concerning Darkend, I am quite sure that a lot of metal-addicted internauts act in the same way: in fact, we are receiving a lot of orders through our on-line shop, almost daily! And I don’t think that digital releases will ever be able to make the physical ones disappear, even if the musical market is now going through very strange and difficult moments. Of course, time will set new equilibrium, but as long as there are well crafted physical objects, in my opinion, no way… for us, music-addicted people, nothing beats owning a real, wonderful CD or LP!

Your previous album, “Assassine”, was released via Italian label Crash & Burn Records, while “Grand Guignol - Book I” entered the scene under the blessing of the Arcane Witchcraft Coven. Have you changed labels?

Animae: The label topic is rather special in our case. Crash & Burn Records was again involved in a part of the promotion, but the heavy load was carried by the “Arcane Witchcraft Coven”, which is not a label, but an esoteric circle that chose to produce and support our work after one of their members had the possibility to witness one of our shows as support act for Samael and Melechesh. The deal is very simple: in exchange for their services, we are to create ritualistic music and symphonies for their exclusive use. The new situation thus created for "Grand Guignol" turned out so positive that it made us decline some contracts with labels of a certain prestige and visibility, which, at that time, were not offering Darkend any really interesting conditions. So, from the record-making point of view, we remain absolutely free and not bound to anyone, yet of course still open to possible future deals that may appeal to us, alongside our already fruitful collaboration with the ''''"Arcane Witchcraft Coven."

Can you shed some light on the alternate spelling of Dark End vs Darkend? Is it a statement in the band’s development?

Animae: This is a quite noteworthy subject. You should know that the moniker “Darkend” derives first of all from an artifice commonly used in the esoteric tradition either to conceal the truth or to convey to the reader a message that transcends the written text: the Anagram. The name of the band (which we have changed by stitching together the terms "dark" and "end" to remain faithful to the above stated principle) as it is used symbolizes the Abyss, the unconscious opening its doors to mystery and dream, while anagrammed and stripped of its appearance, this name reveals its REAL meaning: in fact it is a key term used in an ancient Sumerian transmigration prayer that we will reveal in the lyrics of the song closing our fifth full-length.

What should fans expect from Darkend for the rest of 2012 and beyond? Is “Book II” in the making?

Animae: We are currently completing the writing sessions for our fourth album, but it will not be “Grand Guignol – Book II”. It’s titled “Il Velo Delle Ombre” (Italian for “The Veil Of Shadows”) and it will present a totally different, obscure concept. This will be followed by a special EP and then by the 5th full-length, strictly connected to the previous EP. Only then the time for “Book II” will come…

And now a final question meant to test your human side: what are some of the band members’ hobbies outside horror metal?

Animae: Oh, beside music I study and read a lot about philosophy, theology, astronomy, ancient cults and magic… when I am not too busy with the University! :D I also like cinema, doing sports, going to concerts, hanging out with friends… and oh, buying a lot of CDs, of course!

Antarktica: Nightbreeder obviously, and then movie soundtracks, cinema and reading...

Thank you very much for your answers! Any last words for your readers?

Darkend: We thank you, too, for your strong support, for the space granted to DARKEND and for the beautiful words you spent on the “Grand Guignol” review… THANK YOU! We hope to see you soon, all of you! In the meantime… keep on spreading our obscure Cult of Horror!

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