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Voidcraeft - Disgust (2014)
Instrumentally and vocally it is somewhat atypical black metal, flirting with blackened death metal. The lyrical themes deal with emptiness, alienation, suffering, violence and the human condition in a rather abstract way.
In my early days I was primarily influenced by raw black metal like Darkthrone (primarily Under a Funeral Moon and perhaps Transilvanian Hunger, they haven't made anything resembling black metal in close to a decade now, though) and Katharsis (of Norma Evangelium Diaboli fame).
In the past ten years the two artists I consumed the most and returned to over and over again are avant-garde black metal legends Deathspell Omega and Australian experimental (blackened) death metal pioneers Portal.
Other bands worth mentioning are Nightbringer, Black Witchery, Diocletian and Antediluvian.
I have been accused of trying to gain publicity by dropping some big names but mind you, I never claimed that my music would appeal to people who are fond of some of the aforementioned artists.
In fact, I feel largely unable to imitate the style of the artists I admire the most (i.e. Deathspell Omega and Portal).
I just think it helps with putting the music into context and gives you some insight into what motivated and inspired an artist in their creative process.
Ideologically and lyrically I would like to distance myself from themes that embrace theism, satanism or other supernatural beliefs in an affirmative way.
As a firm atheist, I disapprove of such content and I will not make my music a vessel for anything like it, despite their prevalence and popularity within the black metal scene.
After the release of Aversion I had a phase of great artistic uncertainty and I ended up making a couple of rather ambient/drone/noise tracks.
However, I abandoned all of these and I doubt I am going to release them.
In the end I returned to my traditional approach to making black metal for the most part.
Once again high-pitched growls are the primary vocal style, with occasional low passages.
Guitars, bass and drums stayed the same, really.
The primary instrumental difference is a more liberal use of repetitions that are not a power of two (in particular 3, 5, 7) and occasionally also awkward time signatures such as 5/4 and 7/4.
One of the greatest changes in this release was my approach to writing lyrics.
I started making notes while I was consuming inspiring literature, right as certain images and fragments of sentences struck me.
Later I would then use these notes to write rather lengthy lyrics, composed of eight lines of per verse.
I used to record the music first and write the lyrics later.
This also made it easier to write lyrics whose metre is highly compatible with the rhythm of the music.
I largely abandoned this method in favour of the rather plagiaristic new approach that remotely resembles the Dadaist cut-up technique.
Incidentally I first encountered a description of that technique while reading William S. Burroughs, years after I had already been using methods like this.
Anyway, this is why the two tracks on Disgust are so long.
Each track includes most of the source lyrics I wrote based on the particular literary episode I was going through.
I wrote the lyrics Meditation on Despair while I was vsiting relatives of mine in Berlin in December.
It is largely based on the writings of the French existentialists Camus and Sartre.
My stay there was rather strange.
I was drinking heavily and visited a friend of the family that was dying of lung cancer.
She died a couple of weeks later.
I also used these lyrics repeatedly in the ambient/drone/noise stuff I was making prior to actually working on the current version of Meditation on Despair.
Where There Is No Image is primarily based on a single novel I was very impressed with.
It was Umberto Eco's The Name of the Rose.
Unfortunately his other novels are useless to me.
The cover also deviates from all previous releases.
It is from a series of distorted organic forms I have been drawing lately.
They were greatly inspired by a Polish artist called Piotr Zygmunt.
I love his monochrome stuff.