French metal band Heartlay released their second EP titled “Remedy” last November. The project leader and composer Aaron Sadrin talked with Progarchy about the EP, and more.

What made you go for the name Heartlay?

Aaron Sadrin: Between April and August 2014 i picked up around 100 band names, i was looking for 2 words fused into one but without too much letters at the same time. Heartlay appeared to be the smartest choice both aesthetically and ethically, it meant to me the unveiling of all falseness within human’s most powerful muscle, the heart.

In a less metaphoric language it suggests that i wanted to make music with a cathartic devotion.

How do you usually describe your music?

Soulful, dark, honest.

What is your writing process like?

I always write everything alone in my home studio. It’s not that i’m obsessed to be a one man show but i feel more in harmony with myself and my visions rather than with other people to make music. I can do whatever i want with no compromise and that’s great.

Who or what is your inspiration, if you have any?

Inspiration comes from sulfur, this is what makes me feel emotions which interests me as a musician. When I’m not strictly working in the studio I enjoy walking in the night alone to find extra-musical ideas, like concepts and lyrics, I get lost in my head.

What is your favourite piece on the “Remedy” EP?

Perhaps The Battle or Black Walls. But it differs from the perspective, tracks like Bring You Down or Through The Window are also fun to play on stage, it depends of periods.

What makes “Remedy” different?

Remedy is different because the music on it does not try to take advantage of a new hype music genre. It exists by it’s own consistency, it’s own qualities and style, i’m interested at exploring my own shades and cracks through the music i want to make and being honest is the most important thing to me, this is what makes it unique i think.

What should music lovers expect from “Remedy”?

They can expect from these five songs a feeling of controlled anger combined with ambivalent melancholy and a fetish for sonic explorations.

What kind of emotions would you like your audience to feel when they listen to your music?

Adversity.

Which do you like most, life in the studio or on tour?

I can’t really choose between. In the studio you’re building the piece of art, it’s a long, calm, introspective process and performing on stage is the opposite of that. You play the consequence of what you did in the studio, and you have to adopt a more social minded character to make a good show. Performing live is cool, it’s just a completely different job and experience, but even if i enjoy that i’m am more of a studio person.

Pick your three favourite albums that you would take on a desert island with you.

Nine Inch Nails – The Downward Spiral
Tool – Lateralus
Clint Mansell – Moon Soundtrack

Get “Remedy” from Bandcamp.

Some GoPro cameras captured SW, the band and Ninet Tayeb performing Space Oddity at the Eventim Apollo last week (27th Jan) as a tribute to the late David Bowie. Thanks to Lasse for editing it together.

Orymus is a slick melodic metal band from Switzerland that first caught my ear with 2012’s ‘Escape to Reality’. Sounding close in sound to the band Savatage, the band may not have had the most original sound in progressive metal, but they executed the sound with passion and power all the same. As the band has gone on, their sound has certainly drifted increasingly towards a more accessible side of metal, and now at the point of their sophomore studio album ‘Miracles’, Orymus has drifted almost completely to melodic, rather than progressive sounds in metal. This is not to say that the technicality has been completely abolished, but it is clear that the band is becoming deadset on a more conventional rock song format. ‘Miracles’ may meet some unsteady ears from the progressive community as a result, but all things considered, the band offers some strong songwriting with this record. At the same time though, there are some issues which can make the album less powerful than it could have been.

As I thought originally with ‘Escape to Reslity’, Orymus takes quite a bit from the progressive metal veterans Fates Warning and Queensryche, possibly leaning a little more to the latter. Many bands are driven by the sounds of their influences in progressive metal, and Orymus is no exception to this. It would have been nice to hear a little more originality from the band though, and to a minor extent, Orymus is developing a more steady sound for themselves. When compared to ‘Escape to Reality’, the less proggy sound takes the band away from the Fates Warning comparisons, but does not make them any more original sounding. Instead, here the band sounds like quite a few modern hard rock bands. Orymus is still developing more of an identity for themselves however, although the more simple approach they take here is admittedly less impressive.

Although the songs are generally conventionally structured, they are well written. The vocalist here has a beautifully melodic voice that can also get aggressive when it needs to. There is also such a great variety to the music, but the songs all hold some memorable ideas going on for them. There is a dark vibe to these deeply melodic compositions, and a crisp sound to the whole thing makes it easy on the ears. One of many things I enjoy about Miracles is it’s organic style of production. The drums here sound lively, and the guitars sound warm and not over-polished. The guitar solos here are incredible, and when the band gets technical, I find myself very impressed by what Orymus have to offer.

Support Orymus by getting Miracles from Bandcamp, and following them on Facebook.