Tag: progressive death metal

Voidchaser

VOIDCHASER Talk Debut Album “Solace” & Band’s Journey

On By NickIn progressive rockLeave a comment

Formed just last year, Stockholm-Montreal-based progressive metal band Voidchaser has wasted no time making their mark. Following the release of their well-received EP Odyssey earlier this year, they have returned with their full-length debut album Solace, launched on September 6th. The album, a concept-driven masterpiece structured as a continuous piece of music, showcases Voidchaser’s distinct blend of technical precision, emotional depth, and theatrical flair. In this interview, we delve into the creative process behind Solace, the band’s rapid rise, and their ambitious plans for the future.

Progarchy talked with Voidchaser’s singer and rhythm guitarist Chad Bernatchez and bassist Jici LG.

Voidchaser formed just last year, yet you’ve already released an EP and are now gearing up for your debut album Solace. How has the journey been for the band so far?

The journey has been incredible. The band is really operating like a train without breaks. It feels like we are tighter and more creative than we’ve ever been.

Solace is a concept album structured as a continuous piece of music divided into movements. Can you talk about the creative process behind designing the album this way?

One of the things I love the most about music is the journey you take when listening and I always appreciate when an artist/composer recalls certain themes or melodies and uses them as identifiers, whether it be for characters, or emotions, etc. It’s story telling through songwriting. 

The two tracks, “Solace Part II: Only Human” and “Solace Part IV: Alien,” are vastly different in tone and style. How do these contrasting pieces fit within the larger concept of the album?

The two songs are very much tied together narratively by the experience of our protagonist but are very much opposing each other in terms of emotion. In “Solace Part II: Only Human”, our protagonist is dealing with surviving in a new environment. They are coming to terms with their isolation and are trying to embrace it. In “Solace Part IV: Alien” it is very much the opposite. Our protagonist is feeling an embrace that they have longed for and is blindly following it with little regard for anything else. All of a sudden, the desire to survive and push forward disappear and the only thing they care about is love.

Your sound draws from progressive death metal, but also includes elements of melodic and theatrical music. How do you strike a balance between technical precision and emotional depth in your songs?

I love feeling things when I listen to music. I love hearing something and it makes me cry. I’m a very big fan of musical theater because of this. When I write the heavy riffs, I really try to find something that can serve as a “home base” and I think it becomes a little “pop-y” as a result. Once I have that I just let my imagination run wild and go crazy with time signatures and all the other fun stuff. And it’s the same thing with the emotional stuff. I think that part of the balance is giving a space for these things to exist but also offering more to the song than just a standard song structure. It makes it so that when we land on those parts they shine more because we’ve been building towards it or around it.

Chad, you’ve described Solace as Voidchaser’s most ambitious project yet. What were some of the challenges and triumphs in creating such an intricate and cohesive record?

I think the biggest challenge for me personally was to let go of it. I kept thinking “it’s not perfect yet” or “oh this person will probably hate this part” and with the rest of Voidchaser’s support I was able to overcome that self-doubt and just say “fuck it, I like it, we like it, let’s go” After that it was a breeze, recording and producing it ourselves was smooth, the collabs were easy, the mix and mastering was like a glove. I think the stars really aligned for us after that.

Guest performances by Ashbreather on “Only Human” add another layer to the track. How did that collaboration come about, and what do you feel it brings to the album?

Ashbreather have always been our friends, we recorded our very first single at their studio. They have been there since the beginning really. After that we did the “Ashes of the Void Tour” and that made really strengthened our friendship, so we just asked, and they were super into it. I think it adds a great layer of chaos and emotion to that section. They killed it!

Your debut EP Odyssey made a significant impact earlier this year, and tracks like “Tyrant” and “Star-Crossed Lovers” have garnered tens of thousands of streams. How did that early success influence the making of Solace?

We were planning on doing Solace before Odyssey was even released so it never derailed the plan but I think it just made us want to go all in with it. We felt like something was happening and we needed to give it everything we had and do it justice.

Solace explores themes of survival, resilience, and toxic relationships. Can you share how these themes developed and how they resonate with the band on a personal level?

These are just all experiences that I have had and I’m trying to write them in a way that more people can resonate with. I use the narrative as a way to relate a feeling that detaches itself from me, myself and I. Solace covers a very important chapter in my life. Years ago I found myself in a situation where the rug was swept from underneath my feet and all of a sudden it felt like my entire world was collapsing. Then I left and I moved to Montreal. I had no point of reference anymore, I felt alone and wanted to use that as a strength. Then I met someone, and we were together for a few years, but it was unhealthy. We were both filing a void through each other. Finally once that break up happened I had a lot of cathartic moments with myself and I started feeling inner peace.

Voidchaser has roots in both Montreal and Stockholm. How do these two cities’ distinct metal scenes influence your sound and the way you approach music?

I would say that we’ve been more involved with the scene in Montreal and its had an influence that you’ve already heard and will continue to hear. You go see a gig, have a good time, get inspired and go home and jam something out. Stockholm is still a mystery to us, but being in a new environment has supercharged my creativity. I have been writing a lot of new stuff. Stuff you won’t hear for a while but you will hear it eventually.

You’ve shared the stage with Ashbreather and The Aphelion on the Ashes of the Void Tour, and you’re about to embark on the Terra Corp Presents: The Only Human Tour. How does performing live shape the evolution of Voidchaser’s music?

It’s just a constant flow of inspiration really. You make music that makes you wanna go out and play it in front of people. Then you go on tour with your friends, have a blast, grow closer and by the time you get home you’re just inspired to make more music. I think feeling the audience’s reaction to our music also helps inform some of the song writing. I’ll be making music and say things like “oh this is gonna make people jump around” or “I think we might lose the audience in this section.” Plus it’s just fun. Performing is the pay off for me.

Jici, you mentioned that Voidchaser feels like an unstoppable force since releasing Odyssey. What is it about the band’s chemistry that has allowed you to move so quickly and decisively in the past year?

At some point, we realized that this band could be the vehicle to help us achieve our dreams as musicians and artists, as long as we put in the effort strategically. I believe everyone in the band has a deep and existential drive to fulfill their own personal goals, which creates a powerful force behind everything we do as a band. We strive to break through our self-limiting beliefs and give everything we’ve got. Honestly, we’ve already accomplished so many of our goals so far, and it’s just the beginning. It’s overwhelming, but it’s one of the best feelings we’ve ever experienced.

Chat Bernatchez (Voidchaser)

Progressive death metal often demands a high level of musicianship. How do you as a band continue to challenge yourselves technically while still staying true to the emotional core of your music?

I think we stopped limiting ourselves to what we can play. The philosophy now is very much write what sounds good and if you can’t play it, learn how and if it’s hard, practice.

The remixed version of “Tyrant” was critically acclaimed. What made you decide to revisit that track, and how did the remix alter its impact?

What made us revisit that track was our current sound engineer, Jason Poulin, who just liked the band and asked us if he could do a remix of Tyrant for us.

We liked it so much that we just decided to release it. We’ve been working with him ever since and he became a ghost member of Voidchaser a very good friend of ours.

Voidchaser has a theatrical element in both your recordings and live shows. How do you incorporate that theatricality into your stage performances, and what can fans expect from your upcoming tours?

Matching costumes for one. I believe a live performance needs to transcend beyond just the music. So there will be as much visuals as we can get for now, as well as some light choreography stuff. We are also gonna be playing with backing tracks for the first time to really give a FULL sonic experience.

The progressive death metal genre is known for its innovation, but also for pushing boundaries. What do you feel sets Voidchaser apart from other bands in the scene?

I think that it is our roots. We have a lot of variety in the kind of music we listen to individually, as well as the music we were around while growing up. But I would say the most important thing for us is that we embrace some traditional songwriting elements that are more pop oriented. We allow ourselves to fluctuate between being very heavy and technical to being light and breasy.

Looking back on the making of Solace, is there a particular moment in the process that stands out as a defining moment for the band?

I would say we all really stepped up our game and we knew that this had to be big so that was something we collectively established early on. I think the defining moment, for me anyway was when we heard Jason’s first crack at the mix. We just sat there in complete awe and said, this is huge, there’s something going on here.”

Finally, as you gear up for the release of Solace and your next tour, what are your hopes for the future of Voidchaser? What’s next after this album?

Oh man, we have so much more plans we want to do. We have 1 more EP that we are hoping to put out this year. 2025 will have 2 albums and one tour at least, then 2026 will have something that I think is even more ambitious. We are going full force with Voidchaser until it dies or I do.

Solace is available now; check it out on Bandcamp. For all things Voidchaser check out this location.

DEVCORD: Special Kind of Music

On By NickIn progressive rockLeave a comment

For Austrian musician and songwriter Peter Royburger writing music for his one-man project Devcord is a fun and enjoyable process. And this can certainly be heard on the project’s sophomore release–this year’s GODISNOWHERE. Coming out some three years after the debut Dysthymia, Royburger gives his creative everything on GODISNOWHERE, delivering a powerful combination of progressive and death metal in the way of Opeth‘s pre-Heritage era.

You have recently launched a new full-length album with Devcord entitled GODISNOWHERE. How do you feel about the release? 

I am satisfied and also relieved to have completed the project. Towards the end of the production, I had time pressure because the birth of my daughter was just around the corner. But everything turned out nicely. The album is out and my daughter Mona, who was born a few weeks after the production ended, is doing great!

Where does the new record stand comparing to the debut album—2018’s Dysthymia?

I would say that compared to my first album the new one includes more different styles and sounds. For me, GODISNOWHERE simply is a musical addition to Dysthymia and in general to my musical repertoire.

I do not only make music because the creation process is fun, I also make music to enjoy listening to it myself. Actually, that was the reason why I started Devcord. I just wanted more of a special kind of music to listen to.

How much of a challenge was it to work on GODISNOWHERE?

I am not a professional sound engineer. Finding a satisfying sound is always a challenge for me. Sometimes you sit for hours just for an optimal snare sound. After all, you want to get the best possible out of the record and, ideally, improve the sound of the first album and that put me a little under pressure. In addition, I didn’t want to waste too much time between the first and the second album. I never had this stress with Dysthymia (the first record). In summary, I can say that the time factor was my greatest challenge on GODISNOWHERE. And as already mentioned, my unborn daughter ultimately set the deadline.

Speaking of challenges, have you set any in the early phase of what has become the final result?

I didn’t really have any expectations or set musical frameworks from the start. Almost each song was created step by step, just by improvising and working on them. I just started playing, recorded what I liked and added it to create my songs. So they literally are pieces of “progressive” work.

Tell me about the topics you explore on these new songs.

I am very interested in human behaviour and the dynamics of society in their most questionable forms. That is why there are topics such as decadence, narcissism, antipathy, cynicism, pedophilia in my music and especially on the new album. Most pop songs are about love, I think it is wiser to use music to point out issues.

What is your opinion about the progressive rock/metal scene in 2021? 

I have to admit that in the last few years I’ve become a little lazy when it comes to exploring new bands, although nowadays it is easier to discover new music with Spotify or genre-specific online magazines. And I also have to admit that I´m more and more into the music of the 70’s and 80’s. Nevertheless, I keep finding new “rough diamonds”. So I think the rock and metal scene is in good health in 2021 still.

Perhaps it is also worth mentioning that the following albums are celebrating their 30th anniversary this year.

Nirvana – Nevermind, Soundgarden – Badmotorfinger, Metallica – The Black Album, Red Hot Chili Peppers – Blood Sugar Sex Magic, Guns n´ Roses – Use Your Illusion I+II, and some more…

Let me know about your influences—the artists that in a way shaped and continue to shape the music of Devcord.

I can’t deny that Opeth’s influence is very strong. But other artists definitely also have an impact on my musical work. I’m thinking of Alice in Chains, Haken, Sepultura, Extol, Wilderun, but also bands like Toto, Led Zeppelin, Steven Wilson and Eagles played a little role for Devcord. Besides, I like to listen to orchestral music, which you can easily hear on GODISNOWHERE in the pieces “Silhouette” and “Entreat The Purge”. I also wanted to include sounds from different decades on the new record. For example, “The Lament” and “Scourge Of The Present” sound more like 70’s progressive rock than modern metal. That was really important to me: creating different sounds.

What are your top 5 records of all time?

Since I’ve released two metal records, my top 5 may come as a surprise as there is only one metal album included. But I have to say that the following (unsorted) list is about those who have touched me the most in my life.

Opeth – Watershed

Nirvana – Nevermind

Foo Fighters – The colour and the shape

Silverchair – Diorama

Muse – Absolution

Besides the release of the album, are there any other plans for the future?

Definitely! The only question is when. I’m currently thinking about doing something like an EP for Devcord in the next few years with quieter and more atmospheric songs. In addition, a few years ago I started an industrial metal project called “Optimum 10” with a friend, which has been pushed into the background due to the work of GODISNOWHERE. Now, I can fully concentrate on Optimum 10. All songs have already been recorded. Unfortunately, almost all of the vocal parts, as well as mixing and mastering, are still missing. But I can’t say at all when it will be published.

Any words for the potential new fans?

Welcome to the world of Devcord and enjoy the melodies!

GODISNOWHERE is out now, check it out on Bandcamp. Devcord is on Facebook.

Album Review: LUNAR – Eidolon

On By NickIn progressive rockLeave a comment

Originality is tough in music, and especially so in progressive metal. So many genres have cross-pollinated over the years that trying to put a unique spin on music usually ends up with going so far off the reservation that coherency can be lost. It’s a shame that “progressive” has become a kind of cliche-ridden sound of its own, hence my temptation is to call Eidolon — the second album by Sacramento’s Lunar — a progressive death metal album. Not in the sense that it uses “prog” tropes, but because it genuinely sounds like a forward step in terms of what can be done with death metal.

I’m not often a fan of likening bands to other bands, because I think unless it’s an intentional throwback or copycat it does a disservice, but the first thing that comes to mind is Opeth by way of Fates Warning and I do not say this lightly. Eidolon has an intensity to it that is organically broken up with occasional clean or melodic sections that never sound out of place; the group — brainchild of drummer and songwriter Alex Bosson — never comes across as hokey or gimmicky.

Alex_Bosson
Alex Bosson, founder of Lunar

All right, let’s dig in a bit. The musicianship is as tight as any metal release you’re likely to hear this year or any other year. Every member is on top of their game.  And speaking of members, the core of the group is comprised of singer Chandler Mogel, bassist Ryan Price, and guitarist Balmore Lemus, along with already mentioned Bosson on drums. Eidolon also features guest contributions from members of Haken, Leprous, Thank You Scientist, Fallujah, and more.

The guitars layer beautifully, with chunky riffs both alternating and occasionally layering beneath more melodic lines. The rhythm section pounds along, with a bass guitar that fleshes out instead of simply sitting at the root notes, even getting plenty of room to shine on its own (which I appreciate) and a drummer that can handle blistering double bass and blast beats right alongside jazzier sections. All the while we have a vocalist who manages to be perfectly understandable when he growls, by death metal standards anyway, without ever losing that sense of intensity and roughness.

One of the best things about (progressive) metal is that feeling of not knowing what to expect next. Sometimes it’s less enjoyable if it feels like the band doesn’t have a grip on what they’re doing and keep taking left turns to the mood, but once again Lunar succeeds by having each song feel like a distinct entity while never losing the tone of the album as a whole. After the two three “proper” songs (after the instrumental intro “Orbit”), the appropriately named “Comfort” comes in with a melodic and prog-rock/jazz inspired beginning, blossoming into a behemoth of a track that puts acoustic guitar and jazz drumming front and center forming a foundation and building to an explosion of a soothing guitar solo courtesy of Haken axeman Richard Henshall.

At this point you might think you’ve heard all of Lunar‘s arsenal, and you would be all wrong and a bag of chips. The very next track, “Potion,” is way more into the prog rock territory, with underlying acoustic guitar melody and jazz bassline carrying it.

The closing 12-minute epic “Your Long Awaited Void” is like a revue of all the best bits of the rest of the album: heavy riffs, clean vocals mixed with growls, acoustic bits, guitar soloing, in addition to cello-laden atmospherics,…

The word “classic” gets tossed around a lot, but I honestly can’t think of a better word for Eidolon. From front to back and top to bottom, this album is both firmly rooted in death metal with a progressive bend while standing alone atop the mountain. It’s equally headbang heavy and enthralling, music to get in the mosh pit and simply sit in awe of. This is required listening, because there’s nothing else quite like it.

Eidolon is out now and is available from Bandcamp. Check Lunar on Facebook and Instagram.

Album Review: Devcord – Dysthymia

On By NickIn progressive rockLeave a comment

Devcord - Dysthymia

Dysthymia, the debut studio album from Spillern, Austria’s one-man band Devcord, is a roller coaster of aural delight, distress, and progressive imagery that is bound to be a career defining moment.

The nuanced atmospheres and melodic sensibilities that composer Peter Royburger brings to each of the nine songs on Dysthymia are nothing short of brilliant. As the lines blur between romantic-classical period music, progressive metal, and almost ‘70s style prog rock it becomes apparent that Dysthymia is one of the most progressively challenging albums to be released in 2018, so far.

Songs like the opening “The Mortician,” which has a dark, eerie intro and powerful guitar riffs that evolve into orchestral stabs of Royburger’s vocals, demonstrate the ease at which Devcord slips in and out of catchy hooks and technically sound orchestral song writing.

The discourse between the dueling guitars — acoustic and electric — places the listener into perfect attunement with the melodies and growl vocals. Dysthymia sounds like chaos tamed and controlled. This works to the project’s advantage on album highlights — the title track and especially “Reaper’s Helpers,” where Royburger is structurally coherent enough to be catchy yet throw enough curve balls to keep you invested for the full 10+ minutes. “Fade” and “Jerk Pitch Rape” that close the record are impressive on all fronts, but the instrumentation on these two pieces is splendid.

It is not only technically challenging and perfectly executed as a piece of musical literature, but it is also an album that demands the listener’s attention and ability to think on a multitude of spectrums they may not be used to. Overall, Dysthymia is an album that takes the listener on a cerebral journey through many mysterious and technically awe-inspiring landscapes that not so many groups are able to achieve.

Dysthymia is available from Bandcamp here. 

https://bandcamp.com/EmbeddedPlayer/album=2235363591/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/transparent=true/

Organic Hallucinosis

On By Mahesh SreekandathIn Heavy metalLeave a comment

“I remember when I first heard DECAPITATED’s ‘Organic Hallucinosis’ and it just blew me away!!!!”–Tomas Haake, (MESHUGGAH). This was in the context of Vitek’s unfortunate death, at the age of 23.

Importance of Decapitated cannot be exaggerated. Intensity aside, that layered pattern of rhythm, leads and drumming — synchronized and complex. Whether it’s “Day 69”, “Post(?) Organic” or the intricately progressive “A Poem About an Old Prison Man” – Organic Hallucinosis shifts technical death into demanding musical terrains. And Decapitated accomplishes that by remaining rooted in old school structures.

Extending the scope of an established genre mandates more than just musical skill – a broader grasp of the context is equally crucial. Essentially, the album captures those alien progressive tendencies into the confines of a tried and tested death framework. Needless to say, it’s a surgical balancing act. Sheer progressive melody brewed into old school death — and without significant deviations from the genre playbook. In short, Organic Hallucinosis is a ruthless exhibition — of musical and aesthetic craftsmanship. A masterful swan song too.

Vitek (R.I.P. 2007)

By Selbymay (Own work) [CC BY-SA 4.0], via Wikimedia Commons

Review: Painted Black – Raging Light

On By NickIn progressive rockLeave a comment

PB_Promo2017_3

Lisbon based progressive metal visionaries PAINTED BLACK released their second full length album, and follow up to their 2014 EP Quarto Vazio back in October via Wormhole Death. Titled Raging Light, you may need to ensure your seatbelts are fully adjusted as you are in for one hell of a journey.

Raging Light constantly keeps you guessing as it meanders through a varied assortment of quirky time signatures, hitting you at every turn with ruthless blastbeats and piercing vocals as the quintet encapsulate you in a maze of riffs. In particular, the combination of “The Raging Light” and “Dead Time” are both packed to the brim with beautifully crafted insanity and just as you feel your head is about to spin off “The Living Deceiver” is a welcome change of pace inundated with hypnotic riffs.

PB_RagingLight_Cover

Considering the progressive metal scene’s tendency to lean towards more extensive compositions for the most part PAINTED BLACK have devised very digestable tracks which keep the listener enticed and engaged. They combine the harmonious subtleties of OPETH, the atmospheric pace of KATATONIA and the bludgeoning force of DARK TRANQUILLITY to devastating effect but where they particularly shine is on the album closer “Almagest,” a 17-minute prog epic. Ironically when they begin to dial down the vicious assault they are at their most captivating with eerie whispering verses and a more methodical pace.

PAINTED BLACK are clearly an intellectual and forward thinking band, and hopefully The Raging Light will bring them recognition they deserve. This is a band to look forward to in the coming years.

The Raging Light is available from Bandcamp.

Interview: PERIHELION SHIP

On By NickIn progressive rockLeave a comment

Perihelion Ship band

It can be said that a Finnish progressive death metal act Perihelion Ship offer an rollercoaster ride through Prog with their sophomore full-length release “To Paint a Bird of Fire.” Indeed, it feels as an album that has everything specific for the Prog genres since its inception in the late ’60s until today.

Mastermind Andreas Hammer walks us through the creative process for the new album.

Alright, first thing is first. Before we dive into all the music stuff, how’s life?

All is well. Trying to balance work, music and free time.

Speaking of new music, you have an album. What can people expect from “To Paint a Bird of Fire”?

“To Paint a Bird of Fire” is a little more straightforward than the debut, but the instrumentation is pretty much the same: a lot of Mellotron and Hammond Organ over heavy guitar riffs. The idea was to create a single 40-43 minute record to fit into one 12″ vinyl, like classic prog records. It ended up being a kind of a concept album, which is very evident in the lyrics.

There are two longs songs, two semi-long songs and two short songs, each displaying a variety of style in playing and composition, but still flowing nicely together.

To Paint a Bird of Fire

What was it like working on the album?

It was fun at first: I recorded the backing tracks for drum recordings with guitars and virtual instruments after the songs were written last year.

The drum recordings went very smoothly and we had much better environment recording drums than last time and the sound ended up fantastic.

After the final bass and guitar tracks were recorded and re-amped, things started to get slow and frustrating.

Jani (keyboards) had a lot of work in his hands and had to really push to get the keyboards done in his free time.

I recorded the vocals at home during spring and mixed them as well. This was the most frustrating part, as the songs did not end up sounding the way I had envisioned them at first. Even though Kris McCormick (production, engineering) had the skills to put everything together nicely in the end, the negative effect of these events started to show a bit on the practice room during spring. Due to the growing pressure, Jani and Jouko (bass) decided to quit the band during Summer. Thankfully we found replacements: Pirkka Maksimainen (keyboards) and Mikael Aalto (bass) have joined us. Both are very capable players.

Are there any touring plans in support to “To Paint a Bird of Fire”?

No not touring in the traditional sense; we are an independent act and don’t have the resources or time to tour. But we will play as many shows we can through the winter and next spring with the new lineup.

While we are on the subject of touring, what countries would you love to tour?

US definitely, cause that’s where most of our fans reside and I haven’t personally been there yet. I’d like to see the nature and smaller, more inner-cities as well as the west coastline.

In Europe, I personally enjoy Germany and Italy and their neighboring countries. And maybe visit the dear Sweden next door sometime.

Perihelion Ship

Who and what inspires you the most?

Inspiring art, nature and scientific advancements. For me, artworks have to have some kind of personal and emotional touch with them that shines through, and purely technical achievements do not really interest me (usually). This year, the new Pain of Salvation record as well as the new Bell Witch record are great examples of such art.

What other genres of music do you listen to? Have any of the other genres you listen to had any impact on your playing?

I still try to find great prog rock bands, but mostly I listen to underground metal and avant-garde. I do like synth/retrowave (you should check out Nightstop and their album “Streetwalker”) as well as classical piano music.

The fourth track from the new album; ‘River’s Three’, is inspired by classical guitar piece ‘Asturias’ by Isaac Albeniz, as well as the original Diablo -video game “Tristram theme” OST. Jani really nailed the Mellotron orchestrations in this song.

I really appreciate you giving us your time today. Is there anything else you would like to tell us and the fans before we wrap things up?

Thank you for the opportunity of being here. As most of our fans reside outside of Finland, it would be cool to record a live set and/or playthrough videos of our songs. You can find us on Facebook or www.perihelionship.fi

https://bandcamp.com/EmbeddedPlayer/album=935251725/size=large/bgcol=ffffff/linkcol=0687f5/tracklist=false/artwork=small/transparent=true/