The following interview was conjured with Archfiend Devilpig of Hellenic Black/Death squadron, EMBRACE OF THORNS.
Hails Archfiend! What drives the passion to create such uncompromising black/death art? Has the band's ethos changed much (if at all) over the years?
Hails James Hexetomb. Thanks for having us! Black/death metal and honestly all forms of metallic and old-school rock music has been a lifestyle for us, for more than 20 years as of 2021. I myself have been a fan of extreme music since 92-93 and I could never imagine a life without it. So, it's safe to say that it's been a lifestyle for us without any possibility of ever morphing into something else. The band and the scene has been my family for decades and I/we are now in a position where we just do it for the thrill and the benefit of writing/performing/releasing killer music and getting to play with/for like-minded people. Adoration for the dark, self-expression, self-release, self-betterment have also been crucial in carrying on with the band.
I still think our ethos is the same as it was 20 years ago, so are the things we value for important in both life and in the scene.
What were some of the most challenging aspects in regards to the creation/recording of “Scorn Aesthetics” and how does it compare to your previous releases?
Scorn was definitely one of the most challenging albums to create, since it signaled the twilight of the old line-up and initiated a new chapter. Nuctemeron (drums) had to part ways in 2015, so Maelstrom came to the fold and we started shaping the album, working with material that introduced some innovations, at least when it comes to EoT. Most challenging was to acknowledge that we were not kids dabbling with metal any more and to channel that creativity in a more structured way. Some things worked as planned some didn't. Maelstrom and I rehearsed as a two-piece for an extended period of time because the rest of the line-up was in a transitional period to put it mildly. I think the end result was surprising for a lot of people, but not for us, since we were simply out for blood. We have effectively learned to channel all of our bile through music and I think Scorn was both a landmark and a sign for future things to come.
Can you please give some details about the artwork that adorns the cover of “Scorn Aesthetics” and the theme surrounding it?
It was heavily inspired by the work of German modernist painter Erwin Hahs and his painting "groβes Requiem" in particular. It is a Promethean figure struggling to tear his shackles apart. We wanted a cover that would stand out from the pile and Matthias Frisk who made it, delivered the Goods!
What is the current status of Embrace of Thorns and what can you tell us about the member(s) involvement in other bands? (Past and current.)
The current status is that of intense rehearsals. We are preparing material for a sixth full length. Covid-19 and lock-down set some hurdles up our way but we slowly but surely are overcoming them one after another. A European tour with REVENGE has already been announced for the entire March 2022, fingers crossed that it will happen. Members have been quite active in other bands like: Necrovorous, Serpent Noir, War Possession, Impure Worship, Triumpher, Profane Deed, Stygian Darkness, Shadowmass, Caedes Cruenta, Yoth Iria, Necromantia. Our Drummer Maelstrom is hands down one of the best players in the scene and his work ethic is second to none, so he's kept himself pretty busy all these years. As for myself I've been focusing on EoT primarily during the last five years with some odd exceptions.
What is it about simplicity in metal that appeals to you? Also what do you think of tech-death and bands that try to cramp as many riffs into one song as possible?
I believe that I come from a song-based, riff-driven school of thought. Don't get me wrong, I can appreciate technical players and I love some really technical metal bands. I also love seventies prog/psych/acid/hard rock that gave birth to some really technical and well-rounded musicians. That being said, I still believe in the power of the riff and at least in metal it seems that often times a very intricate structure dilutes the aforementioned power inherent in that sound. Modern tech-death doesn't appeal to me, not because it sounds technical, but because it kinda sounds neutered and clinical.
What are some truly underrated bands in the pantheon of black and death metal in your opinion?
There are tons of bands that qualify for a place in a list like that, still I believe that each and every obscure band of the past seems to be unearthed these days. I believe that Bloodspill from Texas, Abyssals (FR), Salem(Isr), Deteriorate (US), Masochist(US), Graf Spee (Uru) and bands like Holy Terror, Sentinel Beast,Original Sin,Exorcist, Deathrow, Sabbat (UK) are more or less under-appreciated.
Eastern European metal like: Aria, Pokolgep, Root, Torr, Kat has also stayed relatively obscure, mostly because of the language barrier. But this is a really hard question to answer.
Thoughts on the current surge of political correctness plaguing metal today?
I don't think anything of it. The worldwide climate and undercurrent has been that of a very divisive nature. I think that the world has been spiraling out of control for at least a decade and it won't get better any time soon. I personally feel really uncomfortable regarding lots of issues that plague the modern world, but this fact mostly derives from my philosophical views. My view of the human being modern and what not, is perfectly summarized by the Words of H.P. Lovecraft:
“I expect nothing of man, and disown the race. The only folly is expecting what is never attained; man is most contemptible when compared with his own pretensions. It is better to laugh at man from outside the universe, than to weep for him within.”
What do you personally think about progression in black/death? Can it be pushed beyond the seemingly set boundaries of the genre or do you think it should remain as is?
I personally would be really reluctant to try to mix it with influences from other, often times irrelevant scenes. The parameters have been set, as you said, long ago.
However there are always things from the past to re-interpret and personal flavor or idiosyncrasies to add. The genre has a vast range and an endless list of possibilities to offer. There is still room for self expression. One just needs to be smart and bring relevant things into the fold.
What's happening with your label Kill Yourself Production nowadays? What's the pros and cons of running a small underground label?
Κill Yourself ceased activities in the summer of 2020.It was great while it lasted and was firing on all cylinders. During the last years the market for CDs shrunk considerably so I decided to call it a day while it was still well respected rather than see it fall into irrelevance. Fans wrote and said that the label made a considerable dent, when it comes to quality underground releases. I think we always were fans first and then businessmen, and I wouldn't have it any other way. The pros include getting to release and to distribute the best of the underground metal from all around the globe, selling music at various live events, getting to know bands, supporters and generally being a vital part of the scene. The cons are that it is basically a very slow business, one gets stuck with stock that doesn't sell, and seeing quality metal staying in stock forever kills a big part of the creative drive behind it.
The Greek scene has many maniacs and bands with respect for underground ethos. What do you think is in the soil there that brings about this kind of attitude and give birth to so many killer bands?
The metal scene in Greece has had quite a history already, it's been going on for more than 30 years. Truth is that there are lots of people here that love their metal and rock n' roll, but it was always a niche thing. I don't know why there are top-shelf acts in Greece, because this really goes against the odds. The infrastructure has until recently been sub-par and the fans love the big names but don't really care about the underground. The only plausible explanation I can give is that the bands who are active now, were inspired as fans by the early bands, at least this is the case with us.
I understand you have a penchant for classic rock. What’s some of your favourite records and what is your opinion on vinyl format?
I was introduced to "classic" rock at a very young age via older cousins and whatnot. So this genre is by and large a huge part of my musical vocabulary. I rediscovered that sound around 10 years ago and have been incorporating it gradually more day by day in my listening habits. Favourite bands vary from: Blue Oyster Cult, Grand Funk Railroad, Βloodrock, Frank Zappa, Captain Beefheart, Hawkwind, Uriah Heep, Rush, Thin Lizzy, Wishbone Ash, Alice Cooper band, King Crimson, Camel, Gentle Giant and the rest of the classic heavy/prog canon to more obscure stuff like: Jane, Birth Control, Novalis, Eloy, Mythos, T.I.M.E, Sir Lord Baltimore, The Third Power, Bang, Dust, Litter, Aorta, Patto, Bubble Puppy, Stark Naked, Frost, Help, Ultimate Spinach, Eden's Children, Amon Duul II, Fever Tree, Frijid Pink, and the list can go on forever. It's a whole different world, that's very near and dear to me as metal also is.
How integral is playing live for your band and what can you tell us about the recent DVD that came out called “Revelation of All Sins”? What’s some of your most memorable shows that you can recall?
As you might know the band has pretty much turned 20 years old back in 2019. So we thought we should somehow celebrate that fact. Regarding the recordings per se, we know that the market for live albums has not been prosperous for a while, but we had friends behind the soundboard for the 2015 show, who pretty much offered us the recording for free and the same story pretty much applies to the Lithuanian gig. We were lucky because we ended up with two professional sounding recordings and it was simply an opportunity we couldn’t let go down the drain. As said we had been sitting on those recordings forever and there had been plans for earlier releases that simply fell apart until Saturnal recs/Rex Korkmanen came in the picture.
We enjoy both playing live and being in the studio/rehearsal. There is no comparison between the two. Totally different dynamics. When a band is killing it live ,then the experience can be life altering. Memorable Shows include: Killtown death fest 2012, Barcelona, Istanbul, playing with Archgoat and Mortuary Drape in Athens, everything we did in the US for several reasons and Finland, because we had the best stage mix ever.
Your thoughts on the following:
Stoicism:
I think that it is a good quality in man. I'm not in favor of instant gratification. Life will always throw curve balls to one's direction, and one should be prepared to tackle the hardships that life brings.
‘Zines:
The flesh and blood of the scene, too bad that the printed ones is a forgotten craft. I've been collecting them for ages.
Demo tapes:
As above, it's too bad that lots of bands tend to skip the demo phase all together and don't master their craft through demo recordings. Some of my fave recordings ever are demo tapes.
Ross Bay Cult:
The original grave desecrators, still inspiring, still awesome after all those years. There is more substance to Blasphemy and tons of old school metal spirit than meets the eye. It's way more riffy and dynamic that run-of-the-mill goats 'n' gasmasks metal.
Lastly, what’s next for Embrace of Thorns and where can maniacs get hold of your merchandise? Thanks for your time!
It was cool man.
We are on Bandcamp: https://embracethorns.bandcamp.com/
You can find what is available over there.
New album coming in early 2022.