Great Crusades - "The Great Crusades are coming to your town to convert you to rock and roll!" (Brian Krumm)

Obviously, musicians from The Great Crusades are people are very open for pleasant conversations in the atmosphere of a wooden kingdom of cozy cafe with a pint of sparkling German beer that became for us a pleasant bonus, besides the visit of their concerts in Germany within recent concert tour. And still they adore speaking about the group which pleases and will continue to please admirers of the nostalgic-daring Chicago blues rock from those far days when this talented four - true friends and colleagues at first gathered and in days that are so far and foggy because they in the near future they also are going to conquer the Russia their the heart-felt tavern rock-ballads. Generally, tour, the mass of a positive and their immense discography that became the result of a relentless works - is the reasons of this interview which Brian Krumm willingly agreed to give for us - he answered on our questions with sense of humour and sincere desire to tell to the world about feats of the Chicago crusaders!

Hi, Brian, thanks that you supported our idea to interview The Great Crusades! For us it a great honor to talk with you, dudes!
Hi Man. It seems so long ago since I saw you and I want to sincerely thank you for coming all the way from Russia to see our shows! It means so much that you would spend your hard-earned money to come see our band and to witness a little bit of the craziness that goes on while we are on the road. I don't even think I had a chance to sit down with you and have a drink and THANK YOU for re-releasing an album that meant so much to me and to the band in our early years. I do hope you had a great time and I do hope that you had a chance to see some parts of Germany and Europe that you have not seen before. I hope we can meet again in the future! Please, let's promise to do that! 


Tell to us please about that how began the story of The Great Crusades? If to me not changes my memory, you gathered about 15 years ago. This period rather not small and because your collective probably endured many changes and periods of so-called take-off and falling. You continue to create in the same collective as 15 years ago? 

Yes, we have been together as a band for about 15 years now. It's crazy. But the band is made up of my best friends in the worlds, so that makes it easier. I formed the band in about 1996 or 1997 when my college band, The Suede Chain, was in the process of breaking up. The Suede Chain had some success, especially in the Midwest of the United States. We had a regional hit called "Daisy Dawn," which allowed us to tour quite a bit. But alas, people had to move on to do what they had to do for their own lives. This happens quite often with people that play in bands. However, when the band broke up, I decided that I was not done with playing in bands. A friend of mine in Champaign, Mike Rader, suggested that we form a band in the style of Nick Cave and the Bad Seeds, and I immediately put the wheels in motion. The band released an album on a small label in Champaign-Urbana, called Mud Records, and the album was well-received by critics and fans alike. The album, the first spilled drink of the evening, even got a mention in Rolling Stone, which I'm sure you can guess was an absolute thrill for me. That album was also released by a small label in Germany called Trocadero Records. Soon after, I moved to Chicago (in 1998) and it just so happened that Brian Hunt, Brian Leach, and Christian Moder ended up in Chicago too. That's when the band really formed as it is today. We recorded and released the next album in 2000 on Germany's Glitterhouse Records, which was called Damaged Goods, and we're still going today. It's quite an adventure to this day. Of course, sometimes life makes it harder to make music every year, but somehow we keep on going.



One can to call your music just "infernal mix" of a country, the blues, psychodelic pock and even a pub ballads in traditional forms for American music. Tell please how you decided to choose such stylistics? 

It's actually not that surprising that our music has so many diverse influences because each member of the band has very diverse interests. For me, I've always been a fan of Tom Waits, Nick Cave, and going back further, R.E.M. and the band Camper Van Beethoven. Hunt and Moder are big fans of the band Kaiser Chiefs and Brian Leach has a background in music from the 1970s, such as T. Rex, Big Star, and the Beatles. Somehow, it all boils down to a very interesting soup.


How do you think, The Great Crusades can be in the same row with such legends of rock music, say, as Bob Dylan, Gary Moore, Aerosmith, Guns N' Roses, etc.?

Ha! I would never put the Great Crusades in the same category as those bands, those "legends." I respect each of those artists, because I realize how much work it takes to write songs and perform the songs live and to actually manage to keep a band or a musical career together. We actually played a gig with Gary Moore in Duesseldorf. Did I tell you that? It was a great gig and a highlight of our career. The Scorpions gig was outstanding as well. Actually each gig is its own special treasure. Usually.


May you mentally imagine your band in the future? In May/June of 2014 was planned a large-scale concert tour on Europe in support of your latest album "Thieves of Chicago". Tell about this action in more detail? Who who gives help for your band in the organization of foreign concerts?

It's hard to imagine the future, because a lot of it depends on the opportunities that we are presented with. Many times, we have an offer to play a festival or two or an opportunity to put out an album with a new label, such as Blue Rose, and that stirs us on to create new music. It kicks our asses to make new art. Hopefully, things like this will continue to happen and we'll just keep on cranking out new stuff. The tour for "Thieves" happened as a result of the hard work of our tour manager Carsten Mueller and myself. We usually book tours together and it's been working out so far. We may get some other booking agents aligned to help us in the future. 


What countries you are going to visit and you will be act in Russia? 

We would love to visit Russia some day! We'll basically go anywhere that people want to hear our music!





Will be your shows any "highlights"? how do you think why The Great Crusades don't use the so wide popularity and how big the contingent of your admirers? 

There are always a few places that we love to play and some places that feel like "home," that we will probably play until the band doesn't exist anymore. For the second question, I consider ourselves lucky to be "popular" anywhere in the world, as I know so many bands probably think the same way. s


Had you to communicate with fans of your creativity? 

The best way to communicate is always face-to-face, which is why playing live shows is so important. We not only get to play the shows, but we also get to say hello to folks we haven't seen in a long time.


It should be noted that The Great Crusades have a very interesting scenic image. It happened naturally or was thought up, or, for example, to emphasize your musical color? 

The band name The Great Crusades was not created with much thought. It just sort of sounded like a cool band name. Lame story, but it's true. But there is a cool aspect of "The Great Crusades are coming to your town to convert you to rock and roll." !

In the 60th of last century the rock music arose first of all, as music of protest– it isn't simple against some social system, but against narrow-mindedness, against an philistine way of life. How do you think there is in your music such tendency which in fact proceeds from the roots of rock of old school? 

I very much admire many artists from the 1960s, especially The Doors and Bob Dylan. I'm not sure how The Great Crusades' music relates to them or to other artists from the 1960s, but I know that many artists in that time frame broke new boundaries and the music they created pales in comparison to some of the music being created today.


What principles do you follow when choosing a label? For you important a commercial success or after all creative, independent background?? 

It's an interesting question. Sometimes the labels choose us, instead of us choosing the label, as is the case with GSP! : ) The way I look at it, labels or other people who want to release our music just make my job easier. I'm always interested when reputable people want to release the band's music and promote the band's music, because it's always better to have people spreading the gospel of The Great Crusades rather than just having me do that job.

Thanks a lot for that you took part in ours interview, undoubtedly our readers learn about you a lot of new and interesting information). Happily!

                                                              

NAGAARUM 'Rabies Lyssa'

Genre: Experimental/Ambient/Black Metal

Country:  Hungary

Year: Released 09 July 2014 by GS Production

If we talk about Nagaarum, then not immediately will be found words described this madness, which then keeps to the rush, then surprises with a grim calmness and these changes so unexpected that most likely for "Rabies Lyssa" - the new album of the project, you will vainly to try to catch the harmony, you will find a powerful dissonance. I can not help thinking about that maybe this mysterious figure of the Hungarian underground, hiding under the name Nagaarum, was trying to portray symptoms of rabies in such a non-trivial way? Ruthlessly destroying all the clichés that could emerge arise around musical genres, he stressed in this mad creation a line between Dark Ambient and eclectic, that clearly prevails.

Already from the first track becomes apparent that the album is very complex in the plan of the construction, besides by variety musical techniques - vocal and instrumental, emotional effect of this work of art, if I may say so, can not be compared with anything. Quasi the author had a goal to break away from the total musical range that on the one hand his offspring had no analogues in the world, and on the other hand that "don't reinvent the wheel" when we say about new, allegedly unique styles, which are not so in fact.

Only an imagination will be not enough to describe it by words because even words can't express those incredible horizons which are opened before us the "Rabies Lyssa".

Listening this album some days in succession, I was able to understand some moments, characterizing the album, for example that songs are constructed on similarity of a nested doll... Each track as if is broken on several pieces. One from this parts can come to an end without waiting for the introduction another therefore there is such effect of overlay of one sounds on absolutely others. And sometimes between them there is the small pause which is capitally confusing - where the beginning? Where end? But we need to think about it? In my opinion, here it is much bigger, than it can be announced by a treklist of an album, simply it must be listened... and though all these unpredictable turns can plunge the listener into collapse, this work has the unique atmosphere and scales, and each sound gets under skin. 

In the musical plan there is not any rationality - if this consists from sounds and this is a music, it is obvious not music, it not sounds are the full chaos which is raising in consciousness the full and unconditional power.

Buy 'Rabies Lyssa'

Listen Online

Nagaarum on LastFM

In Lacrimaes At Dolor: "Музыка и культура это жизнь. Правильная жизнь." (Dany Palamåren)

Пару лет назад мое внимание привлек сингл "In Lacrimaes At Dolor", который тогда стал для меня интересной находкой, однако со временем в потоке неустанно растущего числа все новых и новых музыкальных откровений такие незначительные вещи имеют обыкновение теряться в повседневности, однако  в случае с In Lacrimaes At Dolor (так называется еще и проект автора вышеупомянутого сингла) было все несколько иначе... Теперь ко мне в руки попала уже полноценная работа, под названием "Beyond the Grave", где я снова, о чудо, встречаю ранее утерянную находку в виде сингла "In Lacrimaes At Dolor", включенного в альбом в качестве бонус трека. Так же не менее интересно то, что автор ILED, Дмитрий Паламарюк, он же Dany Palamåren, ссылается на поддержку с итальянской земли, и этот момент обещает быть раскрытым в рамках сегодняшней беседы, а так же без внимания не останутся и многие другие подробности, так что, дорогу осилит идущий - если здесь есть те, кто не разбежался еще во вступления к интервью, будьте любезны, оставайтесь с нами, ибо оставшаяся часть предвещает интересный и содержательный диалог :-)

Здравствуй, спасибо за то что согласился дать интервью. Для начала хотелось бы задать тебе вопрос, ответив на который ты прояснишь нам один важный и интересный момент в биографии In Lacrimaes Et Dolor.

Здравствуйте. Для начала хотел бы сказать спасибо тем ,кто организовал это интервью и дал этим образом возможность рассказать о своем проекте In Lacrimaes Et Dolor!

Расскажи пожалуйста, как ты начал сотрудничать с M. U. Mancielli и каким образом он содействовал появлению твоего детища?

Наше знакомство с Mauro Ulag Mancinelli было случайным, во время концерта одной местной группы из нашей зоны. Так как мы оба поддерживаем андерграунд, наши мнения во многом сошлись. Когда он узнал про мой проект, который на тот момент был пока только идеей, предложил мне свои услуги и содействие, что бы воплотить эту мою давнюю мечту в реальность.

Расскажи о своих прошлых музыкальных опытах. Повлияли ли они на твою нынешнюю деятельность или ты коренным образом решил сменить музыкальное амплуа?

В прошлом я участвовал в пару проектах, в основном дум и блэк. В принципе ILED в начале был проектом DSBM, но потом я понял, что я не туда иду, что мои прежние идеи отдаляли меня от моего настоящего Я, и что хочу создавать что-то мелодичное, атмосферное и в том же времени тяжелое и грустное.

Так как ILED это твой сольный проект, то исходя из этого факта хотелось бы спросить, каково это в одиночку, в смысле, самостоятельно проделывать такую обширную работу? Ты лично создаешь все инструментальные партии? Не возникало ли мыслей о привлечении музыкантов со стороны?

Признаюсь, создавать такую музыку в одиночку непросто, ибо это занимает много времени, сил и нервов. И конечно денег. Все партии пишу сам, в некоторых мне помогла моя половинка Алина Lilith. А в процессе записи, мне помогают мои друзья а именно: 

Mauro Ulag Mancinelli - басс-гитара, микс и мастер,
Francesco Cecco Castricini - гитара,
Ruglud - барабаны,
Francesco Torresi -помощь с некими вокальными партиями, за что я их благодарю и безмерно уважаю.

Что служит для тебя творческим источником? Как много личного в твоих песнях? Какие исполнители повлияли на формирование твоего вкуса?

Моим источником идей является моя душа, мои эмоции и мои воспоминания. В них почти все о личном, о некоторых событиях которые изменили мои жизнь и не всегда в лучшую сторону, например смерть дорогих мне людей и друзей. На формирование моих вкусов повлияли такие команды как Shape of Despair, Ankhagram, Profetus, Pantheist, Left in Torment , Until my funeral Began, 1000 funerals, Ahab. Хотел бы уточнить, я не боюсь выйти за рамки стиля,
скорее всего я боюсь не быть в состоянии передать то, что кипит во мне и что волнует мою душу и разум.

Твой дебютный альбом Beyond The Grave звучит весьма качественно и внушительно, его можно назвать атмосферной и прочувствованной работой, близкой по конструкции к типичному фьюнералу. Стремился ли ты привнести в этот альбом какие-нибудь экспериментальные элементы или новаторство не является столь важной чертой для твоей музыки?

В Beyond the Grave я соединил атмосферный похоронный дум с элементами классики, неоклассики и дарк эмбиентом, по этому назвать это типичным похоронным думом нельзя. Это скорее тихий крик потерянной души, которая ищет путь и ответы на свои вопросы.

Сингл "In Lacrimaes et dolor", предшествующий полноценному дебютному релизу, появился за год до его выхода в свет. Как ты воспринимаешь эту работу? Для тебя это проба пера или серьезная наработка (учитывая то, что она была включена в Beyond the grave качестве бонус трека)?

Первый сингл - это солдат которого я послал в разведку, что бы проверить реакцию публики и понять стоит ли продвигаться дальше или надо остановиться.




Что заставляет, мотивирует тебя играть и развивать свою музыку?

В наши дни, уровень культуры стал резко падать и в том числе и музыка стала понемногу деградировать. Поэтому мое творчество это ответ этому феномену, это желание объявить войну деградации и призвать людей вернуться к искусству, к культуре, и к хорошей музыке в том числе, ибо культура это наш свет и наши отпечатки в истории этого мира.


Какие творческие планы имеются на будущее время?

Уже начались записи нового материала, а точнее 3 песен. Две из них попадут в сплит который выпустим совместно с Until My Funeral Began и с Abysmal Growls of Despair, который посвятим жертвам столкновений в Украине, не важно на какой стороне они были, ибо когда народ страдает из-за политиков это геноцид. Еще одна песня попадет в сплит которые выпускаем совместно с Aphonyc Threnody в лице Roberto Mura, с Y'ha-nthlei ,и с The Blessed Hellbrigades. А на следующий год думаю будет новый альбом, и еще пару сюрпризов для вас всех, но это пока секрет.


Следующий вопрос адресован тебе как к автору и исполнителю. Скажи, как ты относишься к тому, что музыка, независимо от того каким лейблом и на каком современном носителе она издается, рано или поздно оказывается слитой во всемирное интернет-болото и становится объектом общедоступным?

Мир меняется, меняются стандарты и мышление поколении, но по моему не все идет к лучшему. Да, я за то что бы музыка была доступной всем, но истинный ценитель музыки никогда не поменяет Lossless на mp3, ибо ощущения совсем другие. И тем более если не поддерживать музыкальные команды и проекты, то ждать хороших релизов в будущем нереально. Поэтому хотелось бы призвать народ покупать диски, а не только скачивать. Давайте поможем искусству и оно поможет нам.


Ну что же, наше интервью подходит к концу. Еще раз я и команда GS Production, а так же наши читатели от души благодарим тебя за потраченное время и слова!

С какими бы пожеланиями ты обратился к своим слушателям - реальным и потенциальным?

Я тоже хотел бы поблагодарить GS Production и особенно Виталия Сависько за наше сотрудничество и за то, что они поверили в мой проект и мои идеи. А так же хотел поблагодарить всех тем кто мне помог и поверил в меня. Постараюсь не подвести и радовать и в дальнейшем хорошими песнями. А тем кто не ознакомлен с моим творчеством хотел бы просто призвать послушать, ибо знание это сила и надо обогащать свой внутренний мир и свой багаж знаний чем-то новым, это всегда победа над деградацией и над демагогией, это доказательство сильного духа и силы воли, желания изменить что-то для себя и для тех, кто будут после нас. Музыка и культура это жизнь. Правильная жизнь.

Всего доброго всем и всех благ. До новых встреч!

MUSICA CTHULHIANA 'The Fourh'

Genre: Dark Ambient

Country: Germany

Year: Released 10 November 2003 by Pegasus Verlag

Musica Cthulhiana is one of the most mysterious Dark Ambient’s  projects in this environment. About creators of this project practically it isn't known and the page on the Facebook meets everyone who comes there by a creepy avatar and modest number of subscribers. It suggests a thought that such unpopularity, almost secrecy can be regarded as part of image of the figure which hides under such mysterious alter-ego.

Musica Cthulhiana is an embodiment of creative ideas, the sui generis tribute to Howard Lavkraft caused by interest to his works therefore their music is a some mystical story, freezing the blood by gloomy plots, and the project’s name obviously applyed to the story  "Call to Ktulkh".  Thus, having created special psychoacoustic space from abstract pictures and subjective imaginations, Musica Cthulhiana is making hypnotic effect, similarly as shaman rituals changing a condition of consciousness.

The album "The Fourth" is the minimalistic sound row, "fixated" and volume. Really, this sound aura is  perceiving in a special way, it is rather at unconscious level but if to listen it attentively, it is possible to hear a huge variety of sounds which differ among themselves on origin, tones and even mood. It is possible to distinguish the background, the periphery, the center and other coordinates of points of perceptual space and it begins to seem that the world has much more measurements, instead of conventional three. Echoing aftersounds immerse in the abyss of infinite black-and-white dreams which dazzle by the uncountable set of fantastic and senseless images when the consciousness is completely disconnecting and all impressions of life turn into chaotic game of freakish images and thoughts. Sometimes in the middle of this monotonous background there are cold synth twangs, and sometime appear the perfect neoclassical passages with sad keyboards and melancholic violoncello, and even a saxophone in the first track “The Unnamable” which is executed in very sensual and mystical manner put on the jazz mode. Somewhere far it is possible to hear aftersounds of life, - whisper, singing of birds, splashes in water, a hurricane’s roar, someone's disturbing shouts. Really, one can feel oneself by the sleeper and to hear it through a thick veil of a sleeping, such strong that it even starts to frighten. Yes, in such state too it is possible to have feeling of freezing fear, especially when this sleeping is a certain verge between the real world and an abyss in a mysterious and unearthly gloom. And here it is already audible as a strange voice says the weird  words similar to some ominous spell.

Really to sustain a full album on forces it can far not to everyone, especially impressionable listeners can experience the real emotional collapse. Such ambient would become a good background soundtrack for some mute movie from the category of surrealistic creations.

Excellent release for those who looks for high-quality and interesting works in this unusual direction, still not recognized for music in itself habitual understanding. Similar to Treha Sektori, Karnnos, Udraum...

Listen Online


Musica Cthulhina on LastFM

IN LACRIMAES ET DOLOR 'Beyond The Grave'

Genre: Funeral Doom Metal

Country: Italy

Year: Released 11 December 2013 by GS Production

In Lacrimaes Et Dolor is the young Italian project with Russian roots. Really in the story of this formation though short, but from that not less substantial  there is one interesting fact which probably became a starting point from which In Lacrimaes Et Dolor originates. I quote: "After several unsuccessful attempts to create group in the Murmansk the keyboard player Noctis (Dmitry Palamaryuk who is also known as Rossielle or Velenus) decided to cooperate with the Italian producer Mauro Ulag Mancinelli that to do a solo project and to change a genre to the way of Funeral Doom Metal is one from music styles that long ago adored by him... ". And what turn out from it? Results of this work found the embodiment in the debut album "Beyond The Grave" for which this review devoted.

Despite on that it is the first work of the project, it is possible to note that it turned out wonderfully well, and

the reason for that not only features of a "foreign" sound recording, but also a huge emotional contribution of the author to the his work. Generally, everything is made soundly and on conscience!

Music is literally penetrated thin, invisible, but sensible yarns of the of grief and despair tormenting the soul which was lost on the road carrying in the abyss to the end marking inevitable perdition. Only one thought still keeps in this empty, sad world where day by day losses follow,pain, tears, memories - God there is, He with me, He will rescue me... But Him voice it isn't audible, He is silent, prayers and repentances are vain. One can't reach Him, one can not punch this ice wall of silence - and suddenly God already refused me, defined me on the death. In reply only emptiness, a dialog with itself, questions without response, uncertainty, oppressive and frightening... And such atmosphere is sustained from beginning of album to the end, joining all compositions in a unified song of the grief and  despair. In it creations there are everything that would allow to compete with masterpieces of masters of a funeral branch of the Doom Metal! Rich keyboards, atmospheric insertions penetrating by sepulchral cold and the shattering vocal, that compared to the cry from the heart, and calming down to the recitation, that full tragedians and painful reflections and this is logically added in literal sense with a heavy guitar sound.

In general, for of the debut this work is good from all directions, and therefore not for nothing it captures the attention of many fans and connoisseurs of the atmospheric funeral doom's in the spirit of the Mournful Congregation, Krief de Soli, Longing for down...

Buy 'Beyond The Grave'

Listen Online

In Lacrimaes Et Dolor on LastFM

Imbaru - "From the ground to aurora"

Chile... this southern country has great cultural heritage that similar on the copper where the alloy of different ethnoses was cooked during many centuries, the richest nature in the all it variety and climate which changes this country to unrecognizability with locomotion from northern latitudes with her dry deserts and to the far Tierra del Fuego where rise above bulks of ice tops rise and gray relics of the ocean... far and mysterious point of the world, the acquaintance for us only from books with stories about Indians and the brave travelers submitting the southern continent... as a little we know about Chile and how much it is possible to tell about this country, isn't it? And what in the plan of music? The Latin American underground can to be proud of the self representatives, because if in Europe some things aren't surprising and have not a deficiency, and on the contrary - them so much as mushrooms after the rain, but here, in the South America, and in particular in Chile these things can find absolutely new look, originality and isolation... Exactly here, in a valley Casablanca is based the young Chilean project the Imbaru conducted by the person with the mysterious pseudonym Caminante Silencioso. Music of Imbaru is interesting also it is unique that it is very thin transfers beauty and the color of local culture diluted mystical motives and simply natural, sincere luxury. In it there is nothing superfluous, no pretentiousness, tricks and rebuses... it is rather a riddle... riddle of a melancholic essence of existence and intimate depths of soul. The project functions in this path about 4 years and I was lucky not that with a permission, even on pleasure for the author, to download 3 albums. So, for me there was a final wish to get to know creativity of Imbaru and for satisfaction of this the purposes there was an interview which continues this post. And with us on connection Caminante Silencioso!

Hi from far Russia and thank you for the spent time! My first question sounds so: As I see, this is your first interview?
No, it's not the first one I have already answered an interview in spanish.


Ok, then this is your first interview for Russian-speaking public. Now I will ask for you one from my frequent questions that i address for almost all musicians to whom I had talked in the same situation, as now. About what tells the name "Imbaru" and from where it appeared?

"Imbaru" is a mystical word, especially for me. the word means mist, the one from the countryside and villages. For me it's a melancholic word and is a natural event that inspires me to compose music.


At this moment Imbaru has in the own arsenal 3 full-length albums, and as we can see that in these albums there is a tendency to compare its with the seasons, or rather it is the creation of a special quintessence of perception, which unwittingly conjures up some particular state of nature that is reflected in the mood of . Although your own comments in the description of this so called "triada" became for me a good "guide", because (for example), in the Northern hemisphere entirely different natural conditions, and therefore "El Cerro y la Penumbra" (2011) rather calls some autumn images at us, than raises in the mind of a snowy landscapes of the Eurasian winter, that so ‡ccustomed for us :). Indeed between these three albums there is some concept, linking together there works or it was a random step in your creative?

Everything was thought. The albums are intentionally connected since the three of them are conceptual works and I see the trilogy as a single project that has been divided into three chapters. That was always the intention.

However, the albums were not sorted chronologically since the first season in the music is winter, then comes the autumn and at the end the spring. The order of these chapters did not matter the importance was to record them in the corresponding season for each of them. thus, "El Cerro y la Penumbra" was recorded in winter during a typical seasonal storm. Linked to season in country villages, the darkness and loneliness in the cold rain.

"Las Cadenas del Epitafio" refers to the life transition along the autumn which is seen as a "temporary death" that's necessary for the cycle of life and existence. Maybe to portray the death of vivid colors it's a darker thematic than the one of the first album. Many of the nature sounds I used in this work were recorded in this season.

Finally, in "De la tierra a la aurora"what i wanted to do was to portray the spring from an entirely melancholic and deep perspective. The album sounds more bright than the other two, you can find more colors and sounds taken from nature on it that indicate the birth of life. Yet, the melancholy and mysticism is never lost, because is something that should always be present in Imbaru's albums.

If you listen carefully, you'll note that the albums are a description and vision of life in the countryside from the point of view of the seasons and each of its facets, colors, smells, sounds and textures.

You alone lead your project to the world of art or have assistants?

The compositions and the interpretation of the instruments are only mine as well as the musical concept, but I have two really good friends that have been helping me with other aspects of the project. One of them is the photographer who have taken and edited most of the pictures for the albums' cover art and some other uses like images for the interviews. The second one is a designer who helps me with the visual aesthetic of the project *and text redaction*.


There is in Chile a neo-folk scene and what place Imbaru holds there?

There is no thing such as a neofolk scene in Chile, not that I know. I'm all alone in this and I've tried to show the music to no arrival. Chileans mostly listen to more conventional an trendy music and it's allowed little space to more different bands.


How many elements of traditional music and culture of your country has found a place in your music? It was your goal to work in this stylistic line or it happened without a concrete purpose and in the process of your creative aspirations?
Many elements, in fact most of the elements are taken from the local culture like the blend of the spanish guitar and some traditional indigenous music from South America. Also, I refer to the mixture of peasant music, the cueca and especially to the music of Violeta Parra, so I use many rhythms and tempos that are unique to South America. I listen to some european neofolk bands in which I can see clear nordic aesthetics and cultural approaches which are consistent with their national backgrounds. Essentially, to me this music is a new way of seeing the folklore.

I love classical and ambient music too and I felt that I had to blend these genres with the folk to make the music deeper and more mystical. furthermore, in all the works I try to think through the approaches and concepts for each of them in order to do something original.


I had the pleasure to listen to all your basic creation, from song to song their mood is perceived by me a few ambiguous, it is very emotional and elegant music, in spite of its compositional simplicity and modesty ... what can you say about the emotional spectrum of your music, as far as he deep and personal?

Each person can have its own interpretation and some things may seem ambiguous because of the names of the songs and some other elements, but, obviously, it makes sense to me and also the people close to me understand why the albums and songs have those names. I honestly do not think that the music is simple. It's true that it has never been my intention to intentionally create complex music, it is sincere. But, even so, to interpret and mix the classical guitars elements was a painstaking work. This music is very deep for me, because it is a vision of country life, myself and my family
                         

In 2012 appeared compilation 'Series Oniricas'. Tell about it? How you decided to participate in it, and who else, except Imbaru was on this compilations?
'Series Oniricas' is a compilation that only my close friends have heard completly, they are small minimalistic and classical piano pieces. only piano works. It's worth to mention that some of the tracks were used in Imbaru. I've always have had this album hidden since I have not finished all the cover designs. Once I have all the cover design I'll publicly show the compilation. There is also an EP called "Ensueсo de Campo" which I also will show when all the cover designs are finalized.


Three albums, namely "El Cerro y la Penumbra" (2011), "Las Cadenas del Epitafio" (2012), "De la Tierra la Aurora" (2013) are available for free downloading. How I understand earlier you was not thinking about that to issue these albums on anything labels? And how you came to the decision to cooperate with Russian label later?

The reason why I wanted to cooperate with a Russian label was that this one has given me more freedom of expression than other ones that had offer to sell the albums before. The problem is that I see everything very carefully since I don't want the concept and the aesthetics of music to be lost. There are larger labels with mass-production potential that want to change all the work by translating the names of the songs to English, changing the cover art and other things that are very important for me. I do this for the love of art, so I need the albums to remain in their original concept and aesthetics.


Have you any new musical plans? Do you plan some changes in your creativity?

I work in other musical styles asides imbaru's ones. as long as I can Imbaru will continue because of the ideas and feelings that i need to express through the music.

I work hard at piano pieces from minimalistic and classical to atonal music. Also I experience with the piano to make dark ambient instrumental music, which use more variety of instruments to create atmospheric dissonance.

Thus, I could say I have 2 parallel projects along with Imbaru: One of Dark Ambient / Drone Doom with real instruments, and other project where I only do works of minimalist and atonal piano. In these projects I experience a lot looking for strange and deep melodies.


How i understand, you have a help with desigh of albums...From where the photos decorating your albums are taken? These are local landscapes?

All the pictures for the cover art have been taken in the nearby places where the music has been created: the village of Casablanca, around the village, on its hills and meadows. Also some of them were taken in Limache which is a village very near Casablanca.

On it we finish our interview, but finally I would like to ask you about your country. I think that for our readers the Latin American continent remains the mysterious earth, and Chile is almost on the very brink of the world if to take a detached view Europe. I suggest you to state in brief the main reasons for which we have to visit this country - exotic and such various in respect of natural zones.

Well, Chile has such a variety of landscapes, climates, wildlife and flora that it's hard to describe in just a few lines the wonders it can offer to foreign visitors. From the driest desert, with its occasional bloom, til the end of the southern world where you can find the majestic Torres del Paine, Tierra del Fuego and, far beyond, the antarctic territory, from North to South, Chile is a journey through the colours, sensations and cultures of a long and narrow land enclosed by the strongest natural boundaries. Strong as the largest ocean, the driest desert and the longest mountain range

However, it's not only nature what appeals in this country, also people have developed a variety of cultures along the land extension, influenced by their environment and the cross between indigenas, spanish colonist and immigrants. Among all this diversity there is a special places, an archipelago, that sums up what i'm talking about, Chiloe, where peculiar traditions and myths coexist with a unique natural environment.

The list of magnificent features may continue endlessly, but i think it would be better to not spoil it and let the readers discover Chile by their own.


Thanks, for me it was pleasant to communicate with you!

DEPRESSIVE MODE 'Tales From Lonely Lands'

Genre: Funeral Doom Metal

Country: Turkey

Year: 2011 (Self-released)
2013 by GS Production

World Doom Metal scene doesn't stop to surprise us by itself scopes, despite that it can sound is paradoxical. Probably, in the each country there are own exemplars of this genre. Of course I won't to recount all these collectives because right now the speech will go about the Turkish band named "Depressive Mode" (not to confuse with Finnish "Depressed Mode") is project created by two enthusiasts of a genre.

Musicans needed about 6 years that to write the first album "Tales From Lonely Lands", but in this case time was spent not for nothing, and the debut marked really a good start of group, especially if to consider from where this band. On this record the potential of musicians only starts to disclose, nevertheless already we can feel "sprigs" of future, more mature works.

So, this album is an example of a tough and a trifle dirty sound on the cold, detached background of a synthesizer which by the weightless texture clouds everything around, like a fog. The instrumental component is constructed on the rigid, "greased"  riffs and diluted by slow and methodical keyboards which create effective contrast between dense darkness and melancholy. 

Moreover, some things presented on the album aren't metal in habitual sense of the word and by way of this daring conclusion it is possible to give compositions as the ambient "Came To Die" and neoclassical "Bridge Of Moonlight".  Nevertheless, all these receptions are only auxiliary, enriching a musical cloth, the basis of that it is heavy, viscous music with very low, "funeral" roar.

Generally, the beginning is hopeful as already at first steps reached rather high level and despite at some flaws as quality of a recording we can enjoy incredibly sincere sound, and the despondency reigning in the music gets into the most intimate corners of soul.

Buy 'Tales From Lonely Lands'

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Depressive Mode on LastFm

MILANKU 'Pris a la Gorge'

Genre: Post Metal
Country: Canada
Year: Re-released 12 April 2014 by GS Production

Milanku is the collective from the distant Canada, Montreal. This holders of such a mysterious name already presented to audience 3 albums, the last from which only recently get to the enumeration of releases of the Moscow GS Production. This is a delightful atmospheric work called "Pris a la Gorge". 

Milanku this is group, which is difficult to edge into some genre frameworks, because their music is very spatial phenomenon and the collective, although it is obvious that the guys take a course to the way of the post metal, leading this genre under own standards. Indeed Milanku can be compared to the Texas post-rock band Explosions in the Sky and the Japanese Mono, Envy, which are using similar techniques of the introduce music into a deep state of trance and not only listeners , but also themselves. Besides Milanku use the French language and it can also be regarded as a kind of musical experiment, which makes in the music more dark energy and soulful. 

Album "Pris a la Gorge" represents eight songs with a well balanced post-rock foundation, mixed with sludge, post-hardcore, and elements of other genres, the boundaries between which are subtle. Each song conveys pure emotion, which are fully grasps into its vortex and kept in suspense since the opening track to the last minute of the album. During of 50 minutes stunning riffs are collapsing on you a flurry of pain and suffering, and heartbreaking crazy vocals, more like on a cry very complements this sad picture of the oppressive rage and destruction. 

For extremely impressionable persons this album can call a whole range of painful emotions and memories, for every sound carries just crushing power! Sure, will hardly be able to find the words that can convey all that is trying to convey to us Milanku, and according to this it should be heard)

Buy 'Pris a la Gorge'

Listen Online

Milanku on LastFM

Imbaru - "От земли к рассвету"

Чили... сколь богата эта южная страна культурным наследием, подобным котлу, где варился сплав разных этносов, богатейшей в своем разнообразии природой и климатическими зонами, которые изменяет эту удивительную страну до неузнаваемости с ходом от ее северных широт с с сухими пустынями и до самой Огненной Земли, где громадами высятся ледяные вершины и простираются седые мощи океана... далекая и загадочная точка мира, знакомая лишь по детским книжкам с рассказами об индейцах и отважных путешественниках, покоряющих южный континент...как мало мы знаем о Чили и как много можно сказать об этой стране, не так ли? А что же в плане музыки? Латиноамериканский андеграунд в праве гордиться своими немногочисленными представителями, ибо если в Европе некоторые вещи уже не вызывают никакого удивления и не испытываю дефицита, а напротив - их чрезвычайно много и растет это количество подобно грибам после дождя, то здесь, в Южной Америке, и в частности в Чили эти вещи могут обретать совершенно новый вид, самобытность и обособленность... Именно здесь, в долине Касабланка базируется молодой чилийский проект Imbaru, ведомый человеком с загадочным псевдонимом Caminante Silencioso. Музыка Imbaru интересна и уникальна тем, что она очень тонко передает красоту и колорит местной культуры, разбавленный мистическими мотивами и просто природной, искренней неги. В ней нет ничего лишнего, нет вычурности, выкрутасов и ребусов... это, скорее загадка...загадка меланхоличной сути бытия и сокровенных глубин души. Проект функционирует в своей стезе вот уже 4 года и мне посчастливилось бесплатно, не то, чтобы с позволения, даже на радость автору, скачать 3 альбома. Итак, мне окончательно захотелось познакомиться поближе с творчеством Imbaru и для удовлетворения этой цели появилось интервью, которое продолжает этот пост. А с нами на связи сам Caminante Silencioso.


Мой привет из далекой России в противоположную точку света! Заранее спасибо за согласие уделить нам свое время, мы в долгу не останемся! Насколько я вижу, это твое первое интервью?

Нет. Недавно я дал интервью на испанском языке.


Теперь один из моих любимых и частозадаваемых вопросов, который адресуется почти всем музыкантам, с которыми мне приходилось беседовать в такой же обстановке, что и сейчас. О чем говорит название "Imbaru" и от куда оно происходит?

"Imbaru" это мистическое слово, особенно для меня. Слово означает "Туман"...туман сел и деревень. Для меня это - тоскливое слово, я так же явление природы, которое вдохновляет меня сочинять музыку.

На данный момент у Imbaru в арсенале имеется 3 полноформатных альбома и можно заметить, что в них так или иначе прослеживается тенденция сопоставления их со временами года, точнее создание особой квинтэссенции восприятия, которая невольно вызывает ассоциации с каким-то определенным состоянием природы, отражающимся в умонастроении. Хотя твои собственные комментарии в описании этой триады стали для меня своего рода путеводителем, так как в северном полушарии совсем другие природные условия, и поэтому 1 альбом все-таки навивает какие-то осенние образы, нежели возводит в уме снежные пейзажи Евразийской зимы. Действительно между этими тремя альбомами существует некая концепция, связывающая их в одно целое или это было произвольным шагом в твоем творчестве?

Все было продумано. Альбомы преднамеренно связаны. Так как эти три альбома концептуальны, я рассматриваю их как цельную работу, разделенную на три главы. Это всегда было моей целью. Альбомы не распределены хронологически, так как первое состояние - это осень, затем прибывает зима и весна. Порядок альбомов не имел значения, так как важно само присутствие в альбомах соответствующего состояния. "El Cerro y la Penumbra" был записан в классическую непогожую зиму. Он связан с зимой в деревнях страны, с темнотой и одиночеством под холодным дождем. "Las Cadenas del Epitafio" более связан с переходом к осени, к состоянию "временной смерти" и необходимой для цикла жизни и существования. Возможно он более темный в тематическом толке и изображает увядание ярких красок. Этот альбом был записан осенью, и многие звуки, характерные для этого сезона, были оригинальными. "De la Tierra a la Aurora" описывает весну как исключительно тоскливую и глубокую перспективу, чего я и добивался делая этот альбом. Альбом кажется более положительным, чем остальные его предшественники. Там присутствует больше цвета и звуков природы, указывающих на пробуждение жизни. Тем не менее, меланхолия и мистика не потеряны, это что-то, что всегда актуально для альбомов Imbaru, если всмотреться глубже, то альбомы представлены не иначе, как изложение и меланхоличное видение жизни в деревне, с точки зрения сезонов и каждого из ее аспектов, цветов, запахов, звуков, структур.

Ты один ведешь свой проект в мир искусства или есть помощники?

Композиции и интерпретации инструментов сделаны мной. Музыкальная концепция так же. У есть очень хорошие друзья, которые подали мне образы для идей. Также у меня есть друг-дизайнер, который помог мне выразить эстетику музыки посредством изобразительного искусства. В настоящее время я работаю с двумя моими друзьями - фотографом и дизайнером.


Существует ли в Чили нео-фолк сцена и какое место в ней занимает Imbaru?

В Чили нет нео-фолк сцены, во всяком случае я такой не знаю. Я совершенно один в этом, и я пытался показать свою музыку здесь, но никто не поддержал меня. Музыка, которая распространена в Чили, более обычна, и здесь предоставлено мало пространства для различных исполнителей.


Как много элементов национальной музыки и культуры твоей страны нашло место в твоих работах? И было ли твоей целью работать именно в таком ракурсе или это опять же получилось само по себе в процессе твоих творческих исканий?

Достаточно много, фактически у меня имеет место большинство элементов местной культуры. Смесь испанской гитары и традиционная музыка Южной Америки. Я обращаюсь к крестьянской музыки, чилийская куэка, и, в особенности, музыки Виолеты Парра. Много ритмов и темпов, уникальных для Южной Америки. Я слышал европейские неофолковые группы. У всех у них обозначена скандинавская эстетика и соответствующий культурный подход. По существу, моя музыка это новый способ моего видения фольклора. Конечно, я люблю классическую музыку, Ambient, элементы этих жанров могут сделать музыку более глубокой и мистической. Пение птиц и фоновые звуки это оригинальные записи, сделанные мной. Я стараюсь продумывать все подходы и концепции моей музыки, чтобы сделать ее оригинальной.

Имея удовольствие послушать все твои основные творения, от песни к песне их настроение воспринимается мной несколько неоднозначно, уж очень эмоциональная и изящная музыка, не смотря на ее композиционную простоту и скромность... что ты можешь сказать об эмоциональном спектре твоей музыки, насколько он глубокий и личный?

Некоторые вещи могут показаться неоднозначными, например, названия песен и звучание материала.  Каждый человек может толковать мое творчество по своему, но очевидно, что его подтекст содержит много смысла. Люди, близкое ко мне понимают, почему у альбомов и песен такие имена. Честно говоря, я не думаю, что музыка проста. Правда моей никогда моей целью не было создавать сложные вещи, мне хочется играть искренне. Но заниматься сочетанием гитарной и неоклассической музыки действительно было кропотливой работой. Музыка глубока для меня, потому что это видение жизни моей страны, а так же мои личные переживания.

В 2012 году появилась компиляция 'Series Oniricas'. Расскажи о ней? Как ты принял решение участвовать в ней, а так же кто же еще, кроме Imbaru был на этой компиляции?

'Series Oniricas' это компиляция, где участвуют мои близкие друзья, исполняя маленькие фортепианные, минималистические или классические произведения. Некоторые из этих треков использовались в концептуальных альбомах Imbaru. Пока я не показываю этот альбом, так как я не закончил его оформление. Когда у меня будет готов весь дизайн для компиляции, я покажу ее публично. Есть также EP, названный "Dream Country". Этот EP я тоже покажу, когда все проекты по его оформлению будут завершены. Его оригинальное название на испанском языке "Ensueno de Сampo".


Три альбома, а именно "El Cerro y la Penumbra" (2011), "Las Cadenas del Epitafio" (2012), "De la Tierra a la Aurora" (2013) доступны для свободного скачивания. Насколько я понимая, первоначально ты не думал о том, чтобы издаваться? И как потом ты пришел к решению сотрудничать с российским лейблом?

Причина моего сотрудничества с русским лейблом объясняется тем, что этот лейбл дает мне больше свободы для самовыражения, в отличии от остальных. Были другие студии звукозаписи с намерением создать некоторые копии альбомов. Проблема состоит в том, что я не хочу, чтобы были утрачены концепция и своеобразная эстетика музыки. Я делаю это из любви к искусству и самое главное, мне нужны альбомы, оставшиеся в оригинальном, задуманном мною виде. Существуют лейблы, крупные и коммерческие, которые могут внести правки в альбомы, перевести имена песен на английский язык, изменить обложки и другие детали, очень важные для меня. 

Есть ли какие-нибудь новые наработки? Планируешь ли ты какие-нибудь сдвиги в творчестве?

Помимо Imbaru я занимаюсь и другой музыкой. Пока мой разум позволяет мне, я продолжаю заниматься Imbaru и выражать мои идеи посредством музыки. Я упорно работаю над фортепианными композициями, двигаясь от минимализма и неоклассики к атональной музыке. Также я экспериментирую с фортепьяно и стараюсь создать темную атмосферу инструментального Dark Ambient и для этого эффекта используются разнообразные инструменты и приемы, помогающие создать атмосферный диссонанс. Так же я хочу сказать, что помимо Imbaru у меня имеется 2 параллельных проекта. Один ориентирован на мрачное звучание в стиле Dark Ambient/Drone Doom с использованием реальных инструментов, и другой, где я использую минималистичное и атонального фортепьяно. В этих последних двух проектах я много экспериментирую, создавая причудливые и глубокие мелодии.


Насколько мне известно, тебе помогают с оформлением альбомов, а ты занимаешься разработкой их музыкальной составляющей. Откуда взяты фотографии, украшающие твои альбомы? Это местные пейзажи?

Все фото для оформления альбомов были взяты в здешних местах. В деревне около Касабланки, в местности, где много лугов и холмов. Также некоторые фото были сделаны в деревне Лимаче, которая находится неподалеку от Касабланки.

На этом мы завершаем наше интервью, но напоследок мне бы хотелось спросить тебя о твоей стране. Я уверена, что для большинства наших читателей латиноамериканский континент остается загадочной землей, а Чили находится почти на самом краю мира, если смотреть со стороны Европы. Предлагаю тебе вкратце изложить главные причины, по которым мы должны посетить эту страну - экзотическую и такую разнообразную в плане природных зон.

Ну, Чили богата разнообразными пейзажами, здесь много климатических зон, богатая дикая природа и флора, которую трудно описать простыми словами - это то, что в первую очередь наша страна может предложить иностранным посетителям. На севере располагается самая сухая пустыня в мире, а на юге -  там, где заканчивается южный мир находится национальный парк Торрес-дель-Пайне, Огненная Земля и находящаяся далеко за пределами нашей страны Антарктида. Ну а если перемещаться с Севера на Юг Чили, то вас ждет путешествие в мир ярких цветов, впечатлений и богатой культуры длинного длинной и узкой земли, с сильно выраженными естественными границами, такими, как океан, пустыня и мощная горная цепь. Однако Чили это не только природа, это также люди, развившихся под влиянием разных культур, пришедших от индейцев, испанских колонизаторов и иммигрантов. Среди всего этого разнообразия есть одно уникальное место на Чилийском архипелаге, которое подводит итог моего рассказа это о. Чилоэ, где сложились свои специфические традиции и мифы, сосуществующие с уникальной естественной средой. Список великолепных мест страны Чили можно продолжать бесконечно, но я думаю, что будет гораздо лучше позволить читателям увидеть Чили собственными глазами и сформировать свое личное мнение о нашей стране.


Спасибо, мне было приятно с тобой общаться!

De Profvndis Clamati: "We wanted to do something special for the 10 years of band's existence" (Kleber Fainer)

Somehow time, as usual wandering on "Facebook's back streets", I casually came across on post of one unknown for me till that time the Funeral Doom Metal  band from far Brazil.  In the Latin American scene no so many such performers as in the it's neigbour - the North America, Europe or even at the Russia, and because this group very interested me. My an awaked interest was satisfied, when I had heard to couple of tracks presented by the author on court of exacting listeners. The material was really good, generally, that is confirmed by nearly 10 years of long and laborious work over it. It isn't difficult to guess that I left the positive comment, - the reason of my more close acquaintance with unit of the Brazilian underground - De Profvndis Clamati, in the person of it founder and "driving force" - Kleber Fainer. It is necessary to tell that the project really little-known, despite the solid age while is in the beginning of the career therefore I didn't miss opportunity to communicate to dear Kleber that  to spill light ray on monumentally gloomy creation of Brazilian metal undergrounds.

Terve, Kleber! I know that you the big fan of all Finnish therefore I decided to greet you on Finnish. I am

remembered that some time ago I promised to take an interview and finally today i have a free time to do it. Do you agreed to give me a little your time?

Hey, terve, mitä kuuluu? Okay, our interview can be today, sure just send me the questions, it will be a pleasure grant you a interview.

Well, then we will be starting! Tell please how began the history of DPC and who possessed an initiative to create such group?

Well, first of all… I do thank you a lot for the opportunity for me to express the ways of De Profvndis Clamati specifically to the russian people...
The band has begin it's journey as a Folk/Black Metal band named Long Winter and then I came to the band bringing with me the whole romantic tragic concept and then we decided to change dramatically the musical direction of the band, thus De Profvndis Clamati has it's genesis, and after some names a

nd years later the band has decided in a definitive way for the name of De Profvndis Clamati that synthesizes the deep inner and intimate band's essence, so the initiative to bring on the concept idea to life was taken by me.

It known that in your discography there is already well-known mini-album "In Between Passionate Minnuendos" and also it known that this EP was published specially to ten-year-old anniversary of a band. And why for such big period of time there was made only one album?

Before the EP's special edition released on the end of the last year the same EP was originally released by FunerART, now Posmo Group back in 2010, lots of matters has contribuited for only with 7 years of existence the first official release came to surface, mainly the reasons for that was conflicts between me and an ex band member and the difficulty to find Doom Metal musicians here... but now the wait shall be worthwhile, beginning of august our newest websingle shall be unleashed, in the end of the year the debut full album and possibly in 2014 our second full album that's already a consistent project...

Well, don't vanish for a long time, I hope that you will please us with new good works in the nearest future))... I know many one-man projects which does very fruitfully work for the any reasons. How do you think, could your formation to be as "one man project" or DPC needs in strong and solid collective?

For sure we will... well, throughout band's history I have had to with several low apathic times, I wondered once the possibilty to make De Profvndis Clamati an one man's band/project in virtue of several factors and other several times even to end activities, this is normal, but the band did overcome it all, the band can absolutely exist as a one man's 'band', but it is the opposite from the band's purpose that's to be actually a band itself and to perform live concerts, the band needs to have a solid line up, that's the band's main goal.


Kleber if not a secret, do you have a music education or you came in the "world of music" singly ?
I have some music education yes, but in main terms I'm also an autodidact, I am deeply influenced by Classical Music, I do study it by myslef as you can listen and feel listening to De Profvndis Clamati's music...

If I am not mistaken, you are engaged also by writing of texts for songs of DPC? What inspires you on the lyrics which so monumental and tragic?

Basically the lyrics are romantic tragedies, and it concerns a lot of aspects and nuances, the lyrics are written by me, main inspiration are both Schopenhaer and Byron even their meaningfull texts itself as their way of writing, apart that, my personal relationships inspires me a lot, life itself, the loss of people, feelings being opressed by mundane and superficial matters, death, the lyrics in essence are my most deepest, personal and eloquent sentiments on life and feelings, emotions, sensations, impressions as a whole thing.

And now I have a desire to ask you about the most curious moment in DPC's life - how did you came to the decision to republish "In Between Passionate Minnuendos" on the Russian label? I think that it a big rarity when foreign collectives prefer the Russian publishers.

I can't really remember how i've found out MFL, but for Doom Metal it's way better to release albums, the whole market of Doom Metal enthusiasts, bit portion is in Europe, and the re-release was because we wanted to do something special for the 10 years of band's existence.

Earlier it was mentioned that DPC is primarily collective which was gathered not only for collaboration, but also for live performances. Tell please how your affairs with concert activity for the entire period of existence of group? Do you participate at any conceptual festivals or similar actions in Curitiba or beyond its limits?

I do have lots of contacts concert-wise, but in all DPC's history was never a concert for lot of matters, we are planning now concerts for the end of the present year/beginning of 2014, we almost did two concerts one in Chile and another one here in our town Curitiba, the first one doesn't happened for monetary affairs, it's about a small Doom Metal label, we was choosen to be the international act, but they couldn't provide at least our tickets and the other onw our drummer on that time left the band very close to the concert's day.
It's very rare, but i did some special guest appearances at some friend's concerts here, mostly on vocals.

Well everything ahead and so if sometime DPC will have the such opportunity we wait for you in the Russia)).

Now tell about the future EP "The Trancylvanian Mountainside Aria".

Already known an exact date of this release?

About the websingle we are still working on it, some final details, but hopefully in august shall be it's official premiere...


As I already know, the merchandise is applied to this single. Now tell in more detail about it for our readers and about that how fans including from others countries can receive it?

Well, at first our websingle shall be available exclusively via internet (at our Bandcamp's premiere in august and probably via Reverbnation to, free and paid download, but we have plans to make some exclusive pendrives in order to sell it as soon as possible...

Next question will be addressed to you how for the musician. How do you think, what prospects wait underground music as a whole with Internet development?

After all now it became very simple to get any, even rare release absolutely free, but in too time it is a fine and most available way to declare themselves to the whole world.

Internet is powerful tool, and there is a lot of social medias build up for musicians in order the improve and helping to spread the music, and also it can provide a direct support to the band by the fans.


Kleber, thank you  for substantial answers and for what you gave a part of the yourself precious time for our conversation. I hope that you didn't tire with the questions)) And... finally I wish that you addressed to our readers with any wishes)

No problem, Vica... it is always good to be in contact with thee. I do wanna thank each fan in Russia for caring about my music, also I am hoping that everyone reading the interview shall appreciate the music and you Vica, for your great support and attention, it is immensely appreciated.