INTERVIEW • VOCIFERIAN
' T h e O u t e r D a r k n e s s '
« Too long a space of intervening Darkness has thine eye to traverse : thou hast theefoe widely err'd in thy imagining » (Dante Alighieri)
Of those musings in the dark, Vociferian has made a concept and sublimed it in an opus that is as original as it is immersive. Exclusively fo Metallian Magazine, the mastermind Adrien « Genocide » Weber has lifted the veil on his new project.
Your new opus, ɔ d ɔ ʀ a, is scheduled to be released this spring on the canadian-based label Von Frost Records. Since this is the same label that will release the next albums from both Macabra and Lüger, how did this collaboration came to be ?
Thanks to tell about my recent exclusive signature with this very promising label : it supports my musical career with all due fervour and determination. More than being just a simple producer, it follows me and support me 100% in all my artistic choices. The boss from this label is one of my long-time fan, this privileged connection and the musical passion did the rest.
It's been 7 years since your last release with Vociferian, namely Glorifica Bestialis, and ɔ d ɔ ʀ a should be a surprise for your long-time fans for various reasons. The first one being the unusual length of the songs. You hadn't written such long songs since Universal Hate Decades Ultimatum...
I don't create music to please people, and I don't care about those that are destabilized or feel uneasy while listening to my songs : to me, it's better this way. Despite the long period since I last released an album with Vociferian, I was far from being unactive with my other different musical entities. I've been working on this precise Vociferian album since mid-2014, and I prefer to ask some patience from my fans than to deliver to them something that will not be true to myself.
Generally, longer songs tend to use a recurring ». musical pattern that make it easy for the listener to follow. How did you work on those two songs that makes the album ?
The main inspiration for this conceptual album is the result of a maturation that took many years to be put into form. Every melody, every arrangement, every composition had the time to grow into me during 5 to 6 years. I suppose this is what explain your own feeling about it.
The second reason to be astonished is the fact that you come back in using your native language (french) for the two homophones that are ɔ d ɔ ʀ a (i.e. « Ode Aux Rats » means « Ode to the Rats » and « Eau d'Aura » means « Aura Water », both are pronounced the same way as « Odorat » which is french for the sense of smell). We knew this sens of writing for your other projects Aliénante Damanation and Ebauche Noire, but why having adapted this to Vociferian ?
As you said, I had already used the depth of the french language for those other projects. But I already had done that also with Vociferian previously, since on Glorifica Bestialis all the title that are Latin sounding are in fact written in french. Since ɔ d ɔ ʀ a is a very introspective musical piece, I couldn't have written it in any other language than my mother tongue.
Can you describe us the surprising duality (yet a very complementary one) between those two tracks) ?
The sense of smell is the most revealing and the less corruptible sense of our era. « Eau d'Aura » is akin to a perfume, this supreme fragrance of truth. Opposing it is the « Ode Aux Rats » which relates the hegemony of all superficiality, and the crushing weight of quantity against the real essence of things. People like to that they follow some ideology and some kind of preformated stuff. I, for myself, do instead believe in people for and by themselves, for what they do and truly are beneath. Be it in their more toxic aspects as well as the positive auras they can have. This new God that is full of self-satisfaction is exploiting some kind of idleness. ɔ d ɔ ʀ a sounds a bit like something by Orwell, in some ways it's my own « 1984 »
The last surprise one can find on ɔ d ɔ ʀ a is the fact that the musical interpretation is very different from your previous releases. Be it in the singing, the riffs or the rythm section, the feeling of uneasiness is still present but shown in a less extreme way. Was this a conscious decision in the composing process, or the result of an experimentation while composing ?
I don't think my music have become more 'easy listening' or something along those lines, in fact it's more the opposite way imo. I have a kind of « Punk feeling » in me, in the way that I always like and put to the forefront the first impression of a song, how imperfect or imprecise it may be. This is why every recording sound dry and as far as possible from any artificial crap. Every session for the album has been done in a single recording one, as to have a kind of live vibe, and to keep the music as pure as possible. The main idea is to get as close as possible from a kind of french music known as « chanson à textes », such as done by artists like Alain Bashung, Léo Ferret or Arno, but that get incoporated in the instrumental rawness that is Black Metal.
Some time ago, you had vaguely said that if one day you were to play live with one of your project, then Vociferian would be the most suited for this task. Is it still your opinion with the release of ɔ d ɔ ʀ a ?
I do not want to close any door on this opportunity. However, I do think that going to play on a stage is not something to be taken lightly and right now it doesn't suit to the musical landscapes that I create.
I've also been told that Vincent « Silencer » Trépanier, who was the session drummer for Ebauche Noire, has now become also a member of Vociferian. Can you confirm that ?
Yes, Vincent is now a session member of Vociferian. And I thank him for his participation in my projects.
Here you can finally read in english the FULL VOCIFERIAN EXCLUSIVE Interview given to METALLIAN magazine [french long time established renowned extreme metal specialized press]. It was published in the April/May n°94 issue this year and dealing about the brand new - ɔ d ɔ ʀ a – concept album release.
Interview by Denis Halleux / and a big thanks to Laurent Lignon [reputed veteran and journalist of this same great magazine], for accepting to do this official translation from french language to the english one.