This interview has been published on Radio Metal the 25/01/2018.
Down there (Là-Bas) is a novel written by French decadent author J.-K. Huysmans in 1891 culminating in one of the most striking black masses of the history of literature. Tribulation naming their last record Down Below might be a discreet, knowing nod more than a full-blown homage to the book, the record still shares its fascination for the Underworld, its esoteric obsessions, its threatening feminine figures, and a melancholic longing for something else—the Other. I got the chance to hear what guitar player Adam Zaars had to say about these topics at the end of last year, a few weeks before the release of Down Below.
The record picks up where The Children Of The Night, arguably the band’s breakthrough album, stopped, in a unique blend of proggy death metal and death rock. Since their thrashy death metal beginnings, the Swedes have come a long way, and yet the initial drive seems to remain the same: from the gruesome lyrics of The Horror to the gothic atmosphere of Down Below, they’re still exploring all the formulas of Death. Thoughtful and precise, Zaars expended on his way of working, his inspirations, and the band’s aspirations.
This interview has been published on Radio Metal the 24/12/2017.
It seems like nothing can stop Watain: since the beginnings of the band 20 years ago, the success of the diabolical trio grew bigger and bigger, reaching outside of the boundaries of black metal. Picking up where Dissection stopped, they developed their own sound, went on to experiment with the catchiest hooks of rock’n’roll—ruffling a few feathers in the process—, and stuck to their Chaos Gnostic guns all the while. For the release of the sixth full-length of the band, Trident Wolf Eclipse, I got the chance to speak with mastermind Erik Danielsson. Conceiving his art as transcendental, each album being the result of inspiration and circumstances, he remained elusive about his intentions but described carefully the conglomeration of energy that is Watain.
It was also the occasion to talk about the path followed by the band through the years, through success and fury, struggle and wrecked hopes. Indeed, after the triumphant, almost outrageous The Wild Hunt, Trident Wolf Eclipse sounds bilious, burning with anger. In the five years that separate the two albums, both The Devil’s Blood and In Solitude—two like-minded bands very close to Watain—vanished; Selim Lemouchi died. How do you cope with loss when you worship death? By doubling in fire and intensity, Trident Wolf Eclipse seems to prove, in order to carry the flame with renewed passion, for the present and the fallen.