“PARADEIGMA (Phosphenes of Aphotic Eternity)” is the definitive work from idiosyncratic Czech avant-Black Metal band INFERNO. Burrowing further into the dense, hypnotic soundworlds initiated on 2017’s “Gnosis Kardias“, this newest emission formulates an alluring new language from the isolationist syntax of Black Metal, blending the contemplative and the disturbing into a mesmeric journey through veiled psychic recesses and towards the infinite.
“Phosphenes Of Aphotic Eternity” will illumine the self-transcending currents beneath the strata of existence and the mind-bending soundscapes of INFERNO shall act as their aural mediator… And now you can listen to a first track from the release:
|Interview with INFERNO about ‘The Wailing Horizon’:|
|Dear INFERNO, thank you very much for taking the time to answer some questions about the first single from your coming album “PARADEIGMA (Phosphenes Of Aphotic Eternity)”. Let’s get right to it: if I am informed correctly, then the song ‘The Wailing Horizon’ was the first one which was intentionally written for this album. Could you elaborate for us more in detail about how the song was crafted? How did the song ‘The Wailing Horizon’ develop? Did it all start with a melody or a specific (musical) concept in your head and your ears?|
Ska-Gul (guitars): Composition-wise each song of the album is specific and different approaches were utilized. Especially when compared to the previous albums. Back then the writing was always connected to the live drumming: a skeleton of the song was composed in cooperation with the drummers and the mood as well as specific tones were then created over the riffs/melodic base. This time I worked with simple programmed drums, just to give me a primitive rhythmic foundation or guideline to create the essential aura of the songs.
The tones I sought when composing ‘The Wailing Horizon’ were meant to express an atmosphere I felt within and there was also a wish to separate the music from the general metal template. So, I initially ditched the classic foundation of distorted guitars and moved on to creating the arrangements/soundscapes with which I expressed the aforementioned atmosphere. To describe that inner feeling I could possibly use words like detachment, separation or disconnection.
When composing I simply let the emotions flow, allow the imagination to wander, while trying not to hinder the process by thinking too much. I simply act. Because of this spontaneity I have to edit individual motifs later or even delete them and create new ones to fit in the overall concept. This is what happened with ‘The Wailing Horizon’. It was the first song completed yet at the same time the very last one where I made significant changes.
From technical standpoint, I create everything at home in the software I have using just the basic plug-ins (reverb, delay, chorus). The drums and vocals were recorded in the studio.
To shortly stay with that topic: Where would you say did you encounter the biggest difficulties when it came to composing ‘The Wailing Horizon’? Which were the parts on which you worked particularly long to make them work and sound right to your ears?
Inferno (collective): As mentioned by Ska-Gul, there were initially no distorted guitars providing the classic riff foundation and so when Stephen Lockhart suggested that we record extra distorted guitars, we were quite struggling with accepting the idea. This change was definitely beneficial for the material and especially its sounding because without it “PARADEIGMA” would sound very, very flat. Accepting Stephen’s suggestion and actually see its merit took time, because we were so obsessed with the original vision. That was probably the most difficult thing when working on the album. Generally, the new ideas were flowing very smoothly and the actual construction of soundscapes and/or concept never came to a point, where we would have to struggle way too much to achieve the desired vision or settle with less. Though that does not mean the process was easy.
Lyrically the first half of “PARADEIGMA” is dealing with musically representing the grand pattern which is pervading all creation, so to speak. I guess, one might say that ‘The Wailing Horizon’ – judging from the title – is epically opening all the possibilities of creating, an unfolding of energy before the later coming tracks put this energy into a specific direction. Would you agree with such an interpretation? And if you do, what musical vision did you have in your head to give adequate representation of such an open and all-embracing energy? Which soundscapes did you know you would need for giving life to such an idea?
Spící hrdlo Antikrista (shadow member of INFERNO): All interpretations are welcome, especially when it comes to music and the visions it may provide. However, when it comes to concept and the lyrics, then each song actually portrays that grand pattern, though in different ways and from various perspectives. When it comes to music, Ska-Gul was influenced by the thematic concept to a certain extent, however here the music had greater effect on the words. When he recreated the song and provided the last version of the composition it provided me with an overwhelming vision of a wailing horizon which I wrote down to the last detail and from this description Adramelech then extracted the lyrics.
Using layers of guitar tracks, abstruse vocal and sound textures, intricate martial rhythms and ominous dynamism, INFERNO have produced a surreal dreamscape inspired in part by the most obscure, forward-thinking records of BLUT AUS NORD and THE CURE, 70s-80s Post-punk and the ingenuity/sheer fanaticism found within the Black Metal canon.
Conceptually “Paradeigma” goes deep into psychology, cosmology and horror – primarily influenced by “The Cosmos as Self-Creation” from Czech writer Michal Ajvaz, “Time Reborn” by the physicist Lee Smolin and above all “The Red Book” of Carl Jung – to conjure, in the words of the band: “abstract visions of semi-liquid currents moving within a vast ontological structure where individual layers interact in unceasing cosmic dynamics”.
Mournful and oppressive, delirious and strangely uplifting; “Paradeigma” is a dank, paradoxical and uniquely immersive piece of Luciferian Art which opens a portal to the beyond.
“PARADEIGMA (Phosphenes Of Aphotic Eternity)” will be released on CD, vinyl and digitally on May 7th through Debemur Morti. Pre-orders are possible via the label’s EU shop (http://bit.ly/infernoEU), Bandcamp (http://bit.ly/paradeigmaBC), and US shop (http://bit.ly/infernoUS).
01. Decaying Virtualities Yearn For Asymptopia
02. The Wailing Horizon
03. Descent Into Hell Of The Future
05. Ekstasis Of The Continuum
06. Stars Within And Stars Without Projected Into The Matrix Of Time
Recorded at KSVstudios, Prague by Sheafraidh and Ska-Gul.
Mixed and mastered by Stephen Lockhart at Studio Emissary, Reykjavík.
Adramelech – Vocals
Ska-Gul – Guitars, Bass, Composition & Sound Manipulation
Morion – Guitars
Sheafraidh – Drums, Engineering
Hekte Zaren – Guest vocals