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Ensoph pour l'album "Opus Dementiae"

Interview

Ensoph pour l'album "Opus Dementiae" Entretien avec un des membres (2004)
1. Hi guy(s)! At first, could you present the band and sum up your story so far?

The band is born in 1997. from the asches of a previous project, Endaymynion .Till now we have realized a MCD (“Les confessions du mat”) in 1998, a full-lenght CD (“Bleeding womb of Ananke”) in 2001 and two promos: “Ananke or the Spyral-Trinity beyond Alpha and Omega” in 2000 and “Sophia” in 2002. The band is composed by six elements: Giuliano, guitars and programming; me (Zenone), drums; Nicholas, vocals; Massimo, bass; Leonardo, keyboards; Anna, flute. Some of us are involved in different side-projects: Bleed in Vain, The Second Coming, Day of Resistance, just to name a few...
The main source of inspiration of Ensoph’s music is our passion for esotericism, philosophy and religion (read at the light of our paradhoxal age of failures, of course). We have melted a lot of symbols from the first century of christianity (taken from orthodox and apocryphal literature) with all our musical influences, coming from metal, electronic/industrial and experimental fields, to give birth to a new odd sacrilegious entity...

2. "Opus Dementiae" is your second album and was very impressed by the complexity of the music and lyrics. How would you define it? What does it represent? Tell me more about its concept.

"Gloomy Avant-gardism for a De-generation wasted” is a good definition of our music. We play in and for a world that has wasted a lot of opportunities, last but not last the one to erase even the last traces of Sense, instead of living in this limbo of irresponsibility. So in part exact what you say with our music we search a reaction from the people..
We are part of this wasted generation and we play for it, in a wasted world. It's just a matter of fact.
We find ancient traces of a lost Sense in a world without meaning, and we build strange cathedrals searching for something lost, sometimes showing a way, sometimes describing a world that we do not understand...
We just play what we think is right to play for us, and we do not want to impress someone with something never heard before. We have no musical borders, so it's our proposal, and so must be our listener. If someone takes our music as a challenge, well, is good to extract a reaction from the public.
“Opus Dementiae - per speculum et in aenigmate” means “Madness’ work - through the mirror and in enigmatic way”. “Per speculum et in aenigmate” is a biblical expression used by Paul in his letters to show how to read God’s signs before the advent of Truth, with the second coming of Christ. It is the base of the allegorical method that the Middle Age used to read the Bible, raised in the Modern Age as criterion to interpretate the whole reality. The historical process culminates in the end of the concept of truth, with all the consequences that this event takes to the subject, that becomes a horrible hybrid, more than god and less than a man. “Opus Dementiae” is the best expression to name the age born from this kind of humanity. In modern age this caused the definitive lost of the concept of truth, that simply does not mean nothing than interpretation, turning upside out the univocity of the original biblical promise. This situation gives birth to a new kind of humanity that manipulates reality as an act of strenght, and the lost throne of divinity becomes the tragical place where a man proudly and sadly divine experiments his failure.

3. Who composes music and lyrics in Ensoph?

Zenone is the main Lyrics composer Lyrics is the base of our work, the band could not exist without its message, that is its reason of life. They are the expression of Zenone and our interest into the fields of esotericism, philosophy and literature. I usually use to melt all the symbolic stuff coming from the traditions that I think that could be useful to explain what I want to say into new forms and context, just to explore new levels of meaning and languages. Our lyrics is something like un-orthodox poems that use traditional and religious images to find new way of expression. About music i'm the main composer There is not a standard “modus operandi”; sometimes we start from a guitar riff, other times from an electronic base. We elaborate together a structure, and then we arrange melodies and rithms. At last come the vocal lines and the lyrics.
We put together all our influences without thinking too much if we will find someone able to understand our proposal; it’s an expression of freedom, as art must be.

4. Your musical style is very avant-gardist but you must have some influences? Which bands do you listen to? Which ones have had a great importance?

We think that our 90’ gothic extreme-metal roots are the most important of the elements that compose our music, even if electronics and industrial is becoming always more essential in our sound.
Nowaday the most of our listenings are into industrial/esoteric/powernoise scene we to such band as Institut, Folkstorm, Genocide Organ, Pal, Noisex,Coil, or the band form Cold meat industries label, expecialy Zenone, our drum player are a great fans of the powernoise scene. there will be too many band to name it all here. We just play what we think is right to play for us. We don’t want to impress someone with something never heard before; we simply work without limitations, giving creativity no boundaries. It’s more easy than it seems. We put together all our influences without thinking too much if we will find someone able to understand our proposal; it’s an expression of freedom, as art must be. we don't know if is right to call our music industrial anyway we consider the scene very important for us and for our influences.

5. How was the recording of this album and the collaboration with Leonardo C?

The album was recorded at the HeartBeat studio, in Italy, that is a professional studio managed by a society in which is involved Leonardo (that is nobody else than our keyboards’ player - ndlr : Oooops, savait pas...). It is in the same building in which we play every day; we did not travel outside our country, I think the sound quality is really good; we did our best to make the most professional recording possible, and the result is quite amazing...

6. "Opus Dementiae" contains a remix of "Sophia's Fall" by Bruno Kramm from Das Ich. Tell me more about his contribution to your music? Does it help you to go ahead?

The band is a great fan of Das Ich, so, when we started to think to the possibility to make a remix, we have immediately thought that Bruno Kramm was the right person for us. He has been really enthusiast to the idea of a collaboration and the result is one of the best remix that Bruno has ever done. I think that the new version of “Sophia’s fall” can be received by a part of public that improbably may listen to our proposal in a different way. I think that this kind of collaboration is a good way to explore new points of view and angulations of our music that in no other ways could be expressed, so I think that new collaborations are possible in the future with other famous names. We think that electronic is a good instrument that can enlarge the range of one’s creativity. Surely, it cannot make one an artist but it simply can improves your horizons over the standard rock formula. As long as it remains an instrument and not the main goal it may be a good thing.

7. What do you think about the Italian metal scene today?

we don’t believe in the concept of scene, as we don’t believe in every form of aggregation thought as a way to exceed individual weakness. We can be nearer as attitude to a dark ambient project or to a esoteric ’70 prog one, for example, than a common gothic metal band; this means that no place is precluded to our music, and in our concerts you can see gothic freaks near drunken punk/hardcore guys; we are part of all the expression of this wasted generation... It's not simple to play this kind of music in Italy, and we must search out of our country to find a real consent. Italian metal public seems to prefer more standard proposals, even if the press supports us. By the way, when we started to play this kind of music we knew what we would have found, so it's not a problem.
Anyway we have good friend in Italy with wich we have share and we will share the stage or just the idea of music evolution band as Novembre, Theatres des Vampires, Monumentum, Handful of Hate, Aborym, Void of silence, Thee maldoror Kollective , Klimt1918.

8. Do you have some gigs planned?

We will be in England in August,and next in Switzerland, Austria. Holand and Belgium between October and December with the great Theatres Des Vampires for some gigs and festivals, but until now we don't have the exact dates. I heard something about Berlin, but nothing I can confirm now. We have received some offers for important european happening, but the conditions was not so good, so we have prefered to wait.
We wil Play in September in Italy in a great Festival with Arcturus, Red Harvest and many more

9. Do you think about a question that you would like me to ask you?

Strike the common sense; could you dare a new beginning?

10. Thanks for answering my questions and bearing my poor English :) I hope to see you soon in France. Now it's free time: you can conclude this interview as you want.

Thanks for the interview. Support italian avant-gardisme, you may be surprised.

Il giorno del signore verrà come un ladro; allora i cieli con fragore passeranno, gli elementi consumati dal calore si dissolveranno e la terra con quanto c'è in essa sarà distrutta (2 Pt 3, 8-10).

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Ensoph
Ensoph
Gothique avant-gardiste - 1997 † 2010 - Italie
  

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Ensoph
Ensoph
Opus Dementiae
(Per Speculum et in Aenigmate)

2004 - Cruz Del Sur Music
  

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