Cuz like, some dudes were like, talking about this and shit. Good read, despite the lame Chris Farley-esque interviewing dork.
MITHRAS INTERVIEW
From Adrian Royal Carnage webzine
All answers by Leon Macey
NAD: First off, thank you for taking time to speak with Royal Carnage today. For those unfamiliar with your sound, how would you describe it?
Leon Macey: Hi there Adrian and all at Royal Carnage, this is Leon Macey (guitars/drums) from MITHRAS. Id describe MITHRAS as brutal experimental extreme metal. Our music takes super fast brutal death metal and takes it somewhere else.
N: In my opinion, Worlds Beyond the Veil was a big part of making 2003 one of the best years for metal since 1994. Do you think you have made an impact on the extreme metal scene?
LM: Hehe, Im glad you think so, as many others seem to think, so maybe we have in our own way. Im sure there are a huge number of potential listeners out there who havent been able to get hold of MITHRAS yet; as the album hasnt even been properly released in the USA until now (its released 21/09/04 on Candlelight in the USA).
N: What are your thoughts on the nearly infamous Terrorizer review?
LM: Stuart Banks review in Terrorizer was quite over the top, as many people have pointed out, but anyone who has read any of Stuart Banks other reviews would know that this is his style, and while his Worlds review was quite over the top, so are a fair few of his others, all of which have appeared in the same magazine over the years, not to mention in lots of other mediums. A fair few people agreed with his review and said they pretty much bought it from that recommendation alone.
I think some people got a bit carried away saying this review is total crap whilst still agreeing that Worlds was an amazing album. In the same way that any review reflects the opinion of a reviewer, at the end of the day it was just Stuarts opinion, not the opinion of Terrorizer magazine as a whole, or the opinion of MITHRAS. Funnily enough we got more over the top reviews than that sent through.
There was a backlash against MITHRAS after that review, but generally not from people who thought the review was over the top, but from people (specifically some other Terrorizer writers and people involved in the London scene) who thought there was something untoward going on between MITHRAS and Lisa McManus (who published Terrorizer magazine at the time). I think this is a good time to set the record straight about the facts behind this matter, as opposed to the conjecture and ill informed ignorant gossip which is found elsewhere, so please bear with me.
The Terrorizer review of Worlds was commissioned early 2003, as Stuart Banks asked that he got to review it once it was finally ready, as he had closely followed MITHRAS and had reviewed our promo mcd Bequeath Thy Visions (which preceded Worlds). Then Richie Ruchpaul interviewed us for a Terrorizer feature in June and followed this up in August. After all this, Lisa and I got together, after meeting through the interview and being in contact due to me promoting MITHRAS etc. Basically once the review ran there was an out of control internet witch-hunt against Lisa and MITHRAS, as some really bitter, negative people tried to say we only got such a good review because Lisa and I were together, which is weird considering she didnt review it or interview us and didnt tell Stuart Banks what score to give us and Lisa and I werent even together then, however that didnt make any difference and caused a lot of problems. Some people might say that she should have stopped the review from running as it was so over the top, but those same people would have vociferously complained about censorship and the right of a reviewer to write what they wanted uncensored if someone had stopped a high scoring and over the top review of theirs being run.
In case you dont know, Lisa and I got married in April 2004 and we now publish our own extreme music magazine called Zero Tolerance Magazine (http://www.zero-tolerance.co.uk)
N: Your guitar solos literally put me in a trance sometimes, and I know I'm not the only one! What is your inspiration to come up with these mindblowing exercises?
LM: Thats fantastic, whats funny is I was probably in a trance when I recorded them, Haha!
I try to continue certain themes and ideas throughout my leads, even if its just tiny afterthoughts and nuances, theres often still a connection to another lead Ive done. Inspiration wise, Im always searching for a musical idea that moves me more and on Worlds particularly, I tried to convey some of my dreams and thoughts through music.
Im not really sure how to answer this question, as I simply play what I feel or want to hear. Im really, really pleased people have found something special in the leads, as they are very special to me too.
N: The liner notes on Worlds Beyond the Veil say "Leads and themes recorded at parts unknown 2001-2003." Are we talking parts unknown physically or metaphorically? Did the leads come together with the songs or were they written independently?
LM: Both! When I first started writing Worlds back in 2001, I used to stay up till 5am and play. A good deal of the songs simply came out as they are on the album in a few takes of playing with some ideas, which would just come to me from nowhere. This included the leads, which I simply played on the spot with no real thought after recording the initial rhythms. Some of these leads actually feature on the album, the solos from "Psyrens" are the very first ones I played into my 8 tracker when writing the songs, and I could never better the feel of them, even if I could better the technicality.
I actually recorded the majority of the leads on Worlds in a few different physical places, and always on my own. Theres always a specific idea or feel Im trying to convey with a part, sometimes it takes one take, sometimes 100 takes.
N: I read that writing has begun for album #3, what direction is the music headed in? Is there anything specific you wish to accomplish with the next album?
LM: Yeah, Ive got some soundscapes and weird feelings in my head that Im trying to make into music!
Its very difficult to say what direction the music is headed in, as its nearly impossible to get a handle on something Im so close to. Lisa says Its definitely a progression from Worlds... it sounds like it could be even heavier than Worlds but also quite bright in other places - so there you are.
Im just going to do what comes naturally and perhaps try and do some things I havent done before, and try and get a bit closer to the sounds and ideas I have in my head. Worlds... turned out fantastic, but I was rather underwhelmed until the very end (when it then overwhelmed me), as I had so many more ideas which just didnt end up happening on that album, but I simply didnt have any more energy to put into the album, I gave it 3 years of my life.
Im also going to have a slightly different sound from Worlds on album 3, as the music calls for it. Production wise, I always liked the fact that MORBID ANGEL always tended to produce their albums to fit the music, rather than simply following the general consensus of what a good production was at the time.
Lots of people loved the fact that we had such a different production on Worlds compared to our first album Forever which was a more straight-up, brutal sound. A few people werent too keen on the sound and got the impression it was somehow due to us having a small budget, which isnt true at all, it sounded exactly how me and Lee (who co-produced it) wanted it to sound - which is unlike a lot of other extreme metal bands who always have the same unrealistic, overly clicky bass drum sound and fizzy trebly guitars and generally no mid range. To use an example, the sound FEAR FACTORY have wouldnt suit Worlds Beyond the Veil, neither would the ultra murky and buzzy sound NILE have these days; both would weaken it. A really loud and limited sound wouldnt have let the soundscapes come through in the way that they do, so we went for a more dynamic sound.
Producing albums isnt about seeing how loud you can make the cd and how much of the dynamic range and bottom end you can remove in order to make the loudest and therefore best produced cd (unless its hard techno). Its sad because these days, if people have to use their volume control, the album in question is badly produced. Funnily enough, compare the sound of the Candlelight version of Worlds with any NILE or MORBID ANGEL album, it doesnt sound weak, or quiet, just different.
N: How does the writing process work?
LM: I usually visualize an idea before playing the guitar or hear a sound in my head and try and replicate it with the guitar, then I play guitar and record it onto my audio computer. Then I layer some tracks and play around with those ideas and possible structures. The ideas just grow into songs and its usually obvious what direction the song is going in. The drums usually appear in my head and then I either write them down if they are very complex or just remember them. I do a fair amount of practice on drums at the moment as I want to improve the drum performance on the next album compared to Worlds
N: Are you against using synths in anything but instrumental segue songs?
LM: Yeah, I can make weird enough noises with my guitar to fulfill my soundscape ambitions within the real songs. Also if we used synths in the real songs wed need a synth player for live gigs were we to play those songs. However, you never know!
N: Any plans for a United States tour?
LM: Hopefully in the future, at the moment we are working on a possible UK tour for next year, travelling further afield would be difficult at the moment, given everyones families / work / study commitments.
N: Leon will you ever switch between drums and guitar onstage, and how is working with a new drummer?
LM: Nope, frankly, MITHRAS doesnt work when Im not playing the guitar leads as weve found after years of me playing drums at gigs. Our new live drummer Sean Broster is fantastic and is currently learning all the songs from both albums. Ive never played guitar alongside such a tight, powerful and downright fast drummer as him, so its great hearing the songs played as a live band.
N: Who would you cite as influences, musical or otherwise?
LM: SLAYER, METALLICA, MORBID ANGEL, DREAMTRIBE, BAL-SAGOTH musically.
N: Name someone musician you'll never meet (whether dead, missing, or insane) that you'd love to sit down and drink a beer / share a joint / talk shop with.
LM: Hmm, thats a very difficult question as Ive met most of the musicians I wanted to meet. I really cant think of any one person I want to meet, sorry!
N: In the thank you list, the quote "Fantasies lead to creativity" is at the end of Leon's portion. Would you care to expand on that concept? Are all dreamers creative? Are those bound in reality not creative? Etc.
LM: The purpose of that statement was just to strike a chord with people and convey what the album was about in one line, it was a mantra which really summed up the entire Worlds experience for me. Not all dreamers are creative, and not all those bound in reality are uncreative. Id say a good way of looking at it is that its challenging you to make your dreams real.
N: What do you think about modern entertainment? High art and music can be a spiritual experience, is this necessary in entertainment, or is stuff like reality TV just as relevant (from an entertainment standpoint)?
LM: Ive never found a spiritual experience in reality TV, but thats not the point (of the question or of reality TV, Haha). To be honest I think most modern entertainment is a way of sitting people down and taking away their volition to think or do anything, at least thats the effect Ive seen it have on people. Each to their own I guess, but whatever propaganda, advertising or subliminal messages they are usually pumping out negates any positive aspect I could take from it, even if I wanted to sit down and do nothing. I occasionally watch films or programs, but not for a long period of time. I dont think a spiritual experience is ever part and parcel of modern entertainment, bar a few films, at least thats my experience. Give me the high art and music thanks!
N: Any particular bands or albums you've been into lately worth mentioning?
LM: The new BEHEMOTH Demigod is fantastic, I was drumming along to it today, very brutal and fantastic music. I also heard a cool band recently called CRIMSON MASSACRE (from Texas) - ones to watch. Also the Australian band THE AMENTA have a good new cd out called Ocassus (on Listenable records), Im sure they will be very big eventually.
N: Anything else you would like to say?
LM: Yeah, a massive thanks to all on the Royal Carnage site, Ive seen the talk about MITHRAS on your board, and its great that you guys are so open-minded, mature and passionate about so many bands and styles. Check out our site at www.mithras.org.uk. Cheers!
MITHRAS INTERVIEW
From Adrian Royal Carnage webzine
All answers by Leon Macey
NAD: First off, thank you for taking time to speak with Royal Carnage today. For those unfamiliar with your sound, how would you describe it?
Leon Macey: Hi there Adrian and all at Royal Carnage, this is Leon Macey (guitars/drums) from MITHRAS. Id describe MITHRAS as brutal experimental extreme metal. Our music takes super fast brutal death metal and takes it somewhere else.
N: In my opinion, Worlds Beyond the Veil was a big part of making 2003 one of the best years for metal since 1994. Do you think you have made an impact on the extreme metal scene?
LM: Hehe, Im glad you think so, as many others seem to think, so maybe we have in our own way. Im sure there are a huge number of potential listeners out there who havent been able to get hold of MITHRAS yet; as the album hasnt even been properly released in the USA until now (its released 21/09/04 on Candlelight in the USA).
N: What are your thoughts on the nearly infamous Terrorizer review?
LM: Stuart Banks review in Terrorizer was quite over the top, as many people have pointed out, but anyone who has read any of Stuart Banks other reviews would know that this is his style, and while his Worlds review was quite over the top, so are a fair few of his others, all of which have appeared in the same magazine over the years, not to mention in lots of other mediums. A fair few people agreed with his review and said they pretty much bought it from that recommendation alone.
I think some people got a bit carried away saying this review is total crap whilst still agreeing that Worlds was an amazing album. In the same way that any review reflects the opinion of a reviewer, at the end of the day it was just Stuarts opinion, not the opinion of Terrorizer magazine as a whole, or the opinion of MITHRAS. Funnily enough we got more over the top reviews than that sent through.
There was a backlash against MITHRAS after that review, but generally not from people who thought the review was over the top, but from people (specifically some other Terrorizer writers and people involved in the London scene) who thought there was something untoward going on between MITHRAS and Lisa McManus (who published Terrorizer magazine at the time). I think this is a good time to set the record straight about the facts behind this matter, as opposed to the conjecture and ill informed ignorant gossip which is found elsewhere, so please bear with me.
The Terrorizer review of Worlds was commissioned early 2003, as Stuart Banks asked that he got to review it once it was finally ready, as he had closely followed MITHRAS and had reviewed our promo mcd Bequeath Thy Visions (which preceded Worlds). Then Richie Ruchpaul interviewed us for a Terrorizer feature in June and followed this up in August. After all this, Lisa and I got together, after meeting through the interview and being in contact due to me promoting MITHRAS etc. Basically once the review ran there was an out of control internet witch-hunt against Lisa and MITHRAS, as some really bitter, negative people tried to say we only got such a good review because Lisa and I were together, which is weird considering she didnt review it or interview us and didnt tell Stuart Banks what score to give us and Lisa and I werent even together then, however that didnt make any difference and caused a lot of problems. Some people might say that she should have stopped the review from running as it was so over the top, but those same people would have vociferously complained about censorship and the right of a reviewer to write what they wanted uncensored if someone had stopped a high scoring and over the top review of theirs being run.
In case you dont know, Lisa and I got married in April 2004 and we now publish our own extreme music magazine called Zero Tolerance Magazine (http://www.zero-tolerance.co.uk)
N: Your guitar solos literally put me in a trance sometimes, and I know I'm not the only one! What is your inspiration to come up with these mindblowing exercises?
LM: Thats fantastic, whats funny is I was probably in a trance when I recorded them, Haha!
I try to continue certain themes and ideas throughout my leads, even if its just tiny afterthoughts and nuances, theres often still a connection to another lead Ive done. Inspiration wise, Im always searching for a musical idea that moves me more and on Worlds particularly, I tried to convey some of my dreams and thoughts through music.
Im not really sure how to answer this question, as I simply play what I feel or want to hear. Im really, really pleased people have found something special in the leads, as they are very special to me too.
N: The liner notes on Worlds Beyond the Veil say "Leads and themes recorded at parts unknown 2001-2003." Are we talking parts unknown physically or metaphorically? Did the leads come together with the songs or were they written independently?
LM: Both! When I first started writing Worlds back in 2001, I used to stay up till 5am and play. A good deal of the songs simply came out as they are on the album in a few takes of playing with some ideas, which would just come to me from nowhere. This included the leads, which I simply played on the spot with no real thought after recording the initial rhythms. Some of these leads actually feature on the album, the solos from "Psyrens" are the very first ones I played into my 8 tracker when writing the songs, and I could never better the feel of them, even if I could better the technicality.
I actually recorded the majority of the leads on Worlds in a few different physical places, and always on my own. Theres always a specific idea or feel Im trying to convey with a part, sometimes it takes one take, sometimes 100 takes.
N: I read that writing has begun for album #3, what direction is the music headed in? Is there anything specific you wish to accomplish with the next album?
LM: Yeah, Ive got some soundscapes and weird feelings in my head that Im trying to make into music!
Its very difficult to say what direction the music is headed in, as its nearly impossible to get a handle on something Im so close to. Lisa says Its definitely a progression from Worlds... it sounds like it could be even heavier than Worlds but also quite bright in other places - so there you are.
Im just going to do what comes naturally and perhaps try and do some things I havent done before, and try and get a bit closer to the sounds and ideas I have in my head. Worlds... turned out fantastic, but I was rather underwhelmed until the very end (when it then overwhelmed me), as I had so many more ideas which just didnt end up happening on that album, but I simply didnt have any more energy to put into the album, I gave it 3 years of my life.
Im also going to have a slightly different sound from Worlds on album 3, as the music calls for it. Production wise, I always liked the fact that MORBID ANGEL always tended to produce their albums to fit the music, rather than simply following the general consensus of what a good production was at the time.
Lots of people loved the fact that we had such a different production on Worlds compared to our first album Forever which was a more straight-up, brutal sound. A few people werent too keen on the sound and got the impression it was somehow due to us having a small budget, which isnt true at all, it sounded exactly how me and Lee (who co-produced it) wanted it to sound - which is unlike a lot of other extreme metal bands who always have the same unrealistic, overly clicky bass drum sound and fizzy trebly guitars and generally no mid range. To use an example, the sound FEAR FACTORY have wouldnt suit Worlds Beyond the Veil, neither would the ultra murky and buzzy sound NILE have these days; both would weaken it. A really loud and limited sound wouldnt have let the soundscapes come through in the way that they do, so we went for a more dynamic sound.
Producing albums isnt about seeing how loud you can make the cd and how much of the dynamic range and bottom end you can remove in order to make the loudest and therefore best produced cd (unless its hard techno). Its sad because these days, if people have to use their volume control, the album in question is badly produced. Funnily enough, compare the sound of the Candlelight version of Worlds with any NILE or MORBID ANGEL album, it doesnt sound weak, or quiet, just different.
N: How does the writing process work?
LM: I usually visualize an idea before playing the guitar or hear a sound in my head and try and replicate it with the guitar, then I play guitar and record it onto my audio computer. Then I layer some tracks and play around with those ideas and possible structures. The ideas just grow into songs and its usually obvious what direction the song is going in. The drums usually appear in my head and then I either write them down if they are very complex or just remember them. I do a fair amount of practice on drums at the moment as I want to improve the drum performance on the next album compared to Worlds
N: Are you against using synths in anything but instrumental segue songs?
LM: Yeah, I can make weird enough noises with my guitar to fulfill my soundscape ambitions within the real songs. Also if we used synths in the real songs wed need a synth player for live gigs were we to play those songs. However, you never know!
N: Any plans for a United States tour?
LM: Hopefully in the future, at the moment we are working on a possible UK tour for next year, travelling further afield would be difficult at the moment, given everyones families / work / study commitments.
N: Leon will you ever switch between drums and guitar onstage, and how is working with a new drummer?
LM: Nope, frankly, MITHRAS doesnt work when Im not playing the guitar leads as weve found after years of me playing drums at gigs. Our new live drummer Sean Broster is fantastic and is currently learning all the songs from both albums. Ive never played guitar alongside such a tight, powerful and downright fast drummer as him, so its great hearing the songs played as a live band.
N: Who would you cite as influences, musical or otherwise?
LM: SLAYER, METALLICA, MORBID ANGEL, DREAMTRIBE, BAL-SAGOTH musically.
N: Name someone musician you'll never meet (whether dead, missing, or insane) that you'd love to sit down and drink a beer / share a joint / talk shop with.
LM: Hmm, thats a very difficult question as Ive met most of the musicians I wanted to meet. I really cant think of any one person I want to meet, sorry!
N: In the thank you list, the quote "Fantasies lead to creativity" is at the end of Leon's portion. Would you care to expand on that concept? Are all dreamers creative? Are those bound in reality not creative? Etc.
LM: The purpose of that statement was just to strike a chord with people and convey what the album was about in one line, it was a mantra which really summed up the entire Worlds experience for me. Not all dreamers are creative, and not all those bound in reality are uncreative. Id say a good way of looking at it is that its challenging you to make your dreams real.
N: What do you think about modern entertainment? High art and music can be a spiritual experience, is this necessary in entertainment, or is stuff like reality TV just as relevant (from an entertainment standpoint)?
LM: Ive never found a spiritual experience in reality TV, but thats not the point (of the question or of reality TV, Haha). To be honest I think most modern entertainment is a way of sitting people down and taking away their volition to think or do anything, at least thats the effect Ive seen it have on people. Each to their own I guess, but whatever propaganda, advertising or subliminal messages they are usually pumping out negates any positive aspect I could take from it, even if I wanted to sit down and do nothing. I occasionally watch films or programs, but not for a long period of time. I dont think a spiritual experience is ever part and parcel of modern entertainment, bar a few films, at least thats my experience. Give me the high art and music thanks!
N: Any particular bands or albums you've been into lately worth mentioning?
LM: The new BEHEMOTH Demigod is fantastic, I was drumming along to it today, very brutal and fantastic music. I also heard a cool band recently called CRIMSON MASSACRE (from Texas) - ones to watch. Also the Australian band THE AMENTA have a good new cd out called Ocassus (on Listenable records), Im sure they will be very big eventually.
N: Anything else you would like to say?
LM: Yeah, a massive thanks to all on the Royal Carnage site, Ive seen the talk about MITHRAS on your board, and its great that you guys are so open-minded, mature and passionate about so many bands and styles. Check out our site at www.mithras.org.uk. Cheers!
