Transcript
Speaker: Hey everybody, welcome to the Dissident Echoes podcast. This is episode 13, 14, 15, somewhere around there. I've kind of lost track because I'm kind of behind on editing these things, so my apologies for that.
Speaker: But today we've got a special episode. ah We've got Alan, which is myself. Adrian, the label owner, is here. And we are joined today by... we have guests ah Cameron from Light Dweller and Steven from Sleep Paralysis.
Speaker: Hell yeah. Thank you guys for joining us tonight. Thanks for having me. So yeah, we're spread across the country. I'm in South Carolina. We've got Chicago for Adrian, Arizona for Cameron, and then we've got California for Steven. So once again, thanks for making the time, guys.
Speaker: um So yeah, I mean, the whole reason we're here tonight is because ah the new split, the full-length split from ah Light Dweller, Aeocyst, and Sleep Paralysis called Illusory Dissolvents, which we're putting out on the label.
Speaker: And just to go ahead and get this out of the way for anybody that isn't aware, I've posted about this, but Aosist is me. I used to be anonymous with that project, but here we are. I wanted to do stuff like this. So the mask is off.
Speaker: But yeah, we've got this awesome split that we worked on and it's been like, what, like six months plus now that we've been kind of talking about it and working on it. Yeah. Six months. That sounds accurate.
Speaker: Yeah. I mean, I came up with the idea because I had some songs left over. um You know, basically, well I want to ask you guys like how, when and how the projects got started for you guys. But to kind of get into that.
Speaker: You know, I had worked on what I ended up putting out as a EP, my first release for AOSYST earlier this year. I started working on that like June of 2024. And I had some song ideas left over that I just didn't finish.
Speaker: And so those songs ended up being something I wanted to put on a split. I think I actually had six songs and three of them or four of them plus, yeah, three plus one new one made the cut for the split.
Speaker: And I just got the idea, like, why don't I hit up somebody and try and put out Like A Split, you know, because i only had like three songs at the time. But, you know, my first instinct was to hit up you, Cameron. um Kind of a shot in the dark because, you know, we had never met before and never spoken or anything, but I was a fan of your music.
Speaker: And that's the first time I've ever done this, but it turns out you can just message any artist on Bandcamp. There's just a link on their page to email them. So I just tried that and you got back to me pretty much immediately and you were you were down for the idea. So it's really sick.
Speaker: I appreciate it, man. Yeah, no problem. Yeah, I remember when you messaged me, that was like right after I just released my last full length album. I actually had no material written.
Speaker: but when you hit me up. So I just like to start everything from scratch. yeah which is Yeah. I think we all released something like right right around the same time, right? Yeah, I think you released your album the same day as me, at February 28th, I think.
Speaker: Yeah. i And then my EP was in March.
Speaker: Yeah. But, and then eventually as we were talking about it, you know, yeah we decided there weren't really enough songs on it. So you you mentioned that you had been in touch with Steven from sleep paralysis and that he might want to join in. So we asked him and he was down as well, which was really sick. I had never heard of sleep paralysis, but dude, your stuff is insane. Thanks man. That's I'm going for. It's sanity.
Speaker: Yeah. I mean, ah ah ah like I said, I want to talk about how the project started for everybody. And I guess we would start with Cameron since his has been around the longest, I think so. Yeah.
Speaker: Um, I started light dweller, um, December, 2017. Um, so I guess the best way can answer this is my previous band, Knolling Roots.
Speaker: Well, not previous, ah it's still my current band, but, um, that, that used to be a one man band, uh, just like how light dweller is just a recording project. And then, um Eventually I made a full band out of it, but I still miss writing music solo.
Speaker: So I needed another outlet to to be able to do that. So I created Light Dweller. I changed the style. So like, no longer it's just more atmospheric black metal, just like melodic stuff. Light Dweller, dissonant death metal.
Speaker: um So I always wanted to try it try that style. so Yeah, basic December 2017. That's when I started. um That's i put out my first self-titled EP. And then think fast forward to like January 2019. So like 13 months later, that's when released my debut album.
Speaker: and and And then there's like four more albums after that. I don't think I've even heard your self-titled. if is that Is that not on Bandcamp? It is, yeah. It's called Nolity of Light. Oh, okay. Gotcha.
Speaker: Yeah, I've got that one too. So yeah, you you've been doing this for a while now and you said that you ah you you wanted to do something in the Disso Death kind of genre. So like what inspires you to want to do that? Which which bands or anything like that?
Speaker: Yeah, so I've been a a death metal fan since I've been playing guitar, like essentially my whole life. um But as far as like one particular band that got me specifically into dissonance stuff, um Artificial Brain.
Speaker: um I've always been familiar with the genre before. I just like growing up, but something kind of clicked in my mind when I heard Infrared Horizon, um their second album. all their All three of their albums are great, but that something about that album just like kind of clicked something in my mind. And then it just made me want to write stuff like that. And that that's how my daughter was birthed.
Speaker: Well, I have to admit, I still haven't listened to that album. It's kind of criminal, I know, because every every artist in this sphere that I respect always mentions it, but I still haven't gotten around to it for some reason. I have to do that.
Speaker: What about you, Stephen? When did you start Sleep Paralysis up? So i I don't know if ah you're familiar with Cerulean. I think you are, actually. I think you made a comment about it before.
Speaker: So I've been doing Cerulean since 2017.
Speaker: And, uh, the last year, like 2024 and a little bit of 2023, I just had like a really crazy, uh, writing spurt where I was just writing like crazy.
Speaker: Um, so everything that I was, um, that ended up being for, uh, sleep paralysis was originally for Cerulean. Um, but, um, as you know, from, from listening to the record, it's a lot more avant-garde and weird than like what, uh, Cerulean would, uh,
Speaker: would normally do. And also like it would, it, it wouldn't be practical to play it live either, which so um I wanted, I wanted to really to be like more of like the, the live band and the sleep process to be the the side thing. So, um so anyway, yeah.
Speaker: So when, um after I wrote the, the first sleep process full length, um that's when I decided like, okay, I should probably do this as a, like a solo thing. Not muck up the Cerulean stuff too much. And then yeah, that's where we're at now.
Speaker: Yeah, i I kind of relate to that because Aeocyst was originally a it was going to be music for my death metal band, my local band, Psygnosis. And it was just clear to me that while they were both like death metal and fairly dissonant, um I wanted to go further into just weird shit with Aeocyst.
Speaker: So I split off and did it as a side project at some point. And ah that would have been, like I said, around, i don't know, May or June of 2024 when I wrote those songs.
Speaker: I don't even have the guitar that I used for that anymore. I think it was a, yeah, it was a Strandberg Bowden 8, like the the base model that has like the passive pickups that look like EMGs but aren't.
Speaker: That's what I wrote it on. What happened to that? I ended up just selling it for bill money at some point. That's nice. Yeah, it was a pretty sick guitar. um But that was like the whole inspiration was just weirder than my current death metal band.
Speaker: I guess the bands influencing me at the time would have been like Nightmare um was a big one. um I know Adrian and I are big fans of everything Simon does with the label that he has and his music as well.
Speaker: But also bands like Cave Sermon, which is a one-man project from Australia, which is really fucking sick. And Ulcerate, of course. Anybody that's in a desonant death metal band has been influenced by them.
Speaker: As well as Gore Guts, of course, also. And ah yeah, I mean, the whole premise with Aeosis is that it's ah it's like microtonal. But I'll just set the record straight. It's not truly microtonal in the sense that I don't have more frets on my guitar. I wish I did.
Speaker: um it's It's actually a lot more simple than that. There's just a left and a right guitar and one of them is detuned a quarter step or 50 cents so that they're out of tune with each other. ah perfect quarter step, which creates extra dissonance.
Speaker: There's also weird ass tuning that I use and stuff. so Yeah, but that's enough about EOSIST.
Speaker: Really quick, I wanted to ask, what's everybody's go-to guitar or like your main rig? Yeah, I want to know for sure.
Speaker: Who wants to answer first? You go for it. um I've had the same guitar since I was 16 years old. it is a Washburn XP50, I think.
Speaker: Got this for my 16th birthday. i've I've literally never boughten a guitar in my life. So this has been it right here. As it works, it works. Yeah. and You said you tuned to Drop A Sharp, right?
Speaker: Yeah, Drop A Sharp. Nice. See, yeah we've we've talked about it a little bit, but I really appreciate people that can make, you know, just very little gear, make a lot of music, you know, that's inspiring to me. And that's the opposite of what I normally do. So I need to like learn from that. Yeah.
Speaker: Yeah. I've been a very minimalist with anything regarding music, like just like recording music. I've Um, I had like a cracked version of Cubase that I was using for like a decade and, um, I didn't buy a single plugin. I was just using all stock stuff.
Speaker: Um, my earlier recordings definitely suffered quality wise as a result. Um, but now, now that I've actually, uh, bit my tongue and, uh, spent some money on plugins now, everything sounds a little bit better, but yeah. Um, I've been quite minimalist a little bit to my detriment.
Speaker: it's the opposite I'm very much not minimalist as you can tell. Well, I mean, they the any and all approaches work. It's just whatever the end result is, that's what matters, right?
Speaker: You know, i would put myself somewhere on the kind of, um, I'm a bit of a gear whore. I always am just looking for my next thing that I want, whether it's a guitar or studio gear or a microphone or whatever, just always, there's always something that I'm wanting.
Speaker: And I think that is to my detriment, kind of like how Cameron, you were saying that, uh, your quality suffered. Well, it's not my quality that's suffering. It's just my output, but you know, I've put out a good amount of music anyway, despite the,
Speaker: kind of tinkering around with constant things. But yeah, so I want to talk just a little bit about, ah we've already mentioned both of them, but your other projects. So Cameron, I found you because of Nulling Roots, which was recommended to me around 2018 on Spotify. It was just like one of the next songs that played after something I played ended, which was, you know, used to be a really good way to discover music. It's not so good anymore with the algorithms, but don't even use streaming anymore.
Speaker: But yeah, Yeah. Yeah. That's how I found knolling roots. I'm pretty sure. And, uh, I think I found not sure which song it would have been that I first heard, but without a doubt it was off of the, um, what's the name of the album? You know, we've talked about it before into the gray and into the gray, which is like, you know, it's, it's, I think that was the one of the couple, maybe the only album that you've done with a full band for that project. Right. Uh, so, uh, yeah, essentially with, with real drums. Yes.
Speaker: Yeah. But yeah, that album still to this day is just one of my favorite extreme metal releases, period. I mean, you know, good it's just incredible. Really hits me deep in a place that not a lot of metal does.
Speaker: You know, I mean, I love black metal, but I don't listen to the classic stuff, the stuff that you're supposed to listen to. i don't really care. You know, I just listen to mostly post black metal, atmospheric black metal.
Speaker: And so that was right up my alley and it just hit me and I was, and I've shown it to like all my friends, you know, I've told Adrian about everybody. I even made a little reel on Instagram for the label that we put out just to tell more people about it.
Speaker: I saw that. Yeah. It's just, it's just, it deserves to be heard and along with all your other stuff. I did finally pick up your discography and check it all out and it's amazing. So thank you.
Speaker: There's just a lot of stuff about g knowing roots that stuck with me. And so that was why I thought, you know, maybe I should ask this guy if he wants to be on the split. You know, once I discovered Light Dweller, which I think I found Light Dweller around the time that you put out your vinyl with Total Dissonance Worship. I'm pretty sure. Yeah. yeah And then I just saw in the credits that it was you and I was like, oh shit. So, and Adrian, I know that you've been aware of Light Dweller, but you have a couple albums, right?
Speaker: Yeah, i picked up the vinyl. That's how i've I discovered you because like, you know I follow total distance worship. but pick up a bunch of their albums. So yeah, the record absolutely killer.
Speaker: Nice. Thank you. Did you pick it in 2022 when it was released? and twenty twenty two when it it was released No, I picked it up probably like a year year ago. so okay Yeah, i discovered a little bit later. Okay.
Speaker: um Really random. where Do you remember where you got it from? like Did you buy it directly from Total Dissons Warship or did you get it somewhere else? ah but This actually, i believe i believe i have two copies actually.
Speaker: bought i bought one from Total Dissons and I could have swore I had it And then i ah I just, I didn't know what it was. I had like two, 300 records.
Speaker: And so I bought it again for Meteor Gem because they had it installed. Okay, nice. the reason The reason why I ask is um I think Simon had like a a small amount left over and then he ah sold it to Meteor Gem. So that's why i was asking him.
Speaker: Yeah, yeah. They're local to me, so like I stopped in um Great Shop. so Nice. yeah So I accidentally bought it twice, but I
Speaker: just love the artwork. It just caught my eye. that's That was the first thing that drew drew drew me to it. Yeah, that's my favorite artwork to this day that from any album that I've done.
Speaker: Yeah, it's it's so super sick. ah Who is the artist for that one? It's Adam Burke. Adam Burke? Okay. Nightjar illustrations, right? Yeah. Yeah. Yeah, it's really sick.
Speaker: It's a lucid offering for anybody that's listening from 2022.
Speaker: Um, but yeah, like I said, I just had this gut feeling that, you know, you're the person I should ask first. So I did, you were into it and here we are. And then you had Steven up your sleeve, which is crazy.
Speaker: So now here we are with a three way split and it's fucking sick. By the time this is out, it'll be out. So, I mean, we can talk about it as much as we want, but first let me talk about Cerulean a little bit with you, Steven. So you said that you wanted that to stay more of a live band, right? So how long has that been a live band?
Speaker: So I think, ah yeah, so I started at like 2016, 2017, around then. um Did a couple, a demo and then a single, and then finally released the ah the EP in 2023, I think. Yeah.
Speaker: twenty team i think um Yeah. And then ah currently right now we're working on a full length. So we we're just we have everything basically written. So we're just ah getting everybody up to speed on all the songs before we get stuff recorded.
Speaker: But yeah, if if I can go into more detail, it's really. And so um it's actually started in Tucson, Arizona, um and now I'm in San Diego. So, yeah, so starting Tucson, the be the guitarist who's now the bassist, um, he, um, he lived in Tucson briefly. He's, he's from San Diego as well.
Speaker: Um, but he was out, uh, because I think his, uh, ex was doing like medical school or something. Um, yeah, medical school. Yeah. Um, and then, um, after they broke up, he moved back here, to San Diego.
Speaker: And then after, um, my, I had some personal stuff in my life go, um, uh, happened, uh, decided like I needed a change. So I moved out to San Diego since I knew a bunch of people just from bands and to stuff.
Speaker: And, uh, we, uh, started jamming with, uh, Ben, the, the new drummer, or well, I mean, not new drummer. He's been playing since like 2019, I think. Um, and, been going pretty strong since, uh, we actually have a, show coming up with, um, uh, blindfolds and legends of the woods, uh, in October. So that'll be a fun one.
Speaker: Hell yeah, dude. Well, I could get into talk about live music, but that's not really what this is about. I just, I'll just want to say that if anybody's listening and they want to go check out Cerulean live in October, definitely go do that. Also blindfolded and led into the woods is a great band too. So that'll be a good time.
Speaker: Um, and then since we're talking about it, is there any knowing roots shows planned right now, Cameron? Yeah, we have our first show in six years um since six years ago.
Speaker: Sorry, I'm warning you that like shit. We have a show in a month and it's our first show in six years. Yeah, we we just got a new lineup um earlier this year. We've we've been jamming.
Speaker: somewhat secretly. And then we made couple of posts on social media about one month ago regarding the show that's coming up in a month from now. um Yeah. And that's going to be in support of a, of an album that we've already finished recording and we're going to be releasing soon. Basically just waiting on the artwork to be finished.
Speaker: But yeah, so long story short, um yeah. But one show coming up in a month and then hopefully more will, will ensue after that. That's exciting.
Speaker: Dude, I have to say... You go first. No, I'm sorry. was going to say, have you only really played like around the Phoenix area? have you gone like outside those roots? Um, basically pretty much. Yeah. Only around Phoenix. We did play in Tucson one time, but, um, we've had tour opportunities and we tried to tour in the past, but for one reason or or another, it just like didn't work out.
Speaker: Um, I think the work schedules and, you know, just like random stuff like that. Yeah. It just, it just never came to fruition. But, um Yeah, so around Phoenix mostly.
Speaker: But we we used to play a lot like every other weekend for a good like three years from like 2016 to 2019. Okay. Well, if you ever make it out to San Diego, let me know. We'll arrange something.
Speaker: Hell yeah. That'd be sick. Most definitely. um I think I was... I'm not entirely sure what I was going to say anymore. So my apologies for that. But it'll come back to me and I'll come back to it.
Speaker: Yeah. Yeah. So anyways, um, talked about how I discovered Cameron and how this all came to fruition. Um, well well, we started working on it, Cameron, you decided that you were going to write a new song and I think you pretty quickly decided that you were going to write one long song. Right. So like, why did you want to do that?
Speaker: Um, as, as for why, um Well, I've always wanted to write one long song and just in general. And um you hit me up for a split and um ah split. it's you know less than It's less time than a full length album. So I figure maybe I can just write the entire my my whole portion of the split in just one song. I feel like that was just like the the perfect opportunity to release ah a full long song, if it if that makes sense. you know um ah yeah It would work well on an album, too.
Speaker: But i think a Split, that is just like the most appropriate release to make a really long song. I mean, shit, it ended up working out amazingly.
Speaker: It's one of my favorite things I've heard you heard you record. So good job on that, dude. Thank you. For anybody that hasn't heard it yet, go fucking listen to that. And also, there's like...
Speaker: I don't, song structure wise, don't really know too much about how to talk about that stuff still, even though I've been a musician my whole life. But I will say there's like a couple different themes in the song.
Speaker: And there's one that starts happening later in the song, starts coming in a little bit around eight minutes and then 12 minutes. It's like, that' you're really in that theme. Man, that gets me every time that part.
Speaker: It's got like these background, like choir keyboards and stuff. And yeah, that's, it's just so sick, dude. Thank you. I know what you're talking about. Yeah, especially when you do it that last time or not the last time, but when you you bring it back and it has the pinch harmonics, dude, it sounds so good. Yeah, it's super fucking sick.
Speaker: um The whole thing is incredible. I mean, i was listening to it before we got on here and, um you know, there's the song. What's it called? ah The Antichrist You've Been Waiting For that you wrote, Stephen.
Speaker: Dude. That one's incredible. And it has a little bit of a touch of what you do on the self titled with like some of the electronic elements kind of in the background, but like, it's still there. i really appreciated that you put some of that in there.
Speaker: Yeah. i was, I was hoping people wouldn't get like disappointed because I didn't like go full piano. Like I did with the, uh, the original one, but, or the first full length, but, um, yeah, I wanted to keep a little bit of the the chip tune stuff, uh, even if it's like more subtle in the the mix.
Speaker: Right. Yeah. And again, if anybody isn't aware, the sleep title the Sleep Paralysis self-titled has all kinds of interesting instrumentation for sure that you wouldn't expect in a death metal album.
Speaker: Like you just mentioned, there's chiptune stuff, which is like Game Boy sounds, which is awesome. There's a lot of piano um and it's like really... Like, I don't know how you write this stuff. like I don't know how to write it Because, like like, for example, you'll have stuff that's totally, like, um what's the word? Why can't I think of the word for notes that are just in sequence from a half step to half step?
Speaker: Chromatic? Yeah, they're just chromatic sequences of just wild, like, arpeggios and stuff. And I'm like, I literally don't know how I could come up with something like that. But that's what makes it unique. It sounds awesome.
Speaker: Thanks, man. It adds to the like the whimsical nature of that album. so Whimsy. with Yeah, for sure. Like Charlie and Chocolate Factory. like yeah Just on acid as fuck.
Speaker: Yes. As if the original movie wasn't. Right, right. um Yeah, I'm just so happy this came together and it sounds awesome. i I've told you this personally, guys. I don't really feel like I have any business being on the same release as you guys, but you know not trying to like and gather praise or anything. It's just really sick because I always considered Aeus just to be um me trying to do something.
Speaker: you know and ah It's genuine because it's my own version of Dis O Death or microtonal music, but I always just felt like I was trying to do something. And i don't know, I guess now I kind of, now that we've got this thing out in the world, I just kind of feel like it, it is something I don't have to try anymore. Like it's its own thing now, finally. So that's cool.
Speaker: Yeah. The, the only disappointing thing about it it's not longer. Like every time I get to the end of it, I'm like, man, I wish I could, had like a ah full length of this. Yeah. You should definitely keep up with that, that same style in my opinion.
Speaker: I don't actually even own that eight string guitar anymore. I recently parted with it, um but but i will I will eventually be ready to write the full length album because I've had a couple people ask me for it.
Speaker: And ah yeah, I've got some lofty ideas for what it might be, but I'll definitely still be wanting to use a seven or eight string for it. That's just what I do for that project. So I'll get something new.
Speaker: got my eyes on that Schecter Rob Scallon eight string, I think. It's like a multi-scale deal, but we'll see.
Speaker: So as far as the songs themselves, I can talk about this first, I guess, because it's pretty simple for me. But I just want to know about, you know, how they came to how they came to be, you know, if you had any inspirations for them or if it was just kind of you just came up with some riffs and went from there.
Speaker: That kind of thing. um You know, just the recording process, how it went for you guys. And I could say for me, it was, like I said, I had these song ideas left over from the EP. So it didn't take a whole lot of effort to finish them out.
Speaker: You know, I kind of just deleted all the riffs that I had there because they were not finished and started it over. And ah and the in the course of like two days, i had these three original songs.
Speaker: um And then I added a fourth later on just to extend the length. But I don't think I had anything in particular in mind until... You know, I changed the names of the songs at some point.
Speaker: And I think at that point for me, I don't know. I'm one of these people where I'll name a song before I even write anything for it. Literally, when I'm making the session to record, I'll give it a name. And then that usually inspires both what I write and then also the lyrics later down the line. So, you know, it can change if it doesn't fit later. But oftentimes I'll just go with that name.
Speaker: and so The names of the of the three songs from the from the split that I wrote originally are actually lyrics from my EP. All three of them, I think. You've got like 100 Billion Lifetimes Meaningless and Infantesimally Superficial. Those are just lyrics from the EP. and so I just wanted to continue that kind of sound and that theme onto the split.
Speaker: And so essentially what they're about is yeah what why I started Aeosis is to have this outlet for just utter sheer nihilistic dread. um Because it's like something that is always looming over my shoulder.
Speaker: You know, I just, I'm not, I'm not a true nihilist. I don't go around looking at people thinking you and I are worthless. That's not how I feel. But it, it's just one of those things where I'm like, kind of struggle with that feeling sometimes just because of the way the world is and my depression and all this, that, and the other. So yeah.
Speaker: I wanted an outlet for it. And that's what AOSIST is all about. And that's what the songs are about. Essentially. It's not a reflection of my true beliefs is all I'm trying to say. It's just a, it's like, um, it's an expression of like, you know, just the darkest thoughts in my mind about the universe and meaning of life and all that stuff.
Speaker: But anyway, that's basically what my portion of the split is about. I guess we'll go to you, Cameron. What was, uh, what was your track about? How did it come to be?
Speaker: Lyrically, it's I'm trying to think of how to answer this. It's about. It's basically just about like the the quote unquote ruling class, however you want to define that, trying to subvert the whole populace into a slave class.
Speaker: um Yeah, slave class.
Speaker: that um through i don't I don't say in particular in the lyrics, like how or why, but that's basically something that I think is just a reality of our society.
Speaker: um So they are the lyrics are reflective of my true beliefs, but I don't get like too concrete on but within the lyrics, if that if that makes sense.
Speaker: I keep it kind of vague, but basically like make it applicable for anyone's worldview for it to be, um, or to be applicable. I don't know if I'm ordering that really well.
Speaker: Yeah. leaving Leaving it open to interpretation, but that was the intent is what you're saying. i get it. Essentially. Yes. What about the recording process? How did that go for you? So the the the way I record it, it's usually the same way for any album. I basically just fire up Cubase and i sometimes I will try to um flesh out an idea in my mind, like a riff that I'm just like kind of just like hummed in my mind. And it almost never works out.
Speaker: All my stuff is usually just like written on the spot from scratch that like I'm just like fucking around on the guitar with Cubase open. um ah I'll just like play guitar.
Speaker: Oh, this sounds kind of cool. I'll record it real fast and then just like quickly program the drums like for reference. And then I usually just like ah umll I'll save that recording and then I'll just like append the recording like linearly on the timeline left to the right of it.
Speaker: And I just do that for long enough and then eventually I'll have a full song. But um um I try to like think of riffs in my mind or like when I'm not on a computer, like playing guitar, i'll come up with riff and then like I'll try to bring it to the computer. And sometimes it does work, but usually it doesn't. And I don't know why.
Speaker: um But yeah, to answer the question, basically just um open up recording software, just play guitar. Eventually I'll come up with some riff and then just record the reference of it and then just like program the drums. And then one once I'm once I have like the full like backbone of the song, then I'll like actually re-record everything, um make it clean.
Speaker: But yeah, that's basically my writing process. Yeah, just left to right until song is done. Simple enough, man. But yeah if it works, it works, dude. I ah ah usually get a little bit... I make things too complicated for myself.
Speaker: I also use Cubase. And um luckily, Cubase is really good for this kind of thing. But oh I'll put tempo modulations and ramps and changes and and like time signature changes and like just completely different...
Speaker: key signatures and just all kinds of weird shit in my songs and I don't think they really benefit from it so my apologies for anybody that is like man this is all over the place because it kind of is but yeah I end up just kind of throwing everything at the wall and seeing what sticks um but that's basically my process for it um how did recording the part of your portion of the splits to go steven and what was it kind of about so the So the first song, Apartheid Genocide, obviously with the the title, it's about yeah the issues in Palestine, the genocide in Palestine. I shouldn't say issues. It kind of seems like it trivialized it.
Speaker: um But yeah, I wanted to write a song about that that whole thing and just you know something something I could do to speak out about it. um the uh the next song um in the end it was spoken that's kind of like my um it's kind of like a almost like a sarcastic like told you so kind of song um just kind of like uh you know if everybody was like saying you know you know this stuff's happening but then nobody's listening and nothing no one's actually doing anything about it so that's uh that's what that one's about and then uh the end of christ you've been uh waiting for that's um
Speaker: basically the, you know, you have like the, the Christian right in, in the country that like, they keep talking about like, you know, the interest is going to come and like, you know, calling whoever and whenever, like the, the antichrist, but like when you have someone that's, you know, tearing down, um you know, people's rights and, you know, the human dignity and stuff um and they're just looking past it, then, you know, it's, it's the, you know, the the hypocrisy of it and in my opinion. and And then for the the recording process, so i typically FL Studio.
Speaker: happened since high school when I when i got a cracked copy of it. i'm I'm so deep in it, I can't change to a different DAW at this point. yeah ah even Even with some of the the issues it has, but i mean for the for the most part, there isn't too many things I can or I can't do in it.
Speaker: um But yeah, so typically i'll I'll start with a guitar. um I'll get a couple of riffs going. um Usually, like my criteria is like as long as I can get like two parts in a row that sound good together, that's usually like when I'll like have that as my starting point and then see if I can go from there. Yeah.
Speaker: Yeah. So yeah, start, start with guitar and then bass right after. And then, um, like typically I'll, I'll, uh, write the the lyrics and record the vocals like as I go as well. Uh, cause I like using the, uh, the lyrics to, uh, I guess in a way, like kind of dictate where the music should go. um you know, just with like the, the themes and the, um, you just what, what energy the music demands, like for that, that part of the lyrics.
Speaker: Um, So yeah, so usually I have like, it's basically like almost like a full song, like going from start to finish, like not like, you know, one part all the way down, one part all the way down, one part and then just finished, but it's like going section by section basically. And so then when I'm recording, I'll work on the parts so that I can record them like on the spot as I'm writing them.
Speaker: I don't tab stuff out because partially I'm lazy and also because I'm dumb because like I always come back to it later. I'm like, man, I wish I'd tabbed it out because I want to play it.
Speaker: um But yeah, so it's it's definitely very spur of the moment. um Just ah yeah doing what what comes naturally, what what I think sound would sound good at the time.
Speaker: um and there's And I'll i'll definitely like come back to it and rewrite stuff like as as it needs. But a lot lot of the times, like once i once I get up a part that I'm pretty solid on, it it doesn't change too much.
Speaker: I definitely relate to um not necessarily like totally improvising things, but um definitely a little bit of a freestyle element in there, especially with vocals. Because like for me, i almost always just write the lyrics like I'll write one line. Sometimes I don't even write it. I'll just come up with it as I'm at the mic recording. But I'll write one line, record it, sit down, write another line or two or three and then record those.
Speaker: And ah sometimes I also write music that way as well. So I definitely relate to that. But it's an efficient way to get things done because instead of having to do all this planning, you're just recording, you know?
Speaker: Right. Yeah. I mean, there's, there's definitely positives and negatives to, to working that way. I, I feel like, um, at least for me, um, like a lot of times the song ends up kind of being like a, like a through composed song where it's like, there's not a whole lot of like repeats and going back to different parts. It's kind of like, uh, that,
Speaker: there's just like a through line through the whole thing but like each parts you know, different or there's like some themes that carry through, but, uh, um, anyway, yeah. So I think like writing this out, like, um, for me, at least I get kind of locked into, to doing that where, um, at least with, uh, the split, I tried to write it more like, you know, I guess mainstream song structure with like a, like verse kind of chorus, verse chorus, kind of a thing.
Speaker: I can sell out over here. Just kidding. ah I do the same thing. No, I, um what I do is I use easy drummer for my drums and I've always used easy drummer for my drums and it, it'll create sections of of grooves that are actually called like verse pre-chorus chorus. And so that's kind of how I've written most of my songs.
Speaker: So if anybody's a sellout, it's me. Um, ah speaking of drum programs, which, which was you guys, mean, you use, uh, uh, easy drummer. but What do you use Cameron? Uber atone.
Speaker: Ugartone? Yeah, not very well known. I have one of those, or one of the packs, I just haven't used yet. um I usually use a Superior Drummer 3. Nice. yeah i I used to use Superior Drummer 2, but I got it illegally like 13 years ago, and then my computer was really old and it just broke, so I didn't have anymore.
Speaker: And then Superior Drummer 3 was like, at the time, $600 so, and is so i just Yeah, that makes sense.
Speaker: Yeah, programming drums, you know, none of us as as guitarists, we we don't really love it usually, but, you know, it's just one of those things you got to do. Adrian, you use a lot of drummer, right?
Speaker: I started using Easy Drummer. Okay, so you're using Easy Drummer too. um Didn't mean to cut you off there, Stephen. I was going to say, am I the only one that enjoys running drum parts?
Speaker: because i've loved him I'm getting to that point, finally. It gets a little grueling after a while, but I generally do like it. It's fun. yeah I don't know what it is, but like it's ah almost kind of like like a zen for me. like I just get like locked in and just you know do like little tiny shifts here and there all the way through the song. It takes forever, but like i I think in the end, it like yeah has a good product at the end. so Yeah, I like um programming a song, like the main structure, but when I have to revise all the fills, when I have the song all written, that's when it's like really grueling to me.
Speaker: Yeah. Yeah, well, I think paying attention to certain drummers and what they actually do has helped me with that part a lot. um You know, just paying attention to Daniel Tracy from Deaf Heaven and the fills that he uses, like, it's definitely influenced the way that I write drums, and I think they sound better for it.
Speaker: um because ah i i I watch a lot of, like, drumming YouTube videos of, like, you know, just different drummers doing, you know whatever your songs and stuff, and I... I'm not saying i I copy what they do, but I definitely look look at like, you know, what, what they're doing and like how, like, you know, long it takes to go from like, you know, Phil to like hitting a symbol and stuff. Cause I want to try and replicate that as as much as possible.
Speaker: So Adrian, what did you think about the split man? ah I mean, it was, it's heavy. It's really heavy. um Everything kind of flows. Well, nothing like,
Speaker: Nothing really um seemed like out of place with it, which was surprising. Most splits is usually a drastic change. But I think the way that this one was put together, I think ah if you're a fan of any of the bands, you're going to be a fan of the whole split.
Speaker: That's my opinion. um Just, ah yeah, I don't know. ah It's fantastic. it's um Cameron, your track.
Speaker: it's It's like epic, you know? so here we go and That's the right word. Aeosist, just like, it's it's a it's a such a strange project in your use of microtones and stuff.
Speaker: um the The way you use like the harshness, like it kind of creates this eerie atmosphere that I'm really, really drawn to.
Speaker: then sleep paralysis. I really loved Apartheid Genocide. The opening kind of had this very doomish atmosphere and then kind of just builds um upon that and kind of just like gets heavier and heavier.
Speaker: So all in all, fantastic split. ah really glad you guys decided to put this out and i'm really proud to put the tapes out for you guys. so Thank you for having us.
Speaker: Yeah, absolutely. i can I can mirror that sentiment as well. I know for Adrian and I, this is probably like one of the most... we We're probably the most excited about putting this out that we have been in for anything on the label.
Speaker: Yeah. um You know, I mean, it's just really high quality stuff and we stand behind it fully. So, of course, I'm on it, so I'm biased. But you know what I mean? It's just really damn good. So we're we're stoked on it.
Speaker: And the tapes are done. And, you know, we're whenever this is out, they'll be – well, they're already available for preorder. So, yeah, they're transparent red and it's –
Speaker: 43 minutes, I think, is what it came in at, something like that, maybe 42 and some change. yeah um So yeah, it's a full length with three artists. And like i like you said, Adrian, I think there's a little bit of something for everybody that's into the genre.
Speaker: And I'm really proud of it. So just want to say one more time on the record, thank you guys so much for being down and for writing such six songs. And appreciate it. Thank you.
Speaker: Yeah. Thanks. Thanks again for initially hitting me up for, for this and eventually all this coming to fruition. Absolutely. Well, um, Adrian, is there anything else that you wanted to ask these guys before we get off of here or are you good?
Speaker: Well, you guys got, well, anything guys want to plug social media, ah anything music, uh, my newly created amp wall account that, uh, I was told about, I didn't know about that, that Ampwall was a thing, but yeah, Ampwall slash Ampwall.com slash WhiteDweller, I think that was the URL.
Speaker: if not If not that, Bandcamp, that's my usual go-to. I'm on Spotify as well. I don't really like Spotify, though. yeah you don't We're not fans. It's one of those necessary evils, unfortunately.
Speaker: Yeah, what about you, Steven? You got links for people to go check out? uh yeah i mean just uh you know follow me on uh like instagram uh sleep paralysis or sleep dot paralysis dot official um for for instagram uh try to you know throw out memes and you know make a ah good time you do make a a good time over there yeah and then i also have a cerulean definitely check that out um if you like what i'm doing with sleep paralysis it's basically just a a more raw version of that, uh, just, you know, less, uh, less on the synth stuff.
Speaker: Um, and, uh, yeah, other than that, you know, just living life. Awesome. Well, the last thing I'll ask you guys and you, you can, um, you can just, you know, if you don't have a preference, that's fine. But is there a song that you'd like for us to play off of the split or on any of your other releases at the end of this episode for people to listen to?
Speaker: ah you can go first, Cameron. Well, I only have one song on this release, so there'll be that one. um Perfect. It is 14 minutes though. So hey we've put 18 minute long songs on this thing before. So, okay.
Speaker: Yeah. Yeah. if you If you're down for the full 14 minutes, then yeah. My, my song. Awesome. So you have that to look forward to everybody. And what about you, Steven?
Speaker: Let's, let's do a part time genocide, I think. All right. I think that'd good one to get out there. Awesome. Well, I guess that's going to wrap this up. And i hope everybody enjoys listening to those tunes. Definitely go pick up a tape.
Speaker: They're out. The pre-order is released at this point. So support these guys and their other projects and support underground music in general. Let's keep Dis O Death and other types of extreme music alive. i appreciate everybody tuning in for Diss and Echoes once again.
Speaker: And I guess that'll be all for today.
Speaker: Thank you so much for checking out Dissonant Echoes, the official Hauntology Records podcast. And we're going to play you out today with Light Dwellers' song Cast Rot in the Ash of Abandoned Sovereigns, the 14-minute epic from The Split, as well as Apartheid Genocide by Sleep Paralysis.
Speaker: Enjoy. ¶¶
Speaker: you
Speaker: Silent
Speaker: are
Speaker: excited, Maze! The sun's in the sun, of the cold,
Speaker: Catriss! are
Speaker: Submit, as I decode, as I am not, I am in you.
Speaker: are
Speaker: are are
Speaker: are
Speaker: The battle devoureth his fear
Speaker: so
Speaker: yeah
Speaker: You need another cycle As the fracture becomes evicted
Speaker: are
Speaker: are It's all I need is set
Speaker: Yeah!
Speaker: Wake, not me, for disguise Let the sun make
Speaker: i
Speaker: are
Speaker: Extract To Stop
Speaker: i
Speaker: The biggest... Christ... What? Me, the ass! No... The pantries...
Speaker: are
Speaker: are
Speaker: are
Speaker: um okay
Speaker: i are The Blades The Manion Elety are
Speaker: The echo's out Last night
Speaker: are are
Speaker: Come through The shadows The words must be in your service
Speaker: i
Speaker: Oh
Speaker: A glass rod in the mesh a magic suffering are
Speaker: you
Speaker: um
Speaker: um
Speaker: um
Speaker: are
Speaker: are
Speaker: um
Speaker: Number five, number five, number five, number five are
Speaker: are
Speaker: are um
Speaker: so
Speaker: by box
Speaker: are
Speaker: are
Speaker: um
Speaker: um
Speaker: are
Speaker: are
