Ne Obliviscaris à conversa com Música de Peso

Ne Obliviscaris é um nome que provavelmente diz pouco aos portugueses amantes de sonoridades mais pesadas. Ainda.
Saídos da cena australiana, tal como os sleepmakeswaves e os Alarum, os Ne Obliviscaris são uma das mais surpreendentes bandas da actualidade. Com uma variedade enorme de influências e uma sonoridade marcadamente Black e Death Metal Progressivos, preparam agora o álbum de estreia que irá suceder à excelente demo The Aurora Veil. Tim Charles (violinista/voz limpa) respondeu a algumas perguntas.

Música de Peso - So you guys formed around 2003. Tell us a little bit about your story as a band [including why you guys are called Ne Obliviscaris]. Did any of you had a band before, does any of you have some kind of musical formation...?
Tim Charles - Ne Obliviscaris is latin and means ‘forget not’. When choosing our bands name we wanted something that had depth and feeling, something that could be interpreted beyond one exact thing, a name that felt powerful and had impact, and a name that has a sense of history. For me personally, the saying, ‘forget not’, is about being aware of life: learning from the bad times, and appreciating the good. To be truly aware of everything that has come before us, in our lives and from a historical perspective, is to acknowledge the world as it is, an action that in of itself gives us a greater chance to improve our own lives and the world in general.
In regards to the story of the band- despite the band forming in 2003 it wasn’t until early 2005 that we had a complete and stable line-up. Once we achieved that stability the songwriting took a new and more developed direction that is the sound people now associate with Ne Obliviscaris. A couple of the guys played in some other local metal bands before NeO, but nothing that serious comparatively.

MP - What took you so long to record this demo?
TC - We were determined to make our mark straight away and we wanted to make sure that we made a positive first impression with people. So with that in mind, we waited until we really felt like we could do a recording we were proud of. Plus, because it wasn’t until early 2005 that we had a stable line-up, this made this timetable a lot more drawn out than initially anticipated. Also, in 2005 I had to have my tonsils out and couldn’t sing for a couple months, and Xenoyr was in an accident and broke his leg; so all these combined resulted in it taking us until late 2006 to finally record our demo.

MP - Where do you get all the influences (and inspiration to write) that can be heard on Aurora Veil? [i can even sense a little bit of eastern music] What do you consider to be your main influence - band or genre?
TC - Ne Obliviscaris is comprised of 6 musicians that are all very open minded musically, which results in all sorts of influences coming in from every direction. Each member brings in their own individual influences and because of that I wouldn’t really say that we have any one main influence. Personally I am inspired by all types of music whether it be metal, rock, jazz, western art music or otherwise. Life in general is an inspiration, our friends, families and all our experiences. If one takes everything in, I feel it allows you to more fully express yourself creatively and to sound out your personal unique voice.

MP - In the recording process, all these influences are combined consciently or is it kinda spontaneous?
TC - Mostly it is something that is spontaneous and innate. NeO’s sound is really the combination of the 6 unique individuals in the band, and we really encourage the breaking down of boundaries in regards to style and genre which means everyone is comfortable putting forward ideas that many bands would consider unsuitable for a metal band. There are things we do stylistically that happen purely by each member contributing their part and it creating a certain overall result, and then their are other times where an idea is put forward and we make a conscious decision whether we want to pursue that direction. But in general, we just try to let things flow naturally and not force our sound in any particular direction.

MP - Do you think you already have your own recognizable sound? Do you think people can identify your band if they'd hear it on the radio?
TC - I think so. My vocal and violin style are very distinctive especially, but the combination of styles I definitely feel is approaching something that is unique and representative of NeO alone. We are just trying to be ourselves, regardless of what anyone else is doing, and hopefully that comes through to the listeners.

MP - After Aurora Veil you'll release your first LP. Do you already have some label in mind to get a contract with?
TC - We’re in discussion with a few record labels at the moment, so hopefully we’ll have something official to announce in the near future!

MP - This LP is still unnamed right? What can people expect from it: it'll be similar to "The Aurora Veil" or will you try to change some things, [like sound more/less black metal, or more/less progressive or whatever]?
TC - There is no official name for the LP yet, although we do have a prospective title in place. Stylistically, the LP will offer a similar approach to ‘The Aurora Veil’. We will be re-recording those 3 songs (with much improved production and performances), as well as another 4 (about 70 minutes all up), and in the same way each of the 3 songs on ‘The Aurora Veil’ are quite distinctive and different, we feel that all 7 of the songs on the album are quite distinct individually. One song has a strong Latin influenced section, another has some jazz influence, another is very extreme and intense… but the over arching qualities that make Ne Obliviscaris what we are, have stayed essentially the same.

MP - What are your favourite bands?
TC - I listen to so much music it’s hard to just name a few, but a short list of some of my favourite bands would be: Opeth, Sigur Ros, Enslaved, ISIS, Immortal, Dream Theater, Explosions in the Sky, Cynic, Dillinger Escape Plan, Devin Townsend, Coldplay, Muse, Radiohead and many more…

MP - I read somewhere in the web that your demo can only be compared to debuts from death-metal bands in the early 90's. How do you feel when someone says this?
TC - Anytime we hear anything that in any way supports Ne Obliviscaris, and the music we are creating, we are so appreciative. As I said before, we are just trying to be ourselves, and the fact that so many people have been connecting with our music and appreciating our approach to metal is fantastic.

MP - How is the metal scene in Australia?
TC - The metal scene and community appreciation of metal is definitely much smaller here in Australia than in Europe. Despite being a big country in land masse, there are only 20 million people in Australia and we are a long way away from most countries, so it does make it hard for bands to get off the ground and make a living from their music. But despite this there are definitely some fantastic bands here such as: Alarum, Be’lakor, Separatist, Astriaal, The Ocularis Infernum, Aphotic Dawn, Ruins, The Amenta, Psycroptic, sleepmakeswaves, Voyager and more.

MP - Do you prefer to play live or just record?
TC - For me, there is nothing better than performing live. The energy that is shared between the band and the audience is something that can not be replicated in any other life situation. It is like a drug, and personally I just can’t get enough of it. Recording presents its own challenges and positive experiences and is also a great part of playing in a band, but the direct interaction with fans and the sharing of that live experience definitely makes performing live my favourite aspect of the band.

MP - If you could pick one band to share the stage with, which one would you pick? And where would you like to play?
TC - Well it’s incredibly hard to pick just one band, but it would definitely be fantastic to play with Opeth as they helped shape my view that you could do almost anything stylistically in metal (especially in regards to the more mellow and progressive elements) and if it was high quality it would find an audience. And like every other metal band hopes, it would be great to play at Wacken Open Air in Germany.

MP - Do you know any portuguese metal acts?
TC - I know Moonspell well, but admittedly, aside from them don’t have a great knowledge of the Portuguese metal scene.

MP - Would you ever consider coming to Portugal to play?
TC - We would love to come do some shows in Portugal! Once the album is released in the first half of 2009 we’ll be looking to tour Europe so if there is enough interest in Portugal hopefully we’ll make it there for some shows.

MP - Is there any band, book and movie you would like to recommend to Música de Peso readers/listeners?
TC - Ikuinen Kaamos are an incredible progressive death metal band from Finland that are criminally under-appreciated. Their new album ‘Epilogue’, which is about to be released, is incredible and they are definitely a band I have a lot of respect for. They are also a band I think a lot of Ne Obliviscaris fans would like.

O Música de Peso foi falar com Timb Harris, violinista e trompetista de uma das mais completas bandas da actualidade: os norte americanos Estradasphere (que estiveram em Portugal pela primeira vez o ano passado).
Timb falou-nos da banda, do que os influencia, dos projectos e de todo o universo que rodeia a banda, musicalmente e não só.

Música de Peso- Most recently some of the Estradasphere members worked with Amanda Palmer (Dresden Dolls). How did the opportunity come out?

Timb Harris - So far it has gone really well. Amanda is a relentlessly creative and driven artist - her attitude is inspiring. Aside from arranging and producing several of her songs, we look forward to do some live performances together in the future. The performing we have done together so far has been tremendously fun - she came to our compound in Seattle and we put on a very theatrical live production of our shared material. It was all captured beautifully on audio and video, which we'll share when the time is right...

MP - How was it like working with her?

TH - Like I said, she is an inspiring creative force. She has great pop sensibility and is a magnetic front-person, while we are more comfortable with more involved compositional structures, arranging, and playing a supporting role. We really filled-out each others' strengths and shortcomings well. She gave us a lot of freedom on what to do with the songs, which we took advantage of - it was only occasionally that she had to reel us in a little!

MP - Besides the shows you gave in Seattle, will there be a record of your work together?

TH _ We are going to sit on the recordings for awhile to determine how and when we will perform together over the next time period. As that becomes more clear, we'll have some new music to tour on...
MP - Estradasphere's music is anything but simple. Where do you get the inspiration to write it?

TH - Well, we all are inspired from different (but overlapping) sources, but the similarities are that we always try to seek out people who are genuine masters of their craft from which to draw inspiration. The great classical composers, the giants of classic jazz, the geniuses of 60's and 70's film music, the fathers of soul and rock n roll, perpetuators of authentic folk musics of the world - any music (or other art form) that stands the test of time is worth paying attention to, as well as people who are currently breaking new ground.

MP - In Palace of Mirrors, the band seems to focus more in some kind of score work. Do you think you will ever be in a scoring production?

TH - Yes, I/we would love to collaborate with filmmakers in the future. Our music tends to be very (imaginally) visually stimulating, so it follows that a foray into that world would be fruitful. You can find Estradasphere's music in one film - a campy sci-fi epic called StarSlyderz that Tim Smolens scored with material from Buck Fever. Check it out if you like wrestling matches between GI Joe and Star Trek and puppet aliens snorting coke off large dildos!

MP - Video games score also appears on Sphere's music. Is there any reason for that?

TH - The majority of Estradasphere's sentiment is that time playing video games is time that could be better spent engaging with music (somehow we have to convince Lee that - he loves that Grand Theft Auto 4 thingy!). But we have licensed our music to video games before, most notable a game called "Gish" that won a bunch of independent video game awards a few years back...

MP - Is there any band or musician that had a special impact on you?

TH - Oh man, I could list them forever. The most special influences on me musically, though, have typically been my teachers and especially my colleagues, which I learn from with every musical and personal interaction.

MP - Many people consider you to be the musical heirs of Mr Bungle. Do you feel that way? Do you feel any kind of responsability/pressure when you hear that?

TH - No, of course we are not. Some of our music, especially early on, has been heavily influenced by them according to the degree that some of the people in Estradasphere were inspired by the music of Mr. Bungle in their youth. Over time, and especially from working so closely with Trey, though, we are more inclined to be inspired by the sources that Mr. Bungle were looking toward, not necessarily Mr. Bungle themselves. An astute listener will easily be able to tell where the silmilarities are and are not between our music and theirs.

MP - Before you signed with The End, you were with Mimicry. Why did you changed?

TH - We love working with Trey and Mimicry, and still do have a relationship with them, but we wanted to try and spread out a little, meet some new people and see the ups and downs of working in a different model. We've learned a lot from both situations and continue to enjoy the support of both organizations.

MP - What are your plans for the near future? Will you tour, will you release a new record anytime soon...?
TH - One of us is having a little one soon, so we are going to play fewer shows, often in smaller combinations of musicians, for the next year or so. We'll see what the future has to offer...
In the meantime, Jason has new record coming out called "The Orange Tulip Conspiracy", Jason and I have a bunch of Secret Chiefs touring to do in the US and Europe, and I have joined a trio with Gyan Riley (guitar) and Scott Amendola (drums), which will be traveling internationally.

MP - Changing subjects a bit, what do you consider to be the best of being on tour?

TH - I really like the metaphorical aspect of it being like traveling through space on a ship - each night you land with your trusted crew and set up your same little camp and do your thing on a very different planet every night. The ambassadors are usually wonderful, the food is different...most planets are special places to visit. I feel very honored to meet people all around the universe who appreciate our music.
MP - Do you have any literary and/or musical recommendations for Musica de Peso blog's readers?

TH - Wow. Um, I love exploring the writings of Borges - the collected short fiction is amazing. Phillip K. Dick has a way with showing us ourselves, of course. Musically, I just hunt for the stuff the stands the test of time - in the short term I've been listening to a lot of the great film music from the 60's; Morricone, Bruno Nicolai, Peter Thomas; on the other hand I've been enjoying the choros and samba of Brazil; and I can NEVER get enough of the string quartets of Bela Bartok, especially 2, 4, and 6. Scelsi's "Quattro pezzi su una nota sola" is in my player at home right now. Man, I could go on forever...but one thing that I think is often overlooked is to pay attention to the music around you, played by the people you interact with. That can be the source of a type of learning that cannot be learned or appreciated through reading or listening to the masters. I have been very lucky to know and play with people who I admire so greatly. Cheers, Timb.

Entrevista a Dan Swanö

Este nome devia dizer algo a toda a gente. Mas se calhar dizem-vos mais os nomes das bandas a que este senhor está ligado, directa ou indirectamente: Diabolical Masquerade, Edge Of Sanity, Pan Thy Monium, Shadowsphere, Opeth, Katatonia, Bloodbath e tantas outras...
O Música de Peso pôs algumas questões e Dan acedeu a respondê-las. De forma directa e clara, levantando o véu a algumas dúvidas. E também deixou alguns conselhos para quem estiver a começar no mundo da música.

Música de Peso - Which was you first contact with metal and death metal?

Dan Swanö - My first contact with metal was thru my brothers. I got into Kiss and Judas Priest really early and followed their evolution. I also liked WASP and Mercyful Fate really early. The Death Metal stuff is something that grew out of the crossover into Thrash into Death/Thrash then to pure Death Metal. Almost like an addiction!! When I heard the 1st Obituary record something snapped in me and since then only the deadliest was good enough!!

MP - You've done and been doing a lot of stuff in music: you had the Ghost project, you played with Katatonia, you have some old-school death metal projects (like Infestdead) and a hard-rock band, Nightingale. Are you looking for some kind of musical fullfilment or you are an hyperactive person who loves music?

DS - I don´t know. I just like to play music. I have always had one helluva problem to focus on one thing for too long. It feels great to possess the ability to jump from scene to scene and do something (hopefully) good in each situation, and not always play the guitar for a bluesband or whatever other horrible situations there might be in the world ;)

MP - Some years ago, you founded Pan-Thy-Monium with your brother, which is everything but traditional death-metal. What did you want to do or obtain with Pan-Thy-Monium?

DS - PTM was founded in 1990 by me and three friends. We did 1 demo 1 EP without the inclusion of my brother. Around the time of the 1st LP we needed an extra spice and his leadguitar and saxophones were just the spice we needed. He sticked around for additional overdubs on the 2 next coming LP´s and cannot be considered a member. Only a Guest in PTM. Our main goal was to piss people off!!!!

MP - You've been credited in about 100000 records that came out of Sweden in the last 15 years. Do you feel like a generous Godfather to swedish death metal?

DS - Not really. I might be one of the backbones in the 2nd wave of slightly more melodic death metal, still performed today. I did a lot of clean singing on brutal records really early on, and that is really in-fashion today!!

MP - Why did you abandon such projects as Edge Of Sanity? People say that you can't do death grunts anymore...Is that true?

DS - I tried to take over EOS to make the project go one step further. But the plan backfired and I was fired out of the band. About the growling: yes and no. I cannot do a livegig to save my life. I have a timespan of about 10 lines of grunts before my voice and breathing is fucked up. I have no desire to train it up again, so I think my growling days on a stage is over, but I can still do some stuff for the studioproject if I wish.

MP - A question about the legendary Sorskogen: why did you and Mikael Akerfeldt never took it forward and recorded a whole album?

DS - It was only a testproject for my new studio. I was lost in Stockholm after a UK trip and called Mike and he drove me home, stayed a few nights and one of those nights we recorded the "Mordet i grotten" track just for fun. Some guys sit and watch football and drink beer. We made history!!! I think Mike will make a fullenght, but I doubt I will be on it.

MP - Most recently you've been working as producer and doing some studio work. Why did you decide to do that instead of keep playing only?

DS - It´s a gutfeeling. I get a much bigger kick out of finishing a perfect mix/mastering than to write a song. I don´t know why, but it is so. So I follow my gutfeeling!

MP - In 2006 you mastered "Hellbound Heart", a record from the portuguese band Shadowsphere. How did that opportunity came along?

DS - I actually mixed and mastered the whole thing. It was really cool. The music was great and I think my work turned out pretty cool too!!! Hi guys!!!

MP - Tell us a little bit about your Unisound project.

DS - It is not really a project. Unisound is my company and I mix and master records for a living. I have a simple homepage at unisound.se (will be a cooler one very soon). If you want your record to sound kick ass...let me work on it!! I am cheaper than most of the other mix/mastering guys in the business.

MP - What are your projects for the present and for the near future? I've heard that a "Moontower II" might see the daylight sometime soon...

DS - Moontower II was stillborn. I never wrote a single riff worthy of release and threw it all away. Sorry. I will focus on my mixingcareer and be the new Chris Lord-Alge.

MP - Do you have any advice for new bands that are starting now?

DS - Try to find your own style. If you wish to sound like At The Gates or In Flames or even Opeth, form a tribute or cover band...it will give you more cred, chicks and knowledge. Then you can form your own band and try to break away from the sound of your favebands. Nobody needs a copy. It´s hard times in the recordbusiness today. Only the strong survive, and to copy another successful band is not strong. It is weak!!

MP - Some recommendations, both musical and literary for our listeners?'

DS - Anything that will make your heart beat faster. Let it by pop, punk....whatever. A good book is Martin Popoffs book about Judas Priest. really important reading!!

MP - Thanks a lot for your time Dan, really.

DS - Thanx to you too!!

Lord K. Philipson fala dos Torture Division

Lord K. Philipson - que também é guitarrista na banda The Project Hate MCMXCIX - fala-nos do seu novo projecto, os Torture Division, e de como apenas querem fazer a música mais brutal à face da terra. Ah, e conhecem os Moonspell.

MP - Torture Division are a new band. Tell us a little bit about the band...
Lord K. Philipson - All necessary information can be found at www.torturedivision.net, but in short; we are a bound to be legendary death metal act from Sweden rounded out by myself on guitar, Jörgen Sandström on vocals and bass and Vomitory's Tobben Gustafsson doing the blasts.

MP - What are your main goals as a band? LKP - To hand out the world's best death metal for free to everyfuckenone.


MP - When will you release your first LP? I've heard that Dan Swano will produce it... LKP - I don't think we want to record an album, we like this demo thing and too many shit bands releases albums these days anyways. Dan Swanö will mix our future demos and should we ever end up doing an album he'd mix it for sure.

MP - How did the oportunity of working with members of The Project Hate came up?

LKP - Since me and Jörgen play with TPH it was not too difficult to approach him with the idea of Torture Division. He's the world's best growler and we are the world's best death metal band, it's a match made in hell.

MP - Do you think that death metal is still an original musical style? Many people say that the scene is again saturated... Do you think you can bring something new to the scene?
LKP - We are not even remotely interested in bringing something new to the scene. We just wanna play brutal music and kick everyone's ass. Which is what we do.

MP- Can you give us some influences of your band?
LKP - Vomitory, Vicious Art and The Project Hate. That's everything we listen to.

MP - Do you know Portugal? Do you know portuguese bands? Will you ever consider coming here?
LKP - Is Moonspell from there? That's all I know if so. We'll come to your country if someone hands us a good deal. Hell, we'll play in your arsecrack should the deal be good enough.

MP - For bands that are starting now, do you have any advices?
LKP - Yeah, give up. You will never be as good as us anyways. And setting for second best is useless.

MP - Are there any bands - lately - that "make your heart beat fast"?
LKP - Nope. They all fucken suck.

MP - What are your projects for the main future?
LKP - To record more demos and get our asses out and play live. Download our stuff at the site and spread it like cancer.

Cheers, fuckos.

Guilhermino Martins fala-nos dos ThanatoSchizo

Guilhermino Martins é o guitarrista dos ThanatoSchizo. Guilhermino Martins é também um dos maiores impulsionadores do metal no Norte de Portugal. Fomos falar com ele sobre os ThanatoSchizo, sobre o seu recente trabalho como produtor e sobre o estado da música neste país.

Música de Peso - De Turbulence até Zoom Code passaram-se 4 anos e uma mudança de editora. Porquê a My Kingdom Music?
Guilhermino Martins - Porque tem bandas de que gostamos (Crowhead, Rain Paint) e porque nos apresentaram uma entusiasta proposta para o lançamento do álbum que não nos deixou dúvidas sobre a quem entregar a edição do mesmo.

MP- Quando Turbulence saiu, não tardou a ser considerado um dos melhores álbuns de metal do ano e houve mesmo quem falasse no melhor álbum português em 10 anos. Por outro lado, houve quem vos acusasse de uma falta de som próprio, procurando antes "colar-se" a algo próximo daquilo que os Opeth fazem - inclusive a nível vocal. Como reagiram/reagem vocês perante críticas tão diferentes?
GM - É um facto. Um mesmo tema de TSO chega a ser comparado a coisas diametralmente opostas, o que, a meu ver, só pode ser bom sinal. A nossa reacção normalmente fica-se por um sorriso, seja pelas críticas mais corrosivas, seja pelas descrições mais efusivas. O prazer que retiramos na criação dos álbuns, do expurgar da música que temos cá dentro é impagável e incorruptível.

MP - Zoom Code está a ser recebido de braços abertos, com críticas muito positivas. Mais importante, parece-me a mim que vocês conseguiram atingir um patamar superior: têm o vosso próprio som, o Eduardo e a Patrícia fazem um "dueto" constante, equilibrado e poderoso ao longo de todo o álbum, tu pareces ter dado mais largas às tuas capacidades como guitarrista...enfim, toda a banda parece ter crescido imenso. Isto foi fruto de muito trabalho ao longo destes quatro anos ou foi algo que pura e simplesmente aconteceu, algo espontâneo, fruto de um crescimento individual?
GM - Obrigado! Tenho ideia de que sempre evoluímos muito entre todos os álbuns. Talvez neste CD esse traço evolutivo se note mais, sim. E acaba por ser fruto do nosso crescimento enquanto músicos e pessoas. Com essa maturidade acaba por vir a tal personalização que o nosso som cada vez mais apresenta. Não há um “plano”, as coisas apenas acontecem na sala de ensaios, nos concertos, no dia-a-dia.

MP - Algo que salta também à vista é a incorporação de muitos mais elementos electrónicos em Zoom Code do que em qualquer outro vosso registo. Porquê esta situação? Estás a passar por aquela fase de "fascinação" pela música electrónica, pelo "programming"?
GM - Esse fascínio pelo aproveitamento das potencialidades do “programming” já vem desde há alguns anos, mas, mais do que apreciar essa vertente, é preciso saber dominá-la. E, honestamente, só agora com este álbum nos sentimos suficientemente à vontade para a utilizarmos de forma tão veemente no nosso som.

MP - Como é que vocês vêem Zoom Code? Sentem-se totalmente satisfeitos com o produto final?
GM - É o nosso melhor álbum e é, provavelmente, o primeiro registo de uma nova fase da banda, cada vez mais livre, única e personalizada.

MP - Houve algumas influências diferentes/novas para este registo?
GM - Melómanos como somos, isso acaba, obviamente, por influenciar a forma como compomos, executamos e gravamos a nossa música. Além disso, sendo uma banda tão aberta a influências normalmente não associadas ao metal, é natural que acabemos por incorporar formas de espírito típicas de outros géneros.

MP - Como surgiram as oportunidades de colaboração com o Zweizz e o Timb Harris?
GM - Sentimos que havia espaço para um interlúdio electrónico para a faixa Last of the Few, apresentámos a ideia ao Zweizz e assim nasceu a The Shift. No caso do Timb, imaginámos que aquela secção do tema L. seria óptima para um solo de violino, enviámos-lhe o tema e ele respondeu prontamente, dizendo que queria gravá-lo!

MP - Guilhermino, ultimamente além de músico, passaste para o outro lado e começaste a trabalhar como produtor. Faz parte dos teus objectivos trabalhar como produtor ou procuras apenas dar a conhecer aquilo que por cá se faz?
GM - Eu sou professor de música. A produção surgiu como uma necessidade, inicialmente para as pré-produções de TSO e, numa segunda fase, para gravar os projectos das bandas que se iam formando por esta zona, algumas delas com alunos ou ex-alunos meus. Neste momento não tenho um objectivo delineado no âmbito da produção. Limito-me a ir gravando os projectos que me abordam e nos quais reconheço alguma validade artística, mas tudo sem grandes metas nesse campo, até porque, mais do que um connaiseur, sou um legítimo curioso…

MP - Sentes-te um dos maiores impulsionadores da cena metal no norte do país?
GM - Não. Sinto é que, genuinamente, gosto de ajudar as bandas mais novas para que não tenham de passar pelo que nós passámos por não terem nascido na região de Lisboa, na tentativa de provarem o seu valor. Aconselho, ajudo no que posso e vamos sempre lançando um/dois grupos desta zona a cada Liperske que organizamos.

MP - Se pudessem escolher, como quem dividiam o palco?
GM - Já tocámos com algumas bandas que admiramos como Katatonia, Samael ou Orphaned Land. Neste momento não sei o que os outros elementos de TOS te responderiam, mas, eu adoraria partilhar o palco com Atrox, Porcupine Tree, Pure Reason Revolution ou Three.

MP - Como vêem a cena metal cá em Portugal?
GM - Cada vez mais viva, forte e artisticamente relevante. Falta é um circuito nacional para concertos. Uma lacuna com décadas no nosso país.

MP - Como está a correr a divulgação ao vivo do ZC? Muitos concertos agendados? Quais são os próximos?
GM - Apresentámos o álbum (e celebrámos o décimo aniversário) no passado dia 17 de Maio em Santa Marta de Penaguião (Liperske IV). Entretanto temos mais quatro datas confirmadas (Zamora, em Espanha a 14 de Junho; Metal Grândola a 28 de Junho; In Live, Moita a 20 de Setembro; Showcase semi-acústico na Fnac do Fórum Almada no dia seguinte). De qualquer forma, temos uma série de gigs em negociação pelo que, a curto prazo,trataremos de os oficializar.