Towers of Flesh

1.First of all, congratulations on „Antithetical Conjurations” which has been released recently through Candlelight Records . My first question how is the album doing among press and fans according to the expectations you had before the release?
1) The reviews have been very mixed on the whole. The ratings vary from 4 / 10 to 10 / 10 depending on who is doing the reviewing butthe thing you need to keep in mind is this; it’s only someone else’s opinion on the music you have created. A third party can only go so far in deciding whether or not you will like a band so we tend to suggest that people just access the music themselves. Simply‘cut out’ the middle-man, if you will.
In terms of general reactions; fans of the first album seemed to have warmed to ‘Antithetical Conjurations’ as its natural sophomore. At least, it definitely feels that way from where we are standing.

2.Let’s start with your new album,”Antithetical Conjurations”. How do you feel it differs, if at all, from debut album „The Perpetual Paradox”? I find it be more dynamic, a bit faster and even heavier.
2) I think it differs in the ways you mentioned but to elaborate on that; the dynamics are massively varied on this record compared to the first. There are rhythmic sections, discordant overlays and even ‘break-downy’ parts in the mix which I think helps give a much ‘fuller’ picture of what the band is about.

3.Tell something about the concept and the meaning of the title from this debut album, „Antithetical Conjurations”?How long was the process of putting the album together, as far as writing the music, the concept and arrangements is concerned?
3) ‘Antithetical Conjurations’ refers to the idea of immateriality. The idea that when one indulges in spiritual practice (or any type of metaphysical contemplation) they are seeking the antithesis of all that is material or‘wordly’.
The compositional / arrangement process for this record was undertook solely by myself.All of the songs you hear on the record were finished in early 2013 after having been worked on intermittently from mid-2012……… it was definitely a very intense writing process. There was a purveying feeling that it had to rank above its predecessor and there was a lot of pushing / trial and error.

4.Technique and variation are two words omnipresent through out Towers Of Flesh debut album but there is a really annoying ‚click-ey’ rattle to the drums and record is slightly let down by its production.This time I must admit it was refreshing to hear „Antithetical Conjurations”in between the current torrent of blasting death metal and lo-fi black metal albums in perfect way. Of what importance are these two facets in the compositions?How do you decide which producer/engineer/studio to use and why these particulars?I take it you are satisfied with the studios you’ve worked with to produce and mix this record?
4. Well, I recorded all of the material myself at my own studio; Darksound studios. The reason I do this is because from a young age I realised that nobody is going to care about your music more than you and every time you go to a ‘big’ studio or producer their main goal is to take your money and get you out of the door. So it follows on that when you record all of the material yourself, you can personally make sure that every note flows exactly how it should.
It wasmixed and mastered by a close friend of mine;Ajeet Gill, from Hellfire Studios. He is someone I have worked with a lot throughout the recent years and in fact,recorded the vocals and bass for ‘The Perpetual Paradox’ in 2010. We have a strong personal relationship and he is someone we feel comfortable working with so it was natural for us to want to involve him on this, the sophomore release.
Also – It’s refreshing to hear that you enjoyed the production of this record as it seems to have divided people (just like the first one did). I think the main problem some people have had is that they are too used to this ‘stadium’ sounding black metal with huge guitars etc. Obviously, there isn’t anything wrong with that but for us; we wanted to find the golden mean i.e. the middle passage between polished and raw.

5.The United Kingdom has a rich and storied legacy in the history of extreme metal. You are amongst the new crop of brutal black/death metal bands such as Craven Idol,FuneralThrone,Binah,GraveMiasma,Voices or Winterfylleth that combine technical finesse and strong songwriting with intelligent lyrical concepts. What makes the UK scene so special and forward thinking, you reckon?
5. I think the current state of the UK scene represents an evolution i.e. most people are bored of shock tactics and face paint and feel like it’s time for something else. But still, I think the ilk these bands purvey is culminatively less to do with the UK underground and more to do with a general desire amongst people of a certain mind-set who listen to this music(all around the world) to move things on in a new direction.

6.How do you feel about terms like depth as far as songs are concerned? In other words, are you more concerned with a song having an immediate impact or would you rather it „grow” on someone?
6. The imperative concern that I have is whether or not the music matches the ethos and attitude of the band. I understand that might be an odd concept for anyone who doesn’t write music but there is definitely an innateness that you have to cater to when writingi.e. whether you feel a certain riff or section matches up with what you feel the band actually‘is’.
This idea of matching sound to a feeling has always been something which has fascinated me but I wouldn’t say that sound is crafted particularly to be ‘depthful’ or ‘grow’ on the listener. It just exists the way it ‘is’ and if one decides to associate what they hear with either of the above, then so be it.

7.With all of the band’s members also playing in diffrent band’s and You playing in the dozen of projects how difficult is it to properly arrange regular rehearsals and write new material – or are these other bands not quite active on the touring front?
7) There is a great deal of touring going on behind the scenes with other bands and projects; our guitarist / bassist is actually touring Europe right now.
The way it impedes our schedule dependson which member is out on tour but generally; there isn’t much by way of rehearsal sessions except if we are preparing for a live date.

8.With the album finished and in stores worldwide, what do you regard as the most accomplished song in hindsight? I know you are a „young”band but what has been the biggest highlight of Towers Of Flesh to this point?
8)My favourite song we have done thus far is ‘Veiled Conception’. It was the last song written for the record and when it was originally finished I wasn’t sure about using it but whenever I listen back to it I can note there is a real uniqueatmosphere we managed to encapsulate with that recording.
We have done a lot of things we are very proud of but I don’t think I could pinpoint any particular moment as a ‘high point’.

9.Ok,let’s talk about You!;)Is there an overall theme to this album, or how would you say „Antithetical Conjurations” is different from your other work with Binah,Necrotize,Exsequor,Purify the Horror,Theoktony and the solo work „The Solemn Curse”?
Towers of Flesh differs in the sense that it conveys its own unique atmosphere. I also have a lot of history vested in this bandand I approach it with impenetrable seriousness which is something that can’t necessarily be said for the side projects (especially PTH).

10.How many vodka and amphetamine U are using every day?You are fast as hell!!You play in few musically different bands. How do you decide which riff should go to Binah or Towers Of Flesh, and which suits better?
Regards for the compliments but I definitely pride myself on technique more than I do speed. I think the real problem now in the drumming community (with regards to metal) is that everybody is looking for speed and blast-beats whilstfinesse is being ignored.
I definitely try and make it so as that all the projects are distinguishable (or else there’d be no point in doing them) so I am glad you have noted the ‘different’ part. As a matter of fact, the guitar works ofBinah are under the command of Aort (Code / Hexvessel) who is a really great player / songwriter.

11.You’ve been in the music business for quite long now. What drives you to keep going year after year while the music business is not in a very good state?
I think it’s just because I am involved for the ‘right’ reasons i.e. there is no desire to be rich or famous; I just want to make music.
It is hard to keep going sometimes especially when you realise how little you get back for all the time you put in but you have to understand this definitely isn’t a job or something you ought to ‘expect’ a return from. The only return you are guaranteed to get from this is the music itself and that should be enough for anyone whose sole concern lies with being a productive musician.

12.Ok last question-How has Candlelight Records been accommodating the band’s needs?Do you have any live activities scheduled for the coming months in support of the new album?
Connor from Candlelight has been a big supporter of the band for a while now and we thank for him all his support!
In relation to live dates, we can guarantee that there will be more appearances to come over the course of the next few months but whether we will be touring actively remains to be seen at this point.
Our next show is at The Blackheart, London on March 7th2014.

Genre : Blackened Death Metal
Label : Candlelight Records
Location : Birmingham, UK.