1. Dawn of a Dark Age was born in 2014 by Euronymus and Buran; Why did you decide to create the band? Why did you choose the name Dawn of a Dark Age and what does it refer to?
The first core of Dawn of a Dark Age was made by me and Buran. I decided to create the band to insert the folk elements of my region Molise in Black Metal, with my main instrument: the clarinet. It was a great challenge to introduce a new instrument like the clarinet into the Black Metal. The name was initially inspired by a vision of how our world would change in the years to follow, and sadly it was foreboding considering what has been happening for a few years...
2. Throughout these years you have overcome important changes in the line-up of Dawn of a Dark Age, can we say that Dawn of a Dark Age is an almost own band with a sound marked by you today? from today?
I have personally created everything from the very beginning, and therefore the various stylistic and musicians changes on the various album were determinated by the need to experiment new ways, both compositional and expressive. I am happy that this uniqueness is perceived in the music of Dawn of a Dark Age, I have been working to reach this result from the beginning.
3. Both in your previous album and in the most recent one you have embraced a theme more related to history, why does this change of theme occur? Do you feel more comfortable dealing with themes related to Italy's past than with other more black's own?
After making the "The Six Elements" saga, I didn't think about continuing with Dawn of a Dark Age. I thought I had closed a circle, which instead reopened when I started studying and documenting myself on the heroic deeds of my direct ancestors: the Samnites. A heroic people, bitter enemy of the Romans, on whom it inflicted many defeats, before capitulating at the hands of the Roman Dictator Cornelius Silla in 82 BC. Little is known about them and therefore my intent is to rediscover this fantastic people and give them back the role they deserve in the history of the Italic peoples and of Italy itself.
4. It is true that the theme of your music has changed in your last two albums but it is also true that this new album offers a much more warlike and aggressive vision than your previous work. How do you face the development of the musical plane of this new album and why did you choose the theme of “Le Forche Caudine”? What attracted you to it?
As mentioned in the previous question, the Samnites defeated the Romans in more than one battle, and that of the Caudine Forks has remained in history as the greatest humiliation of Rome in its glorious history. Because with a clever battle technique the Samnites managed to cage 16,000 Romans in a valley, unable to escape. Except that the Samnite embratur (the general of the army) Gaius Pontius, not thinking of having all those soldiers in his hand, did not make a decision and asked his father Herennio for advice. His father advised him either to let them go or to kill them all. Gaius Pontius instead decided for humiliation, and after having robbed them of weapons, horses and armor, he made them pass with the tunic under a game of swords. Those who refused were killed. Think what a great shame for the mighty Rome! Musical development all happened naturally: I was on the spot where it happened in 321 BC. and I had to recreate what happened in those terrible days for the Romans. From arriving with the horses to ambush, resistance and dishonor. So undoubtedly compared to the previous "The Osca Table" this album has more military character and the events are very different from the sacredness and spirituality of the Osca Table.
5. I suppose that all the layers and intensities that are offered in "Le Forche Caudine" has not been a simple process. How have you faced the whole process of composition and recording of the album? What musicians have collaborated in this musician? the figure of Emanuele Prandoni on vocals and drums, and what do you think he has contributed to the final result of the album?
As already said I imagine the story as in a movie, I know where it begins and I know where I want it to end, and in the middle there are all the events that have taken place. It is my way of composing on a large scale, not thinking of small parts but of large parts, where every riff, rhytmic cell or melody is developed and returns often but varied every time throughout the record. Emanuele Prandoni is my right arm and of course his way of singing and playing the drums has characterized the record massively. For the other instruments I always call musicians whose color or tone I want. For "Le Forche Caudine" I needed trombones, euphoniums and special instruments that would create a particular atmosphere with a Middle Eastern flavor. For this Darbuka, Mandoloncello, Clarinets and other instruments were used to create this very visionary but quite realistic setting.
6. For some time now and unlike your beginnings you have been using Italian in your texts, is it something necessary to end up immersing the listener in your proposal? Is it easier for you to express yourself in your native language and thus complete your proposal?
Speaking of Samnites and Italic peoples you can understand how important it is to give them their mother tongue. I could not think of writing Italic music with English lyrics, as if you think that the BM has as its main feature the link with the territory and the traditions and customs of each country. Early Satyricon, Darkthrone, Ulver, Burzum and other bands speak in their native language (although many have deviated to English over time). If you think of Ukrainian and Swedish bands, each of them expresses itself in the language of their own country.
7. I suppose that the interest and, above all, the broad background in the history of a people like the Romans will be more than enough to bring out a good handful of albums focused on these themes. Are you familiar with the work of the Spanish writer of historical novel Santiago Posteguillo? Where do you find and why do you choose the themes to be dealt with in your albums?
Beware that my ancestors the Romans fought them and did not have dinner together! Making this clarification the themes and arguments I dig them to create the saga as complete as possible, so I already have in mind the next chapter on what theme linked to the Samnites will be. I do not know the writer you mentioned but I inform myself, I try to avoid taking inspiration from the books because they inevitably bind you in some way to the written words and do not leave you the freedom to imagine some scenes. I read a lot but I try to take only some ideas and information that I need for the plot of the disc.
8. How would you describe the sound of the album for those who haven't heard it yet and what do you intend to convey to the listener with your music?
It is really difficult if not impossible to describe an album in words, but I can say that listening to the last two works you just have to try to relax and let yourself be transported into the distant past. Of course the album are thought of as cinematic stories and therefore it is not possible to think of them as separate songs. It is all connected by a thread, from the first to the last second.
9. The French record label Antiq Records has been in charge of editing the album. Why did you decide to work with them for the editing and recording of the album?
Antiq is a label very attentive to historical productions and therefore it was the perfect label for these albums. They have an attention to detail (just see the limited edition Boxset albums to understand what I mean) and a really good roster, so it's an honor for me to be with them.
10. Joanna Maeyens has been in charge of the artwoork of the album, why did you decide to work with her? What does the cover represent and how does it relate to the content of the album?
Joanna is an incredible artist, gifted with a unique sensitivity in the panorama. As in the previous "La Tavola Osca" also "Le Forche Caudine" are the fruit of her imagination after having listened to the album and the indications on the unfolding of the story. In particular, the last cover represents the Samnites who, hidden behind the mountains, wait for the Romans to ambush them. If you look closely there are many details that are not dictated by the imagination, but by a historical study that has been transformed into this artwork in total harmony with the music expressed.
11. How were his beginnings in music: first concerts you attend, first albums you buy, what happened in your life pushed you to want to be a musician?
I started in the street band in my village (Agnone), where I was the last to join, and my mother had to choose between trumpet and clarinet. I don't think she knew the two instruments and he cast lots, and so the clarinet became my job ... The first record that shocked me was Led Zeppelin II, a friend of mine had recorded it on cassette and when the central section started by Whole Lotta Love was a blow to the stomach that I still remember today. While the metal brought him to my country Enrico Di Camillo, a dear friend who had moved from Rome. The first tapes were Ozzy's Diary of a Madman, Metallica's And Justice for All, Iron Maiden and Appetite for Destruction. My first concerts in the early 90s I think were Megadeth and Deep Purple in original lineup, in addition to the last Pink Floyd tour.
12. What album represents for you the essence of black metal? What recent albums have you bought?
It is difficult to hit a single album, let's say that in my idea there are bands that manage to make you smell the flavor of their territory and their roots and traditions. I could tell you Bergtatt by Ulver, but also Blood in Our Wells by Drudkh, as well as the coldness of the Mahem and the heat of the Rotting Christ. Recent purchases, even if from a few years ago, vinyls by Nehemah, Necromantia
13. What future plans do you have for Dawn of a Dark Age in terms of upcoming releases or reissues?
Dawn of ad Dark Age is a continuous laboratory always in turmoil, I'm working on the third chapter of the Samnites saga, and there will be many surprises compared to "La Tavola Osca" and "Le Forche Caudine".
14. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Dawn of a Dark Age fans, this is the place. I hope the questions are to your liking.
The pleasure is mutual, thanks to you and Black Metal Spirit for helping me to spread stories of other times of the Italian peninsula and the only thing I can add is that we underground bands keep ourselves alive thanks to your support, and we always try to keep the quality of the proposal high. If you like our way of making music and telling the stories of our ancestors, I suggest you take a look at our Bandcamp page.
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