1. Selvans started their journey in 2014, before they were active as Draugr (2002-2013), what do you remember from that time with Draugr? Why did you decide to put an end to Draugr and start with Selvans? Why did you choose the name Selvans and what does it refer to?
Draugr wasn’t my band. Sure, I was one of the main composers on the album “De Ferro Italico” and I spent 7 out of 10 years in the band, so I influenced much of their music—but Selvans is who I truly am. That’s why in 2013 I started writing songs for this project while we were splitting up. Selvans is an epithet for Pan/Faun in Etruscan mythology.
2. Selvans' career has always been well regarded by critics and the public, a good example of this are the first Selvans albums, were you a bit surprised by the impact achieved with the first Selvans releases? Is the influence of Draugr still felt in this first stage of Selvans?
I have always been a little bit apathetic toward both good and bad feedback. I do what I feel, and that’s the only thing that matters to me. There was no Draugr influence in Selvans’ music.
3. The release of Faunalia (2018) meant placing Selvans in a privileged place within atmospheric black music with folk influences, however six years have passed until that album has a continuation with “Saturnalia” (2025), among other things now you are the only member of Selvans, how has this turbulent time been within Selvans and how has it influenced the long period between both albums?
To be honest, this period didn’t affect Selvans’ activity… “Saturnalia” is a complex work, and all these years of production were anticipated.
4. Despite focusing on facets such as vocals and keyboards, there are other types of collaborations in Saturnalia, both in sections such as guitar, bass or drums as well as the inclusion of a sixty-member choir, how did you approach the composition and recording of “Saturnalia”? Was it very complex to make all these pieces fit together? What brands of instruments have you used in the process?
A sixty-member choir plus an orchestra. I composed the tracks as usual and recorded the orchestra separately. Yes, making all these pieces fit together was naturally complex; for example, every recording session was postponed due to the large number of people involved, but in the end, we managed to complete everything.
5. With the new album your sound has been influenced entirely by elements related to progressive rock, keeping those folk and black elements, but giving yourself over to more extensive developments and an almost more complex atmosphere. Has your collaboration with the horror writer Luigi Musolino on your previous EP had to do with this change in your approach, or is it all a response to you taking greater control of your music and doing whatever you wanted? How would you define the sound of the new album for those who haven't heard it yet? What bands and styles are an influence on you when it comes to composing?
“Saturnalia” is heavy/black metal with an art rock touch. It has been influenced by Savatage, Dissection, and Mercyful Fate. I have complete control over Selvans’ path, and this evolution has been natural over the years. At the same time, the collaboration with Gigi was a sort of manifesto for this closing chapter of Selvans’ career…
6. In your early days with Selvans, vocals were not the area you felt most comfortable with, however in “Saturnalia” you have completely taken care of this area. How has your evolution as a vocalist been over the years? Do you still maintain concepts in your lyrics related to Italian folklore or have you abandoned them? Have the lyrics adapted to the music or vice versa?
I started out of necessity. The original singer of Selvans was a friend of mine, Jonny; unfortunately, he died at 30 in a motorcycle accident while we were recording the first EP, and I decided not to involve anyone else in this project, taking care of the vocals myself. I began with screams, but I quickly realized that I was limited by that vocal style alone.
So I started taking lessons to improve my vocal performances, and I eventually transitioned to singing mainly in clean vocals. From the beginning, the music has been adapted to the lyrics, which have always been related to Italian folk horrors throughout many periods of this country’s history.
7. You have never denied the influence that the sound of classic horror films in Italian cinema has had on you. Are these influences still present in the sound of the new album? Perhaps those more theatrical nuances in the sound of “Saturnalia” are an approach to a more visual approach in your music?
Yes, those influences are still present. Also, a video clip will be released in the coming months.
8. Although you have personally taken care of everything related to the recording, mixing and mastering of the album, it is also true that you have worked in four different recording studios. What were you looking for with this work in these different studios? Have you managed to recreate in “Saturnalia” everything you had in mind in terms of sound?
It was necessary because the guests lived in different regions of my country. Yes, absolutely—it turned out exactly as I originally envisioned.
9. The cover is the work of Sheila Franco. On that cover there are influences from bands like Death Angel or Savatage. What influences do these bands have on Selvans? What was it like working with Sheila? What does this cover represent and how does it relate to the content of the album?
The cover of “Saturnalia” is a beautiful nightmare, but I don’t want to talk about it. You can fully appreciate the magnificence of every detail by buying the album and immersing yourself in its realm of diverse scenarios. Savatage and Death Angel have both influenced my background, but in this case the common element is certainly the curtain design that both Savatage (in “Gutter Ballet”) and Death Angel (in “Act III”) chose for their artworks. Sheila is the best graphic artist I have ever worked with. Others I’ve worked with in the past turned out to be lazy and “nerdily arrogant”—I don’t even want to think about it, but you know, passive-aggressive. For instance, at the beginning they’d say, “Oh yes, I’m here to do my best work because we are both artists, so you must be completely satisfied with your vision,” and then later, “Oh no, I don’t want to edit it because I’m the artist—you have to pay me an extra $25 for every edit.” Man… if you need alms, it would have been better if you had asked clearly, haha. Jokes aside, one example of how the credibility of that field is collapsing is the way so many of them are reacting to AI, crying on social networks. Pussies.
10. Selvans' entire career has been linked to the Avantgarde Music label. In fact, in the past some physical editions were made by other record labels later, however all the formats of the new album are available from the beginning with Avantgarde Music. How is this relationship that you have maintained with Avantgarde throughout all these years?
Mutually respectful. I can say that I am satisfied with these 10 years with Roberto Mammarella.
11. Do you have the feeling that with your music and your theme in Selvans you have contributed to making Italian folklore and the history of your country known, beyond what has to do with the Roman Empire or was this not your objective?
It wasn’t an objective, but it certainly happened—to a small extent.
12. Will you continue to offer concerts with Selvans to present the new album live? How do you face expressing all the musical richness of the new album live? With which musicians have you considered collaborating to work with you live? With which similar bands would you like to share the stage?
Yes, I am doing some live shows. These songs are simpler to perform live compared to the past, so they will sound heavier with guitars as the main instruments. The live line-up is: Chris D’Onofrio and The Ancient (guitars), Agares (bass), and Marco Berrettoni (drums).
Most of these musicians come from heavy, power, and thrash backgrounds.
13. If I'm not mistaken, this “Saturnalia” is the end of a trilogy that began in 2015 with the release of “Lupercalia.” Will this also be the end of Selvans? What ideas do you have for the future of Selvans?
Yes, this is the end. Before the end of 2025, a couple of collateral releases will be issued, and then there will be a void.
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Selvans – Saturnalia (gold vinyl) 39,99 €
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