ARGESK - INTERVIEW

 

Good afternoon, thank you very much for answering these questions. How are things going in Manchester?

Thank you for taking the time to interview us! All good here - hope all is well with you in Spain.

1. The members of Argesk are, to a greater or lesser extent, involved in other projects, some of them far removed from a style like black metal. How did it all come together to launch the band in 2017? Why did you choose the name Argesk and what does it refer to?

Great question. As some of your other questions allude to, the original lineup of Argesk was somewhat different to the current one - we had Dillon on bass, and, for a short time, had another guitarist, Graywinter. 

In 2017, I had just moved to Manchester and wanted to form a black metal band. Specifically, I wanted to play melodic black metal with keyboards. I had a bunch of riffs and song ideas floating around that I wanted to use, and also wanted to try my hand at running my own band. The previous bands I had been in had all been primarily other people's projects; I wanted to play music I wanted to hear, with like minded people, and to use the music that I'd written without compromise. 

Manchester has a great metal scene, and no shortage of people who are up for playing black metal. I put the call out on Facebook and got several responses; I already knew Dillon from gigs at Fell Foot Wood, and Leth (keyboards) was a friend from uni who I'd connected with through a mutual love of both black metal and goth electronic. I was familiar with Bob's work in Hecate Enthroned and Shades of Avalon, and reached out to see if he'd be interested. He was, and the rest is history! Graywinter I also knew through Shades of Avalon. He's now playing in The Machinist and Reliquia. 

The band name comes from Francis Ford Coppola's adaptation of 'Dracula' - the river Arges, in Transylvania, is where Vlad's betrothed drowns herself when she believes him to have been killed in battle. The addition of the 'K' was a mark of distinction suggested by Leth. 

2. You'll soon release your second album, which will follow up on "Realm of Eternal Night" (2020). However, during this time, you've added a new bassist and guitarist. Matt and Exigne, respectively. How do you think these two new members have influenced the writing process of the new album? How do you think the sound has evolved between the two releases? What brands of instruments have you used in the process?

First of all, to avoid confusion, we refer to our bass player as Roscoe, and our guitarist as Aidan. Aidan is doing a phenomenal job bringing the songs to life in a live setting, adding depth to the music and a darker, heavier tone to our performances. His low end chug is the perfect counterpoint to my searing treble - he joined the band just after we had completed recording the album. We are now working on new material, with Aidan taking an active role in the writing process. 

Roscoe contributed greatly to the writing of the album - when he joined, only 'Invocation', 'Servant of Fire' and 'Tempest' had been fully written. In the intervening years, Roscoe has made all three songs his own in terms of his bass playing. The rest of album was written collaboratively between myself, Leth, Bob and Roscoe. I think Roscoe's bass work shines in particular in 'Black Castle Waltz' , 'Tempest' and 'Wreathing Serpent', in which he also contributes acoustic guitar. 

In terms of how the sound has evolved, it's definitely a more fully realised and complex beast than our debut. We're experimenting more, but not compromising on heaviness or atmosphere. The synths are much more orchestral - in fact, Leth composed full orchestral arrangements for the entire album. There are choirs, strings, brass, bells, church organ, and Leth plays a mandolin on 'Wreathing Serpent'... I did question our first album being referred to as 'symphonic black metal', but I have no qualms about using the term here. 

For brands of instruments - I used a Jackson guitar going through a Mesa Boogie Dual Rectifier amp head and 4x12 cab, with Tube Screamer and noise suppressor for the distorted guitar parts. For the clean parts, I used a Fender Strat and played it through a Fender combo amp - I was aiming for an Agalloch-esque clean tone. 

Roscoe used an Ibanez bass and Darkglass bass amp.

Leth: My primary synth is a Novation Mininova. A tiny synth, but it's so powerful. It was almost exclusively the synth sounds on the first album and still plays a hefty role on Moonlight Pyromancy. It's not held up to the realities of live performance so I've had to modify the hardware and buy two of them to keep using it.

Live, I play a Roland Sonic Cell for the "realistic" sounds (like the organ) and a tiny PC to run some custom VSTs for orchestral sounds. I drive the Sonic Cell with a similarly ancient CME UF6 midi keyboard.

On the album, I play a Tanglewood mandolin and a whole host of VSTs, as well as the synths above.

3. The new album brings together different influences. In addition to that melodic black sound that's not foreign to you, you can also add a certain symphonic tone, with a greater emphasis on synthesizers in the final sound of the album. Of course, we shouldn't forget a certain classical character when it comes to focusing your work. How would you describe the sound of the new album? What bands or styles have influenced you when defining the sound of "Moonlight Pyromancy"?

I would describe this album as melodic, symphonic black metal. You're right that the keys feature much more prominently on this release, really coming to the forefront on tracks such as 'Tempest', 'Accursed Victory' and the title track. 

Many influences have come together to create the finished product. I've always taken great inspiration from early Cradle of Filth and Hecate Enthroned for what I write for Argesk, as well as Emperor and Dissection. Other influences have crept in, too - Finnish melodic black metal influenced the riffs in 'Accursed Victory' and 'Black Castle Waltz'; the synth line in 'Tempest' was inspired by Summoning; certain parts of other songs have been inspired by Ancient, Woods of Desolation, Iron Maiden... There's also folk, 80s goth and rock n roll influence in various parts. If we like it, and it serves the part, we'll incorporate it. 

4. Regarding the vocals, that raw character on the one hand, and the duality of also featuring others that complement them with a darker tone, seems to me to be an aspect that gives the album's sound a distinctive character. Was it very difficult to capture this approach to the vocals? What themes do you cover in the lyrics? Does the music adapt to the lyrics or vice versa?

Thank you - no, I don't find this approach to vocals very difficult, but it's because I've now been doing this style of vocals for ten years! I've always liked switching between very high screams and very low growls. As I mentioned, I'm very influenced by early Cradle of Filth and Hecate Enthroned. If you listen to both of those bands, you'll hear both Jon Kennedy (RIP) and Dani Filth switch between very intense high shrieking and low, aggressive growls. That style has greatly influenced my approach, though I try to do what comes naturally to me rather than trying to sound like other people. 

I'm also partial to DSBM style howls, and you'll hear a few of those on the album, particularly on 'Tempest'. Neige's harsh vocals are my main influence for those - I don't think there's anyone else who does them better. 

Now onto the lyrics. These deal with empowerment of the self, the use of magick to access profound levels of consciousness and traverse other realms through the astral plane. The immolation of the transient, material self and the emergence of one's true form, enlightened, potent and ineffable, becoming one with the spirit realm. They aim to express downloads and visions I have received while meditating and while playing and enjoying the music - what they express is difficult to articulate. I hope they resonate with people who have had similar experiences, or at the very least, find the imagery appealing. There are exceptions - 'Black Castle Waltz' is a tale of morbid, gothic romance, and 'Tempest' is a metaphorical journey through struggles with mental health issues. 'Accursed Victory' was a dark take on swords and sorcery fantasy - think the cover of 'In the Nightside Eclipse'!

I write the lyrics around the music - we'll work out the instrumental parts first, and I'll normally do harsh vocals in particular rhythms over the music before coming up with any lyrics. I then write the lyrics to fit these set rhythms. Often there will be images, words, even stories that will come into my head when I listen to the music; I will use these, but also adapt lines I've noted down day to day which fit the theme.

5. The previous album was recorded at The Fly, but there were many more aspects to the new one, from collaborations on vocals to recording with Noiseboy Studios and mastering with Chris Fielding. Did you feel this was the right time to commit to a new album with a more ambitious sound than the previous one? Why did you choose to work with these people?

Absolutely. Rik Simpson did a great job on Realm of Eternal Night, and asked for very little in return, but the original intent was actually for that to be a demo! It grew and grew, and it soon became clear that we had an album on our hands... I'm proud of it, but it is very much a 'debut' album - it isn't as polished, the songs aren't as realised. I would do it differently if I were to record it again today, but that's one of the beautiful things about music - it's a snapshot of where you are as a musician when that recording happens. There are always things you can do differently and improve on... At a certain point, you just have to say that it's done, otherwise you could tweak these things forever, and you can dampen the spark that gives it life in the process. 

Chris and Jake from Noiseboy did a phenomenal job with this release. Chris's suggestions and expertise with producing this type of music were invaluable - he got the best possible takes from us, and the album would be a different beast without him. In terms of why we chose to work with Chris, he and Bob had collaborated before on other projects, and it was Bob's recommendation that led us to go with Noiseboy. As for Chris Fielding, his production work for Winterfylleth, Conan, Burial and others speaks for itself! 

6. Aghy Purakusuma handled the album's artwork. It retains the fantasy tone of the previous album but adds more pagan aspects. Why work with Aghy? What does this cover represent and how does it relate to the album's content?

I found Aghy through listening to Morwinyon and Firienholt - the artwork he produced for both bands just transported me, in a similar way to Necrolord's work for Emperor and Dissection, and I immediately wanted his style for Argesk. In terms of the concept - the image you see is basically what came into my head when listening to the title track. I reached out to Aghy, gave him the brief and he produced a black and white sketch which I immediately loved. He then added colour, and after a couple of minor revisions, the result is the piece you see on the cover.

The cover represents my own internal visualisations when traversing the astral plane through meditative practices. Much like the music, it is designed to transport you to another realm, ineffable and residing within those who see the beauty in darkness... Those who understand will need no further explanation. 

7. Although your previous album was released on the now-defunct Clobber Records label, it seems everything is being kept in-house, as the new album will be released on an English record label like Matriarch Records. What happened to Clobber Records? Why did you choose to release the new album with Matriarch Records?

Clobber Records was an excellent label that unfortunately fell victim to the ruthless economic climate that we find ourselves in. Jaff and Rebecca did a stellar job, and we are grateful for their support in releasing our debut. Jaff is now involved in the running of both Road to Masochist and Wulfhere, and Rebecca now puts on Call of the Crow festival in Yorkshire, which recently had its first iteration with Psychonaut 4 headlining. 

With Matriarch Records, I was already familiar with Katie's work with Oneiros and others, and we had met briefly at an Argesk show a couple of years ago. Matriarch advertised that they were open to release submissions, and I reached out to gauge interest and check how a potential deal would work. I was impressed with Matriarch's ethos and the deal we were offered, so we decided to proceed. Katie has done a stellar job so far, consistently going the extra mile for us - she genuinely values the art and artists that she promotes. 

8. What can you tell us about the Manchester black metal scene? What bands would you recommend from your city? How do you see the health of black metal in your country, and how would you describe it in terms of bands that have influenced black metal over the years?

The Manchester black metal scene is in pretty healthy shape, though most black metal bands associated with the area could more accurately be described as 'North West' rather than Manchester specifically. Winterfylleth and Necronautical are the two biggest black metal bands which are based in or around Manchester, and both would fit that description. Russ Dobson, who plays guitar in Winterfylleth vocals + guitar for Necronautical, recorded the guitar guides for this album with me in both bands' practice room. 

Other great black metal bands associated with Manchester include Burial, Wolfbastard, Andracca, Volniir, Wode, Napierdalac and Gospelheim. I'm sure I've missed some! 

The UK black metal scene is in excellent shape, with bands like Abduction, Fen, Blood Countess, Ninkharsag and Underdark leading the charge. There are too many great acts to name, but some others include Cairns, Ofnus, Ba'al, Cistvaen, Imperial Demonic, Thy Dying Light, Misko Boba and Old Corpse Road. I'll kick myself for my many omissions later. 

In terms of UK bands who have influenced me, early Cradle of Filth and Hecate Enthroned are the two big ones. Dusk and Her Embrace and Slaughter of Innocence are two of my favourite albums, and their influence on this album will, I think, be fairly audible. Old Corpse Road have had some influence on my songwriting, too. 

In terms of the UK's influence on black metal, Venom, Hecate Enthroned, Cradle of Filth, Akercocke, Winterfylleth, Fen and Bal-Sagoth should be familiar names to any aficionados of the genre. I would direct you to Dayal Patterson's Cult Never Dies series, which articulate the UK's influence on black metal in far greater breadth and depth than I could.

9. Do you already have any shows lined up to present the new album live? What can your fans expect from your concert?

Yes - we are headlining Aatma in Manchester on 13th December, with Cairns, Lavinia Whateley, Napierdalac and Maraigh supporting. We will be presenting the majority of the recorded material from both of our albums in this setting. 

We are also booking shows for 2026, with The Woods festival at Fell Foot Wood currently announced. We wish to bring Moonlight Pyromancy far and wide, across the UK, into Europe and perhaps beyond. 

10. How did you get started in music: first shows you attended, first albums you bought? What event in your lives pushed you to want to be musicians?

I can only speak for myself here, but I was introduced to the guitar by my childhood friend Ciarán. He had acoustic and electric guitars, and taught me some very basic chords. We jammed some Guns n Roses and Metallica, and I got a taste for it. Before I knew it I was playing Bullet for my Valentine at a school concert (which went down surprisingly well), and I tried to start my first black metal band at 17. That never really went anywhere, but it meant I put myself out there into the local scene. I then joined a blackened metal band on guitar, and was with them for a few years. 

The first show I attended was DragonForce with Sabaton, Sylosis and Glamour of the Kill in 2009. It blew my young mind and made me hungry for more! 

The first album I ever bought was American Idiot by Green Day, quickly followed by The Open Door by Evanescence and The Black Parade by My Chemical Romance. 

Leth:

I had several stalled starts learning to play guitar when I was a child but I persisted when I was a young teenager who wanted to play System of a Down (whose new album Toxicity was in the charts) and Rammstein (when I was playing Mutter on loop). 

Later on, I became a bit obsessed with Mortiis who was playing a lot of electronic (on his Smell of Rain album) and industrial music (on The Grudge) at the time, and Ewigkeit, who were playing very synth-forward metal (such as on Conspiritus). I was surprised to learn that the Mortiis who was doing the electronic stuff was the same Mortiis whose Født til å Herske dungeon synth album was (and still is) my favourite.

Pushing hard with these influences, I started a "synth-metal" band with a friend. The less said about that the better. I was also in a drone doom band that I'm a bit more proud of.

But this, folk group performances, electronic industrial and eventually synthpop, are how I wound up as a metalhead on the keys. And now I shoehorn orchestrals into Argesk.

11. What album represents the essence of black metal for you? What recent albums have you bought?

If I had to pick one album to represent the essence of black metal, it would be In the Nightside Eclipse by Emperor. The atmosphere on that record is unrivalled - I've still never heard anything else like it. Oft imitated, never bettered. If you were to say it was the greatest black metal album of all time, I would not disagree. 

Recent albums I've bought - Deathly Pale by Parusight (like a UK Kekht Arakh), a Vampirska EP, whatever the hell Trhä has done recently, and acoustic material by Shelli Le Fay - pagan, occult romanticism. I also discovered Junkie Kut, who is like The Prodigy meets gabber, with a bit of extreme metal in there for good measure. Caustic, bitter and awesome. 

12. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add something for Argesk fans, this is the place. I hope you enjoy the questions.

You are most welcome, thank you for taking the time to interview us and ask such in depth questions! 

To the fans - we hope you enjoy the album, thank you for your unwavering support. We hope to see you at the gig in December! You can also support our crowd funder to help us get Moonlight Pyromancy out on vinyl here: https://fairsound.com/product/argesk-moonlight-pyromancy/

https://facebook.com/events/s/argesk-cairns-lavinia-whateley/534000212982258/

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