1. Auro was launched around 2017. At that time, the members were Dragg and Framan, both members of other bands such as Drudensang and Gráb, among others. Why did you decide to get together outside of your other bands and create this new project? Why did you choose the name Auro, and what does it refer to?
Well, back then Framan had already been working on songs of his own in parallel to our main bands Schrat and Drudensang . It was around 2016 when he initially approached Dragg if he would be interested in contributing vocals and lyrics. We have a similar taste in music and sound and Framan’s compositions have their own disctinct style so it felt natural to put those in the band that is now called AURO.
Auro is a merging of the words Aura and Ouroboros. Ouroboros, the self-consumer, symbolizes a completely autarkic entity. It personifies the ultimate utopia to be achieved: The creation of a social and emotional micro cosmos without any interaction with the abominable outer world. Aura is the tool which is purposely used as a hammer - destructively smashed in the grotesque face of society for deterrence. And yet at the same time to build the foundation of the very own existence – as part of the individual cosmos.
2. The self-titled album you released in 2020 garnered a good handful of good reviews, but you took your time to get it ready. How did you approach the writing and recording process for this first album, being just two musicians? Were you somewhat surprised by the positive reviews this initial album received?
Framan had most of the songs almost ready when Auro was founded. When Dragg joined the band, the remaining work was basically only finishing the arrangements within the songs and writing the lyrics. At that time, we started working mostly at Framan’s place instead of jamming at the rehearsal space, thanks to the technological developments with regards to home recording and drum samplers. When we had the songs finished, we sent them out to Nefastus and Henker so they could work out last details of their parts and record them. The remaining stuff was recorded by Framan and Dragg. A friend of ours, Torti, also recorded some acoustic guitars for the outro. Framan then did the mixing and mastering himself, which took quite some time, but in the end this first album came out 100% as we intended it! Therefore, we were also not surprised how the album was received.
3. The follow-up, "Im Schatten der Bastion," will be released soon. The band has been augmented by four new members with more than enough experience. Does the term "supergroup" bother you a bit, given the size of Auro's lineup? How did you approach the writing and recording process for this new album, now as a fully-fledged band? How do you think the sound has evolved compared to your first album? What brands of instruments did you use in the process?
“Supergroup” usually is used to describe a band which consists of seasoned and widely known musicians – though “seasoned” is probably right, “widely known” might be debatable since we see ourselves as part of the German underground scene. In the end, we don’t care how people might call this.
The writing process was approached the same way as for the first album: Framan wrote all the songs, Dragg wrote the lyrics and both made the arrangements. During recording our new members could add their own touch.
The songs on the new album inherit a lot more details with regards to the guitar work and are conceived more dynamic and erratic. This way, the music, the lyrics and the artwork of the album perfectly complement each other. What brands of instruments we use is irrelevant, it all comes down to the sound and atmosphere that is achieved.
4. "Im Schatten der Bastion" has to be an album that appeals to the most classic black metal listener. In it, you combine the purest traditions of German and Nordic black metal, a lo-fi sound, a balance between rawness and aggression. There's even room for certain almost symphonic elements, and why not, they also pay off? How would you describe the sound of the new album? Which bands and styles have influenced you when composing "Im Schatten der Bastion"?
Auro’s sound unfolds around a traditional 90s atmospheric black metal core. That is how the new album should also feel like, when listening to it. We try to keep an old school feeling to the songwriting and sound, since this is exactly what we glorify and what we musically breath and exhale. We aim for a balanced but sharp-contrasted battle between the softness and atmospheric power of the keyboards and aggressive guitars, vocals and pounding bass and drums.
It’s hard to name single bands when it comes to influences since we live this music already for quite some time. Our musical taste and approach is fully developed so it naturally is a merging of all the input that we got over the last 20-25 years. But as stated above: Black Metal of the 90s and also early 2000s!
5. The band's ideology is influenced by the concept of the Aurochs and the Ouroboros, as figures of individualism. From hatred, others emerge, such as misanthropy or a rejection of society. Is there a connection in your lyrics to this theme? What themes do you cover on the new album? Does the music adapt to the lyrics or vice versa?
That is not correct. The band’s concept is centred around the urge for autarchy in which individualism is one of many aspects. The ancient figure of Ouroboros, the self-consumer, is used to portray it. In order to achieve autarchy, you have to embrace solitude and therefore deter everyone and everything, that tries to interfere! The lyrics are all connected to this in one or another way.
IM SCHATTEN DER BASTION’s lyrical concept is built around a transcendental train of thought merged with categoric self-determination, -exaltation and dehumanization as the key enabling factor. This is incorporated in the overarching ideology as explained before. Songs like INSIGNIEN DER MACHT, DER GLANZ DES TITANEN or OKKULTATION - DER ALLGEGENWÄRTIGE metaphorically explore transcendental experiences, while IM SCHATTEN DER BASTION, LUX CAEACA or HAUS DER TAUSEND FLÜGEL revel in apocalyptic visions of utter obliteration and fraternization with death itself. STROM DER VERBORGENHEIT on the other hand deals with a journey into the subconscious and the possibility to gain omniscience. In all of this, the omnipresent ancient, scaled god Ouroboros provides guidance, orientation and impetus by his titanic splendor.
During songwriting the lyrics are adapted to the music.
6. Your previous album was reissued on vinyl by Folter Records, a record label that has been in charge of releasing your new album since the beginning. How did this contact and collaboration with Folter Records come about? How important is the backing of a major record label like Folter Records for you?
We first got in contact with Folter Records when we joined their ranks with our previous band Schrat back in 2017. When we looked for a label for the vinyl release of the first album, we of course asked Jörg if he would be interested – obviously he was and still is. We know Jörg and his team now for quite some time, so our collaboration is working out very well. We don’t think that a label is essentially needed these days to release and distribute music, but it certainly helps when you have a trustworthy partner who brings in certain strengths and a network of is own. Ideally it is a win-win situation for both parties.
7. The first album was mixed by Dragg and Framan. Is this something that remains with this "Im Schatten der Bastion," a subject about which there isn't much information?
IM SCHATTEN DER BASTION was mixed and mastered by JP SicBro, a friend of ours, who also is in charge of the live sound of Auro. We decided to get someone with a certain technical background in, so we could focus on giving input and guidance regarding the sound, not doing the actual technical work. It also helped a lot that we knew each other already pretty well of course.
8. The new album closes with a track like "AURO - IX. Ausklang: Figura Serpentinata (Im Zenit der Eklipse)." Well, both the first and new albums feature a snake-like cover. What does this snake mean to you? Who designed the cover of the new album, and how does it relate to the album's content?
The meaning and importance of this symbol has already been explained above.
The design was done by Nuno Zuki (Belial NecroArts) and it perfectly incorporates the lyrical concept of the album – see above.
9. You've been active in the German scene for some time now and have also been part of some renowned bands. How have you seen German black metal evolve over the years? What do you think has been lost over the years? Which bands do you think keep the legacy of the most classic black metal sound alive today?
It is obvious that outer parties try to influence and tame the scene and bands, but that is probably a global phenomenon in the so called first world countries. Back in the days, it was all about a limitless expression of one’s (extremist) views and finding new ways to shock and provoke society. Naturally, you change your behaviour a bit over the years and probably channel your wrath and anger more efficiently and that’s ok. But since approx. 15 years or so, the ethical and moral guidelines of society are more and more pushed into the scene and the irritating thing is: the scene adapts to it!
What has been lost over the years? Balls! Fuck your “feel-good” bands and concerts! Black Metal was never meant to be for the faint-hearted and harmony addicts – make Black Metal intimidating and fucking hostile again!
There are still bands out there, that breath exactly this and also indulge in the most classic sound. From our close proximity that would be f.e. Baxaxaxa, Total Hate, Amystery or Drudensang.
10. Do you have any shows lined up for the live presentation of the new album? What can your fans expect from your concert?
We will play two concerts in October, both in the east of Germany. More gigs are planned and will be revealed when the time is right. Auro performing live will always be an ecstatic experience – we will give it our all and summon the presence of the ancient scaled god that will ignite the fires within and propel our souls up to the stars and the unending abyss!
11. 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?
Dragg: First black metal show: Marduk; first black metal album bought: Panzer Division Marduk; I cannot name an event, but at a certain time point there was an irresisting urge to express myself!
Framan: First black metal show: 1349; First black metal album bought: Puritanical Euphoric Misanthropia
12. Which album represents the essence of black metal for you? What recent albums have you bought?
Dragg: Katharsis – 666; I recently bought Black Curse – Burning in celestial poison, Aegrus – Invoking the abysmal night, Old Forest - Graveside
Framan: Katharsis – 666; I recently bought Baxaxaxa – Catacomb Cult
13. Thank you very much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add something for Auro's fans, this is the place. I hope you enjoy the questions.
Embrace the swirling chaos, coldness and majesty of the timeless cosmic vastness and its Great Old One! All hail titanic blaze and splendor! All hail the ancient scale cult!
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Soulburn – Earthless Pagan Spirit (Vinyl, Limited Edition to 100 copies Golden) 29,99 €
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