1. Viande started around 2013. What led you to create Viande? Why did you choose this name, and what does it refer to?
As far as I'm concerned, the idea of playing in a band called Viande was already a statement in itself. Even before J., the man behind the project, told me about his plans, I knew I wanted to be part of it. Viande is the part of the living destined for corruption and decay. It's what remains of man once God has withdrawn.
2. Although you'll soon be releasing your second full-length album, the members of Viande showcase their talent in other bands of different styles and influences, especially after I. and O. joined. While you don't play together in any of these bands, what does Viande bring to the table compared to your other projects? How important is Viande to you as a whole compared to the others?
Those two guys have a serious background . Between them, they've played in half of the bands of the Swiss black metal scene. They joined Viande at a time when the band was going through a rough patch. They handled the recording, and currently they're performing live alongside us. That said, they weren't really involved in the songwriting process.
3. Your first album took about nine years to arrive, and now you're releasing your second. How would you describe the band's initial stage, before the release of your first album? What was the songwriting and recording process like for "Monument aux morts"? How do you think Viande's sound has evolved over these years? What brands of instruments did you use for the recording?
Our first album was relatively straightforward to make. We recorded it as a trio, and everyone knew exactly what they had to do. We were determined to create something filthy and terrifying. The writing process was more or less the same as it is today, but back then we had the opportunity to rehearse much more regularly. Today, Viande is clearly no longer the same band. It started as two guys in a cave with a recorder. Now we're a four-piece, capable of playing live and recording in studio. As for gear, I play a Fender guitar through a good old Sunn Model T. We also use pedals, filters, synthesizers... Basically, a whole arsenal of tools that allows us to create and expand our own universe.
4. Listening to "Monument aux morts," your new album, the listener is immersed in a dense, heavy atmosphere, at times suffocating, at others nauseating, as if you wanted to push to the extreme the different influences and styles present in previous releases. How would you describe the sound of the new album? What bands and styles influenced its composition?
We want to create music with a strong evocative and visual power, but it also has to provoke a physical reaction. Our goal is to summon this vision of hell and make it tangible, while also making people feel that fucking crushing misery weighing down on the body. Musically, we're drawn to the death metal of Teitanblood, the power electronics of BDN and Grünt, as well as the extreme doom of Burning Witch, among others.
5. Did you handle the mixing, mastering, and recording of the new album yourselves, or did you collaborate with a record studio?
For this album, we worked with Cyrille Gachet, who has previously worked with bands such as Chaos Echoes and Fange. We couldn't have made a better choice.
6. You're releasing the album again with Transcending Obscurity Records. Were you satisfied with their previous release, and that's why you're repeating the experience, or is it more related to some kind of contract?
To be honest, we're not particularly familiar with TO's catalogue. That said, it's a label that does a good job, especially when it comes to distribution and promotion.
7. You've been active for a while now and are familiar with the French scene thanks to the various bands you're involved in. How have you seen the French extreme metal scene evolve over the last few years? What similar bands would you recommend?
I'm probably not the best person to talk about it, because I don't particularly follow this scene. That said, I've really enjoyed Corrupter's latest release recently.
8. Do you already have any concerts booked for the live presentation of the new album? What can your fans expect from one of your concerts? How did you decide to wear hoods for live performances?
Starting this autumn, we'll be playing a handful of gigs in France, Switzerland and Belgium. We 'll do our best to deliver a visceral and punishing experience to our audience. There are several reasons for wearing hoods. The first is to depersonalize and anonymize the musicians. Another reason is the idea that changing your appearance also changes your state of mind, which I believe is particularly important when performing this kind of music on stage. It's important to keep in mind that this is more than just rock 'n' roll.
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Árstíðir Lífsins – Heljarkviða (2 lp blue vinyl) 13,99 €
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