Good morning, thank you so much for answering these questions. How's everything going in Timișoara?
Hello, and thank you so much for the opportunity! Aside from the heat we've been having, everything is going well. Culturally, Timișoara seems to be on an upward trajectory with a lot of positive developments, though there is certainly still room for improvement when it comes to the local live music infrastructure and scene.
1. Although Pâenil Era began in 2023, there's a strong connection to your previous band, Signatura Rerum (2012-2023). When did you decide to end Signatura Rerum, and why? Why did you choose to call your new project Pâenil Era, and what does it mean?
I started Signatura Rerum when I was 16. It was my first endeavor into black metal and served as a learning experience. The project was rooted in a complex fantasy world featuring detailed lore, multiple languages, maps, and extensive histories for each civilization. Eventually, I stepped away because I felt disconnected and the world-building had simply grown too overwhelming.
I shifted towards post-rock and progressive music for a while. However, after attending a festival here in Romania named Dark Bombastic Evening in 2022, and seeing several atmospheric black metal acts live, I realized how much I missed the genre. I essentially revived Signatura Rerum under a new identity: Paenil Era. While it features a new name and a different concept, Paenil Era is a continuation rather than a completely detached project. The core songwriting process and underlying mythology remain connected, but the focus shifted to authenticity, simplicity, and self-discovery.
Pâenil Era represents an anagram of the Romanian words 'Pâlnie Rea', which translates to 'Bad Funnel'. Symbolizing a broken or partly functional filter that takes in a flow of subconscious dark thoughts, it represents an attempt to connect with the subconscious and give a voice to the dark side of the psyche.
2. Unlike Signatura Rerum, where you were a full band, in Pâenil Era you're the sole member. What has this meant for you? Is it very complicated to handle all the musical aspects of Pâenil Era?
For me, being a solo project at its core means that I don't need anyone else's approval on how I want to approach things. I have a completely clean slate, and I don't seek anyone's opinions because this project is inherently about me. I've been part of bands where multiple people compose together, and it has its advantages, but Pâenil Era specifically is about self-discovery. It has to be a personal journey.
Handling all the musical aspects was definitely complicated at the beginning. However, I've been producing my own music for the past 15 years, so the technical side has become almost second nature to me. The real challenge now is simply finding the time to manage everything on my own. To be fair, even during my time with Signatura Rerum, I was responsible for about 90% of the creative and recording process, so the workload isn't drastically different between the two projects.
3. 'A Wilting Fountain' will be the fifth studio album you've released with Pâenil Era. How would you describe the songwriting and recording process for this album? What are the main differences compared to your previous album, 'Idle Cage'?
Composing the music for the album usually starts with a random emotional impulse. It is always done in a tight timeframe, usually within a year, so the songs feel like they are part of the same period and maintain cohesion. If I worked on an album for more than one year, I might be at a different stage in life and risk not relating to the songs anymore.
For the lyrics, I use a stream of consciousness method. I write them only after the music is already done, using the track as a vessel to connect with my subconscious and figure out what is bothering me.
As for the differences compared to Idle Cage: I started freelancing as a mixing engineer a few years ago. I can confidently say that this experience has improved my production skills, and it's likely due to this that the new album feels more polished and modern.
Structurally, the two albums differ quite a bit. ‘Idle Cage’ was designed to be highly interlinked, it flows continuously from start to finish. Even the composition process took place within one single project file, essentially almost applying a stream-of-consciousness method to the music itself. That continuous chaining was a core part of its concept. ‘A Wilting Fountain’, on the other hand, is much more chapter-based. It explores multiple different themes under a common conceptual framework. The new album operates across three distinct layers or planes that keep the tracks slightly separated while still forming a cohesive whole: the earthly, the liminal, and the spiritual.
4. While maintaining the essence of your sound, somewhat recognizable in its post-black metal elements, 'A Wilting Fountain' also manages to push to the extreme both elements of greater aggression and those that reflect a certain emotional depth, creating a significant contrast between the two that underpins the bulk of the compositions. How would you describe the sound of the new album? What inspired you to compose and record it?
The stylistic choice remains black metal at its heart because it feels most natural to me to depict the dark side of the psyche through this style. Post-rock has also been a big influence for me, and emphasizing the contrast between black metal and post-rock can definitely be appealing. However, the other styles injected into the sound are mostly unintentional byproducts of what I'm feeling at the moment or the music I'm listening to.
I don't seek to create boxes where the music should fit, evading rules was the whole reason for creating this solo project. As for inspiration, there are always unintentional sources. I don't pull themes intentionally from other pieces of work, but the sum of all the music, movies, and TV shows I consume leaves a tiny mark.
Pâenil Era's core concept revolves around connecting with the subconscious and letting raw emotions flow without overthinking them. Because the project is an unfiltered reflection of my inner state at any given moment, the sound naturally fluctuates. It's less about blending genres on purpose and more about using whatever musical tools are necessary to honestly capture those specific emotions.
5. You have never abandoned a highly personal style in your lyrics, as if they serve as a balm. In 'A Wilting Fountain,' you aim to highlight the confrontation between a person's inner and outer world in order to achieve understanding and inner peace after a deep analysis of these situations. At the same time, you remain faithful to naming your songs with a single word. What do you seek with this immediacy in your song titles? What inspired you to create the album's themes, and what concepts does it encompass? Do the lyrics adapt to the music, or vice versa?
Because the project's concept is deeply personal, the lyrics naturally reflect that intimate perspective. The confrontation between the inner and outer worlds is an important theme of this album, it's woven into every track and forms the foundation of the entire concept. Contrast is ever-present in my work: seeking light inherently requires accepting darkness. You can hear this contrast musically as well, with black metal and post-rock sitting at opposite ends of the stylistic spectrum. I'm fascinated by combining elements that shouldn't normally work together and trying to find a balance between opposing forces.
As for inspiration, it operates almost entirely on a subconscious level. I don't set a rigid lyrical theme before I start writing, instead, the theme reveals itself naturally during the creative process.
Regarding the single-word song titles, they serve as the most minimal guide I can offer to the listener. I don't want to interfere too much with how the song is perceived. By keeping the title immediate and brief, I leave space for the listeners to project their own meaning onto the music and relate to it through the lens of their own life experiences.
6. Did you handle the entire recording, mixing, and mastering process yourself, or did you collaborate with a sound engineer or professional studio?
Yes, I have always handled the production myself for all the albums released so far. With Pâenil Era, my goal is to keep everything as DIY as possible, I even designed the artwork myself. Down the road, I might consider bringing other people into the recording or mixing process, but for now, I want to maintain as much control as possible. It's crucial for me to inject a deeply personal imprint into as many facets of the project. This ensures that the core concept isn't just reflected in the music and lyrics, but in the entire presentation and aesthetic of the band as well.
7. 'Neuronoir' is a collective you created to release music by metal bands that align with your interests, and you released 'A Wilting Fountain' on that label. How did you decide to launch 'Neuronoir,' and what goals have you set for it?
Neuronoir was born out of a desire to centralize both my own projects and my friends' projects under a single, unified umbrella. The initial goal was simply to create a supportive network where we could grow together and help promote each other's art. However, as soon as we started diving into physical products like CDs and merchandise, it naturally evolved into something that closely resembles an independent DIY record label. So far, we have intentionally kept our roster close to home, releasing only music where I played an active role in the process or projects created by close friends and colleagues.
8. The album covers, though simple, also hold a deeper meaning. Who designed the cover for 'A Wilting Fountain'? What does this cover represent, and how does it relate to the album's content?
I designed the cover art myself, keeping it closely tied to the album's themes. The concept of the album revolves around three distinct planes of existence: the earthly, the liminal, and the spiritual. The three-tiered fountain and the use of triangles visually represent these three layers. Also, the symbol of the fountain appears directly in the album title and in a specific verse from the track 'The Scene'. In this context, the fountain stands as a symbol for life and prosperity. It serves as a reminder that we are responsible for keeping our inner life running and alive, and only by maintaining that flow can we connect each plane and achieve integrity.
9. Could you describe the extreme metal scene in Romania? What similar bands from your country would you recommend? Do you think more initiatives like 'Neuronoir' are needed in extreme metal, not only in Romania but also in other countries or even within the broader music scene?
I would say the Romanian extreme metal scene is definitely picking up momentum. We have reached a point where the music being produced and released here is able to stand toe-to-toe with almost any equivalent international release. The main challenges we currently face locally are over-expectations or undervaluations.
Within the Romanian post-black metal sphere, I would suggest checking out Genune, Mauna Sol, and The Wise Become Fools.
As for initiatives like Neuronoir, having more DIY labels would undeniably help bring cohesion to the scene. Especially in areas with multiple close-knit bands, it makes total sense to share resources, knowledge, and logistics. Many of us already do this organically, sharing rehearsal spaces, for example, but formalizing it into collectives or labels is the next logical step. I see this collaborative trend progressing, and it's encouraging to see that.
10. In the past, you've collaborated with other musicians to perform Pâenil Era live. Do you still plan to continue performing concerts? With Who does he plan to bring on board to assist him live? Is he considering adding new full-time members to Pâenil Era? What can fans expect from a Pâenil Era concert?
When it comes to composing and writing, I highly doubt Pâenil Era will ever expand into a multi-member band. The concept is simply too personal and introspective for me to share that core creative control. However, I have started taking the live aspect of the project more seriously over the past year. My hope is that by 2027, we will be even more active in terms of live presence.
As for the immediate future, I am working with session musicians to bring this music to the stage. We actually have a few shows planned for this October to promote the new album, and we will be announcing details for those concerts very soon.
11. How did you get started in music: the first concerts you attended, the first albums you bought? What event in your life pushed you to want to be a musician?
My musical journey started with two events that happened when I was around six or seven years old: hearing metal music for the very first time, and getting to hold and play around with a guitar. I was instantly captivated by both, it felt otherworldly.
Around 2009, my parents bought me my first guitar, and I started taking classical guitar lessons. By 2011, I grew tired of just learning other people's songs and started figuring out how to compose and record my own. That opened a massive can of worms, leading me down the DIY rabbit hole that defines my approach today. Honestly, electronics and luthiering are probably the only things I haven't really explored yet.
From a listener’s side, I grew up in the MP3 player era, so I didn't actually start buying physical records until much later in life. The first time I vividly remember listening to full albums from start to finish, rather than just random singles, was with Slipknot. And the very first local metal concert I attended as a teenager was a Negură Bunget show.
12. Which album represents the essence of black metal for you? What are the most recent albums you've bought?
From my perspective, ‘Exercises in Futility’ by Mgla is a pillar of modern black metal. I wouldn't necessarily call it the 'truest' black metal album, but purist definitions have never really been my cup of tea anyway. I always gravitate toward artists who avoid clichés in favor of genuine expression rather than sticking to prescribed genre formulas. Mgla incorporates that balance better than almost anyone else, they have a distinct, recognizable sound, yet they remain really close to the foundations of black metal.
Regarding recent purchases, I'm actually quite new to collecting physical media, I only really started delving into it after launching Neuronoir. However, the most recent album that truly stood out to me was ‘Innern’ by Der Weg einer Freiheit. I've found myself returning to it regularly ever since it came out.
13. Thank you so much for taking the time to answer these questions for Black Metal Spirit. If you'd like to add anything for Pâenil Era fans, this is the place. I hope you enjoy the questions.
Thank you again for the platform and the opportunity to share my thoughts. If I could leave one final message, it would simply be this: always strive to stay true to yourself.
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Blaze of Sorrow – Astri (Dark Clear Blue) 8,99 €
