sábado, 3 de junio de 2023


 Good evening, thank you very much for answering these questions, how is everything going in Salo?

Hails. All is well here in Salo/Sauvo. The album is out and just got a new rehearsal place and we are currently renovating it. So busy times. Let's get to it.

1. Sarvekas began his journey as a band around the year 2019, why did you decide to create the band? Why did you choose the name Sarvekas and what does it refer to?

We decided to form a band shortly after we met via a friend. Prior to this we only knew each other as acquaintances. The band’s name is Finnish and means the horned one, or the one with horns. In short, the name has also a meaning for us as a symbol of rebellion against any institutionalized religion. As we know that at least the Abrahamic religions depict Satan as a horned entity, but they have also demonized some pagan entities who have been depicted with horns. So our name and songs also echo the essence of these ”silenced” but not dead entities. 

2. The 2020 edition of your first EP “Of Atavistic Fury & Visions” received a fairly good reception. Were you somewhat surprised by this good response from the public to your first work? Did this good reception motivate you to face the release of your first album?

Yes, it was a bit of a surprise for us. We of course wanted to do a stronger and more immersive album after the EP and the start of the work process of Woven Dark Paths was easy because some of the ideas were ready in the beginning. Have to say that we are not as interested in what people think about our art, but of course, it is encouraging to hear good reviews and such. All in all, we just have this urge to make this music because we cannot think of a better way to express these deep ideas, visions, and experiences.

3. The release of your first album “Woven Dark Paths” has just been produced. How have you faced the process of writing and recording this first album? What brands of instruments have you used in the process?

As we said in the earlier question the start was easy, because J.L. had some leftover riffs and other old riffs to use that had the same feeling as the EP had. There were some problems along the way as usual but as the whole process, it went pretty effortlessly. As for the brands of instruments. We generally use mostly Premier drums and hardware. Trick Pedals USA, Artbeat Drumsticks, and various cymbals from Sabian, Paiste, Zildjian, and Centent. Jackson guitars, Ibanez bass, and Engl amps and cabinets. The recording setup was a bit different since some of it was owned by the studio. Can’t remember all of it. 

4. Your sound combines, on the one hand, the strength and rawness of the Scandinavian black of the nineties, with a certain epicness as well, at the same time that you do not renounce the most current elements of your own that add a certain melodic tone to the compositions, but without the use of synthesizers, how would you describe the sound of the album for someone who hasn't heard it yet? What bands and styles do you think have influenced you when it comes to defining your sound?

Yes, you are right. We actually consciously avoid using synthesizers in our music and try to paint the grim and relentless picture with massive walls of guitars and ferocious drums without losing the coldness and darkness of the atmosphere of the songs, making it a more straight-to-the-face kind of approach. As for the influences, there are many from various genres, but it is clear that most of the influences come from 90’s Scandinavian black metal and Nordic Folk music in general.  

5. Your lyrics are highly influenced by paganism and the traditions of the Scandinavian peoples, at the same time that in each theme you address a different story about Scandinavian mythology or history, why do you decide to address these issues in your lyrics and where have you Searched for the theme of the lyrics? Do the lyrics adapt to the music or vice versa?

We both have been interested in these topics since we were young so they come from various sources. Literature, tradition, other music, and of course Google. It came naturally to include it in our music and the riffs J.L. composed were already sounding like these themes would fit well for the music. Lyrics adapt to the music and vice versa. It depends on what we are aiming for or what is the first idea for the song, be it a riff or a line, or whole lyrics.

6. The Scandinavian countries have always given us a good handful of black metal bands, at the same time that they have always managed to be coherent with their mythology when translating it into their music, why do you think these exceptional circumstances occur in your lands? how do you see the health of black finnish today compared to the past?

We cannot say for the whole scene. The judgment is mostly made by the people abroad. All in all the lyrics and music of Scandinavian black metal artists reflect the mindset and the attitude of their makers very well. Some people delve into our history and mythology more than others, but a similar driving force is often present in their art. The cold and dark climate of the north has its impact on it for sure, but we cannot say much about the health of Finnish black metal today as we do not actually follow the scene regularly.

7. The album begins with the song "Rite of Transcendence", a song that has been composed by Jarkko Neuvonen, at what point did you decide to count on Jarkko to create the intro of the album?

A.A. has known Jarkko for a long time as bandmates and as a friend. He has built his own Nordic and other ethnic instruments. Also, he has composed this kind of Nordic folk music before like in the intro, so the choice was easy. We gave some ideas for him, but mostly it is composed and recorded by Jarkko himself.

8. You have worked in Salo's Raja-Audio and with the figure of Kari Laaksonen and Tomas Haapanen to carry out the entire process of composition, mixing and mastering of the album, why did you decide to work in these studios? What do you think it has contributed Kari and Tomas to the final result of the album?

First of all, all of the compositions are our own, but Kari is also a longtime friend/bandmate of A.A. and he had a studio in Salo so naturally it was a clear choice in this also. He handled the soundcheck, mixing, and mastering. Tomas handled the recording of drums and A.A. handled the recording of guitars, bass, and vocals for J.L. in the same studio. We, of course, have to thank them for making this possible and both of them did a really good job in our opinion.

9. The album cover has been done by Roni Ärling, why did you decide to work with Roni? How does the theme of the cover relate to the content of the album?

We contacted Roni after the artist we planned earlier had to refuse the job, because of other urgent personal matters. Roni accepted the job and we gave him a quite detailed idea of the cover. He managed to follow it perfectly. We were glad to work with him and the result is astonishing. The cover art is made on the basis of the song ”Of Bloodlust & Nightside Sorceries.

10. This new album has been released by Soulseller Records. At what point and in what way did you contact Soulseller Records to be able to edit the album with them? Do you consider that the support of a record label like Soulseller Records is be fundamental for the album to achieve greater repercussion?

We were contacted by a few labels back in 2020 when we promoted the EP by ourselves. We saw that Soulseller Records fitted the best for us and the co-operation with them has gone pretty smoothly. And yes it is kind of fundamental to have a label as they help much with the promotion and other stuff. We thank them for this opportunity to spread our art across the globe.

11. Do you have plans to perform a concert and present the new album live? Which bands would you choose if they had to accompany you on a mini tour?

Yes. We are currently making the live performance possible and it is well on its way. Thus we are interested in any gig requests and contacts. We do not know about the bands we would like to play with. Something likeminded with us. Black metal is what we prefer, but extreme metal in general would fit well with us.

12. How were your beginnings in music: first concerts you attended, first albums you bought? What happened in your lives pushed you to want to be musicians?

In short, music has been in our lives for a long time and we’ve both listened to metal since the early days of our youth. Of course many other genres too. As for black metal, it has been in our lives for over two decades. Since discovering it, there was no way back. We think it is one of the deepest forms of music one can ever experience with all its nuances and atmospheres, meaning, and philosophy. It is a way of life.

13. What album represents for you the essence of black metal? What last albums have you bought?

A hard question. There are too many to answer this question as black metal has many forms.

Albums that have been bought recently: A.A. Funeral Mist - Maranatha, Nightbringer - Hierophany Of The Open Grave, and Graveyard - Hisingen Blues. J.L. Baptism - As The Darkness Enters, Horna - Askel Lähempänä Saatanaa, Archgoat - The Apocalyptic Triumphator

14. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Sarvekas fans this is the place. I hope the questions are to your liking.

Thank you for this interview. All we have to say is listen to the album, buy it and we hope to see you at our gigs in the future!


Thronum Vrondor ‎– Dies Tenebrosa Sicut Nox 20,99 €

Comes in normal sleeve + 12 page Booklet & A2 Poster. Limited to 111 copies on Opaque White Vinyl

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