domingo, 7 de abril de 2024



1. The band started up around 2016, how did the idea of creating Tulpa come about? What does the name Tulpa refer to and why did you decide to use it? 

The idea was born from me (Alessandro), Andrea (former bassist), and Kyoo Nam. They were my mentors regarding black metal when I was a teenager, but probably also in adulthood. Andrea and I met again after many years thanks to common non-musical interests, and discovering that both of us were appreciating the crust genre at that time, we decided to start a new project. The name "tulpa" comes from a tibetan term that indicates the creation of an entity projected outside of oneself; the reference is both to the creation of this project with the purpose of expressing what we have inside, and to the experience of an alternative reality to the conventional one.

2. Despite belonging to a lesser or greater extent to other projects such as Forgotten Tomb, Whiskey Ritual or Nocturnal Depression, what does Tulpa give you compared to these other bands and what priority do you give?

Playing in different bands is a very good condition from an artistic point of view because it allows us to experiment and express different moods and styles. Personally, Tulpa is the project that I feel most "mine" as I am more involved in composing the songs, similarly to Matteo with Mother Augusta. Each of our bands has its own energy that we feel as unmistakable; in the case of Tulpa, the cathartic aspect is predominant.

3. “Temple of Wounds” is your second album, which continues your previous “Unhealed” from 2019. There are almost five years between both editions. What can we expect in terms of the evolution of the sound between the two? How has it been? the composition and recording process of this new work and what brands of instruments have you used in the process? 

In these five years, a myriad of things has happened, including a pandemic, a reshuffling of roles in the lineup, the world has changed, and so have we. Perhaps the most evident change between the two albums is the different distribution of influences that compose it. If we can define "Unhealed" as an album heavily influenced by d-beat/crust, in "Temple of Wounds," the foundations are constituted by black metal. On a compositional level, the process has been much more individual and carried out within the confines of our homes compared to the previous work, which saw us more active in the rehearsal room. The brands we have used are Gibson, Dean, and Jackson.

4. Death, black and crust, all with some melodic nuances, as well as a current sound proposal and with enough skill so that there are no distinctions between styles, everything flows fluidly, how would you describe the sound of the album for those who I haven't heard it yet? What bands and style are influences for you when composing music for Tulpa? 

I would describe it as a melodic black metal album with crust influences, although the various contaminations you mentioned often happen spontaneously. For example, the death metal influence, noticable although not predominant, is something we only realized after recording the tracks and it wasn't intentional. That being said, we try not to keep specific bands in mind when composing, in order to avoid unconscious but evident cloning, and we try to let the songs form spontaneously. We enjoy heavy metal in any sub-genre it may be found.

5. The treatment of the voices on the album encompasses different textures and intensities, adapting perfectly to the musical level. Have you spent a lot of time defining the style and textures of the voices and how important has this facet been for you? 

The way this album was sung is similar to a theatrical performance, and the connection with the emotions evoked by each individual song was crucial. We placed greater emphasis on creating the appropriate enviroment while in the studio, rather than on defining beforehand how we would sing the parts.

6. Your lyrics cover a more mundane theme that we usually find in black metal bands, why do you address these themes in your lyrics? Do the lyrics adapt to the music or vice versa? 

The themes we address in our songs have, at their core, the experience of suffering and the constant movements towards emancipation from it. The lyrics are written in a symbolic language, but they refer to real and authentic experiences. We believe that in this way listeners can find elements to identify with and potentially encourage a certain degree of reflection. Looking inward can be scary, and we live in a society structured to hinder this process in various ways, but we firmly believe in the value of awareness. Generally, the composition of the songs starts from a non-verbal and visceral level, and then refines later with arrangements and lyrics.

7. The mastering, recording and mixing of the new album has been more ambitious than on previous occasions, working with Elfo Studio, Daemon Star Studio and La Maestà Studio. Did you consider that this was the time to take a step forward on this level? of your sound? How did the possibility of working with them arise? 

Yes, we knew that this album would require a production capable of enhancing the two aspects on which our current sound is based: atmosphere and sonic impact. We already knew the high quality of work from Elfo Studio, Daemon Star Studio, and La Maestà Studio thanks to previous experiences with our bands, and it was really rewarding to collaborate with them.

8. You have also changed the designer of the cover, this time it was the work of Mvddrak Atmospheric, however it retains that ethereal and interpretable tone like that of the previous album, how did the possibility of working with Mvddrak arise? What does this cover represent and How does it relate to the content of the album? 

We discovered Mvddrak's work almost by chance while I was looking for inspiration for the cover online. I was impressed by how it seemed like her works were created specifically for us, as if she knew more than me what we needed. I believe that nothing really happens by chance, and it was a surprising encounter of kindred sensitivities. The cover represents the experience of the sacred, identifiable in both the bright and dark aspects. It also describes well the concept of the temple of wounds, an inner dimension of pain to immerse oneself in, facing one's demons and embracing one's shadow to then be reborn and see the world and oneself with wiser eyes.

9. You have also changed record labels, this time you have worked with Folter Records, when was the decision made to change record labels and what do you think this change has brought you? 

We are grateful for the trust and support we are receiving from Folter Records. The decision to propose the new Tulpa album to them was made while Kyoo Nam and I were at the festival celebrating the 30th anniversary of the label in Friesack. Kyoo Nam was playing with Whiskey Ritual, and I was playing with them as a session musician for that occasion. The festival was fantastic, and there was an atmosphere of excitement and vitality that we felt we wanted to be part of with Tulpa.

10. How do you see the health of black metal in Italy today? What bands would you recommend from Parma? Is it difficult to stand out in a country like yours in a style like black metal? 

We believe that the state of health of black metal in Italy is excellent, as evidenced by the level, quality, and participation in the increasingly numerous events that take place in our country, as well as the numerous bands that regularly devastate international stages. Parma has become the metal capital of Italy in the span of 10-15 years, thanks to Lo-Fi Creatures and its ability to bring people together and create situations more in line with the rest of Europe. Recommending Parma bands is inevitably self-promotional because it's a small city and among those who play, we all know each other: Whiskey Ritual, Mother Augusta, Distruzione, Shenanigans, Caronte plus various bands with members from other cities or countries, like Forgotten Tomb and Nocturnal Depression.

11. Have you already started the live presentation of the new album? What can your followers expect from your concert? Who would you like to share a small mini-tour with? 

We will soon start presenting the new album live, while still including some of the older tracks in the setlist. Those who come to our shows will find the same atmosphere as Temple of Wounds, with the added impact of the live performance. We won't spare sweat, tears, and blood. There are too many bands we would like to share a mini-tour with to mention, but what is really important to us are the human qualities of the people we come into contact with.

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

My first real concert, apart from local ones, was the X-Mass Festival in 2001 with Vomitory, Krisiun, Dark Funeral, Nile, Marduk, and Cannibal Corpse. I was 16 years old, and looking back now, it was a truly monstrous bill! The first albums I bought were “Kill'Em All” by Metallica, “Antichrist Superstar” by Marilyn Manson, and “Far Beyond Driven” by Pantera, between the ages of 11 and 13. I started playing the electric guitar self-taught because I liked the idea of producing my own sounds and creating my own riffs. It was almost a meditative moment, a refuge from the bad things, and it still is like that now as it was then.

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

That's a really tough question... What comes to mind right now is “Satanic Black Devotion” by Sargeist, but I already know that when this interview is published, I'll have several others to add. SBD, I believe, perfectly represents black metal: incredible riffs, old-school production, dark as the deepest of the nights, and clearly very inspired. The last album I bought is “Nocturnal Will” by Dödsrit, fantastic.

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

Thank you to you and all the readers of Black Metal Spirit! We would like to add an invitation to follow us to stay updated on our upcoming activities and to share our music. See you in samsara! 



Antzaat ‎– The Black Hand of the Father 18,99 €

Vinyl, 12", 33 ⅓ RPM, Single Sided, EP, Limited Edition, Ultra Clear / Silver Splatter

No hay comentarios:

Publicar un comentario