1. The band was formed around 2016, how did the idea of creating the band come about? Why did you choose the name Noctambulist and what does it refer to?
2. Despite taking the first steps as a band in 2016, the formation of Noctambulist was not complete until the arrival of Stef and Tristan around 2018, which is reflected in the fact that your first release dates back to 2020 with the single “Vagevuur”, in these almost four years that have passed, what happened within Noctambulist?
J.D: We grew. We started with a different line up with Robin Waaij on lead guitar. He had to bow out because he moved away from Tilburg. The song “De Leegte Wenkt” was primarily written by him. We played our first two or three shows as a foursome with about 3 originals and a cover of Disintegration by the Cure before we finished the debut.
3. In 2021 you are releasing “Noctambulist I: Elegieën”, a work full of rage and a certain immediacy, how was the composition and recording process of this first album and what role did the new members play in it?
J.D.:Well Stef joined about a year before Tristan did, so the both of us wrote quite some material for the record. When Tristan entered his first contribution was “Vagevuur”. Although we wrote it as a team the initial idea came from him. The rest of the recording was really a band finding their groove. We’re all proud of Elegieën, but also very aware of its shortcomings.
4. And soon “Noctambulist II: De droom”, your second album, will be released. What approach have you wanted to give to this new album compared to the previous one? What brands of instruments have you used in the process?
J.D.:Sound and composition-wise the record speaks for itself. It is quite a different entity compared to the first. While we don’t consider it a giant leap in sound, we are still aware that some might beg to differ. The influences we had on the first record were a bit more subtle. Now they’re at the forefront. Guitars were mostly Fenders (same as the first). Tristan used a Gibson for some rhythms and an LTD telecaster on “Gevoelsmens”. We’re kind of a single coil band though. We’ve got three guitar players working that wall of sound. So, we opt for a lot of nuances. Jazzmasters and Jaguars all over this record.
5. Your sound is based on a style close to post-black, but for this new album you have taken a step towards post-punk or even shoegaze terrain. Has it been very difficult to capture these influences in a coherent way in your sound? What have been your main influences when composing this new album in terms of bands and styles? How would you define the sound of the album for those who have not heard it yet?
J.D.:Imagine the first record but us selling out haha. No, the post-punk and shoegaze influences have always been present, but more subtle than this time around. We decided, even during the recording of Elegieën, that this record was going to be exactly what it became. Influence-wise it’s all over the place. Someone described us as a twisted love child between the Cure and Der Weg Einer Freiheit. Sure.
6. Regarding the subject matter, you move away from the clichés of the genre, delving into themes closer to feelings and social issues. For the new album you are covering something related to the passage of time, money and death, can you explain a little about the concept of the album? Who writes the lyrics? Do the lyrics adapt to the music or vice versa?
JD: I write the lyrics. It’s not a concept album, but most of the songs are about a relationship I was in that ended during the recording. Fantastic. We were struggling with housing (as are a lot of people) and that struggle for some comfortable purgatory of mediocrity became the mosaic for the album. Themes of money and aging that you mentioned do chime into that, but overall, the record is a love letter to decay. That being buildings, relationships, age. all matter of decay.
7. The first album was released by Northern Silence Productions in different formats, however the new album, although it will be released in different formats, seems to be self-released, can you clarify this concept a little? What happened with Northern Silence Productions that made you not collaborate with them again?
J.D.: The record is not self-released. These Hands Melt is our record company.
8. You have worked with Wessel Reijman and Tymon Kruidenier for the mixing, recording and mastering of the album, why did you choose them to work on the new album? What do you think they have contributed to the final result of the album?
J.D.: We worked with Wessel on the first record and we like his approach. This time around we wanted to prove ourselves as a band and he wanted to prove himself as a producer. I think we all grew from the experience. Wessel recommended Tymon for the master and we went that route.
9. Sandro Dal-Magro has taken care of the album cover, what did you want to convey to the listeners with this photo of a place now abandoned and decaying, but which once must have been full of life and represented social status?
J.D.: The theme of decay and heartbreak are front and center with this artwork. There was a clear and concise choice to go for a bedroom. It’s emblematic of estrangement and distance in the autumn of any romantic relationship.
10. Tilburg is located in the south of Holland and is a rather small city, what is the extreme metal scene like in a city like yours? What bands would you recommend from your area? How do you see the extreme metal scene in your country today?
J.D.: Tilburg is quite a prominent city when it comes to metal and other quality music. We’ve got the Little Devil bar which is a national hot spot for heavy music and Hall of Fame where a lot of punk shows go down. When talking about a local acene one must take into account that the Netherlands is a very small country. Sure, Tilburg has some stellar bands like Izah, Witte Wieven and Docile Bodies, but not much further there’s bands like Neroth, Yantras, Ter Ziele and Radeloos///Ziedend. And that’s not even brushing upon the great Utrecht scene with Laster, Terzij de Horde, Grey Aura and Ontaard. We’re all very fond of these bands, but we don’t really fit in with them at the same time. Do check them out though
11. Do you think it will be difficult to express the musical richness of this new album live? Do you already have any dates scheduled for next year to present the new album?
J.D.: We’ve got a few shows lined up for 2025. We’re excited and a tad bit nervous knowing that we’re steering more into a niche within the niche. We’re very proud of the record and stand behind it a 100%, but we also know that it’s hard to really place it among other bands that we might play with.
12. How did you start out in music: first concerts you attended, first albums you bought? What event in your lives pushed you to want to be musicians?
J.D.: That’s a hard question to answer for all of us. I think most of us started playing in our early teens. Two of us studied music and hoped to make a career out of it knowing the odds were stacked against us. But what matters is that we’re all still here fighting the good fight. We’re all obsessed with music and it’s like breathing to us.
13. What album represents the essence of black metal for you? What latest albums have you bought?
J.D.: It might not surprise people when we say we’re not the biggest black metal fans all in all. We consider the genre as a very fluid thing that allows us to weave in different inspirations. Sure, some of us are into Darkthrone and such, but it was bands like Agalloch and Deafheaven who were pushing the limits of the genre that really got our attention and made us want to do something different. The latest purchases for (some) of us have been “Songs of a Lost World” by the Cure and “Absolute Elsewhere” by Blood Incantation.
14. Thank you very much for taking the time to answer these questions for Black Metal Spirit, if you want to add something for Noctambulist fans this is the place. I hope you like the questions.
J.D.: Don’t be deterred by the norms. Don’t let anyone make you feel bad about enjoying whatever music you’re into. Be creative and explore. Homo/transphobes and nazi’s eat shit and die alone.
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Vouna – Atropos (Purple w/ White, Silver, Gold Splatter) 35,99 €
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